Serena Moon

Serena Moon: in Thelma & Louise, she would be Louise (the “organized” one). In Heavenly Creatures, she would be Juliet (Kate Winslet). Serena is also extremely beautiful, the “star,” the performer (and sometimes the phony) and the gal with the “killer body” everyone seems to take notice of. Her great physical beauty, sadly, contributes to a tragic flaw in her character. She has grown used to being “the object of desire,” used to playing “a role” or wearing a mask, which has led her to become a chameleon and generally insincere. Serena comes truly alive only when she is onstage, or portraying someone else. Her chosen vocation, therefore, is as “performer.” As the novel begins, she is in a failing rock band, her 3rd—and potentially her last. Dolores, the photographer, plays a supportive role; this is how they meet, this is their relationship, in a nutshell. Serena needs Dolores like a face needs a mirror, like a sex object needs an observer. Serena will star in the femdom movie, which Dolores, at one point, jokingly calls “a Serena Moon film.” She respects Dolores, because of her strong boundaries and her ability, in turn, to keep her in line. Serena needs this: To be reprimanded and kept in check when she occasionally crosses the line. Most people are intimidated by Serena because of her looks and apparent confidence, but not Dolores. And while Serena is dominant with most, she shares an equal relationship with Dolores.

“Serena” evokes another underground “star” name from the '70s, the era of “porn chic.” 
Her last name, “Moon,” was also chosen deliberately and refers to a specific body part, alternately a source of lust and resentment, which plays a crucial role, in the long second act climax.

In the gratuitous universe of sexploitation, it should be noted, a woman’s body isn’t something that’s just “there,” something that’s taken for granted; it’s an important element of her power. “Her body was her weapon!” was the tag line for “Ginger,” a top grossing sexploitation film in 1971.