She continues to be self-absorbed,sauntering into her party, forcing everyone’s attention towards her. Even the display of social media feels overwhelmingly natural, showing its constant overlap in millennial life (one scene has both Bella's Twitter and Kwame's Grindr appearing on screen simultaneously).Įpisodeseven is mostly centred on Terry’s birthday. It’sa realistic clash of conflicting emotions that’s hard to process, capturing thebarrage of everyday life for Bella. When she tries her luck with the publisher over at Hennyhouse, the latter excitedly says, ‘Rape! Fantastic!’… before citing the said contract. And we then quickly return to humouragain, as the editors awkwardly comment that her content doesn’t fit the contract. Episode seven starts in a London market, joyously preparing for Terry's birthday party – leading jarringly to Bella in the Soho writing office with her editors, reading out a chapter from her book that details her rape. Photo: BBC/Various Artists Ltd and FALKNA/Natalie SeeryĬoel storms from enjoyable comedy to intense drama, and vice versa. Both episodes feature two crushing yet inspiring monologues: the first hasBella reading her new work the second addresses the supportgroup. The series’ writer/creatorMichaela Coel clearly strives for these vital messages to be heard, punching into the complicated realities surrounding rape and consent. She says that‘being on the boundary’ allows a permissibly opaque state of mind: ‘wherenothing was clear, nothing could be clear’. I May Destroy You dives into the confusing,messy, grey areas – often the most dangerous.Īrabella, gaining personal and intellectualconfidence, states as much with her survivors’ support group in episode eight. But these issues are (usually) depicted as clear-cut, black and white,more-or-less unambiguous. I May Destroy You is available now on HBO Max.There’sbeen a surge in TV with stories that want to teach and preach about hard issues around sex. Michaela Coel is the voice of a generation begging to be heard, and as long as she’s in the driver’s seat, these societal issues will continue to be brought to light. People have demanded change, and it’s time for us to do our part. Though a change has begun towards female empowerment and gender equality, we are still a long way away from reaching the main goal. What this show does best is bring to light the pain, fear, and anger that women face in our society today. It’s not enough to say you didn’t know when we are living in an age when all you have to do is listen. If you are privileged, you must put yourself into the perspective of those who aren’t and understand the threats that they live with every day. Though there are many of these moments, one of the main messages is that you must check yourself when in an encounter or relationship with someone else. Though the show isn’t necessarily focused on the police department, this one instance shows just how unfair and inconsiderate the police can be. With Kwame, we see how different it can be when it comes to reporting rape based on one’s sexual orientation and preference. Though Essiedu may not get as much screen time as he deserves, his character is key when it comes to seeing how his dating and sex life differs from those closest to him. Essiedu plays Arabella’s friend, Kwame, a young gay black man who is struggling with his own experiences. In fact, with almost every episode jumping a bit in time, her evolution through self-care is a roller coaster of emotions.Īside from the tour de force that is Coel, one of the major standouts in this series is the emergence of actor Paapa Essiedu. You don’t get the same Arabella in every episode. She allows the audience to feel every which way about her, and each one is justified. What Coel brings to the main character, Arabella, is something very rare. Not only is she the writer and creator of the series, but Coel also delivers one of the most powerful performances of the year. Though the plot may seem straightforward, weaved throughout each episode is a study of certain societal issues ranging from consent and assault, to exploitation and cancel culture.Ĭoel is a true auteur. Set in modern-day England, “I May Destroy You” follows the lives of three friends who, after each experiencing sexual assault, must cope with the trauma that follows. Powerful and unflinching, Michaela Coel’s stylistically raw approach to consent is extremely relevant.
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