u/raspberry-3

Mike's trauma PART 5

Mike's trauma PART 5

This is part of a series where I uncover what Stranger Things is really about. It started from trying to find out what happened in 1979 aka what all the depictions of traumatic past memories (El, Henry, Billy, Max, Holly, etc.) are truly about, but expanded to this all-encompassing theory of the whole series with crazy levels of complexity, metaphors and layers. Reading it will require commitment and patience but I promise it will be worth your time if you want to look behind the curtain (and the curtain behind that curtain) and fully understand the show. You have to read all parts in order: here is PART 1 and here all other parts I’ve posted so far + my previous theories.

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Trigger warning for child sexual abuse.

Finally we are here. The tumblr theory that was the catalyst for my massive realization is here. It’s a very short read. So, Stranger Things is about Dissociative Identity Disorder. I happen to know quite a lot about it since I had a phase years ago when I got super interested in it. There aren’t many DID theories in the ST community, I only found two others: one about Vecna on Reddit and one about Will by the same person who wrote the Lonnie theory (if you find more, let me know!). There are two parts and both are very long, but I do recommend reading them (here and here). My theory has some key differences, though, and I don’t agree with all the interpretations. Or more like, I have gone much further.

Before reading more, you should get a rough idea of what DID is. I will link some Youtube videos explaining things, and you could do your own research as well. Here’s a video explaining the basics about DID.

Most of the previous theories concluded that Will has DID and that some of the characters are his alters. My theory is that everyone is an alter and Mike is the host of the system. Will is the more obvious one on all story levels: he is more obviously gay and he has more obvious clues about having DID. And just like the queer allegory is really about Mike, so is the trauma/DID allegory. As Murray said to Nancy (= Mike) in S2E6: “You, you’re harder to read.” comparing her to Jonathan (= Will). And in S1E6 Hopper says “I mean, what if this whole time I’ve been… I’ve been looking for Will… I’ve been chasing after some other kid?”, which transitions into Nancy (= Mike) in the shower remembering the deer (= abuse). We have been looking for Will (being gay/having trauma) when really the story is about Mike. In S3E2 Hopper tells Joyce “It turns out, getting to Mike, now that was the key.” while actual keys and a big key shape are behind him. (Right before this he tells Joyce “I’m a puppet, you’re the master.” which could be about him being an alter. This also connects to Eddie playing Master of Puppets in S4.) And it’s not like the Mike we have seen is above everyone, no, he’s also an alter. But he represents the whole system (not a DID thing directly but a story thing). The abuser was Mike’s father aka everyone’s father (link to the X post in the image).

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Everything we’ve seen thus far, the world, is the system’s inner world. And here’s a video explaining the inner world. I would also recommend you watch these other videos (this, this, this and this) to get a fuller picture and feel for what they can be like. But watch at least the first one. Since the body most likely looks like Mike and is called Mike, from now on I will refer to the system as Mike (system) and the Mike we see in the show as Mike (alter). Sometimes I might only use “Mike” but hopefully you’ll get what I mean from the context. It doesn’t make super much sense for the host to be in the inner world so much but I guess the writers took some creative liberties (or I’m missing something). It’s not a perfectly realistic depiction of DID, more allegorical. But as you probably saw in the inner world video, the inner world itself is very metaphorical so in most cases it works amazingly well.

To reiterate, every single character we have seen is either an alter (major characters) or an NPC (minor characters like Ted and random background people). That’s why everyone seems to represent Mike. Lonnie is the closest representation of Mike’s real dad and all the mom characters have parts of them representing the real mom (I will be calling Mike’s (system) dad and mom “the dad” and “the mom” from now on). I think Will was the first alter and Mike’s story about them meeting at the swings was probably when he split (more on this later). 

Some of you might have a counterargument about the Duffer brothers not wanting it to all be in Mike’s head or “just a dream”, and it’s a valid point. But in this case all the characters are real, they aren’t Mike’s imagination. They are their own persons (or separated parts of one person). And what happened does matter, since it’s about processing trauma. Even though it’s not “real” it kind of also is, and it’s an important story to tell. S2E5 [Mike] “Maybe all of this is happening for a reason.”

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I would also like you to watch this video about alter roles for better context. According to my theory, Will was created to protect Mike by taking the trauma in his place. That’s why Mike “saw” Will get assaulted. He was “watching” it happening to someone else, when in reality it happened to his body. Will has since then split many times and doesn’t hold most of the trauma memories anymore (he’s more like a co-host now), but they are in the system and in other alters. That’s why the trauma seems to manifest everywhere through various characters. @kaypeace21’s DID theory had the genius idea that Will the Wise was Will’s protector alter who ended up holding most of his trauma and turned into a persecutor, now known as the Mind Flayer. I found even more proof for this and will go over it later.

At this point it’s very important for you to understand that Stranger Things isn’t a story about good vs evil. There are no “villains”. It’s about processing trauma and accepting yourself, it’s an internal “fight”. All the villains, like the Mind Flayer and Vecna, are persecutors who hold a lot of trauma and are just trying to keep the system safe. So it’s pointless to try to find “who is the final boss”. To learn more about persecutors, you can watch this video.

I will go briefly over some of the characters and their roles in the system, to give an overview. El is a gatekeeper, she can literally open and close “gates” to the UD aka a trauma dimension (remember how Owens described Will’s episodes as opening up the neurological floodgates?). She can also look at people’s memories and connect to them telepathically. The power to control access to memories is very critical for a DID system and thus the reason she is in such a central role in the story. Every main faction (the party, Brenner, the government/military, Henry and the Mind Flayer) has something they want from her. (Here’s a video about gatekeeper alters for more context.)

I believe Brenner is an internal self helper. Here’s a short description I found:
An internal self helper is an alter that holds vast amounts of knowledge about the system, alters, trauma, and/or internal workings. For those who believe in cores, internal self helpers are often viewed as the first alter to be created or as the normally pseudo-separate internal voice of logic and reason that all people possess. Within the theory of structural dissociation, internal self helpers are often viewed as observing parts or hidden observers, both less than distinct states. Internal self helpers may or may not also serve as a gatekeeper. 
Have you ever felt like Brenner knows things no one else does? He seems to know why El lost her memory and what is really going on but he doesn't share this knowledge. 
S4E5 
[El] “How?”
[Brenner] “Never mind how.”
and
[El] “I don’t understand.”
[Brenner] “I do.”
I think he is at least partially emotionless which helps him do his job but makes it harder to empathize with El. Owens is also an internal self helper who takes the role of a therapist/doctor with Will in S2.

Hopper, Joyce and Jonathan are all protectors. Hopper mainly for El after season 1, Joyce and Jonathan for Will. Joyce has a more caretaker role while Hopper and Jonathan probably dealt with violence and physical abuse in the past. I think Hopper trying to prevent Mike and El dating in S3 and hiding her in S2 is related to El holding trauma memories and Mike being too close to her endangering the system (and in the queer allegory he tries to protect Mike from his gay feelings I guess). Notice how it’s a dad preventing them (= the trauma from dad makes sexual/romantic things harder or seem dangerous). Holly is a child alter experiencing the happy childhood Mike never had or possibly holding only the positive childhood memories.

Mike is the host who you could say is the closest to a “main alter”. The host is in control of the body the most and doesn’t (at first) know about the trauma. It’s a survival mechanism to keep the system functional in day-to-day life. I think Mike’s role as the host is the clearest in the final episode where many noticed the parallels to the Truman show (e.g. this and this). Will calls him “the heart” and “without a heart, we’d all fall apart”. ((The heart could symbolize love, in which case “especially El” needing Mike “the heart” makes a lot of sense. I think there is more to it than that, though. In the S3E8 epilogue TV program Hawkins is called the Heartland (= Mike’s land) and in S5 Vecna is connected to a giant heart in the Mind Flayer body (I think there is a heart=brain connection here, “if the brain dies, the body dies” and all that. It would be too obvious if Will told Mike he was “the brain” + heart sounds nicer and they can mean the same thing (like soul or mind). It was also implied the heart was Vecna’s powers/giving him powers or controlling him.).)) He is the leader of the group, the DM and the storyteller/writer. A supposed leader of the Russian base was named Mikhail (S3E8 [Russian soldier] “Did Mikhail send for you?”), as was Antonov’s son (S4E6 [Antonov] “I have a son, Mikhail.”). Mike is rarely directly harmed in the show. Many other characters (especially Will) have to go through much worse. He doesn’t even go to the UD until S5. Additionally, Finn hosted SNL and there was this WSQK sync hinting at Mike being a host.

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I think many of you will have the following question: What does this mean for byler and all other ships? Well, alters can and do have romantic relationships (see these Reddit posts and their comments here and here). They are quite common, actually, and can reflect a healthy self-love and/or the alters in question getting closer. Alter relationships are real and valid, although there are differences to typical relationships. In a way relationships between alters can go even deeper than is normally physically possible between people. The reason shared trauma is such a key part of Nancy and Jonathan’s relationship is that byler was literally born from (shared) trauma. They can understand each other better than anyone (referring to people irl) because they share the same brain.

S5E6 [Jonathan] “You know, with… with what we’ve been through, it just…”
[Nancy] “You mean our shared trauma?”
[Jonathan] “Yeah. How could anyone else possibly understand? It’s like this… this thing that… ties us together forever. You know? It made me feel safe. But also… I don’t know.”
[Nancy] “It can be suffocating.” 

S2E2 [Will] “Just please don’t tell the others, okay? They won’t understand.”

Here’s a video of two alters telling their story of finding each other in the inner world and falling in love. They also bring up an interesting detail, that in their inner world alters don’t know they are alters but do when fronting. Something like this might be what’s going on in ST too.

Brain

There have been clues to the brain being important since season 1, but especially in season 2. El’s memories in S1 show that Brenner recorded her brain activity while she was using her powers, suggesting they have something to do with her brain. The surface reading is that it’s about her powers being psychic and thus related to the mind and the brain. S2 kind of recontextualizes this by linking Will’s brain scan results to his past trauma (now brain inspection is associated with both psychic abilities and trauma). Trauma and the Upside Down are very clearly connected in S2, since Will’s episodes are first suspected to be an anniversary effect and compared to PTSD in war veterans. His visions turn out to be “real” because the world presented to us is the inner world where trauma and memories come to life.

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The supernatural powers come from the brain and they are strongly linked to memories: El, Kali and Henry get powers from their memories. They can use their powers to look at other people’s memories and El gets her powers back by remembering buried memories. Like I have previously implied, the powers aren’t just random superpowers but represent important themes and ideas in the show. In the Hawkins Lab massacre fight El and Henry represent two sides of queerness (love and fear), they mirror each other and are framed with rainbows (Henry’s is upside down to indicate he represents the UD/shadow/bad side) and while their powers are very similar, Henry gets his powers from sad and angry memories while El defeats him with a memory of her mother’s love. 

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Similarly, in the DID allegory, the powers are related to important functions like alter communication and obviously memories. El’s ability to find people and share her mind with them is a way for the brain to conceptualize communication between alters. El’s psychokinetic abilities make a lot of sense when you realize that the “real world” is also inside a brain and thus can be manipulated with only the power of thought. El’s role as the gatekeeper gives her access to all these powers, conceptualized as super powers (not surprising given Mike’s interest in superheroes). Another reason for the powers is that El (who holds trauma) is someone strong, a superhero who could save Mike from the abuse. If only Mike was like her or had someone like her protecting him, everything would be fine. Mike quite literally tells this to Holly using Mike the Brave and El’s role as a superhero seems to be the most important aspect of her for Mike. 

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In S3E5 Max and El have this conversation after El was choked by Billy:
[Max] “Does it still hurt?”
[El] “Only when I talk.”
[Max] “Well, it’s a good thing you’re not Mike, then. ‘Blah, blah, blah, blah, blah.’ And you’d be in constant pain.”
Mike needs El and the other alters to handle situations and traumatic memories because otherwise he would be “in constant pain”.

Similarly, Will’s original role as a protector is made more obvious in S5E4 and reinforced in T85 (he saves the party and Mike tells Nikki “Will’s the bravest person I know.”). Even the name William basically means protector or the will/desire to protect. In the DnD games, Will the Wise is always saving the party. Will might seem “weak” but in truth he is very brave and strong. His agreeable nature is a survival mechanism. A kid can't really fight against the abuser so being “good” might help avoid worse abuse (also called the fawn response + this is what I meant with the green cabbages). Will is described as good at hiding and one of his primary trauma responses seems to be freezing. S2E1 [Will] “I felt… frozen. [...] No. Like how you feel when you’re scared, and you can’t breathe or talk or do anything. I felt… felt this evil, like it was looking at me.” (Here’s a video about different trauma responses, you might recognise that some ST characters clearly display one or more of these.) He protected the system by avoiding the abuse as best he could and when that wasn’t possible, taking the abuse in Mike’s place (I have a feeling the “Don’t be afraid. It’ll be over soon. Just try and stay very still.” is about the freeze response).

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That was a little side tangent but let’s get back on track with brains. Especially Henry and Brenner talk about things like powers being “in here” while pointing at the head. Henry goes as far as to say that the dead lab kids are in his head and that Will belongs there too (Henry is a goldmine for DID clues and I will go over them in a later part). Brenner tells El that “This place is not a prison. This is.” referring to her brain. Do you remember when I mentioned the real Camazotz? That’s what Mike's inner world is. The stuff happening in Henry's mind in S5 is a miniature for what’s actually happening in the whole inner world (but more on this later).

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All this is showing us that the story is really about something mental. It isn't unusual for monsters etc. to metaphorically represent something more real like “inner demons” but in this case it won't stay as a mere metaphor. In the final chapter (episode/movie/whatever) it will be revealed that everything happened in Mike’s head and we will finally see the real world (= escape Camazotz).

As I mentioned earlier, S2 has a LOT of brain-related stuff. First of all, Mr. Clarke’s classes are: about the brain (E1), Phineas Cage, whose brain was damaged leading to an altered personality (E3) and biological defense mechanisms and the fear response (E4). In S2E1 he places a model brain on the table in front of him and it stays there for all the classes. [Mr. Clarke] “There are a hundred billion cells inside this miracle of evolution. All working as one.” When he says “cells” the camera cuts to the boys looking at each other (= they are the cells). The cell metaphor/analogy started already in S1 and I’ll come back to it later. All I’ll say for now is that the mitosis depicted on the classroom wall is about alters splitting. When Mr. Clarke says “all working as one” we see random students passing a note (= the kids aka cells are working as one brain/system). Yeah, “One” has a pretty significant meaning, it’s not just a number. 

The Phineas Cage lesson has been covered before but I’ll do it again. It is heavily implied that Will is in some way like Phineas Cage. This is because he has split, kinda like the rod pierced Phineas’ head (on the projector, the line splits his skull in two, and this imagery is repeated in S4E9 with Will). It’s also because Phineas had a “nightmarish accident” while Will had nightmarish trauma. Then the camera focus changes from Will to Max while Mr. Clarke explains “But his injury resulted in a complete change to his personality.” implying that Max was split from Will and is this “new personality”. Will even looks at Max and the camera focus keeps flipping on them, reiterating the point. There’s more to Max than meets the eye and she actually represents something bigger but I’ll explain that later (it gets complicated). For now, you can think of this as a clue to Will splitting due to trauma.

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At its core, DID is a survival/defense mechanism against extreme trauma. [Mr. Clarke] “All living things, from complex mammals to single-celled organisms, instinctively respond to danger. Expose a bacterium to a toxic chemical, and it will flee. Or deploy some other defense mechanism. [Will’s empty desk shown -> Will going to bath] We’re very much the same. When we encounter danger, our hearts start pounding. Our palms start to sweat. These are signs of the physical and emotional state we call… fear. [Will’s neck -> tunnels]”
Mr. Clarke’s lesson is quite obviously referring to Will. Of course, on the surface level it’s about this Mind Flayer monster that fears the hot bath because “it likes it cold” but that’s just the excuse the writers came up with to make it make sense in the surface level story (like so so many things in ST). The real reason is that the bath is metaphorically or possibly literally associated with the trauma, like I explained previously, and Will with his now-memories has a strong reaction to it. The tunnels are shot as if we are travelling through them very quickly. I think they are supposed to represent the electrical signals travelling through the nervous system, driving the trauma response. When Mr. Clarke says “Or deploy some other defense mechanism.” Mike looks at Will’s empty desk; Will and amnesia walls (= Will missing) are Mike’s “other defense mechanism”. In S2E6 Owens tells Hopper “All living organisms develop defense mechanisms against attack. They adapt. They find some way to survive.” This point about adapting to survive is also reinforced in T85. The brain adapted to deal with the trauma by splitting the mind into several identities holding different memories.

The party liken the Shadow monster to a brain (S2E8):
[Mike] “Yeah. It’s like what Mr. Clarke taught us. The hive mind.”
[Steve] “Hive mind?”
[Dustin] “A collective consciousness. It’s a super organism.” 
[Mike] “And this is the thing that controls everything. It’s the brain.”
[Dustin] “Like the mind flayer.”
This isn't the only time a villain is compared to a brain: S5E4 [Holly] “Camazotz is like this dark planet that’s under the control of IT, which is this giant, disembodied, evil brain.”
They are right, the brain controls everything, but it isn't evil (even though it might seem that way to a severely traumatized person). The Upside Down is a mirror of the normal world. It’s not just the Mind Flayer who is a hive mind – everyone is part of the same brain, the same “hivemind”. (Apparently Dacre Montgomery researched DID to portray Billy’s possession in S3, proving the Mind Flayer is supposed to be DID-related.) The decision to use a mind flayer as the big monster was very deliberate. I did some reading on the DnD species and they are all about brains and mind control. Most of them live in colonies controlled by an Elder brain (formed from dead mind flayers’ consciousnesses). So, again, a brain is what controls everything and everyone. In a metaphorical sense the Mind Flayer (in ST) represents trauma, and trauma does often “control” people with DID or other disorders born from severe trauma.

Honestly, I should have researched DnD lore way earlier since it actually reveals a lot. The Demogorgon in DnD has two heads, which is its defining trait. Like, the literal main iconic monster in ST is about a split personality! Even the DnD figurine the boys use has two heads, although the actual monster in the series doesn’t. The Demogorgon is a tanar’ri: “all tanar'ri were embodiments of vice, depraved inner demons spawned from the darkest corners of mortal minds“ and that’s what it is in ST too: an inner demon. Another thing that was already pointed out in the Lonnie theory is that the Demogorgon is called “Leemooggoogoon the Deep Father” (among other names), connecting it to father. 

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The Phineas Cage lesson wasn't the only time a physical brain injury has been used as a metaphor/analogy for psychological trauma/DID. In S4E6 Brenner compares El’s memory loss to a stroke:
[Brenner] “Do you know what happens when someone has a stroke? The blood supply to the brain is cut off. It scrambles the signals in the brain to the point where the mind can forget how to do things. To eat. To speak. To walk. When you were attacked last year, I believe your signals were scrambled in much the same way. But just as a stroke victim can learn to walk again, I believe you, too, can return to your full power. Your abilities are still in here. [El’s head] You just need to remember. Everything that took place in my lab was captured on videotape. Every success and every failure. It’s important for you to not just see your past, but to fully re-experience it. In doing so, I believe we can repair your broken signals. As we saw tonight, that process has already begun.”
[El] “If this all happened, why don’t I remember?”
[Brenner] “Because you do not want to. Our brains have a defense mechanism in place to protect it from bad memories. From trauma. You buried these memories long ago.”
[El] “Papa. When I was in there, I saw something. There was blood. So much blood.”
[Papa] “That was another memory, a… a more powerful one, invading from your subconscious. You have demons, Eleven. You have demons in your past. That is why we must proceed carefully. One step at a time, one memory at a time. If we go too fast, I’m afraid you could become lost in the darkness. And if you are lost… so are we all.”

The defense mechanism Brenner talks about is dissociative amnesia. I think he has some gatekeeper qualities as well since he keeps El’s memories literally filed as video tapes and can show them to her. You should really focus on what Brenner says in S4. He’s basically revealing the truth of the world through El. ((Btw, a similar video cassette room was used in S2E8. Mike etc. hid there while Bob went to turn the electricity back on. My interpretation is that Bob’s mission was a metaphorical way to show remembering and processing traumatic memories. Owens guides Bob through the lab, avoiding the Demodogs (= he helps an alter to face trauma in a controlled way). In S4 the same thing was shown more literally with El.))

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For more brain references, Bob is called Bob the Brain. He’s also called a superhero which is interesting considering the Mind Flayer was called a brain too. There seems to be this dichotomy between monster and superhero (which is also the name of S4E3). In a sense the brain is both the monster and the superhero but also neither. Like Brenner said in S4E7, “You speak of monsters, superheroes. That’s the stuff of myth and fairy tales. Reality, truth, is rarely so simple. People are not so easily defined.” 

We also have these quotes from T85E3 [Mike] “Where’d you get all that stuff?” [Nikki] “From my brain.” and T85E8 [Dustin] “It’s like you can see into my brain and make my dreams real!” All Nikki’s stuff literally comes from the brain and she can see in Dustin’s brain because they share the same brain.

Communication

The inner world exists for alters to communicate with each other. It just so “happens” that communication/problems in communication is an omnipresent motif in Stranger Things. It’s everywhere in every season in every imaginable way (well, almost). I won’t do a detailed deep-dive like with the light bulbs since that would be an endless rabbit hole. I think you will remember many examples from the show without me pointing them out. 

Let’s start with the walkie-talkies (and radio signals overall). They are an iconic part of ST, used in every season and them not working/someone not answering is often an important plot point hindering the party. Sometimes the reason for the signal not working is unexplained, other times there is an explanation like low battery, out of range or supernatural reasons. Radio signals get increasingly important in S5 with WSQK and interestingly Dustin finds out that the UD wall causes signal interference (= the figurative walls between alters cause communication issues + this could work without the DID framework too, since people having a metaphorical wall between them prevents good communication). In the same episode Dustin and Steve’s fight breaks the antenna and prevents them from contacting Nancy and Jonathan in time (= fighting/problems in communication between people leads to problems in communication devices (because radio is also about people/alters communicating, just conceptualized as electronic)). 

Radio signals are also used for spying and El can interact with radio signals via her powers, connecting to the Soviet Union or even alternate dimensions (UD). She can use the static from radios or tv to access the void space, similar to using the shower noise in S3E3 (= white noise is just the surface level reason, and the source of the sound is actually the meaningful part). Btw, her powers have a “battery” (= food) making an analogy to the walkies (El = radio). The walkie battery running out or El not eating (= filling her battery) prevents communication between alters. Will is also compared to a radio in S5 when Robin says he is like a signal receiver. Furthermore, El and Will are the party’s main connection to the UD/supernatural. “Signals” connects literally everything in S5: it’s the romantic signals, the supernatural monster signals and the communication radio signals the party uses. All of these are really about the same thing: alter communication.

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Then there’s of course all the phones that ring/break at inconvenient times or connect people. The first time Joyce connected with Will was through her phone. Like the radio, the phones interact with the supernatural too and are used for spying. Finding out a phone number was crucial in S4 California plot.

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Morse code was a key plot point in S2 (Will tapping while “possessed”) and S4 (through the lights). Will and Joyce used the lights to communicate in S1. It was revealed in S4 that sound reaches the UD and electrical lights can be activated from the UD in the normal world. Radio signals go both ways if they are close enough, which the party utilizes in their S5 crawls. Drawings are used to communicate in many instances (tunnels S2, Vecna’s house and Will’s painting S4, etc.), also letters (S4E2 [Will] “You’ve called maybe a couple times. It’s been a year, Mike. Meanwhile, El has like a book of letters from you.” + Max’s letters to Billy and others), notes (S5E3 [Robin] “But, as I said, in the future, we will try to leave a note.”), etc.

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TVs are malfunctioning (like all other electrical stuff) and give important info (news, teach El about the world). Different newspapers are pretty central not only because multiple main characters are journalists (Nancy and Murray) but because they provide system wide information. Mail boxes seem to be one of the motifs in the series as well. The “I’m gonna kill you” from S1E1 has a mail box in frame, when El looks for Heather in the void in S3E3 she initially sees a mail box and a red door materializes only after she touches the box, Holly gets a radio + music and the map from the mail box, which is also drawn on the map (= important). S4 literally opens with a boy throwing mail at people’s doorsteps. Things everyone should get informed about can be transmitted through radio, TV and newspapers.

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Talking is a typical way of communication, but that would happen a lot in any show. What’s interesting in ST is that the characters are often somewhat separated during the season and at the end come together (S1E7, S2E8, S3E7-8, S4E9 and S5E7-8). ((S3 also had the talking-related issue of language barriers. Murray was needed for translation; he was essentially Hopper’s connection to Russians. This was repeated in S4.)) They acknowledge how everyone is ignorant of what everyone else has been doing and join their information. 

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This was made super obvious and basically a joke in S3E7:
[Dustin] “You flung that thing like a Hot Wheel!”
[Erica] “Lucas?”
[Lucas] “What are you doing here?”
[Erica] “Ask them. It’s their fault.”
[Steve] “True, yeah. Totally true. It’s absolutely our fault.”
[Robin] “I don’t understand what happened to that car.”
[Dustin] “El has superpowers.”
[Robin] “I’m sorry?”
[Steve] “Superpowers. She threw it with her mind. C’mon, catch up.”
[Erica] “That’s El?”
[Robin] “Who’s El?”
[Nancy] “I’m sorry, who are you?”
[Robin] “I’m Robin. I work with Steve.”
[Dustin] “She cracked the top secret code.”
[Steve] “Yeah, which is how we found out about the Russians in the first place.”
[Jonathan] “Russians? Wait, what Russians?”
[Steve] “The Russians!”
[Max] “Those were Russians?”
[Erica] “Some of them.”
[Lucas] What are you talking about?”
[Dustin] “Didn’t you hear our code red?”
[Mike] “Yeah. But I couldn’t understand what you were saying.”
[Dustin] “Goddamn low battery.”
[Steve] “How many times do I have to tell you with the low battery?”
[Dustin] “Well, everything worked out, didn’t it, Steve?”
[Erica] “Worked out? We almost died.”
[Dustin] “Yeah, but we didn’t, did we?”
[Steve] “It was pretty damn close.
[Lucas] “Okay, Russians? As in, they’re working for the Russian government?”
[Dustin] “What is it that you’re not comprehending? Am I not speaking English? We have a full-blown Red Dawn situation.”
[Max] “So this has nothing to do with the gate?”
[Dustin] “It has everything to do with the gate…”

The separation is clearest in S4 where most groups aren’t even in Hawkins. This time they don’t get physically together for the final fight, which might be a subtextual reason for their non-win. In S5 everyone is literally quarantined in Hawkins and the communication is better than ever. This time the separation comes mainly from the supernatural dimensions, which of course have been used before, but now there’s the UD, the Abyss, all the different memories/areas in Vecna’s mind and El’s void. Anyway, the take away here is that the plot arc for each season is built around this separation -> coming together and sharing information -> defeating the villain -structure. Communication is important on every level of the story from small details to bigger story arcs. 

Getting from place to place is often a hindrance and an important plot point and in a way it is also part of communication. It’s more difficult to contact people from far away. The alters are (metaphorically) more separated and far away from each other. How many times has a car not worked properly, a plane, ship or helicopter crashed, the characters lacking a proper vehicle or someone to drive it or stealing one? Mike and Will are basically on a road trip for most of S4. Then there’s ofc the iconic bicycles, and the one Will falls from in S1E1. 

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The most obvious DID clue when it comes to communication is all the supernatural telepathy and mind spaces. El can contact people remotely, go into their minds and sometimes even talk to them there. It was a psychic connection that created the gates (S4E7): 
[Dustin] “This is the answer.”
[stuff in the background about Coke] 
[Dustin] “How did El open the Mothergate?”
[Lucas] “She contacted the Demogorgon.”
[Dustin] “With psychic contact [taps his head]. Just like…”
[Lucas] “Vecna when he casts his spells.”
[Dustin] “Exactly. So, what if, with each kill, he’s not simply killing them, he’s making a powerful psychic connection with his victims? A connection powerful enough to rip a hole in the fabric of time and space.”
[Lucas] “He’s opening more gates.”
My theory is that the Abyss is a separated space for persecutors and other trauma holders. El making a psychic contact with one of them opened the gate because a connection between these alters allows the other alters to communicate better too. So the gate is a metaphorical representation of a connection between alters. Same with the UD and the exotic matter and Will, basically. All of them are a connection between the trauma dimension and the less traumatized dimension. I also suspect Vecna’s victims in S4 (except Max) were fragments, who carried a specific piece of trauma. (A fragment is a less developed/fully fledged identity state compared to an alter.) He was able to contact them because they were already closer to the trauma dimension due to their trauma.

With S4 and 5 the fights start to be more obviously mental, since Vecna targets people in their minds and a big portion of S5 plot takes place in Vecna’s mind. El’s void has existed since S1 but only in S4 does she use it to properly communicate with someone (it has happened in earlier seasons but less clearly, e.g. with Mike, Terry and Billy). In S5 she shares her mind with Kali, which I think is a representation of being co-conscious (something that can happen in DID).

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Continues in PART 6.

reddit.com
u/raspberry-3 — 16 hours ago

Mike's trauma PART 4

This is part of a series where I uncover what Stranger Things is really about. It started from trying to find out what happened in 1979 aka what all the depictions of traumatic past memories (El, Henry, Billy, Max, Holly, etc.) are truly about, but expanded to this all-encompassing theory of the whole series with crazy levels of complexity, metaphors and layers. Reading it will require commitment and patience but I promise it will be worth your time if you want to look behind the curtain (and the curtain behind that curtain) and fully understand the show. You have to read all parts in order: here is PART 1 and here all other parts I’ve posted so far + my previous theories.

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Trigger warning for child sexual abuse.

Freddy Krueger 

Freddy Krueger and A Nightmare on Elm Street were a huge inspiration for ST and especially S4. He is a child killer who was burned to death by his victims’ parents. As you probably guessed already, I think this child killing is really about CSA in ST. After being killed, Freddy became a spirit killing children in their dreams (= the traumatic memories keep haunting Mike and Will, manifesting as supernatural monsters). The most obvious visual reference to Freddy Krueger is the cardboard cutout in S4E2 at Family Video. It is only shown next to Max, foreshadowing Vecna cursing her (it is also very very briefly seen earlier in the episode when Robin runs past it after saying “Ooh, I think I found our morning movie.”). They purposefully block it in other scenes/moments.

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Freddy Krueger influenced both Victor Creel and Vecna: Freddy Krueger’s actor (Robert Englund) plays old Victor Creel and Victor scratches the table like Freddy famously does to a chalkboard. The party also first suspects Victor of the murders, thinking he is Vecna. Vecna, like Freddy, “kills you in your dreams” and in S4E5 Dustin compares Vecna’s Mindscape to Freddy’s boiler room (+ a boiler room is mentioned again in S5 epilogue by Jonathan “You know, where she traps all the men and then burns their bodies. The Consumer.”). Robin’s description of Vecna in S4E8 would match Freddy Krueger pretty well: “He’s a number like Eleven, only a sick, evil, male, child-murdering version of her with really bad skin.” Furthermore, his big left hand resembles Freddy Krueger’s razor fingers and he was burned alive but didn’t really die.

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Holly learns about Freddy Kruger from Dustin in S4E5: [Holly] “Freddy Krueger?” [Dustin] “He’s a super burned-up dude with razors for fingers. And he kills you in your dreams.” and she watches A Nightmare on Elm Street: The Dream Warriors with Mary on Halloween 1987 (memory shown in S5E5). This is when Henry (= Freddy Krueger) started following her. The “razors for fingers” might connect to bear claws. In S4E4 Yuri tells a story about polar bears: “You see damage to this hull? Yuri was on sightseeing trip to see polar bears. And then bears got into plane and pull him out of cockpit and kill Yuri. And he loved bears. They broke his heart. Or rather punctured it with their bear claws.” He imitates the bear shaking its victim (does it kinda look like sex maybe?). Anyway, this is another connection between bears and the abuser and possibly Freddy Krueger. The bears (= abuser) in this story prevented Yuri from flying (= freedom and love) and damaged the plane. The bears probably represent homosexuality too, which is why Teddy Bears are associated with Will and El, and why Yuri “loved bears”. It could also be because Will initially loved his dad. Additionally, Billy was literally punctured in the heart by the Mind Flayer. ((Btw, a syrup bottle was prominently in frame when Dustin talked about Freddy Krueger to Holly. I’m not sure how to interpret that yet but thought I should point it out.))

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We also have Fred Benson in S4 (Fred = Freddy). Fred’s second vision is spliced with Wayne Munson telling about Victor Creel to Nancy, suggesting Fred is Victor or related to him somehow. The same happens when Dustin and others explain the supernatural stuff to Eddie and name the new monster Vecna. (Ofc both times Fred is getting cursed by Vecna who the narration is more obviously about, but it’s interesting they chose specifically Fred for this, not any of the other victims.) Fred’s trauma is about him blaming himself for a kid’s death in a car accident. The car is burning, similar to the burning baby stroller in Victor’s vision. Many characters representing the abuser have this guilt, thinking they did something wrong (they didn’t, but the actual abuser did so in a weird way they bear the fault from that, also adding to the blaming yourself motif). ((Mike thinks he is the monster: he had the same scar as Fred in S3E8, Henry gets a similar scar in S5E6, Eddie (the DM with dark long hair like Mike) is suspected of the murders and Wayne compares Victor to Michael Myers (more on him later).)) So, in the same episode (S4E2 “Vecna’s curse”) Fred’s trauma is shown, Victor Creel and the Creel murders are introduced, the party decides to call the murderer Vecna and we get the first obvious reference to Freddy Krueger (+ it’s the infamous 22nd of March). This effectively connects all the Freddy Krueger reference people in one episode.

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I think the reason Fred is paired with Nancy is that Nancy Thompson was a central recurring character in the A Nightmare on Elm Street franchise. That’s also another connection to Mike, because Nancy represents him more obviously than most characters. When a Hawkins resident is being interviewed on TV and says “that this town is cursed, that the devil lives here in Hawkins” the camera circling Nancy reveals Fred behind her, implying that he is the devil. The camera is still focused on Nancy, though, and I think it’s about both of them (= Mike, who thinks he is the monster/Freddy or will be in the future). Alice is another recurring A Nightmare on Elm Street character who appears in the 4th movie, kinda like Alice Creel appears in S4. She is Henry’s sister, like Nancy is Mike’s sister and obviously connected to Freddy Krueger by being Vecna’s victim.

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Fathers

Victor Creel is Henry’s father, he feels guilty about killing a baby and is in jail. Hopper is Sara’s and El’s father, he feels guilty about his daughter’s death (“I am the curse”) and is put in jail. While being imprisoned (S4E7), Hopper and Antonov discuss their fatherhood and relationship to their kids. [Hopper] “I think it must be hardwired into us to reject our fathers. So we can grow and move on.” In S5E4 Holly tells Max that Meg’s dad was a prisoner in Camazotz. There’s also a subtle “Dad can’t get out now.” by Karen in S3E7, where Ted rides a ferris wheel with Karen and Holly. A lot of fathers in jail, right? That’s where Mike and Will think Lonnie should be. 

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Brenner never ends up in prison but he is blamed in other ways. S1E8 [Joyce] “Stop. I know who you are. I know what you’ve done. You took my boy away from me! You left him in that place to die! You faked his death! We had a funeral. We buried him. And now you’re asking for my help? Go to hell.” Faking a death and burying the body probably mean hiding the memory of what happened. Lonnie tried to hide the proof of his abuse by preventing Will telling about it (explained in other theories), and similarly Papa, who represents Lonnie/dad, is hiding what really happened to Will.

In S4E9 El tells Henry that Papa is the monster, not Henry (= homosexuality). Henry answers: “You’re right. You, and I, we are different. And Papa did hurt me. But he was no monster. He was just a man. An ordinary, mediocre man. That is why he sought greatness in others. In you. And me. But in the end… he could not control us. He could not shape us. He could not change us. Do you not see, Eleven? He did not make me into this. You did.” I think some of this is about Brenner but some is also subtextually about the dad. He “was just a man”, which makes it all the more scary. Abusers might seem totally normal people on the outside but still do awful things. I think that’s part of the message in Stranger Things. Something like this can and does happen in a normal town, at home, to a regular kid and nobody notices. The same goes for the queer allegory: queer people don’t only exist in big cities and they aren’t always noticeably different/queer (e.g. many viewers didn’t think Will could be gay). Both queer people and victims of sexual abuse are silenced and hidden, especially in a small town like Hawkins in the 80s. 

Why Eleven made Henry into a monster is a bit unclear to me still. Either it means Mike made him into a monster by thinking queerness was bad (El would represent Mike) or love did because Mike was worried his queerness would hurt the person he loves (El would represent love, making it more specific to her) or maybe queer love appearing/getting stronger made queerness seem worse because now there is a target of attraction, it’s more concrete, a reality (El would be queer love, the most specific to her). Regardless of the specifics, I think the point here is that the dad didn’t directly make queerness bad but Mike did by associating it with the abuse.

Cars

Fred’s trauma was about a car crash, which made me look deeper into cars in ST. ((I only started researching the cars when writing this part so I’ve probably missed some stuff.)) Even his first vision happens when he’s in a car. Lonnie’s car is very prominent in one of the Lonnie scenes (S1E2) and Jonathan looks in the trunk (checking if Will was there). In S1E1 Will tells Mike the Demogorgon got him in front of a car and soon after Dustin and Will cycle past a car when Dustin shouts “I’m gonna kill you!” The framing and camera movements seem to focus on cars on the side of the road. Billy is also strongly associated with a car and he almost runs over the boys in S2E2. Hopper calls Alexei a child murderer in S3E5 when he is in the TODFTHR car. Cars or the drivers of the cars seem to be associated with the abuser (probably not all cars, though). ((Steve is the designated driver and he kinda represents Lonnie in some ways (bat, dad coded, conformity, both like nice cars), but he isn’t literally the abuser or bad. Max is also known for driving cars and there’s a reason for that but I’ll get to it later. She isn’t a bad person either.)) It makes a lot of sense for a car to be in the rain fight scene, since the abuse is a big reason why Mike can’t accept his homosexuality.

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If the car driver represents the abuser, the car crashing is the abuse and that’s why it’s Fred’s trauma. I guess the car itself would be the abused child, then. ((Steve and Lonnie both like cars and we know Steve likes kids (in a healthy way) and Lonnie “likes” them too or at least Mike/Will think so. He may or may not actually be attracted to children.))  In S3E1 Billy is about to meet Karen when his car crashes and he encounters the Mind Flayer. Agewise Karen could be Billy’s mother. A parent-like figure about to have sex with a much younger person leads to Billy getting flayed, which represents acquiring lost memories of the abuse (kinda like Will’s now-memories in S2). Billy’s car crash is extra important since El sees the car first when she looks for Billy in the void. In S4E9 Max tells Vecna she used to imagine Billy crashing and “dying in that stupid car” (in a way he does, since the Mind Flayer kills him and the car originally lead him to it). S3E7 El throws a car at Russians in the Starcourt Mall, crashing it into a pizzeria (pizza definitely means something, but I’m not sure what yet). El notices her powers have been lost when she tries to lift the car upright again. Essentially, her crashing the car removed her powers (= love and connection to trauma). Maybe the trauma was too much, El got too close to it with the car crash. Mike’s love is suppressed by fear and no more traumatic memories can be uncovered by El, or something like that.

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When Jonathan looks for the ignition cable in the car (S3E8), the meatflayer appears (= car is the way to traumatic memories). Later in the episode Billy tries to crash into the party’s car but Steve crashes into Billy’s car, saving Nancy, Jonathan, Will and Lucas. Steve drives the Toddfather car whose new “daddy” he claimed to be earlier in the episode. This might function in the same way as Steve saving Nancy and Jonathan from the Demogorgon with the bat in S1 (= using Lonnie’s weapons against him aka temporarily protecting yourself by conforming). A similar thing happens in S5E4 when Steve bumps into the Demogorgon saving Joyce and everyone else.

In S5E1 the military car crashes into a big tree due to a Demogorgon killing the driver. Now we have two trauma motifs colliding (literally) and directly connecting to Demogorgons (= Lonnie). This makes Will faint and the WSQK power fuses melt. 

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 In S5E6 Steve crashes his car into the UD wall next to a cemetery. The car and the cemetery get sucked into oblivion, and as I previously explained, this indicates forgetting/suppressing the memories. Nancy damaging the exotic matter damaged the connection to traumatic memories (the bridge to the supernatural world). 

There are some “car graveyards” in ST. The first one is in S1E5, where El hurts Lucas. In S1E7 the boys + El hide from the government there and Mike, Lucas and El forgive each other. Another example is in S4E2, when Jonathan and Argyle hit golf balls into a pit of abandoned cars. In S4E5 they bury the body of Unknown Hero Agent Man there. Both times something truthful and personal gets shared (Jonathan sharing his fears about his relationship with Nancy and Will telling Mike how opening up to people you care about can be scary). The truths are about fears and maybe that’s the way the cars connect to this. The cars/trauma is the truth and it’s scary. You can talk about it when the cars are dead, less real but still there (or something like that maybe). El trains in the middle of another car graveyard in S5E1. It probably works as desensitization and prepares her for the real fight with Vecna. She also drinks green juice, indicating growth.

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Vines

At the start of S5 we have the most direct depiction of the trauma in the whole series. It started a lot of discussion around the SA allegory in ST and made many people uncomfortable. The vine in Will’s mouth was shown already in S1E8, but we didn’t see how it got there and what was done with it. In S5 we got that context and many more children (and only children) ended up having vines in their mouths too.

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Vines are used to depict sexual assault in ST (not a new idea). They drag, strangle and trap people, surrounding them from all sides. They are part of the supernatural, the hive mind and Vecna can control them. He seems to get power from them but he is also covered in them, maybe suggesting he is a victim too. (In the documentary they describe his vines as a disease.) Owens compares the vines to truth in S2E4: “You see why I have to stop the truth from spreading, too. Just, same as those weeds there.” In a way they are, they show what was done to Will. Also in that episode, Hopper thinks Will’s drawings of the tunnels are vines. Both are spreading, come from the UD and connect things (tunnels places on the map, vines the hive mind). They are buried memories slowly breaking free.

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1979

When El was recovering her powers in S4, she had to go back to the traumatic events in 1979. When Max ends up in Henry’s mind, she finds herself in the Hawkins lab massacre and later refers to this as “the beginning” (S5E4). ((In S2E2 Mike was told to “go back to the beginning” by the government lady and in S5E5 Max tells Holly “Walk me through everything again, from the beginning.” reiterating this point of going back to where it all started.)) 

The actual date 8th September probably isn’t when the actual trauma happened, but it is the international literacy day (+ Brenner fills a crossword puzzle in the flashback from that day). Stranger Things is full of intertextual references and decoding what the Hawkins lab massacre was actually depicting/about requires some media literacy. It is also pretty overtly metaphorical, e.g. with the big rainbows and the mirror with a seemingly pointless room behind it. I’m positive it’s about breaking the fourth wall (remember the Zenith TV I mentioned in PART 3?) and revealing the story was about homosexuality (= rainbows) and childhood trauma (= dead kids + blood) all along. Gaten Matarazzo’s birthday happens to be 8.9 (sorry for the Americans, I’m gonna use the European way to mark dates), and the cast celebrated it at Medieval Times after the final table read. That whole “final table read” was fake and part of the meta/ARG/story. I think it’s not accidental that 22nd March is Matthew Modine’s birthday and 8th September is Gaten’s, but I’ll come back to the birthday stuff later. ((Additionally, in the Stranger Things and Dungeons & Dragons comic book, Mike finds DnD on 8.9.1980. They befriend Dustin the day after. I have many thoughts about this, but they’ll come later.))

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Despite the specific date being different, the year 1979 is a recurring element and it fulfills my “has to be in S1 and preferentially E1” -rule. The year is indirectly mentioned pretty early in S1E1, right when the boys are leaving Mike’s house: [Dustin] “Like that time she dressed up as an elf for our Elder tree campaign.” [Mike] “Four years ago!” This is followed by the famous “It was a seven.” and “The Demogorgon, it got me.” In hindsight, this suggests something that happened four years ago is related to the Demogorgon “getting” Will. Curiously, Dustin wasn’t even in Hawkins four years ago aka in 1979…

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They are discussing Nancy becoming a jerk because of Steve and according to Dustin “she used to be cool” 4 years ago (1979). I interpret this as Mike’s future looking good but then the trauma ruining it. Steve would be conformity and Nancy dates him because he provides a safety and normalcy to her. Mike can run away from his trauma and queerness by conforming to society, or something like that. The elf might be a connection to Eleven, and Nancy dressing up as her might be El in the lab massacre memory representing Mike (= Mike “dresses up” as El), which would give more weight to interpretation 1 of El banishing Henry to the Abyss (= Mike made him into a monster by thinking queerness was bad). 

But the more important part here is the campaign itself. It’s about an Elder tree so there’s the association to Lonnie. It is described like this: “This powerful being is positioned in between the dark and light sides of the fey world. He is connected to everything and everyone.” The trauma ultimately caused all the supernatural and is connected to everything and everyone in this story. The first gate the party (Nancy) goes through is on a tree. I think this is the true reason why Lonnie/the trauma is associated with trees. Trees can be big, old and have roots everywhere. Many mythologies have a version of a world tree, the center of everything. The woods play an important role too, and I will explain that in a future part of this theory.

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In S1E1 Hopper reveals he has been working in Hawkins for 4 years, again connecting to 1979 (and there’s keys in the background, maybe indicating the scene is a key to unlocking the mysteries of the show). Sara died and Kali escaped the lab in 1978 (at least according to the wiki). I think the abuse had been happening for a while but it got worse in 1979 and then ended when Lonnie moved away (most likely in 1979). ((It might have not ended completely, since Lonnie still visited the family.)) Castle Byers is built and Hopper becomes Chief of Police, maybe signifying protection from traumatic memories. Now that immediate danger is over, the memories are hidden/forgotten. I think the story starts in 1983 because that’s when the processing of those memories started. The actual trauma happened in the past and in 1983 the memories of it come back to haunt Mike and Will.

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The big trauma happened when Mike and Will were around 7-8. It was Will’s 8th birthday when he drew the rainbow ship. El was 8 in her traumatic memory. Henry was also 8 in his. This is one reason why I think the cave memory is really about the same trauma as El’s memory and all the other instances I’ve mentioned in this theory, e.g. Billy’s death. We see the memory first in S5E6: 

[Holly] “Why did that man try to hurt Henry? Hurt Henry? He was only trying to help.”
[Max] “I don’t know.”
[Holly] “Is this what made Henry bad?”

There was a man who hurt Henry and this led to Henry’s connection with the Mind Flayer, making him “bad”. Both El and Henry’s memories are about Henry (queerness) becoming bad and the ultimate cause of that being the scientist man, Mind Flayer or Brenner, aka the dad. Henry’s cave memory has a comparable significance to El’s lab massacre memory, it is the way out of Camazotz and “the precise moment” Henry “stole his own mind”.

Holly was canonically 6 in S4, but 9-10 in S5. This is believed to be a retcon, but I don’t think it is. Holly very conveniently skipped the ages 7-8 when the worst of the trauma happened. Additionally, she was probably born around 1980, after the trauma (or before it around 1977). I think she is Mike’s way of retaining a happy childhood, free of trauma. 

As I mentioned in my Finland theory, I strongly suspect the 1979 trauma is the Great Wrath (isoviha) in the Finland allegory. It was a Russian occupation at the end (1713-1721) of the Great Northern War (1700-1721). Finland was still part of Sweden and was separated for good only in 1808-1809 (corresponds to S1). I was reading the Wikipedia page for the Great Wrath and there were a LOT of awful torture etc. mentioned, even more on the Finnish Wikipedia page. The atrocities were minimised and claimed to be exaggerations during Finlandization (after the war with the Soviet Union, corresponds to the epilogue in ST). This was because of self-censorship and efforts to avoid conflict with the Soviet Union. Later many of the atrocities were found to be as horrible as previously claimed. All this matches so well with Stranger Things: the supernatural was erased so quickly and simply, like they are just pretending the trauma doesn’t exist. The Soviet Union will eventually crumble down along with the Berlin Wall, and so will the dam holding Mike’s memories and feelings.

((After writing the first version of this, my understanding of the timeline has progressed considerably. I now think there were two major trauma events, one in 1976 and the other in 1979. Some of the previously mentioned trauma depictions refer to the earlier and others to the later one. I will go deeper into all the timeline shenanigans much later, since I have to explain many central concepts of my theory first. Figuring out the timelines has been by far the most time-consuming and difficult part of all this and it gets crazy complex.))

Questions

We are now at the end of the beginning in this massive theory. You might have noticed I left some pretty important points unaddressed, like:

  • Why is Mike so important when it’s Will’s trauma?
  • Why was Mike there? Like, was he at a sleepover? Why didn’t Lonnie do anything to him or did he?
  • If Mike is the storyteller/can affect the story, did Will tell him all about his trauma, or was Mike always there witnessing it or can Will affect the story too? How much?
  • Basically all characters represent either Mike or Will or both (Henry, Max, etc.) and even Will represents Mike so everyone represents Mike. Why do so many characters represent both? E.g. in Max’s letter her situation seems like Will’s (poor and divorced parents) but then Billy = Will and Max = Mike in Max’s trauma about Billy’s death.

The solution came in the form of a tumblr theory (once again) and it blew my mind. Some of you might not like it and it will change the way you see Stranger Things forever (if you believe it, that is), but I’m convinced it’s the truth. There is just so so so much evidence for it and everything started unraveling after my realization. The real theory begins in the next part…

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Continues in PART 5.

reddit.com
u/raspberry-3 — 4 days ago

Mike's trauma PART 3

This is part of a series where I uncover what Stranger Things is really about. It started from trying to find out what happened in 1979 aka what all the depictions of traumatic past memories (El, Henry, Billy, Max, Holly, etc.) are truly about, but expanded to this all-encompassing theory of the whole series with crazy levels of complexity, metaphors and layers. Reading it will require commitment and patience but I promise it will be worth your time if you want to look behind the curtain (and the curtain behind that curtain) and fully understand the show. You have to read all parts in order: here is PART 1 and here all other parts I’ve posted so far + my previous theories.

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Trigger warnings for child sexual abuse and mention of suicide.

Besides baths, there are other similar water containers in ST. Barb gets taken into the Upside Down through Steve’s pool and the community pool in S3 is a central location where Billy and Heather (the first people to get flayed) work at. Steve and Nancy end up having sex after getting wet in the pool and Billy uses “swimming lessons” as code for sex when he tells Karen “there is a good pool out at a Motel 6 on Cornwallis” (S3E1), pool probably referring to the motel room or bed. Cornwallis is an important street since Driscoll and Dustin live there and Mirkwood is where Cornwallis and Kerley meet (I found this information in the Stranger Things wiki, it has been very useful for making theories and connecting the dots). It was the street where Will encountered the Demogorgon. So, in both seasons 1 and 3 a pool is related to sex and the supernatural monsters. As a side note, notice how Billy’s dressing at the pool gets progressively more covering? I feel like it could be related to sexual trauma since Billy’s increasing connection with the Mind Flayer is like Will in S2 where he started to remember the trauma. Billy is the most sexualised character in the series and almost has an affair with a much older person, both of which connect to Will’s trauma.

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I think the most in-your-face connection between (romantic) feelings and water is Lover’s lake – it’s literally in the name and shape of the lake. The real reason one of the gates was formed at the bottom of that lake is that it is a body of water. Like with Barb, the deepness of Mike’s feelings scare him and open the “neurological floodgates” (as Owens puts it in S2) to the trauma. Brenner uses a similar analogy for Henry’s gate opening in S4E8: “Imagine, if you will, the barrier between our worlds is a… concrete dam. Henry is putting cracks in this dam. Cracks in dams create pressure. Left unchecked, the pressure will build. And build. And eventually, it will reach a breaking point. And the dam will burst. And when that happens, Hawkins will fall.” The water (= feelings/memories) will flood Mike and Will’s minds. (This will be explained better later.)

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The Sattler Quarry is another important body of water, relevant in S1. Will’s body was found there and it was thought he had fallen down and drowned. Mike jumps into the quarry but El saves him in S1E6. Hopper describes the water like this (S1E2): “You make that jump from this height, that water turns into cement. Hits you like a ton of bricks. Break every damn bone in your body.” (I wonder if this could be related to Vecna’s curse breaking bones.) When we combine the “water is love” with the quarry, we get “falling in the quarry/love will kill you” and more specifically it will kill Will and Mike. In the queer allegory the events of S1 happen because Mike falls in love or at least has a crush (light bulb and Will taken into the UD/closet), so this interpretation of the quarry makes a lot of sense. It is deadly and jumping there is a “suicide” because Mike’s love is homosexual and thus not accepted in society. ((Interestingly, the news reporter in S1E4 tells that someone drowned in the quarry 7 years ago (Stranger Things wiki coming to the rescue once again). This was in 1976, when Mike and Will first met on the first day of kindergarten.)) 

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Lonnie blames the Sattler Company for Will’s death, saying there were no warning signs or fences at the quarry. So, the company that owns this body of water (= feelings), is the problem. Based on Lonnie’s previous behavior and the allegory, I think this is him blaming Will’s homosexuality. He might have used that as an excuse in some way during the abuse too, maybe telling Will he deserves it or trying to make him not gay or maybe Will even thinks the abuse made him gay. I’m not sure about the details but homosexuality and the abuse are connected in Mike and Will’s mind. The first time Will is indicated to be queer (S1E1) is Joyce telling Hopper Lonnie called Will queer and the slur, connecting Lonnie with Will’s queerness right from the get go. This causes Hopper to suspect Lonnie despite Joyce insisting he has nothing to do with Will’s disappearance. 

In the trauma allegory the water in the quarry represents the traumatic memories. Will gets hit with them like bricks and drowns in them. His “death” could be Mike repressing/burying the traumatic memories (about Will) and Will ending up in the UD is separating him (the memories) from Mike. (Sorry if this is confusing, I promise to explain better later.) 

An interesting point about water in ST is that it doesn’t exist in the UD (and the tunnels avoid bodies of water). You would think something associated with trauma would exist in the UD, since it seems to be where the trauma is (metaphorically) stored. The bath and water as a whole are often the way into the UD (El contacting the Demogorgon from the bath, Barb in the pool, Lover’s lake gate, etc.) but not in there. The Abyss is a desert, so no water there either. Maybe the water isn’t exactly the trauma itself, but a way to it. Mike’s gay feelings open the way to his trauma (or memories lead to re-experiencing the trauma). And there is no water because there is no love, it’s a cold and lonely place. 

Well, there is one place in the UD with water: the sensory deprivation tank in Hawkins Lab. I bet that tank is right in the middle of the lab, underneath the exotic matter deep underground. Maybe it, too, is “the bridge”. This would work really well with everything I’ve analyzed before, since El contacting the Demogorgon from that bath started everything. The memory is shown as a flashback when El sees the tank again in S5E8 and right after it (when there’s exactly 2 hours left in the episode), Murray turns on the lights saying “And let there be light.” which is a reference to the creation of the world from the Bible (I guess everyone knew that already but it just reinforces the idea that El touching the Demogorgon started everything). And yeah, after El gets in the (love) bath, the next scene is the infamous byler tower “rejection”, where they share water

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While the UD and Abyss are devoid of water, El’s void has nothing else. It is a completely dark and empty place with a water floor. Vecna’s Mind Lair also has water puddles. In S1E1 the boys found El in the rain, byler had their famous fight in the rain and there’s the waterfalls and the irrigation system on the Wheeler front yard (S1E1, S5E1, S5E8 + some other times), the ocean/beach, etc. This water metaphor definitely needs more analysis and maybe I’ll come back to it at some point.

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Back to Lonnie analysis (again)

So we were at Lonnie showering in S1E5. The next scene is a sandwich scene where Nancy tries to swing the bat. She is interrupted by Steve who apologises for his past actions. The bat (conformity and Lonnie) is between them during the conversation and Nancy mentions how the situation has been really hard on Mike (bringing up Mike might suggest the scene has something to do with him). Steve sings these two lines from the song Old Time Rock and Roll: Just take those old records off the shelf / I'll sit and listen to 'em by myself (old records = trauma memories from years ago, maybe). After the scene Joyce argues with Lonnie and tells him to get out. This is the last time we see him.

The scene transitions to Jonathan shooting a gun towards the direction Lonnie was in the last shot. This is also the scene where Nancy’s role as the designated gun user begins. More importantly, Jonathan shares the story of Lonnie making him kill a rabbit on his tenth birthday. I could have mentioned this earlier but I saved it for this. As you know by now, this was really about sexual abuse. Like with El, an abusive father forces their child to kill an animal. The fact it was Jonathan’s birthday is meaningful, there is definitely something going on with the birthdays. I think some of the trauma happened on Will’s birthday (22nd March) and that’s why it is so important. But more on this later…

Lonnie is never named after S1 (except for The First Shadow where he was suspected to be the animal killer and admits stealing a baby Jesus (= Will ofc) from a nativity scene), but just referred to as Jonathan and Will’s dad. He isn’t mentioned much and I think his disappearance is very purposeful. El disintegrating the Demogorgon in S1 was the memory of the abuse getting back to the subconscious, forgotten. ((Notice how the animal statue previously looking towards the Demogorgon has “fallen” in the next shot. There was nothing physical doing that, it’s showing how Mike can’t see El or the Demogorgon anymore. Something changed in the world when they disappeared. There’s surprisingly many intentional inconsistencies like this in the show and I’ve only recently started to notice them. S5 made this more obvious but they have been there since S1.)) The scene is very similar to El banishing Henry to the Abyss, the memory of which El buried. ((Which also has intentional inconsistencies. We see El on the floor twice in S4E8: first time there are red triangle shapes, the second time they have disappeared and the arrangements of clutter etc. are different. This is most likely El forgetting about the trauma (= red).)) So the memory of Lonnie was essentially buried and while new versions of him appear (e.g. Billy’s dad Neil), we never see the real Lonnie again. We also never see him in the same scene with Will, and their whole history is displayed through other characters like Jonathan and indirectly via metaphors. Lonnie comes and goes inside the time window Will is trapped in the UD. We have the UD with its supernatural representation of the trauma + Will, and the real world with the real abuser + Jonathan (representing Will). Putting all the puzzle pieces together gives you the truth of what happened (= real abuser + Will). ((Well, it’s not the full truth but we’ll get to that later.))

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In summary, of all the scenes before and after a Lonnie scene, 8 were of Hopper investigating. Lonnie is the criminal at fault here, so this makes perfect sense. All the sandwich scenes (4 in total) had Mike in some way (shown or at least mentioned). The rest were Will drawing the fireballs and Jonathan practicing shooting, both of which are about killing/hurting the bad guy (Lonnie) with projectiles and Will/Jonathan not being able to (Will doesn’t have a red crayon and Jonathan misses the target).

Bob

Finally, moving onto season 2 and Bob. His death is the first time we see Demogorgons eating a human on screen. Previously it was only implied or they were eating animals. The trauma depictions keep getting closer to reality. Bob seems to represent both Mike and Will depending on the context. I guess when he dies Bob = Will and Joyce+Hopper = Mike. Moreover, Mike relates Bob’s death and El’s disappearance to “that thing” taking them (S2E8): “Until that thing took her. Just like it took Bob.” Will was also “taken” by the Demogorgon.  

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As I mentioned in my Orange vs Green theory, it’s established already in Bob’s introduction that he doesn’t like orange. In the same scene we also learn that he hates scary movies. Spooky Movies plays through the entire scene, starting from the orange haired Max walking to her desk and ending with Merril’s Farm pumpkin sign. I’ll explain Max’s role in all this way way later (my previous theory was onto something but not quite there yet). Hopper finds out about rotting pumpkins and later it’s revealed that the UD tunnels infesting the normal world caused the rot. If the orange pumpkins are childhood then the rot is the abuse, ruining good pumpkins. In S5E1, El practices her powers by exploding pumpkins (= dealing with childhood trauma). T85 has sentient pumpkins in episode 2, where Max and Lucas defeat them with a green combine harvester. ((Btw, when Hopper interviews the pumpkin farmer Eugene McCorkle at the police station (S2E2), Powell calls the situation a pumpkin conspiracy. Callahan comments: “Hawkins’ very own Chinatown.” I haven’t seen the movie but I read the plot synopsis and… yeah, it works.))

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You could say all this orange is just because the season is Halloween themed, but I think Halloween is actually a big, intentional part of this. Halloween is a yearly event strongly tied to horror and Will has PTSD symptoms because he is starting to remember the horrors that occurred years ago. Meanwhile, the UD (= trauma) is physically spreading into Hawkins. Owens explains Will’s episodes are caused by the anniversary effect, proving that the time of year (Halloween) is important. All this “Halloween” orange represents previously forgotten childhood memories that are now resurfacing (and maybe Halloween was the reason they chose orange to represent childhood and non-conformity). Halloween originally comes from or was influenced by Samhain, a Gaelic harvest festival. From the Wikipedia page: According to Irish mythology, Samhain (like Bealtaine) was a time when the 'doorways' to the Otherworld opened, allowing supernatural beings and the souls of the dead to come into our world; while Bealtaine was a summer festival for the living, Samhain "was essentially a festival for the dead". In Stranger Things “the dead” would be buried memories, and the Abyss or UD the Otherworld. Zombies are these memories coming alive and haunting the normal world, and Will (the “Zombie Boy”) functions as a connection to the UD/Abyss. In summary, the color orange and a gate opening between worlds letting traumatic memories (aka “the dead”) / supernatural creatures into the normal world are intertwined in Halloween and Stranger Things. I’ll go more into the idea of buried memories soon, but let’s continue with Bob first.

Bob likes the green pumpkin, which is immediately followed by him telling about hating scary movies. This implies green is the opposite of scary. I think Bob is closely tied to what green represents, minus the negatives: he is an adult, the normal and safe option for Joyce (similar to Steve with Nancy), likes “normal” things, is nice and doesn’t fight back. ((That’s also why he dresses as a vampire for Halloween; he represents conformity just like the vampire villain Strahd von Zarovich in the last DnD game.)) [Bob] S2E3 “I was never really one to put up a fight. I struggled a lot like Will when I was a kid. With bullies. It’s the ones like us, that don’t punch back, that people really take advantage of, you know? They rub your nose in it, just a little bit more. I don’t know why they do that. Maybe it makes them feel powerful.” Bob is like Will in the green cabbage sense. 

He was also afraid of Mr. Baldo, a clown, who is another representation of the abuser. (Clowns were already discussed in the other theories, so I won’t re-explain here.) Bob makes it seem pretty easy to get rid of his Mr. Baldo nightmares, which doesn’t end up working well for Will. Because Bob wants to avoid the orange pumpkin and the scary movie aka face the real trauma, he can’t truly help Will. According to David Harbour, that innocence is the reason he dies: “I think there is going to be somewhat of a morality — or at least responsible storytelling — to what the Duffers are doing. There’s a reason in Season 2 why Bob dies. He’s too innocent. You can’t go up to that monster and say, like, ‘Get away from me, get away!’ You just can’t be that person in this world. That person dies.” Will’s trauma is much bigger than a scary clown and I think Bob’s way of thinking represents the dismissal of mental health in the 80s (and today’s) society. It’s just in your head so it isn’t real/doesn’t matter. “Normal people” can get rid of these traumas “easy-peasy”. Bob isn’t intentionally harmful, of course, and neither is the average person affirming social norms and structures. 

Buried underground

I keep mentioning memories being buried, so here is a more thorough exploration of that. There are multiple underground locations in ST and many, I think, connect to hidden/forgotten/buried memories. Same goes for graveyards, where people are literally buried.

First of all, the Upside Down is “underground”. At the start of every episode the audience is pulled underground, to the UD, and it’s made pretty clear through visuals and how the characters talk about it that it is (at least metaphorically) underground. All the monsters, aka manifestations of the trauma, come from the UD.

In S2 the UD spreads through underground tunnels, and the characters have to dig to get to them. In S2E5 (“Dig Dug”) Hopper struggling in the tunnels transitions into Dustin shoveling dirt to bury Mews, connecting the tunnels, the underground and burying something dead. Later in the same episode Hopper is surrounded by the vines and the camera moves to the surface, Hopper’s muffled screams still audible. Before cutting to the next scene, we hear Lucas end his explanation to Max: “And that was the last we ever saw of her. After that, she was just gone.” El’s disappearance (into the UD aka underground) is linked to Hopper being trapped in the tunnels (= disappearing from the pov of people on the surface). I think this is about the SA memories being gone, forgotten, buried underground. You know, season 2 is all about “digging” these buried memories up; that’s why they play Dig Dug in episode 1 and Will gets his “now-memories”. The tunnel hub, where Will says the Mind Flayer doesn’t want him to see, has bones etc. on the floor and Hopper calls it a graveyard in S2E6 (another connection between trauma, now-memories, underground and graves). Also in S2, Dustin keeps Dart in an underground storm cellar and obviously the big gate is underground.

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In S3, the secret Russian base and the Steelworks are both underground. The gate is being opened in the Russian base and Billy comes into contact with the Mind Flayer in the Steelworks. 

In S4 El retrieves her lost traumatic memories in the Nina project, which is, you guessed it, underground. The same goes for Henry’s cave memory. Additionally, the rainbow room itself is deep underground, which we learn in S5E5 when Steve and Dustin find it. [Steve] “Okay, that was too many stairs.” [Dustin] “Treasures are always hidden in the deepest depths of the dungeon.” When Mike describes dungeon crawls to Holly in S5E1, he says Mike the Brave “explores these underground worlds, where he fights monsters, evil wizards, sorcerers and stuff”. The party explores the UD via “crawls” in S5, again parallelling the UD and the underground but this time also dungeons from DnD. These dungeons have monsters in them and the deeper you go, the stronger the monsters will get. But, as Dustin said, there’s also treasure in the dungeon. Digging up and processing the trauma will have a positive outcome in the end. ((There is also this SNL clip where Finn says “The only way out is to go deeper. Interesting.” + Max and Holly escape Camazotz by going deeper underground into Henry’s memory. There’s the additional meta level to all this, since S5 is going “deeper” into conformity and the false facade of a “totally heterosexual and conforming mainstream show”. As I explained in my cave theory, the M cave is Mike’s emotional repression, so Max and Holly going deeper into the cave would be Mike going deeper into repression (as he does in the epilogue) + on the meta level the TV show literally ending in a super conforming way. The reason they do this is because it showcases how bad a conforming ending would be and contrasting it to the real ending forces people to confront their own values/biases. + I wouldn’t have started making my own theories if it weren’t for conformitygate.))

S4E4 Max is at a graveyard reading her letter to Billy, aka contacting the dead and the source of her trauma. This leads her to Vecna’s Mind Lair for the first time. The Lover’s lake gate is surrounded by fish bones, similarly to the tunnel hub in S2 (= graveyard). In S5E4 Steve, Dustin, Nancy and Jonathan are following a Demogorgon to the cemetery, but crash into the wall surrounding the Upside Down. Dustin tells Steve that “death” is on the other side of the wall. Nancy shooting the exotic matter in S5E5 causes a rift to form into the wall, sucking the cemetery with it. So, exotic matter aka the connection to the Abyss (= the storage of trauma memories or something like that) getting harmed leads to a cemetery (= a connection to the dead) being destroyed and sucked into emptiness/death/oblivion. (Notice the tree that’s also sucked into the emptiness, probably memories of Lonnie.) This is foreshadowing the whole UD getting destroyed in S5E8, and the supernatural (= manifestation of trauma) disappearing from the world. Mike and Will have repressed the memories so hard they are seemingly gone, “dead” (like El). But, like Dustin tells Eddie in S4E2 while Fred has a vision of being in an open grave, “These monsters from this other world… we thought they were gone. But they’ve come back before.” Fred then meets Vecna, who appears from an underground tunnel. The memories are never truly gone.

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Across all seasons, Mike’s basement is an important location. That’s where most DnD games are held, El is hidden in S1 and where the party hangs out a lot. There are other basements too, like the one in the hospital (S5E6) where Vickie directs Robin: [Robin] “Do you know another way out?” [Vickie] “The basement. The basement! It leads to staff parking.” Indeed, Max gets out of Camazotz while her body is in the basement. Hopper and the rest of the Russia gang escape the prison via an underground tunnel in S4E8 and the S2 tunnels are used to get the kids out of MAC-Z in S5. All this seems to indicate that the underground is also the way out. Mike and Will processing their trauma will be the ultimate solution and free everyone of the real Camazotz, kinda (will be explained later).

Billy

Billy’s death in S3E8 is one of the clearest depictions of the trauma and has a lasting effect in the story. Its importance is made clear through Max’s storyline in S4 and her letter was one of the main reasons I thought Mike witnessed something happening to Will. [Max] “And sometimes I imagine myself running to you, pulling you away. I imagine that if I had, that you would still be here. And everything would be… everything would be right again. [...] But that’s not what happened. I just… I stood there and I watched. For a while, I tried to be happy. Normal. But I… I think that maybe a part of me died that day too. And I haven’t told anyone this. I… I just can’t.” There’s just so many parallels between Max-Billy and Mike-Will (ofc not everything but a lot): Mike also tries to be normal (Finn has literally said this in many interviews (here, here and here)) and feels useless/powerless (e.g. painting scene conversation S4E8 and lack of real weapons (candlestick and flaregun)), Will and Billy are both William, both have an abusive homophobic dad, both queercoded (Will more but still), etc.

There are two instances of Max talking to Ms. Kelley, both of which lead to a short flashback of her trauma. In S4E1 Ms. Kelley asks if Max has nightmares, and Max remembers Billy getting punctured in the chest->Max screaming “Billy!”->Billy falling to the floor. In S4E3 Ms. Kelley asks Max “Do you think you’re ready to talk more about that night?” and she remembers herself and Mike arriving at the scene->Billy getting lifted by the meat tentacles->Max screaming “Billy!”. This time the memories keep flashing back to Max in Ms. Kelley’s office. The key difference here is that Mike is only in the later flashback. No one else is visible in the flashbacks (well, you can also briefly see El in the S4E3 version, but Mike is very clearly visible). The memory is supposed to be about Max and Billy, so why is Mike there? He is there because this memory is really about him (like literally everything in this show, tbh) and he is only visible in the E3 version because that’s the “more about that night”, at least subtextually. We keep getting closer to the truth.

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The scenes are chronologically earlier in the E3 version, which might indicate that “more” means going back in time, giving context or something like that. In S4E9 El views Max’s memories in reverse chronological order to get to a childhood memory which finally leads her to Max in Vecna’s mind. I’m convinced that the real ending will have a lot of “going back in time”/memories to see what happened in Mike and Will’s childhood. (Here’s some more proof for that. I originally found this from a Reddit post.)

Now I finally understand why S3E8 aligns with 1882 in the Finland allegory timeline and where the Finlayson electric lights being lit connects in that episode! The allegorical light bulb was lit when Billy got assaulted by the meatflayer, since, as you know, a lit light bulb represents the trauma. So there was no literal light bulb in the episode, but there was in the Finland allegory and they connect through the hidden meaning of the light bulb. Why such an important moment happens in S3 specifically I will explain in the distant future (I have so much to cover before that…).

((Btw, I think Dustin finally contacting Suzie is Emma Irene Åström becoming the first woman in Finland to receive a university degree, which also happened in 1882. If I’m right that Dustin represents the University of Helsinki/Finnish universities as a whole, this makes quite a lot of sense. No one believed Suzie actually existed and Will was surprised a girl would go to science camp (= women didn’t exist in academia and people thought women couldn’t get Master’s degrees). Suzie might represent something else too, but I’m not sure what yet.))

Alien

In S3 the meatflayer attacks by attaching to the victim’s face, just like the alien (facehugger) in Alien. The movie is obviously a huge inspiration for Stranger Things, there are numerous references in the show and the creators have confirmed it. There are no literal aliens in ST, but they have a strong presence in the show, mainly living in set design, references to other media and conspiracy theories. Some examples were mentioned in the Lonnie theory, connecting aliens to Lonnie. This is once again a way to distance the trauma from reality, it was an alien/predator/clown/monster, not your dad. The Demogorgon kinda looks like an alien, and in S1E8 it was framed next to “outer space traveler”. When Murray was introduced in S2E1, we learn that in addition to his new “Russian spies in Hawkins” -theory, he used to have a theory about “butt-probin’ aliens”. His Russian spy theory turned out to be true in S3, but his alien theory is never mentioned again.

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Tales from ‘85 brings back alien conspiracy theories and reinforces the connections especially to the movie Alien. The new monster attacks the kids on their face similarly to the meatflayer in S3 and the facehuggers in Alien. The movie is literally mentioned by Max and a key analogy to help the kids understand the new monsters (T85E3). Mrs. Baxter describes the life cycle of the alien, which pretty clearly parallels the Demogorgon. It also started as a parasite inside Will and used him as its host. [Mrs. Baxter] “Until finally, bursting from his chest, ending the cycle by turning into a terrifying adult.” This would be Mike turning into a terrifying adult, the final form of the Demogorgon (as I explained earlier). Mrs. Baxter’s ketchup finale to her explanation is likely a reference to Zootopia, where the corresponding scene was about a predator killing its prey (in a children’s play). Alien = Demogorgon = predator. 

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If you think about it a bit, the alien is homosexuality, “infecting” Will in S1. I think this ties into Will thinking the abuse made him gay. Vecna’s vine appendage impregnated him (= SA) and created this monster (Dart/homosexuality) inside Will, that after its release grew (Dustin aka curiosity fed it) and started killing innocent animals. Basically Will kind of represents Mike’s homosexuality, which was already explained in the blog post, for example. That’s not exactly it, but pretty close and I will explain this better later.

Moon

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This is what Billy says at the end of S3E4. He is flayed, so in a way it’s the Mind Flayer speaking. This is one piece of evidence that the moon represents/symbolises the abuser. (As with everything else, it’s probably also gay love or something like that.) Lonnie’s girlfriend’s name is Cynthia, which is associated with the moon and the Greek goddess of hunting: Artemis. Wikipedia: Cynthia was originally an epithet of the Greek goddess Artemis, who according to legend was born on Mount Cynthus on Delos. Selene, the Greek personification of the moon, and the Roman Diana were also sometimes called "Cynthia" due to their association with Artemis. This is a connection between hunting (= what predators do) and the moon. Then there’s the play in The First Shadow: Dark of the Moon. I haven’t seen TFS yet, so I won’t comment on any details (I have read the wiki page ofc but it won’t give me the full picture), but I think it’s important to note that the only part of the play we see in S5 is a scene where the moon is central. 

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Mr. Clarke has a big moon poster (with an animal statue in front of it) and Saturn V (a famous moon rocket) poster in his classroom in S5. As you’ll see later on, the posters and what Mr. Clarke teaches each season is very important. Murray has a moon poster as well, indicating it has something to do with his conspiracy theories. In S4E8 Yuri tells Hopper and Joyce that “Yuri will fly you to moon”. I read a tumblr theory explaining the meaning of flying and would have linked it here, but it’s been removed. In summary, it’s about freedom and love, and I will come back to it later.

The real reason I started to think the moon was somehow important didn’t even come from the show. I think now is a good time to introduce my craziest theory, because I’m so done not being able to use it for clues in my theories. I keep flip-flopping between being convinced it has to be right and being like “it can’t possibly be true”. I have actually had this theory for very long, longer than any of the theories I list as my main theories, and I posted an early version of it months ago (read it if you want more details). So basically, I think there are actual real songs out there that are part of the Stranger Things ARG. So they were made or their lyrics were somehow influenced by the ST creators. In the first version of my theory I only found/looked at songs titled “Zenith” but since then I’ve found more, so many more… 

((In S2E5 Murray points at the stacked TVs when ranting about “them” aka normal people who don’t care/want to know the truth (look behind the curtain). There is an unexplained broken TV with a bullet hole at the start of the Lonnie scene where he tells Joyce it’s all in her head in S1E5. And this TV is of the brand Zenith, proving it’s been a thing SINCE SEASON 1. I think the cracked TV screen is supposed to symbolize the fourth wall breaking or something like that.))

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The biggest reason I’m still hesitant with this is because some of the songs were released before ST season 1 even aired, and since no one knew it would get so big, I can’t see how they would get these secret collaborations with many artists. On the other hand, I’m quite certain the ARG/fake finale was planned since S1 (e.g. the S1 DnD game length matching with S5 length and the boys complaining how short and unfinished it was) and people keep finding solid evidence for more and more big shows, companies etc. being involved (e.g. here). I am actually convinced that an AI artist Ashborn Records is part of the ARG. Just listen to their songs and go check out their Instagram posts and you’ll see. I don’t think it’s a coincidence their first IG post is from 26th Nov. I won’t tell you every band and song I’m suspecting right now, or all the evidence I have because that’s a rabbit hole I’m not willing to dive into yet. I will give you some examples and mention songs along the way, when appropriate. If you think this theory is delusional, don’t worry, I haven’t based any of my theories on songs alone. They are more like additional proof or give me ideas. 

I have some examples here that have lyrics about the moon. The first is “Zenith” by Kavinsky, Morgan Phalen and Olivia Merilahti. Fading memories, a final scene (play/meta), running out of time (S5E2 [Lucas] “If my theory is right, we’re running out of time.”). Though I remember / When the moon was shining down on you and me could be something romantic and nostalgic, but if I’m right about the meaning of moon and that this song is part of the ARG, it could be the memories of the abuse, too.

Another one of them is “Hunter’s Moon” by Ghost (and you should go listen to all their music, especially the newer albums and you’ll hopefully see where I’m coming from with this theory). Here the moon is associated with hunting, just like with Cynthia. A big reason why I think this song might be part of the ARG is the whole thing about faded memories that come to haunt the narrator (and the context of it being a Ghost song).

Another moon-related song is from a band called ELFENSJóN and according to them “The German word “Elf” means “eleven” (10+1, “the last one”), and Sjón means “vision”. Together it forms ELFENSJóN: “The last and another vision”.” Sjón comes from Old Norse, btw. These are the lyrics to their song, “Zenith” translated from Japanese to English with ChatGPT:

When the bell that heralds dawn
Rings out in the distance,
Now the illusion (world) peels away
And is dyed white.

/

Continuing to believe in deception,
Those eyes lose their light.

/

Upon hazy innocence, corruption is carved.
There is no need to fear
Those false rulers.

/

O you who are falling, with your torn wings,
Fly through the woven fate (destiny).
If the hymn offered to the mad god never ceases,
Then cut through the darkness.
Ah, shatter this twisted illusion (world)
And swallow your weakness.

/

The more one accepts the creeping shadows,
The more they turn to ash.
At the bottom of the soul (heart),
Doubt begins to sprout.
Is there no way to awaken?

/

Watching the struggles of foolish humans (beings),
The hollow moon laughs.

/

O companion who walks beside me, cast away your fear.
Break the chained fate (destiny).
If the distant bell of oath still continues to ring,
Then pierce through hesitation.

/

Now the illusion (world) has peeled away.
With your own hands, paint it over in black.

/

O innocent bird that sought the answer — go forth.

/

O you who are falling, with your plucked wings,
Fly through the woven fate (destiny).
Even if the towering darkness
Consumes the soul (heart) again and again,
It will not end.

/

The raised voice illuminated the dark night.
The song of dawn continues to play.
Seeking the truth that circles beneath the twin moons,
The soul descends into cursed darkness.

/

Ah, shatter this twisted world
And swallow your fear.
Leaving behind the echoing bell
In the dawn glow staining the indigo sky.

I think you can see why I think this song might be connected to ST. I put some extra stuff that didn't fit into the post in the comments, but other than that:

Continues in PART 4.

reddit.com
u/raspberry-3 — 8 days ago

Mike's trauma PART 2

This is part of a series where I uncover what Stranger Things is really about. It started from trying to find out what happened in 1979 aka what all the depictions of traumatic past memories (El, Henry, Billy, Max, Holly, etc.) are truly about, but expanded to this all-encompassing theory of the whole series with crazy levels of complexity, metaphors and layers. Reading it will require commitment and patience but I promise it will be worth your time if you want to look behind the curtain (and the curtain behind that curtain) and fully understand the show. You have to read all parts in order: here is PART 1 and here all other parts I’ve posted so far + my previous theories.

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The next Lonnie scene is right after the S1E5 intro, which is after Hopper finds the gate and is caught. Jonathan comes home and talks with Lonnie. This scene and all the posters were thoroughly analysed already in the other theories so I won’t go into that, but notice how Jonathan’s head is framed with the orange part of the tapestry. And Lonnie has that light bulb behind his head.

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Light bulb

So, the infamous light bulb. We focus on it in S1E1 and it’s kind of framed as the cause for Will’s disappearance. Something in the light bulb lighting up correlates with Will vanishing. As we know, the Demogorgons (or anyone in the UD really) affect electrical devices in the normal world. We also learn from Steve (S2E6) the concept of “sexual electricity”. Dustin first thought Steve was talking about an electromagnetic field kind of electricity. And you know what in the show causes a strong electromagnetic field? The gate. This “sexual electricity” connects with both the queer allegory (= about sexuality) and the trauma allegory (= about sexual abuse). I think the lights also symbolize love (not necessarily romantic/sexual) and that’s why Will can communicate through them with Joyce. So there’s a conflation of love = sex since both are associated with light bulbs. I think the type/shape of the lamp matters here and only the traditional light bulbs represent SA (I’ll be focusing on those).

El opened the gate in Hawkins Lab owned by the Department of Energy. Isn’t it weird that the government/military operates a lab from a power plant or whatever the “Department of Energy” is supposed to be? Dustin literally questions this in the show, too (S1E7): 

[Dustin] “Well, who owns Hawkins Lab?”
[Lucas] “The sign says ‘Department of Energy’.”
[Dustin] “Department of Energy? What do you think that means?”
[Mike] “It means government. Military.“
[Dustin] “Then why does it say ‘Energy’?”
[Mike] “Just trust me, all right? It’s military. My dad’s told me before.”
[Lucas] “Mike’s right. There’s soldiers out front.”
[Dustin] “Do they make, like, lightbulbs or something?”
[Mike] “No, weapons… to fight the Russians, and commies and stuff.”
[Lucas] “Weapons.”

Lightbulbs are parallelled to weapons as something the lab would make, which indirectly associates light bulbs with violence. Both times the word “weapon” is spoken, the shot focuses on El (= she is the weapon). El is the lightbulb, she is the electricity (el = electricity in Swedish, btw), she was created in Hawkins Lab/the Department of Energy and she represents the central element in all three allegories: queer love, childhood trauma and Finnish national identity.

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We see the light bulb again in S1E1 when Hopper investigates the shed. Notably, the light suddenly turning on scares him and the scene focuses on the light bulb quite a lot. We return to the shed light bulb in S2E8 when the party decides to modify the shed to prevent Will from knowing where he is. ((It is meaningful that they choose a place associated with Will’s trauma but I will discuss this more in a later part.))

Joyce realizes she can communicate with Will through the lights in S1E2. She sees a light bulb getting brighter and brighter until it turns off, similar to Will’s vanishing. Then the Demogorgon tries to get in through the wall and Joyce flees. Both Will and the Demogorgon could be the source of the light and communicating with Will seems to attract the Demogorgon. In the queer allegory this is about coming out: the mom needs to face the truth of her son’s homosexuality to be able to connect with him. In the trauma allegory the mom has to learn/accept that the abuse happened before she can help her son. In both cases the Demogorgon is Will’s secret that isolates him from Joyce and other people. Luckily, Joyce is a loving mom who would do anything for Will. Even though the Demogorgon scares her, she doesn’t stop trying and finally is able to save Will. 

S1E3 has by far the most light bulbs, since it’s the Christmas light episode. I guess the most important light bulb moment is Holly following the lights and the light bulbs turning on and off in a ring around her, indicating the Demogorgon. (Was this foreshadowing Holly getting kidnapped in S5?) There’s also a red light bulb in the darkroom where Jonathan dries the photos from Steve’s house (of Barb’s disappearance and Nancy undressing = associated with SA trauma). The light bulb transitions into a Christmas light at the Byers’ home, suggesting the two lights have a connection.

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After Hopper wakes up in S1E5, he inspects his apartment focusing on lights, finally finding a listening device attached to a pair of light bulbs. (There’s also a deer painting in one shot.) In the next scene Brenner and other lab people listen in on Mike, Lucas and Dustin on the radio with Will. It seems light bulbs are associated with spying, and specifically the “bad guys”/Papa=dad spying. I think this might relate to Will (and possibly Mike) feeling like his dad is always watching, preventing him from telling anyone about the abuse (this idea was also discussed in the Lonnie theory). The light bulbs being a pair could refer to byler and Mike’s fear of being “spied on” aka his feelings being found out by others. Regardless, this is one more instance of a light bulb being associated with something bad (and Hopper investigating).

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In S1E8 a jancy scene begins outside the Byers’ home with two lit light bulbs next to each other before going inside where Nancy and Jonathan are luring the Demogorgon with their blood. Jonathan explains that lights blinking/speaking is an alarm for the Demogorgon. They have a vulnerable (romantic) moment which is interrupted by Steve and soon after the Demogorgon shows up. I think the two light bulbs are about Nancy and Jonathan and their love. Their vulnerable moment bandaging each other’s wounds more directly connects blood/wound = vulnerability and the Demogorgon attacking, which I already explained earlier. I think Steve interrupting is more related to the queer allegory and him representing conformity (jancy obviously representing byler and being non-conforming in its own right). The Demogorgon is the fear of queerness and Steve with his conformity bat is often able to defeat it (= there is no fear if you stop being queer in the first place, or that's the idea here). The bat (and baseball overall) is associated with Lonnie and forced conformity. Somehow Lonnie manages to be both the bad side of conformity and the bad side of non-conformity.

Our next light bulb is in S2E6 when Steve looks for Dart in Dustin’s storm cellar. There’s a ton of motifs here and I’ll explain some of them more thoroughly later. First, Steve opens the door to the cellar. Opening (and closing) doors is a big thing in ST and I might eventually make some kind of compilation and theory of it but the basic idea is that 1) in the queer allegory it’s about opening the closet door. 2) It might be about Lonnie opening the door to Will’s room and coming in uninvited (this was mentioned in a theory I read which will be linked later). Will has a “NO TRESPASSING” sign on his door and you need a password to get into Castle Byers. 3) It’s about opening “doors” to forgotten memories of the abuse.

Next, Steve goes down the stairs. There will be a section explaining the underground metaphor later. Then, he turns on the light bulb and finds the shed skin of Dart (implying it has grown again). He lifts it with his bat. So here we have Steve, the light bulb, Demogorgon and bat all together (all of them are associated with Lonnie). Steve uses the bat to avoid touching the shed skin himself and the bat is often used to fight the Demogorgons. Like I said, in the queer allegory this could be because conformity can repress homosexuality but I’m not sure how to interpret it in the trauma allegory. Maybe it’s kind of surrendering to the dad’s will and doing what he wants, which supposedly makes the situation easier (Lonnie wants Will to play baseball and Will agrees to it even though he doesn’t like it). The Demogorgons are never completely defeated with a bat, just temporarily weakened. 

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Next, Steve and Dustin discover that Dart has escaped by digging a tunnel (more underground related stuff + the tunnels are a major element in S2). The tunnel leads to a forest and finally the camera pans to a night sky with a moon while Dart growls. As you may have noticed, in S5 “the woods” is pretty important and I will come back to that eventually. The moon I will discuss sooner. I guess one thing I could say now is that El escaped the lab through a tunnel and ended up in the woods. Like I previously mentioned, El and Dart are kind of two sides of one coin. They both represent (Mike’s) homosexuality and trauma, are first small but grow (S4E9 [Mike] “And it [T-shirt] was so big it almost swallowed you whole.”), are connected to the supernatural, are first innocent but later seen as “monsters” and when the boys are looking for Dart in the school (S2E3), El is there too (with keys behind her).

The only light bulb I noticed in S3 was in episode 5 when Hopper and Joyce investigate Hess’s farmhouse. It’s above a bed and under that bed they find a staircase to the basement where Alexei is working. I think the bed is related to some of the abuse happening on a bed, which would make a lot of sense. Once again the light bulb is at the scene of the crime (like the shed light bulb) and leads to a discovery (like Holly in S1E3 and Steve in S2E6). This time there’s no Demogorgon, though, but Russians. Russians and Demogorgons are related and represent similar things. If you remember in S1E5 when El hears the Demogorgon for the first time in her void space, she was spying on a Russian man.

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There are quite a few light bulbs in S4. There’s one (not turned on) in E2 at Reefer Rick’s boathouse at the start of the scene where Eddie tells about Chrissy’s death. This is when the party learns about the new supernatural threat for the first time (and Fred has his final trauma vision and dies). Maybe the light bulb is off because the plot is only starting and the really bad stuff is to come.

The most important light bulb in S4 is in the Creel house attic. We see it first when Victor tells Nancy and Robin about the curse. His vision of the burning baby (= childhood innocence) is followed by him saying “I suppose all evil must have a home.” and the visual of a younger Victor going upstairs and turning on the light bulb. He investigates the attic and it’s implied that the “demon” lives there. Victor being the dad, him killing a baby and being suspected of the Creel family murders is purposeful. “The dad” is the demon who turns on the light bulb. 

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S4E5 begins with Mike, Will and Jonathan escaping in Argyle’s pizza van. A military man turns on a lightbulb in El’s closet and they start raiding the Byers’ home. The light bulb is once again associated with investigation and something bad happening. It is in a closet like the light bulb in S1E5 behind Lonnie. The closets obviously relate to the queer allegory but you can hide many things in a closet – not just your sexuality. It being El’s closet might relate to El’s trauma, which is in essence Will’s trauma.

Later in the episode El is in her lab memory, where she tries to turn on light bulbs on a ring. She struggles but eventually succeeds a little. Right after that she gets flashbacks to the massacre and her bloody hands (implying she killed people / did something bad). Turning on a light bulb led to El discovering buried traumatic memories and getting some of her powers back. El’s powers seem to be tied with her trauma since she gets them back by remembering it. All of her lab memories interspersed throughout S1 were showing both her/Will’s trauma and advancements in her powers simultaneously. The stronger she got, the closer she was to the Demogorgon and the worse her trauma memories got. In the queer allegory El’s powers are queer love and while she is in the Nina project, Mike and Will are repairing their relationship. And, like I’ve said many times, the trauma allegory and the queer allegory are very interconnected. Mike and Will facing their feelings for each other also means facing the trauma. Or, in other words, facing the homosexuality predator monster aka Vecna.

And where is Vecna? At the light bulb, of course. The party finds him by following the lights to a single light bulb in the middle of the attic (the same one Victor turned on). In the Upside Down, Vecna is hanging from the vines, his body in the same spot as the light bulb in the normal world. This establishes the clearest connection between the abuser and the light bulb in the series, in my opinion. Essentially, light bulb = Vecna = queerness/abuser.

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The church in S4E9 has so many light bulbs. There are these more traditional light bulbs and also lamps of different shapes. None of them were on in the earlier church scene in S4E4. Joyce and Hopper’s romantic scene at the beginning of the episode has lamps but not the normally shaped light bulbs associated with the abuse. I have to mention this framing of a lamp between them, where Joyce is in front of an angel painting and Hopper is next to the blue-white MW705 boxes. If this ain’t byler foreshadowing (and Will being “like an angel”) I don’t know what is. ((Actually that's not exactly what this is about but I can't tell you what it is yet. This is close enough.)) In a later scene with the whole group, they discuss the kids’ situation and make a plan to help them. This scene has plenty of those traditional light bulbs. I probably could make an even more thorough analysis of the scene but I decided not to. 

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The final light bulb I noticed is at the start of the epilogue. It isn’t exactly a traditional light bulb but a street lamp shaped like one and since it covers the screen pretty noticeably, I think it matters. At the same moment the lamp is on screen, Robin says: “It’s been a while.” Yes, it has been a while since the trauma (light bulb) happened. She follows with “I wonder… I mean… Do you guys… even remember me?” Now the lamp is out of view, “forgotten”. I think this is about Mike and Will forgetting the trauma, and that’s pretty evident from the vibe in the epilogue. It’s as if nothing was ever wrong in the first place, but there’s this unsettling feeling that it’s not quite right and everyone is just pretending.

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Back to Lonnie analysis

So that was a long side tangent. Do you still remember where we left off in the Lonnie scene analysis? Lonnie was arguing with Jonathan at the Byers’ home. He orders Jonathan to take down the Evil Dead poster, because “it’s inappropriate”. In a S1E2 Jonathan flashback Will is framed with the poster and they talk about how Lonnie forces Will to do things he doesn’t like. The poster depicts a woman being choked and the next scene opens with Mike complaining “Ah! Dad, you’re… you’re choking me.” 

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There are quite a few choking scenes in Stranger Things and it might be something Lonnie did to Will. It could also be metaphorical and represent the “suffocating” environment the dad has created. He is in control, violent and prevents the child from breathing (= being free). The child might even feel like dying. I won’t do a super long analysis like with the light bulbs but I’ll compile all the examples I found here:

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Breathing seems to be a recurring thing in ST and it means something. Even in S1 hearing Will’s breathing was an important plot point, Hopper telling Sara (and Joyce) to “take deep breaths in and out” and the UD air being toxic to breathe. In S2, the first word in Terry’s word list is “breathe”, in S4 Hopper is suffocated with a gas mask as torture and in S5 Nancy describes her relationship with Jonathan (or the shared trauma aspect of it) “suffocating”. There are some quotes from different seasons relating to breathing or strangling: 

  • S3E8 Joyce hugs Will so hard he can’t breathe [Will] “Mom, I can’t breathe. You’re suffocating me.”
  • S4E2 [Steve] “Do you want me to strangle him or do you wanna do that?”
  • S4E3 [Angela] “I can’t breathe.”
  • S4E4 [Robin] “I can’t breathe in this thing, and I’m itchy. [...] Because shortly, I’ll be dead from strangulation.”
  • S5E4 [Derek] “I want you to close your eyes and focus on your breathing. Breathe in and out. As you continue breathing, I want you to picture yourself on a beach.”

In summary, I think breathing is something freeing and nice while suffocation is the opposite. But I may have to analyse this more at some point.

So, back to S1E5, everyone is getting ready for Will’s funeral. When the funeral is ending, Joyce gets a flashback to Will drawing Will the Wise attacking bad guys with green fireballs. The connection to Lonnie (and UD creatures) has been explained well in the Lonnie theory already, so I’ll focus on the color symbolism. Here, Will only having green crayons makes him defenseless and his attacks towards the “bad guys” (abuser) ineffective (Joyce comments the fireballs look like cabbages, so not very threatening). In this instance, green probably signifies conformity, pretending to be okay, accepting the situation and not fighting against it. The opposing color is red instead of orange, though. My current understanding is that red signifies the trauma + there’s a blue-red color coding which I’ll explain later. Based on the context of this scene, red (as the opposite to green) could be telling about the abuse to someone, but Will feels like he doesn’t have that option (= doesn’t have a red crayon). He can only pretend everything is okay (= green). The flashback is followed by Hopper investigating the lights in his home (explained previously), connecting all this to light bulbs and Papa spying on everyone. So maybe the metaphorical reason for why Will doesn’t have red crayons is that he fears the consequences of telling the truth, that Lonnie will do something bad. Joyce suggests buying new crayons as a solution. Maybe this indicates that she will help Will and by disclosing the trauma to her, Will gets his voice back and won't be so alone/defenseless anymore.  

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In the next Lonnie scene in S1E5 he has taken the Christmas lights down and is fixing the hole in the wall, metaphorically closing the connection/communication between Joyce and Will. In the previous scene Hopper gets new info about missing hunters and there’s a light bulb (off) behind him. The hunters disappeared near Mirkwood, which is the place the Demogorgon and El came from. One of the hunters is named Henry. So, “Henry” was there when El appeared and he was a hunter (predator), who disappeared into the woods and was never heard of again (apparently killed by the Demogorgon). Interesting… 

The Lonnie scene ends with him saying “Ought to be held accountable if you ask me.” (the irony) and him hammering the nail transitions to Mike puncturing a hole in a paper, representing the gate opening. So basically they are telling us that Lonnie is responsible for the gate opening. [Mike] “It would take a lot of energy to build a gate like this. But that’s got to be what happened.” (= the Department of Energy with their sexual electricity perhaps?). In the previous scene Lonnie is “building” and remember how he is “a construction guy”. Mike using the word “build” instead of “open” could be about this. Then the boys try to figure out where the gate is and Dustin discovers a compass could lead them to the gate. The scene ends with El looking concerned and cuts to Lonnie showering, implying that Lonnie (in the shower) is the gate.

Why would they show him showering if it didn’t mean anything? That’s kinda random. Well, in S1E6 Nancy gets flashbacks from the deer and her experience in the UD when she is in the shower. In S3E2 Billy showers and gets visions of the Mind Flayer and his connection to it strengthens. Later in S3E3 El uses the sound of those same showers to enter her void space and look for Heather. In the same episode Hopper (= a dad) has a very similar shower scene to Lonnie in S1E5. I think (and this was mentioned in other theories as well) that the shower is one of the places the abuse happened in. ((There was also a shower scene with Steve, Billy and Tommy in S2E4, where Tommy bullies Steve about losing Nancy to Jonathan, who he refers to as the freak’s brother. The shower has an orange background and Will was mentioned, making more connections between shower, orange and byler (through jancy).)) In the following side tangent/section I will explain the larger connections between bath/bathroom/shower/water and the two allegories.

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Bath and water

Bathrooms are private places where people are vulnerable and naked. In my understanding a bathroom is also a typical place for CSA. Then there’s the symbolism of water. At least according to the blog post I’ve tried to get people to read, water is a metaphor for feelings in the queer allegory. With the same logic I’ve been using throughout this whole theory, water would be a metaphor relating to the trauma in the trauma allegory, right? And it does fit; I think water represents memories. Baths are associated with traumatic memories and can be filled with water (expanding on that soon).

First, toilets (might have missed some, as always). In S1E8, Will coughs up Dart in the toilet. In S2E1 Nancy cries in Barb’s bathroom for her (Barb was killed by the Demogorgon). Later in the same episode Will is in the bathroom when he hears a storm outside and finds himself in the UD. In S2E2 Joyce can’t find Will and panics but he was in the bathroom peeing (= water leaking = feelings/memories leaking maybe?). In S2E3 Will finds Dart in the school bathroom. In S4E1 Chrissy (and the audience) encounters Vecna for the first time in the school bathroom. While the bathroom is still on camera, Eddie narrates “The devil has come to America.” subtextually referring to Vecna. In S4E7 we learn that Henry found black widows in a bathroom vent. He described this as a “discovery” and “a newfound sense of purpose”. The spiders inspired him to become a “predator”. So, there are multiple instances when a bathroom is associated with UD creatures.

Then there’s of course the whole “Dick” plan in S5E4 where children are saved (or kidnapped) through the bathroom to the tunnels. The party pretends to be Mr. Whatsit aka Vecna in disguise aka the abuser pretending to be friendly. Then the pipes start to leak and Mike and Will try to stop the leak. I think the gay feelings metaphor of that has been discussed in the byler community quite a lot already. But the other metaphor not so much (= traumatic memories leaking). Their plan was to get the kids to “Dick” but then it was interrupted by the military (who try to prevent remembering traumatic memories) and finally Vecna (= abuser/trauma/fear) overpowered everyone and got the kids. Again, a bathroom lead to supernatural monster stuff happening. This time worse than ever and the connection to the real trauma was the most obvious it’s ever been. ((In the queer allegory Mike’s feelings are leaking, which notifies the military who try to prevent homosexuality altogether. In the end they fail and Vecna appears (= Mike fully realizes he is gay and that scares him like nothing else).))

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I guess the only important bathroom scene that didn’t involve monsters (that I noticed) was Robin’s coming out scene in S3E7. Well, there was the transition into that scene linking the meatflayer goo to Steve’s vomit which he flushes down the toilet. In S5E6 Nancy confesses she “flushed the last bag of Purple Palm Tree Delight down the toilet, and didn’t feel guilty about it after”. Jonathan uses the weed to run away from his problems so Nancy flushing it down the toilet marks a turning point. Nancy and Jonathan finally tell each other the truth about everything. In Steve and Robin’s toilet scene they had been drugged and after vomiting the drug out, they notice “the ceiling stopped spinning”. They too confess truths and connect on a deeper level, becoming good friends. The meatflayer goo might represent fear/trauma and it “going down the toilet” is Mike/Will finally facing the truth (= ceiling stops spinning, they are sober now). The toilet (associated with the trauma) is the truth and so is Mike’s queerness (Robin coming out). This time the outcome is positive, because Mike is ready to face the truth, no “drugs”, no running away, no overpowering fear. S3 has a lot of foreshadowing for the ending, btw, and this is one example.

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Then the actual baths. An obvious one is the lab’s sensory deprivation tank, which El calls “the bath”. There’s even an episode with the name “The Bathtub” (S1E7). The bath is where her powers are strongest (water = feelings/gay love powers and water = trauma memory powers). There are a couple scenes that would seem very suspicious out of context. In S1E5 El has a memory with Papa (the cursed drawing behind her):

[El] “How far, Papa?”
[Brenner] “Farther than we’ve ever gone before.”
[El] “The bath?”
[Brenner] “Yes. Yes, the bath. Is that okay?”
[El] “Okay.”

That was the first time she heard the Demogorgon (and maybe even saw it, but it wasn’t shown to the audience). In S1E6 we get another scene in El’s room (with the drawing) where Papa visits her when she sleeps, gives her purple flowers and says this: “Today is a very special day. Do you know why? Because today, we make history. Today, we make contact.” He boops El’s nose on the word “contact”. I think you can imagine what these memories are really about. This “contact” was the Demogorgon (= dad) and Papa (= dad) manipulated her to contact it. Purple is apparently about illusions and blinding you from the uncomfortable truth (prismatic spray in S5, Purple Palm Tree Delight in S4, etc.). I think the flowers could be a clue that this scene wasn’t what it seemed but had a secret meaning.

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In S2E4 Mr. Clarke gives a lesson as we are shown Will being afraid of the bath: “We’re very much the same. When we encounter danger, our hearts start pounding. Our palms start to sweat. These are signs of the physical and emotional state we call… fear.” Will is starting to remember the trauma in S2, and now fears the bath. In S3E3 Max and El find out that Billy put Heather in an ice bath, implying the bath was related to her flaying. She calls for help in El’s void space but is pulled into the bath (= traumatic memories). 

Murray has an ice bath in S4E1 while on the phone with Joyce discussing the Russian doll. They emphasize the doll’s creepiness and Murray mentions how it “could be a threat” (which indirectly associates the (ice) bath with danger). There are quite a few sexual jokes (typical of Murray) in the scene but paired with a doll (representing a child) they have a darker subtext. Now, imagine Murray (a man) and Joyce (a mom) together form the dad and the doll is the child. There’s a bottle placed very intentionally when Murray asks Joyce if she can undress the doll, then when she comments on it having nipples, Murray goes “Ahh! Yeah!” (while in the bath) and finally instructs her to “smash” the doll. This cuts to Jonathan hammering (= smashing) nails, kinda like Lonnie did in S1E5. 

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In S4E4 Victor tells about “the demon” and after he says “And it was even closer than I realized.” we are shown Virginia trying to fill a bath. She sees spiders crawling out of the drain, which is implied to be the first vision “the demon” shows them. While the camera focuses on the bathwater, Victor continues: “This demon, it seemed to take pleasure in tormenting us. Even poor, innocent Alice.” So, the demon (abuser) “took pleasure” in tormenting the victim – in the bath. Victor’s own reflection becomes clearer as the water settles, suggesting that he is (= the dad is) the demon. This coincides with the line about Alice, an innocent kid, who in the next shot wakes up screaming on a bed (we never find out what she saw, btw). She was also the one who found the dead rabbit.

In S4 there’s obviously the Nina project, a big sensory deprivation tank where El gets her powers and memories back. In S4E8 she demonstrates them by lifting the tank into the air in a very controlled manner. The trauma (bath) doesn’t control her anymore, she is in control of it and stronger than ever.

In S4E9 the Cali gang builds an impromptu bath for El in a pizza dough freezer (I know pizza means something and it’s been a thing since S1E1 but I’m not exactly sure what, yet). Will and Mike fill it with water together (= it’s their (gay) feelings/(trauma) memories). Will and Jonathan have their Larry Lego conversation while stirring the bathwater. This is a funny story and bonding moment on the surface but really about the trauma (like all Jonathan’s stories tbh). After that Jonathan tells Will they should talk more and promises he will be there for Will no matter what (likely referring to Will’s sexuality). This is an honest and lovely moment between the brothers. So, they stir the bathwater, revealing traumatic memories (metaphorically) and tell the truth, which leads to connection and love (kinda like Robin and Steve’s toilet scene or the jancy melting room scene). Mike and Will need to face the trauma in order to truly connect.

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The main point of this bath was, of course, to have El use her powers to help Max. One notable thing here is that El takes off her extra shirt, now being in all white except for the pink flowers on her shirt. I’m not the best at flower symbolism, so maybe someone else can find what they mean. One thing I’m pretty sure of is that the red rose on the Creel house door symbolises (romantic) love. ((I also found another possible meaning for it in DnD lore, which I’ll share later.)) El (a personification of romantic (queer) love) is framed right in front of it when Vecna has her in his Mind Lair. So maybe the flowers on El’s shirt are related to this. 

Anyway, back on track, El does her thing in the bath until Vecna strangles her with a vine and Max starts to levitate. Mike decides to get her out of the bath. I think this was the trauma getting too much, they proceeded too fast (exactly what Brenner cautioned against). When they lift her on the table, Will swipes a radio off the way (= signals/connection). Mike’s love profession happens when El is not in the bath, meaning it is not the honest truth and even though El survives, the party doesn’t fully win. The bath is trauma but the bath is also love. In S5E8 El was also prematurely taken out of the bath (this time by Hopper). Maybe the ending would have been different if El stayed in the bath.

At the start of S5E2 Karen is preparing a bath while listening to Fernando. The song is about two old freedom-fighters reminiscing about a battle, which is very fitting for Mike and Will’s past. Will’s PTSD was explained using war veterans as an example after all. The Swedish version of the song has completely different lyrics and is about heartbreak. I think they may have intentionally chosen this song since it has both of these lyrics and they conveniently correspond to the trauma allegory and the queer allegory. And there’s the Sweden connection as well and the Swedish lyrics being about love, so all three allegories in one. The more obvious connection to trauma comes from the Demogorgon chasing Holly and Karen hiding them in the bath. The bath protects them, so maybe you could interpret it as love? Karen loving her child protects from the fear of homosexuality and/or the dad. But this love is also suffocating (like holding your breath underwater), which I’ll get to eventually.

There was another time Karen had a bubble bath, in S2E9. The lyrics of the song she was listening to (The Way We Were) are about bittersweet memories of a past love. This is very similar to the S5 scene and song choice, especially if you consider the Swedish version of Fernando (S5 has a LOT of recycled stuff from earlier seasons, on purpose). These two lines caught my attention: What's too painful to remember / We simply choose to forget. Painful memories and a bath, this is definitely a pattern. The bath scene in S2 leads to Karen meeting Billy for the first time and immediately being attracted to him (bath -> love). This is a forbidden love, though, and parallels byler (Karen Wheeler = Mike and Billy (William) = Will). Karen and Billy’s interaction helps him find Max and ends in him fighting Steve (bath -> bad things). I think I could go deeper into all this and the songs but I’ll leave it here for now.

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In S5E6 El looks for Will in her void from a bath, repeating S1E7. Before that, Mike and El have their main interaction number 2 of the season at the bath. El first tries to avoid Mike’s questions but after sitting next to the bath, she tells the truth: Papa’s program is getting restarted and her blood is a possible source for new “monsters”. ((Blood transferring powers aka homosexuality and creating monsters is probably related to HIV transmitting via blood. Henry/One/Vecna = HIV and gay people were strongly associated with HIV especially in the 80s. This heavy stigma is one of the reasons homosexuality is such a scary monster in ST.)) This is, again, a moment of honesty and abuse being mentioned next to a bath. Mike talks about leaving Hawkins, which is the true solution (kinda, more on this and this scene overall later). Btw, the bath lid is a repurposed door. During this conversation a door is literally open. Another point for both of the cabin bath scenes is that they are preceded by Nancy and Jonathan in the melting room. The first one is right after they climb on the table and shout for help, and the other is after the room solidifies, saving them. In between the bath being prepared and El going into it, jopper talk about raising kids (and always making the wrong choices), Mike and El have the conversation I already mentioned, Max and Holly find the cave memory, Robin tells the truth to Vickie (and she is worried/angry), Dustin and Steve reconnect (Dustin telling the truth saves Steve) and jancy have their confessions scene in the melting room. Many important conversations, finally being honest, and traumatic memories (cave), just like the S4E9 Will+Jonathan bath scene but on a bigger scale spanning multiple scenes.

Continues in PART 3.

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u/raspberry-3 — 13 days ago