THE STORY – A woman diagnosed with metastatic breast cancer ends her 13-year marriage in order to explore herself and her sexuality before her death.
THE CAST – Michelle Williams, Jenny Slate, Rob Delaney, Guy David Rasche, Esco Jouléy, Jay Duplass, Kelvin Yu, & Sissy Spacek
THE TEAM – Elizabeth Meriwether, Kim Rosenstock (Creators/Writers), Shannon Murphy & Chris Teague (Directors)
Some cancer journeys get dramatized to an exaggerated degree on film and television screens. The illness often becomes the narrative forefront, neglecting the nuances around it. FX’s limited series “Dying for Sex” gets real with the subject. Based on an original podcast of the same name, co-created in 2020 by Molly Kochan and best friend Nikki Boyer, the eight-episode series nurtures a compelling exploration of self-rediscovery after a terminal stage IV breast cancer diagnosis. From sex and desire to power plays and kinks, each episode peels back layers of a unique cancer journey and a reckoning with childhood trauma, all told through an exceptional balance of drama and humor.
After Molly (Michelle Williams) gets diagnosed with metastatic breast cancer, she comes to a life-changing realization. Having never experienced an orgasm with another person, Molly decides to leave her husband Steve (Jay Duplass) of 15 years and explore her sexuality before she dies. She matches with a series of online dates, each with their own fetishes, only to discover a great fit next door in the unnamed Neighbor Guy (Rob Delaney). The two form an unexpected intimate connection that blossoms into something more, involving kicks to the dick for pleasure. During this journey, Molly receives love and support from her favorite person in the world, her best friend Nikki (Jenny Slate). In place of Molly’s ex-husband, Steve, Nikki assumes the caregiver role and adopts an entirely new routine. Sandwiched between hospital appointments and cancer therapy group sessions, Nikki attempts to maintain a relationship with her boyfriend, Noah (Kelvin Yu), and follow her passion for stage acting.
Showrunners Elizabeth Meriwether and Kim Rosenstock, who previously worked together on the Emmy-nominated Fox sitcom “New Girl,” find terrific emotional weight in three storytelling anchors: a strong female friendship, educational hospital dynamics, and a bucket list of sexual desires. Much of what the viewer learns about Molly spills out through lived-in dynamics between her and Nikki, whether in the form of casual, silly bonding or heart-to-heart conversations. Williams and Slate capture a remarkable shorthand and share wonderful chemistry. It’s easy to feel instantly connected to Molly and Nikki’s relationship and to pick up on details that speak to how long the characters have known each other. Their friendship gives the series its emotional bookend — through thick and thin, they choose each other.
On the medical side, palliative care social worker Sonya (Esco Jouléy) helps Molly rediscover what makes her feel good. Their conversations radiate warmth from a place of deep understanding. They don’t judge each other’s kinks, and their mutual trust brings a meaningful level of comfort to the hospital room. Sonya also connects Molly to a more comprehensive breadth of sexual encounters. As Sonya shares, sex is a mindset and a wavelength. And there are multiple forms of pleasure that don’t actually involve sex. The possibilities open up when Sonya suggests that Molly attend a “kink-forward” sex potluck in one episode. There, Molly watches a live encounter of BDSM (a spectrum that includes bondage, dominance, submission, and sadism), during which G (Robby Hoffman) authoritatively orders a woman to pleasure herself. The dominance speaks directly to Molly; is this what she wants? Each episode brings Molly closer to answering that question and brings us a career-best performance by Michelle Williams.
Williams has dazzled us with one tremendous performance after another, from her Oscar-nominated turn in Ang Lee’s “Brokeback Mountain” to her quartet of collaborations with Kelly Reichardt in “Wendy and Lucy,” “Meek’s Cutoff,” “Certain Women,” and “Showing Up.” “Dying for Sex” adds a rare gem to Williams’s repertoire: a comedy showcase. Playing a character so different from past roles, she exudes fantastic comedic timing and hits you with brilliant one-liners in the most unexpected moments. Molly’s character calls for a talent of all-encompassing qualities, someone who can transport you anywhere at the drop of a hat in the most subtle of ways. Williams has perfected that understated style of acting throughout her career, and with “Dying for Sex,” she expands on her gifts with a fiercely funny portrayal of a woman’s deepest desires. She’ll make you laugh and break your heart in the same breath, fitting perfectly into the story’s bittersweet tone and never undermining the weight of her character’s emotionally heavy interior.
The bittersweet material also draws grounded performances from the supporting cast, most of whom are known primarily for their comedic work. Jenny Slate is the entertaining, heartfelt yin to Michelle Williams’s yang. Slate hits all the dramatic beats with strong emotionality, and her comedy style perfectly fits the scattered, theatrical sides of Nikki’s character. Rob Delaney nails a wry, endearing, cynical blend with his portrayal of nameless Neighbor Guy, whose initially standoffish exterior cracks open to reveal a big-hearted nature. Jay Duplass and Robby Hoffman each get standout moments to shine, especially the latter, whose character G makes a lasting impact in one of the finest episodes (“Topping Is a Sacred Skill”). David Rasche makes a memorable appearance as Molly’s doctor, Dr. Pankowitz, who starts off lacking a personal connection to her, and as he begins listening to her more intently, becomes better in tune with her needs. With that little character arc, you get to know that he’s not made of stone and, indeed, has a sense of humor. The most delightful discovery is Esco Jouléy as Sonya; played with tremendous charm and a luminous screen presence, Jouléy brings Sonya’s personality to life on incredibly understated levels.
Sissy Spacek delivers reliably great work in the role of Molly’s estranged mother, Gail. Some of the most impactful thematic storytelling comes from her history with Molly, particularly on the subject of forgiveness. Many people often seek forgiveness from everyone around them but find themselves incapable of forgiving themselves. Williams and Spacek share quietly powerful moments that speak to how long Molly has carried her mother’s burden, inadvertently keeping Gail from looking inward and doing her own emotional heavy lifting. Spacek also has great comedic sensibilities that often get underused, so it’s refreshing to see her take part in this series, albeit playing a role briefer than hoped for.
The openness around sex and desire in “Dying for Sex” isn’t exactly ahead of its time, and the series occasionally feels a bit dated as a result. Additionally, while the half-hour runtimes are a breeze to binge through, it comes with some limitations. The series packs a lot of storytelling into eight episodes and sometimes leaves you wanting more from certain character dynamics and thematic connections. Molly’s estrangement from her mother, for example, is communicated most prominently through excellent chemistry between Williams and Spacek. The writing lacks some precision for Gail’s character and falls into a portrayal that feels more generic than it should’ve been. Still, the depiction of their relationship brings forth incredibly visceral conversations about trauma and forgiveness. Molly’s healing from abuse and suffering from illness are met with the same delicate writing as her need for human touch and craving for desire on a physical and emotional level. Molly’s inner monologue throughout the series also acts as a remarkable guide to what she’s searching for and reckoning with in the little time she has left.
The beauty of this series is how it nurtures the things that bring Molly love and expression, ultimately making her feel alive again. At the core of “Dying for Sex” is a story not about cancer but about a woman’s complex journey in fulfilling her desire. Over the course of eight episodes, she faces a scarring past in the form of a faceless shadow and finds a sense of peace within herself. Thoughtful storytelling can also be found in realistic depictions of her cancer journey. It’s refreshing to see palliative care, for instance, conveyed in a warm light, as its purpose is to make someone’s final moments on earth as comfortable as possible for them. The storytelling can offer solace for those who have gone through similar experiences as patients or caregivers, as well as educational benefits for those just starting their journeys. Between realistic writing, tremendous acting, and a grounded sense of humor, “Dying for Sex” shines as an unexpectedly feel-good comfort show that hits expectedly close to home.
THE GOOD – Michelle Williams’s tremendous performance leads a funny, tragic series that balances illness and desire.
THE BAD – The series occasionally feels a bit dated, and some of the writing leaves you wanting more from certain character dynamics.
THE EMMY PROSPECTS – Outstanding Limited or Anthology Series, Outstanding Lead Actress in a Limited or Anthology Series or Movie, Outstanding Supporting Actor in a Limited or Anthology Series or Movie, Outstanding Supporting Actress in a Limited or Anthology Series or Movie, Outstanding Direction in a Limited or Anthology Series or Movie & Outstanding Writing in a Limited or Anthology Series or Movie
THE FINAL SCORE – 8/10
