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Page 40
yeah that's right, ROCKY is the #1 simon apologist. bet you didn't see that coming. ok nvm you probably did, but yeah whatever. we'll get more into it in the next pages
First - Previous - Next
close ups \/

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Simon's stretch marks
Grace will never stop talking
Grace can't handle allat. STEP ASIDE, GOLDILOCKS 👅
Jaspidot? Yes that’s chill I’m behind it.
Lapidot? Cool beans Daddio that’s a good ship
Amedot? Nice taste in ships *Italian Fingers*
Pearlmethyst? Heck yes my dude
Garnidot? Nice pairing there bucko
Jaspearl? Right on man
Pearlpis? That’s fresh my guy
Jaspis? Woah there partner that’s abusive
Stevidot? Pedophilia is certified uncool my man
When will y’all be ready to talk about all of Jane’s friends still calling her by a number that was assigned to her while she was literally being abused? The second she legally changed her name to Jane (or rather decided that Jane was going to be her name) EVERYONE should have been calling her Jane.
oh well, we'll blame it on the genetics whatever
let's all emotionally cheat like mama

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tbh, most unrealistic part of Stranger Things is that they don't reference things that happened in previous seasons more. I choose to believe that they make fun of each other a-la-Lucas and Max singing Never Ending Story at Dustin a lot more than they show:
Dustin: not right now, Lucas-
Lucas: BuT wHy ArE yOu KeEpInG tHiS cUrIoSiTy DoOr CLOSED Dustin??
Steve: I don't care-
Dustin and Robin, simultaneously: I don't CARE about Tina, or Uncle Jack's party-
Steve: I WAS STRESSED OKAY
El: Hop wants to talk to you
Mike: oh is it about my SICK FREAKING GRANDMA
Lucas: I need to tell you something, but it's a secret,
Max: should we go to the arcade
Anyone: Who do you work for?
Steve and Robin in unison: SCOOPS AHOY
Mike: I'm going over to the Byers to study with El and Will
Nancy, innocently: Oh, what's your test on, human ana-
Mike: SHUT UP SHUT UP RIGHT NOW
Dustin: I'm feeling low, I could really use a win
Steve: Aw, I'm sorry buddy, do you want-
Dustin: I'm going to challenge you to a fight
Steve: ... what the hell, dude
AND NOW THE ORANGE MOHAWK, I call bull, real life friends would be all over that: Don't let Mike make any decisions, he wanted to get an orange mohawk last year.
Why Henderhop (Dustin x Eleven) is Better Than Mileven
By Dewart Doop (me)
in my opinion it should’ve started off as a lil love triangle. like instead of dustin-max-lucas and will-mike-eleven it should’ve been dustin-eleven-mike with season 3 ending in a win for dustin. here is 3 big reasons why…
I needed One (1) scene of Dustin being like, annoyed or full mad at Mike for treating El like crap. Like, just him observing mileven and being like Why The Fuck Are You Like This™️
It would be all the better if El was actually growing closer to Dustin as a friend at this point, so he's even more attuned to what she's feeling. He can see El expects certain things that Mike simply does not deliver, and he doesn't understand because they're really simple things that Dustin has no problem doing for Suzie (or wouldn't have a problem doing for Suzie since they're long distance). I wonder if El would look so clearly disappointed that it propels Dustin to just step in and do those things himself.
Specifically I want a scene where El needs help, and someone asks Mike something about her - where she could be, what she could be doing - and Mike straight up doesn't know, but Dustin does. And then Mike feels like he should be mad, so he's like "how do you know that" and Dustin is like "because I freaking asked her about it - why do YOU not know that, she's YOUR girlfriend" and the whole room tenses up.
Maybe Dustin is the one that finds her first, even. And he sideeyes Mike when he finally reaches them, like super disapproving "why am I doing this, YOU should be doing this, fucking get it together man, you're HURTING HER"
I just needed more people caring more about El, okay 😭 more people seeing how bad things were for her after S3. DUSTIN WOULD HAVE BEEN PERFECT FOR THAT
Henderhop is Endgame: Part I
Note: This post was drafted before Stranger Things 4 was released.
Byler, Lumax, and Henderhop are (what i believe to be) the endgame ships of the Party. I'm not going to do any analysis in this post; this is meant merely to be a compilation of interactions between El and Dustin (including canon evidence for the idea that Henderhop is endgame).
There are quite literally thousands of posts on Lumax (Lucas/Max) and Byler (Will/Mike), but comparatively few about the likelihood of Henderhop. Admittedly, El and Dustin have more obviously a friendship than a romance going on, but that doesn't mark off the possibility of a slow burn!
This is Part I of a series!
[DISCLAIMER: I'm not ignoring Suzie- or Mike- for the sake of Henderhop.]
Season 1
Chapter 1: "The Vanishing of Will Byers"
Chapter 2: "The Weirdo on Maple Street"
Dustin's first words to El: "Where's your hair? Do you have cancer?"
Dustin understandably is curious as to where El came from, why her head is shaved, etc. whereas Mike just wants to know if she can help them find Will. See? Already, we have Dustin being curious about El, whereas Mike just cares about Will. Dustin doesn't even know this girl- but he wants to get to know her; Mike literally just wants to get rid of her until he realizes she can help them find Will.
Dustin and Lucas converse when Mike is skipping school; Dustin wonders if El slept naked, which annoys Lucas.
"We never would've upset you if we knew you had superpowers."
El holds up the wizard figurine and says "Will"- Dustin comments in awe: "Superpowers".
Chapter 3: "Holly, Jolly"
Dustin brought snacks- "energy for our travels". Dustin is VERY IMPRESSED with El's powers. Dustin asks El to make Mike's model Millennium Falcon fly, which makes Mike snap, "She's not a dog!"
Dustin continues to be intrigued, wondering if El's powers were acquired or if she was born with them.
Chapter 4: "The Body"
"Will's body" was found, but El finds proof that Will is alive. Dustin continues to be impressed with El's powers- less skeptical than Lucas.
The boys give El a makeover, and she comes out of the bathroom after changing. "Wow. She looks..." Dustin remarks, before Mike says "Pretty." and Dustin GRINS in genuine delight.
Dustin is a good friend, lying to protect El.
Chapter 5: "The Flea and the Acrobat"
Dustin asks Lucas, "You're asking if the weirdo is acting weird?" - to this Lucas clarifies weirder than normal. - to which Dustin responds, rather unromantically "I don't know. Who cares?"
Dustin mediates between Lucas and Mike, not really defending El. Again, not evidence for Henderhop- rather the opposite- but i'm pointing it out for the sake of acknowledging that this is a slowburn.
Chapter 6: "The Monster"
Dustin & Mike go to Lucas' house. Mike says that El is "one of us, now". Dustin admits that El throwing Lucas with her mind was "a little awesome".
"Our friend has superpowers, and she squeezed your tiny bladder with her mind!" Troy & James run away in fear. "She's our friend and she's crazy! You come back and she'll kill you!"
Mike hugs El, and Dustin hugs both of them:
Chapter 7: "The Bathtub"
"Did... did you see what she did to that van?" (Mike responds sarcastically, "No, Dustin, we missed it.")
Chapter 8: "The Upside Down"
"Mike, look at her," Dustin says regarding El's exhaustion; her powers won't work. Dustin goes to get chocolate pudding- El "needs to recharge". When he returns with the chocolate pudding, Dustin tells El, "This will charge your battery right up, I'm telling you."
El kills 5 agents and collapses. Dustin picks her up and carries her through the halls.
After El destroys the demogorgon and vanishes, Dustin is the first to look up.
Part I [Part II] [Part III] [Part IV]
HUGE TW FOR CSA ALLEGORY IN STRANGER THINGS
The way some ppl will just totally deny the unavoidable allegory for CSA in Stranger Things when there's literally Freddie Kruger and Alien references and inspiration in the show. References that are clearly allegory for SA in both the original context and the context of ST.
Say it with me:
Fiction depicting something that makes you uncomfortable in a subtle way doesn't mean you can just deny the clear meaning.
Henry/Vecna/001 is a serial rapist and murderer via the coding of his actions. He literally has murdered underage people by forcibly penetrating their bodies with tentacles and making slug spawn much like facehuggers in Alien. Will SURVIVED this.
It's MEANT to be uncomfortable. That's the POINT. I'm a CSA survivor w OCD. I don't LOVE thinking about this shit, I get that. However-- it is IN the show. It is right there.
Ignoring it misses a huge point to be made, especially with Will and how acts of SA against queer people (esp queer kids like him) goes unacknowledged and denied, and how surviving something like that can affect something like your sexuality, which is openly declared to be a very important portion of Will's character development.
This isn't just accidental. Like, yeah. It's not fun, it's grotesque and sickening and that's exactly the feeling it's supposed to evoke. So please don't ignore it for what it clearly is.
It's not even just subtext y'all there are canonically tentacles and reproductive cycles involved. Is it disgusting? YES.
That's the point. Just like it was the point in ALIEN. Henry openly declares himself a predator and quite literally stalks, manipulates, and violates a bunch of teenagers. It's cinematography, not rocket science.
Please pay attention.

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Stranger Things Analysis + Theory Masterlist
(I finally updated it!)
Listed in order of newest to oldest by section :) *My favorites are marked with an asterisk!
This video deserves its own section!:
Heartbreak according to Will Byers*
S5 theories:
The white goo in the S5 teaser is the Upside Down dimension collapsing. My theory on exactly how Vecna and the Mindflayer will be defeated in the final battle in S5E8...*
Why are the upside down portals so fleshy, veiny, and biological?
Metaphors, allegories, symbolism, and themes in Stranger Things:
The most overlooked theme of S4 is prisons, and Mike is no exception*
Blasphemy, gay peanut butter, and the comphet "prison escape" metaphor in S4*
The dead guards in S4 represent Mike's emotional guard dropping*
Mike and El's masks and Michael Myers
Mike's "vomit green" socks*
The return of the S2 rainbow hair clip in S4 hints at the return of Mike's jealousy re: Will liking a girl*
El's bullies personify Mike's internalized shame (an allegorical reading of Mike's "little blip" at Rink-O-Mania)*
Media parallels:
The Cyrano trope in Eternal Sunshine of the Spotless Mind may have inspired the painting lie*
A Nightmare on Elm Street 2 parallels*
Adding this to the "Karen might be cooked" pile
The Upside Down may be post-apocalyptic Hawkins after a nuclear war with Russia (inspired by Terminator 2)
Byler hints and S5 foreshadowing in the "Coming Soon" movie posters in S3*
"No one's moping," Moby-Dick, and Police Academy 3: Another Jancy/Byler parallel*
Food symbolism and movie parallels: Mike's "blasphemous" foods; Eleven's coke cans vs. bottles (powers vs. childhood); and Hopper's peanut butter death fake-out and Meet Joe Black
"The party," speaking in code, and the queer code:
This is NOT a party of "you and me"*
Sorry Argyle, you're not invited to this party...*
Why the writers made Robin a code-breaker *
Clues from the script and cinematography:
The Piggyback script might have already confirmed the theory that Vecna and the Mind Flayer are stuck in a predestination time loop*
In defense of 'Dart (who represents homosexuality)'*
The script suggests Will was stalked in the Wheeler house before being kidnapped
Follow-up: feedback from a film student/cinematographer on the unique purpose of the Will/Mike van shot*
Cinematography analysis: This was NOT Mike's POV looking forward, it was Jonathan's. What is Mike actually looking at, and what makes this shot different from all the rest?*
Mike, Will, and El Analyses:
ah, inauthenticity... the foundation of every healthy relationship amirite*
"Canonically suspicious"*
The "two-man rule" for nuclear launch: true love is the key against unhappy conformity*
El piggybacked in a coffin (El as a 'wish fulfillment' figure)*
Jopper's "crazy together" parallel*
Will's 80s period-accuracy jump scare (gender non-conformism)*
Eleven was always written to be Will's "sub"*
If the coffin fits... (which could mean nothing)
Mike and El's first kiss happened in the rainbow room*
El brought back to life two hearts that were as good as dead
Emergency care and "I care for you"
The Strangers Things Guide to conflict resolution in a happy marriage*
The Romeo & Juliet references were also about Mike and Will*
Mike's lightbulb went off in S1E1, and he turned it off*
Mike wore GAP (and GAP = Gay and Proud)*
Will's happy ending won't include having powers
Other meta commentary in the writing:
I have no idea what's gonna happen next*
Straightbaiting and double meanings in ST episode titles
Misc. analysis and potential foreshadowing:
Ted Wheeler might be cooked...*
Jonathan's good at pointing and shooting!! Not a gun tho...
“I understand”: El and Mike's scene in the S5 teaser is a parallel to Jonathan and Will's scene of unspoken understanding in the pizza kitchen
Other misc. thoughts
It is a curse to see so clearly*
(silly) Mike "boys only!" Wheeler
Byler doubt and "delusion" in a nutshell
Erase your Byler doubt at once!
How to build your skills in film & literary analysis (ST edition)
Chocked on my water and punched my wall when I read "he only had it rough for 2 seasons mind you"
Will has suffered A LOT. With this I'm not saying that Eleven hasn't suffered, she has, and maybe even more than Will. But that doesn't invalidate Will's experiences.
What I want to say is how it is so obvious the person who posted that cares little lo nothing about Eleven. They are just reducing her character to "if she doesn't end up with Mike her story won't make sense!" WRONG!
If El doesn't end up with Mike, her story will have a round and clean arc. A self exploring arc, were she finds her true self, and lives independently after all of this years of being abused and manipulatied, or maybe even finds someone else in the future when she has healed completly.
If Will doesn't end up with Mike, in the other hand, his character wouldn't have a clean, round arc. We are talking about the boy who, apart from all of the suffering the upside down has brought to this life, said this while in love with his childhood best friend:
"I'm not gonna...fall in love"
Apart from that, id like to remind everyone reading this all I can remember Will has been through since the show started.
Lets recap:
1- He has been taken to an alternate dimension, not knowing we're he was, were his family was, or his friends,probably thinking he was sent to hell for being queer.
2- He has been called homophobic slurs for, as far as we know, all his life, by adults and kids in his town, even by his OWN FATHER.
3- While trapped in that alternate dimension he did t know nothing about, he had to keep running for his dear life from literal monsters for a WHOLE WEEK, jumping from tree to tree to not be eaten alive, etc...
4- He actually DIED in that alternate dimension, and got a ALTERDIMENSIONAL TENTACLE stuck down his throat, probably used for breeding those monsters from that dimension (to then later, when he was back into the real world, VOMIT INTERDIMENSIONAL SLUGS INTO HIS SINK.)
5- Even after he was rescued, he kept having to relive those traumatic events for months (PTSD -> episodes)
6- While having to relive his traumatic experience in the alternate dimension, he got POSESSED by ANOTHER KIND OF MONSTER FROM THAT DIMENSION, making him not have control over his own body, and being used to KILL 20+ SOLDIERS.
7- He was BURNED ALIVE 3 TIMES. 3.
a) The tunnels incident
b) The exorcism
c) Nancy directly burning his torso's side with a heated up metal pole
8- He endured an EXORCISM, while being burned alive, and having to feel that monster leave his body.
9- During the time he was possessed, he had slight episodes of self consciousness, so he was AWARE of what was being done with the help of his mind, and not being able to stop it.
10- He was then ignored by his best friend for the next months, while he wanted to spend time with his girlfriend.
11- His bestfriend straight up told him it was "not his fault he didn't like girls", the same bestfriend he was in love with and had been shielding him agains homophobia for all those years.
12- He still felt the shadow monster's presence even AFTER the exorcism.
13- Had to be present while his brother and his brother's girlfriend, who was his crush's sister, faced a flesh monster without being able to do anything, afraid he could potentially die.
14- Had to move away from all of his friends and start a new life from scraps all the way in California.
15- Spent 6 months seeing his step sister (and his crush's girlfriend) getting letter after letter from the love of his life (and bestfriend), while he only got a couple of calls.
16- Was excited as he had ever been to finally reunite with his supposedly "bestfriend" for him only to give him the most awkward half hug, while he went all in for a big hug.
17- He was COMPLETLY IGNORED by his bestfriend and sister for the entire day, and what day was it again? HIS BIRTHDAY.
18- Had his stepsister El, he deeply cared about, ARRESTED, while his mom was off to Russia, so they had no way of helping her.
19- Had to bury his feelings for his bestfriend, just to use them as if they were his stepsister's feelings, to make them reconciliate with one another.
20- Had to watch his stepsister be ALMOST KILLED, as her boyfriend and his bestfriend gave her the most lie based monologue ever, using words on HIS MONOLOGUE with her.
It would be absolutely heartbreaking for Will to end up alone, without someone who loves him unconditionally, don't you think?
To sum it all up:
El not ending up with Mike (+ loosing her powers for good) would round up her arc, leading to her finally being free from having to depend on other people.
Will not ending up with Mike would only add up to the cycle of tragedy and pain he has been trapped in since November 6th 1983, the day everything started.
(if there's anything wrong, lmk in the comments, and please reblog if I have left anything important out! If there is any grammar error in this, lmk in the comments, since I'm making this with my pupils dilated, so I can't see properly, thanks!)
It's All Relative:
Mike Wheeler’s bedroom isn’t just queer-coded, it’s politically charged in context — thanks to this print.
Alternative title: Triangles, triangles and more fucking triangles.
The more you look, the clearer it becomes that Mike's bedroom is an absolute masterclass in queer-coded set design.
I probably don’t need to address the famous "one way" sign pointing to the closet — that symbolism should be obvious. However, I do want to focus on the print which has been placed (quite intentionally) beneath it:
Relativity (1953) by M. C. Escher
Relativity is one of Escher’s most recognizable works. It’s a lithograph (originally a woodcut) that depicts a labyrinth of staircases inside a world where the normal laws of gravity do not apply. In fact, it appears to have three centres of gravity occupying the same space.
It plays with dimensions, which is fitting for a show like Stranger Things which is about alternate dimensions. The three gravitational forces could even be referencing the three known dimensions within Stranger Things: The Rightside Up, The Upside Down, and the mysterious Dimension X.
But beyond that, this image also speaks to Mike’s character and psyche. Otherwise, it wouldn't be placed inside his bedroom which represents his personality, privacy, and inner world.
The Meaning of Relativity
Relativity is obviously the state of being relative.
To be relative means that something gains its meaning or significance only when compared to, or understood in relation to, something else.
When you focus on a single point of gravity in Escher’s print, the scene appears normal. But when you assess the image as a whole, you notice that something is off. The three centres of gravity are made interesting when we notice them in relation to each other. That's why it's called Relativity.
Basically, we're being told that if we want to better understand Mike Wheeler, we need to look at him relatively.
We need to pay attention to the context and look at the bigger picture.
Well, you don’t have to tell me twice. Let's zoom back out.
In the bigger picture, the blocking has Mike stood between his bed and the closet. Framed above him is the "one way" sign, and the print of Relativity.
This is our point of interest: the spot our eyes are naturally drawn to.
All Signs Point to The Closet
As it turns out, the “one way” sign is highly relevant to this analysis.
That’s because the perceived significance of the "one way" sign is relative.
On its own, a “one way” sign in Mike’s bedroom is just a traffic sign and nothing more. In relation to the closet, however, it transforms into a visual cue for the state of being “in the closet.”
The symbolism of the “one way” sign depends entirely on its relationship to the closet, and Relativity (1953) underscores that fact with humour and cheeky precision.
It's a slapstick fish-to-the-face for anyone still denying the possibility of Mike being queer. It’s as if the set designers are saying, “Look at the sign in relation to the closet. And just to make sure you see it, here’s Escher’s Relativity sitting right between them to give you instruction.”
It's not even hidden in plain sight — it's being pointed to.
And here’s the kicker: the sign, the print, and the closet aren’t just thematically connected — they are spatially triangulated.
Their relativity is both metaphorical and literal!
It's also queer imagery: Special thanks to costume designer Amy Parris for confirming that the creatives behind Stranger Things are well aware of the triangle’s significance in LGBTQ+ history and symbolism. (More on that later).
The Penrose Triangle (Tragedy)
The triangle imagery becomes even more overt: at the centre of Relativity sits an inverted Penrose triangle, also known as the Penrose tribar or impossible triangle.
An impossible shape is a form that can be drawn, but cannot possibly exist in three-dimensional reality — unless it is an optical illusion. Psychologist Lionel Penrose and his mathematician son Roger Penrose popularised the Penrose triangle in the 1950s, describing it as “impossibility in its purest form”.
It's... actually quite tragic, when you think about it.
The impossible triangle suggests that Mike feels trapped in an unsolvable dilemma — caught between two realities (the two-dimensional and the three-dimensional) — with no way to reconcile them.
That’s because Mike is at the centre of a dysfunctional love triangle:
The two-dimensional reality that only exists within his mind: a romantic union with Will Byers. The three-dimensional reality that exists within real life: a romantic relationship with El Hopper.
But remember, the impossible triangle is an optical illusion — it doesn't actually exist.
Like Relativity, when you assess the bigger picture (rather than focusing on a single point) something about this love triangle is… off.
It’s not just impossible; it’s fake.
In Relativity, the three points of gravity hold equal importance. This mirrors the way Mike, Will, and El each contribute equally to sustaining this phony love triangle.
They’re all either hiding something or being dishonest.
Their dysfunction comes to a head in the Rink-O-Mania scenes, where it is most obvious. It's the crux of the blame-game that even fans can’t resist joining: Who’s the real asshole in this love triangle?
Dustin already gave the most succinct answer long ago: they’re all being little assholes.
But that’s the tragedy, isn’t it?
These aren’t bad people — they're timid teenagers. The impossible triangle isn’t a joke at their expense; it’s a reminder that all three are stuck in a structure that can’t hold.
And Mike isn't the perpetrator; he's just at the heart of it.
That’s why Relativity hangs in his room and not El’s or Will’s: the impossible puzzle is his to solve, because he’s the one with the most to lose. Since the problem with this love triangle is fakery, the only real solution is honesty. Relativity foreshadows that Mike will be the one to break the illusion — to reveal the truth.
The Pink Triangle (Triumph)
Of course, the fact that the triangle in Relativity is inverted is also significant. Maybe not in Escher’s original intention, but certainly for the creators of Stranger Things in relation to Mike Wheeler.
See what I did there?
As Amy Parris has noted, the inverted triangle is queer imagery, because it is linked to the pink triangle.
The pink triangle has a horrific origin:
During the Second World War, it was used in Nazi concentration camps to mark gay men and trans women. At the time, the inversion signified “sexual inversion” — an outdated, offensive term once used to pathologise homosexuality.
Much like the word queer which was used as a slur before being reclaimed by the LGBTQ+ community, the pink triangle (or inverted triangle), was also reappropriated.
It’s now a symbol of pride, gay liberation, and equality.
This reclamation began in the 1970s, sparked by Holocaust survivor Heinz Heger’s memoir The Men with the Pink Triangle. In The Rocky Horror Picture Show (1975), Dr. Frank-N-Furter famously wears a pink triangle over his heart.
I used the word triumph in my subheading with intention, because triumph implies victory over persistent struggle and enduring resilience.
After the Holocaust, the queer community faced another devastating battle: the AIDS epidemic.
The conservative Reagan administration was infamously silent during the crisis’s peak years in the 1980s — and Stranger Things is set squarely within this political backdrop. In this era, the pink triangle’s significance re-emerged, taking on new prominence as a symbol of the ACT UP coalition and the fight against AIDS.
Their slogan?
SILENCE = DEATH
Does this slogan remind you of anything from the show? Because it should. Eddie Munson said something strikingly similar in season 4:
"It's forced conforming... that's what's killing the kids!"
Silence = passivity, compliance and conformity.
This wasn’t just an empowering line to capture the spirit of Stranger Things; it was a direct and intentional reference to the fight against AIDS.
And let’s be clear: Eddie Munson is heavily queer-coded. He appears to have used the hanky code, showed a clear attraction to Steve, and was persecuted by his community during a mass hysteria that mirrored the real-life Satanic Panic.
So Mike Wheeler — a teen growing up in a Reagan-voting household, a member of the Hellfire Club, and one of Eddie Munson’s chosen protégés — keeps a symbol of queer resistance and liberation hanging in his bedroom.
He also wears a custom-made shirt with a triangle over his heart.
Is that significant? Is it intentional?
Well, we have to go back to Escher’s Relativity, which reminds us that it’s all relative: The inverted triangle in the print hanging in Mike’s room, and the triangle over his heart, only gain their full meaning when viewed in context: the bigger picture.
And in Stranger Things, a story about freaks and outcasts beating the odds, that bigger picture is the AIDS crisis: it's right there, providing the backdrop — the context.
Pride is a Riot
Queer liberation is not supposed to be polite or palatable: it’s about breaking down barriers, opening doors, making people uncomfortable, and demanding visibility.
One of the most prominent visual motifs included in season 4 of Stranger Things is the Creel mansion door.
A door — something which opens and reveals the truth inside (like a curtain, a gate, or a closet). Notice that doors, curtains, gates and closets all play a recurring role in Stranger Things; this show has an obsession with metaphors about opening barriers and revealling truths.
Now, the set designers haven’t just suggested that Mike is in the closet, they’ve implied it’s a “one way” destination. He can’t leave. It’s the impossible shape. A locked door. But Robin already demonstrated how we can open a locked door and let the light (truth) in.
By smashing it with a brick — a possible reference to the Stonewall riots.
They didn’t need to include this moment. The door didn’t have to be locked, and Robin didn’t have to be the one throwing the brick. Heck, they could have thrown in a little fanservice and had Steve take off his jacket and punch through the glass with his fist.
Like the “one way” sign, the significance of the brick is relative — relative to its wielder:
Robin Buckley, a canon lesbian who is partially closeted and partially out.
Interestingly, when we look back at Mike Wheeler’s room — and specifically his closet — we can see that the set designers placed a mirror inside.
Mirrors show our reflection; they expose truths and confront us with our reality and identity. In this case, the mirror also catches rays of light streaming from Mike’s window, just like the beams that poured in when Robin’s brick smashed through the Creel mansion door. Light is truth, illumination and exposure.
The Matter of Perspective
We can wax poetic about Escher’s Relativity all day, but its core principle is simple; it’s about perspective.
Is Mike Wheeler queer-coded?
Well, it's relative. Whether you read Mike as straight or queer depends on your point of view, and your way of seeing the world: Are you sympathetic to the struggles and experiences of queer people? Are you queer yourself and know that experience intimately? Do you see queerness not as an “inversion” of the norm, but as an equally valid expression?
If the answer to any of these is yes, then you probably interpret Mike as queer due to your perspective.
I don’t at all begrudge those who simply aren’t familiar with queer-coding — but I do detest those who refuse to see it, or see it and choose to deny it.
Because silence is death.
Mike’s sexuality needs to be both recognized and canonized, because overt queer representation matters. It doesn't matter if it makes Them™️ uncomfortable — queer lives matter more than stupid respectability politics.
Stranger Things has already been catering to Them™️ by watering down the narrative: keeping Mike hidden behind the curtain, and in the closet.
I don’t mind because I love a riddle, but we’re heading into the final season now. The endgame.
The curtain has to open. The door needs to be smashed. But will they do it? That likely depends on the perspective of the Stranger Things creators themselves. So, what is their perspective? What is the ethos that drives the show's storytelling?
For the answer, we can turn to David Harbour's SAG Awards speech (edited for brevity):
“This award… is a call to arms from our fellow craftsmen and women to go deeper, and through our art to battle against fear, self-centeredness, and exclusivity… and through our craft to cultivate a more empathetic and understanding society by revealing intimate truths… We 1983 Midwesterners will repel bullies, we will shelter freaks and outcasts... we will get past the lies… And when we are at a loss amidst the hypocrisy and the casual violence of certain individuals and institutions we will… punch some people in the face when they seek to destroy the weak, and the disenfranchised, and the marginalized."
And remember the context: a story set in a conservative Midwestern town in the 1980s, in the shadow of the AIDS crisis and the Satanic Panic, where one of the main characters is a canon gay teen in love with his best friend.
I'd say their perspective is pretty fucking clear. 🔺
Season 2 Mike definitely saw Max as a love rival for Will
Another Byler from Mike Wheeler's POV analysis—(Unrequited love trope edition).
Walk with me.
Sometimes I think about how when the party went trick-or-treating Mike specifically told Will that he, "should have checked with him" first before letting Max join them.
It's just a very peculiar moment. Why Will?
Even Will was confused by this, lol.
We know that Mike doesn't like Max in season 2 (for reasons we'll look into more), but why did he make this Will's problem/ responsibility? Especially after only knowing of her existence for 2 days at this point.
He wasn't angry at Lucas or Dustin—or at least, he didn't expect them to come to him for permission—otherwise he would have said something to them, too.
It was Will who he felt betrayed by and upset with.
Heck, go ahead and take a second look at the first screenshot provided above.
Does Mike look angry to you?
No—he looks forlorn.
Let me break it down for you:
I'll start by saying when the party learned of MADMAX the screename, they were all equally interested in knowing who it was.
But when Max is introduced to us as a character (and revealed to be a girl), we get markedly different reactions between the boys.
In the first frame, they have no idea who she is or what her name is. All they see is a new girl. (Played by Sadie Sink mind you, who is very pretty).
Look at Mike's face: he already looks sulky.
The second frame is after they learn her name is Max. Once again, all four boys show some level of interest, but Mike remains sulky.
Then we have the recess scene in which the boys are watching Max, which is very interesting.
Consider the blocking and body language in this frame:
Look at Will here: he's just as interested in Max as Lucas and Dustin are (even if his interest is not based on attraction). In fact, he's the main focus of this frame for some reason.
Mike is the only one who hangs back, and his body language is completely different from the other three (hands in pockets, meaning he is distanced). He has no interest whatsoever and his facial expression appears agitated.
Mike feels like the odd one out here.
Will fits in.
When they "lose the target" Will is the one who spots her and reinitiates the "watching." Once again, Will is the main focus of this shot and even seems to be showing the most interest; his expression is bright and engaged.
He runs with Lucas and Dustin to the wastebin while Mike trails behind begrudgingly, not wanting to be left behind.
It begs the question: why is Will the focal point among the four boys in a scene about looking at a girl, if he was never intended to be a love interest?
I argue it's because we're seeing this interaction from a very specific perspective—the perspective of Mike Wheeler, who is standing back and observing.
It's also worth noting that Will's change in demeanor and energy here is extremely apparent.
He is noticeably withdrawn and low in spirits this season due to his PTSD (both literal and metaphorical if you count the MF as a metaphor for trauma).
And Mike notices. He’s the one who points out that Will had been "quiet today"—a detail the others miss because they don’t watch Will the way he does.
Notice that Will is disengaged during the science lesson (before Max arrives), while the other three are nerding out. Will previously participated in the science fair—it typically interests him—but his mood is very low.
Then compare that with his immediate engagement when Max walks into the classroom, and the level of interest he showed during recess. Mike would certainly observe this shift, paying as much attention to Will as he does.
In fact, once the distraction of Max has passed and the principal comes to collect him, Will's body language retreats again; shoulders hunched, eyes downcast.
What conclusion do you think Mike would come to based off these few short interactions?
(And these are the only interactions Mike sees between Will and Max before trick-or-treating together the next day. Mike hasn't even spoken to her yet).
From Will's perspective, this girl is just a novelty: a light-hearted distraction from everything else going on, offering a spot of normalcy.
But from Mike's perspective, this is a pretty new girl showing up out of nowhere and immediately raising Will's spirits: something he felt like he failed to do.
And so it brings us to the trick-or-treating scene, in which Will (apparently) joins Dustin and Lucas in their enthusiasm for Max joining the party, while Mike hangs back and then begrudgingly follows, not wanting to be left behind.
Are we noticing the pattern?
Then we have Mike's confrontation with Will (this happens after Will is seen filming Max, btw). He tells Will he should have checked with him about Max joining them and that Max is, "ruining the best night of the year."
Uh... what? What did she do?
He then storms off: inentionally leaving Will behind this time.
(He wants him to know how that feels).
Following this interaction, Will has a big scare with the MF—and of course, it’s Mike who finds him first. Despite his mood, Mike is still attentive and protective.
Mike behaves possessively when he finds Will, not wanting the others to get involved. He takes Will “home” (his home) so they can be alone.
What follows is a scene that, put simply, is about reciprocation.
Interestingly, Mike’s attitude toward Max shifts after this scene with Will—he doesn’t have anything to say about Max joining the party in the AV room to look at Dustin’s pollywog.
This is the girl who apparently ruined Halloween.
You’d think he’d still be unhappy to see her.
But after that conversation with Will in his basement, Mike feels more secure and reassured about the state of their relationship.
He's no longer jealous.
So now, it's apparently fine for Max to be in the party.
Well, that changes again.
The next notable interaction is after Mike realises the pollywog is from the UD. Mike immediately goes into protective mode. It’s not Will who storms into the classroom to grab the trap—it’s Mike.
It’s also (presumably) Mike who locks Max outside of the AV room when they discuss this, yelling at her that she can’t come inside.
When she opens the door anyway, the pollywog escapes—and (of course) Mike blames her. No one else points fingers.
Now, the boys were hesitant to reveal any information about the UD for obvious reasons, but here we see the recurring theme in the Mike/Will/Max triangle: Mike’s protectiveness (and slight possessiveness) of Will.
So, a recap of Mike’s perspective so far:
First gripe: You’re hogging Will’s attention (possessive) Second gripe: You’ve compromised Will’s safety (protective)
Then we finally have the confrontation between Mike and Max:
It literally starts with Mike telling Max to leave because she's in the boys' room. (Similar to his "boys only" comment in season 3).
Let's not get it twisted: When Max finally asks Mike why he's been treating her the way he has been, he deflects.
Mike, who always has a ready opinion and is not afraid of confrontation, is not comfortable sharing the real reason why.
It’s commonly believed that Mike simply didn’t like Max because her presence reminded him of El’s absence—and I see it—but after a closer look, I no longer agree.
Firstly, I don’t think it’s fair to assume that Max would remind Mike of El (or rub salt in the wound of her absence) just because they’re both girls. Max and El couldn’t be more different—physically or otherwise—and that distinction feels intentional.
Mike would never compare Max to El, because to him, El is incomparable—a superhero who saved his (and Will’s) life.
Also, in Mike’s mind, El is still in the party—he lists her name off with the other members.
Max wouldn’t be a replacement.
He literally just stated that she would be an addition.
Secondly, Mike never actually makes this connection himself. He simply offhandedly mentions El when he’s trying to convince Max she’s not needed.
So why does he want her to stay away?
And when El is finally introduced (both through conversation and literally) to this dynamic, what happens?
Mike and Max begin to get along.
They share a smile.
If Mike’s issue with Max had anything to do with El, the scene wouldn’t have played out this way.
It’s classic misdirection.
The misdirection is so obvious they lean into it—even having El herself misinterpret Mike and Max’s relationship, becoming jealous.
She mistakenly assumes Mike is interested in Max, just like Mike mistakenly assumed Will was interested in her, too.
They’re giving the audience a warped perspective, urging us to look behind the curtain.
Mike’s behaviour towards Max fits perfectly into Byler’s shared arc in Season 2: Mike is attentive, protective, and possessive over Will, while Will—consumed by the MF—can’t fully reciprocate that attention.
The “crazy together” scene is the only time Mike receives the same energy back from Will the entire season.
I feel like people forget that when they talk about how cute Season 2 was for Byler. Cute from Will’s perspective, maybe (supernatural plot aside)—but for Mike?
We get multiple shots of Mike staring at Will or noticing his absence (Mike staring at Will’s empty desk being the most obvious example).
That’s called pining.
Will does not invite Mike to his house or show up uninvited—Mike does that. Will does not hold Mike’s hand—Mike does that. Will does not watch Mike closely or check in on him constantly—Mike does that. Will does not become possessive of Mike’s attention—Mike does that.
In fact, they play into this unreciprocated affection trope pretty blatantly—when Mike bares his heart to Will, tearfully recounting their first meeting, Will quite literally cannot respond because he’s possessed—even if he wants to.
Not to mention—Mike’s recount of their first meeting is also (thematically) about reciprocation:
“I asked if you wanted to be my friend. And you said yes. You said yes.”
Mike puts emphasis on the fact that Will said yes: the fact that Will reciprocated his feelings.
That is what he wants.
He wants validation that Will feels the same.
That Will won't leave him behind.
And what happens at the end of Season 2?
From a Byler perspective, this season is about Mike’s (seemingly) unrequited love for Will—and it directly influences Mike’s (very different) behaviour in Season 3.
So yeah.
Mike didn’t like Max because he was jealous, and coping with feelings for Will he feared were one-sided—and in his mind that was confirmed as true.
Why wouldn’t he be relieved to see El at the snowball dance?
Why wouldn’t he kiss her?
Why wouldn’t he immediately start dating her and pushing Will away?
The Big AIDS Metaphor Post
In her essay "Why Are Americans Afraid of Dragons?" from her book The Language of the Night: Essays of Fantasy and Science Fiction, science-fiction and fantasy writer Ursula K. Le Guin writes—
"The use of imaginative fiction is to deepen your understanding of your world, of your fellow men, and your own feelings, and your destiny."
It would be easy for me to claim that Stranger Things is a show that utilizes its science-fiction elements as an AIDS metaphor, but that only goes so far without being able to prove that the show is in fact employing said metaphor. "The show takes place in the 80's -> AIDS was a big part of the 80's -> therefore the show is about AIDS" isn't an airtight argument in itself. I can quote famous sci-fi writers all day but that still wouldn't prove that the Duffers themselves are actually following similar trains of thought.
So here's my big long post about why the show is utilizing it's science-fiction elements as an AIDS metaphor.
Lengthy discussion of rape, violent homophobia and drug use below the cut.

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BYLER GATES: A GUIDE
(The official gates masterpost, explaining all the different theories for anyone who is also lost with how many there are)
THE BIG 4
Flickergate: This theory involves a lot of time shenanigans and is connected to the Will having powers in s5 one (possibly manipulation of time or electricity). Theory claims Will and Mike will kiss in the UD, specifically outside Mike's garage, paralleling 1x01. Will is going to tell the truth at the same time his s1 self is ("it was a seven"), causing the garage light to flicker on Nov. 6th 1983.
Birthdaygate: This theory suggests that the Duffers didn't actually forget Will's birthday is March 22nd (the day of the rink-o-mania incident). It claims that Vecna is actually manipulating the characters' memories (possibly even Will's), making them forget his birthday in the process, maybe in an attempt to make him feel excluded/lonely and making him vulnerable. (Similar to the beginning of Harry Potter and the chamber of secrets, which happened to be on the inspo board for S4)
But also the Creel murders themselves happened on March 22nd.
I assure you: somebody, somewhere, is on the exact same wavelength as you are.