Thinking about how people who only (or primarily) understand Mike’s arc through a “hes queer and coming to accept it / struggling with heteronormativity/will get his happy ending when he gets with Will” lens are missing at least half of what defines his arc in the wider context / themes of the show.
Forewarning: long post (& also maybe an unpopular opinion)
Even as a queer person myself, I know that his arc isn’t solely about embracing his queerness (though it’s inherently interlinked). In Mike, you have a character who is being radically challenged by both external circumstances and his own decisions through a journey away from all kinds of forced conformity (social, familial, romantic & heteronormative) and into someone self actualized enough to live how they want…while also being strong enough to accept that they made mistakes along the way. Someone who is learning to be brave enough to say “this is who I am, what I enjoy, and what/who I love…and while it took me a lot of time to figure it out, now I can exist in the world embracing that even though it will take consistently resisting the tendency to accommodate people who think it’s unacceptable.”
Like. Even from a time before puberty (see: S3) Mike wants a life that stands apart from what’s expected of him in every area, not just in choosing a romantic relationship with another guy. He wants to continue to be a nerd and “child at heart” even though something else is repeatedly demanded of him by everyone from his parents to El in his romantic relationship. He wants to be a writer and someone who takes those nerdy interests into his adult life (cue aggressive gesturing toward the duffers themselves) and grates against all that’s been constructed for him even when he’s not (yet) brave enough to challenge it directly. Mike liking boys/loving Will is just “the final nail in the coffin” of his social and societal nonconformity—not the first (or the last) aspect of what makes him different from Hawkins or the life he was made to believe would suit him best.
Even the fact that Mike has a desire to be “normal” comes from an insecurity and fear that choosing what he truly wants will lead to him being outcasted and losing the people he cares for entirely—which is partially motivated by his queerness yes, but that also has a basis in his general interests and personality…which becomes especially obvious when you realize we are repeatedly shown that he is punished/has his wishes ignored in all areas he doesn’t conform, even long before we get into a plot where it’s clearer he likes boys.
We see it in how his parents have already started to demand he put boundaries on the time he spends playing his “childhood games” the very first scene of season one, how they demand social acceptable emotions from him when Will is missing, and how Karen & Ted want him to give up toys in S2 when he’s showing signs of depression (because they think the issue is him growing up, not that he’s struggling with loss or guilt for what happened to El).
We see it in how his own father comments about taking his CA trip away from him after calling Hellfire being a group for “dropouts” in S4 (implying that he is failing on an academic and social level that matters to wheelers—and that Nancy is good at).
We even see it in the way everyone from his bullies to his own girlfriend threaten and take things away from him when he doesn’t conform to social expectations...from Troy telling him to jump off the cliff to save Dustin in S1 (as punishment for the one time Mike stands up for himself in the gymnasium) to El jumping straight into breaking up with him and spying on him when he doesn’t do exactly what she wants him to in Season 3.
All of these moments are critical to understanding Mike as a person because they show us that, even without addressing his queerness, Mike’s desire to conform to socialized expectations involves but is not solely about him moving out of heteronormativity—it’s about him moving against everything that WASP, patriarchal, heteronormative and capitalistic and performative “wholesome American” values…and how he is learning to move past the fear of what will happen if he steps outside the lines in general, even though he already knows he hates those standards.
Mike’s “coming of age” arc is about finding the strength to choose the “path less traveled” in all areas of his life—even when it means (potentially) losing the support of the people he cares about. It’s about starting from a place of privilege and becoming okay with being outcasted from it in a way your insecurities never let you be before (which is inherently different than Will, who has always been shown to have some kind of support not just for his queerness but his artistic endeavors as well). Mike’s lack of support is why he starts from a place of deep insecurity, yes—but it’s also why him learning power of choosing to be himself, even if it means “losing” people when he’s honest about who (& what) he is will be universally powerful.
You don’t need to be queer to understand the power of what it means to know you will be okay even if people leave you. You don’t need to be queer to understand the power of stepping outside social expectations or your family’s way of raising you. You don’t even need to be queer to understand the weight of breaking up with someone you were only with to satisfy what you thought you should do, rather than be with who you want to.
The power of being strong enough to overcome your insecurities in order to “step out of line” and live and love as you want to is universal, and a stunningly brave choice no matter what or why you chose to do so. The fact that Will will be there waiting to love him in that honesty with himself is beautiful, yes—but it’s not the only lesson to be learned for Mike’s character.
Mike starting out with everything the world (or, at least America) tells would make you happy, realizing he is not happy with those things and rejecting them knowing it might have consequences is what makes his arc powerful, because he is learning (exactly like his sister Nancy) to be brave enough to accept those consequences (which for him are getting dumped, and feeling like he’s being left behind by some of his friends) to follow his own heart.
Even though The Duffers aren’t writing this into a tragic ending (aka: he’s not going to die or be left alone, because the duffers writing is inherently designed ro champion the outcast), these are the things that have (and will) make him relatable even to an audience that doesn’t know queerness. Erasing the fact that his lesson is the bravery it takes to follow your heart solely to talk about him liking guys (even Will) is to undermine his humanity, and the lessons to be learned from him by even the most general an audience.
TL:DR - the heteronormative aspect of Mike’s character is not the sole or even inherent issue within Mike, though heteronormativity is inherently built into his struggle.
There are deep dives on how his arc is also about a war against toxic patriarchy, toxic masculinity, emphasis on capitalistic and academic accomplishments over artistic ones, and even conformist relationships (whether they’re queer or not) that should be explored for his character—and I for one like him too much not to move out of just “this boy is queer because xyz” and into “let’s talk about Mike in terms of the wider scope of his cultural context and upbringing.” 🤷🏽♀️😂
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thinking abt what you said with house viewing Benny as a son and I’m obsessed. Like. The man spent most of his life before the war presumably alone, and then after the bombs fell he was alone again, save for AI he himself devised. Then he decides to pull in some Tribes, and one kid shows promise! So sure, treat him well, train him, groom him to be his protege, then next thing you know UH OH he’s got developing paternal feelings towards this guy. Wanting some semblance of a family when the time has long since passed, yet fostering that feeling all the same seems so accurate for him. Benny meanwhile only views him as a boss, and not a particularly good one at that. makes me wonder how House must’ve felt when he found out about Bennys plans
I view it as House blames only himself for this, cause he kind of does in canon (strap in this is a long one).
When reflecting on the issue of Benny, House chastises himself first and foremost for not acting quickly enough when it comes to priming Benny. He describes Benny as being ambitious, ruthless and capable; compliments coming from a man like House. House has an ego and while he is logical enough to understand there was never any evidence Benny saw him as a father-figure, he lacks the humility to admit he let his own views on his relationship with Benny blind him to the activities happening behind the scenes.
I doubt that House was as aware as he makes out about what Benny was doing, he knew early on but certainly not early enough to stop Benny from hacking and obtaining a securitron along with getting the chip in the first place. I take it he was distracted by all the possibilities he was calculating of Vegas' success and growth with him steering and Benny as the new figure head, not because of any normal affection for Benny but the admiration of his capabilities. It's to be noted that House believed menial incentives (likely caps, booze, basic needs, etc..) were enough to keep Benny tame like the other Chairmen but, as evidenced by the Omertas and Mortimer in the WGS, this is not enough when it comes to more driven Vegas citizens. This implies he still undervalued Benny and created a space in which Benny felt the need to rebel.
House in my eyes is not sentimental in the traditional sense. I can imagine his pride was severely scorned as someone he certainly deemed dumber than him was, albeit only for a little, able to out-gambit him. It would definitely hit home seeing how his brother also betrayed him but I feel like that's why he's so apathetic when he tells the Courier to do as they see fit with Benny. I doubt the way he terrorized his brother brought him any emotional satisfaction other than a "Now who's in charge!" ego boost. Putting that same emotional intensity towards Benny isn't worth it because who does it benefit? Wasted time, wasted planning, and most importantly wasted potential are all he gets from continuing to be hands-on with Benny. I say the closest example is not being able to throw out old toys due to the memories attached but knowing it's necessary as they are broken or just taking up space for new ones, and then asking someone else to do it so you don't need to get caught up in the feelings of throwing something you put so much effort into. It's not Benny House cares about in my mind, not in a way that sounds healthy to any non-emotionally constipated individual, but what he could've represented for him, which is why he so quickly offers the same position to the Courier.
As for Benny's view on all of this, it was a long time coming. Benny didn't and doesn't believe House is a completely shitty boss. He admires what he's been shown and admits House knows how to run the strip, but disagrees with the directions. Ideologically, House is an anarcho-capitalist while Benny is just an anarchist. House wants to run the strip to profit, though money is not what he's concerned with being rich with anymore. Benny wants a free state that he wishes to become a place for the people, except for the Chairmen who would be on top (I like to remind people that Benny's motives were selfish but not for personal gain/power as was it for the people he actually saw as family). Benny was never looking for a father but a future. He was not interested in being adopted, or having the chairmen adopted, as bigger names still overshadowed in House's legacy.
Truly, it's easiest to summarize as House feeling strongly and thinking positively enough of Benny to start incorporating him into the future of Vegas (a huge honor actually) while Benny was so disillusioned by House's ego and indifference that he thought the only way Vegas could be the future is with House gone.
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Drawing Five according to his canonical UaO epilogue description is so messy and saddening because there's so much to account for that got him physically fucked up and you know the writers were hammering in this whole disfigurement as punishment thing with him
Because first you have the eye hole where Marina pierced him, and I'm not sure if he's still wearing that gauze eye patch on the island because eventually it'll get dirty and he'll have to toss it
Then you have the scar marks from when Setrákus Ra clawed right through his metal skin "like butter" and it's not mentioned whether those marks are still there or they disappeared when he returned to his flesh skin (and it's doubtful those were healed at all, we don't even know if Marina had a proper visit and talked to him and possibly healed those away)
Then you have the goop that created some patchy spots all over his skin and show up all web-like on him
And then how it's implied he starved on the island because he lost weight so fast and is described to have flaps of skin on his arms and torso and a body so skinny you could see an outline of his ribs and spine
Bro he has so much physical trauma on him, like they did the most on him and left it like that till the very end
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Many relationships beautifully presented:
Two people who want to move on from their past but were stuck somehow, finally found the courage to leave their past and start anew (Jim-Wen)
An adult who is still learning and a teenager who knows what he wants in his life (Jim-LiMing)
A man who doesn't run away from his responsibility and a woman who is strong to face the test of time (Leng-Preaw)
A mom who loves her kid unconditionally despite her not being there for him most of the time and a child who puts his mom's happiness as first priority. (LiMing's mom - LiMing)
Two people who is trying to bury their hurting heart and go on with life (Alan-Gaipa)
A son who treasures his mom a lot and a mom who did her best for her son's good future (Gaipa and his mom)
Parents who never realized their fault but once they understood it, did their best to correct their mistake (Heart's parents)
An employer who thinks of their employees as their family and the employees who are faithful to their owner (Jim-Leng)
Two siblings who were brave enough to run away from home to chase their dream, who are not always together but are there for one another in need. (Jim-LiMing's mom)
Two teenagers who are bonded in such a beautiful way, love has no language as music, it's what the heart feels. Actions speak volume, words are not always necessary. (Heart-LiMing)
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Some more details about my space jelly "gal" + more in-depth Metamoran language headcanons!
Going with she having become mostly accustomed to common language, she'll speak in third person and forgo using pronouns like "i, we, us, you, etc". Why? It's because of how her mother tongue is structured.
As I touched upon before, Metamoran pronouns place more emphasis on interpersonal matters: ties between one another, statuses, and relations involved. They're more like kinship signifiers, you could say.
As one example, a Metamoran child would use a specific pronoun for themselves that highlights their younger age when they're speaking to an elder, while the elder would use a pronoun that highlights them being older than the child. If the elder has a title or rank, the child could use that as a form of address too.
Another example is when two family members are talking to one another. There's a different set of pronouns that still highlights the child's and elder's ages, but they also signify whatever specific relation they may have via generation (child & parent, niece/nephew & aunt/uncle, grandchild & grandparent, etc). On the other hand, Metamorans born in the same generation speaking to one another use more informal, affectionate "you" pronouns that highlight one being slightly older/younger than the other. Direct siblings use specific pronouns for their cases.
There are some pronouns that take on different meanings depending on mood or context as well, like how someone in common would use "friend" in a sarcastic way when in an argument or confrontation with someone else.
In the instances where the speakers were born on the same day at the same time (very rare), they don't know one another's age, or there just isn't other pronouns applicable to their circumstance, the Metamorans will use their name and the others' names as substitutes. Aka, they'll do the common language equivalent of talking in third person. This is what my OC will do in common, since there are little pronouns in common that carry the same meanings and intents as the ones in Metamoran. It'll be her way of making sense of common.
(If there's a lot of familiarity between the speakers, family-based pronouns can be used with Metamorans unrelated by blood as well, but they're seen as very informal and even impolite/rude if the other speaker didn't consent to being addressed as such. It's always rude for a younger Metamoran to refer to an elder by name alone.)
So, "i" and "you" basically manifests into multiple variations. "I", "us", and "we" pronouns are grouped together, and relatively use the same terms. The same goes for "you", "they", and "them". Gender in the Earthling sense doesn't exist in Metamoran culture, so Metamoran terms equivalent to "mother, father, sister, brother, woman, man, etc" don't exist either. One could perceive certain Metamorans having more "masculine" traits while others have more "feminine" traits, but that's entirely subjective.
(Just in case it needs to be outright said: yes, Metamorans reproduce asexually.)
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