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"I'm not the kind of person who criticizes that sort of thing"

Freddie deBoer delivers a provocative diagnosis of modern culture: the most corrosive political habit forming today isn't radical activism, but a paralyzing fear of appearing on the "wrong" side of an identity debate. He argues that the refusal to critique toxic fandom dynamics—specifically the conflation of shipping preferences with actual bigotry—is a symptom of a broader liberal avoidance that has allowed extreme rhetoric to colonize mainstream institutions.

The Weaponization of Identity in Fandom

DeBoer begins by dissecting the explosive backlash to the Stranger Things finale, where fans who rejected the "Byler" shipping theory (pairing Will Byers and Mike Wheeler) were accused of homophobia. He notes that this wasn't just passionate disagreement; it was a moral panic where "the idea that someone might simply prefer a different storyline was routinely dismissed as making excuses for anti-gay feelings." The author observes that this dynamic has turned fandom into a training ground for a specific, dangerous rhetorical tool.

"When a fifteen-year-old discovers that she can win a dispute about whether two cartoon boys should kiss by announcing that her opponents are homophobes... she has learned something genuinely useful and genuinely corrosive: that this kind of behavior is a move, a tool, available on demand."

This framing is sharp. DeBoer correctly identifies that these aren't isolated internet squabbles but a transferable skill set. The argument gains weight when he connects this to historical precedents like the "Harry-Hermione" shipping wars or the accusations of racism leveled at fans who prefer the Reylo pairing in Star Wars. In those conflicts, "shipping wars tend to depend very heavily on extremely loose definitions of abuse," a pattern that has only intensified. Critics might argue that dismissing these accusations as mere "internet nonsense" ignores the very real anxiety young queer people feel about representation, but deBoer's point is that equating narrative disappointment with hate crimes ultimately dilutes the meaning of actual bigotry.

"I'm not the kind of person who criticizes that sort of thing"

The Politics of Avoidance

The commentary shifts to the heart of the matter: why do reasonable people stay silent? DeBoer posits that the silence isn't born of agreement, but of a fear of being associated with the right. He traces this back to the early 2010s, when media liberals dismissed campus activism as irrelevant because they "really didn't want to look like Republicans." This strategy of avoidance allowed radical ideas to solidify into institutional norms without pushback.

"It's associative politics at its purest and most corrosive... the game is never to appear to say the sort of thing our opponents say."

He illustrates this with the "snowflake" discourse, suggesting that the culture's obsession with protecting young people from psychic pain has inadvertently created generations unable to navigate loss. "Our culture has prevented them from developing the skills and mindset necessary to handle adversity and disappointment," deBoer writes, noting that this position is often abandoned because it risks being caricatured as a right-wing attack. The same dynamic plays out in the academic defense of Jason Arday, where the fear of appearing insensitive to a Black and autistic scholar overrides concerns about plagiarism and statistical improbability.

"The fear of looking like the wrong kind of person is more powerful than the easily-discarded principles of academic integrity."

This is a damning critique of the current media landscape. By refusing to engage with the "TikTok dissociative identity disorder epidemic" or other implausible phenomena for fear of sounding like "Old Man Yells at Cloud," liberals have allowed absurdity to become orthodoxy. The historical context of "Conformity Gate" reinforces this: just as fans police narrative deviations, institutions now police ideological deviations to avoid the stigma of being "the wrong sort of person."

The Cost of Silence

DeBoer's central warning is that this avoidance is not a neutral stance; it is an active enabler. By treating the weaponization of identity politics as a trivial matter, the broader culture fails to inoculate young people against the corrosive effects of these tactics. "We can teach them that accusations of bigotry are powerful and fraught and should never be used frivolously," he suggests, "or we can do what so many people do these days and say 'Hey, they're just stupid kids, this is just online stuff, it doesn't matter...'"

The author's choice to link the Stranger Things backlash to the broader trajectory of progressive culture is its most compelling move. It suggests that the "Byler" phenomenon is not an anomaly but a preview of how political discourse will function in the near future if the current habits of avoidance continue. The stakes are high: "Homophobia is real and sometimes deadly and this sort of thing just makes it harder to fight," deBoer reminds us, arguing that trivializing the concept of bigotry through narrative disputes ultimately harms the very communities it claims to protect.

"Homophobia is real and sometimes deadly and this sort of thing just makes it harder to fight."

Critics might contend that deBoer underestimates the genuine emotional investment fans have in representation, or that his historical parallels are too reductive. However, the core insight—that the refusal to critique bad faith arguments in the name of political safety is a self-defeating strategy—remains robust. The piece serves as a stark reminder that the path to a healthier public square requires the courage to say "no," even when the alternative is being labeled part of the problem.

Bottom Line

DeBoer's strongest argument is that the fear of appearing conservative has paralyzed the left's ability to critique the excesses of its own base, allowing toxic rhetorical habits to metastasize from fandom to the workplace and the academy. The piece's biggest vulnerability is its potential to alienate readers who view his critique of fandom as a dismissal of genuine struggles for representation, yet the warning about the long-term political cost of this avoidance is impossible to ignore. The reader should watch for whether this "associative politics" continues to drive policy and media narratives, or if a backlash against the fear of being "the wrong kind of person" finally emerges.

Deep Dives

Explore these related deep dives:

  • Conformity Gate

    This term encapsulates the specific social media phenomenon where the Byler fandom's aggressive enforcement of a single narrative silenced dissenting voices, illustrating the article's argument about the unhealthy evolution of modern fandom.

  • Queerbaiting

    This marketing strategy, where creators hint at LGBTQ+ relationships without confirming them, provides the critical framework for understanding why the Byler fandom interpreted the Duffer Brothers' ambiguous writing as a deliberate act of homophobia rather than mere storytelling failure.

  • Shipping (fandom)

    While the article mentions 'shipping' casually, this specific Wikipedia entry details the psychological mechanisms and community dynamics of fan pairings, explaining how the intense emotional investment in the 'Byler' pairing transcended typical fan enthusiasm into the 'derangement' described in the text.

Sources

"I'm not the kind of person who criticizes that sort of thing"

by Freddie deBoer · · Read full article

Last New Years Eve, Stranger Things came to an end. Netflix released the series finale of the (once) beloved series, the adventures was concluded, the story told. And that final season was… not good. There had been skeptics of the show like me all along, but the series ending was notable for how thoroughly it turned off the larger fanbase; the critics were many and loud, the defenders few and cowed. Social media marveled at the collapse of the show’s quality, various review aggregators showed widespread disdain for the finale, and the YouTube videos dissecting the show’s failures were legion. The final season’s perceived faceplant caused all kinds of gnashing of teeth, with the show’s creators the Duffer Brothers repeatedly accused of killing off every facet of the first season that so many fans had loved. Every corner of the fanbase seemed to have their own pet complaints. But the greatest consternation was not driven by plot holes, the sidelining of key relationships, the overstuffed roster of characters, or even by the truly deranged conspiracy theories about a secret final episode. No, the most anguished, angry fans in the post-finale scrum were the Bylers.

Bylers, if you’re lucky enough to be unaware, are Stranger Things fans who “ship” the characters Will Byers and Mike Wheeler. (Byers + Wheeler = Byler, see.) These are megafans who became deeply (some would say unhealthily) emotionally invested in the idea that those two characters, two of the original core five cast members, were destined to fall in love or perhaps were already secretly in love. The thought the finale would confirm their theories, would show that Will and Mike were in love. This did not come to pass, and while there were clear attempts within the show to wave in the direction of those fans, those efforts were as clumsy as the rest of the final season and the Bylers remained unsatisfied - for some of them, to the point of derangement. This is all fairly common, now, and points to just how deeply unhealthy online “fandom” has become in general. But in addition to all of the unfortunate amplifying effects of the digital era, the Byler angst was compounded by the prominence of Stranger Things, the long wait between seasons that left fans with little to do but speculate and theorize, the aforementioned conspiracy theories about the “true” ending of the show… and, ...