In the last year, the atmosphere has evolved in an undeniable direction, which we can no longer ignore. From Saltburn to Challengers, film marketing has veered towards the erotic, even when the films themselves dare not be explicit. And if there was any doubt, there are the songs: from Billie Eilish’s \u2018Lunch\u2019 to Doechii’s \u2018NISSAN ALTIMA\u2019, where sex – with all its explicit implications – has established itself as a constant leitmotif. The message is clear: the forbidden is back, and this time, it is marketed with an intensity we have never seen before.<\/p>\n\n\n\n
Durante la d\u00e9cada de mitad de 2010 y principios de la de 2020, el deseo sexual \u2014y en particular el deseo heterosexual\u2014 se percib\u00eda como un territorio cargado de tensiones y tab\u00faes. El #MeToo vino a destapar las pr\u00e1cticas de explotaci\u00f3n en Hollywood, que expon\u00edan a los trabajadores, al acoso y abuso por parte de los grandes nombres de la industria. Este despertar tambi\u00e9n trajo consigo un torrente de nuevas ansiedades sobre la sexualidad que penetraron profundamente en la cultura pop. De pronto, todo pasaba a ser examinado bajo una lente feminista pop que intentaba corregir el balance \u201carrastrando\u201d el sexismo y evaluando cualquier pieza cultural seg\u00fan cu\u00e1n profundamente reforzaba la mirada masculina. <\/p>\n\n\n\n
During the mid-2010s and early 2020s, sexual desire\u2014and heterosexual desire in particular\u2014was perceived as a territory fraught with tension and taboo. #MeToo brought to light exploitative practices in Hollywood, which exposed workers to harassment and abuse by the industry\u2019s biggest names. This awakening also brought with it a torrent of new anxieties about sexuality that permeated deep into pop culture. Suddenly, everything was being examined through a pop feminist lens that attempted to redress the balance by \u201cdragging out\u201d sexism and evaluating any cultural piece according to how deeply it reinforced the male gaze.<\/p>\n\n\n\n
In response, creatives retreated into the safety of neutrality, fearful of the consequences, while audiences found cause for complaint in even the most harmless. The result was clear: the box office was filled with Disney remakes and superhero franchises, obsessed with physical perfection but devoid of any form of real intimacy. Raquel S. Benedict, with her 2021 viral essay titled \u201cEveryone is beautiful and no one is horny. No one is ugly. No one is really fat. Everyone is beautiful. And yet, no one is horny. Even when they have relationships, no one is horny. No one is attracted to anyone else. No one is hungry for anyone else.\u201d<\/p>\n\n\n\n
Recently, desire has erupted with overwhelming intensity. Now, everyone seems to be caught up in a maelstrom of attraction without barriers. The need for pleasure has become so omnipresent that opening any social network is to be swept away by a torrent of content that trivializes perversions, from the most risqu\u00e9 praise to the most explicit. After a decade of moralism and an almost sickly prudence, sexuality, which #MeToo tried to contain, has found an overflowing outlet. From movie screens to stages and social media, the pendulum has swung, and what was once taboo has not only returned, but has been diverted into ever more extreme territories.<\/p>\n\n\n\n