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The Lab would forget her,
Jane barely knew her,
Hopper and the Party had never accepted her as one of their own.
In a few years, there would be a vague memory of a girl who helped save the world with her illusions.
And then that would be forgotten, too.
Goodbye, Kali Prasad, we hardly knew you
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so... they've been dead from the start.
they deserved to be young, free, and happy together đź’•
“there’s more to life than stupid boys, you know”
I just love that one of the only poc characters was brought back as a plot device to progress the arc of a white character, then promptly discarded because the duffers wanted a death but didn’t have the balls to do it to the main cast! I love that she didn’t get to interact with anyone besides hopper and jane, so nobody really cared about her. I love that this sentiment is echoed by the general audience who forget to include her in their lists of characters who “deserved better”. I love that in this show for weirdos and outcasts, the two most traumatized and outcasted characters’ stories end in death, and/or the inability to live a normal life in society. I love this writng. I love this message so much yay
I'm on my hands and knees begging Kali to beat the traitor accusations cus all the hate towards her is so sus bro. People are allowed to not like a character but mfs want her to die more than the ACTUAL VILLAIN💀💀💀
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thinking about kali and jane again and my honest opinion is whatever happened, it happened to them both. jane is alive? so is kali. kali died? so did jane. where ever they are, they're together now, and i hope they're happy
my brother pointed out that kali’s death with el was similar to eddie’s death with dustin and im not fucking okay
i just. i can’t take this
1. The Cinematic Tool of the Unreliable Narrator
A massive issue with the mainstream is that they consume television as if it were a literal news broadcast. They believe that if a character cries, they are sad. If a character says "I love you," they mean it romantisch. They fail to understand that brilliant writers utilize the concept of the unreliable narrator.
Mike Wheeler is the absolute definition of an unreliable narrator of his own emotions. He isn't lying to deceive the audience—he is lying to deceive himself.
When Mike confesses his love to Eleven, the masses see a "romantic scene."
However, anyone looking through a psychological lens sees the staging. He is reciting phrases he learned from movies, books, or his parents. It is a performance.
The mainstream falls for the performance because they believe the actor on the stage. They don't understand that the real story lies in why the actor is so desperately trying to play the part. They cannot separate the meta-level from the surface-level plot.
2. Audience Narcissism: Why the Bubble Sees Truth as a Threat
Why does the "Mileven" bubble react with so much hatred, gaslighting, and aggression when presented with this psychological reality? Because a deep audience narcissism is at work.
These fans do not watch the show to experience a complex, foreign story about the struggles of a queer boy growing up in the 1980s. They use the show as a validation machine for themselves. They project their own desires for a perfect, simple, heterosexual high school romance onto Mike and Eleven.
When you prove to them—psychologically and narratively—that Mike is using Eleven as a vessel, and that he is operating out of internalized homophobia and chronic shame, you aren't just critiquing a fictional character. You are attacking their own ego.
Their cognitive dissonance is incredibly painful because they would have to admit that they were fooled by a shiny surface for years.
Since their narcissism cannot allow them to admit they misunderstood the show, they must destroy you, Noah Schnapp, or any other analyst.
They retreat into emotional dysregulation because hatred is the easiest way to protect their own ignorance.
