Alternately pitting her against ugly chauvinists (like Stephen Tobolowsky’s country club cretin) and conservatives who have surprising lessons to impart to her about real power, the series never shortchanges Joyce’s convictions. The tension between high and low-embodied by Joyce and Doug-is the dramatic crux of Minx, whose sharp scripts both cast Joyce as the mouthpiece for ideas about feminism, and poke fun at her for her somewhat rigid notions about what’s best for women. Nonetheless, Joyce finds her smutty environs less than progressive and fights tooth and nail to keep Minx from simply wallowing in the lowest-common-denominator muck. The immense popularity of Burt Reynolds’ famous Cosmopolitan spread confirms that this motley crew is on the right track. Before long, Joyce’s homemaker sister Shelly (Lennon Parham) has also joined the squad, whose commitment to turning Minx into a sensation is enhanced by its staff’s diversity of skin color, sexual orientation, and disposition. In Joyce, Doug rightly sees a dedicated visionary, albeit one who needs to learn how to create material that doesn’t feel like “a teacher is yelling at me.” To help her figure out how to “hide the medicine,” he teams her with his crackerjack lineup of porn experts: bubbly and assured model Bambi (Jessica Lowe) talented photographer Richie (Oscar Montoya) and capable secretary Tina (Idara Victor), who’s the glue that holds the entire operation together. It’s a testament to Lovibond’s effusive charm, then, that Joyce isn’t immediately an alienating presence, and her endearing smile and compassionate eyes make it clear why, for all her abrasiveness, she catches the attention of Doug (Johnson), a porn publisher who warms to her and, just as importantly, her casually mentioned idea of doing a magazine that objectifies men.ĭoug is a huckster with a focus on profit, and he proposes a partnership on a new venture (titled Minx) that blends Joyce’s activist journalism and lots of layouts of unclothed men. Yet at a Los Angeles conference where creators pitch publishers, she finds few receptive ears, due to a mock-up cover image of an angry woman raising a defiant fist, and the fact that she delivers every idea as if it were a simultaneous lecture and demand. Joyce (Lovibond) has spent her life trying to realize her dream of publishing a magazine titled “The Matriarchy Awakens” that will feature the sorts of paradigm-shifting articles apt to earn her a Pulitzer Prize and, with it, the respect and admiration of Gloria Steinem. Such sausage-fest explicitness isn’t intended to be titillating, really Rapoport’s series depicts penises as a means of echoing its heroine’s egalitarian ethos. Is Clayton Echard the Biggest Fuckboy in ‘Bachelor’ History? Headlined by the winning pair of Jake Johnson and Ophelia Lovibond, it’s a romantic comedy about multifaceted forms of liberation and equality-as well as a lighthearted romp marked by more full-frontal male nudity than you’re likely to find anywhere this side of Pornhub. There’s plenty more where that came from in Ellen Rapoport’s HBO Max comedy (March 17), which takes an amusingly breezy look at the creation of a groundbreaking (fictional) 1970s erotic magazine for women. Minx is epitomized by the closing shot of its fourth episode, in which a hunky male model struts in slow motion, brimming with empowered confidence thanks to his recent feminist awakening, his giant dick swinging in the air.
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