DECEMBER 12, 2025 | OPINION | By Ruben Margolis
Disclaimer: This story includes spoilers.
On Thanksgiving night this year, the long-awaited Season 5, Volume 1 of Stranger Things was released. No amount of tryptophan from heavy turkey consumption or repeated analyses of family dynamics was going to make me exhausted enough to wait any longer to watch this. After all, it has been over three years since Season 4 was released.
During this long stretch of time, fans like me had to find ways to stay in this sci-fi ‘80s world of Hawkins, Ind., a task made challenging due to the lack of any new production. We managed, though, by watching cast interviews and reading Reddit theories. Still, people get bored, and in this day and age, boredom can be quite a dangerous emotion. It can lead people to intentionally look for ways to get angry about something and scheme about how to hurt this said thing.
This conceptual pattern of boredom experienced an exponential rise in its representation during the heat of the COVID-19 epidemic, which halted production of the show’s 4th season. This led to the longest stretch of time between seasons prior to season 5’s release and, uncoincidentally, the rise of accusations towards the show’s directors, the Duffer Brothers, of queerbaiting the character of Will Byers.
Queerbaiting is the incorporation of potentially LGBTQ characters or relationships into entertainment media as a means of appealing to LGBTQ audiences, while remaining deliberately ambiguous about the characters’ sexuality. Fans argued that Will Byers was queerbaited since his sexuality wasn’t explicit or discussed, but implied through his lack of interest in hanging out with girls, along with his not-so-subtle bodily and facial expressions hinting at his romantic interest in his best friend, Mike Wheeler. As a gay man, I completely disagreed with this accusation, even before Will’s ‘breakout moment’ that turned the tables.
The main reason I disagree with this accusation is that it is an incorrect and insulting depiction of a gay character, if the reason for their existence on the show is to be gay and only gay. Far too often, gay characters on television are represented in a one-dimensional way where their only traits have to do with their sexuality. They go through the typical struggles of being closeted: feeling alone, misunderstood and confused, then often having a momentous coming out scene where everything seems to be instantaneously better.
Although I might seem pessimistic saying this, this is not an accurate depiction of the coming out process and it can be a lot more convoluted and challenging than this. It is not an end-all and be-all, and there is an aftermath of emotions and difficult thoughts to process that come with this enormous change. The most important aspect is that coming out is different for everyone, so this mainstream idea of it might actually make a closeted person feel less related to and more likely to keep their identity a secret.
Will is relatable to members of the LGBTQ community because the lack of discussion of his sexuality mirrors the uncertainty and discreditation that Will, along with many other gay men, experiences in their discovery of their sexual identity. This portrayal is also in touch with the political climate of the ‘80s and the much more deeply integrated stigmatization of gay people at the time due to the HIV/AIDS epidemic. Coming out during this time would not only be risking a lack of acceptance, but a potential accusation from others of one’s presence being contaminative. Innate disgust of homosexuality had a canvas to build upon at this time, an excuse for alienation and othering, causing characters like Will to have even more to fear.
This severance has been reflected in the series as well, with Will’s weeklong stretch of being alone and missing in the Upside Down, which is an alternate world governed by darkness and monsters known as demogorgons. After Will’s return to the human dimension, he was called ‘zombie boy’ and perceived as different from others, clearly foreshadowing Season 1 as this isolation has little to do with monsters and far more to do with something greater inside of him.
Season 2 delineates trauma and how he has not fully escaped the horror of what he went through, seen in his being possessed by the antagonist of the season, the Mindflayer. Still, this only happens when he is brave and stands his ground, which gives viewers a taste of his confidence that belies apparent fragile disposition, but nothing extremely noteworthy. This precise reaction was intended by the directors, who knew the viewers would, at the time, focus on how he is connected to this darkness in the Upside Down, a theme that is spotted in smaller doses in seasons 3 & 4 to prepare us for the ‘breakout moment’ in Season 5 that I have referenced throughout this piece.
It is clear from the beginning of Season 5 that the stakes are the highest they have ever been, with the kids now being young adults and having no time to choose the ‘safe option’ anymore. We witness Will developing this new alteration to his connection with the Upside Down that is risky to investigate, but necessary to defeat the season’s villain, Vecna. Will’s mother, Joyce, often coddles him and is against him using this power without knowing the full scope of its implications, but Will knows that nothing is safe and that it’s better to face danger with a plan than run from it. This is the first instance we get of Will standing his ground and displaying bravery in quite some time, which serves as a prelude to what’s to come next.
We quickly learn through his ability that he can tap into the Hive Mind––that is, the neural and physiological network all the monsters, villains and species share in the Upside Down. He can see and feel what the Demogorgons feel as they attack and kill people left and right, a feeling that sends him into complete shock and terror upon its induction. Still, he is now able to see what the monsters truly are for the first time, representing his acknowledgement of his own inner demons as well.
Through Will’s gradual adjustment to his condition, we see him also becoming cautiously more comfortable around the beloved character Robin. He realizes she’s gay after witnessing her and her secret girlfriend kissing, and fails to escape before Robin notices his presence. She brings this up to Will in her typical spitball of anxiety manner and Will’s sheepish behavior is denoted through his flushed cheeks and jittery head movements, illustrating his immense aversion to the conversation.
Robin doesn’t shy away, though, and as she becomes more confident in her words and ability to express herself in a real way without comedic relief, Will becomes more confident in his ability to listen and pitch in when called forth. Eventually, they both reach an equilibrium of honesty, and Will allows himself to cry while listening to Robin’s coming-out story, where she describes how one day she randomly stumbled upon 8mm film reels of her playing as a child. She says that she forgot what it was like to be that free until watching these old clips of her, and states that in that moment, she made the conscious decision to work towards achieving that freedom again. This scene serves as the calm before the storm, as soon after this sequence, demogorgons arise from the earth like zombies and appear as if they are going to kill all the people Will loves.
As the demogorgons begin to entrap Mike, Robin and Lucas—another one of Will’s close friends—there seems to be no hope left, especially after we finally hear why Will was chosen to be abducted into the Upside Down all the way back in Season 1. This is done through Vecna drawing Will’s limp yet tense body towards him and telling Will that his weak nature was easily distinguishable, making it easy for Vecna to break him and take his power. Vecna appears to crush his confidence irrevocably, sparing him physically only to make his very survival feel meaningless.
Still, as if Will is about to die, we see a montage of 8mm film clips of his life when he was his most authentic self, similar to the ones Robin described of herself. These clips notably include befriending Mike on the swing set and running around like a wizard with his cape and hat. During this melancholic moment, Robin’s voice appears, repeating her coming out monologue she told earlier. It sounds like an angel in the dark, connoting a possibility for protection like Kate Bush’s ethereal voice provided for Max exactly a season earlier.
In this life-or-death situation, Will accepts himself fully, unlocking new heights of power he didn’t believe were possible. He takes over the Hive Mind and destroys all three demogorgons in a scene pop culture will never forget. By facing these monsters head-on, Will was able to overcome them, reflecting the very real and profoundly inspirational nature of ceasing to hide from one’s true sexual identity. He becomes a superhero for all LGBTQ fans watching, and a testament of time for how these challenging things we all face from time to time won’t stay so difficult forever.
By meticulously building Will’s confidence while simultaneously shrinking him in composure throughout the five seasons, The Duffer Brothers capture the rocky and disproportionate journey of accepting oneself. They speak to a larger crowd, as anyone who has felt alone can understand this feeling. This is the character we need to see, someone who falls countless times but gets back up, whether that takes a moment or takes years. To see this character in tandem with Robin, someone whose sexuality has been a much larger part of her character for longer, the Duffer Brothers annihilate all accusations of queerbaiting through this diverse simulacrum. They incorporate the natural ambience of the ‘80s at the time without being insensitive, through the low-maintenance 8mm film clips that serve as a healthy juxtaposition to the empowerment of coming out and the unembellished recognition of its normality.
Although we have yet to see Will’s reaction to himself in his acceptance, I have no doubt the Duffer Brothers will approach his character with originality and legitimacy, extending the role his genuine complexion has already played in fulfilling others. This television scene set in a small town in the ‘80s reminds us of how anything is possible. Just as no one should quit before trying, no one should rush to judgment before letting the whole story unfold. This show and particular scene serve as reminders of the virtues of patience, listening and genuine kindness, traits that, if fully integrated, would help the entire world, not just queer people, feel more seen and understood.
Wonderful article Ruben. Very thoughtful and well written. You have a gift, thank you for sharing it! Very proud dad! 👊🌈