In the three films around which this chapter focuses its thesis, the central young woman protagonist is stylised as the contemporary incarnation of Gothic heroine par excellence: she is psychologically traumatised, or vulnerable, she is inexperienced, naïve but aspiring; she is the white, petite, blonde ingenue who is presented to us as exceptional and coloured as singular, as Othered and alienated from her family and wider society. Satan clearly has ‘a type’ insofar as these twenty-first-century film texts provide a reflection of the cultural afterlives of the traditions of white colonial Gothic literature and the female Gothic of the eighteenth and nineteenth centuries. However, as argued by Per Faxneld (2014), such texts also provided narratives of feminist liberation via satanic inculcation. From the dual perspective of Queer Gothic studies and Fashion studies, this chapter aims to reconcile the level of feminist liberation available to Thomasin (The VVitch), Jesse (The Neon Demon), and Dani (Midsommar) and, in turn, available to the spectator, with each film’s use of queerbaiting and misogynistic tropes. The chapter will chart how each of these films presents a stylised performance of exceptional femininity, it will consider how these films reflect the male gaze, and it will contend that the satanic liberation extant is an uneasy and profoundly ambivalent thing.