Many of its signs occur in the settings you’d expect: Scott pulls a long stringy hair from his chest in the school locker room and shifts fully into the wolf behind his own locked bathroom door. Like puberty, Scott Howard’s transformation is not, for the most part, painful. When Scott tells his coach, “I’m going through some changes,” the joke is obvious. From the college-aged David Kessler of An American Werewolf in London to t he Fitzgerald sisters and the third-wheel of Twilight’s love triangle Jacob Black, or, more recently, Stephen Graham Jones’s bildungsroman Mongrels, the werewolf has come to represent that sticky in-between period of change and self-discovery.
With the 1980s’ explosion of creativity in horror and the resurgence of the werewolf, it’s no surprise that a teen comedy might also wet its snout. As he realizes that it’s the wolf, however, and not Scott himself who is beloved, he forgoes his celebrity status, acknowledges his feelings for Boof, and wins the basketball game-all as himself: the (mostly) average Scott Howard. He gets the girl and the attention he longs for, overlooking father’s warnings. Soon, his friend Stiles capitalizes on this peculiarity by selling “teen wolf” t-shirts and memorabilia, and the school adopts Scott as part celebrity, part mascot.
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But when the full moon glows, Scott finds he isn’t so average: like his father, Scott is a werewolf. “I’m sick of being so average,” he opines to Boof.
He works at his dad’s hardware shop they don’t have much money but they’re not in too bad shape either. Scott’s life could be pretty much anyone’s. In Beacontown, Scott Howard is the first-stringer for his high school’s abysmal basketball team and lusts after the unattainable Pamela Wells despite his best friend Lisa “Boof” Marconi’s interest in him. So when I revisited Teen Wolf as an adult, I was struck by two things: first, it essentially has the plot of High School Musical (to the degree that I joked with friends that Scott beat Troy Bolton by two decades in the tension between basketball star and thespian, a neat metaphor for bisexuality) and, second, it is incredibly-and fretfully-queer. The synthetic mask has since collapsed, though those gloves are still pretty kick ass. Though Teen Wolf didn’t loom nearly as largely as Back to the Future-with a brother ten years older, some of my earliest memories are the trilogy on a constant loop-my family still had a go-to Halloween costume of a werewolf mask with furry gloves and flannel shirt complete with sunglasses stored away. Even to this day, despite the mound of cheese Teen Wolf grates, I find the werewolf surfing atop a van undeniably delightful. His characters’ earnestness as well as their dissatisfied and often egotistical edge wheedled their way into my own personality. Fox was like another family member in my household. Between Marty McFly, Scott Howard, and Atlantis’s Milo Thatch, Michael J. Selling Out and Coming Out in Teen Wolf (1985)Ĭontent warning: This article discusses homophobic language used in Teen Wolf (1985).Ī couple years ago, when I started to mull over the queerness rife within werewolf media, I sat down to watch Teen Wolf (1985) for the first time since childhood.
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