Needy’s sex starts innocently enough with an awkward condom fumble and creaking mattress box springs, lights fully on. This is edited alongside a scene where Jennifer lures in her latest victim, the school’s resident emo and Needy’s perhaps closer-than-friends pal Colin. A strange scene plays out where Needy has sex with her boyfriend, Chip, for the first time. The film handles queer sex in a different light than that of straight couples.
The film fully embraces young homosexuality with iconic Diablo Cody one liners on “going both ways” (murdering boys and girls) or being “totally lesbi-gay”. Jennifer lives and breathes Camp, an aesthetic of exaggeration and difference prominent in proudly gay movies.
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I do not know if Kusama is queer herself, but she sure knows how to make a movie gay as hell. Jennifer takes advantage of the heteropatriarchy in place, letting it empower her while enacting a subtle but deadly queer resistance. Jennifer uses male attraction lure them in, to devour them, to grow stronger, while performative heterosexuality allows her to enjoy her romance with Needy privately and intimately. In Fox’s young career, it’s men like Michael Bay. In Jennifer, it’s the band or the deputy sheriff. The film casts Fox perfectly as a young girl sexualized by the grown men around her: her youth and sexual energy is taken advantage of by older men with authoritative status. The tone is angry and jealous and rash because it’s one of heartbreak as Needy and Jennifer’s relationship is strained against heteronormativity, sexual ego, and violence. And so Needy must work to save the innocent from her murderous girlfriend, a plight explored with the sensitivity of a teenage girl’s. Needy comes to understand Jennifer is now more than a teenage girl she has become something of hell itself. She enacts violence on vulnerable teenage boys, luring them with sex before eating them alive. The boy band abducts slurring, drunken Jennifer and sacrifice her supposedly virgin soul to Satan in exchange for becoming “.rich and awesome, like that guy from Maroon 5.” The band is mistaken, however, as our high school queen bee isn’t even a “backdoor virgin,” and so their attempted sacrifice results in Jennifer’s return to the mortal world as a flesh eating demon. This back and forth reaches its peak when eyeliner wearing indie band Low Shoulder comes to town. The girls have a complicated relationship, balancing intense admiration with power play, one knocking the other down or picking her up depending on which ego craves when. The two mimic a stereotype like that found in Taylor Swift’s “You Belong With Me”, the short skirted cheer captain and the girl on the bleachers the difference here being they’re best friends. The film centers on closeted gal pals Needy and Jennifer (played by Seyfried and Fox). And director Karyn Kusama was keenly aware. Critics shut Jennifer down before its release as a movie about girls made for boys who’d pay money to watch them kiss.
Hollywood was tapping into emo girls’ dreams of vampire boyfriends and Paramore love songs. The film was prime for Hot Topic promo as pop punk boy band Panic! At The Disco adorned the soundtrack, and a Fall Out Boy was poster prominently featured in the very first scene. Amanda Seyfried was fresh from her Mamma Mia fame, looking for an edgy role to oppose that of the “young and sweet”. Hollywood was not yet fatigued with Megan Fox, still shaping her into the sex appeal they wanted her to be as 14 year old boys drooling in their Transformers pajamas. Upon its release in 2009, Jennifer’s Body was written off as a money grabber without merit. So we decided to bunker down, drink some wine, and watch Megan Fox be hot and eat boys. We usually worked to shake off the shitty days by watching some primo teenaged content, like Twin-Peaks-wanna-be Riverdale or sexless romance Twilight. My best friend, Cloe, was in a similar headspace. I was in bed, angry with men and anxious about something, wanting some escape from a bad mood.