![]() ![]() That idea that Black men have to be above any kind of reproach to prove their mettle. In Kwame's character, the show deals head-on with Black masculinity attitudes that added pressure on Black men of the African diaspora to conform to some masculine ideal that does not allow homosexual feelings. Simultaneously Kwame deals with a threesome that goes from seductive to awkward to violent. Brilliantly the writing and direction confront these vastly differing emotions planting us in Arabella experience every step of the way. He takes off the condom while having sex, then turns to victim-blaming, asking her how come she didn't feel it? Arabella is concerned at first, then accepting, but she becomes rightfully enraged as she thinks about it more. Coel details two such encounters first, Arabella meets a cute guy, and they flirt, ending up in bed. Those encounters that begin consensually with trust, then turn because one partner betrays that trust. But perhaps the most potent part of it is a showcase couple of episodes about behaviors that might not appear as assault or rape as they are happening. The show starts with sexual assault and ends full circle back with a confrontation about that assault. She goes back to her characters' teenage years to unveil more, not just of their story but also the social mores that condition their behavior later on. Coel presents a full tapestry going back and forth in time, expanding the story to fit in years and different times to present her ideas about consent. We have to deal with the issues we have to face memories, biases, and ideas that we'd rather ignore. I May Destroy You confronts us, allowing us no escape. We are in because there's truth in the story and performances yet never just watching a show. What the show does well is never making the audience comfortable. These similarities between author and character deepen what transpires, making the situations visceral and hard to ignore. Both are outspoken and confrontational and don't shy away from tackling contentious issues. Both Coel and Arabella are writers who connected with a big audience at a young age by reflecting on their generation's experiences. While this is a work of fiction, Coel grounds the experience fuller into reality by making Arabella a sort of avatar for herself. The show follows her as she tries to piece together what happens with the help of her friends Terry ( Weruche Opia) and Kwame ( Paapa Essiedu). An open wound on her forehead is a sign that it wasn't all good. Waking up the next day, Arabella isn't sure what happened. A night of fun, recreational drugs, and consensual sexual exploration turns darker when a man spikes Arabella's drink and rapes her. Now suffering from a significant case of writer's block as she tries to meet the deadline for her first book, she goes out with friends out on the town. ![]() I forgot about the exhilaration one gets when watching a truly great work of art no matter the subject matter.Ĭoel plays Arabella, a young writer in London who got famous for her twitter feed. ![]() A show about sexual assault didn't seem to fit the bill. Confined and depressed because of the turmoil and the disaary the world's currently in, I was trying to be judicious about what I watch and only looking for things that bring pockets of joy. I resisted this show for weeks though I kept hearing from friends about how great it is. The way the series collates and coheres as it hurtles along to its ending commands to be recognized as a bold auteur's work. That's the case with I May Destroy You and Michaela Cole, who wrote, directed (along with Sam Miller), and starred in the HBO 12 episode series. What about the contributions of the actors? The costume designer? The editor? However, once in a while, a work comes through that makes me surrender your qualms and acknowledge its rightful author. Cinema, television, and theater are collaborative arts, so attributing a piece to one person is iffy even if they wrote and directed it. ![]()
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