许多研究女性在电影中的表现的问题是，基于文本的电影研究分析往往忽略了社会问题，而更社会学的方法往往从电影的考虑杂散。许多文章过于急切地认为塞尔玛和路易丝是社会学文本。Kerry Braye，女，媒体，美国的电影”的结论提出反对妇女，只有形成自主提出自杀”[ 2 ]。但这是要忽略文本的本质。这部电影并不是一篇关于性别角色或沙文主义的文章，而是一部以女性赋权和性别政治为其故事支点的大预算惊悚片，一部高水平的故事，一部全动作的电影。电影的高潮并不认为自主的女性是徒劳的，但它是塞尔玛和路易丝的故事，唯一可能的结论，这是一个惊悚片基于压迫妇女以主流电影市场是重要的控制定位。当然这并不是说主流电影不能有社会影响，但问题的关键不在于电影可以通过社会改造–的确电影太晚了三十年，–但妇女在运动中“独立做事情，他们不应该做的事，和庆祝妇女结合”[ 3 ]为主流的大预算的电影。塞尔玛和路易丝远非激进主义的边缘呼唤，而是将独立和有权的女性转变为主流的接受，成为商业掠夺的成熟目标市场。当然这并不是说女性主义的目标是给资本主义，也不是这个建议在看电影的行为，女性消费的一部分的任何权力，但它可以看成是对主流文化的一部分接受，当代社会是愿意看到测量的独立和自由的渴望在其屏幕上的女主人公的女权运动。
The problem with many studies on the representation of women in film is that the text based film studies analyses tend to overlook the social issues, whilst the more sociological approach tends to stray from a consideration of the films. Many essays are too eager to consider Thelma and Louise as a sociological text. Kerry Braye, in Women and the Media, states that the conclusion of the film “suggests a hostility to women in that the only form of self-determination it proposes is suicidal”. But this is to overlook the nature of the text. The film is not an essay on gender roles or chauvinism, but rather a big budget thriller which uses a consideration of female empowerment and gender politics as the fulcrum for its story, a tall tale, an all action road movie. The climax of the film does not conclude that self-determination for women is futile, but that it was the only possible conclusion to Thelma and Louise’s story, and it is the positioning of a thriller based on oppressed women taking control in the mainstream cinema market which is of importance.Of course this is not to say that mainstream cinema cannot have social impact, but that the crux of the matter lies not in what the film might offer by way of social reinvention – indeed the film was made thirty years too late for that – but in the movement of women “independently doing things they were not supposed to do, and celebrating women's bonding” into mainstream big budget cinema. Far from being a marginal call for radicalism, Thelma and Louise represents the transition of the independent and empowered female into mainstream acceptance, becoming a huge target market ripe for commercial plundering. Of course this is not to state that the goal of feminism is to feed capitalism, and neither is this to suggest any power on the part of the female consumer in the act of watching the film, but it can be seen to represent an acceptance on the part of mainstream popular culture that contemporary society was ready to see a measure of the independence and freedom craved by the feminist movement in its on-screen heroines.