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Scene Stealers: 10 Horror Sidekicks Who Stole the Show

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While villains and heroes often hog the spotlight, the supporting characters rarely get the appreciation that their due. But a supporting character, and sidekick, are extremely important to the story. Not only must they back up the main characters, but they’re often the ones that deliver important exposition, expand the mystery, offer much higher dramatic stakes, and more than not, bring comedic levity. We laugh with them and we get upset if they’re killed, because let’s face it, a sidekick is far more expendable than the hero. Sometimes, though, a sidekick comes along that is so great that they manage to outshine the lead players. In honor of the sidekick, and especially the ones that manage to steal the film out from under the heroes and villains, here’s horror’s best:


Fright Night – Evil Ed

In a film with Roddy McDowall and Chris Sarandon, Stephen Geoffreys holds his own and then some as the scene-stealing Edward “Evil Ed” Thompson. He also pulls double duty on the sidekick front, first as best pal to lead protagonist Charley Brewster, and then as a right-hand man to lead vampire Jerry Dandridge once turned. Evil Ed has a distinct laugh, a slightly warped sense of humor, an affection for horror movies, and a distaste for Charley’s girlfriend Amy; all reasons we end up loving and rooting for Ed. We love him even more as a vampire, something he clearly enjoys being. But most of all, we love his one-liners, and Geoffreys’ delivery of them. “Oh, you’re so COOL, Brewster!”


Jaws – Quint

Chief Brody may be the lead protagonist of this Steven Spielberg classic, but it’s Robert Shaw and his portrayal of grizzled shark hunter Quint that steals our hearts. An integral part of the team, Quint brings a lot of wisdom as captain of the Orca, and just a ton of character. He’s the perfect counterpart to meek oceanographer Matt Hooper (Richard Dreyfuss), and his stubborn resilience makes him perfect for hunting the elusive man-eating shark. But it’s his three-and-a-half-minute speech about his time served aboard the USS Indianapolis during World War II, in which he and shipmates delivered the Hiroshima bomb, that’s utterly captivating. It’s a scene-stealing monologue delivered by fantastic Shaw that makes this one of cinema’s best scenes ever. Of all the victims of Jaws, Quint’s really stung.


The Texas Chainsaw Massacre 2 – Chop Top Sawyer

Sometimes even the bad guys get sidekicks, and in this over the top sequel, the iconic Leatherface couldn’t hold his own against his brother Chop Top. A deranged Vietnam vet with a metal plate in his head thanks to a “lucky gook with a machete,” he was initially conceived to be the Hitchhiker, before evolving into his more deranged twin. What really made Chop Top a scene stealer though, was Bill Moseley’s scene-chewing performance, clearly enjoying every minute of it. Tobe Hooper enlisted Moseley for the part after the actor played the role of The Hitchhiker in a short film parody of the first film, and we’re glad he did. Chop Top also wins for being the rare sidekick to outlast the lead; the final battle is between Chop Top and Stretch after Sawyers and Lefty are killed in an explosion.


An American Werewolf In London – Jack Goodman 

The sarcastic best friend to straight-man turned werewolf David Kessler, Jack steals every scene he’s in. As the undead cursed to plague David until the werewolf lineage ends, Jack serves both as the moral compass and comedic relief. That every appearance marks a drastic deterioration in Jack’s undead condition further elevates the anticipation for any scene with this scene-stealing sidekick. As great as David’s twisted journey with his werewolf curse is, and his romance with Nurse Alex, it’s Jack’s winning personality that makes him easier to empathize with.


Saw – Amanda Young

Shawnee Smith’s appearance as Amanda Young was so brief and minor by comparison, as the only known survivor of the Jigsaw Killer, but so memorable that she returned for the second and third entry in a much bigger role. Revealed to be Jigsaw’s righthand woman, Amanda managed to be one of the series most sympathetic characters, despite her trap-setting work. Much of that was Smith’s performance, but it also had a lot to do with the fact that Amanda rarely killed out of spite, something most in line with Jigsaw’s mission statement. Of all the apprentices that have come and gone, the one that fans most want to see return is Amanda. Considering how iconic Jigsaw and his puppet are, that’s no small accomplishment.


Get Out – Rod Williams

Rod Williams is the type of best friend that all best friends should aspire to. That he deftly handles the task of comedic relief assigned to nearly all sidekicks isn’t what makes him a scene stealer, though, but his tireless quest to keep his friend out of harm’s way. It begins with the warnings out of concern, before Chris sets off for his girlfriend’s parents. He keeps tabs on Chris, too, making sure his friend is ok with constant communication. He’s even willing to make himself look like a fool at the police station when that communication goes silent. His detective work shows he’s much smarter than he’s given credit for, too. If somehow none of that is enough to convince you of he steals the show, then the scene in which he swoops in to save the day, allowing the audience to release the breath they were holding, solidifies it. Rod Williams ends the film as the MVP.


Cabin In the Woods – Marty Mikalski

In keeping with Joss Whedon’s dissection of horror tropes, Marty Mikalski begins the film as the stoner sidekick before eventually transitioning into unlikely hero. Designated to play the part of The Fool, Marty is meant to poke fun of the idiot teens that exist in a lot of horror. His stash of marijuana-laced by the Chem Department of The Facility running the ritual for The Ancient Ones to make him more suitable for the role, but a hidden, untampered with stash meant he was the first to break type and piece together what was really happening to his friends. It wasn’t the Scholar or the Athlete that determined the fate of the world, but The Fool, an archetype that’s usually reserved for early deaths. It also helped that Marty was played by the hilarious Fran Kranz, an actor with a penchant for sarcastic delivery.


Day of the Dead – Bub

The domesticated zombie creation of George A. Romero, Bub isn’t the sidekick of lead protagonist Dr. Sarah Bowman, but her colleague Dr. “Frankenstein” Logan. There’s a strangely beautiful friendship between the pair, as Dr. Logan hopes to bring the docile zombie back toward humanity. Bub loves music, saluting soldiers, and the companionship of his friend. Bub represents an innocence amidst the corruption of the soldiers in Fort Myers, and we grieve with him when he finds the corpse of his friend. While all of this would be enough to earn Bub the title of scene-stealer, it’s his oh-so-gratifying revenge upon Captain Rhodes that makes him the best character in the film.


Bone Tomahawk – Chicory

A case could be made for Richard Jenkins as a scene stealer any of his horror roles, from Let Me In to The Shape of Water; he’s that good.  But it’s his role as the bumbling backup town deputy, Chicory, that wins. His friendship with Sheriff Hunt (Kurt Russell) provides an emotional center, but most importantly, it helps the long stretch as the film’s main foursome ride across the Wild West to rescue captives from troglodytes. Chicory is amusingly chatty, much to the dismay of many in the party, and Jenkins’ brilliantly gives his blundering character a ton of heart. Because it takes a long while before the horror kicks in, we needed Chicory’s hilarious banter with stoic Sheriff Hunt. It’s hard to stand out when Kurt Russell is playing the lead, but Richard Jenkins does with seemingly effortless ease. Chicory didn’t even have to steal the show with heroic acts; he just had to be played by the always great Richard Jenkins.


Scream – Randy Meeks

While Matthew Lillard was a serious contender as scene stealer for his turn as the killer’s sidekick and best friend Stu Macher, it was ultimately Jamie Kennedy as Randy Meeks that stole the show. Close friend of final girl Sidney Prescott (Neve Campbell), Randy’s geeky, movie-obsessed personality was not only endearing but it made him a vital asset; his movie knowledge meant much-needed exposition for both Sidney and the audience. The biggest reason Randy resonated so strongly with horror fans, though, is that he was our proxy. Randy was the avatar of every horror fan, and reminded us that we weren’t alone in our fandom. One of Wes Craven’s most brutal kills was that of Randy Meeks in Scream 2. We’re still not over it.

Horror journalist, RT Top Critic, and Critics Choice Association member. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon, SeriesFest, and Popcorn Frights Film Fest.

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Editorials

Tales from ‘Tales from the Crypt’: Exhuming Season Six’s “Only Skin Deep” Episode

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tales from the crypt only skin deep
Sherrie Rose as Molly and Peter Onorati as Carl in "Only Skin Deep".

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.

tales from the crypt

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 saycome 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’sOn a Deadman’s Chest). Her bone-white, featurelessmaskand 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 Deepboasts 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 likethe hurt, the anger, give it to meandtake 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 elseOnly Skin Deepdiffers 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.

tales from the crypt

A page from “…Only Skin Deep!”, as seen in EC Comics’ Tales from the Crypt.

WhileOnly Skin Deepisn’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 withOnly Skin Deep.

As one might guess, this episode is nothing like its source material. TheOnly 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 Deepleaves 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.

tales from the crypt

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

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