Author seeks to explain the configuration of lesbian violence in the film, Monster, by taking as its starting point this updated cinematic rehearsal in terms that rearticulate a materialist feminist advance on the film's particular projection of queerness while engaging a critical theoretical qualification of right-residual tendencies within materialist theory that ideologically cull same-sex love and desire between and for women into a likewise potentially damaging mythification of revolutionary praxis. In this way, the article seeks not to reconnect the divergent psychoanalytic and materialist strands of critical theory.