Santiago Fouz-Hernández and Freya Jarman-Ivens, authors of "Madonna's Drowned Worlds", questioned whether the singer's portrayal of Western culture in the video was legitimate or if it was meant to be tongue-in-cheek, also criticizing the dancing cowboys. Farber added that "by putting her cowboys on a commercial billboard, not only acknowledges the absurdity of her playing a rural lass, she's implicitly questioning whether there's any difference left between authenticity and fakery in a media-driven world". According to Amy Herzog, the video inverts the traditional male gaze by directing it onto the fallen cowboy at the end — the subversion being a recurrent theme in Madonna's work from her music videos of the 1980s.