When I first sat down to watch The Young Pope and The New Pope, I anticipated a deep dive into the world of Catholicism, but what I wasn’t prepared for was just how provocative and stylish these series would turn out to be.
From the moment Jude Law’s charismatic yet enigmatic Pope Pius XIII made his debut, it was clear that Paolo Sorrentino had crafted something truly exceptional.
As I immersed myself in the opulence and intrigue of Vatican City, I couldn’t help but marvel at how these shows managed to blend spirituality with an undeniably seductive allure.
The question that kept echoing in my mind was: Can religion, often seen as the epitome of solemnity and restraint, really be sexy?
Let’s explore how The Young Pope and The New Pope challenge traditional notions of religiosity by infusing them with an unexpected sensuality, and why this audacious approach not only captivated audiences but also redefined the boundaries of faith and allure.
Exploring Sensuality and Spirituality in Paolo Sorrentino’s The Young Pope and The New Pope
The Catholic Church, with its millennia of traditions, rituals, and moral teachings, is often seen as the antithesis of modern secular culture, particularly in areas related to sexuality.
However, in recent years, television has taken bold steps to explore this complex relationship, challenging stereotypes and creating provocative narratives.
Among these, Paolo Sorrentino’s series The Young Pope (2016) and The New Pope (2020) stand out as audacious explorations of the intersection between Catholicism and sensuality.
The Young Pope and The New Pope do not shy away from depicting the Catholic religion through a lens that blends spirituality with sensuality, faith with desire, and tradition with modernity.
These shows, starring Jude Law as Pope Pius XIII (Lenny Belardo) and John Malkovich as Pope John Paul III (Sir John Brannox), delve into the inherent tensions between the austere, celibate lives that Catholic clergy are expected to lead and the deep, often unspoken, human desires that persist even within the Vatican’s sacred walls.
The Paradox of Sensuality and Spirituality
In both The Young Pope and The New Pope, Sorrentino masterfully juxtaposes the sacred and the profane, creating a world where the two are not mutually exclusive but deeply intertwined.
This interplay between sensuality and spirituality is evident from the very beginning of The Young Pope, where the opening sequence features Lenny Belardo, the newly elected Pope Pius XIII, crawling out from beneath a mountain of infants.
The imagery here is striking—innocence and purity are immediately contrasted with the adult, male figure who will soon be at the helm of one of the most powerful religious institutions in the world.
The shows employ lush, cinematic visuals to emphasize this tension. The Vatican, with its grandiose architecture, is portrayed not just as a center of religious power but as a place of profound beauty and allure.
The series often uses slow-motion shots, rich colors, and evocative music to highlight moments of introspection, temptation, and revelation, suggesting that the divine and the sensual can coexist.
Pope Pius XIII, with his striking good looks, magnetic charisma, and deep personal struggles, becomes a symbol of this paradox. He is a man of faith, dedicated to God, yet he is also a figure of desire—both desired by others and struggling with his own desires.
His celibacy, a requirement of his position, is portrayed not as a mere abstention from sex but as a complex and often painful suppression of his humanity.
This inner conflict is part of what makes him such a compelling character and drives much of the series’ exploration of whether the Catholic religion can indeed be ‘sexy.’
Lenny Belardo: The Embodiment of the Sexy Catholic Leader
Jude Law’s portrayal of Lenny Belardo, Pope Pius XIII, is central to the series’ exploration of sexuality within the Catholic Church.
Lenny is a young, attractive, and enigmatic figure, a stark contrast to the typically elderly and austere popes of the past.
His physical appearance alone challenges the traditional image of the Pope, but it is his personality and actions that truly push the boundaries.
Lenny is a man of contradictions. He is deeply conservative, even reactionary, in his religious views, yet he is also charismatic and progressive in his approach to leadership.
His homilies are fiery and uncompromising, yet they are delivered with a charm and intensity that captivates his audience.
This combination of sternness and allure makes him a figure of fascination, both within the show and for the audience.
The series goes to great lengths to emphasize Lenny’s attractiveness. His morning routine, for example, is filmed in a way that highlights his physicality—the camera lingers on his muscular build as he exercises, on the sensual way he smokes a cigarette, on the intensity in his eyes as he contemplates the day ahead.
These scenes serve to humanize Lenny, reminding the audience that beneath the papal robes is a man with physical desires and needs.
Yet, Lenny’s sexuality is not overtly expressed in the traditional sense. He remains celibate, adhering strictly to the vows of his position.
His sexiness, therefore, is more about his presence, his charisma, and the power he wields—both as the Pope and as a man who is deeply aware of the effect he has on those around him.
This creates a fascinating dynamic where Lenny is both an object of desire and a figure who denies that desire, further intensifying his allure.
The Role of Women in The Young Pope and The New Pope
The portrayal of women in The Young Pope and The New Pope is another crucial aspect of the shows’ exploration of sexuality within the Catholic Church.
Women in these series are complex, multi-dimensional characters who navigate the strictures of the Church while also grappling with their own desires and ambitions.
Sister Mary, played by Diane Keaton, is one of the most prominent female characters in The Young Pope.
As Lenny’s former caretaker and now a trusted advisor, Sister Mary occupies a unique position of influence within the Vatican.
She is devout, yet her relationship with Lenny is one of deep emotional intimacy, bordering on the maternal but also tinged with an unspoken tension.
This relationship highlights the complicated nature of sexuality in a religious context—where emotional closeness can blur the lines of appropriate behavior, especially within a hierarchical institution like the Catholic Church.
In The New Pope, the character of Esther (Ludivine Sagnier) embodies the tension between piety and sensuality. Esther is a devout Catholic, yet she is also a woman who exudes a quiet sensuality.
Her relationship with Lenny in The Young Pope is fraught with unspoken desire, and this carries over into The New Pope, where her character continues to struggle with her faith and her feelings.
Esther’s journey is one of the most poignant in the series, as she navigates her roles as a wife, mother, and devout Catholic, all while dealing with the complex emotions that arise from her interactions with the Pope.
The series also explores the broader role of women within the Church, often highlighting the ways in which they are marginalized or silenced.
However, it also shows how women can wield power in subtle, yet significant ways.
This is particularly evident in The New Pope, where characters like Sofia (Cécile de France), the Vatican’s head of marketing and communication, navigate the male-dominated environment with a blend of intelligence, charm, and quiet determination.
Sofia’s interactions with Sir John Brannox, Pope John Paul III, further underscore the series’ exploration of the intersections between power, sex, and religion.
Sir John Brannox: The New Pope’s Take on Sexy Catholicism
When The New Pope introduces Sir John Brannox, portrayed by John Malkovich, the series shifts its focus from the intense, youthful charisma of Lenny Belardo to the more refined, melancholic allure of an older, yet equally compelling, character.
Sir John, who becomes Pope John Paul III, is a man of elegance, wit, and deep personal sorrow. His sexiness is of a different nature—less about physicality and more about the intellectual and emotional depth that he brings to his role.
Sir John’s sexuality is subtle, often manifesting in his interactions with others, particularly Sofia, with whom he shares a complex and intriguing relationship.
Unlike Lenny, whose attractiveness is rooted in his raw power and charisma, Sir John’s appeal lies in his vulnerability, his self-awareness, and his quiet, yet profound, understanding of the human condition.
He is a man burdened by past traumas, and this adds a layer of tragic allure to his character.
The series portrays Sir John as a figure who is deeply reflective, often questioning the nature of faith, the Church, and his own role within it.
This introspection is part of what makes him a fascinating character, as it allows the series to delve into the more philosophical aspects of religion and sexuality.
Sir John’s sexiness, therefore, is not about physical desire but about the way he engages with the world—his intellect, his emotional depth, and his ability to connect with others on a deeply personal level.
The Symbolism of the Pope’s Robes
One of the most striking visual elements in both The Young Pope and The New Pope is the use of papal vestments, which are imbued with deep symbolic meaning.
The robes worn by Lenny Belardo and Sir John Brannox are not just religious garments but symbols of power, authority, and, intriguingly, sexuality.
In The Young Pope, Lenny’s choice of a pristine white robe and a stark red cape is a bold statement. The white symbolizes purity, yet the vibrant red cape suggests passion, power, and even sensuality.
This juxtaposition is reflective of Lenny’s character—a man who is deeply committed to his faith yet is also aware of his own allure and the way it can be used to command respect and authority.
In The New Pope, Sir John Brannox’s robes take on a different significance. His garments are more subdued, reflecting his introspective nature and the melancholy that pervades his character.
Yet, there is still a sense of elegance and sophistication in the way he carries himself, suggesting that his sexuality is more refined, more about the mind than the body.
The robes, therefore, become a metaphor for the complex interplay between faith, power, and desire within the Church.
The series also uses the act of dressing and undressing as a powerful visual motif.
The scene in The Young Pope where Lenny is dressed by the cardinals, for example, is almost ritualistic, emphasizing the sacredness of the papal office.
Yet, there is also an undercurrent of sensuality in the way the camera lingers on the details — the meticulous adjustments of the robe, the delicate placement of the papal tiara.
This ritualistic dressing becomes a moment where the sacred and the sensual intersect, illustrating how the very symbols of religious authority are imbued with layers of meaning that extend beyond mere piety.
The robes also serve as a barrier between the Pope and the world, a physical manifestation of the celibacy and isolation that defines their role.
Yet, the series suggests that this barrier is not impenetrable. Both Lenny and Sir John, in their own ways, struggle with the weight of their garments—the expectations, the restrictions, and the identity that comes with them.
This struggle is not just about the burden of leadership but also about the suppression of their personal desires and the tension between their public and private selves.
The Interplay of Power, Faith, and Sexuality
The intertwining of power, faith, and sexuality is central to both The Young Pope and The New Pope. The papacy, as depicted in these series, is not just a religious office but a position of immense worldly power.
This power is inherently attractive, and the series does not shy away from exploring how it can be both a source of temptation and a tool for manipulation.
Lenny Belardo, as Pope Pius XIII, wields his power with an iron fist.
His conservative stance on issues like abortion, homosexuality, and modernity is designed to reassert the Church’s authority in a world that he sees as increasingly godless.
Yet, this very rigidity becomes a form of seduction. His unwavering faith, combined with his magnetic personality, draws people to him, even as they are repelled by his harsh doctrines.
Lenny’s ability to command loyalty, fear, and admiration is part of what makes him such a ‘sexy’ figure—his power is not just in his physical appearance but in his absolute conviction and the way he uses it to shape the Church and its followers.
In contrast, Sir John Brannox, as Pope John Paul III, approaches power differently.
He is more introspective, more willing to question and reflect, which makes his authority seem more accessible, more human.
However, this does not make him any less powerful; rather, it makes his power more subtle, more insidious.
Sir John’s power lies in his ability to connect with others on a deeply personal level, to understand their desires and fears, and to use this understanding to guide, manipulate, or comfort them.
His version of papal authority is no less potent than Lenny’s; it is simply cloaked in a different kind of allure.
The series also explores the idea that power and sexuality are not just external forces but are deeply connected to the internal struggles of faith.
Both Lenny and Sir John grapple with their own doubts, insecurities, and desires, and it is this inner turmoil that makes them compelling characters.
Their struggles with faith are not just intellectual or spiritual but are also tied to their identities as men—men who are expected to embody purity and holiness, yet who are also deeply human, with all the flaws and desires that come with it.
The Vatican as a Symbol of Repression and Desire
The Vatican, as portrayed in The Young Pope and The New Pope, is not just a setting but a character in its own right.
Its opulent halls, hidden corridors, and vast gardens serve as a backdrop to the series’ exploration of repression and desire.
The grandeur of the Vatican is awe-inspiring, yet there is also a sense of suffocation, of being trapped within a place that demands absolute piety while constantly reminding its inhabitants of the temptations they must resist.
The Vatican’s architecture, with its blend of ancient and modern, mirrors the tensions within the Church itself—between tradition and change, between celibacy and desire, between faith and doubt.
The series often uses the Vatican’s spaces to reflect the inner states of its characters.
The vastness of St. Peter’s Basilica, for example, can feel both awe-inspiring and isolating, a place where one is confronted with the enormity of the divine but also with the smallness of human desire.
The gardens of the Vatican, on the other hand, serve as a space where characters often retreat to reflect, to indulge in private thoughts, or to engage in secret conversations.
These gardens, lush and secluded, become a metaphor for the hidden desires and suppressed emotions that lie beneath the surface of the Vatican’s rigid exterior.
The series uses these spaces to explore the idea that, within the heart of the Church, there are places where the rules can be bent, where the human can seep into the divine.
The Vatican’s setting also allows the series to explore the idea of surveillance and the gaze—how the Church watches over its members, and how the characters watch each other.
This constant surveillance adds another layer to the series’ exploration of sexuality, as characters are often aware that they are being watched, judged, and held to a higher standard.
This awareness creates a tension between public piety and private desire, a tension that is central to the series’ portrayal of the Catholic Church as both a place of spiritual elevation and human fallibility.
The Use of Music and Visuals to Enhance the Sexy Aura
One of the most distinctive elements of The Young Pope and The New Pope is their use of music and visual style to create a unique atmosphere that enhances the series’ exploration of sexuality and faith.
Sorrentino’s direction is lush, stylized, and often surreal, creating a world where the boundaries between the sacred and the profane are constantly blurred.
The music, in particular, plays a crucial role in setting the tone. The series employs a diverse soundtrack that ranges from classical compositions to contemporary pop and rock music.
This eclectic mix serves to underscore the contrast between the ancient traditions of the Church and the modern world.
The use of contemporary music in sacred spaces, such as the Vatican, creates a jarring yet intriguing juxtaposition that highlights the series’ themes of rebellion, desire, and the clash between old and new.
For example, the opening sequence of The Young Pope, set to the tune of “All Along the Watchtower” by Jimi Hendrix, immediately sets the tone for the series—a blend of reverence and irreverence, of the divine and the human.
The choice of such a song, with its themes of escape and prophecy, suggests that the series will challenge traditional notions of what it means to be holy, pure, or pious.
Visuals, too, play a key role in the series’ portrayal of the Catholic Church. The cinematography is often breathtaking, with shots that linger on the beauty of the Vatican’s architecture, the intricacy of religious art, and the faces of the characters as they grapple with their inner demons.
The use of light and shadow, in particular, is masterful, creating an atmosphere that is both luminous and foreboding, a place where divine light can also cast deep shadows of doubt and desire.
The series also uses symbolic imagery to reinforce its themes.
The recurring motif of the cherry tree, for example, represents both purity and temptation, a reminder of the original sin and the ongoing struggle between the flesh and the spirit.
The cherry tree, with its beautiful blossoms, serves as a visual metaphor for the allure of forbidden desires within the confines of the Vatican’s rigid moral code.
Sexuality and Scandal: The Church’s Public Image
One of the underlying themes of The Young Pope and The New Pope is the Catholic Church’s complex relationship with sexuality and scandal, particularly in the context of its public image.
Both series grapple with the reality that the Church, while preaching celibacy and moral purity, has been plagued by scandals involving sexual misconduct, abuse, and corruption.
The character of Cardinal Voiello, played by Silvio Orlando, serves as a focal point for this exploration.
As the Vatican’s Secretary of State, Voiello is acutely aware of the Church’s vulnerabilities and the importance of maintaining a pristine public image.
His role often involves managing crises, covering up scandals, and navigating the delicate balance between upholding the Church’s moral authority and dealing with the messy realities of human behavior.
The series does not shy away from depicting the hypocrisy that can arise from this situation.
The Church’s insistence on celibacy, its condemnation of homosexuality, and its strict moral teachings are shown to be in stark contrast with the behavior of some of its leaders.
This hypocrisy is not just a source of scandal but also a point of tension within the series, as characters struggle with their own desires while trying to uphold the Church’s teachings.
The public image of the Church is also contrasted with the private lives of its leaders. While the Vatican may project an image of holiness and moral superiority, the series suggests that behind closed doors, the reality is far more complex.
Characters like Lenny and Sir John, who are seen as paragons of virtue, are shown to be deeply flawed, grappling with their own sins and shortcomings.
This contrast between the public and private selves adds another layer to the series’ exploration of whether the Catholic religion can be ‘sexy’—it suggests that the allure of the Church is not just in its teachings but in the very human, very fallible people who lead it.
Conclusion: Can the Catholic Religion Be Sexy?
The Young Pope and The New Pope do not provide a definitive answer to the question of whether the Catholic religion can be sexy.
Instead, they explore the many ways in which the Church, with its complex history, rigid doctrines, and deeply human leaders, can be seen as a place where sexuality and faith intersect in unexpected and often provocative ways.
The series suggests that the ‘sexiness’ of the Catholic religion is not about overt expressions of sexuality but about the tension between desire and repression, power and vulnerability, the sacred and the profane.
It is about the allure of the forbidden, the charisma of those who wield power within the Church, and the ways in which the very structure of the Church, with its rituals, symbols, and authority, can create an atmosphere charged with both spiritual and sensual energy.
Paolo Sorrentino’s vision of the Vatican as depicted in The Young Pope and The New Pope is one where the boundaries between the divine and the human are fluid, where the pursuit of holiness is always accompanied by the shadow of temptation.
This interplay is what gives the series its unique power, making the Catholic religion not just a backdrop for spiritual contemplation but a dynamic setting where questions of faith, identity, and desire are played out in vivid, often surprising ways.
The portrayal of characters like Lenny Belardo and Sir John Brannox as complex, multifaceted figures who struggle with their own humanity while serving as the spiritual leaders of millions speaks to a broader cultural fascination with the contradictions inherent in the Catholic Church.
These contradictions are part of what makes the Church, in the context of these series, a ‘sexy’ institution—not in the literal sense, but in the way it captivates, seduces, and engages with the deepest aspects of human experience.
The exploration of sexuality in The Young Pope and The New Pope is not just about individual desires but also about the institutional and cultural forces that shape those desires.
The series suggests that the Catholic Church’s teachings on celibacy, purity, and morality are not just rules to be followed but are also part of a broader narrative about the nature of power, the role of tradition, and the ways in which human beings grapple with their own limitations and aspirations.
In the end, The Young Pope and The New Pope invite viewers to reconsider their perceptions of the Catholic Church, to see it not just as a rigid institution but as a living, breathing entity that is as much about humanity as it is about divinity.
The ‘sexiness’ of the Catholic religion, as portrayed in these series, lies in its ability to engage with the full spectrum of human experience—to inspire, to challenge, and to provoke.
This provocative approach is a testament to Sorrentino’s ability to craft narratives that are both deeply personal and broadly resonant.
By focusing on the inner lives of his characters, he is able to explore larger questions about the nature of faith, the meaning of power, and the place of sexuality in a world that is often divided between the sacred and the secular.
Ultimately, the question of whether the Catholic religion can be sexy according to The Young Pope and The New Pope is less about a definitive answer and more about an ongoing conversation—one that engages with the complexities, contradictions, and mysteries that lie at the heart of one of the world’s oldest and most influential institutions.
Through its rich visuals, compelling characters, and thought-provoking themes, the series invites us to explore these questions for ourselves, to consider how the Catholic Church—and by extension, religion itself—can be both a source of spiritual fulfillment and a space where the complexities of human desire are fully realized.
The Legacy of The Young Pope and The New Pope
The impact of The Young Pope and The New Pope on popular culture extends beyond their immediate storylines and characters.
These series have sparked discussions about the portrayal of religion in media, challenging audiences to think about the ways in which faith is represented in modern storytelling.
By blending the sacred with the profane, the divine with the sensual, Sorrentino has opened up new avenues for exploring the intersection of religion and sexuality, providing a framework for future narratives that seek to grapple with similar themes.
Moreover, the series have highlighted the enduring fascination with the Vatican as a symbol of both spiritual authority and human complexity.
The Vatican, with its long history and intricate politics, remains a potent setting for stories that delve into the nature of power, belief, and desire.
Sorrentino’s work has demonstrated that there is still much to be explored within this world, and that the tensions between faith and sexuality will continue to be a rich source of narrative inspiration.
In conclusion, The Young Pope and The New Pope are not just television series about the Catholic Church; they are complex meditations on the nature of faith, power, and desire.
Through their rich characters, evocative visuals, and thought-provoking themes, these series challenge us to reconsider our perceptions of the Catholic religion and its place in the modern world.
Whether or not one believes that the Catholic religion can be ‘sexy,’ there is no denying that these series have brought a new level of depth and complexity to the portrayal of faith on screen, offering a unique and compelling vision of the Vatican and its inhabitants.
