Editorials
Celebrating ‘A Nightmare on Elm Street 3: Dream Warriors’ 28th Anniversary!
Twenty-eight years later, the message behind Chuck Russell’s 1987 cult classic A Nightmare On Elm Street 3: Dream Warriors still rings clear: parents need to listen to their kids. The second feature, Freddy’s Revenge, gets sidetracked using Krueger as a metaphor for the person inside of Jesse, desperate to get out, and loses steam when it breaks its own rules and has Fred out in the open, roaming a pool party instead of dreamland. The third installment, however, puts the fear back in Freddy, by getting back to basics, and reiterating the lesson that the original film sought to teach — the consequences of pushing a child’s concerns aside; and dismissing their woes as immature and fleeting.
As the opening credits roll, we dream Dream Warrior Patricia Arquette using the power of cocoa powder, soda, Dokken, and paper mache to stop herself from nodding off. It’s quite obvious that this isn’t the first time sweet little Kristen has used this questionable combination to stay awake, and as her mother enters her room all dressed up and ticked off, it soon becomes clear that this also doesn’t mark the first time her mom has come home late. When her mother, Elaine, demands an explanation for her antics, Kristen reveals that she’s only trying to avert her bad dreams, and the man with the burnt face that waits for her in the realm beyond consciousness. It’s obvious that Elaine has heard this all before, and she has much more important matters to attend to, like the man she’s brought home, waiting downstairs, calling to her to join him in drunken negligence. Despite her pleas, Kristen’s mother leaves her in darkness, doomed to meet the shadowy figure with razor fingers yet again, who’ll steal her sleep, and her youth.
Kristen’s latest dream puts her in her own bathroom, where Freddy smiles back at her from her mirror. Suddenly, her appliances spring to life, as her sink begins to grow, and razors pop out from the handles, and, to her horror, extend like arms reaching out to grab her. As Kristen screams in sheer terror, she awakens, and sees her mother entering the bathroom. As reality settles, we see what’s really been happening, or at least what Kristen’s mother sees: Kristen, wrists slit, holding a razor, and crying for help. As soon as her little outburst occurs, Kristen’s mother ships her off to the psych ward, where she meets other teens like herself, who also suffer from terrible nightmares. At the first sign of real trouble, Elaine throws her hands up in the air, abandons her responsibilities, and blames the victim, by concurring that Kristen has brought all of this drama on herself, and therefore can only fix it herself. While it is true that Kristen must find the strength within her own mind to conquer the demons that plagues her thoughts, without the aid of another, she’ll be just like the rest of the poor souls Krueger has claimed: paralyzed in fear and unable to shake herself awake.
Enter Nancy Thompson; the sole survivor of Fred Krueger. She may have been absent in the second film, but Nancy returns to the third installment with a role that’s both appropriate and necessary, as the helping hand. Through the use of booby traps and bravery, Nancy managed to outsmart Krueger in the past, and now she’s back to teach other kids how to do the same. Although she starts as the intern at the ward, it’s not long before she’s helping the children work through their fears, simply because she’s the only one who will take their issues seriously. Kids are dying left and right, but the other authority figures keep ignoring their cries and sedating them, only further putting them in harm’s way. It’s not until Nancy steps in and begins listening to the kids that things begin to change for the better.
Slowly, as Nancy ushers in the aid of Doctor Neil Gordon, the origin story of Freddy Krueger is revealed, as the ghost of Fred’s mother, Amanda Krueger, tells of how she was kidnapped and tortured many moons ago. While she was working as a nun at the institution, Amanda was accidentally locked in with the rest of the maniacs over the holidays, and was viciously raped hundreds of times, until she was pregnant with evil himself. Upon her rescue, she gave birth to Freddy, who went on to wreak havoc and ruin countless lives, just as his fathers had before him. However, this startling revelation isn’t the only expansion that Dream Warriors adds to the franchise. Not only does the third installment offer a background for its infamous villain, but it also shows the true strength of his powers. Freddy’s been known to play with people’s dreams, and distort the R.E.M. cycle to his liking, within the parameters of a dream world, but the third film is the first time that he uses his skills on dry land, so to speak. Sure, there’s been cliffhanger endings, that leave the film open for a sequel and leave the viewers to debate what really happened, but for the most part, Freddy never displayed real power in actual reality until he exerts force at the junk yard. As he causes the cars around Neil and Nancy’s dad Donald to come to life, Freddy’s bones gather and rise, creating a walking skeleton that attacks the men, proving that he not just the ghost of a man who was burned alive, but the spirit of evil, living on long beyond the afterlife. This doesn’t just make the series more frightening again, but it also gives the franchise room to grow.
Even with these major accomplishments, Chuck Russell and Frank Darabont still aren’t done. The writing duo also use Dream Warriors to hand over the torch to a new female lead, and declare Kristen the new lead of the franchise of the house that Freddy built. With Nancy’s passing, as she dies romantically in Freddy’s arms; for they always were characteristic of dramatic lovers, Kristen is placed on the throne in her place, as Craven’s newest Scream Queen. It’s a shame that Arquette didn’t come back to revive the role in the fourth film, but Kristen lives on, regardless.
After all of the other gems that Dream Warriors offers, there’s one last theory that it subtly tosses around. Nancy tells the little warriors that they’re the last of the Elm Street children, and that’s why Freddy Krueger makes appearances in all of their dreams. Aside from the severity of their nightmares, most of the kids are dealing with their own individual problems, too. Taryn is an ex-junkie, Will is paralyzed from the waist down, and Joey hasn’t spoken in years. What if these kids all experienced a traumatizing childhood that led to their demise because their parents were part of the ones that helped to burn Fred Krueger alive years ago? Maybe the reason why Kristen’s mom drinks and brings home strange men is because she, too, can’t cope with her nightmares. She can’t forgive herself for what she’s done, and neither can the rest of the parents, and as they slowly unraveled in front of their young, the kids acted out, got in in trouble, got hurt, and wound up at the psych ward. After all, if they truly are the last of the Elm Street kids, chances are they at least know someone who has suffered in some way from the thrashings of Freddy Krueger. Either way, the message remains, year after year, brightly lit from the screen, and only growing more relevant: listen to your kids. Even if you think they’re only going through the motions of young adulthood, remember what its like to be their age, and how every breakup, every petty fight with a friend, and every night terror can feel like life and death. They may lash out, they may curse your name, but in the end, children crave attention and discipline, for it is their parents that shape them, and keep them out of the darkness, away from strange forces that seek to hurt them in the blackness of night.

Editorials
Tales from ‘Tales from the Crypt’: Exhuming Season Six’s “Only Skin Deep” Episode
The penultimate season of Tales from the Crypt (1989–1996) aired its first three episodes on October 31, so it’s understandable that at least one of those three stories is set on Halloween.
Sandwiched between “Let the Punishment Fit the Crime” (Russell Mulcahy, Ron Finley) and “Whirlpool” (Mick Garris, A. L. Katz & Gilbert Adler) is the most severe episode of the bunch. Maybe the entire series? William Malone and Dick Beebe’s “Only Skin Deep” traded the show’s typical sense of fun for startling amounts of bleakness and kink.
“Only Skin Deep” is, apart from the Crypt Keeper’s intro and outro, noticeably unfunny. There are no considerable attempts at making the viewer laugh. Come to think of it, if those bookends had been replaced, and there was more of a sci-fi element in the story, HBO could have easily squeezed this tale into that successor anthology, Perversions of Science (1997). In Crypt, though, “Only Skin Deep” is much too grim for an audience that had become accustomed to campiness and levity.
What makes “Only Skin Deep” feel dark, among other things, is its protagonist. Showing up to a Halloween party where he’s not welcome, and where his former girlfriend (Diane DiLasco) is attending, Carl Schlag (Peter Onorati) first comes across as your standard bitter ex. You soon realize it’s much worse than that, once Carl threatens Linda (“You know, silly me, thinking I gave you what you deserved. If I’d have done that, I’d have killed you”). Now, I haven’t forgotten that Tales from the Crypt was teeming with vile men who did women harm. Yet Carl’s brand of misogynistic menace hits differently—it borders on being too realistic for this kind of series.

Mike Vosburg’s EC-style comic cover for “Only Skin Deep”, as seen in the Tales from the Crypt episode.
Despite donning a party mask for much of the episode, Carl can’t ever mask his true nature. The invitation did say “come as you are”, after all. That inability to change and be better, however, is why Carl ends up in such a karmic predicament. His outburst of anger at the party attracts the attention of one loner partygoer named Molly (Sherrie Rose, who was also in Season Four’s “On a Deadman’s Chest”). Her bone-white, featureless “mask” and body-bag costume don’t initially register as too strange, especially on a night like this. But at a party chock-full of colorful, cartoonish, and lighthearted ensembles, it does look out of place.
Darkness attracts darkness as Carl ditches the party and accompanies the mysterious Molly to her place. Which, by the way, should have been an immediate red flag. But perhaps she’s so hot, he doesn’t seem to mind the serial killer aesthetic. Resembling a warehouse that has been converted into living spaces, but never then decorated to remove the cold, industrial look, Molly’s home (or lair) is as gloomy as this whole episode feels. It’s like the set of a grungy music video, albeit a tad cleaner. The environments in a typical Crypt episode tend to be small, overfilled, and broken-in. Warm, regardless of any weird goings-on. All that empty space in Molly’s hovel, on the other hand, elicits a creepy feeling that Carl was unwise to ignore.
Tales from the Crypt featured more sex than it didn’t, but hands down, “Only Skin Deep” boasts the steamiest scene in the show’s history. Pushing it over the line, in addition to Onorati showing bare buns and the camera never turning down one of his pelvic thrusts, is the twisted dirty talk. Carl stays in the moment, whereas Molly unleashes charged lines like “the hurt, the anger, give it to me” and “take it out on my flesh like you want to”. It’s all quite kinky, as well as tied into the story’s theme of pain.
How else “Only Skin Deep” differs from other episodes is its twists. Or rather, its lack thereof. Nothing comes as a great surprise here, particularly because the deuteragonist’s ulterior motives are so obvious. By no means is Molly a wolf in sheep’s clothing; her face is a fright mask, she practically reeks of death, and she lives in what can best be described as a serial killer’s hideout. That last-act revelation of Molly’s mask really being her face is also nothing shocking. Cleverness is certainly not this episode’s strength.

A page from “…Only Skin Deep!”, as seen in EC Comics’ Tales from the Crypt.
While “Only Skin Deep” isn’t the most universally loved episode of Tales from the Crypt, it’s an interesting preview of William Malone’s future as a director. Most notably, he went on to helm House on Haunted Hill (1999) and FeardotCom (2002), the former of which was co-written by Dick Beebe, this episode’s writer. Dark Castle Entertainment, that genre house founded by Crypt producers Joel Silver, Robert Zemeckis, and Gilbert Adler, was instrumental in bringing out Malone’s gruesome, over-the-top vision in House on Haunted Hill. However, FeardotCom and Malone’s Masters of Horror episode, “Fair-Haired Child”, are the most stylistically compatible with “Only Skin Deep”.
As one might guess, this episode is nothing like its source material. The “…Only Skin Deep!” found in the pages of EC Comics is set during Mardi Gras in New Orleans, and save for its last couple of pages, is pretty sweet in nature. There, a man named Herbert is enamored with a woman he met five years prior to the present-day story. Every year, he has come down to Mardi Gras to see Suzanne, who’s always dressed as a hag-faced witch. Well, this time, Herbert plans on popping the question and marrying someone who is, for the most part, a total stranger. Suzanne accepts his proposal, but with one condition: they stay in costume until they’re officially hitched. You can probably see where this is going…
Once they are married, Suzanne remains incognito, even when she and Herbert have consummated their vows. A semi-predictive nightmare then rattles Herbert; he dreamt that Suzanne’s real face was as wizened as her mask. Finally, in his haste to find out the truth, Herbert winds up killing his new wife. Faceless and well on her way to bleeding out, the dying Suzanne manages to say she never wore a mask.
For more traditional EC-style ghastliness, your best bet is reading the comic. It’s wickedly sad. For something less conventional, as far as Tales from the Crypt goes, the role-reversing adaptation is worth watching. It’s not the best this show had to offer, although Malone’s visual style, plus the sexual abandon, does set the episode apart. If nothing else, “Only Skin Deep” leaves an impression that, even years later, shows no signs of fading.
Season Six of Tales from the Crypt can be streamed on Shudder, starting on June 5.
Tales from Tales from the Crypt celebrates the show’s Shudder premiere by singling out one episode from each season. So don’t even think about changing that dial, boys and ghouls. More spot-“frights” are to come.

Carl discovers Molly’s collection of human ‘masks’ in the Tales from the Crypt episode, “Only Skin Deep”.
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