The 1990s saw Lindemulder's popularity soar, particularly with her appearance in the adult film "Showgirls," which, despite its critical panning, achieved cult status and contributed significantly to her fame. This era of her career encapsulates the complex interplay between adult entertainment and mainstream pop culture, highlighting the porous boundaries between the two.
Critics at the time noted that Janine elevated the material. AVN Magazine wrote, "Lindemulder doesn’t just perform in Summoning the Big S; she conducts it. She is the lifestyle she’s selling." janine lindemulder in summoning the big cocks
By framing the male performers as "summoned entities," the film objectifies them in a way that mirrors the objectification often reserved for female performers in other genres. They arrive not as characters with agency, but as manifestations of a wish—they are plot devices. This creates a temporary inversion of the patriarchal gaze; the men exist solely to serve the ritual needs of the conjurer (Lindemulder). AVN Magazine wrote, "Lindemulder doesn’t just perform in
Summoning the Big Cocks is a product of its time, adhering to the structural conventions of the adult industry in the mid-2000s. Yet, through the lens of Janine Lindemulder’s performance and the ritualistic framing, it offers a distinct commentary on agency. By positioning the female star as the necromancer and the male stars as the summoned familiars, the film creates a dynamic where female desire dictates the reality of the narrative. This creates a temporary inversion of the patriarchal
No article about Janine Lindemulder is complete without acknowledging the real-world "Big S" she had to summon: survival. In the years following Summoning the Big S , Janine faced a brutal series of personal crises. She battled tax evasion charges, served time in federal prison, and endured a highly publicized custody battle over her daughter with former boyfriend, Blink-182 drummer Travis Barker.