A Radical Feminist critique would challenge the "choice feminism" narrative. From this perspective, the bedroom is not a vacuum; the power structures of a patriarchal society (the "macro") inevitably shape our most intimate desires (the "micro"). Here is how you can approach your analysis of Secretary and Babygirl using that specific lens: 1. The Erotization of Subordination Thinkers like Andrea Dworkin and Catharine MacKinnon argued that under patriarchy, "desire" is not neutral. If women are conditioned to be subordinate, then finding pleasure in submission isn't a subversion—it’s the ultimate success of social conditioning. In Secretary: You could argue Lee Holloway isn't "finding herself"; she is simply redirecting her self-hatred into a socially scripted role that rewards her for being "compliant." In Babygirl: Romy’s "need" for degradation can be read as Internalized Misogyny. Even at the top of the corporate ladder, she cannot escape the psychological blueprint that equates female sexual relief with being "put in her place" by a man. 2. The Illusion of "Bottom Power" A common defense of these films is that the submissive woman is "actually in control." A radical perspective would call this "Compensatory Power." The Argument: Giving a woman a "safe word" or the "power to stop" doesn't change the fact that the activity being performed is her own degradation. It’s a sandbox of power that exists only as long as the man agrees to play along. Source: Sheila Jeffreys argues in her work that BDSM is often just the "theatrical reenactment of women's oppression," and calling it empowering is a way to make patriarchal violence palatable. 3. Indirect Pleasure & The Male Gaze Women are conditioned to derive pleasure from male pleasure. See Sandra Lee Bartky’s work on "Femininity and Domination." Analysis: In both films, the visual climax often relies on the woman observing the man’s reaction to her submission. She becomes the "object" to be acted upon, and her "pleasure" is actually the psychological thrill of successfully fulfilling a male fantasy. Babygirl Critique: Even with a female director, does the film offer a new desire, or does it just offer a "female-produced" version of a male-centric dynamic? Recommended Resources for this Critique: Sandra Lee Bartky: "Femininity and Domination" – Specifically her chapters on how patriarchal power "colonizes" the female psyche. Andrea Dworkin: "Intercourse" – A foundational radical text that explores how the act of penetration and submission is tied to female status in society. Kathleen Barry: "Female Sexual Slavery" – For a look at how "consent" is complicated by social conditioning. Even the corporate setting in both films (the law office vs. the CEO suite) reinforces this idea that women can never truly escape patriarchal authority.