In the beginning of the music video, there is a clear role reversal between Beyonce and her husband as they appear to be acting as the other would in reality. Kellner enhances this switch by stating that it can “empower women by promoting fantasies of a different life and may thus inspire revolt against male dominations.” However, as much as women may feel empowered by this exchange of authority, there may be ruptures when it comes to women feeling as if they have achieved full dominance. While Beyonce is viewed as the “male figure” in the relationship, she is still objectified even when taking on this dominant role. As she struts down the steps to her partner’s car, the male gaze is automatically caught by sporting her tight low-cut uniform that is not typical of a policeman. The camera continues to keep her in the spotlight as she casually flirts with her partner throughout the day while he is caught checking her out during various arrests. Her body positioning and stance while leaning on the car continue with hegemonic ideologies by recreating a sense of exhibitionism.
To further complicate this theme of women connoting to be looked at, Berger suggests that women are an object of being surveyed and that the “surveyor of woman in herself is male”. This affects how women act because they know that the way they are viewed by others will affect how they are treated. Beyonce attempts to take on the dominant role by assisting her partner while at the shooting range. This is the classic way that men use to slyly bring a woman closer to them while asserting their power and this is essentially Beyonce’s goal while posing as the one who is “wearing the pants” in the relationship. However, by focusing on the visual aspect of Beyonce rather than her actions, a fetishistic scopophilia is being used to reduce her threat of dominance. The various camera
