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The Sexual Revolution Goes To Hell
There was a conversation a month back about the Sexual Revolution and its (Lady) Discontents, probably highlighted by this later-QC'd @WhiningCoil post:
[cw: some links NSFW, albeit more in the sense of Comedy Central late-night comedy sense. Also some media spoilers.]
Apropos of nothing, has anyone here watched Helluva Boss? 'Adult' comedy, freely available on YouTube. It stars the Immediate Murder Professionals, a trio of imps who've gained access to the living world and have offered their services to
get revenge'resolve problems' there for damned sinners who can pay. Ostensibly, the show is about the trio's new business as marginally-competent assassins, with the moral and neurotic Moxie, joyful berserker Millie, and wacky boss Blitzø ("the o is silent") going into the world and slaughtering someone. In practice, this ends up more a framing device; many episodes don't involve paid murder, and those that do it's not the actual challenge.With a few exceptions most individual episodes instead focus more on relationships between the denizens of hell. The three main cast have that awkward mix of professional and casual common to small business (not helped by Blitz's clear desire to make a 'new family') sometimes jumping wholesale into stalking, Millie and Moxie have to juggle a marriage that's a lot more tender and reciprocal than either their parents nor Hell in general tolerates, so on.
That expands with the secondary cast. Blitz's access to the living world depends on a magical grimoire given in exchange for a transactual relationship with the demon prince Stolas, and for the first season neither are quite sure exactly how much emphasis goes on the 'relationship' in 'transactional relationship'. He also runs into a series of current or past
loverssexual partners with their complaints about him. Blitz's adopted adult daughter Loona is desperately looking for someplace to belong after a unpleasant childhood in Hell'spoundsorphanages but is unwilling to risk vulnerability. Moxie has... issues with his own Family and knows that he doesn't measure up by the standards of Millie's parents. Stolas' biological daughter Octavia is desperately looking for someplace to belong while her parents go through an unusually messy divorce. Eventually a number of the Seven Deadly Sins get involved, so on.There's a song spelling it out, diegetically as a drug trip..
As necessary disclaimer: it's gay. Really gay, even by furry-adjacent standards: there's one male/female active relationship among the main cast, and it's constantly going back to the same pegging joke. If you're a fan of the ladies, you're going to be stuck looking at fandom works or the not-on-YouTube sister show Hazbin Hotel, which does have a lesbian couple in focus. I don't know that I could call it good; while there's some decent comedic moments and fluid action scenes, there's sometimes too much emphasis on the cringe in cringe comedy, the musical numbers are hit-or-miss even if you can swing to their sometimes bizarre genre selections, and the characterization could stand to be more consistent. It's never quite Ren And Stimpy gross-out comedy, though some of the gorier fight scenes can get close, but neither is it exactly high-brow. The series as a whole has been trying to make a lot of commentary on economic and social class without serious introspection on its own assumptions, or even how that commentary it does present comes across.
((And I'm sure someone like @HlynkaCG can probably break down better about a Red Tribe take on the spirital ramifications of modern culture framing and worshipping literal demons as parallels for and paragons of modern society. Or of 'heaven' being paperwork and Minnesota Nice.))
Buuuuuuuuut because it's 'adult' and focused on relationships, a lot of it's about sex, and that part is very much written toward the id and superego of those "totally immersed in the mores of the sexual revolution". The show leads are the bisexual Vivienne Medrano and the gay Brandon Rogers, and the advertising and focus is very much down bad for exactly what you'd expect from that. That's not limited to sex -- one of the better musical numbers revolves around a two-minute long sequence of flipping the bird off to an abusive boss, culminating in a series of giant neon signs, including literal sign language for 'fuck off', the pilot has a particularly unsubtle joke about American healthcare provisioning -- but it's very much spread throughout the ethos. Of the main cast and the secondary cast, only one person (Millie) doesn't have Daddy Issues.
Helluva Boss is 'woke' in the sort of way that its authors would consider 'woke' to be a compliment. To its credit, that's at least sometimes subtle: we do some awkwardly-placed Deaf Culture-rep or a character awkwardly pointing out to his father that bisexual and gay are different things, but there's also a few trans characters (and Blitz-the-o-is-silent is probably meant as a deadnaming metaphor) or more subtle discussions about triggering trauma that you'd have to pay attention to catch. (It helps that the writers are willing to throw some on-the-nose jokes the other direction).
((It's worth spelling out that, where Hazbin Hotel discusses consent and undesired sexual violence with the characters Angel Dust and Valentino, it doesn't really feature among the reoccurring cast for Helluva Boss: the closest matters have been comedic and near-instantly resulted in violent response. Instead, the show portrays sexuality as a tool for the characters, either figuratively with many separate characters squicking out the villainous Striker to discomfort him, or in the more literal sense of skewering attackers through the skull with a motorized and pixelated dildo.))
There's actually a lot of discussion here about how modern (and thus post-sexual-revolution) norms are, in the story's setting, literally damning. "He's had four tongues inside him at once, which, like, good for him!... but he's giving off not-ok vibes" is the most clearly overt situation where the show can't quite disavow people who want to fill every hole they've got, but it can recognize that sex won't fill and often detracts from figurative ones. There's clear contradiction between more 'presentable' sexuality and less such (cw: lots of pixelated dildos, loud, se2 spoilers). STDs exist, in-universe. One of the last straws for that Two Minutes Notice song is the promotion of an entertainer as a sex object that is at best degrading and at worst invites or encourages aggressive stalkers, a topic of prolonged discourse in fandom spaces that's somewhat complicated by the number of people who literally get off from fascimiles of their body or their characters being 'used'. An early-season joke about fandom response to Loona is slightly awkward in contrast to around 15k not-always-on-model images over at e621 that I won't be linking. Though at least the character's explicitly in her twenties.
((The showrunners are probably not considering these conflicts solely as a theoretical exercise. The original voice actor for Stolas was dropped between the pilot and the first season, at the same time certain 'allegations' were going around of Totally Consensual But Also Bad things.))
A lot of the show's answer is to highlight and exaggerate the faults in 'traditional' sexual norms. Whatever sympathy the fandom came up with for Stolas' wife before her reveal -- after all, he was cheating on her! -- faltered when Stella actually appeared, lessbecause she'd wanted Stolas murdered , and more because thing was a loveless arraigned marriage between complete jerks: the extent each of the two hate each other more than they love their child is stated explicitly. While it's the worst of the arranged marriages, it's not the only one we're presented with, and that the others look marginally better only damns them with faint praise (one has the 'bride' tied up, gagged, a shotgun pointed at him). Even where couples are 'traditional' in the 1920s-1980s sense of Love, True Love, there's a lot of outside culture demanding response that doesn't actually fit, such as Millie's parents finding Moxie insufficiently manly or Hell's culture heavily stigmatizing interclass relationships (in this case, between higher-class princes or Sins and lower-class imps). In the setting, even literal cherubs can't really think of love as separate from a bunch of horny teenagers.
But Helluva Boss is struggling to create and draw together a healthy sexuality after the sexual revolution, and as a response to the sexual revolution rather than just those 'traditional' norms. A good number of those criticisms are very likely inspired by personal experiences, and many viewers see and relate to the show in that framework. A bit of that is drawing very heavily from Women's Fanfic Circles of Idealized Relationships, where everybody 'really' just needs sufficient support followed by Just Admitting Their Feelings And Letting People In (something something Found Family), or is disposable and untouchably evil (and there are a lot of disposable assholes). Other parts are more serious. If relationships are increasingly likely to touch between work and play, what extent can a transactional relationship or one with disparity of power be healthy, or can such a thing ever leave those fetters behind?
That's not to say the show has answers. It's not even clear that it's entirely grappled the scope of the questions: like a lot of shows with complicated romantic relationships, there's a fan-favorite solution that's almost impressive for how much it's joked about compared to how little it's presented in any serious sense, even if only to point out where and why it wouldn't work. Some few of the protagonist's flaws are their own, but there's little space or consideration for what would be necessary to grow beyond them, or to produce a next generation that could easily exceed them.
I think it's still relevant to say that they've noticed the skulls.
So was the sexual revolution a failure? Everyone in the linked thread seems to take it for granted, and just argues about why it was a failure and how bad of a failure it was. What's the evidence that the SR was worsened people's lives, and what metrics are being used to assess that?
For what it's worth, I buck the Motte comment trend that you observed. I am nearly 100% in favor of the sexual revolution and I believe that, by the standard of my preferences (both selfish: I like having casual sex, and altruistic: I want women to be free), it has been a rousing success.
The only criticism of the sexual revolution that has any weight, as far as I am concerned, is that it may have contributed to the declining fertility of the West. Not that I care about fertility itself - the only problem as far as I am concerned is that a society with extremely low fertility might eventually be outcompeted by societies with higher ones.
However, I believe that ways can probably be found to solve this problem that do not involve undoing the sexual revolution. And I believe that we should pursue them.
I think the sexual revolution actually added more weight to the problems of the sexually/romantically unsuccessful. Previously, if you weren't getting sex outside of marriage, well, nobody was (or at least they weren't supposed to be, and those who did were held up as objects of disapproval). So while you might be a loser, whether male or female, it wasn't shoved in your face quite as hard. Spinster aunt? Bachelor uncle? Maybe you couldn't manage to find a marriage partner, and that wasn't great, but it was respectable enough to be single (at a certain age).
Now? Everybody's having sex, wild exciting amazing sex. Or at least, that's what we're given to believe, even if it's not really true. So if you're not having sex, then you're a failure. And if you're having sex but it's boring ordinary sex instead of whatever the newest Position of the Week is (what do you think will be mainstreamed after heterosexual anal intercourse?), then you're a failure. If you don't have enough partners in your sexual history (as a man) or too many partners (as a woman), you're a failure.
Leaving aside HIV/AIDS, there also seem to be newer types of STIs rising up or becoming prevalent. Again, another risk you don't want to run.
So it all seems a dreadful lot of bother, but most humans seem to want it 🤷‍♀️
We already know the answer to that: BDSM/fetishes, "ethical non-monogamy", analingus, camming, sugar babying, and transgenderism and its associated tumblrisms. The question is what's left? Pedos, furries, unironic incest, cyber relationships with chat apps, and the clickbait of people who want to either marry themself or their favourite inanimate object. The consistently conspicuous-by-its-absence taboo seems to be celibacy, which has become half a by-word for school shooting lone wolf terrorism.
Oh, whoring - sorry, I should say 'sex work' - like camming and sugar babying etc. are practically mainstream, doesn't everyone have an OnlyFans account? Poly is just old-fashioned harems with a twist for the neurotic (sorry, any poly people on here, but that's the impression I get from the fawning articles in the media about how Tasha and Jason and Philomel live in bliss with their various boy and girl friends and secondary partners and making it all work because they're so free-spirited and adventurous).
Incest? Maybe, although even with occasional sympathetic treatments in movies and books, that still seems to be a bridge too far for most people.
Furry? Mmmm - still a bit too niche and likely to be confused with bestiality, which again is still a bridge too far.
Pedos? I could see that, with all the spadework being done right now around MAPs. After all, if we say 16 year olds are old enough to decide to have sex, can we really say they should only have sex with other 16 year olds and not a 30 year old? And if 16 and 30 are acceptable, what about 14 and 30? Constant dripping wears away the stone, although I think the really hard stuff about "why yes I do want to fuck 6 year olds" will always be very, very difficult to slip under the radar.
That's what I mean, half of those are already mainstream or bordering on it and the other half are either radioactive or some form of retreat or exhile from the whole arena of sex and relationships.
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