It is an EDM track containing elements of industrial, contemporary R&B, and house music whose lyrics address a number of subjects like sexual dominance, submission, and gender roles.

The video featured reality TV show stars like The Real Housewives of Beverly Hills, and works of artist Nathan Sawaya and Minecraft YouTuber SkyDoesMinecraft.

at her seven-day concert residency at Roseland Ballroom in March 2014 and on her ArtRave: The Artpop Ball tour; in both places she emulated the choreography from the music video on stage, and received a positive critical response.

So wearing make-up, smelling delicious and having suckable, kissable, edible things between your limbs is something I find strengthening because I know that when I pick the right guy, I can let him have it.

[6] Talking to Sirius XM Radio in December 2013, where she gave an in-depth analysis of each song from the album, Gaga further expanded on the concept of new-wave feminism: "The record's all about being comfortable underneath, because you are strong enough to know that you don't have to be on top to know you're worth it," she concluded.

Gaga's idea of recording the songs with Zedd was to not limit themselves with the intention of creating a staple radio hit, instead be creative in whichever way they wanted.

[12][13][14] Jason Lipshutz of Billboard described the track as a "shuddering dance siren that makes the distinction between gender equality and willful sexual submission".

[16] Its composition is reminiscent of the songs on Gaga's first album, The Fame (2008), with MTV News' John Walker noticing a number of topics being addressed by the lyrics, including sexual preferences, dominance and submission and gender roles.

[18] The song opens with Gaga playing the role of a hostess, which Maura Johnston of Spin found similar to the 1993 erotic album, Cyborgasm.

Positive comment came from Lipshutz, who commended Zedd's production of the song, noticing that it complimented Gaga's vocals and the hook was relatable, making "G.U.Y."

[21] Andy Gill of The Independent felt that Gaga's "robotic" vocal delivery in the song made the theme of sexual attraction "seem grimly denatured".

[12] Harper's Bazaar magazine's Justin Miller shared this opinion, and believed that both the dance music composition and the lyrics catered most to the Venus inspiration behind the album.

[31] Brad Wheeler from The Globe and Mail noted the erotic elements associated with the track, jokingly adding that "one imagines Gaga's choreographer is busy at work on the song's live erotica possibilities as we speak.

[37] Allison Stewart from The Washington Post criticized the song's lyrics for including "role playing, bad puns, a killer hook".

[51] Following the release of Artpop, the song debuted and reached a peak of number 42 on the Gaon Music Chart of South Korea, selling 3,362 copies.

[53] The release of the video also helped Gaga re-enter the Social 50 chart of Billboard at number 26, with 86% increase in views on her Vevo account, 87% rise in mentions on Twitter, and an 84% gain in conversation on Facebook.

[60] Among the accessories shown, the wings worn in the video were made by Jim Henson Studios and her own creative team, Haus of Gaga, created the arrows.

Gaga told Access Hollywood about the shoot at Hearst Castle and the main idea behind the video: "It was a great experience writing the treatment working with everyone and I was like, 'Don't touch anything, and if you knock over a sculpture I'm going to pass out!'.

The intention of the video was to create something that was a true sort of road map of my journey, being an artist, a pop singer, a creative person.....

It's interesting because in this video the fashion and the psychotic sort of whimsy is all happening around me and it's me almost like Alice in Wonderland going through my own rabbit hole in my brain and re-experiencing the past year of my life.

They mutually agreed on the idea of making art "accessible" and decided on the different sculptures to be created, including a duplicate of Yellow, without the head.

The homicide scenes showed designs by Helen Yarmak, lace bodysuits by Somarta and Aturo Rios feathered headpiece.

With the help of YouTuber SkyDoesMinecraft (also making their cameo appearance), Michael Jackson, Mahatma Gandhi, John Lennon, and Jesus are resurrected using the game Minecraft and their blood is used to create clones known as "G.U.Y."

Gaga, Vanderpump, and Richards are seen coming out of a car in black outfits, shooting money cannons, and walking down the hallway to kill corporate executives to replace with G.U.Y.

Christina Lee from Idolator called it "extravagant" and found similarity to the release of Jackson's music video for "Remember the Time", with Gaga building up anticipation for "G.U.Y."

[72] Marissa G. Muller from MTV News commended the fashion, the choreography, the appearance of RHOBH in the video, and all who worked in it in the credits, saying "While it's a humbling move to put the spotlight on everyone else's contributions, it's also a reminder of how truly epic this production is.

He compared it with director Jean Cocteau's films and proposed different theories as to the plot of the video, including ode to old and new Hollywood and a satire of "corporate subservience".

[75] MuuMuse's Bradley Stern described the video as "an eye-popping 7-minute deep dive into astonishing new levels of self-importance and certifiable insanity."

[80] Negative reviews came from Slant Magazine's Sal Cinquemani, who found the plot to be "muddled", ultimately deducing that the final output was "unsexy" for a song talking about sexual submissiveness.

"[87] Conversely, Hilary Hughes from USA Today felt that the simplest moments of the performances were the ones featuring toned down versions of her singles like "Born This Way" and "Poker Face", rather than the "extravagant" choreography during "Bad Romance" and "G.U.Y.