Sex W 2022

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Sex W 2022
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Josh Rosenberg
Josh Rosenberg is an entertainment writer living in Brooklyn, keeping a steady diet of one movie a day; his work can be found at Spin, Insider, Vibe, and on his personal blog at Roseandblog.com . 

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From Deep Water to Love & Leashes , the year's sexiest films dial up the danger.
Looking to turn up the heat in 2022? Now that people are finally leaving their pandemic hibernations and going out into the world once again, not only are the movies back, but real-life dating as well. Enter: Date night. For those looking to take things to the next level, this year promises a new slate of sexy films to get you in the mood.
Many of 2022’s sexiest films carry a sense of danger , and demand that the viewer leave their comfort zones behind to enter some perilous new activities. Whether it’s to normalize BDSM play, like in Love & Leaches , or to commit flat-out murder in films like Deep Water and X , love doesn’t come easy as directors break the mold to try and become one of the sexiest movies of all time .
Below you’ll find our eight picks for the sexiest films of the year (so far)—and one we just can't wait to watch.
Any film bumping Charli XCX’s “Hot Girl” in its trailer is sure to scream sex appeal especially when it’s paired with a scene featuring Pete Davidson saying, “I look like I f*ck.” Though the heart of Bodies, Bodies, Bodies is a whodunnit satire, sex drive motivates its characters just as much as a thirst for blood does. Sure, bringing your Tinder boyfriend along to a trip where someone gets killed doesn’t exactly exude “meet-cute,” but nothing amps up sexual tension quite like fighting for your life.
A retired teaching waiting in a hotel room for her young mystery lover to arrive might feel like the premise of an… adult film. And, of course, in many ways, Good Luck to You, Leo Grande is a very adult film–following Emma Thompson’s character as she sets out to have her first orgasm (and many subsequent ones) with young sex worker Leo Grande. But the film is also a beautiful coming-of-middle-age story about sexual awakening, aging, and humanity. Perfect if you’re looking for an out-of-the-box rom-com.
As any hardcore Jane Austen fan will confirm, make no mistake that Pride & Prejudice is a sex movie . And this modern adaptation from Joel Kim-Booster, set in Fire Island, does justice to this erotic tradition. But it also explores how Fire Island’s utopian associations of sexual liberation and unity are so often frayed by discrimination within the gay community.
Ben Affleck and Ana de Armas star in what is probably the most outwardly and intentionally sexy movie of 2022, about an open marriage with disastrous conclusions. Based on the novel of the same name by Patricia Highsmith, Deep Water tells the story of a husband who grows jealous of his wife's extramarital affairs, even though they've agreed to the non-traditional arrangement. And when her old boyfriends start mysteriously turning up dead, she starts looking for clues.
A South Korean romantic comedy about workplace power dynamics, Jung Ji-woo enters a "play" contract with her male coworker after discovering his guilty secret: he's into male-submissive BDSM. Intrigued, she becomes his "master" and bosses him around the office until real feelings surprise them both.
One of the breakout films of this year's SXSW showcase, X is a rural-set Texas horror about the '70s porn industry. Shooting a porno-flick called The Farmer's Daughter , the actors soon find themselves starring in something more akin to The Texas Chainsaw Massacre . The small-budget indie film, starring Mia Goth and singer Kid Cudi, pays homage to classic, sexy slasher films while remaining audaciously erotic.
Superhero movies are not usually known for being sexy , but if anyone can do it right it's the Bat and the Cat. Robert Pattinson and Zoë Kravitz, with their skin-tight costumes and heavy smeared makeup, exude sexual tension as the best on-screen Batman/Catwoman pairing since Michelle Pfeiffer and Michael Keaton.
A British romantic period piece set after World War I, Mothering Sunday tells the story of Jane Fairchild, an orphaned maid who enjoys walking through the estate's library completely nude and running her fingers over their massive book collection. The sex scenes are not only intimate, but intricately choreographed.

U.S. | Carol Leigh, Who Sought a New View of Prostitution, Dies at 71
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Carol Leigh, Who Sought a New View of Prostitution, Dies at 71
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She was serious about issues related to sex for money. But she also spoke through an amusing persona she called Scarlot Harlot.
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Carol Leigh, who sought to change the image and treatment of sex workers — a term she is generally credited with coining — through both mainstream advocacy work and her colorful performances and writings under the name Scarlot Harlot, died on Wednesday at her home in San Francisco. She was 71.
Kate Marquez, her executor, said the cause was cancer.
Ms. Leigh (pronounced “lee”) began working as a prostitute after moving to San Francisco from the East Coast in 1978. In a 1996 interview with The San Francisco Examiner, she said she was galvanized into activism in 1979 after two men raped her at the sex studio where she worked and she realized that if she reported the crime, the establishment would be shut down, leaving her and other women there unemployed.
“I became very, very dedicated to changing conditions so that other women would not have to deal with what I dealt with,” she said.
At the time, prostitution was rarely thought of as anything but a crime, and men and women who sold sex were viewed as criminals and, often, as people who had been forced into the work by traffickers or circumstances.
Ms. Leigh was among a group of advocates who proposed a different view, one captured in the slogan that the movement adopted: “Sex work is work .” She argued that some people engaged in prostitution by choice, and that many sex-for-money transactions — the escort business, for instance — were not the street-corner deals the general public pictured.
Her point, sometimes expressed humorously, was to encourage a rethinking of the possible relationships between sex and commerce.
“There are so many women who make a living in the sex business and who don’t admit it,” she told The Arizona Daily Star in 1985. “Topless dancers are sex workers, for example. And we’ve all heard the story about the wife who has sex with her husband to get a new refrigerator.”
Ms. Leigh took credit for introducing the term “sex work” as an alternative way to describe the business of prostitutes and others. In “Inventing Sex Work,” an essay she contributed to the collection “Whores and Other Feminists” (1997, edited by Jill Nagle), Ms. Leigh recalled a conference organized by Women Against Violence in Pornography and Media that she attended in San Francisco in the late 1970s or early ’80s. The title of a workshop involving prostitution, she said, used the term “sex use industry.”
“The words stuck out and embarrassed me,” she wrote. “How could I sit amid other women as a political equal when I was being objectified like that, described only as something used, obscuring my role as an actor and agent in this transaction?
“At the beginning of the workshop,” she continued, “I suggested that the title of the workshop should be ‘Sex Work Industry,’ because that described what women did.”
Now the phrase is in common use, and it has been credited with helping to reframe the continuing debates on the subject.
“Carol Leigh was — and will always remain — a staple in the movement for sex workers’ rights,” Jenny Heineman, who teaches sociology and anthropology at the University of Nebraska Omaha and has written about sex work and feminism, said by email. “Never shying away from hard conversations, she coined the term ‘sex work’ to encapsulate the intersecting challenges that stigmatized and criminalized laborers across the globe face.”
Ms. Leigh was born on Jan. 11, 1951, in Queens. She described her parents as “disenchanted ex-socialists.”
“I was raised on discouraging tales of the failure of political struggles,” she wrote in “Inventing Sex Work.”
In the early 1970s she discovered feminist authors like Betty Friedan and Kate Millet. According to the 1996 profile in The Examiner, she earned a bachelor’s degree at Empire State College in 1974. She then studied creative writing at Boston University and founded a women’s writing group where feminist ideas were discussed and debated.
“By 1978 I had had enough of Boston’s mean and repressive atmosphere,” she wrote; she moved to San Francisco, where she hoped to explore a life in the arts.
“My friends who were artists were working in restaurants,” she told The Examiner. “I looked at them and I thought, I don’t want to work in restaurants. I’m an artist, I want to explore life. So for me, initially, prostitution was an investigation. I was also poor and feeling desperate at the time.”
The further she got into the life of prostitution, the more she felt a disconnect between her experiences and the feminist doctrines she had espoused earlier.
“Feminist analysis of prostitution as the ultimate state of women’s oppression didn’t fit the strength and attitudes expressed by the diverse women I met,” she wrote.
“Many lesbians were ‘out’ as lesbians,” she added, “but where was the prostitute in this new woman we had been inventing? She was degraded and objectified anew by the feminist rhetoric.”
In the early 1980s Ms. Leigh developed a one-woman show, “The Adventures of Scarlot Harlot,” which she performed in San Francisco and elsewhere. In it she told stories from her working life, argued for a place at the feminist table and suggested that sex for money was perhaps not that different from whatever the audience did for money.
She also sold her own brand of perfume, Whore Magic, and other novelties. When she spoke at events, she would sometimes hand out colorful stickers that read “Whore Power” or “Be Nice to Prostitutes.”
But she was serious about decriminalization, health care, needle exchanges, reducing the prison population, how AIDS should be dealt with and other sex-work issues, and she was taken seriously. In the mid-1990s she served on a commission on prostitution created by the San Francisco Board of Supervisors, and in 2008 she was among the more vocal advocates of Proposition K in San Francisco, a ballot measure that would have had the effect of decriminalizing prostitution in the city. It failed. Its opponents included the city’s district attorney at the time, Kamala Harris.
Ms. Leigh is survived by a brother, Phillip.
Ms. Leigh made videos, organized art shows by sex workers, and in 2003 published “Unrepentant Whore: The Collected Work of Scarlot Harlot.” In the 1996 interview, she offered a succinct take on sex and decriminalization.
“This,” she said, “is the only activity that you can do for free but you can’t get paid for.”

The Sex Party review – spiky comedy fails to satisfy
Bigotry in the bedroom … Timothy Hutton and Pooya Mohseni in The Sex Party. Photograph: Alastair Muir
Timothy Hutton on The Sex Party: ‘Do I think it will be controversial? I don’t know …’
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Menier Chocolate Factory, London There’s tension in Terry Johnson’s tale of four couples meeting for sex and nibbles but the unruly debate isn’t deep enough
A t first, The Sex Party looks like a retro BBC sitcom about swingers, although that term is banned at this adult shindig. Four couples collect for sex and nibbles at a cool north London postcode. There is gleeful talk about getting it on and a fair share of parading around in lingerie and thigh boots.
But Terry Johnson’s spiky comedy takes us from the familiar fare of smut and sniggering double entendres to something bolder and more awkward in the sex/gender debate at its centre, even if it does not reach a satisfying end.
We only ever see what happens in the high-end kitchen (set designed by Tim Shortall) but we get a vivid idea of the action in the living room from the moans and groans we hear. In a production also directed by Johnson, the acting stays fine across the board although the characters are flimsy (Lisa Dwan especially does wonders with her part) and the star casting of Timothy Hutton stays strangely marginal for too long. He drifts on and off stage, saying little and looking like a cliched California guru in yoga pants.
The dialogue often goes off on random, unruly riffs; one character (Will Barton) talks about taking MDMA and the dialogue sounds under the influence too.
The play’s grenade is lobbed as the first act closes, with the entry of Lucy (Pooya Mohseni), a trans woman, and from here on in it feels like another play altogether. Doris Lessing, in a Penguin introduction to Lady Chatterley’s Lover, wrote that what happens in the bedroom is a “report on the sex war” outside it and it seems to be the case with this living room; suddenly, no one wants to convene there and a very live tension is in the air.
Much is flung at us, from talk of toilets to language and JK Rowling and it feels genuinely edgy. It is brave of Johnson to grapple with a debate that has become so divisive that a meeting of this kind would be unimaginable in real life. But arguments come thick and fast without being explored. Johnson seems to be shooting an arrow through the issues of the day – including, too briefly, consent – but it comes to feel like a dramatised version of Twitter.
The room exposes its bigots and we finally see the point of Hutton’s character but as more plot-points are lobbed at us in the closing moments it feels much less like a sitcom than an entire series rolled into one production.

U.S. | Ex-Detective in Kansas Helped Men Run Sex Trafficking Operation, U.S. Says
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Ex-Detective in Kansas Helped Men Run Sex Trafficking Operation, U.S. Says
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Women and girls, who were as young as 13, experienced violence, abuse, rape and death threats from 1996 to 1998, according to a federal indictment.
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A former police detective in Kansas who was charged in September with sexually assaulting two women while on duty more than two decades ago now faces new federal charges that he helped three other men run a violent sex trafficking operation that preyed on underage girls in the 1990s, the Justice Department said on Monday.
The former detective, Roger Golubski, 69, and the other men were each charged with one count of conspiring to hold young women in a condition of involuntary servitude and one count of forcing a woman to provide sexual services to adult men, including themselves, according to the U.S. attorney’s office in Kansas.
The three other men — Cecil Brooks, LeMark Roberson and Richard Robinson, who the authorities said had been emboldened and shielded for years by Mr. Golubski — were also charged with holding a woman in involuntary servitude and forcing her to provide sexual services to Mr. Roberson, according to the indictment, which was filed in U.S. District Court in Kansas City, Kan.
If convicted of all crimes, the men could each face a maximum sentence of life in prison.
Mr. Golubski’s lawyer, Christopher Joseph, said in a statement that “Roger maintains his innocence and looks forward to clearing his name from these decades-old and uncorroborated allegations.”
Mr. Brooks and Mr. Roberson are in custody out of state and have not yet appeared in court, Mr. Joseph said.
Mr. Robinson’s lawyer, Justin Johnston, did not immediately respond to requests for comment on Monday night.
The indictment came less than three months after Mr. Golubski had been charged with six federal counts in connection with sexual assaults on two women more than two decades ago.
Lucas Behrens, a community organizer with MORE2, a local civil rights organization, said by phone on Monday night that the new charges announced on Monday gave credence to the activists and residents who had long accused the Kansas City Police Department of malfeasance.
Mr. Golubski, who is white, was particularly notorious, activists said, with Black women accusing him of terrorizing their community. He retired from the Police Department as a captain in 2010.
The indictment against the four men, which was unsealed on Monday, charges that they ran a sex-trafficking operation from 1996 to 1998 at the Delevan apartment complex in Kansas City, Kan.
According to the indictment, Mr. Golubski would accept money from Mr. Brooks, who ran the apartment complex, to the protect the three men from law enforcement agencies as they “used physical beatings, sexual assaults and threats to compel young women to provide sexual services to men.” Prosecutors said the defendants would also kidnap victims.
The indictment states that Mr. Brooks had “paid off law enforcement so that officers would provide warnings when police were about to ‘hit’ the house.”
The Kansas City Police Department did not immediately respond to a call seeking comment on Monday night.
Mr. Brooks used one unit at the apartment complex as an office where he stored guns, drugs and cash and held meetings, according to prosecutors.
Mr. Brooks would target women and girls as young as 13 who had just been released from the Beloit Juvenile Correctional Facility or who had run away from broken homes and would force them into sex trafficking, the indictment states. Mr. Golubski, the police officer, “primarily chose young Black girls, ranging in age from 13 to 17 years old, to submit to sex and to provide sexual services to him,” the indictment states.
The Delevan complex was split into the “office unit,” where Mr. Brooks could lock girls in from the outside; the “relaxed” area, where girls would use alcohol and drugs; and a “working house,” where they were compelled to perform sexual services for adult men, the indictment states.
One of the girls, a teenager who had just been released from the Beloit Juvenile Correctional Facility and whose mother had died by suicide, was moved into the office unit at Delavan and was held inside from September 1996 to October 1997, the indictment states.
That teenager, who escaped from the apartment complex in October 1997, went to a hospital after experiencing severe abdominal pain and vaginal bleeding because she was suffering from an ectopic pregnancy , which occurs when a fertilized egg implants in the wrong place in a woman’s body, according to charging documents.
Mr. Roberson, who had refused to allow her to leave to go a hospital, had impregna
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