Babygirl: The Theory of the 2 Samuels | video + Scene by scene unpacking

Already waiting for a YouTuber who will put this idea into a montage!!
Because boy…. this would be the absolute coolest thing ever.

Imagine:
Babygirl, but only Samuel’s scenes.
And in the bottom we see a banner indicating “Real Samuel” or “Imaginary Samuel”!

Okay, so what is this post about?

In the first two weeks of 2025, I saw Babygirl twice and gave it a copious amount of provocative thought.

My most important conclusion was that because of reasons that I will explain to you in a moment, the movie can be seen as having not one Samuel in it, but two;
One imagined, and one real.

And I would have kept it at that, had it not been for the THIRD time I watched this movie, and very much to my own surprise, came to the shocking conclusion that this take on it held up way better than could be expected!

That the entire movie can really be seen in this way.
Way more accurately than I imagined it would.

So!
Before I begin, a very important matter of consent, safe space and disclaimers here.

A.k.a. a spoiler warning.

We’re gonna cut to the bone here.

This article is definitely not a safe space for casual visitors, or people who have not seen the movie.
The whole thing won’t make sense, and you’ll just get upset for it being overwhelming.

So.

Now that we’re among mutuals, let me figure out what the best way is to go about this….

There is a 30 minute video where I explain how I got to my new original take on this movie.
But I acknowledge that you’ll probably be more comfortable reading.
So I’ll be taking from the video what is essential for the reading.
And this post, the scene-by-scene breakdown (or buildup!), will start with an excerpt from the video.

The video
click here to see it (optional, because I’ll also summarize)->
https://youtu.be/jhFRpzlcDcU

Babygirl (2024) Masterful Ending Explained (the way they’ll see it in 2045!)
was recorded on 14 January 2025

There are timestamps and a story outline, in the description box below the video.
Watch it on YouTube to access it.

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The Theory of the 2 Samuels

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Yesterday, I watched Babygirl for the third time, and although unfortunately I did not make notes -because I did not intend to write this post-
I did watch it, checking if my theory of the two Samuels, as proposed in the video, held up.

Much to my own amazement, it actually did!

So what was the theory?

In the video, I identify a scene at the end of Babygirl, that changes everything.

It is the scene that seems to be constructed from different elements that cannot have happened that way, if we take the rest of the movie at face value.
Which means the scene must be a fantasy.
And considering the way it is sliced into the scene where she’s having sex with her husband, it’s probably an erotic fantasy.

The scene I am talking about is a bare chested Samuel, in the hotelroom they once used together, and with the dog from their meet-cute on the sidewalk.

I argue that since we have not seen anything about Romy’s inner-world in the rest of the movie, except for childhood memories and those were just in stroboscopic fashion, this means that according to the logic of cinema, this just changed the whole premise of the movie.

If we have been watching only REALITY + stroboscopic flashes of her childhood for the whole movie, only to then suddenly get an entirely fleshed out scene looking very REAL in the final minutes of the movie?
Then this means that everything we thought was real throughout the whole movie, could also be a fantasy.

It’s like the beef Star Wars fans had with the sequel trilogy (actually there was simply too much beef to report here, but this was one of them);
If you suddenly change the way The Force works, or how death works, you are changing four decades of Star Wars Canon.

In the same way the moment Babygirl closes with a whole scene suggesting we’re looking at someone’s inner world/ imagination, it has changed the canon of the movie.

In the video I refer to the movie Fight Club as the text book example of an entire movie where the viewer learns in the final scenes they have been looking at a fantasy.
That Tyler Durden never existed.

In the same way, the final scene opens the possibility that Samuel never existed and that it was her imagination all along.

Or, which would be even more interesting that just like in Fight Club, the character of Samuel is based on someone she sees in real life.

In Fight Club it’s someone he sees on the opposing escalator. In Babygirl it would be the young man on the street calming the dog down.
But that Babygirl takes it up a notch;
And keeps the original (real) Samuel in the movie, as well as her sexually brazen version of him.

That where Fight Club was about one fictional character (Tyler Durden, based on the man on the escalator), Babygirl is about a fictional character (sexy Samuel) but that the real Samuel is still around as well.

This is my Theory of the 2 Samuels.

And that the whole movie we’re watching Imaginary Samuel having a very good time, but also seeing the Real Samuel struggle with the weird tension between him and Romy.
And ultimately catching up and inviting her into his life with the rave scene.

Unlike Tyler Durden in Fight Club, Samuel in Babygirl would then not be an entirely fictional character.
But someone who doesn’t make a pass until weeks after his imaginary counterpart has already done so.

This, is the theory of the 2 Samuels.
And it is this theory I checked yesterday.
And without a notebook to jot things down, so my recollection will definitely not be perfect!

Originally I thought I’d wait for the dvd to write this final analysis, but waiting so long is not really my style.
So I’m gonna have a go at it, and discuss the scenes I remember.

 

part I) Timeline of Imaginary Samuel

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Meet cute: Real Samuel

Romy sees a man on the street calming the dog down.
In the theory of the two Samuels, this would be the starting point where she starts fantasizing.
This is the moment Imaginary Samuel, is born.

All scenes where Samuel is fictional:
-the one who gets her coffee and tells her how he calmed the dog down
-the one smoking with her on the roof terrace, announcing he’ll choose her as her mentor
-the one with the 10 minute interview in the soundproof room. And kissing her.
(and doing the same mathematics she is capable of. A sign he=a projection)

-the one saying “goodgirl” to her after the drinks after work
(and she either ordered her own milk, or this was a very bold move from Real Samuel)
-the one asking her for a second appointment for his mentorship
-the one in the elevator telling her the bruise on her cheek looks good on her
-the one smoking on the street at night, looking up to the building
(in Romy’s imagination, waiting for her to find the note on her desk. The note mirrors the notes she writes for her daughter, and I would not be surprised if screenshots revealed the same handwriting)
-the one in the first hotelroom
(wearing a backpack like her daughters, and a hoodie like her older daughter, and having sex with her in a way that mimics her own self-pleasure practice; all signs he is a figure of her imagination)
-the one having sex with her (INXS Never Tear Us Apart compilation)
-the one in the soundproof room, for the second time.
Granting her a 7 minute interview.
-the second hotelroom, including the Father Figure sequence and conversation in bed and where he asks her to hold him.

-the one in the final fantasy where she thinks about him, while having sex with her husband. With this extra layer, this is actually an imagined imaginary Samuel. Romy has constructed a fantasy, unaware that Real Samuel has never been in that hotelroom.

All these scenes are imaginary Samuel.
Like I said I did not make notes, so this list might be incomplete.

Up for debate:
-the one in the car, being dropped off at the station (probably imaginary Samuel)
This scene where Romy says they can’t see each other anymore, as well as his response it’s innocent and they’re playing like children, could still be valid if it’s Real Samuel and they are only flirting. And he interprets the whole thing as her being upset because he has showed up at her house.

Up for debate:
-the whole mentorship thing (probably imaginary Samuel)
I’m gonna go with there never having been a mentorship with Samuel, at all.
And all those scenes around mentorship (with the exception of their group class) having been imaginary Samuel.
The only point where this (scenes about mentorship being an imaginary Samuel) goes off, but only slightly, is when Hazal answers a question from Romy, on who added her to the mentoring program.
Because Hazal confirms that Romy’s name has been added to that list.
So if we choose to have Samuel’s entire menteeship with Romy being fictional, then it means no intern has chosen Romy as their mentor.
Hazal simply added her to the list.
(but maybe it was more subtle and Hazal’s answer was more general and never confirmed Romy’s name was on the list)

Anyway;
I do think that Romy’s firm “I’m not a part of that (mentor) program”, is a clue!!
I think her denial about being in the program in the first place, is directly linked to their relationship, at least the bigger part of it, being imaginary.

In my take on this movie, (Real) Samuel is then simply a very confused intern, who does not catch up to the potential of his relationship to Romy, until the final 30 minutes of the movie.

Let’s breakdown in which scenes we see this, very confused, “Real” Samuel, slowly stepping into Romy’s life!
It is surprising how this story can be seen in Babygirl, now, exactly as it is (but it would be more clear if someone would make a YouTube video!)

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part II) Timeline of Real Samuel

 

Meet cute: Real Samuel
Romy sees a man on the street calming the dog down. In the theory of the two Samuels, this is the moment Real Samuel sees Romy.
Who he will later learn, is the CEO of the company he is starting his internship.

All group settings: Real Samuel
The group coming into Romy’s office and Samuel asking a question;
Samuel getting educated about company policies, and informed about the party;
Samuel interacting with others in the elevator;
Samuel at the all parties (office drinks, Christmas party and party daughter);
Samuel bringing coffee for her male colleague;
Samuel coming to the mansion with the pool, to bring her laptop;
Samuel working at the bar;
Samuel at the rave;
Samuel showing up at the mansion, swimming in the pool;

Samuel lying with her on the floor, talking about how they messed with each other’s head;
Samuel confronted by her husband;
Samuel exiting the house and leaving her alone with her husband;

All, Real Samuel.

Up for debate: Samuel with Esme (probably Real Samuel)
It is questionable if Esme exists, or if like Samuel she is (partly) imaginary. She has the same color phone as Romy (bright red), and she has the same confidence as Samuel does.
There is something very isolated about how she functions within the company, and unclear what kind of position she is in (that she’d doing Romy’s make-up?)
Which suggests she may be a reflection of Romy’s internal life.
For now I am going to go with it being Real Samuel (and Real Esme)
This means the scenes:
– where Romy watches Esme and Samuel on the roof terrace
– and the one where Esme shows up with Samuel at Romy’s daughter’s party;
Are all Real Samuel too.

the kitchen argument at the party: Real Samuel
(Setup for start of intimacy with Real Samuel)

From Real Samuel’s perspective, Romy is a CEO from whom he’s getting very mixed signals.
Her showing up at his work at the Club – a place he mentioned when he was at her house to bring her laptop (and she responded cold and aggressively) – was the moment he understood there was more to her.
But he had not known for sure, until the female CEO had showed up in the middle of the night at the bar where he worked.
Sure, he had sent her away, treating her just as badly as she had treated him when he was just doing his job bringing her laptop.
But he remembered feeling more than a little attracted to the woman so boldly stepping into his life.

But he had not known for sure until the kitchen moment, at the party he had come to, with Esme.
First Romy had Whatsapped him to come to the kitchen, and then she had been infuriated at him for being involved with Esme.

Although they covered up the awkward situation for Esme, Samuel now knew it was time to act.
That night, he invited Romy for a Rave.

 

The Rave: Real Samuel
(Start of intimacy with Real Samuel)

In the timeline of Real Samuel, the kiss on the dancefloor is their first. And they talk one on one for the first time as well.
Lying down, looking at the stars.

 

“Do you do with her what you do with me?”: Real Samuel
Question by Romy.

I don’t remember if Romy says this line after the rave, or at the mansion in the final scene.
And if all of the sex scenes were imaginary, this is one of the more difficult lines to place.
But even when Samuel and Romy have not had sex at all, their confusing cat and mouse game, or even visiting the rave itself, could still cover for her question:
“Do you do with her what you do with me?”

 

Esme finds out: Real Samuel

The next day Esme shows up at Romy’s house, and says she “knows about her and Samuel”.
This is still congruent with this new interpretation of the movie, because she could have found out about the rave.

If we go with the “2 Samuels” this conversation is still valid, just referring to something else.

 

The Mansion with the Pool
(ending of an affair that never took off with Real Samuel)

In the version of the movie with the two Samuel’s, Samuel showing up at the mansion where Romy goes to after a breakup from her husband, is only the second time they see each other in a private setting.

We see her on the phone, so it’s very logical she informed him about the breakup, and that she was at the mansion.
(a location he knew from having brought her laptop there)

To Samuel this is all just a continuation from the rave. He does not know Esme has said anything to Romy about her not being allowed to see him anymore.
All he knows is that she’s alone, and broke up with her husband.

We see him swimming in the pool, Romy joining, and the two of them on the floor talking about how they messed with each other’s head, when Jacob, Romy’s husband comes in.

In the argument that follows, the elements referring to the “type” of sex Romy wants, or the type of lover Samuel is, are still within the margins of the believable, if Samuel and Romy never slept together at that point.

Jacob claims female masochism is a male fantasy, and that Romy used him/Samuel.

Real Samuel (who has not slept with her at this point, let alone have a dominant/sub relationship with her) simply sees a woman who wanted to cheat on him, a husband who is upset because of it, and all Samuel does is point out that Jacob has an outdated idea.

Jacob gets a panic attack and Samuel calms him down exactly the way he did with the dog, the very first scene where he and Romy met.

In this new interpretation of the movie Real Samuel and Romy do not have sex, because she chose her husband.
And he no longer wants to be around so he leaves.

 

The End (both real and imaginary Samuel)

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To Romy both men are the same. 
She thinks she has had an affair for weeks and we see her distancing herself from “both” Real as well as Imaginary Samuel, after the moment Jacob has walked into Real Samuel and her, at the mansion.
She wants to fight for her marriage.

We hear Samuel has gone to Japan, but see no proof of that.
So we do not know what happens to Samuel. Not to either one of them.

Maybe they started an affair, but keep it under the wraps.
Making up a story about him moving out of the country, as a diversion.
And even if Real Samuel did leave for Japan, Romy could still believe he stayed in town and that they became lovers once again.

And that in a hotelroom not so far away, Romy and Samuel are still making love.

Happily ever after.


Suzanne L. Beenackers
20th century writer, diarist & yoga teacher

Hungry for more?
Previously in the Babygirl series:
1) But will it satisfy the spoiled ones? | pre-screening musings
2) Babygirl (2024) get Hollywood on its knees
3) A Hidden Hero’s Journey? Or Tyler Durden reimagined? | closing musings on Babygirl (2024)
+
On my other blog:
liberate now | What Do Rock Stars Need To Hear Today 2025 01 06
And I created a video:
Rock Star Take On SEXUALITY
As well as another video, as mentioned already in this blogpost
Babygirl (2024) Masterful Ending Explained (the way they’ll see it in 2045!)

“Babygirl: The Theory of the 2 Samuels”
was the grand final to all my posts about the movie Babygirl.
All work created first half of January 2025.

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A Hidden Hero’s Journey? Or Tyler Durden reimagined? | closing musings on Babygirl (2024)

I’m going open with the disclaimer that is used halfway in my favorite review video (‘Babygirl’ is hot cringe | movie explained);

I’m going to spoil the entire plot of Babygirl!

And also, spoil the ending of Fight Club (1999)

“Spoiling” as in telling the story. Not as in taking away the fun or its value.

So if you have not seen Babygirl yet, and are someone who does not want to know how the story ends, then leave now.

(…)

Okay, there we are.
And yet! Even though you THINK you know how this movie ends, because you’ve seen it with your own eyes?
Be prepared to be blown away, because I am going to offer you an entirely different take on it, which I have not heard a-ny-where.

And my guess is it will take two decades before 2045’s YouTubers and others, are going to settle on its final meaning.

Before I continue I think a lofty, mind-expanding idea should probably come first.
Before discussing Babygirl’s 2024 face-value ending, as well as the ending 2045’s YouTubers will be seeing in it.

This lofty concept is;
The probability that Art takes over and tells its own story. 

This can be either in the form of the character, or it can be in the form of the movie itself. Where in hindsight a story or interpretation comes through that is not what the scriptwriter, director or actors intended.

I’m gonna propose that, because I have not heard any of the people working on this film giving this take on it, it was the story itself, or Art itself, that created it.
That the ending is, as will be concluded by half of the YouTubers two decades from now by people still in diapers today, totally different than the ending, or the whole entire movie, as we see it today.
We’re too close to the product, this is going to require distance.

So that concept comes first;
Whether or not you’re gonna see something beyond the most clear cut and DEMURE
– Hello 2045 Googling this review!
– Yes that word was a thing in 2024!
– I know right?!
– Hm hm…. But it does offer an explanation of why 2024 had such conservative ideas about this movie’s ending. We are in our collective norm-core phase.

But I digress.

Whether or not you’re open to see beyond this movie’s most obvious interpretation, is going to determine if you find this thesis about the movie useful or not.

So, then first off, what is this most obvious interpretation of the ending of Babygirl?
What is the ending?

FACTS about the ending we can actually SEE on screen:

fact 1 – Romy returns home
“After” (this is interpretation already, since we have no conclusive evidence their affair has ended) having had an affair with a young company intern who was a “soft dom” to her, and who had no trouble making her come (as opposed to her husband);
Romy has after all, returned to her husband.

fact 2 -Romy still has sex with her husband
They now count to five before they have sex, and he turns her around on her belly just like her lover, and makes her come in the same way her lover did.

fact 3 – There is talk about the young lover Samuel having migrated to Japan. We do not see proof this actually happened.

fact 4 – footage of Samuel bare chested in the hotelroom he booked for him and Romy, but now he’s playing with the black dog from the beginning of the movie.

It is this fourth fact, that will put the movie into a whole new perspective, decades to come.
Because what are we looking at?

The most conservative interpretation is that Romy is now wildly satisfied with her husband and that she thinks back of Samuel, not because that is required to make her come, but that it is a symbol she carries around in her mind, about what the affair means to her.

A slightly less conservative interpretation is that Romy is now able to come with her husband, but only because she plays this movie in her head of Samuel playing with the dog.
In other words, her husband may have caught up in terms of what she physically needs, but she still relies on the memory of Samuel to come.

And yet!
Both these interpretations are bypassing something crucial;
We have not seen images of Romy’s inner world anywhere else in the movie, other than memories!
If we’re supposed to interpret these frames as being not reality, nor a memory, but an actual erotic fantasy, a glimpse of Romy’s inner world that is not a memory (as presented to us throughout the movie in the form of childhood memories);
Then wouldn’t it make sense we had already seen fantasies before?

And why were we not presented Soft Dom fantasies at the beginning at the movie, but were they externalized in the form of Romy having to watch porn?

Does it make sense that after an entire movie where we see either A. reality or B. childhood memories;
We’d now suddenly get a whole sequence that is not reality, nor a memory, but a fantasy?

Let’s say for a moment that this (Samuel and the dog in the hotelroom being not reality but Romy’s fantasy) is the correct interpretation, then the closing sequence either:
-wants to suggest she now finds with her husband what she once found with Samuel and ALL IS WELL
If this is the case, then after having it watched twice, their closing scene in bed has not convinced me.
I’ll be on the lookout a third time, but to me counting from 5 to one, and being turned on your belly, is does not even begin to cover the complex sexual desires and needs Romy had.
She’s hardly more fulfilled than she was at the beginning.
OR
-the movie suggests that she can come because she has created a sexual fantasy in her head.
By combining the elements of the dog on the street with Samuel, together with the hotelroom she once saw Samuel in.
This is not a super satisfying ending (I think) but I think it is an ending that is palpable to most!

Before I get even deeper into explaining this ending, in a way that will probably remain dormant for another two decades, I do want to say that the current ending, INCLUDING the things that I may suggest are “flawed”?
– which is absolutely not my intention, I’m simply trying to analyse it without judgement-
well, that ending was necessary.

I can’t see this movie having been passable to any major financiers if Romy had ended up rocking her sex life with Samuel on the side or divorcing her husband and rocking who she is.
For example, by informing a new date beforehand what she wants, or signing up for a specialized dating website for people with their preferences.

I think Romy ending up alive and her affair going without punishment, was the maximum that was attainable for a big budget film in this genre, at the moment.

So even though I will finish this piece, and dig a little deeper on why I think Babygirl has a hidden message or a hidden ending;
That is not because I think Babygirl could have been made better today. 

But in a more liberal era, how would Babygirl have ended, and why?
Well, Babygirl, in its first 90 minutes, is a hero’s journey.

But a full hero’s journey would have had Romy going through the fire of facing her shame and coming out on the other side anew!
Reborn!
And owning her sexuality as a “soft submissive” or even more accurate, someone who needs a dominant partner. Which, in my opinion, is wildly different from a partner who plays he is dominant. But that is an entirely different story.

So I’m not saying the movie is flawed in any way.

What I say is that I think the movie skillfully maximized what is possible for a big budget movie covering this material, today.
And that I think The Universe, or Art itself, or perhaps the creators DID put it in deliberately! –
But that outside of the January 2025 conversation, there is a possibility of something hiding in plain sight here.
About the ending.

So let’s continue.

Recapping the (face value) ending; Samuel is out of the picture, Romy has returned to her husband and they’re happy in bed. Although it’s possible Romy still needs to think about Samuel and the dog, in order to come.

But what if, just like the rest of the movie, the frames with Samuel and the dog in the hotelroom are not a fantasy at all, but simply facts?
Then, we have a whole different ending.

First the dog: Is it the same dog that walked around loose on the street in the meet cute scene between him and Romy?
Certainly looks like it!
This would mean the meet cute was a set up.
And that Samuel, together with a friend who would “play” the owner of the dog, setup Romy to watch him calming the dog down.

But, perhaps more importantly, it would also mean that Samuel is not in Japan and that he still visits the hotelroom he booked for him and Romy.
Is he still her lover?
Or is he in the hotelroom because he is playing the same tricks with other women?

And what is it about Romy very explicitly telling off her male colleague when he tries to blackmail her into having sex with him –
“If I want to be humiliated I’ll pay somebody to do it.”

If you watched the first office party of the movie, you’ll see her and the man exchanging looks.
In particular with that last scene, this suggests he was her lover first, and that he humiliated her too, as part of their affair.
That she’s dealing with telling off a former lover, and not a new suitor!

But then the specifics of her choice of words:
“If I want to be humiliated I’ll pay somebody to do it.”

And the next thing we see is Samuel waiting in a hotelroom with a dog?
Samuel, about whom we have no evidence that he actually went to Japan?

Doesn’t that make it very likely that Romy and Samuel found an arrangement where she pays him?
That the Japan story was just a decoy?

What I like about that interpretation – that the hotel/dog scene really happened, and that it is still part of Romy’s reality – is that it gives Romy a REAL Hero’s Journey!

One not confided by 2024 Hollywood standards.

Because then she has come out to her husband about who she is, but she also allows herself to have Samuel as her lover.
Whether or not they have decided to make that a financial arrangement.
With that interpretation of the ending, Romy has found true sexual liberation.

And then there’s another interpretation possible. This is not a Hero’s Journey, but it is supercool, and will blow your mind.
Here we go;

It is that Samuel was an illusion to begin with.

That just like the movie Fight Club, Romy may have seen him on the street, and that he could even be in the group of the company’s new interns;
But that he is not real.

In the movie Fight Club, the narrator befriends “a man” called Tyler Durden. But it turns out to be a fantasy, which he created based on the image of a man he spotted on the escalator.

This is the way “Tyler” (the imaginary friend) explains it to the narrator.

You were looking for a way to change your life.
You could not do this on your own.
All the ways you wish you could be, that’s me.

So in my opinion, the most revolutionary cinematic thought will not come from the ones who interpret that final scene of Samuel in the hotelroom with the dog as real!

Yes, they will be the ones saying that the Japan transfer never happened, and that Romy still has Samuel as her younger lover.
And they will argue about what the dog in this final scene means for their meet cute.
If this scene is real, then the dog is real, was the affair all staged?

Revolutionary, yes.
But it’s not the biggest Blow Your Mind.

No, the reason this movie could end up a cult classic is because if we are to interpret the final hotelroom dog scene as a fantasy;
It means everything, can be a fantasy.

—–

{ new paragraph, added a day later 12 January 2025: }

It gets even more interesting if we would re-watch the movie from the concept of there being two Samuels:
One real, and one imaginary with whom she has an affair.

The Samuel asking a bold question in the group of interns;
The one showing up with Esmee at the party;
Showing up at her house with the laptop;
The one at work in the bar;
The one who fights her husband and maybe even the one at the rave or the one who orders her milk;

Could be the real one. 

Obviously taken aback by her jealous, hysterical behavior in several of these situations, and probably setting himself up for an affair but then it didn’t really start until the rave or the pool.

But the one who offers her a cookie, stands with her in the elevator, leaves her a note on her desk at night (just like she puts notes in the backpacks of her children);
Shows up in the hotelroom wearing a hoodie (just like her daughter);
The one who has sex with her in the first hotelroom (and a mirror image of when she was alone);
And the one she has appointments with in the sound-proof room?

Is her imagination.

And Romy explicitly says she wasn’t part of the mentor program, remember? 😉  

Even Esmee’s confrontation scene where Esmee, just like “fantasy” Samuel, is super contained and dominant telling her what to do, could be a fantasy. 
Just like several Fight Club analyses claiming that it was not just Tyler  Durden who was imaginary; So was the girlfriend, Marla Singer.
She was based on someone he probably also only saw once.

I have no idea how this lens of watching it from the perspective of reality and fantasy mixing, will hold up when I see it a third time.
But it kept haunting me, after having written this post yesterday.
And it would explain a difference in how Samuel holds himself around Romy: sometimes very strong, and sometimes he seems confused by her. And also dressed in a completely different way.

Very curious to see how others will take on this subject of reality versus imagination, in the upcoming decades.

—-

(picking up the story; )

This movie could end up a cult classic because if we are to interpret the final hotelroom dog scene as a fantasy;
It means everything, can be a fantasy.

It means the movie does not depict reality, but we see Romy’s distorted sense of it.
Just like we saw in Fight Club.

And both movies use a one-frame/ one-image technique, where we see just one frame for a memory, or a clue about what’s going on.
That is a technique used in no other movie I know.
Coincidence?
I don’t think so.

If you were 30-ish when Fight Club came out, then you are Romy’s age by now.

And I’ll be damned, if you are not looking for a way to change your life.

I look like you wanna look, I fuck like you wanna fuck.
I am smart, capable, and most importantly,
I am free in all the ways that you are not.

Welcome to Babygirl.

.
Suzanne L. Beenackers
20th century writer, diarist & yoga teacher

Hungry for more?
Previously in the Babygirl series:

But will it satisfy the spoiled ones? | pre-screening musings
and
Babygirl (2024) get Hollywood on its knees
+
On my other blog:
liberate now | What Do Rock Stars Need To Hear Today 2025 01 06
And I created a video:
Rock Star Take On SEXUALITY

“A Hidden Hero’s Journey? Or Tyler Durden reimagined?”
is expected to be my final post about the movie Babygirl.

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Babygirl (2024) gets Hollywood on its knees

“Everything is about sex, except sex. Sex is about power.”

Oscar Wilde’s quote was never more appropriate than for the new Halina Reijn movie, Babygirl. Having switched from acting to directing only a few years ago, Babygirl is her second English movie, and the first English script she wrote.
And what a stunner it is.

Halina Reijn absolutely reigns with this movie. Not just on filmfestivals but this piece of erotic cinema was exactly the rude yet pleasurable awakening, the industry so direly needed.
She has them eating out of her hand, like CEO Romy.

On all fours in front of the bed, carefully taking a red candy out of the palm of the outstretched hand.

“Now spit it out,” the company’s intern Samuel commands Romy.
Taking his time to carefully wrap it and take it aside.
Leaving Romy waiting.
Yearning.
Uncertain if she will stay or flee, storming out like minutes ago but for real this time.
The clock ticks away the last seconds to the moment of no return.

Samuel will make her come hard and fast. Without even taking his clothes off or kissing her.
But he will generously take her in his arms, as she breaks down crying afterwards. The ultimate cathartic release after a lifelong of sexual neglect and repression, most importantly her own. But the husband who was clueless on how to handle her, didn’t help either.

Like Romy finding the visceral satisfaction, the understanding of what she has been missing out on, the relief that she is now finally nourished and taken care of, by someone who knows their craft;
In the same way will the world understand what it has been denying itself.

In the changing 21st century sexual climate, we have become more and more aware of what is not right, and of equality and consent;
And the Me Too movement has taken down whole areas of the toxic Hollywood landscape;

In that era, we have been uncertain on how to build back. Lethargic even.

“Babygirl” has seduced us back into the bedroom of big budget cinema, and instead of overthinking it, we pick up a familiar backpack lying on the chair.
Yes, this is the right room… so strange we’re alone then.
But it gives us time to look around.

The door opens and he comes in, dressed in a pair of trainers and a hoodie. Not like anything we expected. He carries a plastic bag, with takeaway food from the looks of it.
“Ah there you are,” he says.
As if we were the ones who are late.
His laid back mannerisms seem hardly appropriate for the explosive situation we are finding ourselves in.

Just like in the movie, Reijn downplays what she is doing.
There are no disclaimers that Babygirl will singlehandedly blast away decades of sexual neglect and misrepresentation.

Just like Samuel, Reijn knows perfectly well what she is doing. There is a deceptive ease in her performance, as they are both open and aware of concepts like consent.
Both not afraid to be clumsy nor avoiding difficult conversations.

What both Samuel the young lover, and Halina Reijn the new director understand so well is that sometimes what is required are not endless discussions.
Are not multiple perspectives.
No meticulous strategies.

But to bring us to our knees so we can finally and fully;
Let go.

.
Suzanne L. Beenackers
20th century writer, diarist & yoga teacher

Hungry for more? Previously in the Babygirl series:
But will it satisfy the spoiled ones? | pre-screening musings

“Babygirl (2024) gets Hollywood on its knees”
is my second post about the movie Babygirl.

☕️ Buy me a coffee
🌎 Paypal

 🇳🇱Tikkie van de week

That was it! 

Thank you for reading my World Between Worlds blog!
Subscribe to the blog, to get them in your mailbox.
You can find the subscription button on this page, probably on the top right.

 

NEW founded in MAY 2024: SUBSTACK
other socials:

Instagram  Twitter Rock Star Writer Facebook Facebook Suzanne Beenackers Schrijver LinkedIn

 

my business since February 2023:

Catacombe
become the Rock Star you were born to be

+ My new Dutch company

de Club
yoga voor generatie X

 

 

 

 

 

 

 

But will it satisfy the spoiled ones? | Babygirl (2024) movie | pre-screening musings

Romy: “How did you get that dog to calm down?”

Samuel: “I gave it a cookie.”

Romy: “Do you always have cookies on you?”

Samuel: “Why, do you want one?”

Let me preface this unusual blogpost (who else would put so much thought into a movie before they saw it?!) by saying that I am a very, very spoiled girl.

And that I have given the subject I am about to present to you more thought than the average married couple contemplating concepts like sexual growth and physical sovereignty, before they submitted to monogamy.

In fact, I gave up an amazing long-term relationship when I was in my early 30s, and with it close to every friend I had (and it is still the big disclaimer in friendships, palpable to almost no one);
All, in order to investigate my sexuality.

So I know what I am talking about.

And let me tell you that sexual liberation is not, as they say in Fight Club, a weekend retreat.

This isn’t a seminar
This isn’t a weekend retreat
Where you are now you can’t even imagine what the bottom will be like
Only after disaster can we be resurrected
It’s only after you’ve lost everything that you are free to do anything

Nothing is static
Everything is evolving
Everything is falling apart

This is your life (feat. Tyler Durden)
The Dust Brothers

And a few years ago I also saw Halina Reijn’s movie Instinct multiple times because I thought, for definitely more than a minute there, she was actually on to something.

For a moment I thought Reijn, who is Dutch just like me, had unearthed the hidden gem from the cold ashes of the apocalyptic erotic landscape left behind by Basic Instinct.

The 90s were the decade where the very foundations of our sexuality were taking a punching. We could take no more, and were bleeding on the floor of Lou’s basement coughing our guts out.

Maybe this too deserves a reference to Fight Club (1999), because it gave us a new sense of nihilism.

Everything is falling apart.

Sex education for the new millennium.

But in the midst of it all, Basic Instinct had given us something, or multiple things even, which were never properly explored anywhere else.
Not then, not since.

And when Halina Reijn directed the Dutch movie Instinct (2019) about a female psychiatrist who gets into a sexual affair with a convicted sex offender, for a moment there;
I thought she had found Basic Instinct’s hidden treasures.

Now after a few viewings I understood that it was not there. That it had been me wanting to see it, like wanting to like a man and being willing to let a few mistakes pass because you do not want to judge too harshly.
But it wasn’t there.

The movie Instinct (2019) did not explore the hidden Basic Instinct topics.
And January 2025, here we are again.

Will Reijn’s next movie, Babygirl, bring to the surface what are by now Basic Instinct’s three decades old secrets?

Now at first glance Basic Instinct and Babygirl may seem miles apart.
Covering entirely different themes.

In Basic Instinct, the female multimillionaire protagonist (most would say antagonist) is single writer Catherine Tramell.
She oozes power, both monetary as well as sexually. And she’s possibly a serial killer, which will also keep you on edge.

In Babygirl the female multimillionaire protagonist is a married CEO Romy Mathis and she has children.
She oozes power economically, but is nowhere near Catherine Tramell’s omnipotence.

And therefor (because of this difference in power) the men these women meet, are also different in power.

Omnipotent Catherine Tramell meets a tough-as-nails homicide detective Nick Curran.

Where professional powerhouse Romy Mathis meets a self-aware, confident Samuel, at the beginning of his career.
I tried to look for a last name, and he doesn’t even seem to have one.

Either way, I think with Romy also being less powerful than Catherine, the fact that Gen Z character Samuel isn’t the explosive vessel of suppressed emotions that Nick Curran was, is a good thing.
And from what I have seen, the character of Samuel really embodies why I am such a big, big fan of Gen Z!

Whenever I talk to them I feel the only job we, the older generations, have is to keep things afloat until they are in power.
Gen Z will know what to do!

But I digress.

So either way I think Romy, just like Catherine, found a one of a kind lover.
And that it was this match that created an Erotic Space.
A concept which I consider the gem, the gift, of Basic Instinct.

How the importance and the quality of this Erotic Space is being regarded within the movie Babygirl, will determine what my verdict of Babygirl will be.
So pay attention.

Watching Basic Instinct, it is tempting to conclude Catherine’s and Nick’s tension is being built from the subtext of what is being said. And the context it is said in.
When Catherine Tramell lights a cigarette saying: “What are you gonna do? Charge me with smoking?”
When she is being interrogated by five or so officers, that clearly shows she is in power.

But it is because they know she is worth over a hundred million dollars, that she actually gets to have that power.
They are very aware she could hire a hot shot lawyer and sue their department.

The same with Nick.
Years of undercover work in the drugs scene have earned him a reputation of being lawless.
He was addicted to cocaine and alcohol and has had five shooting incidents within a few years, including one where he shot innocent tourists.
Yet he has managed to get out without being punished.

“You see! We’re both innocent Nick.”
Catherine laughs, when discussing their clean lie detector tests.

Their meeting of minds has created an impenetrable bubble around the characters of Catherine Tramell and Basic Instinct’s male protagonist, detective Nick Curran.

Nick Curran is the only one who is at her level, and she has recognized him as her equal, just from reading newspapers alone.
“She knows where I live and breathe,” Nick says to his colleague Gus. “I’m not afraid of her.”
“Why the hell not?!” his partner exclaims.
“I don’t know, I’m just not.”
(all quotes done by heart – may be inaccurate)

And yet!
The Erotic Space shared by Basic Instinct’s Catherine Tramell and Nick Curran, is
->a space they both also have around them when they are alone<-

A place of pure potential, of awareness, of sovereignty.
And it is in that space, where the erotic tension is being sparked the moment they suddenly see someone else “in there”.

They are no longer alone.

You could say they finally find someone who is fluent in their love language;
Unadulterated, scared of no one, no holds barred, power.

Nick and Catherine meet each other, in a place where no one else is.

Imagine having climbed your way to the top of a snowy mountain, and being used to not having anyone to talk to.
And suddenly someone else is there.
That’s Catherine and Nick.
Even if you believe she is a serial killer (which I obviously don’t) she will certainly never kill Nick because she knows very well how rare their connection is.

Basic Instinct is a tale about the Erotic Space that comes into being when two people are attracted to each other
->who are of equal high power<-

A game of minds, between equals.

From what I remember about Reijn’s other movie Instinct, is that I ultimately concluded that the two protagonists were either not powerful, or one was not powerful.
So that we had not been looking at an Erotic Space, but at I don’t know…. Probably trauma or something.
I don’t remember the details.

Which is absolutely not to say Instinct was not a good movie. And it has been instrumental in shaping my thoughts on this topic.
It was just that it was not the Hoped For movie about Erotic Space, that I hope to this day someone will make.

SPOILER ALERT FOR BABYGIRL
(although I will keep it to a minimum)

I have already watched spoiler reviews for this movie, and I know it explores the concept of her (Romy’s) infidelity from the context of the sexuality within her marriage.
So not getting Whatever at home;
and finds it with Samuel No Last Name. The younger, dominant, lover.

I have seen it being suggested that Romy’s infidelity could have been prevented if Whatever (I still don’t know what that is, but I don’t expect it to be relevant) had been properly understood by her husband.

I don’t know if this is really the trajectory!
If that is what I will see in the movie.
But if it is indeed a “Not getting enough at home” – theme?
Then I already know that once again Basic Instinct’s diamond has been left unturned, underneath the ashes of the 20th century.

Because magnetic sexual attraction is not about what you do or do not have at home;
It is about finding someone who can meet you at your level.

My verdict of the movie Babygirl will depend on if Romy’s problem is being rounded off to a technicality of what happens in the bedroom.
Something her husband can learn, and then all will be well.

Or if Babygirl recognizes that Samuel, even at his young age and without the professional accolades;
Was already more powerful than Romy’s husband had ever been.

And that shit cannot be taught.

.
Suzanne L. Beenackers
20th century writer, diarist & yoga teacher

☕️ Buy me a coffee
🌎 Paypal

 🇳🇱Tikkie van de week

That was it! 

Thank you for reading my World Between Worlds blog!
Subscribe to the blog, to get them in your mailbox.
You can find the subscription button on this page, probably on the top right.

 

NEW founded in MAY 2024: SUBSTACK
other socials:

Instagram  Twitter Rock Star Writer Facebook Facebook Suzanne Beenackers Schrijver LinkedIn

 

my business since February 2023:

Catacombe
become the Rock Star you were born to be

+ My new Dutch company

de Club
yoga voor generatie X