Lana del Rey (early work) and Sabrina Carpenter basically did the same thing to achieve success, after unsuccessful attempts to make it big. They picked an immediately recognizable set of visual symbols invoking a specific white female heterosexuality--Lana did her Veronica Lake peekaboo chanteuse film noir femme fatale, Sabrina did... something similar but blonder and with the self-conscious "oopsie-woopsie!" funny horny baby part of Marilyn Monroe's public image--and made songs about the destructive inevitability of relationships with men. Lana sang about rich, older men using and abusing her, surrounded by imagery implying luxury, wealth, and danger. Sabrina sings about male partners disappointing her, being stupid, useless, and frustrating, but craving their attention and loving sex with them regardless. In both cases, the result of the "story" each tells is foreclosed. Yes, men are evil, but Lana will go back to Daddy. Yes, men are useless, but Sabrina will go back to hottie. There is no possibility of declining the heterosexual imperative. For all these reasons calling these works "feminist" is pretty much a joke given the scads of money both have made off their respective images. The culture loves the symbols they use and the narratives they evoke and will throw cash at any woman who can continue to produce this dead-end type of cultural messaging and sell other women the lie that you have no choice but to partner with and center men no matter how unhappy they make you or how much it hurts.