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It’s just one of many wake-up calls for Joyce in the series’ first few episodes, especially as she learns both that the porn industry has the potential for facilitating liberation in its own right, and that her rigid ideas of feminism may not be as liberatory as she thinks. But it also serves as an endearing reminder that yes, penises exist, and can be enjoyed in the right context. Yes, it’s a gas to see Joyce wince at the cavalcade of nude models they bring in to populate their first issue (leading to a montage of wedding tackles spanning lengths, widths, and girths that would make “ Zola” blush). But “Minx,” like its titular publication, stuffs a healthy amount of medicine inside that chunky penis butter. He’s on board with Joyce’s feminism-”making shit fair and equal for the chicks,” he defines it-but also sees the magazine as an opportunity to break into a niche heretofore broached only by Burt Reynolds’ hairy thigh draped over a bearskin rug.ĭone with a little less care, Joyce’s journey from closed-off killjoy to savvy dong-displayer could read as a tale of uppity feminists needing to calm down a bit and not take things so seriously. When she starts working with Doug, she gets nightmares about Gloria Steinem pelting her with tomatoes.Ĭontrast that with Doug, played by Johnson in that quintessential laidback persona he’s curated since “New Girl.” But Doug isn’t quite as unambitious as Nick Miller, far from it-his carefree slouchiness hides a business savvy that makes him a force to be reckoned with, even when he’s underestimated by everyone from publishers to the Italian mob. She’s steeped in the quote-unquote “angry feminism” of the second wave: she sings loudly in the car to “I Am Woman, Hear Me Roar”, and her perpetual uniform is a corduroy three-piece power suit. Sensing an opportunity, he brings the reserved Joyce on board with his porn-mag company (Bottom Dollar, natch) with an idea: Put nude male centerfolds in between hard-hitting essays about birth control, and you’ve got the stuff to break into an as-yet-untapped market.įrom there, “Minx” charts Joyce’s tip-first plunge into the world of pornography, mining her uptight reservedness (she cops to only having seen “two and a half” penises in her life before this) for plenty of transgressive gags about the limits of her own conception of feminism. But Doug sees something in her pitch, whose original title is the oh-so-catchy “The Matriarchy Awakens,” especially when some of his nude models read it and it catches their eye.
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In the opening scenes of the pilot, the latter finds the former at a magazine publishing conference in 1970s Los Angeles, where Joyce’s strident lecturing about women’s rights fall on deaf ears among the good ol’ boys she pitches to (“Why is she so angry?” one asks of the screaming woman, fist raised, on the magazine’s cover).
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Central to “Minx"'s juggling act between feminism and flesh is the back-and-forth between its central duo-buttoned-up, second-wave feminist Joyce and devil-may-care skin merchant Doug.