Are mothers allowed to prioritize themselves? Can they have their own identities beyond a selfless madonna dedicating her whole life to her children? Are they—gasp—allowed to have hot sex and orgasm first? So asks Anne Hathaway’s new romantic comedy,The film, which premieres May 2 on Amazon Prime and is based on Robinne Lee’s best-selling novel of the same name, focuses on 40-year-old single mom Solène , who falls in love with Hayes , a 24-year-old lead singer in a world famous boy band.
When the Supreme Court recently heard arguments in a case that will determine how close to death a pregnant person needs to be in order to receive abortion care, Justice Samuel Alito sparred with Solicitor General Elizabeth Prelogar about whether hospital doctors need to treat both a pregnant woman and her “unborn child” as equal patients. Abortion advocatesthis could spur fetal personhood arguments, implying that a nonviable fetus’ needs could supersede those of a pregnant person’s.
“It was like a firestorm,” Riley recounts, speaking about the film’s reception. “People were losing it right, left, and center because she left her children to pursue her sexuality, her scholarship, to create a life outside of motherhood. And that’s still heresy today. Father’s leave every other day, but a mother leaving is blasphemy.”
In fact, Riley argues, the only mothers allowed to have even a sliver of sex lives are straight, cisgender, attractive, feminine white women. Society will open the door a little to push motherhood boundaries, but only in a very controlled way.'s film ending is different than the book's—one example of this controlled shift. Lee’s original conclusion didn’t sit well with a lot of readers The film adds a scene that is far more hopeful for Solène and Hayes.
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