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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You know what's interesting to me? For all people keep claiming at every juncture that perhaps Bells Hells will come around on the gods and see the harm they do (which, as discussed extensively, is, half the time, simply not intervening) not only have they never done so, but also they never quite cross the line into saying the party should join the Ruby Vanguard or aid them - and indeed, they defend against it - so what does this achieve? It feels like they're asking for a story in which the party stands idly by, which isn't much of a story nor, if I may connect this briefly to the real world, a political stance anyone should be proud of.
That's honestly the frustration with the gods and the "what if the Vanguard has a point" conversations in-game. What do we do then? Do we allow the organization that will murder anyone for pretty much any reason that loosely ties into their goals run rampant? The group that (perhaps unwittingly, but then again, Otohan's blades had that poison) disrupted magic world-wide, and caused people who had the misfortune to live at nexus points to be teleported (most, as commoners, without means of return). While also fomenting worldwide unrest?
Those were the arguments before the trip to Ruidus; with the reveal of the Vanguard's goals to invade Exandria, the situation becomes even more dire. Do you let the Imperium take over the planet?
And do the arguments against the gods even hold up? If Ludinus is so angry at them for the Calamity, what does it say that he destroyed Western Wildemount's first post-Calamity society for entirely selfish means? (What does it say about the validity of vengeance as a motivator?) What does it say that Laudna told Imogen she could always just live in a cottage quietly without issue before the solstice even happened? (Would this still be true if the Imperium controls the world?) What does it say that when faced with a furious, grieving party and the daughter she keeps telling herself was her reason for all of this, Liliana can't provide an answer to the question of what the gods have done other than that their followers will retaliate...for, you know, the Vanguard's endless list of murders. (That is how the Vanguard and Imperium tend to think, huh? "How dare your face get in the way of my boot; how dare you hit me back when I strike you.") She can't even provide a positive answer - why is Predathos better - other than "I feel it", even though Imogen and Fearne know firsthand that Predathos can provide artificial feelings of elation. Given all the harm Ludinus has done in pursuit, why isn't the conclusion "the gods should have crashed Aeor in such a way that the tech was unrecoverable?"
Even as early as the first real discussion on what the party should do, the fandom always stopped short of saying "no, Imogen's right, they should join up with the people who killed half the party," it was always "no, she didn't really mean it, she just was trying to connect with her mother." Well, she's connected with her mother, and at this point the party doesn't even care about the gods particularly (their only divinely-connected party member having died to prevent the Vanguard from killing all of them). So they will stop the Vanguard; as Ashton says, the means are unforgiveable. As Laudna says, it's not safe to bet on Predathos's apathy. As Imogen says, she's done running; the voice that she used to think of as a lifeline belongs to someone she doesn't trust. So I guess my question is: if they're stopping the people who are trying to kill the gods (and defense of the gods isn't remotely their personal motivation)...do you think the next phase of the campaign is Bells Hells personally killing the gods? Reconstructing the Aeor tech and hoping none of their allies notice? How does this end? Does your ideology ever get enacted? Or is this entirely moot and pointless and the story ends with Bells Hells saying "well, I'm really glad we stopped the people who [insert list of Vanguard atrocities from above]; none of us follow the gods or plan to, but honestly, the status quo we return to is preferable to whatever nightmare Ludinus had concocted in his violent quest for power and revenge"?
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If we find some other way for War Games to kick off (or just...not have that arc, idk), I think my ideal end for the Robin!Steph arc would be for her, not to fuck up and get fired, but decide, on her own, that she prefers being Spoiler.
What she wanted was training, respect, and (ugh, DC, why?) to get back at Tim for the misconception that he cheated on her. The first two don't require being Robin (Bruce gave her a smidge during the Brentwood arc) and the third can be resolved through communication, or if we really want some interesting character growth, Steph confronting her own vindictiveness, wrestling with whether she cares more about Getting Revenge or Helping People.
Actually, that could tie back into her intro and subsequent early appearances pretty well? She became Spoiler to get back at her dad, but later shows up solving crimes in the suburbs pointing out that the Bats tend to focus on the main island city. She also wants to impress her crush, but moves away from that impetus over time. So deciding, "I built Spoiler into something more than revenge, and I want to keep building Spoiler, not get mired back in revenge as Robin," would be some growth.
So yeah, wrap up with Robin!Steph arc by her showing up at the Batcave in her Spoiler suit, mirroring how she first showed up in her handmade Robin suit, and tell Bruce she wants to split time patrolling the suburbs like she used to, and patrolling the city with him for more training. That being Robin was an honor, but she's Spoiler, and she's proud to be Spoiler.
This could be a kick in the pants for Bruce; by reclaiming Spoiler and laying down new terms of partnership, letting go of her grudge against Tim, she's acting more mature than Bruce (who it's implied made her Robin in an attempt to lure Tim back). Maybe this sparks him to reassess how he's handling the Jack situation and Tim's absence, reaching out in their civilian lives or otherwise doing something direct to maintain that important relationship.
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Y'know the thing about writing feral/unhinged versions of Orion/Optimus, is that you can't go too far into the feral/unhinged direction to a point where OP's core character traits are lost or become too diminished. After all, in a multiple-continuity franchise like TF, part of what makes the stories make sense is that even if details change (sometimes major details), the characters are still recognizably themselves to one degree or another. (Although this isn't always the case due to executive meddling or some characters being such blank slates from their initial G1 appearances that there's basically nothing to model them off of, but I digress.)
It's pretty much another reason why I love IDW1 Optimus, bc he literally is a canonical feral/unhinged Optimus who's unhinged as a direct consequence of who he is as a person and what he's been through. Like, he still has those fundamental character traits of trying his best to be moral and make good choices, trying to be a role model, etc, except after 4 million years of war and untreated depression he's basically holding onto his sense of self by his fingertips. So when he "goes feral" e.g. losing his temper and beating up/killing people or saying hurtful things, he's feral in a way that's directly tied to his normal personality and not just as a random quirk he has.
IDW OP's feral moments arise from the gaps between "Optimus' attempts to be who he thinks he needs to be" and "the reality of the world that he can't fix/seems to only make worse" that cause him to lose hope, or become cynical, or lose his temper. But in this case, the unhinged-ness makes perfect sense because it arises out of Optimus trying and failing to be the best person or to make the most morally good choices he's trying to make. Basically, the "feral/unhinged" label is just another way of me trying to say that he's not just unhinged because he's weird or because he's a bad person, but because it's an emotional reaction (more like an emotional explosion due to pent-up emotions) to the context he exists in.
I'd also say that IDW OP's personality being generally reserved/stoic and (trying to be) noble works in tandem with those moments he has of going feral because it makes him more realistic. His psyche is treated in a way where the writers are like, "Hey what if the pressure of having to be everyone's idol and be the best person in the galaxy at all times actually broke Optimus down mentally and emotionally?" It makes IDW OP far more relatable. Instead of naturally being a perfect Christ-like figure who never wavers in his morals or convictions and is just naturally a nice person who always has the wisest and best answer, being a good person is something that IDW OP has to consciously strive to be. Even when he feels like it's useless, or the cycle of violence will never stop, or any attempts he makes to help only ends up with things becoming worse.
And I feel like this does a service not only to IDW Optimus as a character, but also as a sort of moral/philosophical perspective for the reader to ponder upon? I feel like culture at large (or at least my experience of it) tends to believe that "goodness" in a person is simply an innate feature that people are born/not born with, and that being "good" means that you must be good at all times, both in your actions as well as the way you feel emotionally about yourself and the world. Like, there's a tendency for our vision of "a good person" to be good in every aspect at all times without having to try to be a good person. So I think IDW Optimus' character stands as a good example of how someone can be good at heart but still struggle to maintain those feelings of optimism and hope and justice. It's a good idea to have such a paragon of a character (in-universe and out-of-universe) be so conflicted and to even be mistaken, misguided, or make things worse because it shows that goodness is as much about "trying to behave/act in a way that is good" and not just "existing as an innately good person."
It's way more realistic for a person to want to be good, try to be good, and sometimes/often fail than it is for them to just be a good person. I enjoy the fact that IDW Optimus is both a good person at heart, but also has to strive to be a good person and live up to other people's expectations of what they see in him. I like how he wants to be a good person and change society for the better, but he also spends a good amount of time either feeling hopeless and alone or being angry at/detached from other people because of how frustrated they make him. He's realistically portrayed as someone who wants to be good and hopeful and change things for the better, but is also mentally and emotionally broken by that burden because of how impossible it is for him to Fix Everything and be the Perfect Prime/Leader/Autobot that people see him as. It's this fascinating mixture of "yes, this is who he is as a person" but also "there are things he desires to be that he could never possibly become or live up to."
This got really far off based from feral/unhinged Optimus sdklfjaslkdlfkas. The TLDR is that if people want unhinged OP, I feel like they should give IDW OP a chance because he IS unhinged but he's unhinged in a way that's a realistic/thematic representation of how being an Absolute Good is impossible. And how being a good person isn't just about Existing And You Are A Good Person, but rather goodness is a constant state of flux in which you adjust, you make mistakes, you lose your temper and feel hopeless, but then you pick yourself up and try again.
Also IDW OP really likes climbing in dangerous wilderness and jumping out of flying vehicles which I think is very feral and sexy of him to do.
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