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This paper explores the character of Stephanie Fugate in Grady Hendrix’s The Final Girl Support Group as a figure who destabilizes the traditional Final Girl archetype. Situated between victim and villain, Stephanie blurs the boundaries between survivor and slasher, innocence and monstrosity. Drawing on feminist horror theory – particularly the works of Carol J. Clover and Barbara Creed – the analysis argues that Stephanie embodies the monstrous-feminine, revealing the limitations of the Final Girl as a framework for representing feminine trauma. Her portrayal forces a reconsideration of who is allowed to survive horror narratives – and at what moral and cultural cost.