irony about their occupations becomes apparent within the first
few minutes of the series premiere.
Robert and Sol ask their wives to dinner over mysterious
pretenses only to drop a bombshell: they are in love with each
other and plan to marry. Naturally, chaos ensues, and to add insult
to injury, Robert reveals that he and Sol have been carrying on an
affair for the past 20 years. Grace and Frankie follows the women as
they navigate the uncharted territory that accompanies being single
in your mid-70s. This surprising shift in family dynamics forces
Grace and Frankie to live together in the beach house that both
couples once shared as they start their lives over. In addition, the
two women are also forced to help their children cope with tumult
that comes with having lives they have always known being
uprooted and turned upside down. Grace has two daughters
Mallory (Brooklyn Decker), who is a stay-at-home mother, and
Brianna (June Diane Raphael), who is the newly appointed CEO
of Grace’s cosmetic empire and the sisters are equally shaken by
the news that their father has come out as gay and plans to marry
his longtime friend. In comparison to their mother’s relatively stoic
acceptance, Frankie’s children Coyote (Ethan Embry), a
recovering addict and substitute teacher, and Nwabudike “Bud”
(Baron Vaughn), following in the family tradition as a lawyer are
tested by their father Sol’s relationship with Robert as they try to
grapple with their new reality.
The sexual liberation of the elderly in Grace and Frankie
works to denounce ageism by exploring the topic of seniors and
sex and then rejecting the dominant stereotypes held about elderly
people. This chapter will explore how Grace and Frankie celebrates
the sexual liberation of its four main characters Grace, Frankie,
Robert, and Sol by analyzing three specific episodes, “The End,”
“The Anchor,” and “The Sex.” In order to have the most accurate
examination of the sitcom, it is essential that a theoretical
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