The parody video appeals to the rhetorical devices of the audience through the use of ethos, logos, and pathos. “In order to be effective”, according to Zemliansky, “Every author must reach the target audience at three levels: logical, emotional, and ethical” (213). The video plays off the emotions of women by allowing them to find amusement in the content of the video. By portraying men as the women’s “puppets”, dressing them up like women, and having them do whatever they’re told to do are all ways of achieving that particular emotional appeal. It also allows them to release their anger on the subject of objectification in a harmless form by exposing men, much like the way women were exposed in Thicke’s original video. The parody is used to provoke women to hold themselves to a higher standard and to refuse to allow men to degrade them despite their bodies and sexual appeal. The parody could also trigger a nostalgic set of emotions originated from a traumatic past experience such as rape, sexual assault, or any other degrading by the male sex, and provide her with positive reinforcement about moving past the situation and becoming a stronger woman. The video also takes on a logical appeal by allowing the audience to think rationally about the difference in the two music videos.  It logically appears that the women are the dominant figure in the parody video, unlike in the original which is the “norm” in American society. It forces the audience to ponder the idea of becoming more empowering as an individual, despite this being a “man’s world” and find her sense of “women’s intuition”. Finally, the video makes an ethical appeal by making the women seem more dominant than the males in the parody. By doing so, Carousel proves her credibility because she makes the men appear very feminine and weak to the audience, based primarily off their outer appearance and body language. The men also don’t speak or sing throughout the duration of the video, which can be observed as another sign of weakness.