All Cheerleaders Die exploits and guts the mythical war between the sexes by destabilizing heteronormative discourse. After Maddy's childhood friend dies she begins her revenge. Under the surface of what appears to be a superficial motivation for revenge turns out to be a serious desire to ruin Terry for raping her. The heart of this weaving narrative spins around the brutal binary that separates the football plays and cheerleaders along their sex. They self-articulate their inter and intra-group identities as Bitches and Dogs. The derogatory identification guts to the bad boy and bad girl persona as the two sides rise to greater levels of violence in order to seek some idealized imbalance where bitches or dogs are rendered a superior status. By playing on the borders of heteronormative dynamic, All Cheerleaders Die, open's up a space to articulate a disruption inherent in the kernel of the binary. In what follows I plan to explore the disruption in order to identify if All Cheerleaders Die successfully challenges the ground in which the war between the bitches and dogs articulates itself.
The Bitches and Dogs binary is explained in the first scenes of the film by when Maddy is interviewing the soon to be dead Alexis.
Alexis: My bitches do not disappoint
Maddy: Why do you call yourself bitches?
Alexis: Boys be dogs. Girls be bitches. Gangsta'.