![]() ![]() ![]() Surfacing in multiple situations, none of them orthodox according to the conventional canons of “romantic” fiction, the questions hardly have a clear, straightforward answer. The nearly two hundred drafts Michaela Coel wrote to shape I May Destroy You have not been in vain. Moreover, the perspective has acquired unusual potency through the application of a fundamental contribution to progress in our century: nuance, emotional awareness and the annihilation of stigma. The identification with the small domestic dramas or the big, minimised issues, hidden in the folds of the everyday, assumed and accepted, which for the first time we saw narrated with boldness and without inhibition, have fertilised a terrain that has been expanding inversely to the dwindling limits of tolerance in developed societies. “Before I was raped I never paid attention to the issue of being a woman. The questions of gender, sexual identity and the relationships of love, sex, friendship, are played out on familiar ground, they are a pure extension of their tribulations on other levels, where a learning process is expressed, the fruit of constant trial and error, of introspection and self-criticism, which makes the most of personal crises, almost always rooted in a learned weak self-esteem. One of the distinctive features of the new generation of feminist audiovisual creators is their more refined reflection, to a greater or lesser degree depending on their styles and pretensions, built on the achievements of their predecessors. The evolution from characters that took the 80s and 90s by storm, such as Tracey Ullman or Roseanne Barr, through the Manhattanites captained by Sarah Jessica Parker and more recently by Lena Dunham’s Girls, reveals that women who speak loud and clear from screens and stages have successfully conveyed their discourse, especially if they do so on the back of the laughter or the acquiescent smile of the audience. The experience of sexuality in our time has rarely been depicted with such tact and rawness as in the series created, written, produced, starring and co-directed by the prodigy that is Michaela Coel. The overwhelming appeal of the HBO-BBC One original series lies in its carefully nuanced point of view on both the emotional side, including post-traumatic shock, and in the characterisation of assault and crime. For its raw courage and original brilliance, I May Destroy You has earned a Peabody.I May Destroy You has broken through and made an impact with its diverse approach to sexual consent. With a compelling narrative that mirrors the structural rhythms of psychological trauma, I May Destroy You defines the emergent subgenre of consent drama and, in the process, takes center stage in a developing cultural conversation around complex issues of sexuality and consent, freedom and abuse, friendship and trust. An unsettling mystery is set in motion, as Arabella sets out on a journey to reassemble the events and characters surrounding her rape, a process that causes her to reevaluate all the key elements of her life: her history and relationships, her identity and aspirations. Taking a break at a local nightclub, Arabella’s drink is spiked, and she awakens the next morning with fragmented memories of having been sexually assaulted. Set in contemporary London, Coel plays Arabella Essiedu, a celebrated social media influencer turned-novelist, with a fast-approaching book deadline and a bad case of writer’s block. HBO’s I May Destroy You is one of this year’s most talked-about scripted series, the provocative brainchild of British screenwriter, director, producer, and actor, Michaela Coel. ![]()
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