25 Previously Banned TV Episodes You Can Stream Right Now

Gillian Anderson in The X-Files
Gillian Anderson in The X-Files
Fox

While there are any number of reasons why a specific episode of a television series might be pulled from the airwaves or from reruns (some of them innocuous), poor timing tends to be one of the biggest culprits. But as time passes, tempers simmer, hearts begin to heal, and once-forbidden entertainment can make its way back into the mainstream. Or, more specifically, the main stream.

Thanks to streaming services like Netflix, Hulu, Amazon, and iTunes, history-making—and controversy-causing—television is just a click away (though sometimes it'll cost you a couple of dollars).

Were these 25 previously banned television episodes deserving of the backlash they received? Now you can judge for yourself.

1. Married… With Children // "I’ll See You in Court"

Running afoul of censors was a pretty regular occurrence on Married… With Children. In fact, some might say that was the very reason why the show enjoyed an 11-season run. At a time when other networks were intent on showing what a perfect nuclear family looked like, Al and Peg Bundy were the complete antithesis of the American Dream. Sure, the couple tolerated each other, but barely. The series’ never-ending onslaught of crude jokes were typically aimed squarely at a member of the Bundy family, yet none of it seemed to affect them or change their bad behavior. And audiences loved them for it. Well, most audiences.

In 1989, during the show’s third season, an episode entitled “I’ll See You In Court” sees Al and Peg decide to spice up their love life by spending the night in a hotel. Ever-helpful neighbors Steve and Marcy Darcy recommend they spend the night at a hotel that they like to frequent for the very same reason, but it turns out that the hotel owners are secretly recording their guests’ carnal trysts. So the Bundys and the Darcys decide to take the hotel to court, where they’re subjected to a series of embarrassing questions about their love lives—not to mention those videos. Though it’s all relatively tame by today’s comparisons, some critics of the show felt the story line took the series’ signature crudeness to new depths and initiated a letter-writing campaign. Eventually, Fox caved to the complaints and pulled the episode from the schedule and any syndication lineups (though it was seen overseas). It wasn’t until 2002 that the episode—minus a few particularly controversial lines—aired on American television (this time on FX). It’s now been reinstated back into its place in the series’ regular lineup.

Where to watch it: Hulu

2. Hannibal // “Oeuf”

The fourth episode in Hannibal‘s debut season (also known as “Œuf”) was originally scheduled to air on April 25, 2013, a mere 10 days after the Boston Marathon bombings and just a few months after the tragedy at Sandy Hook Elementary School. While it was NBC that announced the decision to skip over the episode, in which former SNL star Molly Shannon plays a woman who brainwashes children into murdering other children, it was series creator Bryan Fuller who suggested pulling it.

"I didn’t want to have anyone come to the show and have a negative experience,” Fuller told Variety in 2013. "Whenever you [write] a story and look at the sensational aspects of storytelling, you think, ‘This is interesting metaphorically, and this is interesting as social commentary.’ With this episode, it wasn’t about the graphic imagery or violence. It was the associations that came with the subject matter that I felt would inhibit the enjoyment of the overall episode … It was my own sensitivity.” Though the missed episode did not cause any problems in terms of continuity, NBC did repackage the episode in a series of clips to run on NBC.com.

Where to watch it: Amazon Prime

3. Family Guy // "Partial Terms of Endearment"

In Family Guy's “Partial Terms of Endearment,” Lois agrees to be a surrogate for a couple who are then killed in a car accident, leading Lois and Peter to discuss whether or not she should terminate the pregnancy. The episode was intended to be the series’ eighth season finale, and was broadcast in the U.K. in June of 2010, but Fox refused to air it. Ever.

In an interview with The New York Times, MacFarlane explained that “We’ve found in the last couple years that by taking serious stories that could be movies of the week on Lifetime or Oxygen, and doing a Zucker brothers-Airplane! take on them, they always make for really good Family Guy episodes. To us, it’s in the realm of what in the 1970s would be the edginess of the abortion episode of Maude. Times really have changed, and I think the network is making a decision that is, unfortunately, probably correctly based on people’s current ability to handle and dissect controversial narratives … It’s an issue that you read about in the papers all the time, like anything else. So that is fodder for political and social satire. There’s nothing about that issue that should be any different than doing an episode about gay marriage, or an episode about the oil spill.”

Where to watch it: Amazon

4. and 5. Maude // "Maude’s Dilemma: part 1" and "Maude’s Dilemma: Part 2"

If you’re not familiar with MacFarlane’s reference to “the abortion episode of Maude,” it was an amazingly controversial two-part episode of the otherwise comedic series in which the main character (played by Bea Arthur) realizes that, at the age of 47, she is pregnant, and spends two episodes agonizing over whether or not she should keep the baby. The fact that it was 1972 and these episodes managed to make it on air is pretty amazing, particularly as they were broadcast about two months before Roe vs. Wade. And while the episodes weren’t banned outright, more than 30 of the network’s affiliates refused to broadcast them.

Where to watch it: Amazon

6. The X-Files // "Home"

The X-Files has never been short on creepy storylines or characters. But the producers of this 1996 episode deemed the contents of “Home”—a standalone episode that dealt with murder, amputees, and deformities as the result of incest—as being “tasteless” and going “too far.” So Fox promised to never run it again, which didn’t sit well with fans of the show, who enjoyed the episode. A year later, FX ran an all-day marathon of fan favorite episodes, and “Home” came out on top.

Where to watch it: Hulu

7. The Simpsons // "The City Of New York Vs. Homer Simpson"

In the wake of 9/11, a handful of television series needed to be altered in order to avoid any reference or reminder of the attacks. (Sex and the City, Law and Order, and The Sopranos even changed their opening credits.) And Fox made the decision to remove its season nine premiere, “The City of New York vs. Homer Simpson,” from its rerun rotation. Though the episode aired four years before the tragedy, the fact that so many of its scenes took place at or around the World Trade Center led the network to pull it from the airwaves. The #EverySimpsonsEver marathon that aired on FXX in 2014 was one of the few times it’s been aired uncut ever since.

Where to watch it: Amazon

8. Buffy The Vampire Slayer // “Earshot”

In the spring of 1999, a week before Buffy the Vampire was set to broadcast “Earshot,” a third season episode that revolved around a school shooting, the tragedy at Columbine High School happened. The network acted quickly to pull the episode; it eventually ran in September, just before the start of season four.

Where to watch it: Hulu or Amazon

9. Beavis And Butt-Head // “Home Improvement”

At this point, it’s almost easier to identify the episodes of Beavis and Butt-head that weren’t either heavily edited or temporarily banned from the airwaves. The complaints against the cult classic MTV cartoon typically fell into one of four categories: drug use, extreme violence, animal cruelty, or criminal behavior. The duo’s “Fire, fire, fire” catchphrase was also often taken to task; in 1993, the series was blamed in the case of a five-year-old who set his house on fire, killing his younger sister. “Home Improvement,” is yet another episode that was pulled, largely because it shows the guys sniffing paint thinner.

Where to watch it: Amazon

10. Daria // “Fat Like Me”

Beavis and Butt-head spinoff Daria didn’t attract as much controversy as its predecessor, but many episodes were also heavily censored in reruns. And one episode in particular, season five’s “Fat Like Me,” didn’t run at all on Teen Nick (formerly known as The N) because of the negative correlation it depicted between weight gain and loss of popularity.

Where to watch it: Hulu

11. The Twilight Zone // "The Encounter"

Two years before he boarded the Enterprise, George Takei appeared in what turned out to be one of The Twilight Zone’s most controversial episodes. In “The Encounter,” Takei plays Arthur Takamori, a gardener who offers his services to his neighbor, a World War II vet. There isn’t a whole lot of gardening in the episode, but there is a lot of talking—about war and, more subtly, Pearl Harbor. And race. Immediately, the episode drew the ire of many “Japanese-American and Asian-American civil liberties and advocacy groups,” Takei said. “So for that reason, CBS pulled that episode. And it has a unique distinction of being the only Twilight Zone [episode] that was aired only once. It’s never been re-aired. It’s never enjoyed a re-run. And shucks darn, I missed out on my residuals on that one.”

Where to watch it: Hulu or Netflix

12. The Boondocks // “The Hunger Strike”

Black Entertainment Television (BET) has long been a favorite target of The Boondocks creator Aaron McGruder—so much so that in 2008 he created an entire episode around an effort to gain momentum for a BET boycott, which he painted as being “destructive” to the African American community. Though the episode never aired on Adult Swim, it was released on DVD in June of that year.

Where to watch it: Amazon

13., 14., And 15. Boy Meets World // “Prom-Ises, Prom-Ises,” “The Truth About Honesty,” And “If You Can’t Be With The One You Love”

If you’re making a show about teenagers, it stands to reason that sex and alcohol are two topics you’ll likely encounter. But the fact that Boy Meets World did it—and then did it again, and again—didn’t sit well with the top mice at the Disney Channel. Three episodes in particular were removed from reruns: “Prom-Ises, Prom-Ises,” in which Corey and Topanga discuss whether they should have sex on prom night; “The Truth About Honesty,” another sex-themed episode,” and “If You Can’t Be With the One You Love...,” where Cory and Shawn get drunk. No other network has seemed to have an issue with showing any of these episodes since.

Where to watch them: Hulu

16. Seinfeld // “The Puerto Rican Day”

Seinfeld was never much for sentimentality. (Larry David even imposed a strict “No Learning, No Hugging” policy.) But its second highest rated episode of all time was also its most controversial (and not, it’s not “The Contest”). It’s “The Puerto Rican Day,” in which the gang has trouble making their way home after a Mets game because of the city’s annual Puerto Rican Day Parade. In the midst of their antics, Kramer accidentally lights a Puerto Rican flag on fire and when a mob breaks out, Kramer states that “it’s like this every day in Puerto Rico”—which National Puerto Rican Coalition president Manuel Mirabal called an “‘unconscionable insult” to his community. The network offered a swift apology to anyone insulted by the episode’s humor and removed it from the rerun schedule and its initial syndication deal. But in 2002, the episode made its way back to television.

Where to watch it: Hulu

17. The Powerpuff Girls // “See Me, Feel Me, Gnomey”

In season six, The Powerpuff Girls put on a rock opera in “See Me, Feel Me, Gnomey,” but it only ever aired in the UK. While rumors swirled that it was because the episode contained some communist undertones, it was later revealed that the real reason for the episode’s ban was because of its use of strobe lights, which could cause some kids watching it to have seizures.

Where to watch it: Hulu

18. Arthur // “Room To Ride”

The Peabody Award-winning animated series Arthur hardly seems like the kind of show that would court controversy. And it’s definitely not. But that doesn’t mean that all of the many big-name guests who’ve made appearances on the series over the years have been able to maintain squeaky-clean images. Case in point: disgraced former Tour de France champ Lance Armstrong, who visited Elmwood City in 2008 to talk about bicycling and being a good citizen—four years before he was stripped of his cycling achievements.

Where to watch it: Amazon

19. Star Trek: The Next Generation // “The High Ground”

In 1990, Star Trek: The Next Generation paid tribute to its predecessor’s pot-stirring ways with “The High Ground,” which made an off-handed prediction that Ireland would be united in 2024. Initially, an edited version was shown in the U.K. but the episode was banned completely in Ireland until 2011.

Where to watch it: Netflix

20. Haven // “Reunion”

Just hours after the attack on Sandy Hook Elementary School, Syfy’s Haven was scheduled to run an episode entitled “Reunion,” which revolved around a school shooting. So the network made the quick decision to replace Haven with an episode of Eureka, a move that engendered unanimous support from viewers.

Where to watch it: Netflix or Amazon

21., 22., 23., 24., and 25. Star Trek // “Miri,” “Patterns Of Force,” “Plato’s Stepchildren,” “The Empath,” and “Whom Gods DestrOy”

For an iconic sci-fi series, Star Trek sure could manage to get the censors all riled up. Particularly in the U.K., where Star Trek was considered family programming. As such, it prompted the BBC to announce that, “After very careful consideration a top level decision was made not to screen the episodes entitled ‘[The] Empath,’ ‘Whom Gods Destroy,’ ‘Plato’s Stepchildren,’ and ‘Miri,’ because they all dealt most unpleasantly with the already unpleasant subjects of madness, torture, sadism, and disease. You will appreciate that account must be taken that out of Star Trek’s large and enthusiastic following, many are juveniles, no matter what time of day the series is put into the program schedules.”

In the case of season two’s “Patterns of Force,” Nazi undertones led to the episode being banned in Germany until 2011.

Where to watch it: Hulu or Netflix

An earlier version of this story ran in 2015.

Ira Aldridge: The Black Shakespearean Actor Who Broke Theater's Color Barrier

Ira Aldridge as Othello circa 1830
Ira Aldridge as Othello circa 1830
Henry Perronet Briggs, Wikimedia // Public Domain

It's easy to forget that before the dawn of film, stage actors were power players; many of them carried just as much clout as modern Hollywood stars. In 1880, Sarah Bernhardt earned $46,000 for a month of performances on her first New York tour alone (which would be well over $1 million today). In 1895, English actor Henry Irving made enough of a name for himself to become the first actor in history to receive a British knighthood. And way back in 1849, two rival Shakespearean actors, William Macready and Edwin Forrest, caused such a stir with their competing productions of Macbeth that their fans ended up rioting in the streets of Manhattan.

But before all of them, there was Ira Aldridge. Born in New York in 1807, Aldridge made such a name for himself in the theaters of the mid-19th century that he went on to be awarded high cultural honors, and is today one of just 33 people honored with a bronze plaque on a chair at the Shakespeare Memorial Theatre in Stratford-upon-Avon. But what makes Aldridge’s achievements all the more extraordinary is that, at a time of widespread intolerance and racial discrimination in the U.S., he was black.

Young, Gifted, and Black

The son of a minister and his wife, Aldridge attended New York’s African Free School, which had been established by the New York Manumission Society to educate the city's black community. His first taste of the theater was probably at Manhattan’s now-defunct Park Theatre, and before long he was hooked. While still a student, Aldridge made his stage debut—at the African Grove Theatre, which had been established by free black New Yorkers around 1821—in a performance of Richard Brinsley Sheridan’s adaptation of Pizarro. According to some accounts, his Shakespearean debut followed not long after, when he took on the title role in the African Grove Theatre's production of Romeo & Juliet.

These early performances were successes, as was the African Grove Theatre, which quickly proved the most renowned of the few theaters in New York staffed mainly by black actors and attended mostly by black audiences. But despite these early triumphs, both Aldridge and the Grove had their fair share of hardships.

Shortly after its opening, the Grove was forced to close by city officials, supposedly over noise complaints. The project was relocated to Bleecker Street, but this move took the theater away from its core black audience in central Manhattan and planted it closer to several larger, more upmarket theaters, with which it now had to compete. Smaller audiences, coupled with resentment and competition from its predominantly white-attended neighbors, soon led to financial difficulties. And all of these problems were compounded by near-constant harassment from the police, city officials, and intolerant local residents.

Eventually, the situation proved unsustainable: The Grove closed just two years later (and was reportedly burned to the ground in mysterious circumstances in 1826). As for Aldridge, having both witnessed and endured racist abuse and discrimination in America, he decided he'd had enough. In 1824, he left the U.S. for England.

The African Tragedian

Ira Aldridge in the role of Othello, 1854
Ira Aldridge as Othello in 1854
Houghton Library, Wikimedia Commons // Public Domain

By this time, the British Empire had already abolished its slave trade, and an emancipation movement was growing. Aldridge realized that Britain was a much more welcoming prospect for a young, determined black actor like himself—but what he didn’t know was that his transatlantic crossing would prove just as important as his decision to emigrate.

To cover the costs of his travel, Aldridge worked as a steward aboard the ship that took him to Britain, but during the journey he made the acquaintance of British actor and producer James Wallack. The pair had met months earlier in New York, and when they happened to meet again en route to Europe, Wallack offered Aldridge the opportunity to become his personal attendant. On their arrival in Liverpool, Aldridge quit his stewardship, entered into Wallack’s employ, and through him began to cultivate numerous useful contacts in the world of theater. In May 1825 Aldridge made his London debut, becoming the first black actor in Britain ever to play Othello

The critics—although somewhat unsure how to take a "gentleman of colour lately arrived from America"—were won over by Aldridge’s debut performance in a production of Othello at the Royalty Theatre. They praised his "fine natural feeling" and remarked that "his death was certainly one of the finest physical representations of bodily anguish we ever witnessed." Astonishingly, Aldridge was still just 17 years old.

From his London debut at the Royalty, Aldridge slowly worked his way up the city’s playbill, playing ever-more-upmarket theaters across London. His Othello transferred to the Royal Coburg Theatre later in 1825. A lead role in a stage adaptation of Aphra Behn’s Oroonoko followed, as did an acclaimed supporting turn in Titus Andronicus. To prove his versatility, he took on a well-received comedic role as a bumbling butler in an 18th-century comedy, The Padlock. Aldridge’s reputation grew steadily, and before long he was receiving top billing as the “African Roscius” (a reference to the famed Ancient Roman actor Quintus Roscius Gallus) or the renowned “African Tragedian”—the first African-American actor to establish himself outside of America.

Even in the more-accepting society of abolitionist Britain, however, Aldridge still had mountains to climb. When his portrayal of Othello later moved to Covent Garden in 1833, some reviewers thought a black actor treading the boards on one of London’s most hallowed stages was simply a step too far. The critics soured, their reviews became more scathing—and the racism behind them became ever more apparent.

Campaigns were launched to have Aldridge removed from the London stage, with the local Figaro newspaper among his vilest opponents. Shortly after his Covent Garden debut, the paper openly campaigned to cause “such a chastisement as must drive [Aldridge] from the stage … and force him to find [work] in the capacity of footman or street-sweeper, that level for which his colour appears to have rendered him peculiarly qualified.” Fortunately, they weren’t successful—but the affair temporarily ruined the London stage for Aldridge.

"The Greatest of All Actors"

Portrait of Ira Aldridge by Taras Shevchenko in 1858
Portrait of Ira Aldridge in 1858
Taras Shevchenko, Wikimedia Commons // Public Domain

Instead of accepting defeat, Aldridge took both Othello and The Padlock on a tour of Britain’s provincial theaters. The move proved to be an immense success.

During his national tour, Aldridge amassed a great many new fans, and even became manager of the Coventry Theatre in 1828, making him the first black manager of a British theater. He also earned a name for himself by passing the time between performances lecturing on the evils of slavery, and lending his increasingly weighty support to the abolitionist movement.

Next, he took his tour to Ireland, and on his arrival in Dublin became a near-instant star. With the island still locked in a tense relationship with Britain at the time, he was welcomed with open arms when Irish theatergoers heard how badly he had been treated in London. (In one flattering address in Dublin, Aldridge told the audience: “Here the sable African was free / From every bond, save those which kindness threw / Around his heart, and bound it fast to you.”)

By the 1830s, Aldridge was touring Britain and Ireland with a one-man show of his own design, mixing impeccable dramatic monologues and Shakespearean recitals with songs, tales from his life, and lectures on abolitionism. As an antidote to the blackface minstrel shows that were popular at the time, he also began donning “whiteface” to portray roles as diverse as Shylock, Macbeth, Richard III, and King Lear. When the notorious Thomas Rice arrived in England with his racist “Jump Jim Crow” minstrel routine, Aldridge skillfully and bravely weaved one of Rice’s own skits into his show: By parodying the parody, he robbed Rice’s performance of its crass impact—while simultaneously showing himself to be an expert performer in the process.

Such was his popularity that Aldridge could easily have seen out his days in England, playing to packed theaters every night for the rest of career. But by the 1850s, word of his skill as an actor had spread far. Never one to shy away from a challenge, in 1852 he assembled a troupe of actors and headed out on a tour of the continent.

Within a matter of months, Aldridge had become perhaps the most lauded actor in all Europe. Critics raved about his performances, with one German writer even suggesting that he may well be “the greatest of all actors.” A Polish reviewer noted, "Though the majority of spectators did not speak English, they did, however, understand the feelings portrayed on the artist's face, eyes, lips, in the tones of his voice, in the entire body." Celebrity fans were quick to assemble, including the Danish author Hans Christian Andersen, and the renowned French poet Théophile Gautier, who was impressed by Aldridge's portrayal of King Lear in Paris. Royalty soon followed, with Friedrich-Wilhelm IV, the King of Prussia, awarding Aldridge the Prussian Gold Medal for Art and Science. In Saxe-Meiningen (now a part of Germany), he was given the title of Chevalier Baron of Saxony in 1858.

Aldridge continued his European tours for another decade, using the money he earned to buy two properties in London (including one, suitably enough, on Hamlet Road). But by then, the Civil War was over and America beckoned. Now in his late fifties—but no less eager for a challenge—Aldridge planned one last venture: a 100-date tour of the post-emancipation United States. Contracts and venues were hammered out, and the buzz for Aldridge’s eagerly-awaited homecoming tour began to circulate.

Alas, it was not meant to be. Just weeks before his planned departure, Aldridge fell ill with a lung condition while on tour in Poland. He died in Łódź in 1867, at the age of 60, and was buried in the city’s Evangelical Cemetery.

After his death, several theaters and troupes of black actors—including Philadelphia's famed Ira Aldridge Troupe—were established in Aldridge’s name, and countless black playwrights, performers, and directors since have long considered him an influence on their work and writing.

In August 2017, on the 150th anniversary of Aldridge's death, Coventry, England unveiled a blue heritage plaque in the heart of the city, commemorating Aldridge's theater there. Even this long after his death, the extraordinary life of Ira Aldridge has yet to be forgotten.

8 Enlightening Facts About Dr. Ruth Westheimer

Rachel Murray, Getty Images for Hulu
Rachel Murray, Getty Images for Hulu

For decades, sex therapist Dr. Ruth Westheimer has used television, radio, the written word, and the internet to speak frankly on topics relating to human sexuality, turning what were once controversial topics into healthy, everyday conversations.

At age 90, Westheimer shows no signs of slowing down. As a new documentary, Ask Dr. Ruth, gears up for release on Hulu this spring, we thought we’d take a look at Westheimer’s colorful history as an advisor, author, and resistance sniper.

1. The Nazis devastated her childhood.

Dr. Ruth was born Karola Ruth Siegel on June 4, 1928 in Wiesenfeld, Germany, the only child of Julius and Irma Siegel. When Ruth was just five years old, the advancing Nazi party terrorized her neighborhood and seized her father in 1938, presumably to shuttle him to a concentration camp. One year later, Karola—who eventually began using her middle name and took on the last name Westheimer with her second marriage in 1961—was sent to a school in Switzerland for her own protection. She later learned that her parents had both been killed during the Holocaust, possibly at Auschwitz.

2. She shocked classmates with her knowledge of taboo topics.

Westheimer has never been bashful about the workings of human sexuality. While working as a maid at an all-girls school in Switzerland, she made classmates and teachers gasp with her frank talk about menstruation and other topics that were rarely spoken of in casual terms.

3. She trained as a sniper for Jewish resistance fighters in Palestine.

Following the end of World War II, Westheimer left Switzerland for Israel, and later Palestine. She became a Zionist and joined the Haganah, an underground network of Jewish resistance fighters. Westheimer carried a weapon and trained as both a scout and sniper, learning how to throw hand grenades and shoot firearms. Though she never saw direct action, the tension and skirmishes could lapse into violence, and in 1948, Westheimer suffered a serious injury to her foot owing to a bomb blast. The injury convinced her to move into the comparatively less dangerous field of academia.

4. A lecture ignited her career.

 Dr. Ruth Westheimer participates in the annual Charity Day hosted by Cantor Fitzgerald and BGC at Cantor Fitzgerald on September 11, 2015 in New York City.
Robin Marchant, Getty Images for Cantor Fitzgerald

In 1950, Westheimer married an Israeli soldier and the two relocated to Paris, where she studied psychology at the Sorbonne. Though the couple divorced in 1955, Westheimer's education continued into 1959, when she graduated with a master’s degree in sociology from the New School in New York City. (She received a doctorate in education from Columbia University in 1970.) After meeting and marrying Manfred Westheimer, a Jewish refugee, in 1961, Westheimer became an American citizen.

By the late 1960s, she was working at Planned Parenthood, where she excelled at having honest conversations about uncomfortable topics. Eventually, Westheimer found herself giving a lecture to New York-area broadcasters about airing programming with information about safe sex. Radio station WYNY offered her a show, Sexually Speaking, that soon blossomed into a hit, going from 15 minutes to two hours weekly. By 1983, 250,000 people were listening to Westheimer talk about contraception and intimacy.

5. People told her to lose her accent.

Westheimer’s distinctive accent has led some to declare her “Grandma Freud.” But early on, she was given advice to take speech lessons and make an effort to lose her accent. Westheimer declined, and considers herself fortunate to have done so. “It helped me greatly, because when people turned on the radio, they knew it was me,” she told the Harvard Business Review in 2016.

6. She’s not concerned about her height, either.

In addition to her voice, Westheimer became easily recognizable due to her diminutive stature. (She’s four feet, seven inches tall.) When she was younger, Westheimer worried her height might not be appealing. Later, she realized it was an asset. “On the contrary, I was lucky to be so small, because when I was studying at the Sorbonne, there was very little space in the auditoriums and I could always find a good-looking guy to put me up on a windowsill,” she told the HBR.

7. She advises people not to take huge penises seriously.

Westheimer doesn’t frown upon pornography; in 2018, she told the Times of Israel that viewers can “learn something from it.” But she does note the importance of separating fantasy from reality. “People have to use their own judgment in knowing that in any of the sexually explicit movies, the genitalia that is shown—how should I say this? No regular person is endowed like that.”

8. She lectures on cruise ships.

Westheimer uses every available medium—radio, television, the internet, and even graphic novels—to share her thoughts and advice about human sexuality. Sometimes, that means going out to sea. The therapist books cruise ship appearances where she offers presentations to guests on how best to manage their sex lives. Westheimer often insists the crew participate and will regularly request that the captain read some of the questions.

“The last time, the captain was British, very tall, and had to say ‘orgasm’ and ‘erection,’” she told The New York Times in 2018. “Never did they think they would hear the captain talk about the things we were talking about.” Of course, that’s long been Westheimer’s objective—to make the taboo seem tame.

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