"Male Fantasy" is a song by American singer-songwriter Billie Eilish, included as the closing track on her second studio album Happier Than Ever (2021).

In the verses, the narrator attempts to watch pornography to distract herself from her problems, and she criticizes how its standards around beauty and sexuality negatively affect people.

[32][33] Afterwards, she uses the song's first verse to criticize how pornography affects youth and beauty standards,[32][34][35][36] and additionally utilizes the concept present honesty and facade in relationships.

[36] Pitchfork's Cat Zhang made a remark that "Male Fantasy" resembles the style of Phoebe Bridgers's Stranger in the Alps (2017);[22] whilst Konstantinos Pappis from Our Culture Mag said it is "the kind of plaintive acoustic song you could now imagine Clairo singing backing vocals on".

[14] Writing for MTV Australia, Jackson Langford commented the song is "melancholy and ethereal", describing its production as "muted", similar to the rest of the album.

[42][43] Derrick Rossignol of Uproxx said that "Male Fantasy" is one of the more "personal" moments on Happier Than Ever;[44] while Robin Murray from Clash described the song as a "subdued finale" with a "bravura lyrical performance (...) sharpened by the minimalist arrangement".

[35] Neil McCormick from The Daily Telegraph picked the same set of the songs, and opined that they are "drowsy ballads (...) counterbalanced with a fuck-you spikiness that ensures Eilish never comes across as a victim".

[45] Writing for Beats Per Minute, Tim Sentz commented that "Male Fantasy" is a "perfect example of how Eilish can be both naïve and wise beyond her years at once; something that is displayed repeatedly over the course of the album".

Club's Alex McLevy and Young Hollywood's Rebecca Breitfeller being fond of it; the former noted a "masterful closer", while the latter described it as a "beautiful song".

[24][50] The staff of Chorus.fm was divided on the placement of "Male Fantasy", with Garrett Lemons keen of it, whereas Aaron Mook and Adam Grundy felt like it was an "odd" choice to conclude the project.

[52] In NME's review of Happier Than Ever, El Hunt singled out "Male Fantasy" as a track that "wittily picks apart the stilted dialogue and near-instant orgasms of a certain type of pornography".

[19] Sophie Walker of the Forty-Five placed the song at the 21st position on her list of the singer's best-worst cuts, writing: "Picking apart the way she's both defiant against and yet entrapped by men and what they want, 'Male Fantasy' is the only moment Billie waves the white flag and learns to let go on Happier Than Ever.

[41] "Male Fantasy" appeared at number 26 of the list of Eilish's worst to best tracks published by Brodsky, where she praised the song, hence it proves that the artist can sing.

[65] The video was called "emotional" by Brenton Blanchet from Complex;[49] whilst in articles published on Entertainment Weekly, The Fader, and Uproxx, it was described as "gloomy".

[27][44][73] BroadwayWorld's Michael Major labelled the visual as "powerful";[74] whereas it was named "somber" by Mitchell Peters of Billboard and Web Desk from The News International.

[75] For Rolling Stone, Paul Larisha wrote "[Eilish's] wandering moves in tandem with the song's melodic progression, filling out a whole day inside with nothingness and melancholic lingering.

[42][80][81] The venue in which the performance took place was the Biltmore Hotel in Los Angeles, selected to reinforce the subtle Old Hollywood aesthetic that Eilish envisioned for Happier Than Ever.

[82] The arrangement was described as "haunting" and "acoustic" by NME's Daniel Peters;[79] whereas Rolling Stone's Emily Zemler and Hot Press' dubbed it as "intimate".

[77][81] Writing for Hypebeast, Brycen Saunders called the performance "inviting", further adding that Eilish's outfit is "casual" and that her voice is a "whisper cadence".

[80] Next month, the singer released her concert film entitled Happier Than Ever: A Love Letter to Los Angeles, which features a performance of the song.