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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Entertainment
Quincy Jones mastered the art of arrangement, transforming simple tunes into epic soundscapes
Jose Valentino Ruiz, University of Florida
On the sleeve notes of some of the most memorable and best-selling albums of all time, you’ll find the words “Produced and arranged by Quincy Jones.”
It was a hallmark of quality.
Jones, who died on Nov. 3, 2024, at the age of 91, transformed our understanding of musical arrangement. His work spanned decades and genres, from jazz and pop to hip-hop and film scoring. He worked with pop icons like Michael Jackson, Frank Sinatra, Ray Charles and Aretha Franklin, and also collaborated with lesser-known artists such as Lesley Gore and Tevin Campbell.
Each of his projects, collaborations and forays into new genres redefined what it meant to arrange music.
As a music business and entrepreneurship professor, I’ve studied and taught Jones’ techniques, which I hope can inspire the next generation of musicians.
A master musical architect
Musical arrangement might seem like an abstract concept.
Simply put, it’s the art of deciding how a song unfolds. While a composer writes the melody and harmony, an arranger shapes the experience, choosing which instruments play when, how textures build and where dynamics shift.
Arrangement transforms a song from notes on paper into a fully realized piece of art that resonates with listeners. In essence, an arranger acts as a musical architect, designing the structure of a song to tell a compelling story.
Jones brought a visionary approach to arranging. He wasn’t merely filling in the gaps around a melody with a drum beat here and a horn section there; he was crafting a musical narrative that gave each instrument a purpose, guiding listeners through an emotional journey.
From his early work in the 1950s and 1960s with jazz greats like Count Basie and R&B star Ray Charles, to his blockbuster productions with Michael Jackson, Jones saw arrangement as a tool to guide listeners from one musical moment to the next.
Elevating voices
His work on “Sinatra at the Sands” is but one example.
Jones created lush, energetic big-band arrangements that perfectly complemented Sinatra’s smooth, warm voice. The choice of brass swells and the dynamic shifts amplified Sinatra’s charisma, turning the album into a lively, almost-cinematic experience. Unlike many arrangements, which often stay in the background, Jones’ took center stage, blending harmoniously with Sinatra’s vocals while adding depth and excitement to the entire performance.
In Ray Charles’ “I Can’t Stop Loving You,” Jones used orchestral swells and background vocals to bring out the soul in Charles’ voice, creating a richly emotional experience for listeners. By intelligently pairing Charles’ gospel-tinged vocals with a polished, orchestral arrangement, Jones captured the tension between sorrow and resilience – a demonstration of his ability to communicate complex emotions through arrangement.
Turning songs into stories
Jones’ skill at using arrangement as a storytelling device was exemplified by his collaboration with Jackson.
Albums like “Thriller” and “Off the Wall” showcased Jones’ knack for inventively layering sounds. On “Thriller,” Jones combined electronic and acoustic elements to create a multidimensional soundscape that set a new standard for production.
His ability to incorporate textures, background vocals and unique instrument choices – such as horror actor Vincent Price’s iconic narration on the song “Thriller” – transformed pop music, setting the stage for future producers to experiment with storytelling in their own arrangements.
In Jackson’s “Bad,” Jones pushed the boundaries of genre by blending funk rhythms with pop structures, giving Jackson’s music a timeless appeal.
The title track’s arrangement has layers of rhythm and harmony that build a feeling of tension and power, enhancing Jackson’s message of confidence and defiance. Each instrument and background vocal in “Bad” serves a purpose, creating a sound that is bold, exciting and engaging.
Lessons for educators
For educators teaching music production and commercial music, Jones’ approach provides a gold mine of practical lessons.
First, his commitment to genre fusion teaches students the importance of versatility. Jones’ career demonstrates that blending jazz, pop, funk and even classical elements can create something innovative and accessible. Students can learn to break free from the constraints of single-genre production, seeing instead how various musical styles can work together to create fresh, engaging sounds.
Second, Jones’ emphasis on storytelling through arrangement offers students a framework for making music that resonates.
In my classes, I encourage students to ask themselves: How does each musical element support the emotional arc of the song? By studying Jones’ arrangements, students learn to think of themselves as storytellers, not just sound engineers. They can begin to see arrangement as an art form in itself – one that has the power to captivate audiences by drawing them into a musical journey.
Finally, Jones’ work shows the power of collaboration. His willingness to work across genres and with a variety of artists – each bringing unique perspectives – demonstrates the value of open-mindedness and adaptability.
His life’s work serves as a reminder that music is more than just sound; it’s an experience shaped by careful, intentional decisions, with every sound and silence in a piece of music serving a purpose. https://open.spotify.com/embed/playlist/2iOfY6JjW9bevw3dQLwq6a?utm_source=generator
Jose Valentino Ruiz, Associate Professsor of Music Business and Entrepreneurship, University of Florida
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Stephen Lind, University of Southern California
It’s hard to imagine a holiday season without “A Charlie Brown Christmas.” The 1965 broadcast has become a staple – etched into traditions across generations like decorating the tree or sipping hot cocoa.
But this beloved TV special almost didn’t make it to air. CBS executives thought the 25-minute program was too slow, too serious and too different from the upbeat spectacles they imagined audiences wanted. A cartoon about a depressed kid seeking psychiatric advice? No laugh track? Humble, lo-fi animation? And was that a Bible verse? It seemed destined to fail – if not scrapped outright.
And yet, against all the odds, it became a classic. The program turned “Peanuts” from a popular comic strip into a multimedia empire – not because it was flashy or followed the rules, but because it was sincere.
As a business professor who has studied the “Peanuts” franchise, I see “A Charlie Brown Christmas” as a fascinating historical moment. It’s the true story of an unassuming comic strip character who crossed over into television and managed to voice hefty, thought-provoking ideas – without getting booted off the air.
Call from the blue
The “Peanuts” special came together out of a last-minute scramble. Somewhat out of the blue, producer Lee Mendelson got a call from advertising agency McCann-Erickson: Coca-Cola wanted to sponsor an animated Christmas special.
Mendelson had previously failed to convince the agency to sponsor a “Peanuts” documentary. This time, though, he assured McCann-Erickson that the characters would be a perfect fit.
Mendelson called up “Peanuts” comic strip creator Charles “Sparky” Schulz and told him he had just sold “A Charlie Brown Christmas” – and they would have mere months to write, animate and bring the special to air.
Schulz, Mendelson and animator Bill Melendez worked fast to piece together a storyline. The cartoonist wanted to tell a story that cut through the glitz of holiday commercialism and brought the focus back to something deeper.
While Snoopy tries to win a Christmas lights contest, and Lucy names herself “Christmas queen” in the neighborhood play, a forlorn Charlie Brown searches for “the real meaning of Christmas.” He makes his way to the local lot of aluminum trees, a fad at the time. But he’s drawn to the one real tree – a humble, scraggly little thing – inspired by Hans Christian Andersen’s fairy tale “The Fir Tree.”
Jazz – and the Bible
Those plot points would likely delight the network, but other choices Schulz made were proving controversial.
The show would use real children’s voices instead of adult actors’, giving the characters an authentic, simple charm. And Schulz refused to add a laugh track, a standard in animated TV at the time. He wanted the sincerity of the story to stand on its own, without artificial prompts for laughter.
Meanwhile, Mendelson brought in jazz musician Vince Guaraldi to compose a sophisticated soundtrack. The music was unlike anything typically heard in animated programming, blending provocative depth with the innocence of childhood. https://open.spotify.com/embed/album/2XnNY3GEkbWHor5kyvXLu4?utm_source=generator
Most alarming to the executives was Schulz’s insistence on including the heart of the Nativity story in arguably the special’s most pivotal scene.
When Charlie Brown joyfully returns to his friends with the spindly little tree, the rest of the “Peanuts” gang ridicule his choice. “I guess I really don’t know what Christmas is all about,” the utterly defeated Charlie Brown sighs.
Gently but confidently, Linus assures him, “I can tell you what Christmas is all about.” Calling for “Lights, please,” he quietly walks to the center of the stage.
In the stillness, Linus recites the Gospel of Luke, Chapter 2, with its story of an angel appearing to trembling shepherds:
And the angel said unto them, Fear not: for, behold, I bring you tidings of great joy, which shall be to all people.
For unto you is born this day in the city of David a savior, which is Christ the Lord.
https://www.youtube.com/embed/KXmGLJ0S1Bs?wmode=transparent&start=0 Leave it to Linus to deliver the ‘true meaning’ of Christmas.
“Glory to God in the highest, and on earth peace, good will toward men,” he concludes, picking up his security blanket and walking into the wings. The rest of the gang soon concludes Charlie Brown’s scrawny tree isn’t so bad, after all – it just “needs a little love.”
When Schulz discussed this idea with Mendelson and Melendez, they were hesitant. For much of U.S. history, Protestant Christianity was the default in American culture, but in the years since World War II, society had grown somewhat more mindful of making room for Catholic and Jewish Americans. Unsure how to handle the shifting norms, many mainstream entertainment companies in the 1960s tended to avoid religious topics.
“The Bible thing scares us,” CBS executives said when they saw the proofs of the special. But there was simply no time to redo the entire dramatic arc of the special, and pulling it was not an option, given that advertisements had already run.
Fun and philosophy
Fortunately for the “Peanuts” franchise, when the special aired on Dec. 9, 1965, it was an instant success. Nearly half of American households tuned in, and the program won both an Emmy and a Peabody Award. Schulz had tapped into something audiences were craving: an honest, heartfelt message that cut through the commercialism.
Millions of viewers have continued to tune in to the show’s annual rebroadcast for over 50 years on CBS and then ABC – and now Apple TV+.
When I was researching my spiritual biography of Schulz, “A Charlie Brown Religion,” one of my favorite finds was a 1965 letter from a Florida viewer, Betty Knorr. She praised the show for stressing “the true meaning of the Christmas season” at a time when “the mention of God in general (is) being hush hushed.”
The magic of Schulz’s work, though, is that it resonates across demographics and ideologies. Some fans find comfort in the show’s gentle message of faith, while others embrace it in a purely secular way.
Simple but poignant, Schulz’s art and gentle humor can do two things. They can act as safe entry points for some pretty hefty thoughts – be they psychiatric, cultural or theological. Or “Peanuts” cartoons can simply be heartwarming, festive entertainment, if that’s what you want.
Today, both the “Peanuts” empire and the Christmas industry are thriving. Back in the 1960s, commercial realities almost derailed Schulz’s special, yet those same forces ultimately ensured its broadcast. The result is a lasting touchstone of innocence, hope and belief.
Stephen Lind, Associate Professor of Clinical Business Communication, University of Southern California
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Entertainment
Blurry, morphing and surreal – a new AI aesthetic is emerging in film
Emerging from generative AI’s quirky landscape, artists are creatively experimenting with new cinematic storytelling, blending surrealism and nostalgia, while transforming challenges into vibrant, imaginative experiences for all to enjoy.
Holly Willis, University of Southern California
Type text into AI image and video generators, and you’ll often see outputs of unusual, sometimes creepy, pictures.
In a way, this is a feature, not a bug, of generative AI. And artists are wielding this aesthetic to create a new storytelling art form.
The tools, such as Midjourney to generate images, Runway and Sora to produce videos, and Luma AI to create 3D objects, are relatively cheap or free to use. They allow filmmakers without access to major studio budgets or soundstages to make imaginative short films for the price of a monthly subscription.
I’ve studied these new works as the co-director of the AI for Media & Storytelling studio at the University of Southern California.
Surveying the increasingly captivating output of artists from around the world, I partnered with curators Jonathan Wells and Meg Grey Wells to produce the Flux Festival, a four-day showcase of experiments in AI filmmaking, in November 2024.
While this work remains dizzyingly eclectic in its stylistic diversity, I would argue that it offers traces of insight into our contemporary world. I’m reminded that in both literary and film studies, scholars believe that as cultures shift, so do the way we tell stories.
With this cultural connection in mind, I see five visual trends emerging in film.
1. Morphing, blurring imagery
In her “NanoFictions” series, the French artist Karoline Georges creates portraits of transformation. In one short, “The Beast,” a burly man mutates from a two-legged human into a hunched, skeletal cat, before morphing into a snarling wolf.
The metaphor – man is a monster – is clear. But what’s more compelling is the thrilling fluidity of transformation. There’s a giddy pleasure in seeing the figure’s seamless evolution that speaks to a very contemporary sensibility of shapeshifting across our many digital selves. https://www.youtube.com/embed/on1K_xXcjW0?wmode=transparent&start=0 Karoline Georges’ short film ‘The Beast.’
This sense of transformation continues in the use of blurry imagery that, in the hands of some artists, becomes an aesthetic feature rather than a vexing problem.
Theo Lindquist’s “Electronic Dance Experiment #3,” for example, begins as a series of rapid-fire shots showing flashes of nude bodies in a soft smear of pastel colors that pulse and throb. Gradually it becomes clear that this strange fluidity of flesh is a dance. But the abstraction in the blur offers its own unique pleasure; the image can be felt as much as it can be seen.
2. The surreal
Thousands of TikTok videos demonstrate how cringey AI images can get, but artists can wield that weirdness and craft it into something transformative. The Singaporean artist known as Niceaunties creates videos that feature older women and cats, riffing on the concept of the “auntie” from Southeast and East Asian cultures.
In one recent video, the aunties let loose clouds of powerful hairspray to hold up impossible towers of hair in a sequence that grows increasingly ridiculous. Even as they’re playful and poignant, the videos created by Niceaunties can pack a political punch. They comment on assumptions about gender and age, for example, while also tackling contemporary issues such as pollution.
On the darker side, in a music video titled “Forest Never Sleeps,” the artist known as Doopiidoo offers up hybrid octopus-women, guitar-playing rats, rooster-pigs and a wood-chopping ostrich-man. The visual chaos is a sweet match for the accompanying death metal music, with surrealism returning as a powerful form.
3. Dark tales
The often-eerie vibe of so much AI-generated imagery works well for chronicling contemporary ills, a fact that several filmmakers use to unexpected effect.
In “La Fenêtre,” Lucas Ortiz Estefanell of the AI agency SpecialGuestX pairs diverse image sequences of people and places with a contemplative voice-over to ponder ideas of reality, privacy and the lives of artificially generated people. At the same time, he wonders about the strong desire to create these synthetic worlds. “When I first watched this video,” recalls the narrator, “the meaning of the image ceased to make sense.”
In the music video titled “Closer,” based on a song by Iceboy Violet and nueen, filmmaker Mau Morgó captures the world-weary exhaustion of Gen Z through dozens of youthful characters slumbering, often under the green glow of video screens. The snapshot of a generation that has come of age in the era of social media and now artificial intelligence, pictured here with phones clutched close to their bodies as they murmur in their sleep, feels quietly wrenching.
4. Nostalgia
Sometimes filmmakers turn to AI to capture the past.
Rome-based filmmaker Andrea Ciulu uses AI to reimagine 1980s East Coast hip-hop culture in “On These Streets,” which depicts the city’s expanse and energy through breakdancing as kids run through alleys and then spin magically up into the air.
Ciulu says that he wanted to capture New York’s urban milieu, all of which he experienced at a distance, from Italy, as a kid. The video thus evokes a sense of nostalgia for a mythic time and place to create a memory that is also hallucinatory. https://www.youtube.com/embed/FKTyGJar-dE?wmode=transparent&start=0 Andrea Ciulu’s short film ‘On These Streets.’
Similarly, David Slade’s “Shadow Rabbit” borrows black-and-white imagery reminiscent of the 1950s to show small children discovering miniature animals crawling about on their hands. In just a few seconds, Slade depicts the enchanting imagination of children and links it to generated imagery, underscoring AI’s capacities for creating fanciful worlds.
5. New times, new spaces
In his video for the song “The Hardest Part” by Washed Out, filmmaker Paul Trillo creates an infinite zoom that follows a group of characters down the seemingly endless aisle of a school bus, through the high school cafeteria and out onto the highway at night. The video perfectly captures the zoominess of time and the collapse of space for someone young and in love haplessly careening through the world.
The freewheeling camera also characterizes the work of Montreal-based duo Vallée Duhamel, whose music video “The Pulse Within” spins and twirls, careening up and around characters who are cut loose from the laws of gravity.
In both music videos, viewers experience time and space as a dazzling, topsy-turvy vortex where the rules of traditional time and space no longer apply.
Right now, in a world where algorithms increasingly shape everyday life, many works of art are beginning to reflect how intertwined we’ve become with computational systems.
What if machines are suggesting new ways to see ourselves, as much as we’re teaching them to see like humans?
Holly Willis, Professor of Cinematic Arts, University of Southern California
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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