New intro cuz the last one is from like 2039193983 years ago!!!!
Hi hi Im Nicky and I use she/her😍!!
I REALLLY don’t use tumblr nowadays unless I have art or fandom takes I’m DYING to share somewhere, ORR unless im obsessed with some niche ahh fandom
Speaking fandoms! So glad you asked! Right now I’m very into DC and Scream (fuckkk I’m a nerd)— and that will obviously fluctuate as time goes on
I love to DRAW, watch video essays and listen to MUSIC (I am both an art freak AND and Theatre nerd )
I like to listen to different time period music tastes and fixate on them based on what I’m into right now so my Spotify as of right now is filled with 90s grungy rock and pop.. thanks scream
I’m interested in classic literature ( Favorites rn are Lord of the Flies and Great Gatsby fsfs) and finding littlest pet shop in thrift stores and also pomegranates I miss when they were in season
Stu + Billy hcs because I have a lot (and I try to make them as realistic as possible to how I see them and you can tell I really like psychology)
Also warning SOME of these are a little more fucked than others as I do like to think about their fucked up crime psyche part a lot. But let’s face it if you’re here for Scream bullshit I doubt blood and gore scares you 😭😭
STU
- Stu knows how to surf he is a surfer dude and he has been since he was little. He has those wetsuits (pretty sure he also has a surfboard in his room in the og movie)
- Stu’s family owns a summer house. He brings his friends down for like a weekend or two sometimes.
- Big Butthole Surfers fan
- was a bedwetter as a kid (Macdonald’s Triad anyone?!?)
- Moved from some other more coastal California town to Woodsboro in 7th grade. Moved because Stu wasn’t doing well in school and kept getting in pretty bad trouble and they wanted to start over
- Obsessed with hunting to an extreme. He started with his dad in middle school in attempt to channel some of his aggression and violence into something less troublesome. Now he’s extraordinarily knowledgeable about guns, as well as hunting knifes. He REALLY likes guns. Great!
- has ASPD and had conduct disorder in childhood
- his parents tried to medicate the shit out of him w Ritalin to get him to behave when he was little but the medication dosage was too high and was making him a zombie and he lost his entire personality when he was on it so they stopped.
- Needs glasses. Used to wear them when he was in middle school but started wearing contacts at the start of high school
- Stu has a therapist but his parents are so busy they never enforce the fact that he has to still go to his appointments while they’re away so he always skips.
- His dad is a super tall rough and tough guy and he’s one of those dads that think slapstick comedy is the funniest thing in all of existence. Him and Stu are YODELING to Christmas Vacation
- Used to have nannies while his parents were gone. He would scare them all away.
- he’s a military glazer. Yes in the red flag scary gun way.
- Used to be on a basketball team when he was in middle school. Now he’ll play for fun
- Stu has a really early birthday in like January, so he got his license and car and shit a lot earlier than everybody else, making his car the designated car. Every event in existence he is the one driving.
- chronically bored. The world is so boring to him that he honestly resents it. People like little props that he can play with but other than that don’t really have any value to him unless he finds one (like the Woodsboro kills for their movie or Sidney as their final girl) that’s also why he acts so eccentric and energetic all the time. He’s trying to liven things up.
- hasn’t been a virgin since he was 14 💀
- Catholic. His family goes to church on Christmas and Easter. He’s brought Billy in the past.
- weed slave. He always has a stash under his bed. Always.
- quotes movies when he’s scared/stressed
- shaggy impression is on point (gee I wonder..)
- regularly goes commando and hangs around his room bare assed naked just cuz
- Stu uses up his sister’s favorite shampoo when she’s away for college just to be a dick so his hair smells all florally and delish
- chronic cheater
- watches Beevus and Butthead
- has a box of Polaroids of dead animals he’s shot for hunting.
- does a lot of stupid “daredevil” stunts (Randy records) and breaks his bones
- Stu has totaled his car before
- Dutch ovens Tatum and his sister
BILLY
- Very pretentious with his music. Doesn’t think you’re a true Nirvana fan unless you’re listening to Kurt Kobain farting into a microphone in 4-bit
- Kind of hates water? He just doesn’t like being wet
- Thinks all cops are pigs. HATES authority + any types of rules/laws
- doesn’t have his license but he has his permit. Still backseat drives all the time
- also has ASPD and had conduct disorder in childhood.
- used to harm small animals when he was a child (Macdonald’s Triad pt 2?!?)
- His parents weren’t very involved in his early life and due to that his odd behaviors went unnoticed and untreated. They just assumed since he had friends and got good grades that he was a good kid and didn’t need any extra attention.
- Billy had a childhood dog named Freddy after Freddy Krueger
- always excels really well in his science classes.
- Simply just does not like his father. Doesn’t care for him. Never really has, even though Hank does try to be a decent father. Hank is just old fashioned and like most dads of that time, have a tough time showing it and with Billy’s mental predisposition, it was not enough for him and so he wasn’t receptive to it as much as he was receptive to his mom’s affection, and only really saw his dad for everything else and all of his nagging. Sees him as more of a roadblock than anything. Doesn’t help that Hank fights with Nancy a lot, AND cheated on her. And Billy actually liked his mom. So.
- gay. He’s gay. And contrary to popular belief I don’t think he’d really mind all the much. I think he’d hide it for their plan to keep up his persona, and would be kinda pissed that it’s ANOTHER thing he has to work on hiding and might be resentful for that, but other than that when hidings over he would probably like freaking people out about it
- loves mint chocolate EVERYTHING. his go to flavor for everything. Yorks, mint chip ice cream, thin mints, junior mints (I swear to god when he’s flirting w the girls at the video store it looks like he’s eating one of those tiny box versions of them), loves it all.
- purposely puts off washing his hair because it gives his hair more volume (and he’s hydrophobic)
- got his temper from his dad and his grudges/stubbornness from his mom.
- Billy idolizes tf out of his mother but she wasn’t as amazing as he makes her seem. Both her AND Hank were always either working or fighting, but the difference was that Nancy would give him a kiss on the cheek and flip on the television. Maybe even let him watch scary movies with her late at night while she passes out on the couch.
- one of his friends dissed a horror movie he really liked when they were in middle school and he wrecked tf out of their bike. He never got caught
- he was pretty well liked in late elementary + middle school, but at the same time he was notoriously known for low-key bullying people he didn’t like. It wasn’t good to be in his bad side. Mellowed out after he finally got caught and his parents grounded him for a really long time (no tv… he learned his lesson)
- never did any sports as a kid
- Drinks black coffee to be cool
- Does pretty well in school, B average student, was in Sidney’s honors English class and thats how they met.
- He never sits normally ever. He’s either always got at least one leg up to his chest or he’s crisscrossed-applesauce-d on the chair, or he’s sitting on his chair backwards. He’s WEIRD
- bad posture. Terrible posture. From spending his entire childhood hunched over the television watching slashers
- when he’s masking himself in public, he’s noticeably more grumpy, blunt and aloof (nonchalant king), which is most people’s public perception of him. However when he’s being completely himself he’s actually a lot quicker to fool around. A lot looser, bordering on flamboyant. Like when he’s hanging out with Stu he’s, in his own subdued way, quick to match his energy. He’ll joke around, list off horror movie quotes, nerd the fuck out, actually smile and laugh💀
- Actually loves Psycho but Stu hates it (not enough action..)
- always curled up somehow when he’s sitting or sleeping. SHRIMP
- Billy made both him and Stu swear off all drugs, alcohol, and sex for the entire month before their plan so they didn’t fall victim to the rules™. (MUCH to Stu’s dismay😭😭😭)
- Has a journal and he writes down all of his plans and murdery angry homicidal thoughts into and he thinks he looks edgy and cool as shit and it looks really performative.
- Billy drew out their crime scenes prior to enacting them to ensure the real crime scenes looked just as gruesome and shocking as they wanted them to. Artistic liberties to shooting a “movie” I guess😭
- Billy works as a busboy in some Italian restaurant in Woodsboro ( Stu Randy Sid and Tatum sometimes go while he’s working to make him serve them and be annoying, Sid doesnt tho she just likes to see her bf)
STU + BILLY
- They both love music and they’ve broken into many concerts before
- It took Stu 4 months to realize Billy’s dog Freddy died
- Billy hates sharing anything (only child syndrome) but Stu has little brother syndrome and is always picking off Billy’s stuff and it drives Billy insane
- Stu and Billy both love slasher movies but Billy likes the more artistic ones with complex and interesting slasher villains (that he projects himself onto) the best and Stu prefers senseless gore and shock value
- Stu is always trying to set Billy up with girls (even while with Sidney) to which he is NOT receptive to (because he’s GAY)
- They have a very intensely codependent relationship. That same archetype of relationship you commonly see people who commit planned crimes together have where they’re attached at the hip almost uncomfortably so. They have that. (Kyahhh!! The intimacy of planning and executing a terrible crime together!!!🥺)
- Stu is Billy’s ride everywhere, especially to and back from school. That passenger seat is HIS and he gets pissy when he has to go in the back because of Tatum.
- They have a blood bond
- They get into fights a lot. Like physical fights. They have a lot of violence and aggression and they somehow always end up taking it out on each other. (They like it)
- Billy is more of a knife guy (thinks it’s classier, feels more like he is in complete control with a knife) and Stu is a gun guy (thinks it’s more action packed seeing shit blow up everywhere)
- Stu is more athletic than Billy but Billy is more agile and less clumsy
- Both have their initials carved into each other (oh my god kink😭)
- Stu is chronically late and Billy is extremely punctual and Stu is commonly Billy’s ride to things and so it makes them both late and pisses it Billy off so bad
- They go on long road trips to horror landmarks to take pictures and come back. Like they would travel to some random horror place for 3 hrs take a couple flix then go back home.
Billy Loomis is the human centre of the first Scream's horror. Ghostface is the image the film gave the genre, but Billy is the intimate reality underneath it. He's already woven into Sidney's life before the mask ever comes off, which means the violence reaches her through somebody she's kissed, argued with, trusted, disappointed, and tried to understand. The film gives him access long before it gives him a knife, and that access is the real threat.
Part of what makes Billy so effective is how convincingly he belongs in the world around him. He doesn't feel outside the film's normal social texture; he feels like a volatile teenage boyfriend with a chip on his shoulder, a bruised ego, and a very familiar talent for making his moods become everybody else's problem. Once the reveal happens, all of that ordinary ugliness gets pulled into sharper focus; his resentment around sex, the way he pushes Sidney to prove trust on his terms, the way he makes himself sound injured whenever he's denied something - none of it appears out of nowhere in the final act. The violence has been sitting in the relationship the whole time, just in smaller and more socially recognisable forms.
He fits the intimate betrayer archetype much more than he fits the larger-than-life slasher villain type; he's dangerous because he's close, because he understands what will hurt, and because he wants to stage that hurt with enough flair that it becomes a story about him rather than only a crime scene.
Psychology
Antisocial Personality Disorder/ASPD is a very persuasive read for Billy. He lies fluidly, manipulates almost everyone around him, plans violence without remorse, and treats other people's fear, grief, trust, and confusion as tools. He has enough emotional intelligence to mimic sincerity when he needs it, but there's no sign that other people's pain imposes any real limit on him. Their pain only becomes useful information.
What sharpens that picture is the amount of pleasure he seems to take in control; Billy isn't simply trying to get away with murder, he wants the reveal, the motive speech, Sidney cornered in a room where he can explain himself and make her hear his version of reality before he kills her. That need for performance gives him a strong narcissistic streak on top of the antisocial traits; he's deeply invested in his own grievance, his own significance, his own place at the centre of the violence. Other people exist inside the story he's telling about what was done to Billy Loomis.
His emotional life is still active, but it's active in a very self-directed way. He clearly feels anger, humiliation, entitlement, excitement, and self-pity; what he doesn't seem to feel is guilty in any meaningful sense, or empathy strong enough to change his behaviour. Even his motive is less emotionally complex than he wants it to sound; he takes his father's affair, his mother leaving, and the collapse of the family home, then rebuilds all of that into a private mythology where his own suffering grants him permission, scale, and dramatic importance. He doesn't want to be a petty killer, he wants to be the wounded boy whose pain grew large enough to justify blood.
Strengths and Flaws
Billy's strongest asset is his ability to look legible inside ordinary life. He can pass as jealous, hurt, insecure, sexually frustrated, angry, even falsely accused, and all of those versions are believable enough that people keep trying to explain him instead of fully seeing him. That social plausibility is crucial; he doesn't need to look harmless all the time, he only needs to remain interpretable within familiar teenage terms, and he's very good at doing that.
He's also patient, which matters less in a moral sense than in a practical one. Billy doesn't move like someone who explodes the second he's upset; he waits, plans, rehearses, collaborates, and keeps the larger structure of the killings in mind while everything is happening. He can maintain a role while holding onto the private knowledge that the role is false, and that requires a level of composure that makes him much more dangerous than a purely impulsive killer would be.
Another one of his real strengths is how well he understands vulnerability. Sidney's mother, Sidney's uncertainty around sex, Sidney's need to trust someone, the tension between Neil and the rest of the town, Stu's volatility, Randy's horror-movie mind, all of it is usable to Billy because he reads people in terms of pressure points. He notices where the weakness sits and keeps pressing there until the person starts reshaping themselves around his version of events.
His flaws come from that same psychological structure; he's arrogant enough to believe he can keep controlling the room once the performance shifts from subtle to overt, and that arrogance starts working against him the second he gets to enjoy himself too openly. Billy likes hearing himself explain, he likes the reveal, he likes the sensation of having engineered everyone else's terror. That hunger for self-display makes him less sharp than he had been when he was still pretending.
There's also something emotionally brittle about him. Rejection, humiliation, and abandonment don't stay at a manageable scale in Billy's mind; they swell outward until they become moral justification, then revenge. That doesn't make him emotionally deep as much as it makes him narrow in a very dangerous way; he can't absorb injury without wanting to turn it outward onto somebody else, and the whole film grows out of that impulse.
Relationships
SIDNEY PRESCOTT
Sidney is the central relationship in Billy's story because she gives him intimacy, access, and an audience all at once. He wants to be close to her, but his version of closeness is possession. He wants trust from her while constantly making that trust harder to hold, and he treats her sexual boundaries as if they're a problem she's creating for him rather than a choice she has the right to make. The relationship is ugly even before the reveal, it just takes the reveal for the ugliness to become impossible to misread.
What makes them so effective together is that the relationship is emotionally real before it becomes murderous. Sidney isn't foolish for caring about him; Billy knows how to sound wounded, restless, lonely, and sincere. He knows how to make himself feel like somebody who just needs a little more understanding, a little more closeness, a little more proof that he matters to her. By the end of the film, all those earlier scenes have turned into a study in coercion disguised as intimacy; he keeps asking for trust while proving he understands that trust only as leverage.
Sidney also becomes the person through whom he stages his grievance. He wants her frightened, betrayed, destabilised, and forced to listen. Her body, her family, and her grief all become part of the same design. Billy is never only trying to kill Sidney, he's trying to break the structure of her reality.
STU MACHER
Stu is Billy's closest accomplice, though the two of them are never exactly equal in the emotional logic of the story. Stu is impulsive, loud, messy, and thrilled by the game; Billy is colder, more controlled, and much more invested in authorship. He wants the murders to mean something about himself - he wants the motive speech, the reveal. Stu is useful because he can help move the mechanics of that plan while still leaving Billy at the centre of it.
Their dynamic says a lot about Billy's need for dominance. He doesn't just want partnership, but the kind of partnership in which he still gets to be the mind, the wronged party, the one whose story gives the violence its weight. Stu is willing to occupy the more chaotic role, which suits Billy perfectly; it lets him feel like the serious one, the one who sees further and the one who can explain why all this happened.
There's a weird intimacy to them, too, because Billy is far more open around Stu than he is around almost anyone else in the film. Once the masks come off, the two of them slip into a rhythm that feels long-practised. Stu gets to see Billy enjoying himself in a way nobody else really does, and that access helps show how much of Billy's self is bound up in being witnessed while he performs power.
MAUREEN PRESCOTT
Maureen is dead before the film begins, but she sits at the centre of Billy's motive and of the story he tells himself about who he is. The affair between Maureen and his father becomes the emotional source from which he draws everything else: his rage, his entitlement, his feeling that his family was destroyed and that somebody has to pay for it. What is revealing is how little Maureen survives in that story as a person; she becomes symbol, explanation, and target all at once.
Billy's use of Maureen tells you a lot about the shape of his mind he takes an adult betrayal, one he didn't control and one he can't undo, then rebuilds it into a narrative where his pain becomes the organising centre of everyone else's lives. He can't let her death remain in the past as one ugly family wound among many; he needs it alive inside the persent because it gives him a way to imagine his violence as grand, meaningful, and earned.
Just for Fun / Typology
MBTI - ENTP
A lot of his power comes through verbal agility, social adaptation, and control of the story inside the scene. He shifts tone very quickly, knows how to bait reactions, and seems highly aware of how he's being read moment-to-moment. That kind of flexibility gives him a much more fluid and manipulative energy than a more straight-forwardly physical type would have. He likes the narrative layer of what he's doing. He wants to frame the event while participating in it.
The Ne side comes through in how willing he is to treat reality as something that can be re-authored. He keeps moving between versions of himself depending on what the situation needs, and the murders themselves are arranged with a strong sense of drama and interpretation rather than only blunt objective. His final speech is an extension of that instinct; he's still trying to shape meaning, decide how everything will be understood.
The Ti side helps explain the colder machinery underneath his affect. Billy can perform emotion very convincingly, but his real relationship with people is analytical in a predatory way. He studies reactions, identifies weak spots, and treats those weak spots as access points. Another type might kill out of impulse and rage, but Billy kills with a much stronger sense of design.
ESTP is the other type I can see for him, mostly because of the confidence, aggression, and comfort with physical threat, but ENTP still feels more accurate because the real centre of his power is narrative manipulation. He wants to author events, not just dominate them in the moment.
MORAL ALIGNMENT - Chaotic Evil
There's a little more to say here than just "he kills people".
His violence is intensely personal and deeply disruptive. He's not trying to impose order, rule a structure, or create a system he can sit on top of; he wants fear, betrayal, confusion, humiliation, and psychic ruin. The film's most disturbing quality comes from how thoroughly he attacks trust itself - family trust, romantic trust, sexual trust, domestic safety, the basic belief that the people closest to you are at least operating inside the same moral world - Billy takes pleasure in tearing that apart.
The Chaotic part comes through in how he enjoys the collapse. He plans carefully, but the point of the planning is emotional devastation. Neutral Evil would make him sound colder and more purely self-interested than he actually feels on-screen; Billy has too much appetite for spectacle, too much enjoyment in the panic, and too much interest in the performance of destruction for that. He likes the mess he creates, and he likes standing in the middle of it, explaining it, watching it hit.
The Evil part isn't just the murder count, but the emotional quality of what he does. He exploits grief, uses sex as leverage, weaponises love, and turns other people's vulnerability into a source of pleasure and control. There's nothing accidental about the intimacy of the damage. He wants to be the person who gets under the skin and stays there.
Conclusion
Billy is one of the most effective horror villains of the 1990s because the film builds his threat through intimacy rather than spectacle first. The ASPD read fits because the manipulation, deception, remorselessness, and instrumental use of other people are all central to who he is. The narcissistic streak sharpens that further, because he can't settle for killing alone, he needs the killing to point back to his injury, his grievance, his centrality. What stays with people is how close to ordinary he can look while all of that is already sitting underneath. He's not frightening because he feels alien, but because he understands exactly how familiar he's supposed to seem, and how much damage that familiarity lets him do.ose to ordinary he can look while all of that is already sitting underneath. He is not frightening because he feels alien. He is frightening because he understands exactly how familiar he is supposed to seem, and how much damage that familiarity lets him do.
Stu Macher frankly comes into Scream looking like the boy least likely to be carrying the film's real danger. He's loud, messy, unserious, always half a beat away from turning something into a joke, and easy to read at first glance as the friend who keeps the mood stupid and lively while Billy does the brooding - and that first impression is a huge part of why he works. The film hides a killer inside somebody who seems too chaotic, clownish, and socially visible to be the one steering anything. When the reveal lands, the energy doesn't change so much as sharpen - the joking was real, the volatility was real, but the emptiness behind both was real too.
He holds a very specific place in the story beside Billy; Billy brings grievance, fixation, and a more coherent private narrative about why Sidney and her family deserve what's happening, while Stu brings appetite, escalation, and the thrill of getting away with everything. He feels like the part of the Woodsboro murders that enjoys the performance most openly: the phone calls, chase scenes, theatricality, the chance to turn horror rules into a game he can play from inside. The result is that Billy gives the plot its spine, while Stu gives it a lot of its instability and sadistic fun.
He also carries the film's strongest link between adolescence and atrocity. Stu is recognisably a teenage boy all the way through the reveal; he's impulsive, attention-seeking, shallow in some ways, funny in some ways, and still invested enough in his parents' reaction to blurt out that they're going to be "so mad at me". That line matters less as comedy than as character - it captures somebody whose moral development is stunted enough that even mass murder can still sit inside a frame of juvenile panic and thrill-seeking rather than any stable adult grasp of consequence.
Psychology
Stu's psychology reads as highly impulsive, sensation-seeking, and unusually empty of moral restraint. He moves toward whatever's entertaining, intense, or socially stimulating in the moment, and he gives very little sign that fear, pain, or the reality of another person's life puts any meaningful brake on him once the killing starts. The film lets Billy do most of the explaining, which leaves Stu freer to come across as somebody who joined the murders because excitement, proximity to power, and the sheer charge of doing something horrific were enough for him. His "peer pressure" line is funny because it's such a childish reduction, but it also fits; Stu often sounds like someone with a badly underdeveloped inner life who's learned to live through reaction, impulse, and spectacle instead.
That kind of emotional vacancy is why an Antisocial Personality Disorder/ASPD-shaped reading can make sense for him, even if the film doesn't give the same dense psychological interiority it gives Billy. Stu lies easily, kills easily, shifts tone very quickly, and shows no genuine remorse. He understands panic well enough to use it and read social situations well enough to keep performing normality right up until the reveal, but none of that requires him to be especially reflective. He's socially fluent, manipulative when it suits him, and alarmingly comfortable treating other people as props in a scene he wants to control.
He also gives the impression of somebody who's never had to build much of a stable self underneath the performance. Billy feels tightly organised around injury and revenge, while Stu feels much looser, much more porous, and much more dependent on whatever person or atmosphere is currently giving him a role to play, which is part of why he fits Billy so well. Billy supplies direction, grievance, and purpose, while Stu supplies energy, loyalty, and a willingness to go further than most people would because the whole thing is exciting and because somebody beside him is making it feel meaningful enough. He comes across less like an architect than like a boy with a violent appetite and almost no interior resistance to acting on it once someone opens the door.
Strengths and Flaws
Stu's strongest qualities are social energy, adaptability, and nerve. He knows how to keep attention on himself, how to make a room move around his mood, and how to weaponise being underestimated. The playfulness helps him enormously - he can act stupid, harmless, and like somebody too unserious to be a real threat, which gives him cover right up until it doesn't. He's also quick on his feet in the moment; the murders require improvisation, performance, and the ability to recover instantly from shifts in the room, and Stu handles that far better than someone with a flatter or more rigid temperament would.
He's also much bolder than people around him expect. Stu hosts the party, moves through the house without looking visibly strained, and stays physically engaged all the way to the end. He can tolerate a lot of chaos and keeps functioning inside it, which doesn't make him intelligent in a deep or strategic way, but it does make him dangerous. He has the kind of reckless nerve that lets him keep pushing long after a more cautious accomplice would have broken or bailed.
His flaws are all over the film, and they're severe; he's shallow, impulsive, suggestible, and far too easily carried by whatever gives him immediate emotional or physical stimulation. Billy may be using him to some degree, but Stu also chooses to be there, and the reason he's useable in the first place is that he has very little depth of conscience to slow him down. He doesn't think ahead with any seriousness about consequence, exposure, or the emotional reality of what he's doing - his own line about his parents captures the scale of that immaturity perfectly. He can participate in multiple murders and still sound like somebody whose frame of reference has never moved far beyond adolescent trouble.
Another major problem is that Stu seems to experience other people largely through the role they're playing in his immediate emotional world. Tatum is his girlfriend until the plot requires her to become expendable; Sidney is Billy's target until she becomes the person standing between him and the ending he wants; Randy is a friend and horror banter partner until the game turns serious. Ther's very little evidence that Stu relates to others as people with weight and interiority equal to his own. They're companions, victims, obstacles, or audience, depending on what the scene currently needs from them.
Relationships
BILLY LOOMIS
Billy is the defining relationship in Stu's story because so much of Stu's violence takes shape beside him. They're best friends, co-killers, and a very unstable pair in terms of motive and emotional weight. Billy feels more private and more driven, while Stu feels more openly performative and hungry for the thrill of the whole thing. Billy gives Stu something to orbit: a stronger personality, clearer plan, and story large enough to make the murders feel purposeful rather than random. Stu, in turn, gives Billy an accomplice who can match his brutality without competing for control. Their relationship works through intensity, shared appetite, and a very ugly kind of complicity.
TATUM RILEY
Tatum makes Stu more disturbing because she places him in an ordinary teenage relationship the film already understands as intimate, familiar, and socially real. She's his girlfriend, she jokes with him easily, and she belongs so naturally inside his house and his life that the betrayal lands much harder than it would with a more distant victim. Stu's treatment of her says a lot about him; their relationship carries no protective weight once it conflicts with the performance he and Billy are staging. Tatum is close enough to trust him and disposable enough for him to kill anyway, which captures the emotional emptiness under all his noise better than almost anything else in the film.
SIDNEY PRESCOTT
Sidney is important less because she and Stu have some deep personal bond and more because she becomes the centre of the whole performance he's helping Billy build. Around her, Stu's whole style sharpens into taunting, intimidation, and a kind of delighted cruelty. She's the final girl he thinks he can break, frame, and outmaneuver, and her refusal to stay in the part he's assigned her is a huge part of why his collapse at the end feels so satisfying. Sidney forces the distance between his adolescent chaos and her real will to survive into the open.
RANDY MEEKS
Randy brings out something useful in Stu because the two of them both live close to horror language, though on opposite moral sides of it. Randy knows the rules, loves the genre, and uses that knowledge to survive, while Stu loves the game from inside the violence. Their dynamic gives the film some of its sharpest tonal play, because Stu can still banter and posture around Randy right up until the point where the rules become murder rather than trivia. Randy's presence also highlights how much of Stu's identity is built around performance and audience reaction; he wants the room, the joke, the shock, the scene. Randy understands horror as structure, while Stu wants to live inside it as spectacle.
Just for Fun / Typology
MBTI - ESFP
Se is all over him. He lives in reaction, sensation, immediate social feedback, and whatever feels most intense in the moment. He's physically bold, impulsive, and strongly geared toward stimulation, which fits both the joking and the violence. His attention stays on the live situation rather than on reflection or long-range coherence, and a huge amount of his energy comes from how quickly he can respond to a room, an opening, or a person's weakness.
Fi fits better underneath that than a more analytical middle would. Stu isn't a detached thinker working through some elegant internal logic. His choices feel much more appetite-led, mood-led, and self-referential. He follows what he wants, what excites him, what makes him feel powerful, and what keeps him emotionally engaged. Even his "peer pressure" line has that quality; it's flimsy, childish, and personally evasive rather than coldly reasoned.
He also has the highly social, performative quality that makes me land on ESFP. Stu wants attention, gets bigger around other people, and shapes himself around reaction constantly. The personality comes outward in bursts; he's not carrying a private sealed-off intensity so much as flooding the room with himself and seeing what comes back.
MORAL ALIGNMENT - Chaotic Evil
He has almost no meaningful commitment to order, loyalty, or restraint beyond whatever currently keeps the game going. He can move inside Billy's plan, but that's not the same as valuing structure. His temperament is impulsive, unruly, sensation-seeking, and highly responsive to immediate opportunity. Rules only matter to him as set dressing, and horror rules interest him far more as a playful script than as any kind of moral limit.
Evil fits because the violence is chosen, enthusiastic, and empty of remorse. Stu isn't cornered into the murders, and he's not carrying enough moral conflict for Neutral to make sense. He participates in the killing of people who trust him, enjoys terrorising others, and keeps going with a level of pleasure that strips away any softer reading. There's fear in him at the end, and there's childishness all through him, but neither changes what he's doing or what he's willing to do to people in the meantime.
Conclusion
Stu works because Scream gives one of its killers an energy that's messy, funny, recognisably teenage, and still genuinely frightening once the mask comes off. He's entertaining for almost the entire film, and that entertainment value is exactly what lets him slip under people's guard. What looked like harmless volatility turns out to be a person with almost no inner boundary between thrill and atrocity.
He's also one of the clearest examples in the franchise of how childishness can make a killer uglier rather than softer. Stu never feels grand, tragic, or especially deep - he feels morally stunted, easily excited by cruelty, and dangerously willing to let somebody else's stronger agenda give his own emptiness a shape. That combination leaves him memorable for reasons that go well beyond the one-liners.
Anyone ever realize that during the kitchen reveal scene Billy calls Nancy “mom” but calls Hank “father”? Literally in the same sentence?
I think that shows a lot not only about his relationships with them, but most importantly his perceptions of them. There’s obviously some truth to “pansy-ass mamas boy” 😭🙏
In school, all the way from middle school till the end of highschool, Stu and Billy did this thing where they would swipe stuff from the cafeteria for each other. Only one juice and one milk allowed per person? But Billy liked having two milks during lunch, and Stu, well he liked chugging as many cartons of juice as he could hide in his pockets.
So obviously Stu would take a juice for his tray, a juice for his hoodie pocket, and a milk for Billy. And Billy would take a milk for himself, a juice on his tray (but for Stu), and another secret juice in his pocket.
And as soon as they exited the cafeteria to eat outside, they would be a giggling mess, pulling out drinks from their pockets and exchanging their goods
I hate it when people draw Billy being a silly little guy or showing Stu affection or just loving Stu back in general then calling it ooc!!! Like first of all we have very little information about how Billy acts because we pretty much only see him with Sydney in the movie who he literally wants to KILL so kinda makes since that he's acting off around her but in the moments where we see him not pretending to be a good boyfriend he's doing goofy ass shit! Like jumping out at the door just to give Stu and Sydney a little jumpscare then doing a little eyebrow wiggle, and when he finally reveals himself as killer he's making all sort of jokes with Stu. Obviously he's still being angry and intimidating cuz he's about to kill Sydney but when he thinks he's got her cornered him and Stu act like a single organism moving together and finishing each other's sentences. Yes he snaps at Stu when Sydney escapes or when Stu stabs him too deep but that's all in the heat of the moment because again he's literally trying to KILL HER and he's terrified of his plan not working and him and Stu getting caught. Like pls stop assuming that just because he acts evil when he's doing evil things that that's how he acts all the time. Also it's not like Stu has no agency! He's not just some Billy obsessed idiot and if Billy was an asshole to him 24/7 he wouldn't hang out with him!!! Guys I promise drawing or writing about Billy being silly or romantic is not ooc 😭😭😭
