Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#156643
of 909177 performers
Top 25%
Stephanie King is the performer our scores keep defending against the popular vote — a career of films that get better the further you stand from their release week.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Stephanie King appears in 2 films in the Nutevio catalogue, and none of them would work the same way without Stephanie. We're Not Here to Fuck Spiders is the clearest case: a film rated 6.1 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, intensity, villain presence. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for crime, thriller, comedy. It is a style built on what is withheld as much as what is played.
Working with , Stephanie King helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
We're Not Here to Fuck Spiders (2020) as Effs · Sad Sachs (2019)
Career snapshot
Ranked #156643 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
2
2019–2020
Career length
1 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
6.1
We're Not Here to Fuck Spiders
Average Nutevio score
3.0
Across catalogue work
Highest IMDb rating
5.0
We're Not Here to Fuck Spiders
Most frequent director
—
Longest collaboration
—
Most common genre
Crime
1 title
Average runtime
0h 46m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.1
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
2020s
6.1 average MV
The 2020s are where the work and the material meet. We're Not Here to Fuck Spiders — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2020s
6.1
Across 1 catalogue film in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2020s
5.0
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
2010s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Sad Sachs.
Most productive era
2010s
1 film
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 2010s | 2020s |
|---|---|---|
| Thriller | — | 6.11 film |
| Comedy | 0.01 film | — |
| Crime | — | 6.11 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
2019Sad Sachs
Where our catalogue meets this career.
Highest rated performance · Career peak · Most recent film
2020We're Not Here to Fuck Spiders
6.1 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once. The current state of the argument, as Effs.
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
2 of 2 films
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Effs
We're Not Here to Fuck Spiders (2020)
Performance score6.8
The performance the rest of the career is read through. Effs gives Stephanie King a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Sad Sachs
Sad Sachs (2019)
Performance score6.5
Sad Sachs asks for something the previous films did not, and gets it. The role is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Effs
Start here. We're Not Here to Fuck Spiders is the clearest statement of what Stephanie King does — accessible, 82 minutes, and rated 6.1 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Stephanie at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
Sad Sachs (2019)
Same director as We're Not Here to Fuck Spiders, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
Company kept
The directors and performers this career keeps returning to.
Not enough analysed work in the catalogue yet. This section fills in automatically as titles are imported.
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Six degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
We're Not Here to Fuck Spiders
as Effs
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
We're Not Here to Fuck Spiders
as Effs
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
We're Not Here to Fuck Spiders
as Effs
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
We're Not Here to Fuck Spiders
as Effs
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
We're Not Here to Fuck Spiders
as Effs
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Stephanie King has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Modern Classic Performer
Awarded
Defining performances delivered inside the last twenty-five years, in films already being taught rather than merely remembered.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
We're Not Here to Fuck Spiders
as Effs
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
We're Not Here to Fuck Spiders
as Effs
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
We're Not Here to Fuck Spiders
as Effs
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
We're Not Here to Fuck Spiders
as Effs
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
We're Not Here to Fuck Spiders
as Effs
Images that would survive with the sound switched off.
Best action sequence
We're Not Here to Fuck Spiders
as Effs
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
We're Not Here to Fuck Spiders
as Effs
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
We're Not Here to Fuck Spiders
as Effs
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Have your say
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Reference
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