Netflix Mini-Review: Sex Education (Season 2) – Relationships Are Complicated All Over

The British Comedy about the complications of teen sex returns with some relationship advice.


At the end of the last season, Otis (Asa Butterfield) finally achieved arousal for the first time in his life after kissing Ola (Patricia Allison), who becomes his girlfriend. Having sexual impulses for the first time in his life, Otis quickly becomes addicted to masturbation. Meanwhile, at the school, an outbreak of chlamydia leads the school governors to hire Otis’s sex-therapist mother, Jean (Gillian Anderson), as a consultant on sex-education curriculum. Maeve (Emma Mackey), Otis’s partner in sex therapy, deals with both her return to the school as an elite academic and also the return of her drug addict mother (Anne-Marie Duff). Hijinks and issues ensue.

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So many plotlines.


While the last season of the show was mostly focused on overcoming personal issues to make the connections to start a relationship, this season goes into all of the effort that relationships take to maintain. Most of the characters start the season in a new relationship: Jean is dating Ola’s father Jakob (Mikael Persbrandt), Otis is dating Ola, Maeve is reuniting with her mother, Otis’s best friend Eric (Ncuti Gatwa) starts dating the new student (Sami Outalbali), etc. Everyone naturally has their own issues: Otis has no sexual experience, Jean is used to her independence, Maeve’s mom abandoned her in the past, Eric still has feelings for Adam (Connor Swindells), etc. This gives everyone a number of interesting issues to explore and the show does a good job of covering all of them.

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She’s a strong independent woman and an FBI treasure.

One thing that the season, and the show, does well is try to handle both the obscure and the common issues that people have in relationships, particularly sexual issues. The biggest issue that every relationship faces is honest communication. It hurts sometimes to tell your partner what you really think, but failure to do it hurts you both and can be the downfall of a relationship. The season also does a good job of addressing several other issues ranging from sexism to sexual assault, resulting in a tragically humorous scene in which a group of girls realize that the only thing they have in common is “unwanted penises.” It does drive home the point that one of the things that can help friends get through their troubles is also communication and empathy. 

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Everyone has stuff that they need to talk about and friends who need the same.

The downside to the season is that it honestly just doesn’t feel as creative or original as the last one. It certainly explores different territory, but the dialogue never feels as fluid and the performances never quite feel as passionate. I will say that it gets better towards the end, but at the beginning I was feeling a little let down. The soundtrack did help me get through it, though, because damn does this have a great soundtrack.

Overall, not a bad continuation, even if it dips a little for me. There is one thing at the end that did flat-out tick me off, but I’ll see how they handle it next season.

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Netflix Review – Sex Education: A Fast-Rising Show About a Late Bloomer (Spoiler-Free)

Asa Butterfield and Gillian Anderson star in this awesome series about a kid who takes up the family business of sex counseling despite being sexually repressed.


Otis Milburn (Asa Butterfield) is a sexually repressed (not asexual, though that would also have been interesting) teenager whose mother, Jean (Gillian “I’m not just Scully, assholes” Anderson) is a well-known sex therapist who has commitment issues following her divorce. One day, he gives advice to Adam Groff (Connor Swindells) a local bully and son of the headmaster, about his problem with ejaculating during sex. This ultimately cures Adam, although his girlfriend still breaks up with him for his other issues. School bad-girl stereotype Maeve (Emma Mackey) sees the results of this and decides that the two of them can charge for dispensing sex advice to people in the school. Together with Otis’ best friend Eric (Ncuti Gatwa), they start to deal with all of the school’s sexual dysfunctions… and there are a lot of them.

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… I bet none of their iPods overlap. Except for Bowie. 


First off, whoever cast this show needs to get all of the high fives. I’ve loved Asa Butterfield since The Boy in the Striped Pajamas and Hugo and he’s been doing great work since then, even if some of the stuff hasn’t been my cup of tea. Gillian Anderson is a fantastically talented actress who also was one of my first crushes. If you haven’t seen her on the show The Fall, you really should check it out. I’ve never seen Emma Mackey or Ncuti Gatwa before, but both of them are amazing. Ncuti Gatwa nails the difficulties of being a gay man in a religious family (though his family does love him, he knows they still don’t approve) while Mackey goes through a large number of character arcs, probably the most in the season, resulting in a decent amount of change over the series, all with consistent character portrayal.

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Guess which one enjoys casual, unattached sex? Hint: The correct one.

The supporting characters, too, are all great, ranging from Adam and his strict, almost abusive, father (Alistair Petrie) to Jackson Marchetti (Kedar Williams-Stirling), the school’s star athlete who has a big crisis of self, to Aimee (Aimee Lou Wood), a nice girl who has an odd friendship with both Maeve and the school’s “Mean Girls.” All of them feel fairly natural in their portrayals, but all have a few strange quirks that distinguish them. Even the characters who only appear in one episode tend to feel pretty well fleshed-out, with a lot more done through showing, rather than telling. Those of you who read this often know that I always appreciate that.

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Both of them have great arcs over the season that you wouldn’t expect.

There are a number of season-long or multi-episode character arcs, which play out around whatever the episode’s central conflict is. The central conflict is generally one student’s sexual issues, ranging from inability to give oral sex to dealing with exes. Sometimes the problem is so specific that it’s not likely to be related to anything you ever would encounter in reality, and sometimes you might, if you’re me, find yourself asking follow-up clarification questions to the TV. I also appreciate that the show does point out that many of these issues that are being addressed are actually causing problems for the kids, but they have no way to get their inquiries answered because A) the school Sex-Ed is bad and B) they can’t talk to their parents about it. It points out that a lack of sex education regularly causes harm to the kids, making sex ed not a moral issue, but one of public health.

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The one downside? The Mean Girls don’t wear pink on Wednesday.

The writing is fantastic. It’s got all of the humor that you want, all of the dirty content that you secretly crave, and yet also has a lot of great emotional moments. Even though a bit of the show is semi-predictable and somewhat formulaic, you still find yourself getting through those parts because the characters are easy to invest in and the dialogue is snappy enough to make it a fun journey.

Overall, I really recommend that you check this show out. I think it’s smart enough to keep you thinking while being fun enough to keep you watching.

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All TimeCollection of TV EpisodesCollection of Movie Reviews, or the Joker on the Sofa Reviews.

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44) The Post-Modern Prometheus (The X-Files)

This episode would be higher if Cher hadn’t been unavailable. That’s not just because I like Cher, but because it would have been the huge kick at the end of the episode that would have turned this needle up to 11 (I keep using this term, because I cannot top This is Spinal Tap).

Snap out of it.

The X-Files was a ’90s show. That’s not saying it was on in the ’90s, as much as it shaped the ’90s. It was a show that was a darker sci-fi/supernatural than most networks would display at the time, and it featured over-arching conspiracies that often showed how much faith we put in the Government and the higher powers without ever actually knowing what they are doing behind the scenes. We already were a bit suspicious as a nation after Iran-Contra, but this show really demonstrated exactly how far the government could go by presenting several potential sci-fi conspiracies that were just extensions of actual government actions (e.g. MK-Ultra).

The government is filled with suits smoking in dark rooms. Apparently.

The main characters everyone should be familiar with: FBI Agent Fox Mulder (David “I have problems” Duchovny) is a conspiracy nut who is right about 90% of the time (which he points out in an episode, lampshading the entire series), and Agent Dana Scully (Gillian “You’ve fantasized about me” Anderson), the skeptic who keeps Mulder grounded, and eventually begins to believe. There were 2 kinds of episodes: Story Arc, where the Government’s secret 2012 conspiracy is being brought up, and Monster-of-the-Week, which featured the team dealing with a random supernatural threat. “Post-modern Prometheus” is the latter.

And proved that ’80s hair was done.

This episode is the X-Files finally doing a Frankenstein episode, but they combine it with a comic-book episode. It opens as an animated issue of the comic “The Great Mutato,” before revealing that it is entirely in black-and-white as a tribute to James Whale’s Frankenstein. The one with Boris Karloff.

And its much better sequel Bride of Frankenstein


Mulder receives a letter from a woman who saw him on Jerry Springer. She tells him that she was once knocked unconscious during an attack 18 year ago and woke up pregnant with her son. Now, it has happened again, and she wants someone to investigate. A description of her attacker matches the character of her son’s comic, “The Great Mutato,” who is based on a two-mouthed lumpy creature that the locals have seen outside of the town. The pair actually see Mutato from afar after this conversation, but cannot get closer.

Some Frankenstein, some R.L. Stine, some Funkenstein

The agents’ investigation leads them to an old man, whose son Dr. Pollidori (a reference to one of the guests at the conception of Mary Shelley’s Frankenstein: A Modern Prometheus), shows them his experiments with fruit fly genetics, saying that it could be used to grow mutated humans. Mulder immediately pieces together that Pollidori (John O’Hurley) created Mutato, trying to be a real-life Frankenstein. Meanwhile, the audience is given hints at Mutato’s personality, watching him cry while watching “Mask” and seeing him dance alone through the mists to Cher songs. They keep the monster’s appearance indirect throughout the episode, instead choosing to just show him through what he likes. This is an unusual take on character that seems prevalent throughout the episode: People can be defined from their interests as much as they can be defined from their actions or words.

Not the real monster of the piece. Just a victim.

Trying to cover up his mistake, Pollidori leads a mob against the monster, because that had to happen in a Frankenstein episode. Mulder and Scully, having found that Mutato is not evil, nor guilty of any crime, protect him. The creature begs Pollidori to give him a bride, but Pollidori says he cannot. He didn’t intend to create Mutato, and cannot, and will not, do it again. The mob realizes that Pollidori is the real villain and has him arrested and brought to jail. Mulder, still pissed that Mutato will be alone forever, demands to find the author for a happy ending. He turns to the boy who writes Mutato’s comic and tells him to fix it. The next scene, which may be completely made up by the boy, has the Agents take Mutato to a Cher concert (Cher couldn’t make it, so she sent her best impersonator) and gets called up on stage to dance with Cher to “Walkin’ in Memphis” while Mulder and Scully dance together.

They have a kid after this. That’s the power of Cher.


Post-modernism is supposed to be an art style that involves the use of the styles that came before it in conjunction with other contrasting styles to defy convention and mix media and artistic theories. This episode is one of the better follow-throughs on that premise, trying to blend many art and dramatic styles that are, at times, extremely disparate. The premise is a comic book that contains a classic horror movie that contains a monster who is obsessed with pop music. Many scenes are pastiches of classic horror films that are set to “The Sun Ain’t Gonna Shine Anymore” and “Gypsies, Tramps & Thieves,” which are possibly the least horror-sounding songs ever written. All of these are combined into what was then a very original feel for the episode. Even Cher regretted not appearing in the episode, so that’s probably a sign of its strength.

PREVIOUS – 45: Arrested Development

NEXT – 43: The Simpsons

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews

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Rather than a clip from the show, here’s a clip-show set to Gypsies, Tramps, and Thieves.