Despite the franchise’s rebranding as a cinematic feminist utopia, the third installment just appears to be selling the fantasy of men being...decent.
The show they’re trying to prepare in a month is a reimagining of a 19th century play about a society woman who must choose between penniless love or loveless security, where talented male entertainers manifest as the heroine’s innermost desires. The show is also a glaringly unsubtle metaphor for Max and Mike’s tenuous relationship.
What do women really want? That seems to be the main question of this film. Is it security or passion? Independence or someone they can depend on? Why do women even have to choose? Why can’t they “have it all?” And why do they have to spell it out, anyway? In an, director Steven Sodebergh described the dilemma as, “You’re trying to get at this very amorphous space of: I want you to give me what I want, but I don’t want to tell you what it is.
Max and Mike’s show is not selling the kind of intimate, ultimately sexy vulnerability that was on display in the film’s opening lap dance; it just seems to be selling the fantasy of men being decent. The dancers are introduced to the audience as “a Sexy CEO who pays women more than men,” or “a fuckboy who always texts back,” or “a guy with a puppy.
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