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@thefutureunseen
So....if Julien successfully kills all the other Tachonis that means Occtis, by default, becomes the new Lord Tachonis, which would also make him the perfect candidate to both fulfill Maya Davinos' request while also still pissing her off and being petty as fuck lol
Suffice to say if they do decide to take the Knightingale route I think Occtis' feelings are gonna develop So Slowly and Painfully over time, born from an innate curiosity and desire to understand how Julien's mind works, turning into undeniable fascination.. As for Julien, it's gonna kick him in the back of the head on a random smithsday like a fucking freighter of italicized oh's and he'll be Incredibly Upset about it, thank you very much
The Campaign 4 Ship Exchange (C4SE): Fear and Hope Index (03-10-2026/10-03-2026)
This is a general measurement of how the Critters feel overall about the ships and pairings (romantic, platonic, etc.) within this specific campaign.
This time though, we will only be covering the specific ships and pairings amongst the Seeker's Table.
In summary, this is the measurement that follows this Index: Extreme Fear, Fear, Neutral, Hope, Extreme Hope
Where do YOU think the Index is as of Episode 18?
Extreme Fear
Fear
Neutral
Hope
Extreme Hope
You know your ship is cursed (*cough* GOATed) when you can't figure out which end of the spectrum is supposed to measure its success: Extreme Fear? Extreme Hope? Both?
actually mike is not alone because LOOK at his dorm room, his roommate is CLEARLY lucas
and do you really think LUCAS would let him stay repressed?? when mike has will's painting RIGHT THERE on his wall staring lucas in the eye and he's probably writing him sappy love letters in code every two seconds??
yeah lucas is having NONE of that
count your days micheal
Mike, drunkenly explaining the painting to Lucas one evening, "and then he said El needed me and she always would and that's why she asked him to paint me as the heart of the party—"
"But it's just the four of us."
"What?"
"If El commissioned it then why isn't she in the painting?"
Mike stares at the image on the wall. "Well, obviously it's because she never played d&d with us, Lucas."
"...Right."
"Right? Why'd you say it like that? Will wouldn't lie about this, Lucas. Not this. Not to me."
Lucas, fighting the urge to tell Mike to wake the hell up, "Sure, Tammy."
Two sundered houses both alike in dignity...
i’m only just getting back to catching up on cr c4 but are people shipping occtis and julien yet or is it too soon for all that
it is never too early. they got me in episode 3
Seekers Table AKA Occtis and his boyfriend and his two moms
When julien and occtis finally kiss or one of them dies protecting the other I want everyone to know my delusional self was at the front gates of this ship manning the sails
Mending | Kintsugi
KNIGHTINGALE NATION
TOMORROW NIGHT WE RIDE
Oh, fuck yeah. This might actually break me out of my byler hyper fixation sadness spiral. Save me, knightingale, save me.
I must sleep. Sleep is the mind-healer. Sleep is the big-life that brings total ability to fucking do anything. I will face my bed. I will permit the blankie to pass over me and snores to pass through me. And when sleep has gone past I will turn the outer eye to greet the new morning. When the sleep has gone there will be everything. Energy and will to live will remain.
All in all, if you have so many plot holes that a Truman ending seemed plausible enough to crash Netflix, you're a bad writer.
I'm... so confused?
What was the purpose of the scene about queer signals, if Will was never going to receive queer signals? Why was the question concerned with the obviousness of signals, and not the mere presence of them? Why use the term "shared looks" when that was a known call and response on set for Noah and Finn?
What was the meaning of the snowball and avalanche metaphor? Why include that scene at all? Where was the payoff?
You're going to write an entire meta scene on queer signals of attraction, include examples that we have already observed, indicate an eventual pay off... and not let it pay off? Why? To be malicious?
You tell the audience through Will that Mike was just his Tammy this entire time and expect us to believe it? Was Tammy in Robin's video tape? Did Robin know Tammy since she was five? Did Tammy run after her in the rain or recognize her breathing over the radio?
And Will Byers never got kissed. Will Byers witnessed queer love, queer joy, and queer intimacy through a kiss at the beginning of the season, wanting that for himself because he's a romantic... and never even got kissed. Not even by his epilogue boyfriend.
stranger things, first show in history to introduce the cyrano trope and shoot cyrano right in the head with chekhov’s gun
as someone with a degree in television and a background in cinematography and narrative analysis, i genuinely cannot understand what the duffers were doing with mike and will. the sheer amount of intentional groundwork poured into their dynamic wasn’t accidental, and wasn’t something you can dismiss as audience projection. it was craft. it was design. it was the kind of layered visual storytelling you only build when you’re setting up a payoff.
the costuming alone charted an emotional arc, colour palettes shifting in tandem, mirroring, contrasting, signalling internal states long before the characters verbalised anything. the blocking and framing consistently positioned them in ways that highlighted intimacy, tension, longing, and narrative centrality. the camera lingered on them with a specificity that, in television language, means something. you don’t shoot two characters like that unless you’re building toward a reveal or a culmination.
and then there’s the emotional architecture: years of subtext, coded longing, parallel arcs, mirrored traumas, narrative foreshadowing. every tool in the tv writer’s and cinematographer’s kit was pointing toward byler as a deliberate, slow burn queer storyline. it wasn’t just possible, it was textually supported by the show’s own visual grammar. even the pink sky in the field scene, that gorgeous, deliberate wash of colour, was doing thematic heavy lifting.
which is why the lack of follow through feels so jarring. from a craft perspective, it’s almost nonsensical. you don’t invest that much visual and emotional capital into a relationship you plan to abandon. from a storytelling perspective, it’s a structural rupture, a setup without a payoff, a thematic thread left dangling. and from a queer audience perspective, it’s heartbreaking, because this could have been monumental. byler had the potential to be an epic queer narrative with genuine depth, history, and emotional resonance. it could have been groundbreaking.
instead, it feels like all that potential was discarded at the last minute. years of careful build up rendered pointless. a beautifully constructed arc left unresolved. and i can’t make sense of it, not academically, not narratively, not emotionally. it just feels like such a waste of what could have been one of the most compelling queer storylines in mainstream genre television.
i honestly think byler stands as one of the most blatant cases of queerbaiting the industry has produced in the last decade. and i don’t say that lightly. this isn’t a case of fans “reading too much into it” or projecting subtext where none exists. this is a case where the text itself deliberately builds a queer emotional arc, frames it with all the cinematic language of a romantic storyline, and then cannibalises that arc to reinforce a straight couple that was already structurally unstable.
they took a queer character’s feelings, his longing, his emotional labour, his narrative vulnerability, and used them as scaffolding for a relationship he isn’t even part of. they lifted will’s emotional beats, his confessions, his heartbreak, and simply stamped el’s name on top like it was an interchangeable sticker. from a craft perspective, it’s not just sloppy; it’s narratively unethical. it treats queer interiority as a tool rather than a story. it treats a queer character’s pain as a convenient emotional engine for a heterosexual romance that couldn’t sustain itself on its own terms.
and the thing is, this isn’t subtle. it’s not buried in symbolism or blink and you’ll miss it gestures. it’s right there in the blocking, the framing, the colour theory, the dialogue, the emotional pacing. it’s the kind of thing you’d pause in a lecture hall and say, “okay, class, here’s what happens when a show wants the cultural capital of queer representation without committing to the narrative responsibility of actually following through.”
it’s genuinely one of the worst cases of queerbaiting i’ve seen in mainstream tv, not because the queerness wasn’t explicit, but because it was explicit, and then it was repurposed to prop up a straight romance that the writers were too afraid to let fail on its own merits
Queer love is not the punch line.
Queer love is not a plot device.
Queer love cannot be reduced neatly into a box of self-acceptance and loneliness just because you find that more palatable than our joy.
Queer love is beautiful and nuanced and messy and real. But, you wouldn't know that.
