Feminine Coming-of-Rage Horror Pt. 2

INTRODUCTION

The first Feminine Coming-of-Rage Horror video overviewed the horror genre's relationship with the young women whose stories comprise this made-up genre in movies from the seventies, eighties, and nineties. Describing the symbiotic relationship between women's coming-of-rage stories and the society the stories are influenced by.

Feminine coming-of-rage horror is a made-up subgenre name for the purpose of this series but nonetheless the small but cult-followed collection of movies covered are examples of girls becoming women within the confines of gender roles. The push-pull of young women coming-of-age is in part informed by conflicting social feedback, media, internet spaces, and belief systems. The positive or negative feedback from them form a foundational knowledge of what is good and what is bad for a woman to do. This also informs the consequences to a chosen path, like social ostricization if you have membership in a group that another group disapprove of.

For the purposes of this video series "women" refers to the social construct of gender based on sex characteristics of CIS-females. Specifically, young women dealing with female puberty and the hormonal impacts upon their life. Women outside of this context is a broad identifier of people, however.

I would like to acknowledge that women are not just confined to the topics and issues covered in this video series. The main characters of the films that fit this category are CIS-women but as the subgenre expands there is space and interest in stories about trans-girls and their coming-of-age horror stories being told.

Lessons in how to be a woman and about womanhood are often learned during the window of time specific to the coming-of-age genre like the transition from middle to high school, and time spent in high school or college. According to MasterClass story aspects like character growth and social commentary are key for the genre about this age group. The combination of coming-of-age and rage generates stories that push back against the expectations for women, sometimes being more sexual, more aggressive, or just plain old, more when the expectation is that they make themselves lesser.

Womanhood is also in part taught through individual trial and error and through forced social spaces like work and school, both not included in part one. Trial and error from experiences, anecdotal included, can heavily inform the choices of women based on the positive or negative outcomes. For example, dating best practices for women are generally derived from one’s own dating experiences combined with those of trusted women who share do’s and don’ts.

Work or school spaces that are somewhat necessary to exist within have a varying degree of issues that women face and how they are taught to deal with such issues. For example, some communities prefer issues between women are dealt with in a street fight whereas others prefer to deal with issues through passive aggression or repetitional attacks. The spaces can greatly inform how women believe they should behave, and unrequested feedback is often given to young girls and women.

Feminism is another through-thread of modern womanhood that prescribes not only individual lifestyle directives but greater womanhood ones as well. As feminism became a more solid ideology represented by organizations and centralized beliefs it became easier to identify what you were quote-unquote "supposed to do" as well as what would fall outside that norm.

Britannica defines feminism as, "-the belief in social, economic, and political equality of the sexes...manifested, worldwide and... represented by various institutions...on behalf of women's rights and interests." With equality being defined as equal treatment, status and/or freedom from discrimination.

Four distinct waves of feminism are identified on History.com as the First, Second, Third, and Fourth Waves. The First is thought to be from the 1800s through the 1920s and centered around women's suffrage. Following that the Second Wave from the 1960s to 1980s became a notable time of women pushing back on the confines of gender roles as wives and mothers.

Once women's issues turned from basic rights and respect to issues that thrived in the shadows like the patriarchy as a system, sexual assault by members of the government like Anita Hill's testimony against Clarence Thomas who went on to become a Supreme Court justice.

This era is marked by Riot Grrl music, girl pop artists, and eras of fashion aesthetics like grunge that attempted to take attention away from women's bodies. The fourth wave is more nebulous and less defined as of now, but the #MeToo movement of 2017 is mentioned as a shift in women's issues, which I'll discuss more about later.

Rage highlighted in this series is specifically rage expressed by women in media like movies and television shows. This rage is seen as more shocking because it is the opposite of women being stereotypically more docile and agreeable. The rage brewed from learning that who you are doesn’t fit who the world expects you to be is persistent throughout the movies in the series.

When horror is added to this formula, we get new insight and indie stories with creative horror elements, like the rad special effects throughout Ginger Snaps and the CGI-prosthetic combination for Jennifer’s jaw in Jennifer’s Body. Based on the movies in part one of this series the takeaway is that being a woman is heavily tied to one's relationship with other women.

What those women think of you and how they speak about you plays an important role in your outcome during the movie, improving odds for those more pious and damaging odds of those more hedonistic. Womanhood was also heavily tied to sex, including the onset of puberty and the sometimes out of control hormones associated with it. In addition, the process of discovering sex and even sex as a tool in society is embarked upon by more than one main character in this series.

As a central theme that appeared in every movie, sex, specifically hetero-normative sex, and the losing or taking of one's virginity is also central to womanhood. Seen as a rite of passage the rules associated with this aspect of young women’s lives vary widely across cultures and even across small cliques within the same community. At times the exploitation of women or trauma incurred by them is central to a horror movie’s plot, whether it is the beginning of a revenge plot, or a cruel act committed by a masked killer, it is included in an array of horror subgenres.

While oftentimes exploitative in itself that isn’t necessarily the case with coming-of-rage movies, as the female characters often possesses means of revenge and deeper or more comedic meaning than shock factor to inclusion of sexual topics. Having horror coming-of-rage stories about young women can also be beneficial for exhibiting common experiences taken to the horror level's extreme that can help people see past their own biases and providing comfort to those who might feel confused, unseen, or unheard.

Movies in part one included Carrie (1976), Heathers (1989), The Craft (1996), and The Rage: Carrie 2 (1999). That video, part one of this series, is up on my channel now and relates the movies back to the eras in which they came out and what womanhood looked like at that time. The movies are impacted by and impact the greater society they exist in, showing up in fashion, relationship norms, slang, aesthetic trends, and more.

In the 2000's however more women became interested in true crime, finding comfort in the stories that could serve as warnings. Others opted for learning how to cheat the maze, and ultimately how to have it all, finding the secret key that the successful women must be hiding. I’m picking back up with the early two-thousands in this video, which is Feminine Coming-of-Rage Horror Part 2, welcome!

Warning!

This is the one and only content and spoiler warning in the video. From this point on the video will contain spoilers for all the movies mentioned thus far. Trigger warning for content, a range of sensitive topics will be covered, and if you want to skip all the overviews to the end analysis check the description for a time stamp.

The base challenges of the past didn’t change after the turn of the century for young adults of that time, many of those still existing today. Those challenges include but aren’t limited to: social feedback, childbearing or childrearing, household chores, emotional regulation, knowledge pursuits, aspirations, sexuality, and opportunity. Each having an impact and needing to be balanced, discarded, or maybe even replaced.

Modern life however added more challenges including high cost of living, prevalence of dating apps, influence of social media, and political shifts that can change rights. The more women grow and learn through personal experience the more the prescribed path or paths morph and change to fit the needs of the time and individual. With added challenges of modern life, the pressures on the young women in coming-of-rage stories is stronger than ever, morphing into a more self-aware narrative style.

Despite the made-up aspects like the name, the collection of movies covered in both videos are often linked together by the same criteria I'd use to define the horror subgenre.

Those qualifications are: Female lead character or characters, conflict with other female characters or women, critique of women, feminism, society, patriarchy, etc., onset of puberty and/or adulthood either by age or circumstance, life threatening criminal or supernatural elements, important, large event like prom, graduation, or going to college, and finally a pivotal romantic relationship or awakening to sexual desires.

All the movies in this series fit the criteria or I can argue that they fit the criteria, sooooo without further ado welcome to Feminine Coming-of-Rage Part Two which will cover Gingersnaps 2000, Jennifer's Body 2009, Tragedy Girls 2017, Freaky 2020, and Totally Killer 2023.

THE EARLY AUGHTS

If you’d have asked people in the 1950’s what the world would look like in the year 2000 they might’ve said something about flying cars, highly advanced cities, and huge technological advances in medical science, maybe even the meaning of life. Instead, we got widespread suburbs, booming populations in cities, and an avoidance of dealing with issues like garbage and fossil fuel pollution.

After the Riot Grrl era of the nineties filled with anger and pushback the early aughts pop-music took complete control of the world with female celebrities like Destiny’s Child, Avril Levine, Paris Hilton, and Britney Spears who had a more laid back and matter of fact approach to life and the patriarchy. Rather than fight against it artistic acts that took the spotlight flowed along with the currents and those who didn’t make a fuss were rewarded while those that presented problems found themselves regretting having stood up for themselves in the first place.

The 2000’s isn’t denoted as a specific period of advancement for the best interests of women or huge changes to mark a specific wave of feminism. Some fashion trends included Y2K and emo, pick-me rhetoric and mentality ran rampant, and there was more than one opportunity to make it on TV by showing your breasts for little to no compensation.

During this period much of the turmoil happened in rooms rather than in public, the demands upon women becoming more private and nuanced than overt. A demand to be the everything girl developed, like the speech at the end of Barbie, the pressures to be everything became heavier in the 2000s.

At the same time the real-world scrutinized women and informed them of the behavior they should embody fictional media also imposed prescriptions and restrictions to how young women ought to behave. A push towards suburban homemaker took a forefront in womanhood, the expectation that this new, modern motherhood should be ideal and enough for the majority. Movies like Gingersnaps however portrayed two young women who pushed back against that expectation and the modernization of life.

GINGER SNAPS (2000)

The plot of Ginger Snaps (2000) starts with sisters Brigitte and Ginger Fitzgerald live in the suburbs and have an affinity for death, even making a pact with one another when they were 8 that they’d leave the suburbs or commit suicide together by the age of 16. Katharine Isabelle plays Ginger, an already 16-year-old Canadian high school student and her 15, almost 16-year-old sister Brigitte is played by Emily Perkins. Written by John Fawcett and Karen Walton, the movie came out in 2000 and did not perform well at the box office despite having a cult following today.

The movie opens with a series of dog deaths caused by a creature of some sort dubbed the Beast of Bailey Downs. The sisters don’t fit in at school, their extremely close relationship and quiet demeanor combined with their interest in death leave them outsiders. Ginger likes this and is the leader of this path whereas Brigitte is clearly beginning to question the status quo between her and her sister.

At school Ginger and Brigitte give their death presentation which is extremely creative and unique approach to their life in Bailey Downs assignment. The class applauds to their dismay and the boys in the class snicker and comment about Ginger's attractiveness in contrast to Brigitte being not attractive.

After being overheard talking about Trina Sinclair, a popular girl at their schools, death Trina pushes Brigitte into the carcass of another neighborhood dog while they play field hockey. For unknown reasons the same taunting boys from class are able to watch the girls PE class play field hockey and comment on the entire class uninterrupted.

As a revenge plot the sisters go on a night mission to get back at Trina and Ginger starts her period. The blood from her period causes the werewolf creature that has been attacking dogs to attack Ginger. They get into an intense battle with B using a branch to smack at the wolf so it will free Ginger. Ginger eventually gets free and her and B run into the street narrowly missing being hit with the wolf right behind them.

The wolf gets hit and pulverized by the van driven by Sam Miller, played by Kris Lemche. Sam gets out of the car, but the sisters are already gone, rushing home. Back at their house Ginger is severely injured and writhing in pain, B tries to examine her wounds only to find they've healed during the inspection. Ginger convinces Brigitte to not only not get help but to also not tell their parents about what happened.

Brigitte from the start seeks to reverse and/or stop the transformation Ginger is going through whereas Ginger is fine with the aspects that she likes but wishes to hide the more obvious things like her developing tail. Ginger begins to show an extreme aggression towards Brigitte as she transforms into a werewolf and Brigitte enlists Sam to help. Her jealousy extends to all facets of Brigitte’s life and any pulling away from her despite her also changing. 

While Brigitte is transforming into a more independent adult woman Ginger is transforming into a werewolf hungry for sex and flesh with a desire to rip everything apart. Brigitte is appalled when her sister eventually succumbs to being a werewolf, enjoying the kills and sexual confidence as she becomes more and more wolf life.

Sam is the pivotal romantic relationship, the object of Trina's affection that causes her to snap and confront Brigette after he seems to be interested in her. During this scene she alludes to possibly losing her virginity to Sam at one point and calls him a quote-unquote "cherry hunter" and warns Brigette that he will do the same to her.

Trina almost makes it seem like they should work together against Sam, but Ginger comes along and takes Trina hostage inside to present an ultimatum to Brigitte to go along with the transformation. Ginger agrees to try and slow or reverse the transformation, but Trina accidentally dies. They are able to get away with involvement in Trina's death and the town believes she's simply missing.

The sisters are able to fly somewhat under the radar from their parents as their father is checked out and their mother is blinded by the desperation to be close with them and be needed by them. At first the extent is only animals and hide-able features, but Ginger soon kills their teacher after propositioning boys in the hallway and then the janitor after he walks in on the other murder.

Brigette can't fully condemn Ginger however, even after she makes advances, because of their bond. Ginger goes after Sam after him and B make a second dose of the cure, previously having tested it on the boy Ginger turned into a werewolf via unprotected sex. The cure is knocked away and Sam is dragged to the basement of their house where he leans against the wall bleeding out.

Ginger wants Brigette to join her and eat Sam, but Brigette can't bring herself to and finally stands up to her sister, shouting, "I won't!" which causes Ginger to kill Sam. Once Sam is dead B runs away and gets to the syringe, she tells Ginger she won't die down in the basement with her and when Ginger attacks she stabs her in the chest and kills her. With the syringe of the cure unused and Ginger dying Brigitte goes to lay on her sister's chest, holding her as she dies.

The two sisters have a general rage throughout the film, initially towards their peers and feeling they cared about vastly different things from them, also towards their parents, specifically their mother’s overwatch of them. Anger towards the boys that ogled their gym class or made comments after their presentation about their bodies, objectifying them rather than providing feedback on their art project.

There is a particular rage towards being forced to become a woman by one’s body and the inability to have a choice in the matter. This mostly comes from Ginger with Brigitte in more of an accomplice than leader role. There’s rage about the circumstances of Ginger becoming a werewolf and rage within their different feelings about that change. Ginger in a lot of ways embraces being a werewolf even when faced with possible solutions from Brigitte but Brigitte is always of the mindset that they are both working towards ending this curse or virus.

Ginger takes out her rage on the teacher who is policing her behavior and on the janitor whose kindness she interprets as coming onto Brigitte. She puts all boys and men into the same box to justify her murdering them which is common in this genre.

THE MID TO LATE AUGHTS

The aughts ushered in an avalanche of rapid change, TVs became expected in every room not just every home, VHS got scrapped for DVD discs, and not long after the CD got replaced by MP3 Players, including but not limited to the iPod. All that glitters isn’t gold however and by 2008 the Great Recession had begun, wiping out vast swaths of wealth for a lot of Americans. The housing market crashed alongside the economy, people were out of houses and jobs with no real path forward.

After the turn of the century the internet started to become more popular for personal use and sites like LiveJournal.com and blogger are two examples of pre-social media sites of similar ilk. Special interest blogs popped up, focused on topics ranging from video game dedicated content to users glorifying eating disorders.

The internet began to have an impact on culture and particularly girl and womanhood and how women viewed themselves and place in society. I can recall not only knowing about but being interested in and talking about with school friends watered down versions of the tabloid stories lining grocery checkout lines of this time. The stories and how these celebrity women got framed had an impact on women from the top down to even girls.

The tabloid stories picked apart and judged women often for no reason or for them just living their lives. Gaining or losing too much weight could incur an unflattering image plastered across a tabloid cover with bubbles pointing out the specific imperfections. Diets are not only encouraged but it is an unspoken understanding that all adult women diet.

While all of that is happening in the financial sector the internet is becoming even more mainstream. Facebook came about in 2004 as The Facebook and social connecting sites aimed at children like Club Penguin came online in 2005. In the same year YouTube launched and shortly after Twitter in 2006. By 2009 the internet looked similar to how it does today, with social media platform MySpace dominating, YouTube getting exponential growth, and Twitter becoming finding its place as a social media juggernaut.

JENNIFER’S BODY (2009)

While Ginger Snaps pushed back against the internet and the norms expected of us Jennifer’s Body 2009 embraced those changes. The events of the film are kicked off with Jennifer and Needy going to a live concert at a local bar, Melody Lanes. Jennifer Check played by Megan Fox has found a band from the city, Low Shoulder, on MySpace, who have decided to perform in their small town, Devil’s Kettle.

The marketing campaign for the movie focused on Megan Fox and her symbolic role as a quote-unquote “hot girl” of the time. Not to say that Jennifer’s Body isn’t in some respects about…well…Jennifer’s body, but it is not the male teen gaze fest that some trailers and most of the promo made it out to be. Due to this neglect and pigeon holing on the studio’s part the audience the movie appealed to before it came out is definitely not the audience the movie is actually for.

When the movie premiered in the fall of 2009 men and teen boys went to go see the movie and became enraged to find that the movie is more about the relationship between Needy Lesnicki, played by Amanda Seyfried, and Jennifer than it is a slow-motion shot filled softcore project.

We open at the end, Jennifer lying in bed with the glow of the TV casting an empty feeling, a work-out infomercial plays in the background as Jennifer licks a piece of her hair and looks through her yearbook. In the window beside her we can see Needy, hood up and looking menacing at Jennifer. She is gone by the time Jennifer looks out the window, looking tired and sickly, still stunning because it’s Megan Fox but a definitely dimmed version. The voiceover and first words of the film are from the main character, Needy, “hell is a teenage girl,” which I’m sure made male audiences groan in confusion.

We snap to the future and Needy explains her current circumstances as an inmate in a psych ward. She’s the narrator of the story and is telling it in hindsight after the events of the that led to her being there. From early in the movie, it’s clear that Needy and Jennifer have a co-dependent relationship with one another, a frenemy type situation built on years of history. They are thick as thieves despite being quite different, Needy dulling herself down to calm some of Jennifer’s insecurities.

Based on the reactions from their peers they have always had a relationship that bordered on romantic regarding how they treated one another and what they expect from one another. Chip Dove, Needy’s boyfriend played by Johnny Simmons, talks about how close the pair are while Needy gets ready to go out with Jennifer to the concert. He talks badly about their plan, and she explains what salty is and that he is that, or as Jennifer says, lime green Jell-O that can’t even admit it to himself. Jennifer basically demanded that Needy go to the “club” that night and even approved her outfit, but Jennifer can’t do any of that unless Needy lets her.

The band has bad vibes, Needy even overhearing them talking about the likelihood of Jennifer being a virgin after she introduces herself to them, flirtatious and flustered. Nikolai, the band’s lead singer played by Adam Brody, assures the band that she is and that he’s from a small town like this which they clock as a lie he’s told to them in the past.

We learn however via Needy informing Jennifer of this convo that she’s not a virgin and has a history of hooking up with older guys around town, like Roman the cop played by Chris Pratt. As the band plays the song seems to entrance Jennifer while Needy seems entranced by Jennifer until the fire in the bar begins.

The full events of the night aren’t told until much later in the movie but at the jump it’s known that a fire erupted in Melody Lanes that killed a bunch of locals. Needy leads Jennifer out through the window in the bathroom as the flames take over the bar, it seems like they are the only ones making it out until the band approaches them, led by Nikolai with a drink he offers Jennifer, noting she’s in shock from the fire.

Jennifer enters the van with the band and goes off into the night, Needy going home and calling Chip. Jennifer ends up at Needy’s house however, eating food from the fridge and then vomiting black goo on the floor. We learn later that Jennifer left there and kills Ahmet, the foreign exchange student at their high school, who also escaped from the Melody Lanes fire. This ends up being the only kill that Jennifer is apologetic about.

She goes on to kill a football star, Jonas, played by Josh Emerson, behind the school in the forest and Colin Gray, an emo kid from their school, played by Kyle Gallner in an abandoned house. In a deleted scene from the movie Needy confronts Jennifer in the locker room and she says, “I’m killing boys,” in response to Needy saying she’s killing people and that boys come and go. This mindset perfectly sums up how she pursues and why she pursues her victims.

Their utter man-ness enrages her. For example, Jonas’ best friend just died yet he’s down to get frisky with Jennifer in the woods the very next day after mild flirtation from her end. He’s completely entranced by the idea of hooking up with Jennifer, completely overtaken with lust, which is something that Jennifer views as less-than.

When it comes to Colin, she’s proving a point to and getting back at Needy for her not having been aware of Needy and Colin’s friendship. She’s jealous similarly to how Chip is when he finds out about it. By Colin accepting the date despite seeming like he’d be more interested in an intellectual pairing than just a hot girl he proves that he too can be overtaken by lust and that he might be a poser, two things Jennifer views as weaknesses.

While Jennifer is killing Colin Needy and Chip are having sex and during it Needy sees Jennifer as a ghoul over Jonas looking like a ghost in the room with them. Alluding to the psychic connection the two might possess in the next scene Needy almost hits Jennifer with her car after shutting off Low Shoulder’s song on the radio, them gaining popularity under the guise of being heroes.

Needy gets to her room only to find Jennifer in her bed already, scaring her. The famous scene of the two kissing occurs and notably this also upset male audiences as it’s mostly close ups of the lips, focusing on the sensuality and hesitation rather than the sexual aspects. The kiss is a symbolic turning point of their relationship, Jennifer exerting her power over Needy in the ultimate way to continue like things are and Needy snapping out of her haze to demand an explanation.

Jennifer explains that Low Shoulder sacrificed her next to the Devil’s Kettle waterfall in the woods the night of the fire. They found a ritual online for success and fame by sacrificing a virgin, but they didn’t sacrifice a virgin. The ritual still worked, and they got success following the fire, but Jennifer didn’t die and instead came back as a succubus now existing off human flesh.

She also doesn’t seem to want to stop doing that so Needy is placed in a weird spot that she can’t not do anything but also doesn’t know what to do. Jennifer gaslights Needy once she realizes that Needy is still asking questions rather than going along with things. In order to protect him Needy breaks up with Chip before their prom only for idiot Chip to agree to go with Jennifer.

Needy isn’t privy to information as things are happening and is doing side research to reach the conclusions that she finds by just talking to Jennifer. There isn’t an effort from Needy to find other solutions to the demon issue Jennifer is facing and almost immediately decides that the only path is to stop Jennifer, watching over her like a guardian to ensure she doesn’t kill any more boys. This rage is more like a simmering, deep-rooted rage within Needy that only becomes clear when her and Jennifer have their confrontation in the pool.

Prior to the pool confrontation the make-up scene stands out, Jennifer becoming enraged that the demon-curse causes her to wither away, taking away something she cares about and relies on for her self worth, her good appearance. She is desperate and puts on a show to lure Chip into the pool so that she can attack him in private. Those scenes are intercut with Needy getting dressed up in a heinous pink 80’s getup with a less-than-flattering hairstyle and making her way to the dance to intervene if Jennifer goes on the hunt. Her own rage comes from self-sacrifice, something commonly expected of women.

Needy’s rage at Jennifer not agreeing to stop eating boys, viewing the dance as an all you can eat buffet for her, seethes over. She realizes through their psychic connection that Jennifer is kissing Chip or at the very least that Chip is in danger. This causes her to run at full speed to the pool where we get the most rage-drenched scene of the movie.

During this exchange it becomes clear that Needy has harbored resentments towards Jennifer and judged her in secret while admiring her to her face. We also don’t see a ton from Jennifer’s perspective other than when she tells the story of her sacrifice and when she’s covering her face in makeup before prom. During the exchange both girls lay out all their issues with one another and their friendship. Needy wounds Jennifer by stabbing her through the abdomen with a pool cleaning handle which isn’t fatal due to her healing abilities.

It's revealed that Jennifer had been circling boys in her yearbook earlier in the film, circling one and writing “YUM!” next to his head. Needy busts in through the window and attacks Jennifer for killing Chip, cutting an X in her stomach, and saying, “cross out Jennifer,” as a call back to something Jennifer said to her. The final blow however can’t be dealt without Needy ripping the BFF necklace from Jennifer’s neck, causing her to fall onto the bed. There’s a flashback to their sandbox days and their friendship before Needy stabs her through the heart.

After that we see Needy bust out of the ward, revealing that in her battle with Jennifer she survived a demon bite and now has some of the powers Jennifer had like levitation. She uses her power to go to Low Shoulder’s hotel room and as Jennifer said, “go Benihana,” on their asses which we find out in a post credit scene.

Not only is Jennifer’s Body a cult classic but it’s one of my personal favorite films. The best parts in my opinion are the friendship between Needy and Jennifer, through the tragic end and revenge murders. The scenes that took place in the pool house are so good, the monologues from both Fox and Seyfried are iconic and a beautiful call back to the essence of the film during a more gruesome and action-packed sequence.

The community’s reaction and treatment of Low Shoulder despite Needy and Jennifer being actual victims of the fire is interesting commentary on the time. At that time the approach to news had grown rather abrasive and more on the narrative than the facts. Also, the general chunk of the movie before Jennifer becomes demon is interesting and their friendship alone could hold my interest. 

Other parts I consider the best include the pool house battle in its entirety, and the pre-sacrifice scenes of them just living their lives. The commentary on the community’s lack of factual interest in the tragedy is also of the time and an example of the approach to stories at the time. During the late aughts stories became very Ellen, made to be told on the talk show couch rather than to be factual, which allows Low Shoulder to take advantage of a tragedy they are probably behind.

The criticism that the movie faced at the time was harsh, with much of it focused on what Megan Fox either did or didn’t deliver in the author’s view. Men seemed almost vitriolic in their reviews of the film, which I can somewhat understand due to the mis-advertising. What doesn’t make sense however is why they are so angry about it, it’s one thing to not like something but be able to identify its value but some of the critique that Jennifer’s Body caught was just out of pocket.

Despite this harsh backlash from an audience the movie isn’t meant for the true audience did find the movie, in some part due to platforms like Tumblr. Not only did the audience find the movie, but they also loved it in a big way, making fan edits and deep dive posts that gained traction. Many women now attributing the movie to discovering their interest in other women, their own sexuality awakened by the relationship and Megan Fox. Now considered a feminist cult-classic, Jennifer’s Body captures the bad vibes towards women in the late aughts while centering them and their conflicts.

THE TWENTY-TENS

By the time 2010 rolled around social media had carved out a trajectory into everyday life. Not only did social media become a mainstay it also became an industry, an offshoot of the advertising and marketing world. For clarification, the Millennial generation is commonly and most recently defined as people born between 1981-1996, or people who are the ages 28-43 today. Generation Z, the following one that’s forming as we speak, is identified as people born from 1997-2012 or people aged 12-27 today. I mention that because it has come up a lot recently online and just as a refresher for myself.

The pick-me rhetoric and mentality only got worse going into the 2010’s, celebrities like Chris Brown spent less than a year in isolation for heinous crimes and social media changed the game. Now, the internet provided a vast array of opportunities and obstacles for women in particular. Body image issues exploded during this time with the increase of social media sharing and deceptive image editing.

More women joined the workforce but found that it was harder than ever to quote-unquote “have it all” as a modern woman. Being perfect became more important than being authentic during this period and this is reflected in the media of that time. When financial issues came up the prescriptions included, drink less expensive coffee and have less avocado toast. Women still had roles as props in music videos, displaying idealistic and unrealistic portrayals of lifestyles that don’t exist.

By 2017 Twitter looked about how it does today with most of the features associated with it and sites like YouTube had become integral parts of life. Becoming an influencer became a job aspiration rather than something you explained to someone. That sets the stage for Tragedy Girls which came out in 2017 and heavily centers around two girl’s obsessions with fame via their social media accounts.

TRAGEDY GIRLS (2017)

In 2017 Tragedy Girls came out, to little acclaim or fanfare. At the time stories focused on women The story follows two best friends who run a Twitter account called Tragedy Girls. The start of the movie is red herring fake out; two teens make out in a car on a bridge at night. They hear a spooky noise, and the girl coaxes the boy to go check out it, which results in him taking a machete to the dome and dying. This is a trap however for Lowell, the serial killer, set by the girl in the car and her friend who run a Twitter account called @tragedygirls and seek internet fame.

The girls explain to Lowell that they need training in the serial killing department and have abducted him for his guidance. The guy Sadie had been making out with in the car is still alive and they kill him together, telling Lowell his kill count is back down to 4 now.

The pair keep Lowell locked in the cabin where they are also dismembering the body. Sadie's dad mentions they have a missing cat they haven't seen lately, alluding to their history of serial killer behavior. We're shown a montage of the girls talking about the murders and stoking fear around the school while promoting their Twitter. They speak in emojis, have feather jewelry, color dyed pieces of hair, and plaid clothes, quintessential young millennial image of the time.

We meet Jordan, the son of the sheriff, who looks forty years old sitting in the classroom of teens played by Jack Quaid. Him and Josh Hutcherson as Toby Mitchell are the two love interests that are pivotal to the plot. The girls are promoting their Twitter alongside the murders occurring in the area, but the authorities believe that Craig from the beginning ran away rather than was murdered.

Sadie and McKayla are at a loss for what to do but continue working on a video with Jordan’s editing assistance. They do coverage of serial killers and have a fake out run over with a van scene. It’s tone deaf and on theme with their goals of becoming internet legends by following this killer rather than concern for victims. Their overall plan is to frame Lowell for the murders they commit to gain fame.

Both girls are involved at school, participating on the cheer squad alongside their social media accounts. During practice they see Toby, McKayla’s ex who has some Twitter fame, and approach him. They request that he post about their account, but he says it wouldn’t be on brand for him and declines, which causes them to decide to kill him.

They decide to lure Toby onto a specific road that they have a spike strip on with a breathy phone call and a photo of McKayla’s bloody uniform. He goes into rescue mode and takes off on his bike with McKayla following and after they’ve caused him to crash off the side of the road, he says he’s glad it’s her if he’s going to be murdered, showing they sort of matched each other’s freak but she’s willing to sacrifice that for their greater goal together.

To their dismay Toby’s death is thought to be an accident and no fame comes to them for having the scoop on the murder. They then decide they must murder someone else and make it clear that it’s a serial killer. This victim ends up being the cheer captain that they dismember in the woodshop, the janitor even passing them twice and being none the wiser. At Syl’s memorial they’re upstaged however, and this then becomes their next victim.

Their murder rampage hits a stall when the trust between them is broken. Lowell uses this to his advantage to turn McKayla against Sadie by convincing her that Sadie is going to turn against her with Jordan. McKayla tests this by suggesting they murder Jordan only for Sadie to say he’s harmless. Regardless they break up as friends and Sadie rises the social ladder while McKayla is relegated to the shadows.

This causes her to take up Lowell’s offer and team up against Sadie. McKayla reveals that her and Sadie have been killing together for a long time, killing Jordan’s mom when she gave them a ride home. This also reveals Sadie to be the ringleader in the past, being calm and cool about murder in contrast with McKayla being upset.

Ultimately Sadie chooses her friendship with McKayla over her relationship with Jordan and the pair complete their murder rampage by locking the students at their dance inside the gym and setting it on fire. It’s revealed that 124-something students died in the fire and both McKayla and Sadie say, “best night ever!” as the fire rages on. Both girls go off to college together to continue to grow their following and pursue the next phase of life together.

It's different for the genre to have the two end up together at the end which we don’t get in Ginger Snaps or Jennifer’s Body. Especially considering the newness and rather shallowness of the relationship at that point the fact that she chooses her long-term friendship and murder partner makes way more sense. Also, in spite of their evil crimes they faced little to no punishment and walked away rewarded and benefiting from their crimes. This mirrors feelings around the time that it’s possible the good guys don’t always win.

They can get away with the murders in part due to how the world views and treats them, they are taking advantage of a situation that will exist with or without them. They are understanding of a harsher financial reality for them outside of high school and a need to pursue a personal path. Albeit their path is unacceptable and laden with murder it is an extreme portrayal of a feeling many young women faced at the time, of being lost.

THE TWENTY-TWENTIES

Things would only get more lost however, because in case you still don’t know in 2020 a global pandemic took over and shut down the world. This pandemic ravaged the plans and paths people had for the future regardless of age but in particular young people whose lives had just begun. At the time the yuck was President, which normally is a role I respect but in the case of this criminal who’s handling of the COVID-19 pandemic caused excess deaths and suffering in the USA, I have none left.

Coming off the 4 years of Trump presidency in 2020 things had sort of just continued on the same path. The back-and-forth pendulum of women’s issues seemed to be swinging back yet again after the #MeToo movement, a regression to past feelings that it’s better to look out for number one only and not make waves.

Rather than support, the expectation became backlash against the victims and blaming of victims for consequences to the perpetrators (see Johnathan Majors for a very recent example). All the sudden the accountability had gone too far, and people started being made fun of for standing up for things like women’s rights and basic dignities. Once something is considered “uncool” or “cringe” it’s only a matter of time until it’s phased out, even if it’s something like fighting for social justice issues.

FREAKY (2020)

Freaky 2020 finished filming in 2019 and is somewhat of a time capsule of what would have been. If the pandemic hadn’t happened in 2020, we would have continued down whatever path movies like Tragedy Girls set us down in regard to this genre. Freaky feels like that movie, the one I’d expect to come next-ish in line in the best and worst ways. In contrast the other 2020’s movie I’ll cover is Totally Killer which came out post-pandemic for trends in feminism and womanhood.

The opening sequence follows a group of teens hanging out at a mansion with lots of references to Halloween and Michael Meyers, featuring insane kills like a tennis racket through either side of the head from an overpowered killer wearing a mask. This is a good display of the Blissfield Butcher’s abilities and his callous approach to murdering, brutally murdering these teens after breaking into the house. He steals a dagger called the La Dola from the mansion on his way out.

We meet our main character Mille the next day, and her friends Josh and Nyla refer to her mom’s superpower as guilt. Inside school kids are mean to Millie for no clear reason other than her mother working at a discount store in town. We learn it’s been barely a year since Millie’s dad died and her friends are already pressuring her to move on with her life. We also learn that she has a crush on one of the jock guys who she sits next to in wood shop.

Millie’s woodshop teacher, played by Alan Ruck from Succession, is an actual douchebag who targets her and humiliates her, to which Booker, the jock guy played by Uriah Shelton, looks on with secondhand embarrassment. Woodshop douche, Mr. Banardi, is about to force her to give a presentation a week prior to when he said it would be due, but alerts go off that distract everyone and end the humiliation.

Despite the murders the homecoming game isn’t cancelled, and Millie is the mascot. As the mascot beaver, she gets bullied by her own teammates, including Booker. He makes a crude comment about her not even being doable and she overhears that, understandably crushed. Her friends encourage her to quit but she tells them she needs the extracurriculars to get a scholarship.

Millie’s phone dies right after she calls home only to learn her mom is passed out drunk and not just running late to get her. Alone in the parking lot the Butcher appears in the mist, causing Millie to become alarmed. She tries to ward him off with threats that her sister will be there soon and is a cop with a gun, but he walks towards her with the La Dola knife anyways.

They end up in a tussle on the field while the storm rages around them, they are transported to the top of a temple and the Butcher stabs Millie in the shoulder which causes him to also bleed in the same spot. Her sister arrives and fires off shots that cause the Butcher to run off, leaving the knife behind.

At the station Millie is catatonic and her mom arrives distraught, more worried about her own guilt than Millie. Char, Millie’s sister, and her mom argue while she takes a bath and tries to drown out the noise. That night during the storm she dreams about what happened with the Butcher and at midnight her pig clock denotes the change.

Millie’s mother wakes non-Millie to breakfast, who I’ll call Kill Mill when the Butcher is in her body and use he/him pronouns as stated in the movie and then for Millie in the Butcher’s body I’ll call Mill Butch and use she/her pronouns. Kill Mill seems calm and collected about the body switch, instantly ready to take advantage. He breaks into Char’s closet and opts for a leather jacket and red lipstick, very out of Millie’s norm which he comments on.

Across town Mill Butch wakes up in the disgusting under-tunnel lair of the Butcher and is shocked and appalled when she looks in a mirror and is faced with the serial killer. A homeless man comes up and Mill Butch asks if she looks like a teen girl to which the man accuses her of having drugs when she’d previously said she didn’t have drugs. Mill Butch runs out of the den in a stereotypical girly-run way after the homeless man charges her.

The song from Heathers plays as Kill Mill struts into school past the pep rally festivities to shocked, jaws dropped. Once Kill Mill enters the school the record scratches and a metal rap song blasts out, signifying a more bad ass take on the old high school horror tropes. Her friends, Nyla played by Celeste O’Connor and Josh played by Misha Osherovich, rush Kill Mill questioning what the sudden, drastic change is about and noting her mom wouldn’t have normally let her wear that to school.

Due to the attack the night before Billie has star power around the school, enough for the popular girl Ryler, played by Melissa Collazo, to come up and invite her to hang out in sharp contrast to her bullying her the day before. In a shock to both Nyla and Josh, Billie tells them to leave and decides to go with Ryler instead. Ryler immediately talks smack about the Butcher’s appearance from the news and Billie invites her to the locker room, saying they should go somewhere private.

Ryler assumes Billie is coming onto her and even texts her friends mocking Billie after saying she was fine with her being into women, but it wasn’t her thing. Billie then kills Ryler by trapping her in a cryogenic chamber and cranking it to the most extreme levels. Not quite sure about the science on this one but Mitcher ends up opening the chamber and Ryler’s frozen body falls out and smashes into pieces on the ground, the first switched body murder. Billie goes on to murder the woodshop teacher, dismembering him on a table saw after a battle.

Mitcher is able to convince Nyla and Josh that it’s her inside of the Butcher’s body after they run away and try to stop him with kitchen utensils. The final test ends up being their handshake which Mitcher performs flawlessly and that convinces them he’s Millie. They run into Billie in the hall and rather than run away Billie snaps into scared woman mode and screams and cries pointing that the Butcher is after her.

The police end up chasing the threesome and they ditch Char, Millie’s sister, in the discount store their mother works in. Inside the store Coral, Millie’s mom, ends up coming onto Mitcher after she trauma dumps on him about her relationship with Millie and Mitcher reassures her she’ll never be fully alone.

Meanwhile Billie is hanging out with Booker and two other guys from the football team and is pretty straightforward about her intentions, which they take as flirtation. Booker is lured into following Billie in the mini golf course, and they divide and conquer into the course to protect him and Mitcher ends up knocking both out.

The threesome takes Booker and Billie back to a house and tie Billie to a chair while Mitcher watches him sleep longingly, calling him gorgeous. Billie tries to get Booker to listen to her, but Mitcher is sassy and straightforward with the backing of Nyla and Josh. Mitcher recites a love poem she wrote for Booker to convince him of her identity, it’s hella corny but it works. Mitcher is hilarious and not at all as concerned as you’d expect him to be.

Now the three is four and they decide to leave Josh behind with Murder Barbie because it’s his house. Mill Butch and Booker wait in the car while Nyla goes to distract Char and get the dagger from the police station and Booker admits he liked Mille. Mill Butch also talks about the benefits of the body switch, even stating she liked the power from the switch. They end up kissing in the car which is really interesting on a lot of layers I don’t have time for in this video.

Josh’s mother comes home and in a very 2020-esque exchange he comes out as straight to his mother who doesn’t believe him. Kill Mill shouts that his new body is useless in his attempts to get after Josh. Char treats Nyla like she’s the Blissfield Butcher and ends up locked in a cell, confirming she’s the worst cop ever.

Kill Mill arrives at the dance with the Dola dagger and is approached by a guy from earlier whom wants to redeem himself after she said he made her dry earlier in the film. As the clock runs out the team groups up to quote-unquote, “Stab this asshole.” Just as you feel bad for the jocks because Kill Mill will murder them you find out that the three are planning to assault Kill Mill. He, being the Butcher, slices one’s throat and manages to take all three out, one with a chainsaw.

The Phil jock guy has lured Josh to a secluded area and kisses him. When Josh rejects him, he calls him, and f-slur and Josh throws it right back mocking his lack of self-awareness. He threatens to kill Josh if he talks but Kill Mill hooks him through the eye, killing him. Kill Mill and Mill Butch are battling for her body and the cops shoot at her. Josh and Nyla are track stars that just fly into Kill Mill and tackle her for Mill Butch to stab.

The alarm goes off before Mill Butch stabs Kill Mill to switch bodies, but they realize that the timer is wrong and it’s not midnight and Mill Butch flashes back to Booker saying he set the time 5 minutes ahead. There’s time! The stab happens and the switch occurs, Millie is back in her body and the Butcher is back in his. Josh shouts for the cops to shoot the Butcher who falls dead. In the end Millie is just an odd high school girl involved in taking down a serial killer.

But it’s not the end, because the Butcher survived and kills the medics in the ambulance, escaping. The Butcher goes to Millie’s and attacks her, claiming he’ll fix things. He claims he knows how weak she feels but she says she learned stuff too and kicks him in the balls. She ends up delivering the death blow to the Butcher with the aid of her mom and sister.

The screen is focused on Millie’s face, blood having poured out of her nose down to her mouth and chin looking at the Butcher’s body. She says, “I am a fucking piece,” and credits.

The pre-pandemic momentum showed an acceptance of bimbofication, domestication, and an edgy self-awareness of the leaning into stereotypes. Not all good or bad it’s a difference you can see when looking back at early pandemic social media content versus end of pandemic trends and what sorts of things came into focus.

TOTALLY KILLER (2023)

During the pandemic many people spent time inside reflecting on themselves, relationships, and what they wanted for themselves. This came in conjunction with a huge push towards progressive social justice outlooks following a summer of protests across the USA. This push rippled throughout every issue including women’s issues and especially after the overturning of Roe by a conservative packed court. The relationship between women and society changed dramatically in a short period of time which can be seen in the coming-of-rage genre when looking from Freaky in 2020 to Totally Killer less than 3 years later in 2023.

The plot actually takes place in 1987 with three teenagers being killed in a brutal attack. The teens Tiffany Clark played by Liana Liberato, Marisa Song played by Stephi Chin-Salvo, and Heather Hernandez played by Anna Diaz who all live in a small town called Vernon.

Each girl had been stabbed 16 times on their 16th birthdays and the mask-laden killer became known as the Sweet 16 Killer. Thirty-five years later Chris Dubasage, a true crime podcast host who had been the yearbook photographer back in 1987 and son of a local journalist at the time, is leading a tour through Vernon focused on the murders. The place that Tiffany Clark lived and got murdered is now a restaurant that leans into the murders and drives home the critique on society with how careless and capitalistic we can be about crimes.

Pam Hughes, played by Julie Bowen, the fourth friend to the three-murder victims has a teenage daughter, Jamie Hughes played by Kiernan Shipka, who wants to go to a concert with her friend Amelia, played Kelcey Mawema.

Pam and Blake have been sort of helicopter parents due to the murders of their friends and to go to the concert Pam makes Blake take her to the concert and wait for her in the back. They have an exchange where Jamie stands outside and texts which he thinks is weird. The girls talk about having Sativa weed gummies, a modern creation. Pam is home by herself and despite getting a scary text still hands out candy, even to people wearing the murderer’s infamous mask.

The fact that Pam still felt the need to perform politeness is wild, but she does have defense training due to being worried about being murdered since she was 16. She runs into the kitchen and even holds the knife in the recommended way, another modern piece of knowledge. The killer fakes her out and comes at her from behind, she’s able to stab them but they eventually get the best of her and murder her in brutal fashion.

Chris ends up outside of their house live streaming about the murders, stating that the Sweet 16 Killer has returned, Pam having been stabbed 16 times. Pam was apparently the guidance counselor at the high school and a friend to the principal of the small-town high school. Coach Finkle gives the advice to run and avoid the knife to keep their life and the Principal pulls Jamie aside to talk to the Sheriff Kara. They inquire about her mom and Chris Dubasage’s relationship and whether Blake killed Pam due to being jealous. Jamie calls out Kara to her face and says she should let go of the high school bullshit and solve the murder her father couldn’t solve back in 1987.

To bring people back in and revive the image of the amusement park the science fair is taking place there for free and Amelia, Jamie’s friend, is making a time machine. She hasn’t told anyone yet but is using her mother’s designs. The time machine needs Wi-Fi to connect to some sort of GPS locator and Jamie notices that the date is set to October 27, 1987, which is the date of the first Sweet 16 murder. Amelia’s plan was to go back to that day to stop the murders so that Jamie’s mom never gets murdered.

While Jamie watches the newest episode of Chris Dubasage’s podcast about her mother’s murder, her dad comes in. He confirmed that Pam wasn’t friends with Dubasage but since Sheriff Limm had given up long ago, she’d turned to him for help to catch the killer. Blake confirms that Chris had a crush on Pam back in school and that him and Pam got together post-high school.

Jamie’s father asks her to not listen to Chris’ podcast, but she goes to meet him and confronts him about a potential affair, questioning why her mother kept it a secret. Jamie goes to Amelia to ask for help, but they are interrupted by the killer who chases her into the machine and stabs the dashboard causing it to take Jamie to the programmed date.

To the Venus commercial song Jamie arrives in 1987 in the middle of the thriving amusement park and tells a man his Female Body Inspector shirt is problematic to which his girlfriend says she likes it. Jamie runs into a woman who offers to take her to school to find Pam, who is Miller because she isn’t married to Blake Hughes yet. The Vernon Red Devils is their old mascot to which Jamie comments it’s racist.

She goes to the front desk and is immediately let into the school as a junior despite no verification or checking, the lady even making fun of her for asking. Her first class happens to be gym and she must change into the school gym uniform. Rather than the usual walk out of the girl once she’s had the major shift or change, we get a mini walk out of the three murder victims when Jamie sees them alive, walking into gym class. This shows the relationship of characters in the coming-of-rage story, Jamie being a guest in the narrative.

During dodgeball they’re getting pummeled, and she finds out her mom is the mean girl throwing the balls hard AF and we get a cool shot revealing teen Pam, played by Olivia Holt. Jamie’s nose is bleeding, and she approaches the friend group as they go to leave, in awe at seeing her mom alive again. The girls think she’s just weirdly staring and Pam refuses to shake her hand because she’s not an older man.

Jamie suggests they cancel their party at Tiffany Clark’s house, but they are just mean to her and tell her to fuck off and die in Spanish before walking away laughing. Jamie next tries to warn the cops about the murder, but they don’t believe her and haven’t seen Back to the Future so don’t know what she’s talking about.

Sheriff Limm tells Jamie there’s never been a murder in Vernon and seems uninterested, he questions where she’s from and tells her it’s made up. They mistakenly believe that his daughter is called the Sheriff at school as a nickname, rather than that his daughter is the sheriff in the future. They threaten Jamie that if she doesn’t go back to school, they’ll arrest her.

Jamie asks for information about Lauren Creston’s whereabouts and the front desk woman just gives it to shoo her off, and she makes a comment about plane travel probably being insane in comparison during 1987 to 2023. Lauren is chill about the time travel situation since she has been attempting to invent it and Jamie comments, she didn’t know how close the foursome had been and thought her mom had just been an acquaintance with the murder victims and not a close friend.

Jamie inquiries about changing the past having an impact on the future, and she says she saw End Game but didn’t understand it. In this universe time is like a river, and once you’ve jumped out the river keeps flowing, so the changes she’s making now will impact the future from what I understand. Blake confronts Chris in the future and Amelia comes up and tries to get the adults to help but the sheriff brushes her off. Chris tries to ask Amelia follow-up questions, but she walks away uninterested.

Coach Finkle as a teen is an asshole who bullies Principal Summers with Sheriff Limm for him trying to get into the party. Jamie shouts “unwanted touch” when Finkle reaches to remove her from the porch. She thinks Blake looks hot until she finds out he’s her dad, which shocks Lauren because Tiffany and Blake are together.

The girl’s friend group is called the Molly’s and they all dress in a different version of Molly Ringwald characters. Jamie tells them they should be lifting one another up and that mean girl bullying is outdated but it just causes Tiffany to request her removal from the party. Jamie is unable to save Tiffany who is murdered in her waterbed instead of in the garage like she’d originally been, showing the timeline can change.

The police suspect it might be Jamie because the murders began when she showed up, but Pam sticks up for her and says she was just trying to protect Tiffany. Lauren and Jamie chase after Pam who’s tearing up as she walks home, despite Pam saying she didn’t even like Tiffany she is still upset. Pam asks how Jamie knows she was in danger and Jamie claims it was psychic ability which Pam accepts, especially after Jamie presents the crystal Pam gave her in the future.

Pam asks Jamie if machines tear us apart, but she says they don’t but rather, “tear apart the fabric of society with Tik Tok dance videos,” which intrigues Pam because of the use of dance. The fact that Pam is a hidden sci-fi nerd is shocking to Lauren and then the list of people who had it out for their group being super long is a reminder about what they act like. Pam is super mean to her mom and Jamie says that despite not having a good relationship with her mom you never know when you will lose her so should be kinder and say you love them more.

Pam finds out that Blake is who she ends up with and she admits she has been secretly obsessed with him. Chris Dubasage comes up to Amelia and tells her about a Mandela Effect that occurred with the murder, and Jamie left a note that led them to investigate an entirely new suspect. He has photos he took for the yearbook, and they see Jamie in the photos, realizing it’s a message to her that she needs an extra metal conductor. Amelia begins to explain time to Dubasage similarly to how her mother explained it to Jamie. 

 Lauren tells her that she won’t disappear but would rather just have no life if her parents don’t get together and have her. Jamie tells them they can’t call Fat Trish that anymore and then Finkle says he’s a better driver drunk, another stark difference that Jamie calls out.

The girls inform Jamie of Lurch in the car, Fat Trish’s brother who spent a year in juvie and is now a super-junior student whom she sees drawing creepy doodles in class. She falls asleep in the car and awakes at the exact place she didn’t want them to go which is the next murder scene. Jamie explains the obvious, but the girls are unphased and worried about vodka. The boys arrive with vodka and Limm.

Jamie tries to set rules for the night but the 80’s teens are more interested in partying and assume she’s wigging out. With their lack of knowledge regarding true crime they live in blissful, albeit deadly, ignorance of the true danger of their situation. Rather than Marisa being murdered like she is in the original timeline Jamie manages to protect her. Unfortunately for everyone Heather got murdered instead, switching the order of murders and the timeline.

On Halloween the group meets up at the amusement park as Lauren continues to work on getting the time machine online. Kara ends up killing who they believe is the killer at the amusement park and it’s revealed to be Doug. They realize that he used to date Trish and wanted revenge for the Molly’s getting Trish drunk one night which led to her accident and death. They reveal however that Pam wasn’t there and therefore not responsible and this puts a wrench in tying this revelation up with a bow because Pam is still being targeted.

A second killer is revealed as they slice Marisa’s throat, killing her. The second killer goes after Jamie and kills Chris’ dad, a local journalist. The new killer and Jamie battle in the time machine which reveals that it’s Chris from present day. Doug is the OG killer, but Chris forged the note to get more podcast content. Jamie and Chris battle in the spinning ride and she can defeat him.

Jamie returns to the present to find that she’s saved her mom, Pam, and created an older brother named Jamie because her parents got together earlier than the original timeline, making her name Colette. Lauren has a notebook of information for her with what is different in this timeline, anticipating her returning from the past.

In the end Pam and Lauren became best friends after the Sweet 16 murders, Jamie’s older brother has a husband and child. Randy is the principal rather than Doug, and Chris became traumatized from his father’s death and is now at a monastery.

The rage within this movie is more about rage towards circumstance than it is about society. Jamie is angry that her parents won’t let her go out, she’s angry that she does go out and her mom is killed, angry that the people at school don’t seem to care, angry that teen Pam is making it so difficult to save her, angry that the teens from 1987 don’t listen to her and about various outdated comments. Her rage is focused and controlled; she channels it in order to save her parents from a killer.

I really like how she shows up as a mostly formed person, she has some things to learn still and a lot of growing to do but she has the foundational knowledge to stand up for herself and advocate for herself. She can tell what is right versus wrong in ways not common in previous generations. The younger Gen Z women face a unique set of challenges in paths we haven’t seen before, granted not time travel as far as we know, but circumstances otherworldly and outside of their control.

CONCLUSION

So much change has occurred in the last two decades that I don’t think we’ve fully caught up yet. Despite this the change has ushered in new hopes and possibilities like that of a Kamala Harris president following Brat Summer when we all binged Love Island USA. In many ways the rage now is like that of Totally Killer, more focused and controlled, moving towards a purpose rather than the wilder stories of Ginger Snaps and Jennifer’s Body.

Rage and horror will always go hand in hand, the horrifying occurrences often inciting righteous anger from those experiencing it. But the brand of rageful horror in the feminine coming of age horror stories is an especially thought-provoking subgenre to enjoy. The stories of young women finding themselves not because of but in spite of awful events is a testament of the power we see in real life young women and their stories.

Right now, in the US women’s issues are focused on restoring the right to reproductive freedom which is very much so on the ballot this November, which BTW if you aren’t registered to vote, please do, and please vote, no matter whom you vote for.

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Interested in more horror? Currently I have a three-part American Horror Story review series and

Image Links

July 18, 2024

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July 21, 2024

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July 22, 2024

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July 22, 2024

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https://www.theguardian.com/film/filmblog/2009/nov/09/jennifers-body-megan-fox

https://www.dailymail.co.uk/tvshowbiz/reviews/article-1225608/Jennifers-Body-review-The-new-Megan-Fox-movie-cadaver-palaver.html

https://www.theguardian.com/film/2009/nov/06/jennifers-body-review

https://www.timeout.com/movies/jennifers-body-1

https://www.heyuguys.com/review-jennifers-body/

https://www.theguardian.com/film/2009/nov/02/jennifers-body-feminist-exploitation

https://www.rogerebert.com/reviews/jennifers-body-2009

https://www.nytimes.com/2009/09/18/movies/18jennifer.html

https://screenrant.com/jennifers-body-reviews/

https://www.screendaily.com/jennifers-body/5005498.article

https://www.slantmagazine.com/film/jennifers-body/

https://www.cinemablend.com/movies/how-jennifers-body-went-from-box-office-flop-to-megan-fox-classic

https://www.hercampus.com/school/ucf/a-feminist-cult-classic-jennifers-body/

https://www.cbr.com/jennifers-body-cult-classic-status-diablo-cody/

https://tsl.news/horror-hour-challenging-the-male-gaze-and-embracing-feminist-revenge-in-jennifers-body/

https://comicbook.com/horror/news/jennifers-body-diablo-cody-script-cult-following-lisa-frankenstein/

https://www.inverse.com/entertainment/diablo-cody-jennifers-body-prequel

https://pagesix.com/2024/04/25/style/madison-beer-channels-megan-fox-in-make-you-mine-music-video/

July 22, 2024

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https://www.webdesignmuseum.org/iphone/instagram-for-iphone-in-2015

https://www.webdesignmuseum.org/gallery/instagram-in-2024

https://www.webdesignmuseum.org/gallery/facebook-in-2024

https://www.webdesignmuseum.org/gallery/netflix-2017

https://www.webdesignmuseum.org/iphone/youtube-for-iphone-in-2012

https://www.webdesignmuseum.org/gallery/youtube-in-2017

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https://x.com/BarackObama/status/896523232098078720?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E896523232098078720%7Ctwgr%5E5417ab76e14f85acf447512fdf3d583302a61c1c%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Ftime.com%2F5048929%2Fmost-retweeted-tweets-2017%2F

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July 23, 2024

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https://www.pewresearch.org/politics/2021/01/29/how-america-changed-during-donald-trumps-presidency/

https://www.usatoday.com/story/money/2020/12/23/trump-diversity-training-ban-executive-order-blocked-federal-judge/4033590001/

https://rollcall.com/2020/12/08/america-first-order-unlikely-to-save-vaccines-for-americans/

https://www.cnn.com/2020/10/23/politics/trump-executive-order-federal-employees/index.html

https://www.washingtonpost.com/politics/trump-executive-orders/2020/10/29/c2329162-17bd-11eb-aeec-b93bcc29a01b_story.html

https://www.govexec.com/management/2020/10/stunning-executive-order-would-politicize-civil-service/169479/

https://www.americanprogress.org/article/trumps-executive-order-rewards-private-prison-campaign-donors/

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https://www.theeagleonline.com/article/2023/08/opinion-barbie-was-never-anti-men-but-was-always-anti-patriarchy

https://thesunbreak.com/2023/07/21/barbie/

https://www.americamagazine.org/arts-culture/2023/07/24/barbie-movie-gerwig-245729

https://www.cnn.com/2023/08/06/business/barbie-box-office-history/index.html

https://www.forbes.com/sites/maggiemcgrath/2023/12/05/why-barbie-made-forbes-2023-power-women-list/

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July 23, 2024

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https://www.universityofcalifornia.edu/news/racial-resentment-fueled-jan-6-rebellion-and-opposition-house-probe-scholars-find

https://www.propublica.org/article/facebook-hosted-surge-of-misinformation-and-insurrection-threats-in-months-leading-up-to-jan-6-attack-records-show

https://news.vanderbilt.edu/2021/02/24/what-led-to-the-u-s-capitol-insurrection-vanderbilt-political-scientists-examine-social-psychological-legal-foundations-of-jan-6-riot/

https://www.cnn.com/2021/10/22/business/january-6-insurrection-facebook-papers/index.html

https://rollcall.com/2021/02/13/trump-acquitted/

https://www.pewresearch.org/global/2023/06/27/international-views-of-biden-and-u-s-largely-positive/

https://www.cbsnews.com/news/kamala-harris-fundraising-100-million-biden-drops-out/

https://time.com/6342806/person-of-the-year-2023-taylor-swift/

https://www.hercampus.com/culture/what-taylor-swift-time-person-of-the-year-means-to-me-swiftie/

https://www.americamagazine.org/arts-culture/2023/06/16/taylor-swift-eras-tour-245498

https://news.pollstar.com/2023/12/16/taylor-swift-sets-all-time-touring-record-with-billion-dollar-gross/

https://www.billboard.com/music/music-news/rihanna-super-bowl-halftime-show-most-watched-all-time-1235320433/

https://www.vox.com/culture/23597204/rihanna-super-bowl-halftime-show-pregnant

https://apnews.com/article/super-bowl-2023-rihanna-entertainment-e49895db86326c1d04b34379a53eb870

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https://www.theguardian.com/commentisfree/2019/dec/13/antisemitism-executive-order-trump-chilling-effect

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https://www.npr.org/2021/02/10/966396848/read-trumps-jan-6-speech-a-key-part-of-impeachment-trial

https://www.brandeis.edu/now/2021/january/trump-language-capitol-riot-mcintosh.html

https://www.wsj.com/articles/trump-and-his-allies-set-the-stage-for-riot-well-before-january-6-11610156283

https://www.reuters.com/world/us/congresswoman-says-trump-administration-botched-capitol-riot-preparations-2021-05-12/

https://www.nytimes.com/2021/01/06/us/politics/capitol-mob-trump-supporters.html

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July 23, 2024

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https://www.youtube.com/watch?app=desktop&v=rMXYPjFleAA

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https://entertainmentstrategyguy.com/2023/04/05/the-data-is-in-theatrical-films-massively-outperform-straight-to-streaming-films/

July 24, 2024

https://www.nationalgeographic.com/science/article/how-should-we-mourn-when-coronavirus-keeps-us-apart

https://apnews.com/article/coronavirus-pandemic-health-68c9762a4420094d300f9cbada0186f8

https://www.nytimes.com/2020/12/16/sports/year-bubble-coronavirus-moments.html

https://www.gq.com/story/2020-election-voting-photos

https://english.elpais.com/usa/2021-03-08/living-in-a-world-that-we-had-never-imagined.html

https://www.cnn.com/2022/01/11/business-food/grocery-store-shelves-empty/index.html

https://www.caranddriver.com/news/a32097541/driving-car-coronavirus-faq/

https://www.texastribune.org/2020/11/13/texas-coronavirus-one-million/

https://www.buzzfeednews.com/article/mikesallah/coronavirus-nursing-home-inspections

https://www.cnn.com/interactive/2020/06/us/new-york-coronavirus-reopening-cnnphotos/

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July 25, 2024

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https://en.wikipedia.org/wiki/F.A.M.E._(Chris_Brown_album)

https://www.thedailybeast.com/chris-browns-shocking-comeback-saturday-night-live-look-at-me-now-and-a-new-album

https://www.newsweek.com/gamergate-about-media-ethics-or-harassing-women-harassment-data-show-279736

https://www.nytimes.com/2014/10/16/technology/gamergate-women-video-game-threats-anita-sarkeesian.html

https://www.theguardian.com/technology/2016/dec/01/gamergate-alt-right-hate-trump

https://www.wired.com/story/gamergate-chat-logs/

https://www.cnet.com/culture/gamergate-donald-trump-american-nazis-how-video-game-culture-blew-everything-up/

https://www.dailymail.co.uk/news/article-4176786/Teen-rape-victim-Daily-Coleman-speaks-out.html

https://www.theoaklandpress.com/2013/04/15/audrie-pott-suicide-grim-picture-of-saratoga-teens-final-online-cries-of-despair/

https://money.cnn.com/2018/04/09/technology/revenge-porn-judgment/index.htmlhttps://nypost.com/2024/05/02/sports/dak-prescott-wont-face-charges-in-2017-sexual-assault-case/

https://www.insidehighered.com/news/2017/07/24/media-circus-surrounding-mattress-girl-case-changed-conversation-sexual-assault

https://www.vox.com/culture/2017/11/3/16602628/kevin-spacey-sexual-assault-allegations-house-of-cards

https://www.theatlantic.com/education/archive/2017/09/the-question-of-race-in-campus-sexual-assault-cases/539361/

https://www.independent.co.uk/arts-entertainment/music/news/drake-sexual-assault-rape-settlement-payment-out-of-court-layla-lace-a8966921.html

https://www.washingtonpost.com/news/monkey-cage/wp/2017/05/11/theres-been-a-big-change-in-how-the-news-media-cover-sexual-assault/

July 25, 2024

https://www.npr.org/sections/goatsandsoda/2020/02/11/802352351/new-coronavirus-gets-an-official-name-from-the-world-health-organization

https://www.nga.org/coronavirus/

https://www.nejm.org/doi/full/10.1056/NEJMoa2001191

https://www.nbcnews.com/business/business-news/concerts-cannes-cars-major-global-events-grapple-coronavirus-uncertainty-n1145161

https://www.nytimes.com/2020/03/09/us/coronavirus-cruise-ship-oakland-grand-princess.html

https://www.vox.com/recode/2020/3/10/21171509/coronavirus-covid-19-airlines-lodging-cruises-chart

https://time.com/5791661/who-coronavirus-pandemic-declaration/

https://www.medicalnewstoday.com/articles/coronavirus-causes

July 28, 2024

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Universal Monsters: Dracula, Frankenstein, and the Wolf Man series part one of three up on YouTube now. The AHS series doesn’t include the second half of Delicate and hopefully this year I’ll be doing a follow up point-five video going over part two of Delicate as well as the season in its entirety.

June’s video will be part two of the Universal Monsters series, with part three planned for December. In July I’ll be posting the second part of this series, Feminine Coming of Rage Horror by the end of that month.

In the meantime, if you’re interested in non-video stuff I have horror reviews, related topic deep dives, subgenre & marathon watch lists, taste-based movie recommendations on my website, www.RedRoseHorror.com

Follow me on YouTube by visiting YouTube.com/@redrosehorror or clicking the Subscribe button if you’re on the YouTube app or Instagram @redrosehorror where I usually post after uploading a new video.

But regardless of if we meet again or not, thank you for watching!