TV's Sex Season Offers Escapism Amid Bleak Times, Says Critic
In a cultural moment marked by political turmoil and global anxiety, television has embraced what critic Kat Brown describes as "sex season" – a welcome resurgence of joyful, consensual human connection on screen. From wet-shirted Austen adaptations to steamy period dramas, this trend offers audiences a much-needed escape from bleak realities.
A Personal Retreat to Romance
"I haven't felt as bleak as I have this past weekend for some time," Brown writes, referencing Donald Trump's apocalyptic Easter messages as evidence of how low the world has sunk. Her response was to turn to romance fiction and television, consuming Ali Hazelwood's neuroscientist-authored novel Mate, six episodes of BBC One's The Other Bennet Sister featuring two wet-shirted men, and continuing with Netflix's famously steamy Bridgerton.
The timing feels particularly apt with Disney+ announcing a third series of Rivals, based on Jilly Cooper's joyful book series, while the second series prepares to air next month. As Cooper's character Rupert Campbell-Black famously declares: "First of May, first of May, outdoor f***ing starts today."
Beyond Gratuitous Nudity
This television sex renaissance represents something distinct from the gratuitous nudity of Game of Thrones or the traumatic sexual violence prevalent in many ITV crime dramas. Instead, Brown argues, it focuses on "the fun and fruity thrills of connection" – joyful, enjoyable, and consensual encounters that provide emotional satisfaction rather than mere titillation.
"Sex is always heightened during wartime," Brown observes, citing historical accounts that show how mortality awareness intensifies the urge to live and feel. This psychological phenomenon may explain why audiences are increasingly drawn to what she terms "romantasy" – fantasy fiction with strong central romances – and shows like Canada's Heated Rivalry, which explores the passionate relationship between international hockey players.
The Desire for Competence and Connection
What unites these diverse offerings, according to Brown, is "a desire for competence and connection." When real-world leadership fails to inspire confidence, fiction provides couples who are both independently capable and deeply obsessed with one another. Even reality dating shows like Love on a Spectrum and Married at First Sight have become institutions not through manufactured drama but by exploring the genuine mystery of human chemistry.
Brown acknowledges the uncomfortable juxtaposition of discussing Trump alongside sexual themes, comparing his "singularly dreadful family" to the single-cell space algae reproduction depicted in the uplifting film Project Hail Mary. Yet she maintains that real human connection creates ripples that impact society positively, pointing to families protesting in the US and UK, and Boise, Idaho's creative resistance to anti-Pride flag legislation through rainbow-wrapped flagpoles.
Contrasting Visions of Humanity
The contrast becomes particularly stark when comparing political figures to moments like the Artemis II astronauts naming a lunar crater after Commander Reid's late wife. "This is humanity. This is understanding," Brown writes. "And this is what Trump and his ilk so lack."
As Brown concludes with the 1960s anti-war slogan "Make love, not war," she suggests that television's current embrace of joyful sexuality represents more than mere entertainment – it's a form of cultural resistance and emotional sustenance during challenging times. The message is clear: in a world dominated by what she calls "single-celled organisms or enabled warlords," human connection through art provides both rebellion and refuge.
