Movies

‘Dying for Sex’ is this century’s kinky, horny ‘Love Story’

BBG News

The fresh FX television program “Dying for Sex” presents itself in multiple ways — a platform showcasing Michelle Williams’ exceptional talent and an impressive ensemble cast, a candid portrayal of sexual discovery, and a poignant reminder to embrace life fully as our time here on Earth is finite.

It could also be this century’s “Love Story.”

In 1970, Erich Segal’s movie about a young couple from different backgrounds who were tragically torn apart by illness made countless people cry in unison. Although some critics labeled it as overly dramatic, “Love Story” still stands (when adjusted for inflation), as one of the highest-grossing films ever made. It earned seven Oscar nominations (winning for its score) and sparked a catchphrase (“Love means never having to say you’re sorry”), while inspiring thousands of young women to learn piano so they could play the famous theme song and cry along with it.

Scenes depicting deathbeds have long been a staple in movies and TV shows, but following “Love Story,” stories about terminal illnesses gained prominence as a distinct cinematic genre. Titles such as “Bang the Drum Slowly,” “Brian’s Song,” “Something for Joey,” “Terms of Endearment,” “Beaches,” “Shadowlands,” “Stepmom,” “One True Thing,” “The Big C,” and “The Fault in Our Stars” are just a few examples from an extensive collection.

Now features “Dying for Sex,” a contemporary take inspired by a podcast, airing on streaming service Hulu (starting this Friday), that explores a deep dive into the world of BDSM.

It’s equally amusing, touching, profoundly human, and surprisingly enlightening at times. The relationship between sex and death is often a bitter-sweet duo.

It’s funny, heartbreaking, deeply moving, and occasionally mind-blowingly insightful. The connection between sex and death can be a bittersweet pairing.

According to the “Dying for Sex” podcast by Nikki Boyer, which features Molly Kochan (played by Michelle Williams), a woman battling cancer who openly discusses her sexual experiences before her passing in 2018, this series doesn’t shy away from its narrative. We first encounter Molly in a therapy session with her husband, Steve (Jay Duplass), as he attempts to explain their lack of intimacy. Despite her years-long struggle with breast cancer, Molly expresses a desire to reconnect physically, yet Steve remains hesitant.

During the meeting, Molly learns that her cancer has spread, meaning any additional treatment may only buy her limited time. Overwhelmed, she leaves the session and seeks refuge in a nearby convenience store. There, she calls her friend Nikki (Jenny Slate), leading to an unforgettable, humorous exchange about death on television that soon spirals into a heated argument between Nikki and the store’s owner. “She’s an actress,” Molly explains about Nikki, “Her feelings are always just beneath the surface.

In the face of such a grim outlook, Molly is resolute about making the most of the time left by pursuing activities that truly bring her joy. Unlike some who might choose to console their loved ones, arrange affairs, or embark on a series of final adventures, Molly’s desires lie elsewhere. She yearns for an intense, liberating sexual experience – one that includes reaching orgasm with another person, an experience she has yet to have.

Steve seems uninterested in intimacy; he’s preoccupied with regulating Molly’s sugar intake rather than helping her reach climax, instead suggesting it’s a symptom of unresolved childhood trauma – specifically, the abuse she suffered at the hands of her mother’s partner. While there may be some truth to his claims, it’s important to consider the context, Steve.

Motivated by an unexpectedly sex-positive discussion with palliative care social worker Sonya (Esco Jouléy), Molly decides to move in with Nikki, expressing her desire not to die with Steve but with Nikki instead. This decision marks the beginning of a sexual exploration, which after some initial missteps, reveals Molly’s affinity for dominant and submissive roles.

So not exactly “Beaches.” But, you know, sort of.

As a film enthusiast, I must clarify that “Dying for Sex,” written by Elizabeth Meriwether and Kim Rosenstock, certainly delves into the realm of intimacy and desire. Molly, with her pixie cut, overalls, and striped sweaters, is portrayed as a soft-spoken, ethereal dream girl who ignites passion in Williams through her raw, uninhibited longing. While her exploration of dominance and submission can be seen as symbolic representations of her struggle to assert control over her body amidst its deterioration, the show primarily focuses on showcasing various routes to consensual sexual satisfaction and enjoyment. Thankfully, it avoids delving too deeply into psychoanalysis, instead opting for a nonjudgmental approach that celebrates human connections and experiences.

Despite the fact that Molly’s aim of achieving mutual climax continues to evade her, and she grapples with the ghostly echoes of her childhood trauma, the individuals she encounters on her BDSM adventure are playful, compassionate, and frequently insightful. In an exceptional portrayal, Jouléy’s character Sonya serves as a nearly ethereal intermediary between Molly’s dual personas as a terminally ill patient and a sexual adventurer. To Molly and Nikki, Sonya says, “You young millennials are so melancholic. You believe that sex is merely penetration and climax.

Sissy Spacek plays Gail, Molly’s estranged mother. (Sarah Shatz / FX)

In the same vein as a captivated observer, I’d like to share that my next-door neighbor, Rob Delaney, and I have forged an unforeseen yet heartfelt bond.

Just as every heartfelt story about terminal illness, “Dying for Sex” is deeply rooted in love – not just self-love, but also the various forms it takes. Rob Delaney portrays a grumpy, untidy neighbor with an understated sexiness, who unintentionally introduces our protagonist, Molly, to the joys of dominance and submission. Their meetings foster an unexpected emotional bond between them. Additionally, Molly reconciles with her estranged mother, Gail (played powerfully by Sissy Spacek), and provides some resolution for Steve, further enriching the cast.

However, it can be said that the heartwarming tale of “Dying for Sex” revolves around Nikki and Molly. Modern drama and comedy have come to heavily rely on female friendships, but few portrayals are as powerfully illustrated as this one. Slate’s comedic prowess is well-known, but her ability to balance the external disarray of Nikki – with her bottomless purse, poor timekeeping skills, and ceaseless stream of wisecracking emotions – alongside the inner peace that signifies a deep comprehension is truly captivating.

Nikki is disorganized yet clear about necessary actions, as her dearest friend is nearing her final days on earth. Consequently, nothing is more important to Nikki than being by her side and offering support until the very end. Of course, this decision leads to consequences such as losing a play role, ending a relationship, and celebrating Hanukkah in an unconventional location like her apartment building’s hallway – but it doesn’t matter. She will have no regrets, and under these circumstances, that is the best she can achieve.

Are you crying yet? You will be.

The phrase “Dying for Sex” can appear overly idealized at times, considering that neither Molly nor Nikki have jobs, yet there’s seemingly no financial stress. Additionally, Molly’s medical care is consistently excellent, provided by Sonya who was previously mentioned as an angel, and Steve experiences a harsh dismissal – caring for someone with cancer is known to be extremely challenging.

To be fair, there’s always room for analysis after the fact, but it’s hard to notice or care when you’re swept away by the captivating performances, the boldness of the scriptwriting, and the masterful revival of a beloved genre. As a fan, I can confidently say that this production left me in awe.

As “Love Story” proved all those years ago, we all need an excuse to sob in the dark together.

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2025-04-03 13:33

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