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nitrateglow · 2 days ago

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Favorite films discovered in 2024

This year, I focused more on rewatching films I hadn't seen in a long time rather than racking up new titles. However, I still encountered plenty of new faves, many of them movies that have been on my watchlist for years. Here are the top twenty.

But first, some interesting patterns in this year's list...

Most represented decade: 1960s

Earliest film represented: 1932

Newest film represented: 1999

Creatives who show up more than once: Robert Mulligan, Walter Matthau, Boris Karloff

The Window (dir. Ted Tetzlaff, 1949)

A young boy (Bobby Driscoll) living in a squalid NYC apartment building witnesses his neighbors (Paul Stewart and Ruth Roman) committing a murder. Unfortunately, the kid's penchant for tall tales prevent anyone from believing him-- except for the killers, eager to alleviate themselves of an inconvenient witness.

Precious few thrillers earn the moniker “Hitchcockian” as well as this intense little gem from RKO. The Hitchcock vibes make sense when you consider Hitchcock’s cinematographer from Notorious was in the director’s chair and the source material was written by Cornell Woolrich, also responsible for the short story behind Rear Window. Augmented by on-location photography of New York City and a grimy, desolate sense of urban decay, The Window is both a great suspense yarn and classic film noir. Despite having a kid for a lead character, the film pulls no punches: both its small-time crook villains and the city setting feel palpably dangerous.

My Neighbors the Yamadas (dir. Isao Takahata, 1999)

The Yamadas, an average middle-class Japanese family, navigate the perils of sharing a television set, a kid going missing during a shopping trip, awkward wedding speeches, and other misadventures.

Between the original Studio Ghibli directorial duo of Hayao Miyazaki and Isao Takahata, Miyazaki will always be the more popular filmmaker, but I think Takahata’s films are more intellectually and emotionally rewarding. This is not meant as a hit on Miyazaki’s undeniable greatness, but Takahata’s movies are far more challenging. That being said, My Neighbors the Yamadas is a lighter entry in his filmography, a slice of life comedy about the eponymous family and their shenanigans in modern Japan. However, beneath the whimsical humor runs an undercurrent of melancholy, an awareness of the transience of life in both its lovely and absurd moments. To date, it gets my vote for the most underrated Ghibli film.

A New Leaf (dir. Elaine May, 1971)

After squandering his ample inheritance, a middle-aged New York layabout (Walter Matthau) decides to marry an eccentric botanist (Elaine May) for her money then murder her ASAP.

Elaine May only directed a few films, but the two I’ve seen—this and the long-maligned Ishtar—were a lot of fun. A New Leaf is the better film though, far more focused and consistently funny. I don't usually belly laugh when watching a movie at home alone, but I did several times here. Even just thinking about some of the things that happen in this film can make me start laughing again. I understand the existing version was not May’s preferred cut and she felt it was butchered by the studio. Even so, this is a great movie regardless of that and one I really want to rewatch soon.

Cash on Demand (dir. Quentin Lawrence, 1961)

Uptight, unpleasant bank manager Harry Fordyce (Peter Cushing) is the boss from hell to his employees, but to criminal extraordinaire Gore Hepburn (Andre Morrel), he's the key to a successful heist. Posing as an insurance representative to get access to Fordyce's office, Hepburn tells the manager he's holding his wife and child, whose lives will be forfeit if he doesn't help him relieve the bank of ninety thousand pounds.

Ho, ho, ho, guess who's got a new Christmas classic to enjoy every year? Cash on Demand is not only a strangely enervating riff on A Christmas Carol's basic set-up (a miserable man is spiritually redeemed through an encounter with ghosts-- or in this case, bank robbers), but it's one of the best, tightest one-location thrillers I have ever seen. I genuinely had no idea where the story was going and found myself in absolute agony as the noose grew tighter around our protagonist's neck. It's a testament to both the writing and Peter Cushing's detailed, very human performance that this film is the emotionally powerful piece of work that it is, and not just a fun, clockwork heist yarn.

Letter from an Unknown Woman (dir. Max Ophuls, 1948)

While trying to evade a duel, an aging playboy (Louis Jordan) receives a letter from a dying woman (Joan Fontaine) who claims he was the love of her life. The letter recounts the details of their love affair, which was the centerpiece of this woman's life and only a mere erotic interlude in his.

The best way to describe this movie is lush romantic melodrama married to a bitter, emotionally brutal tale of a life wasted. The movie is heartbreaking but beautifully shot and performed. I’m not always the biggest fan of Fontaine, but she is fantastic here. Also, I need to watch more Max Ophuls.

Sudden Fear (dir. David Miller, 1952)

A middle-aged playwright (Joan Crawford) thinks she’s found love with a would-be matinee idol (Jack Palance)—instead she realizes she’s being targeted by her new hubby, who only wants her wealth. But he mistakes her emotional vulnerability for a lack of discernment—and a lack of desire to get even.

I like my women-in-peril thrillers when they feature clever heroines driven to survive whatever nightmare their antagonists throw at them and Sudden Fear is amazing in this regard. I know everyone loves Joan Crawford best in Mildred Pierce, but I was floored by her performance here, especially in the dialogue-free scenes. There are campy moments (which I adore), but the story is emotionally compelling and I not only wanted Joan's character to survive, but to thrive post-shitty marriage.

Thieves Like Us (dir. Robert Altman, 1974)

Young lovers Bowie (Keith Carradine) and Keechie (Shelley Duvall) yearn for a white picket fence, a quiet porch, and a case of Cokes (probably because that's all they drink in this film). Too bad Bowie is an escaped convict tied up with bank robbers. Too bad it's the Great Depression. At least there's plenty Coke. Want a Coke?

Most films set in the past do not as painstakingly recreate bygone worlds as strongly as Thieves Like Us. Set in Depression era Mississippi, this film captures the harsh, bleak reality and romantic, consumerist fantasies of its star-cross’d leads, played with sensuous naivete by Keith Carradine and the late, great Shelley Duvall. This is more than just yet another Bonnie and Clyde riff—it’s a tragedy about the elusive American Dream, with snippets of radio music, programs, and ads acting as a Greek chorus in a truly inspired touch. Robert Altman can be an acquired taste, but this is easily my favorite of his films to date.

Targets (dir. Peter Bogdanovich, 1968)

The paths of an aging horror star (Boris Karloff) and a psychotic mass shooter (Tim O'Kelly) cross at a drive-in theater.

Targets was not what I expected: it's a threeway character study between the disheartened horror star, the psychotic shooter, and 1960s America itself. To be honest, you could remake this movie now with a former ‘80s slasher star making the same musings and it would still seem credible—but then of course, you wouldn’t have Karloff in one of the best performances of his career. Targets is rendered even more chilling by its docudrama style. The violence shown isn’t sensationalistic, but presented in clinical detail, making it feel more authentic. Gorier films haven’t frightened me as much as this slow-burn character study.

Losing Ground (dir. Kathleen Collins, 1982)

Despite finding pleasure in research and theory, philosophy professor Sara Rogers (Seret Scott) envies the escatic nature of her painter husband, Victor (Bill Gunn). Their difference in temperaments and Victor's adulterous straying also strain the marriage. However, once Sara takes a job performing a sensuous, emotional role in a student film to get in touch with her own artistic side, Victor grows suspicious and jealous in turn.

Losing Ground was sold to me as a film about a crumbling marriage, but it's more than that. It might be more accurate to call it a portrait of self-discovery, a woman extending beyond her comfort zone to live more fully. I found myself strongly relating to Sara-- like her, I have a creative side I've often been timid to share, being more comfortable with the mind than the body. Being an independent film, it eschews the Hollywood histrionics and melodrama that would normally accompany this subject matter and it's paced perfectly at 90 minutes. Though filmed in the early '80s, the film only played the film festival circuit and never enjoyed a proper theatrical release. Only in 2015 was it rediscovered and then released on home video. The director Kathleen Collins died young, but this film stands a testament to her passion and talent.

Cactus Flower (dir. Gene Saks, 1969)

A middle-aged dentist (Walter Matthau) who poses as a married man to fend off romantic commitment decides to buckle down and wed his much younger girlfriend (Goldie Hawn, looking like a mod Tinker Bell). However, when she insists on speaking with his made-up wife, he recruits his no-nonsense nurse (Ingrid Bergman) into the charade.

Cactus Flower is what I often call a transitional film: released in the late ‘60s, it has one foot in the classical style of Old Hollywood and another in the more liberated counterculture that was shooting out hits like Easy Rider and The Graduate. Directed with unexciting competence by Gene Saks, Cactus Flower’s success largely comes from Ingrid Bergman, Goldie Hawn, and Jack Weston. Bergman I could watch in anything, so I’m biased perhaps, but she walks the fine line between funny and touching as the lonely woman who finds emotional liberation through her roleplaying. The scene where she gets groovy on the dance floor is a highlight of her entire screen career and no, I AM NOT KIDDING.

The Black Room (dir. Roy William Neill, 1935)

Two aristocratic brothers (both Boris Karloff) are at odds over the love of a young woman (Marian Marsh) and an ancient prophecy forecasting the end of their bloodline.

Boris Karloff dives into a double role in this deliciously gothic melodrama. Columbia pulled out all the stops for this one: it drips with sumptuous set design and expressionistic lighting. I was particularly taken by this film’s slightly tongue-in-cheek approach to a more 18th century mode of gothic terror. It goes for full-blooded melodrama with its innocent maidens, secret dungeons, lecherous villain, and ancient curses. It’s as close to a 1930s Castle of Otranto adaptation as we’ve got and by God, I'm grateful for its existence.

Freud: The Secret Passion (dir. John Huston, 1962)

In the late 1880s, young psychiatrist Sigmund Freud (Montgomery Clift) probes into the inner lives of his "hysterical" patients to discover the roots of their mental illnesses. However, these journeys into the subconscious worlds of others bring him into uncomfortable contact with his own demons.

Listening to a podcast episode on John Houston’s Key Largo led me to works of his I hadn’t heard of, such as Freud. I was initially skeptical it could be good. Biopics are my least favorite genre, but this film isn’t so much a biopic as a psychological drama in which Freud is the protagonist and some of his ideas are illustrated through his interactions with the other characters. Instead of wasting time being some melodrama ABOUT Freud the man (the route most biopics go regarding their subjects), it’s about his theories and philosophy, which is a far more interesting approach. The result is a probing, intellectual work. I’m not sure how close Montgomery Clift’s characterization is to the real Freud, but the real star of the show is Houston’s direction, a resurrection of German expressionist aesthetics blended with stark realism.

Paris is Burning (dir. Jennie Livingston, 1990)

This documentary covers 1980s NYC ball culture, where Black and Latino members of the LGBT+ community vogue and perform.

Documentaries are not usually my thing, but Paris is Burning was a longtime resident of my watchlist and I am glad I finally got around to seeing it. It has a time capsule quality, capturing a long-vanished 1980s New York City and the LGBT+ community living there at the time. Obviously, there is a lot of meditation on gender identity, sexuality, and the importance of community in a world hostile to your very existence, but I was also interested by the film's presentation of the materialism and consumption of the Reagan era.

Candyman (dir. Bernard Rose, 1992)

A graduate student (Virginia Madsen) studying urban myths unwittingly summons the Candyman (Tony Todd), the hook-handed ghost of a Black painter who was lynched decades ago.

I expected fun slasher nonsense and instead got a gorgeous, unsettling, modern gothic masterpiece that only occasionally dips its toes into schlock. Candyman is ethereal in all the right ways despite being suffused with despairing urban gloom. I was not surprised to find the script was adapted from a Clive Barker story—like Barker’s The Hellbound Heart (adapted into the Hellraiser films), Candyman is chilling yet eerily beautiful. The moment I finished watching it, I knew this was one I would be itching to revisit. There’s just so much going on regarding race, class, and memory in America. Also, Tony Todd’s voice is a damn treasure.

Merrily We Go to Hell (dir. Dorothy Arzner, 1932)

An alcoholic playwright (Frederic March) and his long-suffering wife (Sylvia Sidney) decide to have an open marriage. It doesn't work out well for either of them.

Merrily We Go to Hell is a sneaky piece of work. Reading the synopsis, one expects the usual salacious pre-code melodrama. The first scenes even resemble your usual romantic comedy, with our central couple having a meet-cute. The actual movie is much more complicated. It's about a married couple thinking love is enough to make their union work despite the husband's alcoholism. However, this idea proves erroneous and attempts to numb the pain through hedonism and extramarital vengeance just pour gasoline on the fire. The emotional honesty here is astonishing and even the "happy ending" isn't so uncomplicated when you think about it. So far, this is my favorite film of director Dorothy Arzner.

Up the Down Staircase (dir. Robert Mulligan, 1967)

An idealistic young teacher (Sandy Dennis) gets her first position at an inner-city high school. However, she finds her enthusiasm worn down by the school system's bureaucracy and the many psychological troubles of her students and fellow faculty.

Ever since I watched Four Seasons a few years ago, I’ve been intrigued by Sandy Dennis. No matter the role, I find her eccentric yet vulnerable screen presence compelling. Up the Down Staircase was Dennis’ first starring vehicle and an unsentimental look at the teaching profession. Having worked as a teacher and in similar jobs in the past, I related strongly to the main character’s compassion fatigue and her frustrated desire to help make her community a better place. While not a cheery film, it is ultimately an optimistic one, even if that optimism is cautious. And of course, Dennis is damn great as always, whetting my appetite for more of her work.

They Shoot Horses, Don’t They? (dir. Sydney Pollack, 1969)

In the thick of the Great Depression, a group of desperate contestants sign up for a grueling dance marathon with a hefty cash prize. Greed, sexual exploitation, health problems, and crushing despair eventually complicate the exhibition.

This movie is so bleak you’ll be just as exhausted as the characters by the tragic finish. I know that doesn’t sound like much of a recommendation, but this is powerful stuff. It does what a great tragedy should do: make you emphasize with the characters and go out into the world more empathetic toward the people around you and more critical of a society in which such awful conditions could be permitted. And like Targets, it’s depressing that this movie’s themes remain relevant to American culture.

Flash Gordon (dir. Frederick Stephani and Ray Taylor, 1936)

A himbo polo player (Buster Crabbe), a middle-aged scientist in hot pants (Frank Shannon), and an ingenue in a blonde wig (Jean Rogers) must save the Earth from a galactic emperor.

Yes, I’m counting a film serial as a single unit on this list. In this corny, breathless saga can be found the seeds of so many modern blockbuster spectacles. The old school space opera aesthetic is always a joy and I love seeing what George Lucas borrowed from the comic book plot and fantastic images for his Star Wars films. Also, the serial is surprisingly horny for a product released after the death knell of the pre-code era, so that’s fascinating too. I watched the episodes, one a night, usually before a feature film, to recreate at least in part the conditions in which old serials were viewed. I highly recommend that approach if you're interested in watching these kind of films-- NEVER binge them.

Silkwood (dir. Mike Nichols, 1983)

Karen Silkwood (Meryl Streep), a union activist and metallurgy worker at a plutonium processing plant, discovers both she and many of her co-workers have been contaminated with high levels of radiation due to blatant safety violations. Rather than remedy the problem, her employers are determined to keep her quiet, but Karen refuses to back down.

Meryl Streep's performance in Silkwood finally showed me what all the hype around her is about. What an astonishing, natural performance-- I forgot I was watching an actor every moment. As for the overall film, it's one of the stronger docudramas out there (as this film was based on a true story). It isn't just a preachy message piece and it allows Silkwood to be both a heroic figure and a flesh and blood human being with flaws like anyone. The domestic drama involving her lover (Kurt Russell) and lesbian roommate (Cher, who also gives an incredible performance) is almost as compelling as the main story. Though released in the early '80s, it feels like a late manifestation of the paranoia thriller genre of the decade before.

Love with the Proper Stranger (dir. Robert Mulligan, 1963)

When a one-night stand with a jazz musician (Steve McQueen) leaves her pregnant and at risk of upsetting her very Catholic family, an innocent sales clerk (Natalie Wood) tracks down her lover and demands he help her get an abortion.

Love with the Proper Stranger is such a unique piece of work that I can forgive the elements that dissatisfy me (like the ending). Wood and McQueen's romance starts out acidic and slowly becomes tender over the course of their bizarre misadventure, and the film itself shifts through several moods. Sometimes it feels like an urban drama, other times a romantic comedy. But it somehow holds together, perhaps because of the chemistry between the lead actors.

What were your favorite film discoveries in 2024?

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findafight · 2 years ago

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Tw for hospitals and use of of pain medication, infection, and canonical injuries, brief mention of the AIDS crisis. Ohhhh steddie dating pre S4 au where Robin has now been subjected at work to Steve both striking out spectacularly and flirting like he knows he's getting laid that night. She isn't sure which is worse. (The striking out is worse. She is glad her friend is happy. She's just painfully single and pining away)

The same stuff happens in s4 minus Robin and Eddie pushing Steve and Nancy together romantically (Dustin is trying to push Steve to both Robin or Nancy he's like dude these are girls you like why are you not making a move on them! I want you to be happy!!! And Steve rips his eyes away from Eddie's lips like huh?) But they're still like hey Nancy! It would be nice! If we could be friends maybe! And it's still awkward.

Robin is out here sweating and glaring at Steve and eddie trying to beam thoughts into Eddie's brain in the Upside Down like Eddie please cool it I know it's a stressful situation but stop staring at Steve's tits for five minutes pl-oh giving him your vest??? You think that's going to help? Ok buddy. I'm just going to. Distract Nancy up ahead a little bit while you and Steve chat aaaaand neither of you are listening. Fine.

And it's still a mess. Max and Eddie and Steve end up in the hospital. The ground split open but sealed itself once Steve cut Henry's head off. Everything is over.

Eddie gets discharged first, despite having more bites than Steve, because his didn't have two days to get infected with Upside Down nastiness. So he ends up camped out with Robin at Steve's bedside as he fights the infection with antibiotics (the doctors hope will work), pain meds, and a slight fever.

Which is to say, completely out of it and high as a kite.

So when Dustin visits and Steve is awake, he gets to see a big, goofy grin spread across his best friend's/adoptive older brother's face as he reaches out and says "dusssstyyyy! Cmere. Lemme. Boop you." And yeah, okay, it makes him feel a bit like a baby but Steve is out of it and apparently drugged Steve likes to Boop his younger friends noses. Dustin can accept that. He sighs and leans forward and allows his nose to be booped.

Steve giggles and smiles and pats his head. "Good to see you, man"

Dustin smiles, a bit watery because it's hard to see Steve in the hospital again, and because it was fucking terrifying to watch him nearly drop to the ground after making sure Eddie got treatment, only being caught by Robin. Dustin almost lost three people he loves, and he is so fucking glad they're all alive, if not well.

"yeah, Steve. Good to see you, too. They say when you're allowed to blow this pop stand?"

Steve frons. "No. Still got Upside Down goobies in my guts, 'parently."

Robin sighs. "They said a few more days. Make sure the infection is clear and there's no suspicious side effects."

"yeah. That's what I said, Robin."

Dustin grins, then settles down beside Robin, across from Eddie. He hasn't said anything since Dustin walked in, but was playing with the sleeve of Steve's hospital gown and tracing patterns on his arm. He looks up at Dustin, and offers a small smile.

It's a bit weird, how close he's stuck by Steve this whole time, but Dustin guesses they probably bonded when they got sucked through the watergate, and that Steve saving his life really endeared him to Eddie. He hopes they can be actual, real friends once things settle. Given how much Eddie is at Steve's bedside, he thinks they're well on their way to it.

They all chat for a while, Steve sometimes getting off topic and dreamy, but looking happy even when he isn't quite following what they're all saying. Dustin is pretty sure Steve doesn't have his hearing aids in on top of the drugs, so he isn't really surprised.

His mom eventually bustles into the room, and fusses over Steve. "Oh, sweetheart, I'm so sorry. Let me know if we can do anything, I mean anything, to help, okay? I'm sorry I cant visit for longer today, but what with everything happening like this, I -"

"isss okay, Mrs. H...Ma." Steve corrects himself immediately, smiling. Dustin's insides always get a bit squiggly when Steve calls his Ma, Ma. Like they're actual brothers, and she's their mom, and no one could ever argue they're not family for real. What makes it better that it was Ma who insisted Steve call her that since January of '85, as though she knew just how much both Dustin and Steve needed each other like that.

"I'll be by tomorrow, okay, dear? Robin, you and Eddie are alright for tonight? I'll stay tomorrow but today I re-"

"it's fine! Seriously, Mrs. H. Don't worry about us. My parents will force me home tomorrow anyways, but tonight we're good." Robin grips at Steve's ankle, grounding herself. Dustin doesn't think there's been a day when she hasn't been in Steve's room. Doubts if the places were reversed Steve wouldn't have to be dragged out to shower and change clothes. They're so weird, but Dustin is glad Steve has someone older that loves him like Robin does. It makes it easier to not be able to spend all day with him like he wants to.

"okay. Alright." She leans forward and kisses Steve's forehead a few times, brushes some stray hairs out of his face, just like she does when Dustin is sick in bed. "You take care Steve, sweetheart, and make sure you let Robin and Eddie take care of you too." She turns to Dustin. "I'll give you a few minutes to say goodbye and then meet me down at the car, okay?"

Dustin nods, and his mom is out the door. He sighs. "Well. I guess I'd better head out." He gives Steve a hug, a bit awkward from Steve lying down, but it's fine, Steve wraps his arms around Dustin and tries to give him his normal double squeeze, but it's more of a press with his hands than anything. Dustin'll take it. "I'm glad you're getting better Steve. Glad we're all safe."

Steve's smile is soft, gooey in a way that he usually tries to hide. "Glad you're safe, too, man. Love you." Something in his smile sharpens, then. "Unlike some people in this room you actually...listened? When I told you not to be a hero. And didn't nearly almost die."

Eddie groans, dramatic. It seems like a game they're playing with each other more than anything, but it's a game Dustin doesn't know the parameters of, and it's jarring. "C'mon, Steve. I said I was sorry! I wasn't going to let Dustin get hurt."

Steve glares at Eddie, which would be more intimidating if he wasn't scrutching up his nose or propped up by pillows freshly fluffed by one Claudia Henderson. "Which is the reason why you're allowed in here even though you almost died. Dustin is safe, and that's good. But I'd've been so fuckin pissed if you died."

Robin snorts, pats Steve's hand. "Oh, buddy. You'd have been inconsolable."

"yeah. Exactly. it would have fucking sucked, Eddie. So. I'm still mad at you, even though I love you. Probably because I love you."

Which is. Not what Dustin was expecting. Sure, Steve was pretty open about his love. Especially after Starcourt, when he finally seemed to settle into something Dustin thinks of as comfortable with who he is. (Which is, actually, a big softie with a bit of a bitchy mouth) He's told Dustin he loves him before, and he's pretty sure he's told Max too. Steve says he loves Robin all the time, just not romantically even if Dustin doesn't think that's entirely true, but.

This feels different.

It is different, given the way Eddie squeaks a bit and sways towards Steve. "Steve..." He breathes, his eyes big and wet and wide. He swallows. "Steve. Dustin doesn't. He's still here, i--"

Steve's brow furrows. "Yeah? So? Did you not want...oh." something in the blankness that drops over Steve is scary, especially in comparison to how Steve's been open and lax the entire time Dustin's been in the room.

Steve turns his head slightly towards Eddie, ten slightly away, like he doesn't know if he wants to look at him or not. Dustin shuffles his feet, not quite sure what's going on, feeling awkward and wrongfooted. Robin stands, puts her hand on Dustin's shoulder, tries to turn him away and out the door, but Dustin isn't leaving when Steve's face is all stiff and blank like it is.

"steve--" Eddie sounds wrung out, wrecked. What the hell is going on?

Steve sniffs ever so slightly, interrupting Eddie. "You don't have to say it. You don't even have to-uh. To feel it, right now. That's okay. I've done that before. I can wait." Dustin sees a muscle twitch in his jaw. "But if you- if you don't think you can, I need to know now, actually. Because now Dustin knows but he's my brother so that's good and fine but if you don't want to--if you don't think this is gonna, like, be a long-term, tell people important to us kind of thing; if you're realizing that it's been long enough that you should feel that--that way about me but you don't, then I need to know because I don't want you lying about how you feel. I can't do that again. When you say it back I want to be sure you mean-"

"I love you too, Steve! Jesus fuck." Eddie blurts, apparently having had enough of. Well. Everything Steve was saying.

It's dawning on Dustin that maybe when Steve and Eddie said they knew each other they didn't just mean from highschool. That they. Well. Obviously they love each other. Which is....something to consider later because Steve looks like he's about to cry. Because Woah, Dustin has misread a lot between the two of them if they're...like this.

"yeah? You're sure?" He says, wobbly now he isn't rambling.

Eddie's squished himself more into Steve's space. "yes, yeah, of course Steve. Fuck. You met Wayne! I want you in my life, for a long, long time. I don't- I didn't do anything to make you think I didn't, did I?" His voice is a little rough, and little pleading.

Steve shakes his head, grips Eddie's hand in his m, even as Eddie uses it to support himself over top Steve. "No. I just. I know it freaks people out, is all, and I don't want you to freak out, or leave, or think you had to because we've been dating for a few months and I want to say it. It just came out because it's true."

Eddie laughs, leans in reeealy close to Steve. "Honey. It came out because you're high and morphene."

Steve grumbles a bit, but he's smiling too, and knocks their foreheads together. "Yeah. And also because it's true. I love you."

Eddie's eyelids flutter, Dustin can see, as he grins. "And I love you." He says, before closing the distance and kissing Steve squarely on the mouth.

Robin clears her throat. "As...heartwarming and sappy you two are. Dustin has to leave, and probably...has some questions? That he's not going to be a dick about?" She says this as she grips his shoulder tightly, in a way that is definitely a threat.

Dustin nods furiously. Eddie sighs but pushes away from Steve, not before pecking him again, drawing that dopey smile back into Steve's face. "Yeah." He says. "I'll walk you out Henderson."

Dustin waves goodbye to Steve, who seems cheery once again, wiggling his fingers are Dustin and Eddie, before walking out the door behind Eddie.

"so. How long have...has that been a thing?" He asks, as soon as they clear the doorframe.

Eddie huffs, but seems good natured about it. "Few months. December."

"okay." Says Dustin. "Uh. I didn't. I didn't know you...or Steve, I guess...I didn't know you guys were-" he lowers his voice, despite the hallway being surprisingly empty. "Gay."

There's something steely in Eddie's eye when he answers. "We're not. Well-we are, but we both also like women."

Something doesn't sit right about that with Dustin. "But! You just said-"

Eddie holds his hands up, and Dustin shuts his mouth on instinct. "You can like both while just dating one person, Dustin. Just because you like women doesn't mean you're going around with girls who aren't Suzie, right?" He nods. He adores Suzie, can't really imagine looking at any other girl like that because she's just. Amazing. She's his girlfriend and they love each other, and just because girls are pretty great doesn't mean Dustin wants anything other than friendship wi--oh. He sees where Eddie is going.

"right. Yeah. Sorry."

Eddie shrugs. "Steve kinda dropped a bomb in both of us, today"

""isn't it weird though?"

"well...girls and guys are different"

"they are indeed."

"so, if you like girls, why do you like...boys...too?"

"why do you like girls and not boys, Dustin?"

Which is hard to answer because, well. Dustin's never really thought about why he likes girls. He just does. And maybe that's what Eddie means. There's no reason, really. People just...like what they like.

Or there are reasons, because girls are pretty and often smell nice and Suzie looks like a mad scientist when her ponytail gets a little loose after hours of working on a project, her eyes glinting behind her glasses as she giggles and bites her lip, just a little. But that's mostly Suzie. So. He can't really put a finger on why he's only ever had crushes on girls, or why before last summer they've never been as much or as consuming as his love for Suzie. Never been anything like the long days spent together at camp building and creating and blasting ideas off each other, before one day Suzie took his hand and they ended up sneaking away to look at the stars, trying to outdo each other's knowledge about them and slowly being pulled into the other's orbit like binary stars. He's never really wanted to kiss anyone like he wants to kiss Suzie, not even when he had a brief and fleeting crush on Max.

"oh." Is what he says, and feels pretty lame for it.

Eddie shrugs. "You can't really choose who you like." He says before breathing in. "But you do choose who you love, and how you love them."

And. Well. Dustin thinks of his Ma sweeping Steve up into family dinners every other week, and how the party absorbed Max into it as easy as anything, and holding Suzie's hand as they looked up at the stars in dew covered grass feeling like the world starts and ends there, and of Steve and Robin cackling together and having seemingly no personal space or boundaries between them. And of Steve and Eddie, saying I love you for the first time in a hospital room after saving the world.

"That's pretty good." Dustin says, and Eddie smirks at him.

"yeah. Steve said it to me, way back on our second date."

Dustin scoffs. Because he should have known; it's so typically Steve to say something like that. "And you were surprised when he said he loves you?"

Eddie's eyes twinkle in the florescent lights of the hospital. "Nah. Just... it's different being pretty sure, and knowing for sure. I also didn't want him saying something in front of you he'd regret."

He nods. "That's fair. I...don't know how I would've taken it if Steve weren't in the hospital, honestly. Like!" He tries to reassure Eddie "I would have gotten over it, for sure! But if had had sat me ore the party down and talked it out I might've been, like, y'know. Super weird about it. Because. I mean. This talk is good, right? I'm think about things and thinking about how I've only ever really wanted to kiss Suzie, even if I thought about maybe abstractly kissing other people. And how we as humans have all these quirks that let us be human, but different, which enable us as a species to thrive." He heaves a breath. "But. Seeing Steve all loopy and saying it, and then being worried you felt pressure about it, I dunno. It makes sense, I guess. I don't know how you two met or got to know each other, but. I guess it makes sense, how you like each other. And talking to you now. It's helped, I think."

Everything is a bit scrambled in Dustin's brain, the love and the confusion and the worry, because it's setting in that in Hawkins, something like this, for Steve and Eddie, is dangerous. Something that could get them hurt or killed, scorned by the town they've helped save.

His mother always grumbles agrily when ads about how the virus going around is God's punishment for sinners, or how it's cleaning up the streets of unwanted people gays and addicts. She huffs, swears. Says that just because bigots don't consider the people getting sick as wanted or valuable, doesn't mean no one does. That no one deserves to get sick for things they cannot control, or for things they can. A smoker is more likely to get lung cancer, but that doesn't mean they deserve it more than someone who's never seen a cigarette.

Their families will mourn them the same.

They reach the main doors, and Dustin sees his mom has pulled into a pick up lane, blinkers on. He turns to Eddie, and burries his face in his neck.

Eddie takes it in stride, parting his back and giving him a bit of a squeeze. It's not as good a hug as Steve gives, but that bar is only really surpassed by his mom, so it's still a good hug.

"please be careful, Eddie."

"ah," says Eddie, and he pulls back slightly. "We are, man. You're close to both of us and didn't suspect. We know what we're doing."

Dustin raised his eyebrows. Now that he has context, a lot of interactions between Steve and Eddie in the wake of getting them out of the Upside Down seem a lot less friendly.

Eddie chuckles. "Seriously. We are. It was just hard during everything, and, well, we both feel safe around you guys. I think Steve's been gearing up to ask me if we can tell all of you sheepies soon."

"yeah?"

"yeah, bud. Don't worry about us."

"Considering you just got released and Steve is still in the hospital, I think a little worrying over you jackasses is justified."

Eddie smirks. "Fine. A normal and reasonable amount of worrying, then. But no more than that. Now, git! Your ma's waiting on you."

Dustin smiles, "yeah, yeah. I'll see you tomorrow."

"yep. You know where to find me."

He waves again as he hopes into the front seat, and buckles his seatbelt before Ma can ask him to. He smiles at her, and feels oddly...grounded. a mystery has been solved, even if Dustin doesn't have all the pieces, he still has the big picture.

"everything alright, Dusty? Nothing wrong with Steve, is there?" She asks, even as she changes out of park.

"yeah, yeah. Just accidentally stumbled over something saying goodbye, and was worried about them. But everything is fine. Robin and Eddie have Steve handled."

They turn out of the hospital parking lot, heading for home. Ma smiles. It's softer, more indulgent than usual. "Yes. They're good for each other, I think. Compliment one another nicely."

Dustin doesn't bother asking which set she's talking about, thinks maybe they both know.

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