Beyond the School Gates: Why Sex Education Is the Show of Our Generation A Uniquely Timeless Aesthetic One of the first things that strikes you when watching Sex Education is its indefinable visual universe. Are we in the 1980s? The present day? In England or America? This artistic ambiguity is entirely intentional. With its colourful lockers, vintage jackets (Otis's famous jacket), classic cars and near-total absence of smartphones, the show creates a timeless bubble. More than a comedy about sex, Sex Education is a work about healing and acceptance. Every character wages an inner battle to accept who they are. Eric Effiong gave the world one of the most nuanced and joyful portrayals of a young, Black, gay and religious man. Far from tragic clichés, his story arc is a celebration of "Black Queer Joy". Aimee Gibbs tackled the difficult subject of sexual assault on public transport with heartbreaking authenticity. The bus scene, where all the girls rally around her, became a powerful symbol of sisterhood. Maeve Wiley deconstructs the "bad girl" myth. Beneath her rebellious exterior and precarious social standing, she reveals a literary intelligence and strength of character that defy all social determinism. Did You Know? Therapy Through Representation The Legacy of Moordale This aesthetic choice, inspired by John Hughes films ( The Breakfast Club ), makes the characters' issues feel universal. By erasing overly specific time markers, Moordale becomes everyone's school — a mythical place where the eternal dramas of adolescence play out. Gillian Anderson, who plays Jean Milburn, Otis's sex therapist mother, admitted she nearly turned down the role after throwing the first episode's script in the bin, finding it "too explicit". It was her partner at the time who convinced her to read it to the end, revealing the intelligence and humour behind the provocation. The series is filmed in Wales, taking advantage of the stunning landscapes of the Wye Valley, which adds to t...