Entertainment
The sex scene isn’t disappearing – it’s simply shifting from clichéd fantasy to messy reality
Maria San Filippo, Emerson College
Writing during what seems – in retrospect – to have been the wildly carefree summer of 2019, Washington Post film critic Ann Hornaday lamented that “sex is disappearing from the big screen.”
Fast forward two years, and, improbably enough, it’s conservative New York Times columnist Ross Douthat who’s pleading for “sex and romance [to] make a comeback at the movies.”
Both commentators blame this sexual stagnation on what they see as an abstinence-only policy in Hollywood, fueled by the Weinstein effect on one hand and family-friendly franchise fever on the other, where libidinal energy has been sublimated into buff-yet-sexless superheroes. To Hornaday and Douthat, sexual prudence seems to be tipping into prudery.
Hornaday and Douthat are correct that the traditional sex scene – a tasteful “pas de deux” between glossy stars, typically straight and vanilla, presented as a spectacle for our visual pleasure – has become increasingly rare.
But after devoting hours to watching sex scenes as research for my book “Provocauteurs and Provocations: Selling Sex in 21st Century Media,” I can reassure the randy and romantic among us that sex onscreen isn’t disappearing. Far from it.
Instead, over the last decade, it’s simply changed – and mostly for the better.
What’s hot: honesty and humor
Today’s sex scenes are first and foremost fun – as ideally sex itself should be – and emphasize the truthful over the tasteful.
In some cases, you’ll see likable, relatable characters revealing perverse predilections, such as the all-consuming hots that Phoebe Waller-Bridge’s protagonist in the TV series “Fleabag” has for a clergyman she dubs “Hot Priest.” Or when Kathryn Hahn’s character in Joey Soloway’s directorial debut “Afternoon Delight” drunkenly confesses to her gal pals that she’s “masturbated to that scene for two decades.” The scene she’s describing? The gang rape from “The Accused.” What’s more, her friends agree it’s hot.
Other moments make for embarrassing yet endearing waypoints en route to real intimacy. In Desiree Akhavan’s “The Bisexual,” a bout of postcoital queefing cracks up a couple and dispels the awkwardness of their morning after. And in a carnal scene from Michaela Coel’s “I May Destroy You,” neither sanitary products nor a blood clot manages to kill the moment. It’s the latest woman-created show – joining “Girls”, “GLOW” and “I Love Dick” – to shatter the taboo against mentioning, much less showing, menstruation during sex.
Other filmmakers bulldoze the boundaries of which bodies the culture industry deems fit to depict. For this we have “Girls” creator Lena Dunham largely to thank; the actress famously insisted on baring all in the face of brutal fat shaming and portraying her show’s privileged protagonists’ sexual escapades in all their cringe-inducing candor.
Alongside defying the opposition and outrage meted out to artworks or artists deemed obscene or unattractive, some filmmakers have sought to redefine the sex scene altogether.
In my view, some of the most arousing sex scenes put to celluloid are ones where clothing stays put and verbal foreplay takes center stage. In “Laurel Canyon” and “Take This Waltz” – again, works created by women – would-be philanderers engage in dirty talk as a means to sublimate their desire, but in such smoldering terms as to arouse the viewer. https://www.youtube.com/embed/C_8fbYOtG90?wmode=transparent&start=0 Sexually charged dialogue permeates ‘Take This Waltz.’
Romcom’s morning after
While not clinching my case that the sex scene is flourishing, these films repudiate Douthat’s assertion that there’s “a cultural void where romance used to be.”
It’s all part of redefining what romance looks like on screen.
And I don’t mean merely making the couplings and casting more inclusive: “Crazy Rich Asians” relies on the same Cinderella-style premise as “Pretty Woman.” I’m talking about the sunsets-and-soulmates wish fulfillment fantasies that, for decades, served as the template for most romantic comedies: boy meets girl, boy loses girl, boy gets girl.
As my new edited collection “After ‘Happily Ever After’: Romantic Comedy in the Post-Romantic Age” points out, recent films like “Appropriate Behavior,” “Before Midnight,” “Medicine for Melancholy” and the Netflix series “Love” rejuvenate the romantic comedy genre by actually addressing the realities and complexities of intimacy.
In these works, issues of coming out, growing old, being Black and staying sober are what drive the plots – and true love doesn’t conquer all.
Queering the scene
Regrettably, outside of art cinema, queer male characters rarely get naked or have sex onscreen. But given that straight sex on screen got a huge head start on queer sex, it’s no surprise that same-sex couples aren’t getting it on with gusto at the multiplex.
Queer male intimacy more often finds mainstream success by inviting viewers to relish unrequited romance in films like “Weekend,” “Moonlight” and “God’s Own Country.” Even films focused on queer women are getting in on the swoon-worthiness of not getting off, a phenomenon mocked by Saturday Night Live’s recent parody “Lesbian Period Drama.”
In some cases, queer filmmakers have stretched the boundaries of the sex scene by exchanging explicit sex acts for erotic insinuation, as with the suggestive shots of one woman’s hand penetrating the other’s armpit in Céline Sciamma’s “Portrait of a Lady on Fire,” or the infamous scene of Armie Hammer’s character slurping cum from a hollowed-out peach in “Call Me by Your Name.”
Safer is … sexier?
An outgrowth of the #MeToo era is the on-set intimacy coordinator – a professional trained to ensure that safe practices are in place when shooting sex scenes. In many ways, their presence is long overdue in an on-set environment where nudity quotas were, for a time, the norm.
Rather than delivering a cold shower for spectators, these more ethically and safely executed scenes are arguably sexier – perhaps in part because the performers feel safer and less inhibited, and perhaps because viewers might feel less morally compromised while watching them.
As in real life, consent is what makes scenes of sexual degradation and endangerment hot. A film like Jane Campion’s “In the Cut,” in which Meg Ryan’s character is clearly heard consenting to having rough sex with Mark Ruffalo’s character, is exemplary in this regard. So, too, are the intimacy-coordinated sex scenes in last year’s “Normal People,” along with those in “Duck Butter,” which even gave the performers the opportunity to co-script the scenes themselves.
[Over 106,000 readers rely on The Conversation’s newsletter to understand the world. Sign up today.]
Though I find that Hornaday’s and Douthat’s laments leave out a lot, I share their view that preaching abstinence takes a blinkered approach to art, as to life. The repercussions of rendering sex invisible – unseen and unacknowledged – aren’t just aesthetic. In times of political division and social unrest, sexual freedoms and sexual minorities are more strictly regulated and persecuted.
This threat of silencing makes it all the more important that filmmakers continue screening and – as radical sex theorist Gayle Rubin titled her landmark 1984 essay – “thinking sex.”
So far, filmmakers are meeting the challenge.
Maria San Filippo, Associate Professor of Visual and Media Arts, Emerson College
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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News
CES 2026: The Exhibitors and Moments That Stood Out for Entertainment + Tech Fans
CES 2026 delivered big entertainment-tech moments—from Sony Honda’s AFEELA to streaming, smart glasses, AI PCs, and robots that stole the show.
CES 2026 (Jan. 6–9 in Las Vegas) didn’t feel like a “future tech” show as much as a “right now” show. The big shift: AI wasn’t treated like a standalone product category anymore. It was the invisible layer powering everything from streaming discovery to robots that can actually do work.
For STM Daily News readers who live in the overlap of Entertainment and Tech, here are the exhibitors and trends that stood out most—plus why they matter beyond the show floor.
1) Sony Honda Mobility (AFEELA): The car as a rolling entertainment platform
Sony Honda Mobility’s AFEELA presence reinforced a direction CES keeps leaning into: the next generation of vehicles is competing as much on software and in-cabin experience as it is on horsepower.
What made it stand out:
- AFEELA represents the “car as a connected device” idea taken seriously—where the cabin becomes a screen-first, service-driven environment.
- It’s a clean example of how mobility and entertainment are merging: navigation, safety, personalization, and media all living in one interface.
2) Netflix + Amazon Prime Video + Roku + Xumo: Streaming is evolving into ecosystems
CES 2026’s Content & Entertainment story wasn’t about “who has the most subscribers.” It was about streaming as an ecosystem: bundling, ad-supported growth, and smarter discovery.
What made it stand out:
- CES highlighted how streaming platforms are pushing beyond simple libraries into bundles, premium originals, and integrated experiences.
- FAST (free ad-supported streaming TV) continues to gain traction, and device/platform players are positioning themselves as the front door.
3) Dolby: The quiet power behind the best-looking, best-sounding experiences
Dolby isn’t always the flashiest booth, but it consistently shows up as the tech that makes everything else feel “premium.”
What made it stand out:
- In a year where screens, XR, and immersive venues are everywhere, audio and imaging standards are the difference between “cool demo” and “wow.”
- Dolby’s relevance keeps growing as entertainment moves across phones, living rooms, cars, and wearables.
4) Meta + XREAL: Smart glasses keep inching toward mainstream
Wearables at CES 2026 weren’t just about steps and sleep. The momentum was in smart glasses and AR—especially as generative AI voice interfaces make hands-free use feel more natural.
What made it stand out:
- CES noted smart/AR glasses evolving with features like real-time translation, recording, and AI voice interfaces.
- For entertainment fans, this is where “watching” and “doing” start to blend—live overlays, creator tools, and new ways to capture experiences.
5) Samsung + LG + TCL: Screens are still the show’s main stage
Even in an AI-everywhere year, CES still belongs to display tech. Big brands kept proving that TVs aren’t just TVs—they’re hubs for gaming, streaming, smart home control, and ambient experiences.
What made it stand out:
- Display leaders continue to set the tone for how entertainment is consumed at home.
- The conversation is shifting from specs to experience: personalization, AI-powered recommendations, and multi-device continuity.
6) NVIDIA + AMD + Lenovo: The “AI PC” era is no longer theoretical
CES 2026 made it clear that the next wave of consumer computing is built around on-device AI. That matters for creators, editors, and anyone who lives in content.
What made it stand out:
- CES highlighted AI’s move from “digital transformation” to “intelligent transformation,” including edge/enterprise and physical AI in robotics.
- AMD’s CES keynote emphasized AI across devices from PCs to data centers, underscoring how quickly this is becoming standard.
7) Unitree + Richtech Robotics + Hyundai: Robots were the surprise crowd-pleaser
If CES 2026 had a “you had to see it” category, it was robotics. Not just novelty bots—machines built for real environments.
What made it stand out:
- CES framed robotics as “physical AI,” where generative AI and simulation training help robots learn faster than traditional programming.
- Humanoid robots, in particular, are moving from single-task demos toward more collaborative assistant roles.
The big takeaway for STM Daily News readers
CES 2026 wasn’t about one killer gadget. It was about convergence:
- Entertainment is becoming more interactive, more personalized, and more portable.
- Cars are becoming screens.
- Wearables are becoming interfaces.
- Robots are becoming the next “device category” people actually want to watch.
And underneath it all: AI is becoming less of a headline and more of the operating system for modern life.
Here’s a list of what stood out to us at CES 2026:
- Sony Honda Mobility (AFEELA): The car as a rolling entertainment platform
- Netflix + Amazon Prime Video + Roku + Xumo: Streaming is evolving into ecosystems
- Dolby: The quiet power behind the best-looking, best-sounding experiences
- Meta + XREAL: Smart glasses keep inching toward mainstream
- Samsung + LG + TCL: Screens are still the show’s main stage
- NVIDIA + AMD + Lenovo: The “AI PC” era is no longer theoretical
- Unitree + Richtech Robotics + Hyundai: Robots were the surprise crowd-pleaser
Sources
- CES press release recap and exhibitor/topic highlights (Jan. 9, 2026): https://www.ces.tech/press-releases/ces-2026-the-future-is-here
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actors & performers
T.K. Carter, The Thing and Punky Brewster Actor, Dies at 69
Actor T.K. Carter, known for The Thing and Punky Brewster, has died at age 69. A look at his career and lasting legacy in film and television.
T.K. Carter in Punky Brewster (1984) Image: IMDB
Veteran actor T.K. Carter, best known for his roles in The Thing and the popular 1980s television series Punky Brewster, has died at the age of 69.
Authorities confirmed Carter was found unresponsive at his home in Duarte, California. No foul play is suspected, and an official cause of death has not yet been released.
A Career Spanning Decades
Born Thomas Kent Carter, T.K. Carter built a career in film and television that spanned more than four decades. He became a cult favorite portraying Nauls in John Carpenter’s 1982 horror classic The Thing, a film that continues to influence the genre today.
Television audiences widely remember Carter for his role as Mike Fulton on Punky Brewster, where his comedic timing and grounded performances helped make the show a lasting favorite of the era.
Film and Television Legacy
In addition to his best-known roles, Carter appeared in films such as Runaway Train, Ski Patrol, and Space Jam. His television work included guest appearances on a wide range of series throughout the 1980s, 1990s, and beyond.
Known within the industry as a reliable and versatile performer, Carter often brought authenticity and warmth to supporting roles that left a lasting impression, even in brief appearances.
Remembering T.K. Carter
As news of his passing spreads, fans and colleagues alike are reflecting on T.K. Carter’s contributions to film and television. While he may not have always been the leading name on the marquee, his work helped shape stories that continue to be watched and appreciated by new generations.
T.K. Carter is remembered for his enduring performances, professional dedication, and the quiet but meaningful legacy he leaves behind.
Related Coverage
- Los Angeles Times: Actor T.K. Carter Dies at 69
- People Magazine: T.K. Carter, ‘The Thing’ and ‘Punky Brewster’ Actor, Dead at 69
- Entertainment Weekly: T.K. Carter, ‘Punky Brewster’ and ‘The Thing’ Actor, Dies
- ABC News: Veteran Actor T.K. Carter Dies at 69
Stay with STM Daily News for updates to this developing story and more independent coverage of entertainment, history, and culture. Visit www.stmdailynews.com for the latest.
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actors & performers
Pat Finn: Remembering the Familiar Face Who Made Us Laugh
Pat Finn, the familiar face from The Middle, Seinfeld, Friends, and Toyota commercials, has passed away at 60. We remember his career, legacy, and lasting impact.
Pat Finn: Remembering the Familiar Face Who Made Us Laugh
Many people may not have known his name right away, but they knew his face. Pat Finn was one of those rare actors who quietly became part of America’s shared television experience—popping up in beloved sitcoms, memorable commercials, and scene-stealing guest roles for more than three decades.
In December 2025, Finn passed away at the age of 60 after a battle with bladder cancer, leaving behind a body of work that continues to resonate with audiences who grew up watching network television’s golden era of sitcoms.
A Career Built on Consistency and Craft
Pat Finn wasn’t a headline-chasing star. Instead, he was the definition of a working actor—someone whose talent and reliability kept him in steady demand across generations of television.
He appeared in some of the most recognizable shows in TV history, including Seinfeld, Friends, Murphy Brown, 3rd Rock from the Sun, That ’70s Show, The King of Queens, Curb Your Enthusiasm, and The Goldbergs. To many fans, he was especially memorable as Bill Norwood, the occasionally awkward and often hilarious boss on ABC’s long-running sitcom The Middle.
These weren’t flashy roles—but they were essential ones. Finn had a gift for grounding comedy in reality, playing characters who felt like people you actually knew: coworkers, neighbors, or that guy you’d see at the store every week.
From Chicago Improv to National Screens
Born in Evanston, Illinois, Pat Finn came out of Chicago’s legendary improv scene, training and performing with The Second City and the iO Theater. That background gave him sharp comedic instincts and impeccable timing—skills that translated effortlessly to television.
He was also a contemporary and friend of Chris Farley, and like many performers from that era, Finn carried the Chicago improv tradition of generosity, collaboration, and humility throughout his career.
The Toyota Commercials—and Being “That Guy”
In later years, a new generation came to recognize Finn from Toyota commercials, particularly regional dealership ads. Once again, he became “that guy” everyone recognized but couldn’t quite place—a testament to just how deeply embedded he was in pop culture.
Commercial work is often overlooked, but Finn approached it with the same professionalism and charm as his television roles, making even short appearances feel authentic and memorable.
A Teacher, Mentor, and Family Man
Beyond acting, Pat Finn was also a teacher and mentor, sharing his experience with aspiring performers and encouraging young actors to respect the craft rather than chase fame.
He was married to his wife, Donna, for more than three decades, and together they raised three children. In tributes following his passing, family and colleagues alike emphasized not just his talent, but his kindness, humor, and generosity.
A Quiet Legacy That Lasts
Pat Finn’s passing is a reminder that television history isn’t shaped only by superstars. It’s built by dependable, talented performers who show up, deliver, and elevate every project they touch.
If you’ve ever laughed at a scene and later realized, “Hey, I’ve seen that guy before,” there’s a good chance it was Pat Finn.
His work lives on—in reruns, streaming libraries, commercials, and the memories of audiences who didn’t always know his name, but never forgot his presence.
Rest in peace, Pat Finn. And thank you for the laughs.
Related Coverage
- People.com — Pat Finn, ‘The Middle’ and ‘Friends’ Actor, Dies at 60
- TVLine — Pat Finn Dead: The Middle, Seinfeld, Friends Actor Remembered
- Entertainment Weekly — Pat Finn, Veteran TV Character Actor, Dead at 60
- Variety — Pat Finn, Second City Alum and TV Staple, Dies at 60
- Wikipedia — Pat Finn (Actor Biography & Filmography
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