In December 2020, Netflix viewers experienced its first season Bridgerton with open arms and huge longing. A few waves of variation COVID-19 later, the recently released season 2 joins a chorus of other shows and movies that focus on the pleasurable freedom to do so – and the dangers of suppressing impulse. While the characters inside BridgertonTi West’s recent horror film Χand HBO Max’s gay pirate comedy Our flag means death vary in age, all indicating that there is a risk of thinking that there is an expiration date on sexual desire.
[Ed. note: This article contains spoilers for Bridgerton, X, and Our Flag Means Death.]
I get Bridgerton Season 2: When the elderly, well-to-do baroness Portia Federington ends up barren after the death of her husband, she waits to see which young man will take the title of “Lord Federington” and control the fate of her family. It turns out to be Lord Jack Federington, a distant relative he has never met, who (after a bit of malice on both sides) eventually turns out to be a clever lover. The two Featherington scams the whole yours to make money, but as their game draws to a close, Portia is in a seduction scam. Lord Jack chases after her widow’s condition, promising to marry her when they flee to the United States.
Although he finally gets out of his hands, Portia is considering his proposal. After all, in a season of deep pain that sexual urges can instill, Lady Featherington is no exception. The woman wants to lie down and almost escapes to America with a known scammer (and her daughter’s fiancé) to do so. The possible deception of all these does not matter much, at least for a second. Like the young adults who live BridgertonMany balls, Lady Federington wants to love and be loved, and since she lost her husband, she has not found a way to recognize that. Lord Jack may be the wrong way, but at least he still is one path.
Lady Featherington shares this longing ΧPearl’s rival, although they both channel frustration in different ways. Pearl is much older than Portia (perhaps in the late 1970s to mid-1950s) and lives on a 1970s farm just rented by a team hoping to make a “movie”. porn. But as Pearl watches her handsome young guests roam and get married, something lights up inside her. She does her best to get engaged to her husband as she used to when she was young, but she breaks up. (She has a heart condition and worries that sex will make it worse.) So she removes her frustration by killing one by one the porn production troupe.
Χ it certainly plays a role in the idea that antiquity, more than anything else, is scary and twisted. But Pearl’s sexual obsession allows the film to soften the trope into something more subtle. It is not that he wants youth as much as he wants to feel wanted and fulfilled, as porn actors describe themselves.
And while this porn group may include “old or new” in the declared list of people for whom free love is addressed, Χ seems to intend to pull back the public concern about the idea that someone at Pearl’s age may still need sexual fulfillment. As West constantly draws parallels between the terrific, physical charm of porn and horror – as in his seduction scene with Pearl talking excitedly about the Last Girl – the sex scene between Pearl and her husband seems to be intertwined. sides. In a film full of mourning and violent death, the sexual sequence between the two characters of about 70 caused the strongest nervous sigh from the audience in my theater. Yet Χ Requirements We face our own hassle of sex in the seventies: Most would not go far enough to take root for Pearl (though for you, if you do), but the film is adamant that its icy energy must go somewhere. And if the bloody climax of X proves anything, it is that the impact of sexual frustration certainly should not be ignored.
When this longing comes true, it can be liberating. In Our flag means Death, the incredible meeting of the novice pirate master Stede Bonnet and Edward “Captain Blackbeard” Teach triggers something between them that no one fully understands. At first (in a strange case of queer representation) they both just think they want what the other has. Stede wants to be respected and rule the seas like a pirate like Blackbeard. Teach, who asks Stede to call him Ed, wants a softer, more comfortable life.
Eventually, the two of them realize that they are in love. But as they struggle to understand their feelings and how to express them better, they feel vulnerable, even trapped by the contract. They both struggle all season to understand (for themselves and others) the drastic changes they crave – why should a romantic relationship be different? In the final moments of the season, Stede has settled his emotions, going out to sea to take advantage of his affections. But Ed, feeling despised and vulnerable after expressing his longing, returns to his old, violent ways.
Although the stories of Stede, Ed, Portia and Pearl have varying degrees of sensuality and take place at different times (1717, 1814 and 1979, respectively), they face the characters’ frustration at a stage in their lives where their gender lives. that they do not keep up with what is expected of them. This feeling is inherently destructive, leaving everyone feeling vulnerable and erupting in their own ways: violently, in the case of Ed and Pearl. or deciding that they can accept a half-life at Stede and Portia’s. And while the older sexuality on screen certainly is not young (any topic recently covered by the classic 2018 Book club speaks of something already swirling around zeal), as people shout to see more sex stories on screen, it is important to remember that lust is not just for young people.
After all, while you may disagree with the way they handle it – believe me, Pearl’s actions are extreme and misguided, but there is a lot of fan art that is blatantly sad about Ed’s choices here – these are our characters remind us that we deny the sensuality of age at our own risk. Eventually, we will all make it there.