Bad News First, Eddie
Part One 🦇 Part Two🦇Part Three🦇FInal Part
"Bad news first, Eddie," Steve sighs as he leans back on his heels, cleaner in one hand and a rag in the other. "They vandalized your headstone again. Good news, I beat Wayne out here so he won't be seeing it."
It's been over a year since they'd had to leave Eddie behind. He'd been cleared of the murders. That had been the easy part, since the Upside Down had exploded out into the Rightside Up. When Vecna started killing people it had been pretty easy for people to realize Eddie was just another victim.
Or so Steve had thought.
Eleven saved them all, the people of Hawkins knew the truth, yet Steve still found graffiti on Eddie's grave.
Eddie's grave is empty, because Eddie's body hadn't been recovered. Too much had happened, no time to mount an expedition to retrieve it, and the gates were closed. Another regret Steve lives with.
Like not taking Eddie's face between his hands and looking him dead in the eye when he told them not to be heroes.
Late at night, Steve sometimes imagines he did just that. Looked him dead in the eyes and said, "there is no shame in running, in living to see another day. Don't be a hero because I need you to be okay tomorrow."
Robin says it's not good for his mental health, these what-if scenarios, but so what?
Steve isn't sure what started it but coming out here to talk to Eddie seems to help him clear his thoughts. He always starts with the bad news, Eddie's voice in the back of his mind. Bad news first, always.
The first time Wayne had caught him out here, Wayne thought he was vandalizing. Had scared Steve half to death being yanked back violently by his upper arm. It didn't take Wayne long for his eyes to process that Steve wasn't holding paint.
"You know my boy?" Wayne always spoke in the present tense about Eddie.
"Not as well as I would have liked, sir," Steve swallowed thickly. It was the start of a friendship, of sorts. Wayne seemed happy to have someone to tell stories about Eddie to, and Steve was happy to learn about Eddie.
Months pass and Steve goes every week.
"Bad news. The new guitarist is mediocre at best. Good news. Corroded Coffin lives on and they finally got a new guitarist."
"Bad news. Robin will not shut up about Vickie. Good news. Robin got that date she wanted."
"Bad news. Wayne had an accident at the plant. Good news, he's okay. I think... this might be weird to you, but I've convinced him to move in, at least until he's healed fully so he's not alone. He's staying in the downstairs guest room. Not that you know where that is. You've never even been to my house... bad news, you've never been to my house. Good news, I really wish you had."
So it goes. Wayne Munson moves in and never moves out. Steve's parents call once, to ask if he wants the house. Steve says yes.
Shortly after, Robin takes a room upstairs. Says she gonna take a year off school before college. The Party moves their dnd games to Steve's giant dining room table. His house is always full but part of Steve feels empty.
"B-bad news," Steve forces the words out around the lump in his throat, "I found out too late. Good news, I'm bisexual. Bad news, good news? I don't know man, the news is I could have loved you. I think I do, but that's the you Wayne and the kids tell me about, so who is to say really."
So it goes.
"Bad news. They're seniors this year, Eds. Seniors! Robin going away to college was bad enough. I don't know if I'll even know how to function when they do. 'Cause they're gonna, you know? They're smart. Too smart to stay in this town," Steve is crying, can feel the tears falling, but doesn't stop them. "I know I should go, too. Somewhere else. Anywhere else. But I can't leave. Wayne's here. You're here. And if I go, who will look after either of you?"
"Bad news. College acceptance letters have come in. They're not even graduated yet. This should be good news, but, heh, friends don't lie."
"Bad news, Eds. I can't remember your voice. I didn't think.... I feel like I remember it but I can't hear it. I want to hear it. I-i need-" Steve doesn't know what he needs, doesn't know how to end that sentence so he just sobs, fingers burying themselves into the dirt of an empty grave.
Wayne gets a phone call one day and says he's gotta go back to Tennessee. Eddie's father -that rocks Steve because while he knows Wayne was Eddie's uncle, he never connected that a father was somewhere out there- Eddie's father, Wayne's younger brother, needs him.
Steve drives Wayne to the airport in Indianapolis. Wayne promises he'll return but Steve won't hold him to that. This is family, and as much as Steve pretends, he isn't Wayne's nephew. Isn't Wayne's family.
As Wayne disappears onto his flight, Steve is left hollow. There's no one left in Hawkins that needs him.
"Bad news, Eds. I think I'm a danger to myself. I keep having these thoughts... like how easy it would be to drive my car into the quarry. Or just slip into the pool and take a deep breath. I don't know who I am, or how to be me, without someone needing me."
Wayne calls and tells him he's coming home. Bringing a guest if that's ok. Steve says okay because he needs to meet the man who taught Eddie how to hot wire a car but not play catch. Also, he hopes to hear Eddie in his voice when they speak.
"Bad news, Eds. I'm too much of a coward to meet your old man. Afraid of what he'll sound like. Because I want him to sound like you so fucking bad it hurts. So instead of being home, I'm hiding here."
And then, a miracle happens.
"Well, I've some bad news for you, too, Stevie. I got my voice from my mom."
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I'd love to hear your thoughts on S1 of ST being a tragedy! No main character dies, so I never thought of it that way before
I mean, nobody has to die for a story to be a tragedy (at least, in the modern definition. I'm pretty sure '(almost) everybody dies' is a requirement of Greek tragedies and Renaissance revenge tragedies). But also, no main character dies in season one...if you take season one as part of a series. Which it wasn't originally conceived as.
I am not going looking for copies of the original pitch bible, because I am lazy, and also I only saw them floating around this webbed site. But the show changed a lot from the initial pitch (Joyce had a Long Island accent! Lucas' parents were divorcing! Murray was there and named Terry Ives! Most of what ended up in Hopper's character originally belonged to Mr. Clarke! The original pitch bible is fascinating). And part of the original pitch was a proposal for possible sequels.
The Duffers' proposal for a possible sequel was "It's ten years later, and Eleven is dead".
So that's the setup. Everything that came after season one was made up wholecloth after season one was a hit and people wanted more, but also people loved the adorable little psychic murder child (cue the Duffers shockedpikachu.jpg) and Netflix obviously recognised it would be a bad call to make a new season without her in it. So it makes sense to take season one as a unit, as a self-contained story on its own. You can also take it as part of a whole, but it makes sense to read it first as a complete story. Especially given the thematic drift of later seasons and the way they are...I'm just going to say it, each new season is very much added-on to what came before rather than being built on foundation that the earlier season(s) laid. It is very clear there was never a planned five-season story arc from the beginning. (This isn't necessarily always a bad thing, when it comes to sequels, but it does mean it makes sense to 'read' each season as its own thing.)
Okay, now that we've established all of that. Season one has one very clear goal, one very clear stake for the characters: save Will Byers from the Upside Down. (I like this. It makes the stakes both extremely high and extremely personal, it makes it very easy to understand each character's motivation, it also keeps the stakes grounded in reality. I like this a lot.) And by the end of the season, that goal is accomplished. So at first blush, you're right, season one doesn't look like a tragedy.
But when you start to unpack it a little, you start to see just how many important things were lost along the way. It's most glaringly obvious with Mike and El, with Nancy and Barb. The whole Wheeler family is fractured down the middle, with Mike and Nancy on one side and Ted, Karen, and Holly on the other, and Karen, who's been trying so hard the whole time to be part of her children's lives and understand what's going on with them, is aware of the ever-expanding gulf between them but will never be able to cross it, and will never fully know why. Hopper's finally managed to snatch a kid out of the jaws of death, save a woman he obviously cares about from the pain of losing a child, and Joyce has finally had someone believe her, support her, trust her. But it became blindingly obvious to me on my fourth rewatch that Hopper's plan, from the moment he went to leave the middle school gym, was always to trade El for Will. And that decision (and the fact that Joyce obviously understands that he did something to get the lab to let them go after Will, but she obviously doesn't dare press him on what) has broken her trust in him, and left him with what looks like an equally heavy burden of guilt as what he was carrying before. The lab stays open. The government gets away with everything. No one will ever know the true extent of the hurt they've caused.
And in the end, none of it even saved Will. He's back. He's alive. But he's spitting slugs in the sink. He's permanently marked by the Upside Down, and by trying to hide it from his family, he's putting a crack down the centre of them, as well. They're losing Will, just as surely as they had when they thought he was dead, just without him going anywhere.
And there's still a hole in the world.
The fragile bonds of community, the things that people share in common, the way catastrophe can bring people together and bring out the very best in them, are the major thematic threads woven through season one. Human connection is the only thing that can change what seems inevitable, the only thing that can bring back what's seemingly lost forever.
And it's still not enough to protect anyone from the random tragedy of the world.
The love was there. The love mattered. The love bent the entire course of the world around itself.
And it still wasn't quite enough.
If that's not a tragedy, then I don't know what is.
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