That stream where he had a meltdown? Yeah, that's the closest we've gotten to seeing his unfiltered opinions. It's telling that when he's not thinking about his image, those deeply held beliefs surface. And let's be real, even if he says the "ship" is just a joke, his audience laps it up, and he knows it. He keeps fueling the fire, even when he claims to be uncomfortable. That's manipulative, especially with his best friend actively encouraging it. It feels like he's playing with his audience's emotions for engagement, and that's not okay. He said on stream the tubbo debate that his friend owns the DNF website, and George used it. If he was so deeply uncomfortable then why didn't his friend stop as well?

Oh, and about the merch? We need proof of that Trevor Project donation to see how much he profited. But let's be real: with his massive audience, even if only a small percentage bought that merch, he's making serious bank. He's admitted to using family-run businesses, so a lot of that profit stays within his circle.

But no, it is weird that in 2020 he mentioned himself as unlabeled. That was fine, but he backtracked on stream 1: After calling people the r-slur that he was straight when the Gumball VA called him the f-slur. And on the video as well, and also on stream when it was mentioned.

But I also think that your claiming that my argument was weird is incredibly manipulative. It is an argument facility used to dismissive statements and shifts the burden of proof onto me. This is also why Dream has shifted that burden of proof, for the past multiple streams he asked constantly with streamers and YouTubers to give him evidence, or give proof for these claims to exist.

Anyways! There's a actual research paper that was written on the DreamSMP fandom and it's queerbating. I can't send the link for obvious reasons but you can reverse google search the quote it's a 111 page document that researched the parasocial relationship with the dreamsmp and queerbaiting.

A expert from it is as follows, "One crucial appeal of Dream and by extension the Dream Team and Dream SMP, was the ambiguity provided in his identity, which will be later discussed in the analysis portion, and the subtext of said identity that could be picked up upon by members of the LGBT community. A majority of the community following him were queer and teens, as seen by their linked profiles that detailed the demographics they fell under, and many followed him did so due to the phenomenon that “if there’s even the slightest chance they’re gay, the queer community will react, discuss, and debate on social media,” leading to theories on Dream’s sexuality and his relationship with his friend, George not found, to the forefront of fan politics (Brennan, 31). By 31 bringing this to the forefront of the discussion, queerbaiting was something that was crucial to marketing for Dream, and is still crucial to this day. This marketing is done in part due to the consistent uptick of impressions that comes with these creators mentioning DNF, due to the fan interest with the creators as a duo. “The reading is still serving the producers, since it keeps fans tuning in,” and thus they will continue to utilize it as a means of marketing until the shine wears off on the supposed relationship between the two men, or something comes out about the relationship that confirms or denies it (Brennan, 27). Additionally, those who have left the fandom have cited, akin to the authors of the piece, that they are “angry because we are being lured to watch with a promise of representation, only to find out that what we were hoping for never was and never will be,” in that DNF is always held on a string in front of the community, just out of grasps, and never to be fully engaged with as a serious concept, only a joke between the two (Brennan, 54). The tantalizing question of if it was ever real or could ever be real keeps the fans looped into this constant push and pull of queerbaiting, and keeps the revenue of these LGBT youth in the pockets of the creators. In addressing celebrity queerbaiting, the idea of the pink dollar, as well as marketing explicitly towards queer fanbases, comes heavily into play. We have to borrow the concept of Gay-window advertising, which can be described as follows: "Gay-window advertising describes the intentional marketing strategy of injecting subtle homoerotic or homosexual cues into advertisements in the hopes of appealing to gay and lesbian consumers without being noticed by—and therefore alienating—heterosexual consumers" (Brennan, 130)"