Billy and Max hate the food in Indiana. Everything is bland. The only seasoning anyone uses regularly is — salt — Pepper is mostly decorative.
Half the dishes are covered covered in mayonnaise.
“It’s not even the good mayonnaise!”
Billy is ready to drive 500 miles for a bottle of hot sauce. Any hot sauce. Desperate times.
All Max wants is introduce garlic to her mom’s friends.
“Oh, wow. This garlic is so spicy!”
They’re going out of their god damn minds.
There is absolutely no ethnic food. No Mexican. No Chinese. No Thai. No Moroccan. No Mediterranean.
At this point, they’ll settle for a crispy crust pizza with red pepper flakes. Or pesto instead of red sauce.
No red pepper flakes in Hawkins.
“We might have some paprika, hold on!”
“Is pesto… like presto chango?”
“They must mean preggo, the pasta sauce, right?”
They sob.
His coworkers at the pool think he’s making shit up when he tells them about Turkish coffee with spices like cardamom and ginger. That he’s into weird nerdy crap or is just trying to pull one over on them.
Max misses the spicy hummus from the Lebanese place her and Billy used to walk by on their way home from school. He always flirted with the manager and that’s how they got it and walked home stuffing their faces in triumph.
They. Miss. Seafood.
They haven’t had crab, halibut, or snapper in a year.
No crab legs on the pier drowning in Cajun seasoning.
No poached halibut with lemon and fennel. Hell, Max would take dill at this point!
“Fried Halibut tacos with salsa verde?”
“I hate you, Billy stop.”
No snapper Barbados. Or piccata. Or veracruzana.
Kearny Mesa.
They both almost cry.
They’d kill for some dim sum. Or chicken and pork soup dumplings.
Or the how boba tea always hit the spot on a hot day when they were running around outside, just anywhere to be out of the house.
The food in Indiana sucks. Both of them struggle to eat much of anything.
Wouldn't it be cute if Steve splurged and got himself and Billy brand new, long range walkies?
They're compatible with the Party walkies, so they can flip to the channels the kids use, but the kids can't flip to theirs? (Maybe their walkies have more channels?)
Of course, Billy and Steve use the walkies to check in with the kids, know when the AV club goes late, and when they have to mobilize because shit just got real with the Upside Down. Again.
But, the rest of the time?
Billy and Steve can talk to each other. Whenever they want. Especially at night. It's nice not to be alone with your thoughts, to share them with someone who understands. Someone who cares.
Sometimes Billy can sneak out. Sometimes not. They don't use 'over' to end messages. Not with each other. They say 'love' because they never want to be over.
Yes, they coordinate booty calls too.
But tonight isn't that. Steve is raw and hanging by a thread. He can't close his eyes without seeing monsters moving in the shadows. So he picks up the walkie and says, "Billy, love."
He can't cope with his thoughts. Can't be alone right now. They talk for almost twenty minutes. Steve finally pushes himself to ask what he wanted to since the moment he said Billy's name, before his nerve leaves him.
Asks "I need you to come over. I can't sleep. I can't be alone right now. Not tonight. Please, love?
Billy's already dressed since he knew this would happen the second Harrington whispered his name through the walkie, he says, "I'm on my way, love."
He slips his window open, glad his old man is working the night shift. The best job he's ever had, if you ask Billy
"Be careful sneaking out, love" Steve mumbles.
"Yeah. Be there in twenty minutes. You want a Valium, love?"
Do you think Billy has ever hung Max by her shirt on the back of doors when she annoyed him?
Fuck yes I do. And I bet Max would run into his room and bother the shit out of him for this express purpose. It’s a ritual, a little game they play after one of them has gotten yelled at or is upset.
It’s an easy way to break tension. Max coming into his room while he’s cleaning up in the aftermath of Neil. Max not fully understanding, but able to feel the tension in the house. So she laughs and helps him pick up, or comes in and messes with his clothes. Or his books. Or his thunder cat action figures—psh they’re totally dolls, but what’s the fuck ever!
And he pretends to get annoyed. Inevitably, he laughs. Releases his stress and anger. He grabs her arms and drags her closer to him. She’s the only person who’s hugged him in years. Well, no— she’s the only person who’s ever hugged him and doesn’t want something from him. Doesn’t want him in the way adults always do.
He knows. How adults are. What they always want.
How nothing is free.
But for Max? Her prices are easy. Prices he’s willing to pay. He does hate her sometimes though. Because she never has to pay like he does. Adults never touch her. Adults never want things from her. Adults never hurt her.
But he’s glad they don’t. Glad she doesn’t suffer. Sometimes. Sometimes he hates her for it.
But not right now. He doesn’t hate her now. Doesn’t the her ever, but it’s easier to lie to himself and think he does.
As he tells her she’s a little shit and grabs her by the waist, lifting her as she scrambles and whines about being put down this isn’t, you jerk. She laughs in triumph as her shirt catches on the hook mounted to his door and she slides down with a thump, kicking her legs in delight.
She fills his room with laughter as she wiggles in the stupid shirt Susan got her that Max hates because it’s pink and has ribbons and is so ugly and girly. Whenever Susan forces her to wear it, Max ends up in his room, hoping it’ll rip one of these days.
It won’t. It’s too strong. And Billy would never live it down if he ripped the shirt. If he damaged anything that Neil’s good hard earned money was spent on.
But she laughs and tells him he’s a jerk. She blushes with excitement when he calls her shitbird because it’s their secret. She looks around wildly to make sure her mother and Neil aren’t in hearing distance. Even though they’re whispering.
Susan doesn’t want Max to swear. Neil would have an aneurism if he heard her swear because she’s a girl. Because she should be poised and dignified. Or whatever.
But he swears at her and lets her swear back. She flips him off with both hands as she hangs. Max makes a show of rolling her eyes and pretend annoyance, but the wrinkles at the edge of her eyes betray her smiles. As does the fact she can’t stop laughing for more than 30 seconds.
Eventually, she asks for him to take her down.
He shoots her a warning look and says she better behave or else he’ll toss her out his window into the driveway.
She agrees. They both know she’s lying.
But so is he.
He takes her down with a new pact made between them.
She could get down herself, if she wanted to. She’d done it before. She would wiggle out of her shirt and drop down, then grab a milk crate and get her shirt from the coat rack herself. But she doesn’t. It’s all part of this weird game of unspoken rules they have. It’s because she wants to stay.
Then she’s sitting on his bed again, waving her arms and complaining. Telling him about the girls at school, about one specific girl that Billy wants to find and yell at. She’s always on Max for being a tomboy, for her skateboarding and her bruises. For the area of town they live in. About the fact Max’s sneakers are more worn than the other kids. That max’s skateboard and some of the shirts she wears are boys stuff.
They end up sitting on his bed, their backs resting on the pillows pressed against the wall while playing a game of Duck Hunt that’s projected on the opposing wall of his room. She’s good at it, but he taught her to play. So he’s better.
She’s keeping up though, and it’s something. Just barely better than playing alone, he tells himself. She’s annoying and all, sure.
But having her here makes living with Neil easier.
I always had the image of Billy being the drummer of Corroded Coffin.... What could lead to some Mungrove and insane fame in the metal community... Or fanboy Steve too, who knows? 👀
Oh nonnie. You have found something that sparks immense joy. Little known fact is that I am (was) a sound engineer. My specialty was running shows for live bands and concerts, and musicals of course. When you're listening to a concert, someone is live mixing everything you hear, adjusting the levels of the band and keeping things running. There's an entire sound team behind the scenes of every performance. We are the reason you hear what you do.
The musicians are there to play. We are there to mix and balance.
Our relationship is collaborative and if you find a good sound person, they are basically the difference between success and failure, especially in small venues.
The drummer is the heart of the band. When setting up for a life performance, everyone wants to hear the drummer in their monitors (or in-ears) because they are the ones that set a lot of the tempo and pace. I have witnessed a lead guitarist stop a rehearsal when he couldn't hear the drummer.
The drummer is usually the second most fucked member of the band too.
FYI - I don't give a specific time period for this fic, so it could be set before canon, in the 80s, or anytime between then and modern day. Choose your own adventure my dudes.
Corroded Coffin
As lead guitar and drummer, Billy and Eddie would be intrinsically linked together, two partners that move through the elegant musical dance together in a loving game that is all call and response. For each thrum of chords, there would be an elegant response on the kit. Every growing, ever passionate, growing through the years.
Not to mention, I can easily see the two of them writing songs together and using that as a creative outlet.
If Billy was in Corroded Coffin, perhaps he and Eddie grew up together. Perhaps in Hawkins, perhaps not. Personally, I totally get why the show is set there, but you can headcanon them living anywhere you want. Personally, I think big cities are easier for bands to get up and running but that's just me. Boston, San Diego, Seattle, or Austin would be great locations. Billy and Eddie have been friends since middle school, and they're ride or die friends to the end. Let's say Eddie is a year and a half older than Billy.
They start out playing music together. Just for fun. In the trailer park, but never at Billy's place. In fact, Billy practices at Eddie's because Neil would never allow 'that loud garbage' anywhere near the house.
So, Billy almost lives there most days, all weekend. They eat shitty microwave food together, write, play music, and do something to run around because Billy needs to move. They run a lot because Eddie is fast and whenever they run, their minds are on fire with ideas and light up their imaginations.
As soon as they come back from their runs, they're huddled together sweaty and desperate for a shower, but writing out notes and riffs, lyrics. Running through the city, the woods, it gives them peace and and inner stillness that sparks idea for songs, gives them the focus they need to create and how to be.
That drive only continues as they get older and move through high school.
I headcanon that Eddie has a tattoo gun and did most of his own ink. He strikes me as an artist through-and-through and it comes out in many different areas. For this reason, I can totally see Eddie giving tats to each member of the band as a way to solidifying them together into the Brotherhood of the Corroded Coffin. This comes with rules and clear expectations on how to resolve issues and conflicts. They're in this for the art and money will never come between them. If they need to fight, fine, but they will not sell one another out. They are in this together and the only way forward is together. The money would be great, but that's not why they're here. Yes, they want to make it, but not at the cost or each other.
The move around as they tour. Living on the road is tough, but they make it through. Billy could drops out of high school. But it's more realistic that because Eddie graduates on time (he had Billy to help tutor and keep him focused), he insists that Billy also graduates. It's one more year. They can hone their craft locally, play in local bars and clubs, and build up more experience in small venues before they move on.
So they do.
And it was worth it. They learned a lot about running performances, all the things that can and do g wrong, learned what they need to have backup for, how to fix issues while on stage without causing issues or freaking out.
Road life is hard, but they make due. They play shows that sell more and more tickets each night. Soon small venues aren't enough. There's a weird interaction after a show where someone tries to grab Eddie and Billy jumps in because of course he does. After that they talk about security.
Things aren't always easy.
They write and record another album. Then another.
The band is starting to side eye Billy and Eddie because "guys seriously, bands break up over shit like girls. You two can't keep fucking. Figure it out."
But they want to keep fucking. They like being together. They feel whole and complete and perfect when they're playing or making out or running or having sex. Everything is so perfect and they can't imagine anything would ever tear them apart. After all they've been through, surely it's not going to be sex that separates them.
They've been sleeping together on and off for years. They don't tell anyone else about it because Eddie told a girl he was seeing once and she flipped out because he and Billy are so close. They're always together and she doesn't feel secure. She doesn't last long. So they keep it to themselves. The band obviously knows and thinks something could go sideways. Billy has a temper sometimes, but he's more of a yeller than anything else.
It's the bassist that will destroy a hotel room if he's drunk to blow off steam.
Max
Apparently can't write anything about Billy without Max. Oops!
Six months after leaving to tour and make dreams happen with Eddie and Corroded Coffin, Max calls him one night in hysterics. Her mother is in the hospital. Billy goes back to their hometown and takes Max away from Neil. Cops are involved because she's a minor, but her mother is in the hospital and Billy won't leave her alone with Neil. He spends two days in jail for taking her before Eddie and the band come and bail him out. The band is right there with Billy and none of them like Neil. Eddie is willing to just find a way to get rid of Neil, but is convinced not to do that by Max and another member of the band.
Susan refuses to leave Neil and insists on keeping Max with her, but Max keeps running away to be with Billy. After Billy's been arrested two more times for Max running to his house, Susan just stopped calling the police. And she stops calling the police or doing anything to stop her when Neil slaps Max for the first time. It wasn't hard and doesn't leave a mark, but it was vicious. Exactly how he used to hit Billy when he was angry but in control.
After an insanely difficult fight, Billy gets custody of Max when he's 19. and she's 14. Because he has responsibility now, they can't fail. Billy has to take care of her and that effects all the areas of his life. He pushes the band, makes sure that they succeed. Makes sure they're all the best. There's no other option for him. he has to make this work for Max. He has custody of her and her life is now dependent on him and what he can do.
In two years, Corroded Coffin becomes incredibly successful and are constantly touring. They have three albums now and are doing well. Max has tutors and is home schooled and when they have enough money, Billy finds a way to have her go to a regular school near where they record. The band has a house together.
Max gets along with everyone in the band and that was true before they started touring. Especially Eddie. Max adores Eddie and they sometimes play music together. Eddie would absolutely kill for Max and she was basically a little sister to him before he and Billy were even together. There were many nights when she was sleeping crammed in the trailer with Billy and Eddie, even on school nights.
For the fun of it, Max can be an artist too. She doesn't want to finish school, but since Billy did, she agrees to graduate since it matters so much to him. He pushes for her to graduate high school because he said he would take care of her and getting custody of her just to have her drop out would make him feel like a failure.
Whatever, her brother's a loser, but she'll graduate because it means so much to him and he pulled her out of the bullshit of their parents. Terrifyingly enough, their parents are still married, still together. No matter what Neil does, Susan won't leave him. Max hasn't quite given up on her mother, but doesn't understand her. Doesn't understand why she keeps forgiving Neil and stays with him. Billy doesn't either.
They're going on tour again and Max wants to go as her and Billy aren't usually separated. They barter and she is going on some of the tour but not all of it.
This tour is going to be huge. One of their biggest tours. They have pyrotechnics and it's going to be intense. One of the most expensive sets they've ever put together. All the best lighting and they even have some intense stuff planned that is supposed to fly over the audience.
Steve
Steve could fill a couple different narrative purposes. Maybe he starts as a fanboy. Maybe he makes some sort of a mix tape and somehow finds a way to get it to the band. I could also see him as some sort of a stage hand in one of the places they stop to play. There's a lot of sensible options to get him in close without it feeling like a One Direction wattpad fanfic.
Perhaps he finds a way to bribe the body guards to get backstage, or he wins some sort of contest.
My personal favorite approach would be that he finds out that Dustin is friends with Lucas and Lucas is friends with (or dating?) Max, and Max is Billy's sister and so Steve embarrasses the fuck out of himself and ends up bringing Max home one day to be able to talk to Billy.
Max is not totally unaware of what Steve wants, but she trusts Dustin and Lucas, and kinda likes Steve. She also knows how Billy and Eddie react to people and it's not like Steve is talentless, he's good and she's played with him to learn enough and she's confident enough in him that she's okay with Steve bringing her home and showing up at the house.
The band still crashes together at the house Billy owns. They don't all live there full time anymore, they're too successful for that. But, they're all gathered together hanging out. Max comes home and they're jamming in the studio.
Trying to make this as normal as possible, Max gives Steve an excuse to come inside by saying, "Billy wants to meet anyone who gives me a ride. Come with me to the studio?"
"Studio? Billy-- YES!!" Steve is beside himself and positively giddy.
She she rolls her eyes and walks him inside. She had hoped he wasn't a loser. (He's totally a loser).
They go inside the house and up to the studio that has been retrofit on the ground floor of the house. She brings Steve inside and he's totally a loser and she gives Dustin the side-eye because he swore up and down that Steve was cool.
And people fanning out over her loser (affectionate) brother is such a gross move. She hates seeing people do stuff like this.
Dustin shrugs and they go to make some pizza rolls or something.
Billy yells after them that there's dinner on the stove and they need to eat that and not junk food.
Steve's heart skips a beat. Not only is Billy super talented... but he also made the kids dinner. He's even more heart eyes for Billy now.
The band is still chill and down to Earth, especially Eddie who is one of the most grounded people Steve has ever met.
Despite being nervous, Steve jams with them for a few hours. They hang out, they talk, and he gets to know them in a way he never thought he'd be able to.
They talk a few more times and Steve also manages to get to the house one more time before they're scheduled to leave for a tour.
Billy calls Steve two days before they leave for the tour. Apparently one of their sound guys is in rehab. He knows that's a heavy thing to drop on him, but based on the conversations they've had and all that...
Does Steve want to come and help support them?
In the end, Steve goes on tour with them. He quits his job on the spot, gives up everything in his life because this is his dream and he's going to make it happen. He gives his roommate, Robin, three months of his part of the rent and packs up and leaves, promising that he'll find a way to send her money when they're on the road.
He starts of doing sound and other tasks for the band behind the scenes, but one of the nights a few months in, Eddie asks if Steve wants to open for them. As a trial or something.
Steve jumps at the opportunity.
He opens for Corroded Coffin their first night in Chicago.
While touring with Corroded Coffin, Steve gets used to being on stage in front of huge crowds. He hones his own style and craft and grows with them. He helps with some of their huge set pieces and elaborate effects and just feels at home with the band.
Even if he could make it out on his own, he likes touring with them and is a little afraid that he wouldn't enjoy touring my himself. So, he says he's not ready yet. There's something special about the community he has with Corroded Coffin, not just the band, but the dozens of people that travel and support them, the staff, the security and crew. His friends, his people are here, so... yeah, he doesn't want to strike out on his own. Not yet, anyway. Sure, maybe one day, but for the moment, he's living for what is, and that's the band, his people, and Billy and Eddie.
If Steve does well enough as an opener, then depending on what he wants, he could go on to become an artist in his own right, or just integrate into the band. It all depends on the vibes. Choose your own adventure on this one, friend. ;)
That said, it could also stay platonic with Steve. He's there, he's around, he's supportive of Billy and Eddie and he's never anything more than just their friend.
But, it could also have a Harringrove ending where as much as Billy and Eddie love one another, there's just something about Steve. And I do think Eddie would be able to cope with having Billy in his life, even if it's not in his bed.
Buuuuut, there's also a third option.
Metal sandwich
Now, while not for everyone, metal sandwich would be an easy adjustment for all of them to make. Steve just inserts himself into the existing dynamic.
While I haven't mentioned the media yet, depending on the generation this takes place in, I could see it being a huge media talking point that the three of them are together and lots of people have feelings about that. It could also be incredibly interesting to focus on their lives outside of the public eye. Because it could also be something where they mind their fucking business and no one bothers them, which could also be super fun.
Of course there would be issues, but I can easily see them making things work together.
Given that I don't focus too much on ages, I could easily see Steve not getting involved until the three of them are mid twenties at least. Also, I wouldn't say no at least one of them being a single dad in a failed relationship and honestly? Given the disaster that is these three, it could be any of them.
Corroded Coffin becomes one of the most famous metal bands of it's day and helps define the genre and cultural movements. Imagine a band with so much power and sway that they could help keep their shitty government in line by helping people wake up and see the truth.
Final note
(as a treat)
Not the point at all, but I can also see both Billy and Max modeling for fun or to promote the band and stay important in the press.
Welcome to another subtext exploration and nit picking bonanza.
After running from this idea for well over three weeks, it decided it must exist, so here we are with the first meta in a new series that I'm sure people will be very normal about. And if they're not, well... that's half the fun in this fandom.
While outlining another more detailed meta called The Sexualization and Objectification of Billy Hargrove, I realized that a core aspect of that meta is this one. Some of the topics for that meta, such as the Male/Female gaze, and Feminine/Masculine require more research, so consider this one a little sprinkle, sprinkle.
This meta focuses on the Nancy point-of-view used to introduce Billy and Max, the film techniques used, scene analysis, the thematic implications around the virgin and the whore archetypes, and the music used in the scene.
Specific film techniques and language is used throughout and hopefully, easy to understand. If not, feel free to ask in the comments for clarification, and I'll do better in future.
Many elements of Billy's introduction highlights the fundamental conflict within the narrative when it comes to Billy specifically and the story more broadly: the discordance between the show and tell elements.
As with other meta, this idea may not necessarily be unique to me, but something myself and others have noticed in the show and mentioned in the fandom. I wanted to discuss it in some fashion because wow, it's interesting and presents such an incredible dynamic that goes woefully unexplored.
Things going woefully unexplored in Stranger Things? No... surely I jest.
Parts
This analysis was supposed to be a single meta, but here we are once again.
The Virgin-Whore: Billy Hargrove Meta - Part 1 - The Virgin
The Music of the Virgin-Whore: Billy Hargrove Meta - Part 2
The Virgin-Whore: Billy Hargrove Meta - Part 3 - The Whore
The Virgin-Whore: Billy Hargrove Meta - Part 4 - Sound and Music
References and Sources
This meta includes links to sources, both on Tumblr and external. It is not necessary to view these sources, but sometimes when I read analysis or meta, I wonder about the sources for some claims and end up trying to hunt them down. For this reason, sources are included for anyone like me who likes this sort of thing. If there's anything you have questions on, let me know.
I suggest reading the analysis prior to reviewing the links, as reviewing links leads to rabbit holes, and spoils the flow.
Disclaimer
In case this is not clear, the archetypal ideas of the virgin and the whore do not reflect my beliefs and values, nor are they a representation of the way I perceive any of the characters discussed. Archetypes are a narrative framework with which to discuss ideas and troupes, particularly 80s troupes, which relied heavily on these archetypes, including some of the films that were referenced in Stranger Things.
You have been warned.
Let's get started.
Hang on to your husbands, girls
From his introduction, Billy is established as the shiny new toy in Hawkins and his body is sexually framed from the moment he steps out of the car. Upon first watch, this seems like a normal introduction scene with a flare for the dramatic given that Billy is apparently the new bad boy from California, what with his shiny muscle car and rock music.
Framed as an object of desire, he is not allowed to speak during his own introduction, despite being framed by primary cast, Nancy and Steve, who vanish to allow room for the secondary cast, Vicki, Tina, and Carol to make commentary. Don't worry, we'll get into what a strange filming decision this is later.
One of the most compelling parts of Billy's characterization in ST is the transition he makes from the Virgin archetype to Whore archetype. In the first episode, Billy has one scene with only indirect characterization. Now, technically, Billy appears in another scene dropping Max off at the arcade where they argue, he speeds off as Max slams the door, and she flips him off. However, he does not get out of the car and this scene is a strange decision for a number of reasons. They will be discussed in the next part of the meta.
One could argue that he starts as the whore, given that his entrance to the scene is the roar of the Camaro with the music and a cigarette, but humor me as we go forth.
Note: For narrative purposes, I refer to (Billy and) Nancy as the "whore" and (Billy and) Barb as the "virgin" for the sake of the troupe, but they are never explicitly framed that way in the show. It is a troupe exploration and is not meant to be offensive or to say that Nancy is a whore. She's not.
Sex doesn't ruin girls - thanks for coming to my TedTalk.
"Boo, you whore"
When I started this meta, my original thesis was that Billy transitioned from virgin to whore in his introductory scene. Nope, I was wrong and have since changed my position.
In E1: MadMax, Billy is characterized as the Virgin. It's not until E2: Trick or Treat that he becomes the Whore. It's always fun when the subversion of expectations is caused entirely by accident by the misalignment of the show and tell elements within the story.
The Virgin-Whore archetype
The dynamic of the virgin and the whore is no stranger in television and cinema, and these troupes are so well known that we use them as conversation starters and to spark outrage. For better or for worse, the broader culture judges and defines women first and foremost by their sexual behavior, appearance, and familiarity and comfort around and with sex.
And yet, in Season 1, Stranger Things subverts the classic horror troupe that the whore must die so the virgin can live. Now, I could point out the original script and the lingering emotional tone that remain in various scenes, like the scene between Nancy and Karen. I could also discuss the way Nancy is framed by the characters, but not the narrative, but I am choosing not to do that here, but be aware I considered discussing it and maybe I will at another time.
In horror movies, one of the best-known tropes is playfully dubbed 'We’ve Seen Your Breasts; Now You Must Die'. The implication in horror movies that the broader society unconsciously believes is that the whore is desired for their sexual attractiveness and availability for sex, but is not valued. In most stories, the whore appears on screen so we can objectify and watch them have sex, but once their purpose is fulfilled, then they are ready for the axe. Value is reserved for the virgin because of their integrity. Those who don't engage in sex are the ones allowed to survive, and it her virginity that is the prize the hero has won, not a relationship with an autonomous person.
Maybe it's because we don't see Nancy's breasts since she got a new bra, but the show never frames Nancy as a whore for choosing to have sex with Steve, and subsequently does not punishing her for it. One would assume this would mean the Virgin-Whore troupe is subverted, and it is with Nancy. The sexually liberated (or experienced) woman lives and apparently had a great night if Carol is to be trusted. It is Barb who is killed. Death comes for the uncoupled, bleeding virgin that is alone, and therefore vulnerable. Barb is taken and subsequently dies to the mystery that is the demogorgon.
Since Jonathan is also there and is not made a target, it is not the status of virgin that makes one a target, it's blood. An injury.
The Wounded are targets of the Upside Down.
It's worth noting that Barb is injured when attempting to shot gun a beer, something Nancy successfully does. Steve offers to help Nancy, but Tommy taunts him with, "she's smart" indicating that Nancy is smart enough to do this on her own and does not need assistance. Her actions also show that Nancy both wants to and can do it on her own. By contrast, Barb is injured during her attempt. We can assume that Barb is just as smart as Nancy, but is it really smarts that make this easy? Was there a knowledge component that Nancy saw when Steve did it that Barb did not see? She does roll her eyes and look away. Was Barb injured because she didn't want to try and said so? Because she was nervous? Uncomfortable? Could Nancy have done this before and therefore has some experience? Regardless, the culmination is Nancy exerting her agency and deciding to indulge in her sexual desire. She tells Barb she's fine and that Barb can just go home.
The lesson we take from Season 1 then, is there is a narrative promise that the one who is alone is vulnerable.
The setting of the story is the town of Hawkins in 1983-4, which personifies the quiet suffering caused by isolation and disconnection.
The 1980s were a time when people could be openly hostile to those who were different. Division caused by racism, homophobia, judgement, broken family relationships, drug abuse, and mental health struggles are apparent and obvious throughout Season 1, but cannot be openly discussed or called out. These normal parts of life are seen and known about, but swept under the rug or whispered about in hushed tones, behind judgemental hands.
One notable exception was how women were treated, and the shameless, open sexism that made it possible for women to be harassed and ridiculed for their choices and behavior. The women's sexual liberation movement of the 60s along with the culture shift that sparked increase rates of divorce affected how women were viewed and treated by the culture and how that shaped the individuals in it.
The Virgin embodies virtue and is often passive, pure, benevolent, and untouched. Virgins are uninitiated and inexperienced. The designation of Virgin is used to judge and deem women worthy.
The Whore embodies vice wrapped in sex appeal and is promiscuous, sexually available, while catering to the Male Gaze and various fetishes. Whores are initiated and experienced. The designation of Whore is used to judge and deem women as unworthy.
Virgin and the Whore are archetypes created with the purpose to fetishize love and lust, respectively, and, as representations, are conditional.
It's no surprise that most 80s media centers around the Virgin and the Whore, the ideas surrounding and desire for love and connection contrasted with the primal and often uncontrolled desire for lust and sexual satisfaction.
Billy, the Virgin-Whore
In his introduction, Billy embodies multiple troupes used in the Virgin archetype and this seems to be done entirely on accident. He is the new shiny toy in Hawkins, unaware, and therefore ripe for the picking, and given that he is not allowed to speak in his own introduction, he is shown to be a submissive doormat as he is objectified despite the fact he hears what it said about him. Billy starts the show as passive, untouched, and silent. In this case, untouched and silent refers to the fact that he does not interact with anyone or speak. He is at Hawkins High School just to be viewed. He does not reach out to any other character and is therefore separated from the women who watch him. Granted, the girls speak mostly to one another and not Billy directly. Despite that, it reminds me of construction workers whistling while women pass a job site.
The virgin imagery extends to the way Billy is dressed, and is in fact completely covered. He's wearing a white, long sleeved, and high collared shirt (thermal?) covered by his signature jean jacket, with jeans, a belt, and boots. He is dressed conservatively. Just like everyone else. He fits in.
Another critical detail is, unlike in later scene and episodes, the sleeve of his jean jacket are loose and not pulled back to expose his wrists or arms. One side of the jean jacket is buttoned up to expose his watch, but the long sleeve shirt comes down to meet his watch, covering his skin. Unlike later scenes, only one side of the right cuff is buttoned and the other side of the jacket dangles. His arms and wrists are covered, just like the rest of him. If the watch is taken into consideration, his wrist remain hidden.
From head to toe, this boy is covered. Almost no skin shows.
The most important detail is that his pendant of the Virgin Mary is hidden behind his jean jacket, obscured from view the entire scene. The most vulnerable part of Billy, a symbol that serves as his icon, remains unseen in his own introduction.
For now, the virgin is protected and hidden.
As many women will tell you, it virgin or whore, it does not matter. Regardless of what he knows himself to be, Billy is openly objectified by a group of teenage girls. It's a total reversal of the dynamic we typically see which is the new girl being surrounded by all the popular boys. This could have been a fun troupe inversion. We all know that's not what happens.
Billy embodies the virgin until we see his true personality, his cruelty, his anger, and the exposure of these traits, along with his desirability and his open embrace of it, make him the whore. This will be discussed more in the whore portion of the meta.
The virgin-whore archetype can be taken one step further in Stranger Things because of the scifi elements heavy in Seasons 1 and 2.
Billy is more objectified in Season 3, but the genre shifts to supernatural, rather than scifi. The metaphor does still work in Season 3, however.
The Virgin and the Whore as a Scifi Metaphor
Reduced down to the barest bones:
virgins are new and unprepared for the world they are about to enter.
whores are familiar and prepared for the world in which they are actively engaged.
Given the troupe inversion in the first season, the typical definition of virgin and whore is not the same in Hawkins. Not anymore.
Rather than sexual experience leading charge of the virgin-whore matrix, it is the knowledge of the forbidden that is important now. The division between the virgin and the whore is not sex, it is knowledge. It is awareness. It is the initiation into and knowledge of the second world: the world of the Upside Down.
Billy is paralleled with Barb in the most ironic way as the two of them die when taken by Upside Down, witnessing it, but never learning of it. Their status as the virgin is not related to sex it's lack of knowledge.
Overview
Unfortunately this meta got complicated fast, so once again we're splitting scenes into parts. Given how complicated this scene pack is and how many moving parts there are, I have opted to do the analysis chronologically by character. Switching back and forth causes the flow to lose steam and nuance during the analysis of Billy's introduction.
Meaning that both Billy scenes are analyzed together despite the fact there is a Max scene in-between. Analysis of Max's introduction appears after, but is not nearly as detailed since this is not about her, per say.
The scene breakdown are as follows:
Other character introductions
Steve and Nancy
The Siblings
Billy
Max
Other Character Introductions
Gentle reader, know that I wanted this section to be at the bottom, but it refused. It demanded to be first so I could do a thing later on.
One thing S2E1: MadMax does exceptionally well is that in the first 15 minutes, it introduces four new characters: Murray, Billy and Max, and Bob. Murray and Bob get solo introductions. Only Billy and Max are introduced together. Billy is introduced first, followed by Max who is defined as "His sister" in the script. My favorite thing is that they are not called step-siblings in their introduction scene in the script.
The easiest way to introduce new characters is to use established characters we already know and like to help give the audience a feel for this new character. Giving the character someone to bounce off of in the form of a scene partner helps to develop our understanding of the characters, their relationship, and the world.
In Billy and Max's introduction scene, neither of them is given any dialogue. Contrast this with the two other introduction scenes in this episode.
Murray Bauman
Prior to Murray's actual introduction there are several establishing shots of downtown, including The Hawk. Guess what movie is on the marquee? The Terminator. This will be important later.
At the end of the establishing shot, the camera arrives at the Police station as Hopper's cruiser parks out front. Murray is outside waiting and speaks almost immediately, "Good Morning, Jim. Jim, uh... hold on a second, we need to talk," to which Hopper chants "Get away from me" three times. Hopper and Murray walk into the Police station as Hopper presumably continues in his S1 vibe of mornings are for coffee and contemplation. Complete with Flo taking the cigarette out of his mouth. He doesn't explicitly say that, but the scene is funny and reminds me of his intro scene last season. Since Hopper enters with a cigarette, I suppose we can joke his fate is tied to Billy's?
The Police station and Hopper specifically are used around Murray's introduction to help us get to know him and pull him into the story and the world. We see that he waits for Hopper outside the police station, is insistent, follows him inside, is stubborn, and is also ridiculed for his beliefs as he tells Hopper about what he thinks is going on in Hawkins.
The irony in this scene is that Murray is almost correct. Some of his details are off, but he is on the money. This tells us that he is like Joyce in the sense of believing in the unbelievable and unconventional. Therefore, we have a new character who is going to be looking into the mysteries and trying to find answers to some of those pesky consequences that arose from the previous season. This introduction loosely parallels two previous scenes: Hopper's introduction, and a scene between Hopper and Joyce in the police station where he demands he listen to her.
The implication here being that Murray knows things and that could be dangerous. He is, in a sense, a threat to our characters. The viewer takes him seriously even if the characters don't.
Bob Newby
Stop everything! Sean Astin is on screen!
After a scene at the middle school with Max's secondary introduction, we cut to Melvald's General Store with Joyce working on Will's Halloween costume behind the register. A customer enters and grabs one of the many orange pumpkin Trick or Treat buckets, "Hey there! Do you happen to have this in any other colors?"
Instead of seeming like a jerk coming in to make unreasonable demands, Bob is incredibly likeable. Based on Joyce's reaction, we like Bob and can see he is not being difficult, but playful, and... flirting?
This is immediately confirmed when we cut to them kissing in the stock room. So, Bob is Joyce's boyfriend, someone new and mysterious. It's honestly just nice to see Joyce happy.
Can we trust him? What does it mean that she has found love in the year gap between seasons?
In both character introduction scenes discussed above, dialogue is a huge part of their intros. Their interactions with other characters are the cornerstone that teaches us about these characters, how to feel about them, and their function in the narrative.
Simply put, Murray and Bob are characterized through their interactions with the existing cast to prime the audience for their purpose in the narrative. Bob as a romantic partner for Joyce and Murray as a secondary antagonist in the background who works to expose the truth.
Steve and Nancy
Note: As the analysis goes, I jump around a little because this scene has a lot of issues and it helps cement how poorly written this introduction is.
Is it exciting? Yes. Does it hold water in a rewatch? Eh...
Prior to Billy's arrival, Steve and Nancy are sitting in the Beamer working on one of his University application essays. The scene is framed around Steve needing help and Nancy supporting him as best she can. Her feedback is passive af and as someone who used to teach how to write college essays, it's not helpful. This points to the overabundance evidence available a year ago that the two of them are not exactly compatible.
Still, this is framed with the backdrop of the Duffer's use of the Jock archetype, as evidently, the essay is a mess and due tomorrow, but they have plans that night to have dinner with Barb's parents, so they cannot meet that evening to work on it. Not sure how long this dinner is going to be and I guess it's right after school at 4 o'clock, but okay, whatever. No time to help Steve for whatever reason.
What even is time in this show?
We later find out the dinner is around 5pm. Maybe Nancy cried in the bathroom for 2 hours?
The Script
The scene alludes to some emotional friction between Nancy and Steve with an undercurrent of trouble in paradise, which the script explicitly spells out.
Note: The image below is a script I marked up. As someone who has worked productions with scripts with 200+ pages, I use different colors to denote different departments and responsibilities to keep track of who (in cast and/or crew) acts on the information presented in the script. The script and the colors used to highlight certain parts will come up as needed in the analysis. I may not touch on all of them. These colors are by no means universal, they're simply my system.
Important!
Gray denotes dialogue removed or cut from the final version.
Let us all take a moment to express gratitude for the vehicle procurement team who found a blue Camaro rather than a black one. We thank you for your service to Billy and the fandom.
source: Stranger Things The Complete Scripts Season 2 (book)
Scene placement
Scenes are placed in the show strategically and purposefully. A huge part of storyboarding and editing is to tell the best story in the correct order. Meaning, that The choice was made to introduce Billy and Mx together. We could have gotten individual introductions for them, like Max's secondary introduction in the classroom. After all, we don't see any of the other kids arrive at school. Billy and Max could have been introduced separately in their respective first classes. But the Duffer's chose not to do that.
The Duffer's didn't have to introduce Billy and Max with the backdrop of Nancy and Steve being there, or without a scene that shows things not all is right between them. This was chosen so we have to assume it's intentional.
The tone of the scene, highlighted green in the script, is that of emotional uncertainty, it's supposed to be romantic, but something is off, Something is not quite right. In other words: things are not as they appear.
To steal (butcher) a quote from Hamlet: Something is amiss in the state of Indiana.
Put another way, if there was a shot of Jonathan rolling up to school and getting out of his car during this scene, it would have been more obvious that Nancy and Jonathan were going to get together than Murray telling them to fuck. The Duffer's don't write romance particularly well, they have other characters tell us what's going on so they don't have to go through the effort of writing actual relationships.
Went off the rails for a second there, so...
Steve and Nancy's relationship is discussed more in Part 2 with regards to the music choice selected to play in the background of this scene and is under the section Talking in Your Sleep.
To recap, there's a scene of a(n uncertain) coupled Nancy and Steve where they are discussing their plans for the future, Steve sticking around for another year so Nancy doesn't forget him, and it's wrapped up with a kiss and I love yous. But still, Nancy is not quite comfortable in this scene. There's something off about the way she says "I love you, too".
Then what happens?
vroom vroom
Steve and Nancy analysis
The Duffer's chose to set the mood and tone for the scene in which Billy arrives framed by the potential rift between Steve and Nancy.
Recall that Murray and Bob do not get intros were they are the focus of the interactions. Murray is waiting in the scene when Hopper arrives. The camera shows us Joyce to establish the scene before Bob enters.
In this scene, by contrast, the focus is given to the arrival of the Camaro, the loud engine, and the introductory chords of "Rock You Like a Hurricane" by Scorpions. Billy is interrupting a scene in progress between the couple before school. Murray and Bob are given their own scenes in which they are given focus.
Nancy and Steve are witnesses to Billy's arrival, an inverse of Murray's intro where he witnesses Hopper's arrival in his truck, and an indirect parallel to Bob's, who enters the store after an establishing shot of Joyce.
The difference is Billy (and Max) do not interact with anyone, not even one another.
Cinematography
When Nancy gets out of the car a boom is used to track her movement as she stands, building suspense for Billy's introduction. A boom is when the camera moves up and down (later explained in more detail). A subtle pan brings Nancy closer to Steve, but they do not over lap before we cut to the Camaro rolling in. Visually, Steve and Nancy do not 'cross paths' or intersect. They are disconnected and have different points of view as Billy arrives. Not to mention, there is a literal car between them. Given the camera work and the abundance of time and lingering shots in Season 1, the stage direction could have brought Nancy and Steve together. It does not. Their separation, it seems, is permanent.
Critically, Nancy is the establishing POV through which we meet Billy. The center of the shot corresponds with Nancy's eyes, called an eye-level pan, and is used to communicate a character's point of view.
Nancy is closer to the Camar and Billy than Steve, who is almost an after thought in this scene, standing behind Nancy. Additionally, when Billy gets out of the car, Nancy is the direct line of sight used in later framing and she would be looking straight at Billy.
Notice the focus of the gif below. Nancy is in focus and given more importance because she is in the foreground. Later, Billy is also shot with a boom, which connects the two of them in the scene by the way they are captured by the camera and the establishment of Nancy's point of view.
source: acharesia
While Nancy and Steve witness their arrival, the camera does not pan from the Beamer to the Camaro. There's a cut. This is a distinct choice that establishes that Billy is disconnected from Nancy and Steve.
In hindsight this reveals that the Duffer's never wanted to 'bridge the gap' between Billy with Steve and Nancy (and the general scifi elements). Billy was never going to get knowingly involved in the plot. From the very start, he is shown as Other and the film techniques used for him reflect this. However, he is not Other because he is an outcast, he is other because he is a Jock and boy do the Duffer's love to torture and punish jocks for being attractive and the object of female desire. This will come up again too.
Moreover after this shot of Nancy and Steve standing outside the Beamer, they are not shown in the scene again. Weird considering the doors are open and they look pretty comfortable. Guess they got their stuff together and left silently with no further interactions of consequence. No exchange at all upon what they just saw. Nope. Just went right into school with no further thoughts or reactions. What a shame it would be to let Steve and Nancy interact with the "new and improved Steve Harrington" (quoted from the script below).
Immediately, Billy is rejected by the Duffers, mostly the Duffers the camera, plot, and the characters.
Not Max, though. Max is immediately accepted with open arms. Reviewing these scenes make me a bit sad. Ah well, moving on!
Although Steve is in this scene, we start the introduction to Billy in Nancy's POV until both she and Steve disappear, which is ironic for so many reasons. As many have said before, the narrative seems to introduce Billy as a romantic rival to Steve, but as we all know, that's not what happens.
Some people don't see how the narrative could introduce Billy as a romantic rival for Steve. The short answer is 80s troupes: a new hot guy comes to town, the 'couple' is having troubles, and strong jocks tend to have a reputation for womanizing. Lucky for us this is an outcast show and Nancy is going to hop into bed with Jonathan after a Temple of Doom reference later this season.
Final note before we move on because this is too funny not to mention. During this scene, Steve is insecure about Nancy potentially forgetting him if he goes off to college, and phrases his concern to his romantic partner as, "make sure you don't forget this pretty face".
Quiz: What does Billy call Steve?
Answer: Pretty boy.
Can't make this shit up, ya'll.
Alright everyone, say goodbye to Steve and Nancy because they disappear after this shot and never come back! Weird how we don't get any reactions from the unhappy-couple as Billy gets out of the car. But also not weird because Nancy and Steve are not in the script again after Billy arrive. For anyone unfamiliar, if you're not in the script then you're not on the set.
What a shame it would be to see main characters react to Billy's introduction. What a shame it would be to see main characters interact with new cast.
The Siblings
As mentioned earlier, the first 15 minutes of this episode introduces four new characters remarkably well. Billy and Max are second and third, respectfully, and the only important characters this season introduced together. From their first scene, the narrative promises the inter-connectivity of Billy and Max. Sadly, it never delivers on this promise. In some ways, this should mean that their fates are intertwined, especially since one would assume they are siblings based on their introduction. Two new students arrive in the same car? That's sibling coded af.
Critically, Billy and Max are introduced together, but treated differently within the frame of the camera and the liberties both characters take in future.
The fact that Billy is specifically framed with women to establish his character is paralleled with Max, who framed with boys to establish her character? The gender nonconforming Hargrove-Mayfield siblings, folks.
Another weird inconsistency is that the location of the middle school is retconned during Season 2, depending on the needs of the screenwriters. When Jonathan is asked to bring Will to school, it seems like he has to go out of his way, so Bob offers to do it instead. However, Billy always brings Max to school and we later see that the high school and middle schools are close together. Just a weird little quirk in the writing and one of many geography errors. FYI, one school was used to film both the high school and middle school scenes, so the inconsistency makes even less sense.
Anyway, as with basically everything that has to do with Billy: the show and the tell elements of his character don't match. We get a long lingering shot up Billy's bod, but we do not get the same shot of Max as she gets out of the car or skates away. Max has her own section later, so let's focus on Billy.
Billy's Introduction
The first time we see Billy, he is veiled, the shine on the Camaro prevents us from seeing his face. In the gif below, it's subtle and quick, but you can see Billy reach up to his face and takes a cigarette out of his mouth. Even before he's in frame, he's established as a smoker.
It's time to talk about smoking.
Have you talked to your doctor abou---
Stranger Things as a franchise is surprisingly smoking neutral, which is unique for Hollywood, so bravo for that at least. Unlike most shows, smoking and drinking is not glorified on screen as much as it is in other media. Yes, the teens drink and some of them smoke, but the one we see drinking most often is Billy and he's 'villainous'.
Since smoking is a habit, it makes sense that being a smoker does not denote good or bad. After all, Joyce smokes when her kid is missing. Hopper is 2/2 on walking into the police station at the start of the season smoking and Flo doing something about it.
Perhaps smoking denotes villainy in the teens, as Steve and Tommy smoke in Season 1. In fact, Tommy is smoking at Steve's pool, and before the fight with Jonathan. Post redemption, Steve isn't shown smoking again, as far as I recall. Redemption and babysitting duty means no more smoking. Congrats Steve!
Tommy and Billy are shown smoking together though, so... I suppose having Billy be a smoker doesn't mean much... except that this boy throws away almost a full cigarette.
Sure, they were cheap in the 80s, but no smoker I've ever met would do this. That leads me to believe that although Billy is seen smoking and is experienced enough to exhale smoke through his nose, smoking is presumably something he did not do often in California and perhaps has become a vice for him given all of the changes happening in his life. Like the fact he's entirely isolated.
Perhaps the Duffer's (who are presumably non-smokers?) are adding cigarettes as 80's cultural iconography. Additionally, smoking is an easy throw in because it gives the characters something to do and adds reasonable movement to a scene that can help convey other types of characterization. For example, in Season 1 Steve is lighting a cigarette while Nancy flirts with him about seeming cool about shot gunning a beer being impressive. Smoking makes him look in control and self assured, something that would be harder to convey if he was just sitting there.
Introducing Billy as a smoker could make him seem like a bad boy, but that doesn't make sense given he just walks off without saying anything. Also, him tossing an almost full cigarette doesn't match what we later learn from Max about their socioeconomic status.
Another tangent, I guess. Moving on!
Cinematography
source: tomatette
As the car pulls through the parking lot, the visual focus is given to Max. Even inside the Camaro, the camera tells us all we need to know in the most subtle of ways: MadMax has arrived. Not as the driver, but as a passenger. Hold onto your high scores, boys, a new gamer's in town.
And, be aware, the Duffer's chose to shoot the scene from Max's side of the car framed by Steve and Nancy. They could have shot it the other way and caught Nancy and Steve in the background, similar to the scene they shot with Billy in the back of the Max and Lucas fight I discussed in another meta. This would explain why they do not reappear and would close the loop on that. But whatever.
The director chose to shoot the characters this way in this episode. Also, it's important to note how difficult it is to shoot a scene with extras and movement like this because it makes seamless cuts between takes more difficult. Personally, I can see the cuts between two different takes when the Camaro parks, but that's probably just me.
The staging and blocking in this scene is tight because everything and everyone is so close together. The image shown below is a graphic that has the establishing shot of the high school where I added where the Camaro parks in relation to the girls and the Beamer. Since this is an edit, the Camaro is not to scale.
Nancy and Billy are on one side and Steve and Max are on the other. Billy and Max are introduced in the context of Steve and Nancy's relationship, a struggle involving love. Then, Billy parks the car on the opposite side of the lot on the same side as Nancy, which would normally indicate there will be a change in romantic potential. Steve and Max are also on the same side. Oh well. Just throwing potential in the garbage.
Look how close Vicky, Tina, and Carol are to Billy when he gets out of the car. There's two parking spots between them. It's far enough away that it's clear Billy doesn't want to interact, but close enough that they get a front row seat.
Based on how the camera pans the parking lot to the passenger rear of the Beamer as the Camaro parks, shown in the gif below, the camera would be set up where Nancy would have been standing so she cannot physically be there.
If Steve was in this scene, he would have to look diagonally to see Billy and the Camaro would block some of his view. Nancy, on the other hand, would get a front row seat as he gets out of the driver's side and turns around dramatically. If only she was still there.
Once again, Nancy is the framing device used for Billy's arrival, even down to the fact that they are shot getting out of the car with the same film technique, just different camera positions with regards to the door. More on this when we get there.
source: tomatette
Billy gets out of the car first and is therefore given the focus of the introduction, likely since this happens in the high school parking lot and the witness' of this are the high school students. Since Nancy and Steve do not appear again and were clearly not on set during the shooting of the scene, I hesitate to say that their framing still matters. They gracefully exited stage left and are off reading the script or whatever, because apparently Billy is not allowed to interact with anyone his own age. His character is an outcast and not just because he's a California transplant, and we know that because of the shot of and focus on his license plate.
Something positive to say! Look at this beautiful panning shot. I finally get to gush about a pan and zoom. This is visually interesting. So smooth. See how nice pans are? See how beautiful this is? Just wonderful. Finally some good god damn food cinematography.
source: tomatette
Billy's introduction uses multiple camera techniques, but I will focus on the important ones. The camera pans from the California license plate to the driver's side door, and zooms in for a knee shot. As Billy steps out of the car, an upward boom follows him.
Put simply, a boom shot follows vertical (up or down) actions to build suspense, reveal a location, and establish power dynamics. This shot can also be used to reveal characters in dramatic ways, which is what's done here. Earlier a boom was used to establish Nancy's point of view and build suspense. The camera finishes at eye level, which is the most common camera framing to help an audience connect with a character. Being eye to eye with someone is part of the natural human experience and this technique is typically used to humanize and help an audience connect with a character. Oh boy. Can't wait to see how great this dude is.
The most important part about Billy is that we meet his entire body, the back of his head and long hair, and even his cigarette before we see his face.
It's also worth noting that the same camera techniques are used on Billy and Nancy, but appear in reverse. With Billy, we start with the pan and then the boom. Nancy's starts with the boom and then the pan. This would actually be the perfect way to frame them as opposites, foils, or even rivals. Again, you cannot make this shit up. Are these parallels done intentionally or are they just throwing it in there for fun?
source: tomatette
A boom is different from tilt, which is often incorrectly phrased as "pan up" or "pan down". Pan refer to horizontal camera movement. Tilt refers to tilting the camera to capture vertical movement.
In both Terminator Movies, Terminator (1984) and Terminator 2: Judgement Day (1991), the T-800 is shot using an upward tilt. When naked, a tilt is used starting at his chest or abs. When dressed, a tilt is used starting with a ground shot with an upward tilt to reveal his outfit and then face. The use of a tilt in the T-800 reveal is dramatic and shows how intimidating he is. In the case of the Terminator, an upward tilt is used to show dominance and power, forcing the viewer to look up at the Terminator.
See the difference?
This episode takes place on October 30, 1984. The Terminator was released 4 DAYS before this episode occurs, on October 26, 1984. Just wanted to throw that out there because I think it's amusing.
There are no visual parallels between Billy's and the Terminator's introduction in the first film, presumably because he's naked. Suppose you could argue that both Billy and the T-800's asses are featured in the shot, but the scenes are different enough that I don't think it's homage or a reference. It could be, but I doubt it, especially since...
In the second film, when the Terminator first appears naked, he is shot with a boom that comes up to his face and gives us a close look at him. It is not the same as the way Billy is shot. The similar framing around the Terminator in the first and second films is to not ruin the plot of the second film, where the T-8000 is an ally, sent to protect John and Sarah, not to hurt them. That's good film making.
The real surprise of this scene is that there is an introduction that has call backs to the Terminator's intro and it's Max's, but we'll get there later.
The reason I harp on this is because the Terminator is a villain turned hero from the first to second movie, and Billy is dressed as the Terminator in the next episode. This will come up in the Whore part of the meta
If Billy was designed to be more than just the replacement jock bully then it would be clever. But he wasn't. So it's not.
Point being: In his introduction, Billy is not framed as intimidating, instead we are allowed to slowly slide up his body — "he's ripped" — and his car as the camera moves across his body so the viewer can take him in as he saunters out of the car and closes the door.
Simply put: Billy is not framed as intimidating, as trouble, or even as a potential source of conflict. One could argue that the song playing does a lot of the heavy lifting (it doesn't), and there's a separate analysis on the score in this scene. For now, just know that the only part of the song that plays over Billy is "Here I am" when we see his face, and a fading "Rock you like a hurricane" as he turns away and then Vicki starts talking: "Who... is... that?"
The first "Rock You Like a Hurricane" was played over Max, and the second is brought down low so Vicki can deliver her lines. The girls around Billy have the power in this scene, not Billy himself. More lyrics are played once their lines are delivered, but those lyrics play over the girls, not Billy.
The Script
Where do I even start with this script, for real. My favorite part is "and he's ripped". I laughed out loud for two minutes straight.
Two things I am going to point out:
Pronouns matter. The script says "This new and improved Steve Harrington". THIS. Not HE is the new and improved Steve Harrington. Billy is a shitty jock replacement and nothing more.
The Duffers aren't even pretending they created a new character for this. They copy and pasted Steve, made him jacked ripped, and gave him a sister to bully so we'll hate him. They learned their lesson with Steve and by "New and Improved" what they actually mean is "please, hate this one".
A quirk, let's call it, of the Duffer's writing is that because they start production without scripts for the full season, the actors have a lot of sway in their characters and can influence the story. That also means that the character arcs, plot, and story itself are not well drafted or thought out. The that is Billy introduced in this scene is not the same character we have in episode 8. Hell, it's not even the same character we have in Episode 4. In fact, a huge part of each of Billy's scenes is showing the slow transformation from this scared, conservatively dressed kid to a sexy, curly haired flirting badass that we should hate. This will have more focus and exploration in the whore part of the meta.
Note: Only Tina is called out as pretty in the script because both Vicki and Carol are returning characters, cast in S1. Adding their physical descriptions would be redundant. Also, these scripts are some of the most poorly written scripts I've ever read, which is saying something because I spent two years teaching writing courses in University.
source: Stranger Things The Complete Scripts Season 2 (book)
Oh wow, something positive to say! In the script, just "jean jacket", "boots", and "long, flowing hair" are mentioned. In the early seasons, the Duffer's were great to work with and gave the various departments involved in production the freedom to do their jobs and make art. They put a vague idea in the script for the costume, hair, and makeup departments (yellow) to figure out inspiration for and/or with Dacre.
So what do we learn from his introduction besides the fact he wears boots and a jean jacket?
Buckle up, it's time to gush about the Costume department doing the most and we thank them for it.
When it comes to Billy's boots, there is an interesting conflict that occurs, and it's so good, I have to assume the first one happened on accident.
In "1984" by George Orwell, boots symbolize the Party's oppressive power and their control over the other animals. The imagery of boots evokes a sense of fear and domination in the totalitarian regime, especially when worn by the Party's enforcers. The boots are never specifically said to be leather boots, but leather is mentioned. They're even called the Party. Granted, the Party are the villains of 1984, but I dunno... across five seasons the Party of this show has quite the body count caused by their lies. For constantly spouting 'Friends don't lie,' there's a lot of lying by omission. And death caused by those lies of omission. This likely isn't intentional, I just think it's fun to point it out.
From a broader cultural understanding, no one is surprised to learn that leather garments were part of various counterculture movements within fashion and music circles. In 1984, leather boots were associated with punk and biker subcultures, reflecting nonconformity, rebellion, and individuality. Boots retained their place as practical footwear for the military and general outdoor use as well, but that does not fit Billy's aesthetic in this scene (or ever).
Leather culture is (and was in the 1980s) part of the LBGTQ+ community. Without getting into too much detail, boots were used as expressions of sexuality and personal freedom.
In this introduction scene, but outside the script, Billy also wears a watch with a thick leather band reminiscent of a leather cuff. Do with that information what you will.
Later, Billy dons a leather jacket that becomes a signature piece of clothing he is more associated with than the jean jacket. It's probably a coincidence when Steve starts wearing Billy's jacket in later seasons.
Denim is important for Billy's character. Artists used denim to express themselves and where they came from, contrasting denim’s workwear heritage from generations past with new prestige.
In 1984, jeans symbolized youth, rebellion, and freedom, particularly highlighted by their association with anti-establishment and counterculture movements. Jeans represented a break from traditional norms and were embraced by young people as a form of self-expression. Inspiration came from things such as the infamous 1981 Calvin Klein jeans ad where a 15-year-old Brooke Shields delivered the infamous tag line: “Want to know what comes between me and my Calvins? Nothing.” and Bruce Springsteen, whose album cover featured him in jeans and they definitely knew about that because Billy recreates the album cover in Season 3 promotional materials.
Gee, a young anti-establishment rebel that seeks freedom and follows counter culture... who does that sound like?
When you introduce a character without letting them speak, you put a immense weight on the visuals and the setting, which is 1984 Hawkins, Indiana. Introducing an aesthetic for a character is more than just the pretty clothes you dress them in like dolls. This is all information that tells us a lot about a character, especially when other information is not provided. In the opening scene, all of the things we are shown about Billy tells a specific story about a rebel and an Outcast, someone who should be in alignment with the established themes.
Another quick thing to add is that Billy wears far more jewelry than what would be considered normal for a man of this time. This adds to the rebel nonconformist vibes. During the 1980s, most men only wore wedding bands and sometimes statement pieces like class or pinky rings. Billy has a simple hoop earring in his left ear, an intricate silver banded ring on the middle finger of his left hand, and his necklace.
source: biillys
Billy's introduction Analysis
Not only does Billy appear with a boom pan from his knees to his head, but the boom ends at eye level with him turned away from the camera.
When Billy turns, he looks over the Camaro, not at any of the other characters supposedly in the scene. The only conclusion we can draw given the direction of his eyes, since he is not looking at the camera, is that his eyes are following Max as he skates away. It's up in the air whether he looks at Max to verify that she gets her ass to school, or if he is seeking out the only person in Hawkins that is familiar and gives him any sense of normalcy. Given this is the only introductory scene this season with two characters together it would be a fucking shame if we learned anything about their dynamics and relationship. Just awful.
We follow Billy's eye line as the camera cuts to Max getting out of the Camaro, which is addressed in the Max section below.
Here I Am
source: suledins
Billy and Max don't say goodbye to one another. Do you think they planned that so they look cool or is it a way of showing how disconnected they are? Is it bad writing?
Anyway, they are tied together by the narrative and yet emotionally disconnected. I could discuss this scene and it's issues and what it does well at length, but let's just focus on why we're here.
It seems intentional that Billy's pendant isn't visible in his first scene. We see the chain, but the pendant is hidden away under his jean jacket. Given that the only time he is seen without it is on Halloween, it is safe to assume it's important to him.
Sadly, we never learn the importance of this pendant, but it makes me wonder why this pendant is hidden away during this scene. There has to be a reason as I doubt they managed to shoot for, at minimum, 3 hours without anyone noticing. There are also other images from filming on this day that show the pendant is visible, so a decision was made somewhere.
The pendant is that of the Virgin Mary and the gold pops on his white shirt.
source: suledins
Look at this poor terrified boy. This is not cockiness or indifference. It's uncertainty. As Max leaves and Billy stands alone, his discomfort shows. Billy is new, inexperienced, out of his element, and uncertain. He is terrified, disoriented, and doesn't know anyone or where anything is. And now he's totally alone. Rather than reaching out for help, he continued the scene alone.
Say what you want about his relationship with Max, but this one small moment shows that he does care for her and reacts to her absence in a place where both of them don't know anyone else.
Wow I've made it all this way without gushing about Dacre's acting. It is time! So in the next two gifs, I love two things that happen. One, Billy tosses a full cigarette with his right hand, which shows his watch and gives us an idea of the sort of character he is.
There are two open parking spaces between Billy and what I assume is Tina's car, and Billy stands in one of those empty spots. Despite hearing the girls discuss him, he doesn't react with positive emotion. There is no saccharine smiles. He does not approach them, or flirt, or wink, or acknowledge them at all. He turns and walks away like he doesn't know what to do or how to act. Billy hears them and chooses to walk away without engaging with them at all. That is the character established in this scene. Someone avoidant, insecure, and shy.
Simply put, Billy isn't pretending. Not yet. Having just moved to a new place and presumably not knowing where most things are, he is disoriented and isolated. And we can infer that just by his car with the California plates. He is a transplant. He's new. Given the mystery the kids are trying to solve - who is MadMax and why don't they know him - this is the answer. They're from California.
Billy doesn't have a backpack, which is notable because Max does. Now, I would be okay with blaming Neil and neglect for this, except he doesn't exist in the script yet — and won’t until Dacre asks for a backstory when they are filming episode 4 — so I am going to assume he carries the backpack off screen. The only other alternative is that he doesn't have any sort of school bag or supplies because we have to see that ass.
"But would you check out that ass? Just look at go." Thanks Tina, we appreciate you.
Was it dat ass that earned him an invite to your Halloween party? I bet it was.
Despite my earlier comments about the girls reminding me of construction workers, the leering does its job at establishing Billy as attractive. Rather than letting the audience see Dacre and make our own decision, like what they did with Steve, the Duffer's have decided to tell the audience that Billy is attractive with three different characters. It's one thing to have one character point out how attractive another character is, but to have three different attractive characters do it in a group? That never happens again in the show. Not once.
If someone started to sing Gaston I wouldn't even be surprised.
When people (antis) point out that Billy is liked only because he is attractive, this is the catalyst for that. They were TOLD he is attractive and that's all they needed to know during his introduction. This proves how introductions are powerful in shaping the way an audience thinks about a character.
Subtle detail, but lets talk about Madelyn Cline's eyebrow twitch when she says "but would" during her leering. It's so good. No idea what makes that little eyebrow twitch work, but wow. Incredible. You can practically see her mind thinking 'Oh, yeeeees'. That girl is thirsty. Great acting, across the board.
All three of them. Abigail Cowen's line delivery of "that" coupled with the fact her mouth stays open the entire scene? Chelsea Talmadge just doing the most with her eyes and gum chewing?
Abigail, Madelyn, and Chelsea understood the assignment.
Source: (for the girls) disdaidal
Rather than Steve and/or Nancy saying anything, visually or with dialogue, about Billy appearance, the camera cuts from directly to Vicki, Tina, and Carol for their commentary and open appreciation for just how sexy Billy is as he walks away. Billy is solely defined by women that the audience has almost no attachment to. Carol we know, yes, but she has always been a slightly antagonistic force. Vicki could be returning cast or new, but I cut a discussion on whether she's new or not. Tina is new this season.
To hammer home absurd it is that we don't have a Steve and Nancy reaction, just imagine that in the next scene when Max enters Mr. Clarke's classroom, we see the Party boys notice her name, but when Max sits down, we cut to a reaction shot of three other random boys in the class. Like Troy and his bully buddies.
That would be insane, right?
And yet, that is exactly what happens. The narrative choice here was for the Duffer's to tell us that the most important thing about Billy, the thing we have to know, the most critical piece of information about him, is that he's attractive and women want him. That he has a nice ass. This is legitimately a key part of his character. So critical in fact that they had to find and custom tailor a pair of vintage jeans for Dacre to show off his sexy ass. It was part of his costume test.
That's all Billy was. A hot piece of ass for the girls to lust after.
No voice. No agency. No actions other than to get out of the car and walk away from the others. He is there as eye candy and nothing else. That he is not even worthy of the main character's time.
That's terrifying and we are going to talk about the Duffer's and their issues with jocks later.
Quick acting note here, Dacre jangles the Camaro's keys in his left hand as he walks away. This is another thing he does that demonstrates anxiety. It also moves the audience's eyes from the center of the shot down and sweeps to his butt, forcing the viewer to look at his ass as he walks. Again, when you have a good actor, they can make your eyes move without you even realizing they're directing your gaze. Also, he reaches out with his right hand and touches the sign post as he walks past, which I read as another anxious thing that he does to ground himself and make this experience feel real.
Also, speaking of the ripped "New and Improved Steve Harrington," why is he not introduced the same way as Steve was last season? Or in a new and improved way? Instead of being shown as confident, cocky, and in control, Billy is shown to be anxious, disoriented, attractive, and avoidant.
All three of the girls are immediately drawn to Billy. He transitions seamlessly from the new kid, dressed in a white shirt with a jean jacket and jeans, to an object of desire, immediately objectified by them. He is not a person onto himself, he is an object from the first shot in which he appears. Maybe the popular girls would do this since Billy is new and he's fresh meat for them in a town with slim pickings for dudes.
Forget the Girl All the Bad Guys Want troupe, Billy is the New Sexy Heart Throb (who isn't allowed to speak).
What does this scene tell you about how the Duffer's view attractive girls in high school? They seem to say that high school girls are so shallow that they would openly lust after the new hot guy just because he's ripped and has a nice car? Eeeeek. Does that not sound like Nice Guy rhetoric? Sounds a lot like the awkward boys blaming the girls around them for choosing other partners so that they don't have to self examine the behaviors, thereby keeping potential romantic partners away. Oversimplifying it down to 'woman go after attractive jerks who treat them like trash' is not a winning Duffers!
That would certainly explain why Steve never gets another date...
Moving right along ~
Billy and Max are both new and as we see almost become instant It Girls in their respective schools. Billy is observed by (or ogled by) four teenage girls: Nancy, Vicki, Tina, and Carol. FYI, it's a stretch to include Nancy given that she magically disappears.
Later, Max is the object of fascination by our 4 main boys, but you see the difference in how they're looked at. Right?
Let's assume that off-screen Nancy made the same face as Mike. Steve made the same face as Dustin.
Since it happened off screen, I am objectively correct.
Max
The kids start the episode with a new (non-scifi) mystery: who is MadMax? No coincidence that this is also the name of the episode, similar to The Vanishing of Will Byers. New year, new mystery.
Of the four characters introduced this episode, guess which one is the most important?
Because someone set a new high score at the arcade, it is assumed that Max is a boy. The Party boys think they will find another boy at the end of the Who is Max mystery trail, and that troupe is subverted with Maxine. And thank god for that. Sausages everywhere. About time we introduced another girl.
In the script we talked about 5 years ago, Max is defined as Billy's sister. Her only physical attribute or Costume direction (yellow) is that she is a tomboy, and the Prop department (hot pink) needs to get her a skateboard. Simple enough!
In the first shot proper of Max, she is framed differently than Billy. Her body is in frame and a hip shot is used as her establishing shot. This is the opposite of Billy where a knee shot is used and then booms up his entire body. To be clear, it's a good thing they did not choose to show Max this way because Sadie Sink is a child. But it further highlights the differences in the narrative between how they are treated and the subsequent judgement surrounding Billy.
Without spoiling too much of the music meta, the line "Rock you like a hurricane" play over Max getting out of the car, while the lines "Are you ready baby" and "Here I am" play over Max as she skates away. Between these two, the song tells us exactly who MadMax is. The mystery makes the boys think the one good at video games is a boy, but given the dynamic set here, there is no doubt.
Max is actually the one here to rock everyone and everything up.
Again, ironically, having Max here while using Nancy as the framing device returns us to the virgin-whore dynamic. Barb and Nancy are both introduced together as virgins with one of them interested in a boy. However, it is Nancy that sheds that title in more ways than one. She has sex with Steve and is then initiated into the mysteries of the Upside Down when her best friend is murdered.
In the scifi context of virgin, Max and Billy are the same. New, inexperienced, and out of their element. Hawkins is not their home and given that they are new in town and this is their first day of school. Everything about Billy and Max's introduction screams 'new and uncertain'.
source: biillys
Random detail alert, but: why on Earth is Max wearing her backpack while seated in a car? What? Say nothing of how uncomfortable that would be, but I don't know anyone who would ever do this, even if the backpack is empty. Not to mention, the prop person would have put something in it, even if just tissue paper and a notebook to make it look like a real backpack. As someone who has managed props before, its the prop master's job to make the props look real.
Perhaps it 'took too long' to have her put the backpack on or something? But, what? It would take like 30 seconds and this is their introductory scene. Granted, the script says Max does not want to be noticed but this is such an odd way of framing that. One could argue it shows that Max is always ready to get out of the car as fast as she can, but she is not always shown wearing the backpack in Billy's car, so the logic here is inconsistent at best and baffling at worst.
This decision makes little sense. It would give the viewer so much opportunity to learn about Max in her introduction before the boys see her. This was the perfect opportunity to let us meet Max and show us something about her that the boys don't learn. For example, if she kept her backpack and skateboard in the back seat to be comfortable. Or, if she got out of the car, dropped her skateboard and then put on her backpack. Or if she left the skateboard in the car, put on her bag and then took out her skateboard. See the different messages all these different actions send?
Dramatic irony is a good thing and would do so much to endear us to Max. Don't get me wrong, I love Max, but this was such a missed opportunity for her and Billy.
Character introductions and their first lines are two of the most important things for a character outside of their last words! Simple shit done well is all we ask and there is just something off about the way Max is shown, almost like she is the afterthought, which is not a subversion because it makes little narrative sense for where we all know this ends.
Okay, weird thing acknowledged, moving on!
A tilt is used on Max. Notice that when Max is shot in frame, there is a close up of her sneakers? That is the difference between a ground shot and a knee shot. We see her get out of the car with her skateboard, and then there's a cut to a ground shot of her dropping her skateboard, but interestingly as the camera tilts up, it stops at around hip height because she's moving into the distance. We never reach eye level as we do with Billy and we see her back as she moves toward the middle school. Max is shot more like the Terminator than Billy is and somehow that just makes me laugh because this is a tilt!
Also, pointing out here that the backpack Max wears covers her bum as she skates away. Is this confirmation of my 'this is why Billy doesn't have a backpack' theory? Then again, few of the characters actually seem to have them, but the story is not exactly consistent so it's hard to tell.
Again, if we had a characterization scene of Billy at school asking to borrow or pen by flirting with someone, this would go a long way. My complaint here is not that he doesn't have a backpack, it's that the fact he doesn't have a backpack or school supplies is never addressed and it seems like more of a plot hole than characterization or costume decision. Eepecially since we get that one scene with Billy and the green messenger bag.
source: biillys
Personally, I find it interesting that we are greet with Max face first and then her back, but get shown Billy's entire body, the back of his head, his profile, and then his face. It's just curious how they opted to shoot them together in this way. They are treated so differently in the narrative and it's not just about age and gender, it's purpose and the narrative roles they fill.
The most interesting part about Max's introduction is that this scene ends with a cut to Will opening his locker with an echo of "Here I am". I may one day write a meta about the William's eventually.
Only Max gets an in-class characterization scene after this one. Where she says her name is Max and no one calls her Maxine, and sits down with her arms crossed and the sun on her face as the boys stare at her in awe and disbelief.
Additionally, she gets multiple characterization scenes in Episode 2, where she is shown to be tough, observant, smart, cunning, sassy, and charming.
Billy from Start to Finish
Billy's introduction scene does a perfect job of establishing his mental state, how disoriented and disconnected he is, and even how uncomfortable and overwhelming all of this would be for him.
Billy doesn't get an additional scene in Episode 1, unlike Max, who is shown being introduced in Mr. Clarke's class.
Billy is not shown in school at all in E2. In fact, Billy is never shown in school outside of gym or basketball practice and in the showers. Just the fact we don't know if it's gym or basketball practice is a sort of insane. I assumed it was basketball practice since Billy mentions Steve being benched and Nancy just walks in to have a conversation like it's after school and she doesn't have class. But then Billy is super focused on Max being late, which wouldn't make sense if he had practice after school.
Scripting is so hard, guys!
Again, the Duffer's are telling on themselves. They're not even trying to make him anything other than a jock, thereby defining him solely by his body and physical strength.
In E2: Trick or Treat, his secondary introduction with dialogue is done with Max after school and it is him calling her out for being late and setting a boundary that if she's late again, he'll leave her to skate home, followed by the infamous car scene.
To finish this analysis, we will discuss those scenes, but that's a topic for the next meta: Billy's transition from Virgin to Whore.
Given what we know, the Duffer's almost certainly didn't do any of this intentionally. One of the issues with giving the actors so much work in shaping their characters and not writing or even drafting proper story arcs is that they open themselves up to the folly of bringing in an actor who is a better story teller than they are.
Billy is supposed to be the new jock and bully, and introducing him as an overwhelmed kid that doesn't even get to speak undermines the message they want to send. It's one of the reasons Billy is seen as a complex character. The message in the narrative itself shows and tells different things. Noting about Billy is spoon fed to the viewer or perfectly clear. He is real, human, and nuanced. For those with critical thinking skills, it's great to watch something that lets you form an opinion on a character rather than accepting what you are explicitly told.
Based on what is written above, some may feel I dislike that Billy does not speak in his introduction. In fact, I like that he and Max do not speak. Some of the best ways to introduce a character is in silence. The best example of this is the opening scene of Raiders of the Lost Arc, where the first five minutes of the film takes place in complete silence. Even in tv, there were long stretches of silence in Stranger Things Seasons 1 and 2. Sequences without dialogue that allowed the characters to shine and the narrative to breathe, like the scene where Eleven explores Nancy's room and finds the music box and sees the picture of Barb. The Duffer's trusted their lead actress to convey emotion through expression alone. Silence is a device used well in the first season especially and is often associated with Eleven.
Intentional silence is beautiful and one of the most powerful ways of making a point. Bring back more silence and stillness in film.
The introduction of Billy without him speaking tells us about his character and it is an intentional choice. We meet Max and Billy together, but the boys meet Max separately and interact with her.
Max is characterized by her interactions with the Party boys, whereas Billy is characterized by his interactions with Max. Billy is a tool in Max's story, exactly as Barb was a tool in Nancy's.
Anyone else seeing the pattern?
The difference being the Duffer's learned their lesson. There was no justice for Billy, but they used his death as a catalyst in Max's story. Ya know... letting the events of the story affect the characters? Absolutely wild. Just imagine... a story with consequences.
Much of the information we have about Billy reveals that he is to be objectified, ignored, and the discrimination and stigma he faces means that he can be ignored as a person because he serves no other purpose than to be objectified.
The Duffers' and their Bully Boner
It's no surprise that the Duffer's have deep seated beef with jocks, to the point where it taints the art they produce.
Jocks are prominently features in all seasons of the show and they all show violence and extremism to such an extent that it's actually insane for a show that was so grounded. Remember how grounded Season 1 was? Except for Troy, a twelve year old with a pocket knife that threatened to cut up Dustin, thereby forcing Mike to jump off a cliff?
What?
All the bullies in the show are written in comically over the top ways. It's an odd choice, but it's one of the only techniques the Duffer's know to make the viewer hate a character. Rather than writing a character that's easily dislikable, they make them comically and over the top evil. Like a supervillain with a hot bod.
Even in the script, the Duffer's accidentally tell on themselves. Billy is nothing more than "the new and improved Steve Harrington". They don't know how to write a new character, so here is Season 1 Steve, but worse, angry, and with a little sister that he yells at so they don't have to write another redeemable jock because the actor is incredible.
Simply put: the differs need a bully to keep around and kick because no matter how high the stakes get—and they get pretty high—there's always room for a bully who has no idea what's going to beat someone up, or threaten to beat someone up, and then die.
Steve was a one dimensional monster scripted to die and saved by the charisma of Joe Keery.
Billy was a one dimensional monster they wanted to keep around for four seasons, presumably to kick around and be an asshole, only for Dacre Montgomery's self respect to enter the chat and choose to do two seasons and move on. He also asked for a human rationale for Billy's actions since no person is just evil for the sake of it, which is why he is the character we all love.
Jason had a single dimension, which was Chrissy and then organizes a lynch mob and dies horrifically after spouting off some actual racist rhetoric before threatening Lucas with a gun.
Derek exists.
The craziest part though, is as much as the Duffer's hate jocks and Billy, their envy comes through. They have admitted that Mike is their self insert character, but buckle up for this:
Billy is also a self insert character.
He is given what the Duffer's always wanted, what they envied about the jocks they hated so desperately. Billy is attractive, "he's ripped" and women throw themselves at him, despite the fact he's rude, callous, and calls them cows. Despite how repulsive and cruel Billy seems, women still want him. He is invited to parties on his first day of school in a new town. He has a date in his first week in Hawkins, which he is forced to cancel when the plot comes knocking.
And let's not forget the most damning evidence, Billy gets the absolutely vile Stacey's mom fantasy with Karen Wheeler. The Duffer's self inserted a little too hard on this one, using their shitty hated jock to get a little something out of their teenage fantasy of hooking up with a friend's mom. Not to mention, based on the Duffer's ages and when Cara started acting, she could have been the sexual awakening for one of both of them given their obsession with her. And that's all I'm gonna say on that subject.
No, I will not comment on the fact they had one of their self inserts almost hooks up with their other self insert's mom. Nope.
Just one word:
~ Therapy ~
While working on this meta, there have been a few posts that have come across my dash that sort of summarize the Duffer's, their writing, and the audience:
big fan of media thats too homopobic to admit gay people exist yet nontheless operates with a homoerotic subtext so insane that none of the characters’ motivations make sense unless they carnally desire each other
I’ve been thinking a LOT lately about what a weird and stressful experience it is to care a lot about a story when you don’t trust the storyteller.
Part 2 will consist of the music of this scene, including an analysis of both songs played during the scenes described above:
Steve and Nancy: Talking in Your Sleep
Billy and Max: Rock you like a Hurricane
Part 3 will cover Billy's transition from the Virgin to the Whore.
Part 4 will cover the music of the scenes involved in Billy's transition from Virgin to whore.
—
My parting gift to all of you is the knowledge that Billy and Barb wear the same type of hoop earring(s).
@ihni commented in the tags on something I reblogged. I couldn't get it out of my head.
| Part 2 | Part 2.5 | Part 3 | Part 3.5
He's driving home from the quarry when he hears the ambulance. He doesn't think much of it. In hindsight, it's rare to see an ambulance in Hawkins.
But in California? Fire trucks, ambulances, cruisers, they were always around. Making noise with sirens, especially in the neighborhood they lived in.
It's when he gets home he realizes it's important.
Susan paces the porch. She's runs to the Camaro iwhen he pulls up to the curb. He doesn't even have time to shift into park.
He's confused more than anything. Susan barely even speaks to him, never mind greets him when it's fucking 40 degrees or whatever.
"Did you know?" her voice is short and accusatory.
"Know what?" He can't turn the car off because his windows are down and she's apparently in the mood for a god damn lecture. Guess she's choosing now to be a step parent or whatever. It's like they think he's a mind reader or whatever.
"Max and that..." she fixes her hair, "negro boy."
His heart drops through his gut and his shoulders start to shake. Oh shit. Oh no.
Fuck this small fucking town. And all the fucking gossip. and all the fucking nosy ass people who have nothing better to do with their lives.
The ambulance flashes through his head. Neil's truck isn't here. At first he'd been relieved, but it's past five and he should be home.
He dropped the shitbird off at the arcade earlier, which is only two blocks from the Tavern.
For months he'd been warning Max not to be seen with Lucas, especially alone. To not walk from the arcade to the stupid ice cream parlor, which was across the street from the Tavern.
And he'd given her more money than he normally does. Fuck!
Why the fuck was he nice to her?!
"So you did know," she's angry, her knuckles turning white where she gripped the edge of the car. "How could you let that happen? How could you just--"
"You're lecturing me?" he barked, defaulting to anger. "I know you're a spineless bitch, but I didn't peg you for a stupid one! Let go and back off."
She huffed, angry, "How dare you speak to me- When your father..." she trails. She's never threatened him before, especially not with his father.
"He'll punish her too," he hissed through his teeth. A warning. A threat of his own. Surely she's not this stupid. "Go ahead. Tell him I swore at you. He'll beat the shit out of me either way. You better hope she's alive when I find her. Now. Let. Go."
She stumbles back, pale as a ghost. She trembles as he speeds off, leaving her in the middle of the street.
He gets to the hospital and has to flirt with three different nurses before someone finally gives him something he can use. The third one is a lot like Karen Wheeler in the hot and bothered never fucked by her husband way and ends up bringing him to the third floor where Lucas has been admitted. The price for that is her number and promising to call her later. He hedges his bets and warns it might not be right away.
He has no idea what his old man will do to him.
Apparently the story is Lucas got into a fight or something at the quarry. The police will be here soon and they've called his family.
Billy doesn't by it for a second.
She cheerily says he has a friend with him. He prays it's Max. It has to be Max.
He enters the room to find Will with him, but no one else.
"Where's Max?" he demands, hands shaking uncontrollably at his sides.
Lucas looks up at him with his left eye swollen shut. His arm is in a sling and based on the way it's immobilized, they're going to cast it. Then there's the bruises and cuts on his face.
Billy knows Neil's work when he sees it.
"Where is she, Sinclair?" Billy tries again, his voice more gentle this time. He's trying, but he's amped and he's scared. He's terrified.
Lucas looked down at his lap. Lost. He licks his lips and seems to regret it because his tongue goes back between his teeth. One of them is chipped.
"He dragged her into the car," Will answers him.
Billy turns to leave.
"That's why, isn't it?" Lucas finally speaks, his tone quiet and void of emotion. "That's why you kept telling us to be careful. To not be out where we could be seen? It wasn't you."
Billy freezes at the door. How could he answer that? Where they both truly that stupid? That dense? Had he protected Max from Neil to such an extent that she didn't see how dangerous he was?
This was all his fault. Not just what happened to Sinclair, but whatever was going to happen to Max. Whatever was happening to her right now.
"He drove off toward the edge of town."
"Thanks," Billy raises his hand as a form of goodbye. he can't hide his shaking, though.
He slips out onto the stairway when he hears Mrs. Sinclair's voice. He can't face them. He can't get caught up in this or get stuck here. Not right now.
He darts down the stairs and goes back to his car.
Neil will take her into the woods.
Back in California, Neil loved to go on drives. He loved to take Billy on drives before a punishment. He loved punishments in secluded spots in the woods and then bring him to the beach to add salt water to the wounds. Literally.
It was an attempt to make Billy hate the beach. Hate the water. Hate all of the good memories with his mother.
There's no beach here though.
Gripping the steering wheel to keep himself from driving into a tree, to keep himself centered. The truck can make it to places the Camaro can't. The truck can go off road.
Billy doesn't know if he can stop Neil before things get too bad, but he'll try.
Max is his responsibility.
One way or another, he'll get the beating of his life for this.
Better now than later.
The sooner he can redirect his father's anger, the easier it will be on Max.
They might leave Hawkins. There's little chance Neil can hide this, especially with how well liked the Sinclair's are in town.
Why would Lucas lie to protect the guy who beat the shit out of him?
And after Max turns up? She'll be lucky is all she has is a bruised cheek.
He smokes to calm his nerves.
Remembering his father complaining the night before, he drives to the old steel works.
"You never fucking listen, shitbird," he whispers to the empty passenger seat.
Maybe Steve and Billy would’ve worked things out and Steve would’ve let Billy stay at his house
Yo, one of my fav plot points to force into basically any story is 'how can this end with a sleep over at Harrington's big empty house?'
Isn't a requirement of joining the Harrigrove fandom that we have to write something about Billy ending up at Steve's? Aren't we all contractually obligated to write about this? That was in my contract when I joined Tumblr.
Anyway...
Thank you for this one. Hopefully it was worth the wait.
Read more because I may have gone a little overboard <3
Intro
Having a character like Steve in a story with a big ass empty house is basically a Chekhov's gun that is just too juicy to ignore. The one character who's parents are ghosts and it's never leveraged? He doesn't even have parents cast in the show, which is a little hilarious given how major of a character Steve is.
One of my fav things about Harringrove is the fact that at the start, Billy and Steve cannot speak the same language. Their life experiences are so different that it leads to conflict. What Steve considers care, Billy sees as control, and what Billy sees as care, Steve sees as dominant and controlling behavior since that's all Billy has really been taught. Learning to soften and being on the same page is a huge part of their journey. Of course, they can match one another's freak. Steve can have someone who is utterly loyal, devoted and absolutely obsessed with him, and Billy has someone who will shower him with affection and will never even consider leaving him.
So, this ask is focused on them working things out, so pick your poison on how exactly they do that.
One of my personal favorites is the slow burn style were they slowly learn to dance with, rather than around, one another's eccentricities and eventually learn to recognize the others behaviors for what they are: love and care buried under a layer of sarcasm, bravado, and fear of abandonment. Because surprise, they're both afraid to be abandoned, but that fear manifests different for the two of them.
Billy staying with Steve has a couple different flavors that I enjoy. Hopefully you're open to be exploring a couple of those.
These start wholesome and become a little spicier as we go down the list.
Breakfast after the Crash
Prep for the Party and soft vibes.
The night before was a disaster. Psh, it was barely even the night before. They showed up after 3 am, stripped out of disgusting clothes, some of them showered, and they all dropped into beds.
Five of them have minor injuries, including Dustin. Steve was wracked with guilt.
All the kids are here. So are Jonathan, Nancy, and Billy.
Of everyone, Billy is the surprise. The wild card. The one sleeping down on the couch.
Steve wakes up last, in awe of the fact he managed to sleep at all. He smells sausage and bacon. He startles up in bed and runs downstairs.
Max, Dustin, and Lucas are in the kitchen fake arguing about a video game.
Will is drawing at the kitchen counter with art supplies that manifested out of somewhere. Mike is pouting beside him.
And Mike is pouting because Will is arguing playfully with El about something Steve can barely follow.
Nancy and Jonathan are somewhere.
But... the most surprising thing is Billy.
Billy Hargrove is in the kitchen. With all the kids. At the stove. Making breakfast.
And he's teaching El how to flip pancakes. Not just regular teaching her to flip pancakes with a spatula. No. He is standing behind her, arms around her on both sides, showing her to flick her wrist and flip a pancake using a griddle pan.
Did he wake up in the Upside Down? Excuse me?! Hello?
El is beaming a bright smile as Billy gives her the handle and encourages her. She fails the first one and it ends up on the floor.
Max cheers and said it took her three tries the first time.
The boy hoot and holler.
Billy tells her to ignore them and focus her attention on her hand when he hands her another pan for her to try again.
El gets it on her second try, without using her powers. Everyone cheers with her. She beams like she's succeeded at the most important thing ever.
Billy tells Dustin if he eats anymore bacon, he's going to force him to make more.
Dustin pouts, but slinks back to where he was sitting with the other kids.
"Oh, hey Steve," Dustin calls, drawing attention to him.
Billy jerks away from El by a half step, looks at him and then goes rigid. He freezes, like a trapped animal, like he's been caught doing something he shouldn't. And Steve doesn't know what to do, but sees Max wildly wave her arms back and forth in an abort, no no no gesture.
So Steve smiles, "Thanks for making breakfast. What did I miss?"
"I've never had pancakes," El answer with a smile. "Just Eggos. Billy said these are better than boxed shit," she grins up at him.
For now, Steve ignores the swear. After all, no one there is going to tell Hopper. And, he hears almost all the kids swear.
"Pancakes are great," Steve agrees and walks over and opens the fridge and gets out some orange juice. "Dustin, set the table."
The other kids cheer in triumph.
Billy focuses on the stove, making pancakes with El.
Now, Steve notices all six burners are going. There's bacon, sausage, eggs, and pancakes. Billy flips another pan and slides a pancake onto a serving plate that is stacked with pancakes. Adds more batter.
Since when can he cook??
Since when is Hargrove good with kids?
Billy cleans up the mess El made. That's when Steve notices most of the dirty dishes have already been washed and are drying in the strainer near the sink.
"I want chocolate pancakes," Max complains from somewhere behind Steve.
Billy looks over his shoulder at her with a bored expression, "Yeah. There's no strawberries, shitbird."
"I have frozen strawberries," Steve thinks he does anyway.
Max lights up. "Chocolate! Chocolate! Chocolate!" she starts to chant and bangs her fists on the table in time with her chanting.
If she keeps that up, she's going to summon something.
Lucas and Dustin then join in, followed by a tentative Will. Mike just looks confused, as if they've all gone crazy and he's witnessing a crime. El joins in and only then does Mike participate.
And Billy just sighs and adds cocoa powder and sugar to one of the batters and whisks it in.
Well, that's not what Steve assumed would be summoned, but he'll take it.
Max hoots and pumps her fist. "Just wait, El. This is gonna blow eggos out of the water."
"Can I flip?"
"Yeah, wait until they bubble."
Now Will is up and sweeps into the kitchen with the other two. He comes up on Billy's other side and asks if they can make pancakes with designs now that they have two different colors.
Billy considers and nods. "Why not," he shrugs and grabs two different measuring cups and when there's a free pan, he tells Will to go wild. And Will just beams up at him like this is the only thing he wants.
After a few pancakes, El and Will are equally invested in these swirled, two tone pancakes and while Billy is watching them so nothing burns, he's just there. Not yelling or correcting or anything Steve has come to associate with Billy.
Looking at Max, who by this point has adopted some of the art supplies Will was using, is now doodling and giggling with Lucas.
She looks at Billy, "Hey," she calls and Billy turns to look at her. Then she opens her mouth.
He rolls his eyes and picks up one of the broken pancakes and rips a part off and tosses it.
Max moves her head and catches it in her mouth. She holds up her arms in victory as she chews. Next thing is that Dustin and Lucas want to play. So they do that until the two ugly pancakes are gone. Max catches everything Billy tossed at her, but most of what Dustin and Lucas tried to eat ended up all over the counter.
Billy cleans that mess up too without a word.
Steve isn't sure what's happening in his kitchen this morning, but it's loud and cheerful and he can't ever remember his house being this alive, this... vibrant. After the nightmare of last night, he never would have ever believed that Hargrove brought joy to the cold kitchen in his usually empty house.
Steve can't look away from Billy, even after all the pancakes have been made and they're all digging into the best breakfast he's ever had.
Billy just shows up
They're not friends. Steve barely trusts Billy but they have a tentative peace.
Billy gets thrown out for the night, some ever shifting punishment that he can't keep track of, a new power play that Neil has come up with in whatever perverse game that is his life.
In California, Billy could usually find a place to sleep, or worse case, pass out in the Camaro at the beach. Maybe smooth talk a cop into not giving him a ticket for trespassing at best, or blow one to avoid a ticket at worst.
But in Hakwins? Yeah, it's way too cold for that shit. Sleeping outside will kill him.
Once, Steve said if something happened, in reference to the upside down, he could show up. Just swing by or something.
This isn't that, so he almost doesn't go.
But after sitting out in his car for two hours, he does. It's freezing and he can't feel his toes or his hands. He goes to Loch Nora and just takes a shot in the dark. Just the idea of owing Harrington something makes his skin crawl, but if he wants to live long enough to see graduation, then it's a necessary evil. For now.
Steve's awake late at night and lets Billy inside. All Billy has to offer is a cold six pack from his trunk and half a dime bag of weed that he was saving for a rainy day. And, well, it's all he has.
They're going to smoke out back, but Billy sees the pool and he just... kinda loses all focus.
He lights up, like a kid on Christmas, shaking with excitement and almost in tears because fuck, there's water. A place to swim. A place to forget. It's not the sea, but it's something. A chance to forget the places of his skin he can still feel his father's hands, the bruises on his back from the bench in the carport.
Steve laughs awkwardly because he's avoided the pool since Barb. But he ends up turning on the heat and says they can hang out here, if Billy wants. How can he say no? He's never seen Billy like this, excited, face open, easy to read. Dare he even say, happy.
The way Billy laughs and ends up pulling off his clothes before the pool is even up to temperature does something to Steve that he really doesn't want to try and unpack right now.
He jumps in his underwear, swimming lap after lap after lap. And Steve just sits by the pool, joint forgotten as he watches Billy swim back and forth. It's like a pendulum. Consistent. Rhythmic. Even paced. Hypnotic. And he realizes, rather suddenly, that everything he thought about Billy was wrong.
The hard, dark, angry jerk he's used to seeing is gone. Washed away by the water, by the waves he creates in the pool. It's different. He's different. This Billy is different.
When Billy stops swimming laps and comes to the side of the pool, hair soaked, smiling, he folds his arms over the side. Steam rises from his body, his skin that just clings to his tan. And this smile knocks the air from Steve's lungs because wow. Billy's face is open and slightly red, a bright smile on his face that is unlike any smile he's ever seen. It's not the fake, blindly bright look-at-me smile that Billy uses at school, to get what he wants, to enchant everyone around him. It's bright and beautiful, and real.
"Why didn't you tell me you had a pool, Harrington?" He asks, voice soft and it's like Steve's been shot in the chest with something because wow. He had no idea Billy's voice could sound like this. It's warm and almost lyrical, nothing even close to the saccharine words that accompany his flirting.
Steve almost forgets to answer, but somehow manages, "I didn't know you cared." He wonders why he can't focus all of a sudden, why he sounds so dumb.
Billy raises his notched eyebrow, "I'm from California. What do you think I did?"
Steve brushes his thumb over his own bottom lip, uncertain and nervous. Back when he smoked, touching his face or lips was easier to hide. "How does it compare to the ocean?" It's a non chlorinated pool and costs a ton of money to keep clean without all those chemicals.
"It doesn't," Billy shrugs, "Not really. Always the second best thing to the ocean," his eyes are bright and they sparkle in the dull evening light, the expensive mood lighting around the pool his mother insisted on even though it cost a fortune, according to his dad anyway.
"The only thing that could be better is if it was so deep that you have no idea if there's fish or whales, or whatever around you. That if you make a mistake, you could be swept out into something so deep and dark, and endless."
Steve raises his brows higher. What? Since when? He chuckles, but slides to the edge of the chair by the pool and spreads his legs, resting his arms on his knees. "Since when are you poetic like this, man?"
Then Billy starts like he's been slapped and looks away, something unreadable about his face. Like he's embarrassed.
What? Steve is so confused, "No, it's not bad," he clarifies. "I just... I'm curious."
Billy is quiet for a long time and Steve wonders if he's ruined this strange, fragile moment he created for them.
When Billy finally answers, it's not the question he asked, not exactly, "I learned to surf when I was eight."
"Surf? You can surf?" Steve will take what he can get, anything to stay in this weird space they have going. He isn't sure if he's impressed or not. He's seen surfing before. When he was on vacation in Hawaii with his parents five years ago. When his dad was schmoozing some investor.
Billy nods and holds up his pendant from the water, "One of the best. The ocean is the place I consider home, Harrington. I've always felt more at home in the ocean than on land."
Steve swallows, slightly nauseous at the idea of that. "Is... Is that why you hate Hawkins so much?"
"How would you feel is you were suddenly forced into some land locked hell hole? Opposite from everything you've ever had? Ripped away from everything and everyone you once knew?"
The look on Billy's face is so open and so vulnerable that Steve has to look at the concrete beside the pool to gather himself. He can't imagine it. Sure, he was curious as to why they ended up here, but he's never bothered to ask Billy personal questions. Before, he didn't exactly care, and it wasn't like he assumed Billy would even answer.
"Why did you move here, anyway? Would you tell me, if I asked?"
Billy plants his hands and hoists himself out of the water and sits on the side of the pool in frigid air, legs still in the pool.
"Tell me why you avoid the pool and I'll tell you why we moved."
"What?" Steve didn't sign up for story swapping. But... isn't that what he wanted? Closeness? To have someone to talk to? "What makes you think I avoid the pool?"
"The look on your face," Billy answers. "The way you sit."
Damn. No one told him Billy was smart. Why had he never noticed? Why did he not know how observant he was? Then again, he figured out some of the Upside Down nonsense on his own.
And, against his better judgment... Steve wants to tell Billy. Maybe it's the crippling loneliness. Maybe it's the fact he mises having friends. Maybe it's that his only real friend is a 13 year old kid who shouldn't have to deal with his baggage.
So he tells Billy the truth. About Barb. That it's his fault. That she died so he could get his dick wet. That he's responsible for her death. That he sees the pool and sees the corpse they never found, an empty graveyard of sorts.
Billy listens. Never interrupts. Doesn't scoff or tell him he's an idiot or that he should get over it, or move past it, or forget.
Finally, Billy sighs and when Steve's done talking, he turns so his back is facing Steve.
And Steve's eyes widen. There are scars on Billy's back. Strange scars that don't make sense. And there's welts, marks all over his back, like he was hit with something. Bruises. Welts.
No, like he was repeatedly hit by something. There's a deep bruise on the small of his back that covers the entire length, but it looks new, it looks fresh, like it's just rising to the surface.
Billy slips back into the pool and his back vanishes beneath the waves. He spins to look at Steve. "Someone started asking questions," is all he says, tilting his head as he keeps his head above the surface. "About me. About injuries I couldn't explain with lies about getting into fights."
For the first time, Steve realizes that for as much as he hears about Billy fighting, he's never seen him fight. Has never seen his knuckles damaged. He swallows, but doesn't understand how or why.
"Billy..."
"Don't ask questions, Harrington. Nothing good comes out of it," he swims back and forth in the pool, but slowly enough that they can talk. "Unless you want me to disappear again?"
His throat tightens with dread. In fear. He wonders if this has happened before. If Billy just disappears when anyone gets too close. If they've moved all over the country or something. If he'll be able to unpack more when Billy is gone. He wonders if he even wants to let Billy leave.
"Alright," he nods. "You can stay here. In the future. No questions. Whenever you want."
Billy grins, another beautiful, open, smile without pretense. Without any falsity or cloying sweetness. It's real and Steve suddenly realizes he's fucked. That smile breathes life into his soul.
So with a sigh, he shakes his head and asks for strength from something.
Steve stands and toes out of his shoes and pulls off his sweater. How else can he answer a smile like that?
Maybe Hargrove's right and it's time to let go of his guilt. Time to let go of Nancy. Time to let go of hurting himself.
He doesn't think he can. Doesn't know who he'll be without it.
But he wants something different tonight. So he strips down to his own underwear and dives into the pool. He wants to enjoy something tonight. And a midnight swim sounds perfect.
Something a little spicier
A little spicier, but this one is also heavier. Mentions of violence and cheating.
After hooking up twice in the Beamer and once in the woods? Yeah no, that's not a long term solution and they need to figure out something else.
Billy has zero interest in going back to Steve's megamansion or whatever the hell it is because he knows how that ends. He also doesn't want to be comfortable with the whole thing. But Hawkins is small and there aren't that many places they can be alone, and it's too cold for fooling around outside to be exciting.
So, fuck. They end up back at Harrington's place because he's an idiot.
And, it's a nice place. Huge house, all the lights on. Empty.
But it's warm. When they show up, Steve shows him around, like he's a regular house guest and they're not going to hook up again. He doesn't get Harrington, he really doesn't. Billy wants things to be quick, wants to get off and go. He doesn't want to risk getting caught, doesn't want to linger or catch feelings. He just wants to be in and out. Those are the rules, the expectations, the only thing he really understands.
Apparently Steve doesn't get any of those rules because now that they're in a bed, he tries to slow things down, wants everything to be slow and sensual. Wants them to completely undress, which they've never done, wants to reciprocate, and it's way too much for Billy.
He can't handle Steve when he's like this, so he gets frustrated. And when he gets frustrated, he gets bratty. He bites, he huffs, he leaves marks.
Somehow that makes things worse because apparently Harrington likes that?
Harrington falls asleep and Billy sneaks out even though it's late and it's freezing. It's snowing and he drives off.
They don't speak for three days.
That's sort of how it goes. It's too dangerous for them to be seen together, especially here, in the Bible belt. In a place where he didn't expect to find anyone like him.
But, on the fourth day, they gravitate back together and he ends up back at Harrington's place. A tangle of clothes and limbs and fluid and kisses. Billy sets the pace and it's fast like he wants, but when it's over, Harrington lays on top of him and weighs him down. Of course the fucker wants to lounge around or whatever.
His skin is on fire and he knows he needs to leave. Hanging around is going to make things worse. It's dangerous. Him lingering around is basically a huge red flag that things aren't right between them.
He's anxious and is about to yell when Harrington sighs.
"My parents are never home. You don't have to sneak out or whatever."
And that strikes Billy because... what? "You want me to stay?"
Steve raises his head and looks at him. "Yeah," then his brows furrow, "Do you always leave because you don't think I want you here?"
"You're not..." Billy groans, "Harrington, sticking around is how guys get shot."
That makes Steve flinch. He shakes his head. "Not here," he rushes to add, "Not in this neighborhood. No one is going to notice you're here. My neighbor's had a mistress since I was eight. No one talks about shit here. It's... not what happens in Loch Nora. Relax."
Billy shakes his head, "my car is outside, someone is going to notice I'm here. It's like one in the morning."
"Oh," Steve shrugs and gets up. "We can put your car in one of the garages. We have like six spots," he starts getting dressed. "Come on. Let's move it inside and then we can eat."
Billy is too stunned to tell him no, so he just... obeys. It takes two days to be annoyed about it.
After that, things are just... different. There's a spot for the Camaro in one of the garages, always the same spot. It's the one next to the Beamer. They hide the car in there and Billy goes from leaving clothes in his car, to bringing them in the house, to Steve washing his clothes and leaving them on a chair in his bedroom, to them being in one of the dressers.
Other stuff starts showing up too. His cassettes. His stereo.
It's slow. It takes months of a weird tentative peace they establish. They argue all the time, but Steve does weird shit when they fight now. Before, Steve used to get in his face, shout at him.
Now, Steve just sighs and takes a couple of steps back. He'll sit at the table, or in a chair, or even on the couch. He'll say he doesn't want to fight. He doesn't raise his voice as much. He'll say they need to pause.
Billy hates it and it ramps him up more. That combined with the random gifts sets his teeth on edge. He's just waiting for it. For something to boil over. For Steve to freak out. To get slapped. To get called what he is. To get thrown out. To get hurt.
Not knowing is making things worse. He pulls away. Spends a few nights back at the house. Gets into an argument with Max. Then catches his father's ire for whatever he did wrong.
He ends up back at Steve's house by the fourth night, nursing a black eye and more bruises.
Steve's coiled like a live wire and Billy immediately wants to leave. He's furious and Billy can't figure out why he's so pissed off. Why it looks like Steve is about to explode, at least, until he whispers with venom in his tone:
"What happened?"
Billy sighs. Whenever Neil comes at him, he's like a taut rubber band read to snap, but he's just too tired. "Nothing."
Steve swallows louder than usual and that makes Billy look at him. "I'm fine."
"Why are you hurt all the time?" Steve mumbles. "it's... you've been fine. No injures. You leave for a few days and come back... Who is it? Who else are you having sex with?"
Billy erupts into laughter because, yeah, he can do a fight. That's way easier than feeling. Sometimes he wishes Steve would hit him. Just to know what it feels like. To feel what Steve feels.
"Is that what this is about? You want to hit me?" Billy asks, because it took months for Steve to anything even remotely rough with him. "Fuck, Harrington, if you wanted me to bleed, you don't have to ask. Just do it."
"Harrington?" Steve repeats, sad. Maybe it's a bad move. He hasn't called him Harrington when they're alone in months.
But then those big brown eyes blow out wide.
"Billy..." he trails, "I can't... I can't do this shit, okay? The... the secrets are too much. I hate... i hate having to hide this. It's not..." he runs his hands through his hair, frustrated, "I can't do cheating. Okay? I can't. I fucking... tell me now. Who is it?"
Billy just stares at him. Cheating? What... what the fuck is he on about? "We're not...?" he's just confused though. His anger is draining out of him like there's a hole somewhere in his body because he's so confused.
"Who is it!?" Steve walks over.
Billy plants his feet and just waits, watching. Ready. He's been hit once tonight and he's ready for it to happen again.
"I'm not fucking anyone else," Billy finally answers.
Steve doesn't seem satisfied. "What happened? Why are you hurt? Am I not enough? You want me to hurt you and I won't so you found someone else?"
What the fuck? Why does it feel like he's arguing with a girlfriend. He sighs, "Harrin—"
"Don't call me that!" Steve yells and grabs his shirt, pulling him close. "Who hit you?"
Billy grabs Steve's wrists and adjusts his weight. He grins, teeth glinting and predatory. "What's got you all bothered Steve? That someone hit me or the idea that there's something else?"
"Billy, don't fucking play with me right now," Steve shakes him. "Tell me the truth."
"Or what? You'll throw me out?"
"Stop playing games. Tell me."
Billy exhales, loud, almost like a balloon losing all it's air. No one has ever asked about the bruises. Or, if they did care enough to ask, he never sees them again when he answered. No one's ever cared. So, he shrugs.
"There's no one else," Billy shrugs and Steve's grip loosen. His eyes search for something.
"Then what?" Steve asks, obviously he's not going to let this go.
Shrugging, he leans his head forehead, putting it on Steve's shoulder. "Neil," is all he says.
Steve goes rigid. "Your... your dad hit you?"
"I told you he was a piece of work," Billy mumbles and suddenly Steve is hugging him.
His arms wrap around Steve and he closes his eyes tighter. This is not what he's used to. He hasn't been yelled at. He hasn't been thrown out. Hasn't been told he's a pussy or a faggot.
"Stay," Steve says, all at once in a rush. "Don't... don't sleep there anymore. Stay here. Stay with me."
He snorts and raises his head. But Steve isn't kidding. He's not joking. When Billy's eyebrows knit together in confusion, Steve cups his face. "I mean it, Billy. Stay."
