Movies

Dying for Sex Is an Audaciously Raunchy Celebration of Life in the Face of Certain Death

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Initially, Molly, the main character from the FX dramedy titled “Dying for Sex“, reacts to being diagnosed with an incurable cancer by swiftly heading to the local convenience store to buy a green plastic two-liter bottle of generic diet soda. Following that, she takes a puff from a menthol cigarette. Meanwhile, her husband Steve, who assisted Molly during her prior battle with breast cancer some years back, appears dumbfounded in their marriage therapist’s office across the street. The argument between them had been about Molly’s yearning for intimacy and Steve’s reluctance to physically connect with her, when the devastating news from Molly’s oncologist reached them.

In this portrayal, Molly, skillfully played by Michelle Williams, deviates significantly from the typical Hollywood stereotype of a young, beautiful woman succumbing to cancer. Unlike characters such as Ali MacGraw in “Love Story” or Florence Pugh in “We Live in Time,” Molly is not a tragic figure for a devoted man to discover life’s true priorities. Instead, her story seldom evokes a sense of tragedy. Rather, it serves as a raw, candid, and even hilarious rebuttal to the idealized patient narrative—a testament to life that asserts that there’s no ‘right’ or ‘wrong’ way to confront the inevitable death that awaits us all.

The title “Dying for Sex” suggests a sensationalistic reality TV show like “Sex Sent Me to the ER,” however, it derives from an acclaimed podcast of the same name that Molly Kochan and her friend Nikki Boyer recorded. Molly, who was diagnosed with Stage IV, chose an unconventional path when she left her husband, who treated her more as a patient than a lover, to embark on a sexual journey. By the time of her death in 2019, Molly had experienced her desires with a multitude of partners, far exceeding what many people might encounter in multiple lifetimes.

In the well-acted series, Molly attempts, albeit briefly, to continue a relationship with Steve (played by Jay Duplass, who displays both concern and condescension). However, her decision to live autonomously becomes clear when he breaks down in tears during an intimate moment. Consequently, she decides to leave and enlists Nikki (Jenny Slate), a theater actress finding stability with a kind-hearted single father (Kelvin Yu), to take care of her. Molly expresses her deep longing for Nikki, saying “I want to die with you,” a sentiment that significantly affects Nikki’s life. Despite knowing the impact, she loves Molly too deeply to refuse.

After realizing she’s spent most of her 40-odd years on Earth without fulfillment, Molly needs to determine how to utilize her newfound liberty. A breakthrough occurs during a meeting with Sonya (Esco Jouléy), a hip and youthful palliative care social worker. “Everyone should have a bucket list,” Sonya suggests. Caught off guard, Molly confesses, “I’ve never even had an intimate experience with another person, and now I’m going to die.” Thus, the creation of her bucket list commences.

As my trusted companions Nikki and Sonya by my side, I, the movie critic, embarked on a journey of self-discovery through hookups. My newfound taste for dominance led me to an enlightening experience with an accomplished mentor. However, I wasn’t searching for romantic love; it unexpectedly found me in the form of my neighbor across the hall – none other than the charmingly messy elevator-eater, affectionately known as Neighbor Guy (the captivating Rob Delaney). His mischievous grin grew each time I reprimanded him for his elevator dining habits.

Co-creators Kim Rosenstock, known for shows like “Only Murders in the Building” and “GLOW,” along with Elizabeth Meriwether from “The Dropout,” who previously collaborated on “New Girl,” have a history of seamlessly combining different tones and larger-than-life characters. Their work often portrays life’s absurdities in a relatable, honest manner, rather than forced or artificial. In this new series, they are navigating their most delicate tightrope act yet.

The show finds a unique balance between scenes dealing with serious topics like Molly’s strained relationship with her mother, Gail (played by Sissy Spacek), who was once an abuser when Molly was a child, and more humorous moments such as Molly’s overly enthusiastic, consensual attempt to kick the Neighbor Guy in the groin, which results in a hospital visit. Viewers who may have never considered the potential toxicity of post-chemo urine will receive an unexpected, graphic education on the subject.

The show, in an attempt to conform to Hollywood standards, portrays its terminally ill character as excessively attractive even during her final days at hospice. Her interactions with the healthcare system seem unrealistic, suggesting a lack of financial constraints. The doctor (David Rasche) is brusque, providing an opportunity for Molly to assert her dominant personality rather than indicating excessive workload. Furthermore, Sonya doesn’t hesitate to take Molly to a sex party, which adds an element of fantasy to the narrative.

It’s important not to criticize the show for not focusing on the bureaucratic challenges of being gravely ill in America, as it instead masterfully tackles and subverts common stereotypes in pop culture, particularly in depicting unconventional experiences like BDSM and active dying. The dialogue is engagingly sharp, whether humorously expressing Molly’s desire to be a “fully realized woman who has sex while wearing jewelry” or painfully conveying the tension between Gail and Molly. Nikki’s character provides a vital counterpoint to Molly, suggesting the struggle she faces in being the supportive friend to someone terminally ill. In treating the love between these two unique women with equal emotional depth as any tragic romance, Dying for Sex emerges as an exceptional cancer story that embraces life’s complexities while not shying away from death.

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2025-03-27 20:06

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