workplace. It is only when Brianna decides to take Frankie
seriously that viewers see a semblance of hope that there may be a
possibility of sisterhood between the two not quite as strong as
Mary Richards and her best friend Rhonda on The Mary Tyler Moore
Show but civil nonetheless (Kutulas 126).
Although it may seem as though “The Anchor” does not
relate to the sexual liberation of older generations, it does just that
because the product Frankie is so passionate about is her self-made
yam lubricant. It is important to Frankie that she has a level of
autonomy in the mass production and distribution process of the
lube because her product can be seen as an extension of her
sexuality. As a woman in her mid-70s, Frankie is the
unconventional choice to be the face of lubricant because she is
not thought of as a sexual individual, period. She is overly
protective of her lube and, in turn, her sexuality so that it gets
portrayed in a way that she feels comfortable because too often the
sexuality of older females is misrepresented or lacks representation
at all. So, Grace and Frankie first takes viewers through Frankie’s
battles with ageism as they relate to sexuality and feminism within
the workplace only to reveal that there is a light at the end of the
tunnel for older individuals when they demonstrate persistence in
the fight to be treated with respect regardless of their age.
“The Sex”
In “The Sex,” viewers see Grace grapple with accepting the
sexual limitations associated with the “motherhood mystique” but,
in the end, refuses the stereotype (Feltmate & Brackett 543). The
motherhood mystique is a script for “good mothering” that “treats
a woman’s sexual fulfillment as incompatible with the all-
encompassing mother role” (Feltmate & Brackett 543). One
character who faces the motherhood mystique quite often is
Marge, the blue-haired matriarch from the long-running, animated
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