Kris Williams (Hannah Einbinder) is one of the main characters in Teenage Sex and Death at Camp Miasma, a 2026 queer horror-comedy written and directed by Jane Schoenbrun. Kris is a queer filmmaker and lifelong horror obsessive who is hired to reboot the fictional Camp Miasma slasher franchise. Kris has built her career around examining the relationship between horror, queerness, and cultural ideas of monstrosity, making her an especially fitting choice to rework a franchise whose original story was built around a gender-fluid character being turned into a monster. To read more about the film, check out our Bi Media entry here.
Kris is intellectual, analytical, and deeply knowledgeable about horror. She approaches filmmaking almost like an academic exercise, constantly trying to understand what movies mean and why they affect people. But when she travels to the original Camp Miasma location and meets Billy Presley (Gillian Anderson), the actress who played the franchise’s original final girl, that intellectual distance begins to break down.
Kris is in a polyamorous relationship with Mari, a bi woman who also has a relationship with Thor, a bi man. While bisexuality is explicitly represented through Mari and Thor, Kris identifies as queer and does not give herself a more specific label. Her relationships and conversations about attraction similarly avoid defining her sexuality around a particular gender.
Her connection with Billy becomes the catalyst for Kris to confront parts of her sexuality that she has kept at a distance. As they bond over the original Camp Miasma, Kris begins exploring fantasies and desires that she has struggled to experience without analyzing them. Her difficulty being present in her own body becomes increasingly important to her character, particularly as the film connects sexual pleasure with horror, fear, and the fantasy of being a final girl. Rather than making her sexuality a question that needs to be solved, Camp Miasma uses Kris to explore what happens when someone allows herself to experience desire without immediately deciding what that means.
That journey mirrors the film’s larger interest in queer liberation. Kris begins the story as someone who wants to understand everything through analysis and ends it by allowing herself to experience pleasure, intimacy, and fantasy without maintaining the same distance from her own body. As Hannah Einbinder has discussed, she found Kris’s feelings of shame, discomfort, and dissociation around sexuality deeply relatable, connecting the character’s journey to her own experiences as a bi person.
Kris is a queer character who falls under the bi umbrella, and her fresh take on bi representation resonated with young audiences who have increasingly moved away from strict labels. She’s a really well-written character whose development focuses on letting her desires loose.