Sex/Life is Netflix’s new US relationship drama about the woes of marital bliss and the power of sexual nostalgia. Sarah Shahi (The L Word) plays Billie Connelly – yes, really – a married mother of two, unhappy in her passionless relationship with husband Cooper (Mike Vogel).
In an effort to, erm, entertain herself she begins to reminisce about her sexual exploits from times gone by, focusing particularly on her Australian ex-boyfriend Brad (Adam Demos), a Range Rover-driving, leather jacket-wearing record label boss who “likes nice sh*t”.
When he crashes back into her life unexpectedly, Billie finds herself questioning her life and risking it all for a night with an old flame.
The storyline is an afterthought, to say the least – Sex/Life is essentially soft porn, with dialogue and narrative used only as filler between the many, many, many neon-lit sex scenes. There’s a reason it’s already the third most-watched show on the streaming site.
Mostly the drama feels forced. It’s hard to empathise with a character we’re meant to believe was a sex goddess yet is now afraid to tell her husband to up the ante in the bedroom.
Shahi is the star of the show, her frustrations and desire played out simultaneously despite being given little to work with. Even when she is partnered with less proficient actors she shines – Vogel and Demos are a little wooden, though their characters are written as no more complicated than “uptight husband” and “sexy ex”.
This is another show that confirms the “sex sells” adage. I only wish the story had the chutzpah to do something different with it.
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