Fun fact: In the original pitch for Stranger Things, El had a little brother.
After being rejected by almost 20 studios for the Montauk pilot, the Duffers were finally green-lit by Netflix. It was at this time that they began casting and then writing the first season officially, which included reworking a lot of that first episode.
This led to the removal of the brother reference, and with it, removing any sort of arc El could have had about her apparent brother.
But the thing about this moment, is that it might not have been scrapped entirely...
Going into the final season, no one can explain why or how El recognized Will back in 1x02. And while there are plenty of things on the show that are left unexplained, with a small portion likely left that way with the intention to uncover it later, what sets this moment apart from the rest is that there are very few possibilities here.
Because for starters, the story presents El's ability to see people in the void in s1 as requiring either a picture of that person for reference, or having met that person before.
But when El see's this picture of Will, she's never met him before. Or maybe she has, but we wouldn't know because they never showed us. They could have just not done this scene at all, given that it's clearly a copy/paste/edit of something scrapped from the pitch. Or they could have even still included it, but explained it.
One explanation could be that the lab had shown El a picture of Will before, similar to what they did with the Russian agent they wanted to spy on. But then that begs to question, why would the lab show El a picture of Will? Why would they want to see what he was doing? That alone is incriminating in and of itself, implying that Will is more connected to the lab than we realize.
The only other, and frankly most likely explanation, would be that El stumbled across Will at some point on her journey between escaping the lab and Will going missing. This is actually something that happens in The Other Side comic, which explores all the things Will may have experienced during his time in the Upside Down.
Though it’s worth noting the comics aren’t technically canon, and I highly doubt they would outright spoil everything in relation to Will’s time there, years before it was intended to be revealed. But still, let's humor this for a moment given that I do think Will's time in the UD is going to be very relevant in s5, which means it's highly likely they will finally address how exactly El saw him.
Basically, in the comic, Will see’s El walking through the woods, almost apparition like, glowing as she passes by, while also sporting the Benny’s burgers shirt. This means they would have crossed passed within a short span of time, between when El escaped Benny’s when the agents arrived, but before she was found by the boys.
Though it’s worth noting that we’re seeing this all from Will’s perspective. This means from the UD, Will was capable of seeing El on the other side, despite them being on different sides. And not only that, but she also looks back at him.
What confuses me about this, is that it doesn’t make sense for El to be in the woods, only to randomly decide to pop in to the void for a moment. She was trying to escape the lab and everything that came with it. I doubt she had any desire to lurk back there for some reason, not until someone encouraged her to. Not to mention, it would make no sense for her to go there and see Will if she wasn't even looking for him in the first place. And so this would mean Will and El could see each other, with Will being in the UD, and El being on the other side.
While it does seem pretty far off, given that you would think Will and El wouldn't be able to see each other from different sides, it is true in the story that El not only recognizes Will, but knows that he is in danger. She mentions that he is hiding specifically.
Which means she has likely seen him within the last 24 hours regardless.
This, in combination with Will being able to respond to El in the void at the end of the season in Castle Byers, when no one else outside of Terry and flayed-Billy have been able to, seems to imply that there is indeed something special about Will that makes him capable of communicating with El from the UD. Not only that, but El also seems to have an ability to be in this constant knowing state of how Will is doing, without even checking again to confirm. She's just certain of it. And she seems terrified about it.
Going forward, El never uses a picture of Will to find him. She never did. And more often than not, they don’t show us what she see’s either, not until the very end. And that’s the moment they reveal that he was able to communicate with her.
Again, there was really no reason to have El recognize Will. If anything it complicates things. But the fact that they chose to introduce this concept, with a scene from the original pitch that was related to El’s younger brother, with her pointing at his name cryptically, startling Benny, only to revamp it and have El not say anything at all while pointing at the picture of Will, startling Mike… It just really makes you stop and think.
Which brings me to the other aspect of this that might have people doubting, which is that El’s brother was originally younger than her.
We know Will is not younger than El, so how could this apply to him?
Well, it might be helpful to consider that in the original script, El was actually 10 years old, while the boys were always 12. Meaning that for some reason, they decided to age her up to the age of the boys, aka the same age as Will…
Ever since @erikiara80 shared this brother discovery with me, I have been sort of reeling. It then led to other little discoveries of changes they made between Montauk and Stranger Things.
It’s important to understand that the Montauk bible and the original script precedes what we ended up with in the final product, with it finally changing and evolving months, maybe even a year since that original vision. Even casting occurred before writing started for the first season. We know this because casting announcements were made in June and August of 2015, with writing not starting until August going into early 2016, simultaneously while they were filming.
And believe it or not, what I've discovered is that a lot of the changes they made between their original plans and what we see in the final product, have to do with not only Willel, but also Byler.
If you've read the original script for Montauk, you'll know that Mike's crush on Jennifer Hayes was focused on right from the jump, along with the birthmark on his face being focused on, which was the main cause of the bullying he experienced.
This has actually been talked about recently, and some of the claims people make do fit with what I am genuinely starting to consider here, which is that the initial plan for what makes Mike an outcast shifted.
I think when they completed casting, and started actually deep diving into what they wanted this world to look like, both from a short-term and long-term standpoint, they were presented with some pretty interesting discoveries, arguably already hiding in their initial plans without realizing it.
And this is where it sort of becomes a 'chicken or the egg' situation. Because which one came first? Byler or Willel?
I can't say for certain, because obviously this is all just speculation. But in the case that Willel came first, I think Byler would come very naturally after that.
The Duffers themselves are twins. Then they hire Noah, who is a twin. Then they're thinking and planning for El's past and how her family all fits into this, and they're thinking... wait a damn minute... We could totally Star Wars this bitch!
And then when they think it couldn't get any better, they uncover another layer that they hadn't planned or really considered in their initial plans.
While Will was always going to have sexual identity issues according to the Montauk bible, meaning that the writing process for him likely involved sitting down imagining scenarios that encapsulated this arc for Will from the beginning, they were simultaneously now finding very interesting aspects of Mike's character that made it hard not to at least consider the possiblity that Mike is not exactly straight.
Just think about it. The Byers and Wheelers are basically polar opposites on the spectrum of what a family looks like. While Will's discovery and acceptance of his queerness is interesting to explore because he comes from a low-income, single-mom household, all while having been bullied for years based on his perceived queerness, he also has a mother and brother constantly reinforcing that they will accept him no matter what. They've been sort of hitting us over the head with it for years, and so it wouldn't be very satisfying for his entire arc to merely lead up to something we've known all along. It's pretty much a given at this point.
On the other side of the spectrum, Mike comes from a more upper-middle class family at the end of a cul-de-sac, more aligned with what a nuclear family looks like. Mike's family is also presented as being more conservative, and while Karen does give that very queer-coded speech to Mike in s1 (I'm convinced they only wrote this after deciding to explore queer-coding more heavily with Mike), it also comes with comments from Ted and even still Karen that hint that they are probably not as open-minded and accepting as Will's family is to him. Which means Mike's arc would be a lot more about acceptance around him from his loved ones who we have been led to believe might not be as accepting of his queerness in contrast to Will.
And so as they're putting this story together, and they're being presented with something very interesting. Two similar experiences that play out in different ways because of the characters circumstances.
Will goes missing, and his twin sister with a buzzcut pops up and has the ability to help them find Will.
This leads to several moments where El is being compared to as not only a boy, but Will as well.
Now suddenly, their initial plans to have Mike's arc be about having a girl be interested in him and to hopefully have his first kiss and feel like less of a loser, starts to look a lot like what the experience a queer kid in his position might encounter growing up in the environment that he did.
And if you don't want to take my word for it, just hear the Duffer's themselves hinting at what they initially planned for Mike and the fact that it changed.
The changes don't stop there.
Believe it or not, 'It was a seven', did not exist in the initial pitch. When the boys went outside bickering over Nancy, they leave right after that.
Another thing that changed from the first script, was Scott Clarke's introduction:
And so you might be thinking, who cares? What does that have to do with anything?
Well, it's interesting because the line we end up with on the show is arguably one of the most on the nose Twelvegate proofs to date. Mind you, this is from the first episode:
Why chuck the original version, which was arguably more interesting and fascinating in terms of it hinting at the mysteriousness surrounding this story, only to replace it with him listing off tips about their upcoming test?
Well, I think it's the irony of it all. Here Mr. Clarke is practically telling us where to look to figure stuff out for ourselves what is going on, with all the kids filing out and ignoring him...
I relate to Scott a litttle too much in this shot here, any time I try to drop Willel evidence.
And the changes go on, as they obviously would.
Things like Terry Ives not even being El's mom, but actually a man who more so aligns with the characterization of Murray.
And one very interesting one I almost overlooked was in Hopper's introduction, where instead of a kids drawing done by who we assume to be Sarah, we actually see a picture on the wall of him and his wife and daughter... Interesting that they decided to switch it something that is a lot less definitive in presenting what Hopper's past looked like...
If you've made it this far, congratulations.
If you still think I'm out of my mind, just remember that El was going to have a brother in the original script, but they scrapped the scene and gave a near identical one to introduce her connection to Will instead 😘
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Protestors consistently ruining the Macy's Thanksgiving Parade footage is actually really great & keep boosting their footage when you see it
Every company featured in the parade sets up a contract (similar to the super bowl) where they buy a spot to then get a l a r g e endorsement via placing their ad on a float or in a balloon. Within the line up this year McDonald's, one of the biggest pro-genocide donators, got a large balloon rather than a float. This is important because balloons gets more air time than floats because of their size. On top of that floats may not have guests performing & paying for someone to perform; ideally McDonald's wanted to have a longer air time with their balloon without paying an hourly cost for performers. More air time = more ad revenue = more eyes seeing them = more customers.
The move by pro-Palestinian protestors to jump in front of McDonald's does 2 things:
1. McDonald's is getting less air time than what they were contractually promised, it'll be up to them to request what is owed (because it depends on the agreement made) by Macy's to them
2. And it messes with NBC's obligations with Peacock as the 2nd most important party of the parade + 3rd party in all contracts
So while McDonald's loses money and Macy's is scrambling to figure out how to loophole their way out of not losing money to owe McDonald's, NBC gets fucked too.
Since Oct 7, 2023, NBC has been one of many US news media outlets who actively lied to the US masses. But why do they matter for the parade? Their job is to be the main outlet who records and then uses their main platform, Peacock, to stream the parade. If protestors are seen throughout all your footage, delay large portions, and cause enough disruption to the footage being aired- that means they don't and won't immediately have their show footage ready to go.
Peacock does an offer every year to new customers to watch the parade for a $1.99 USD (not including taxes) monthly plan that can be canceled at any time with the first month free; but in the last 4+hrs after the parade aired people aren't going to stay for the year because their is no footage as promised. I actually have been checking throughout today and it's not available at all.
So not only is McDonald's going to be hemorrhaging alongside with all the other companies whose footage got cut or edited out to match the contractually obligated run time & censor protestors, but both NBC and Peacock will be losing money with each minute they don't have enough footage and a full stream to air- which is money that Macy's was also supposed to get a cut of. Which btw it's now 5pm cst the same day and there's still no footage - which is a $ problem for Peacock & NBC when folks prioritize now finding a service to watch the Superbowl > Parades.
Do not be surprised if Macy's stuff becomes more expensive and the possibility they'll change which news media outlet + streaming service covers the 2024 parade occurs. And yeah, McDonald's is going to become more expensive than it already is long term. Everybody who were financially complicit in the death of 14,000+ Palestinian men, women, and children will have a financially shit end of the year and rough 2024.
In short, despite the arrests, the protestors who sat & glued themselves to the parade route and those who stayed in the crowd to hold up flags and signs throughout really won. A 4 day cease fire for a very obviously one sided genocide isn't enough & tons of rich people are learning the hard way (as I post) that this is the beginning of their punishment by the universe for the actions.
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SONIC LOOKS SO PRETTY AND EXPRESSIVE
I’m literally in love with how Sonic was animated in this trailer
The way we see his quills moving and reacting to the environment he is in, they feel like they’re actually apart of his body and they aren’t just laying on his head.
His mouth moves again FINALLY. It’s small but his mouth isn’t restricted to being so far on the side of his face and I love that.
The reflections in his eyes looking at Amy’s cage and that he actually looks back at her while he’s being ambushed instead of just standing there. He’s acknowledging all of his surroundings.
THIS GIF RIGHT HERE, ONE OF MY FAVORITE SONIC ANIMATIONS EVER.
The reflection in his eyes AGAIN, his QUILLS FLOWING BEHIND HIS HEAD, THEY FLOW ALONG WITH HIS MOVEMENTS, and the SNARL OF ANGER GROWING ON HIS FACE, it’s just gorgeous looking.
We see him in pain. Sonic clutching his eyes shut so tightly and how he is holding his arm, he is genuinely struggling. But he still remains on his feet and he gets back up to fight, just like he always has.
He doesn’t just clench his fist, if you notice in the second gif, his fist is shaking. There is tension, there is actual frustration Sonic has because of Sage. Sonic is angry. The real anger we’ve seen from him before because he understands the situation he’s in. He’s being allowed to take things seriously again.
He has a job to do and he knows that.
If this type of attitude and characterization from this trailer is how Sonic is in the game, I will be extremely happy.
Sonic truly feels alive again.
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Cut Scenes #1
Sometimes you have really good ideas, but they just. don't. fit. into your story (no matter how hard you try to push the triangle into the rectangle hole). So, as I get back on the writing horse (heigh-yo silver and all that jazz), have a continuing series of cut scenes that will likely never find a home. (Also known as, why am I giving these guys such an angsty backstory? I'm sorry, Mario and Luigi, one day I'll write you something that isn't my usual brand of melodrama. Maybe a baseball story because do I have ideas about who'd they be rooting for in 1980-whatever. Also, let's hope that some of these future cut scenes will also involve my Star Wars stuff, as well).
Anyway, Cut Scene #1, from an ongoing SPM fic I'm working on that's going to be a Mario POV during the events of Mr. L because apparently I cannot shake this storyline from my head.
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Yes, they had fought, had hurt each other, even. But never with the intent to truly do harm, to damage the other in a way that couldn’t be taken back, couldn’t be assuaged with a mumbled apology or mended with a desperate hug.
Only once had Luigi attacked him with intent, with raw violence, but even then…
Luigi was stalking through the apartment, overturning papers and books, opening drawers and cabinets and closet doors with wild and noisy abandon. He emerged from the bathroom with a long, metal pipe, which he gave a few experimental swings, nearly taking out a stubby beige lamp perched on the edge of a ring-stained coffee table.
"I'm going down to Red Hook and dealing with them," he muttered at Mario, "them" being the men who had plucked their father’s plumbing business right from under their noses, the deal finalized not even an hour after Dad's body had been laid in the earth.
Like hell he is, Mario thought, picking his way across the cluttered floor as Luigi was busying himself wrapping the last roll of electrical tape around the base of his improvised weapon.
Brick wall, Mario told himself, recalling his nickname from high school as he took position in front of the apartment door, crossing his arms against his burly chest. It didn't matter how much abuse Luigi hurled at him, he'd be a brick wall. It didn't matter if Luigi hated him forever, he'd be a brick wall. It didn't matter if Luigi started throwing punches, or tried to send his head over the right field wall of Shea Stadium with that damn pipe. Mario was going to stand there for the next twenty years if that was what it took. Because his baby brother was being an idiot and was going to get himself pounded into next year - or worse - by the Marinellis and their goon squad if Mario let him leave this apartment.
It went as badly as he expected, Luigi making the leap from insults and curses to spitting and threats, rushing at him, pipe brandished over his head.
Mario let it happen. He let his little brother slam metal into cheap plaster. Let him pound his fists against hard muscle and fragile bone. Let him carry out his rage again and again until they both collapsed into a sweaty, panting heap on the tacky linoleum floor, Luigi half in Mario’s lap, sobbing into his brother’s bloodied, torn shirt.
...but even then, Luigi had been acting out of hurt, out of anger and pain. Not staring Mario in the face, cackling wildly about the end of the world while calling a gigantic laser-shooting robot to his side.
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