Jesse’s sexual urges and identity keep exploding out of him (in the form Freddy), and he attempts to control them. Ultimately, he loses the battle, because he iswho he is. So in a sense, the monster here isn't homosexuality, but rather the repression or denial of one's identity.
As I note in Horror Films of the 1980s, our protagonist is depicted shirt-less and in briefs -- no less than four times -- in the film, an act which effectively sexualizes him. We are asked to consider, in these shots his very physicality. He is objectified, in a sense, by the frequent focus on his body.
He adjusts his testicles as he awakens and exits his bed, and the very next shot is a close-up of two eggs cooking in a skillet. This conjunction of images suggests the source of this uncomfortable heat, doesn’t it?
Jesse’s sexuality is awakening, and burning. It is cooking like those two eggs.
The coach (Marshall Bell) -- a sadomasochist -- intervenes and tells them both to “assume the position."
They are both made to do push-ups in the dirt, holding their poses in a sexually suggestive fashion.
Grady then tells Jesse that this is how Coach Schneiders “gets his rocks off.”
So what does Jesse do, in the middle of the night (and in a blinding rain-storm) to stop the fire that Freddy is stoking within?
There are two, interconnected answers.
The first involves Jesse’s subconscious. He has been drawn to the one person whom he understands may be like him, at least in some sense. Both are outside the norm of 1980s accepted sexuality.
Secondly, his fear of being gay (represented by his inner Freddy) has decided that Coach Schneider must be punished -- or die -- for being open about what Jesse tries so hard to suppress and repress: his sexuality.
They go back to the gym together (and remember, this is the middle of the night…) and the Coach makes Jesse run laps and take a shower.
The coach/student bond does not extend, to my knowledge, to 2:00 am, and meet-ups at pick-up bars. Jesse goes, of course, because he is exploring his repressed desire, not because this is an approved extra-curricular activity.
Consider too, that this scene ends with some pretty indisputable phallic imagery. The shower water spout spits out (ejaculates) blood.
Then, in the scene in which Freddy is loose, consider how the fire or heat subplot comes to fruition . The swimming pool boils. The pool area fence is read hot. Fire blooms all around Freddy. He is no longer repressed. He is free.
But in the film’s last act, of course, Freddy re-emerges, his gloved hand ripping through a co-ed on the school bus.
Why? Because Jesse can’t deny his true nature, as gay, for long. He might suppress it. He might try to deny it. But it keeps bursting out. The heat keeps growing. His attempts at repression will not be successful.
Go back and closely examine the images that accompany the post, and consider my interpretation, and its plausibility. I see a preponderance of symbolism that supports my reading of the film. Yet I acknowledge the filmmakers themselves disagree. Is it possible that they didn't know what their film was about?
But factor in my reading, and Freddy’s Revenge becomes one of the most fascinating, even subversive efforts of the Reagan Era. In ways not apparent immediately, or easily, Freddy's Revenge seems to see that you must be who you are supposed to be, or you risk becoming a monster by repressing the truth.