Dara K. Marzipan’s review published on Letterboxd:
Whatever else Deckard may be, he is composed of the twinned snakes of domestic abuse and state violence, sexually assaulting Rachel in his apartment after murdering Zhora. It almost doesn't matter if Deckard is synthetic or not, because either way his algorithms of being are about centering himself as the depressive, moody protagonist who 'reluctantly' doles out the dehumanizing violence of the state in both his personal and professional spheres.
"I thought you were supposed to be good. Aren't you the 'Good Man'?" Roy asks him, and rightly so.
Rachel, who is full of wit and soul prior to the sexual assault, steps into the role of emotionless automaton only after Deckard, the only person she trusted, has objectified and dehumanized her. When she leaves with Deckard, she leaves as the abusee in a toxic power dynamic.
"Rachel? Rachel? Do you love me? Do you trust me?" Deckard moans, like a child on the verge of tears. "I love you. I trust you," Rachel replies, flat and affectless.
"It's a shame she won't live," says Gaff. It's only in the surface sense that he's referring to her shortened lifespan. Rachel won't live because this world won't let her — because there is always a Tyrell or a Deckard there, a frail man who needs her under his thumb.