The plot moves rapidly through numerous homosexual and heterosexual affairs and love triangles. The first act culminates in the wedding of a lesbian governess and a homosexual explorer, an expression of the confining gender roles imposed by Victorian society. The characters' sexualities, repressed in the first act, become more overt in the second, in which characters deliberately experiment with different sexual arrangements (including a threesome with incestuous implications). As in many of Churchill's plays, the female characters represent different forms of feminism, none of which is failproof, but all of which constitute important alternatives to the status quo. Lin, a radical lesbian, struggles with conflicting ideas about femininity and raising a daughter; Victoria, an intellectual feminist, experiments with lesbianism and new-age goddess worship; Betty, a traditional wife and mother, finally learns to express sexual desire. In a striking monologue near the end of the play, Betty reveals her discovery of sexual pleasure through masturbation. Though it leaves its characters still seeking answers, Cloud Nine takes a strong stance against sexual oppression of all sorts.