“Minx,” a new 70s-era comedy from HBO Max, kicks off as a likable fantasy. In the show’s second half, the story comes apart, replaced by something sadder and more truthful.
, of course, but the show seems incurious about the limits of this assumption. As a result, its handling of actual sex can falter. At one point, Joyce, after lighting a candle and putting on some sultry music, masturbates with a vibrator for the first time. She’s looking at her own magazine’s centerfold, and, between the man’s outrageous muscles and the tastefully naughty mood, the moment feels like a parody of eroticism.
In “Minx,” Bambi dramatizes this paradox. With her Minnie Mouse squeak and platinum-streaked mane, she scans as a classic babe, but the show revels in subverting our expectations, displaying her many capabilities to comic, sometimes mystical effect. Bambi can break a man’s ribs and calm an angry mob with a glance; she is a resourceful colleague, a mesmerizing performer, and a generous friend. Yet in using Bambi to disable one stereotype, the series cements another.
Enter, however, the phase shift. For the first part of “Minx,” as characters write articles, design photo spreads, woo advertisers, and sweet-talk venders, the show has obvious reasons to suggest that pornifying, the show’s creators lean into disciplining Joyce, condemning her prudery, and positing a harmony, even when she can’t see it, between the feminism she supports and the venture that she’s leading. The effect is to reconcile the erotic with the political.
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