Series’ strength is its sensitivity
‘Sex Education’ gets more inclusive in its intimacy
Layla (Robyn Holdaway) slides a bin in front of the bedroom door, takes a small wicker box from its hiding place in a drawer full of clothes and opens it to reveal a roll of elastic bandages and a tin of safety pins.
The scene that ensues, from season three of “Sex Education,” depicts a routine that is all too familiar for many nonbinary and transgender youth. Layla — who, like Holdaway, uses they/them pronouns — proceeds to wrap the bandages tightly around their chest, which is already bruised and bloodied from unsafe chest binding.
Later in the episode, Cal — another new and nonbinary character this season, played by Sudanese American actor Dua Saleh — shows Layla a safer alternative: a chest binder, which is a compression undergarment often made of spandex and nylon.
“I did it for a while with Ace bandages,” Cal tells Layla, who tries on a borrowed chest binder. “Until I nearly broke a rib.”
Layla looks into the mirror, laughs incredulously and says with joy, “It feels so much better.”
Laurie Nunn, creator of this British dramedy, said that presenting such interactions, matter-of-factly with plenty of detail, is part of the show’s effort “to progress these conversations forward.”
“It felt important to me that we see two nonbinary characters communicating with each other on screen,” she said. “It’s not just representation. It’s having as much of it as possible within the scope of the show.”
Over two seasons, “Sex Education” has been widely praised for its frank but sensitive depictions of teen sexuality. In season three, now out on Netflix, the series has widened its lens to include more stories about queer relationships, gender presentation, intimacy with a disability and other experiences that rarely are explored on mainstream television.
To do so in an authentic but respectful fashion, the producers use intimacy coordinators and a healthy dose of communication. “The show goes to great lengths to make sure that our actors are as protected as possible,” Nunn said
At the same time, stars such as George Robinson, who, like his character Isaac, uses a wheelchair, found themselves serving as both performers and de facto consultants, ensuring that the details and dynamics of their scenes were accurate. “Obviously, he’s playing a character, but it’s making sure that it feels authentic and true to his experience as a disabled actor,” Nunn said.
One such scene unfolds in episode four, when a dinner date between Isaac and Maeve (Emma Mackey) turns toward the intimate. Isaac is paralyzed from the chest down, like Robinson. Maeve starts kissing him, then pulls away. “Can … ” she whispers, trailing off.
“You want to know what I can feel?” Isaac asks.
“Yeah,” Maeve replies. “Well, I can’t feel anything below my level of injury,” Isaac said. “If you put your hand on my chest, I’ll show you.”
Kelly Gordon, a trainer at Enhance the UK, a charity run by disabled people, and Chris Yeates, an outreach and support coordinator at Back Up Trust, a charity that supports people affected by spinal cord injury, consulted on Isaac’s story line. The scene works because it’s not about the fact that Isaac uses a wheelchair. It’s a story about two awkward teenagers, an expression of affection and a burned lasagna.
David Thackeray, an intimacy coordinator, worked on all eight episodes of season three, including this scene with Isaac and Maeve. Thackeray choreographs each take as if it were a dance sequence or a fight scene, mapping out physical boundaries with each actor beforehand.
“We’re all sitting together, discussing the scene. We mark out where we’re happy to be touched,” Thackeray said. “Even to sit on George’s lap was like, ‘Are you happy with that?’ You keep that communication going.”
Coordinators and consultants checked in constantly on the cast’s comfort levels. Jodie Mitchell, a consultant who advises productions about how to depict nonbinary characters and themes (and who also uses they/them pronouns), was initially brought on only to work on the script with the writers. Then one of the show’s directors, Runyararo Mapfumo, called, wanting to double-check the details of scenes featuring nonbinary characters.
“And then she really wanted me to come on set, which I think is indicative of how much this program really wants to get things right,” Mitchell said. “It’s not just about posturing for them or ticking the box of like, ‘Oh, we’ve checked it’s OK with someone.’ They really want to follow through to the highest level they can.”
Mitchell worked on set for three days, focusing on nonbinary story lines, mostly consulting on those chest binding scenes involving Layla and Cal. Holdaway, who plays Layla, had the option of having an intimacy coordinator present for every scene.
“But for a few of the scenes around bindings specifically, they were like, ‘Oh, actually, I just want someone who is trans and has lived experience with being trans in the room with me,’” Mitchell said. “So I was there.”