When trauma is reinvented as an indiscriminate offender-one that equally affects Arabella, Kwame and Terry-the show demonstrates that so many of us are thrashing about, too distracted and dissociated in a disorienting timeline of trauma to recognize the power to craft our own stories as conscious beings. Where protagonists once justified their supposedly inexplicable rock-bottoms with unchangeable fate or innate human qualities-think of Odysseus’s oft-mocked hubris -Coel shows us how the traumatic fall can happen at any time, to anyone, for any reason. (before Coel) favored a linear progression of healing, which is often untrue to the volatile and time-bending nature of life after catastrophe.Ī helplessly fixated audience cringes knowingly while Arabella, unaware of what happened, literally pieces together flashing memories of the night she was drugged and assaulted at the bar. Consequently, Arabella’s comprehension of her own experience – her timeline – differs from the audience’s viewing of her experience as it’s revealed to them. Rather than presenting a singular upward trajectory into a better, future self, Coel’s show exists in the perpetual present: a chronologically skewed timeline depicting a present reality deeply disfigured by traumatic flashbacks. As such, the traditionally linear hero’s fall and subsequent redemption is reimagined with honest volatility. Through 13 episodes, I May Destroy You craftily contradicts plot and story to depict the true manner in which the chronological succession of time itself ceases amidst a crisis. (before Coel) has repeatedly showcased a linear progression of healing, which is often dangerously untrue to the volatile and time-bending nature of life after catastrophe. The uncomfortable coexistence of a desire to look away and the simultaneous inability to do so shows why the show has become a cultural lens through which to reevaluate what it means to be victimized beyond reason.Īrabella’s ability to integrate an understanding of her rape into her life’s story-by turning her aimless, unfinished manuscript into an inspired book about said assault-is not a new psychological concept for recovery. Do not be afraid to disappear from it, from us for a while, and see what comes to you in the silence." Emmys 2021: The Crown, Ted Lasso, Mare of Easttown Win Big at the Awards Show Check Out the Full Winner’s List.The half-hour British “dramedy” intricately traces the interior and exterior life of Arabella the storyteller (Coel) as her day to day consists of hanging with gay bestie Kwame (Paapa Essiedu: who garnered a Supporting Actor Emmy nomination for the show) and ride-or-die Terry ( Weruche Opia.) Through it all, she fosters her burgeoning millennial writing career, somehow recovering from the kind of sexual trauma we only talk about in pseudonyms. Coel continued, "For visibility these days seems to equate to success. I dare you in a world that entices us to browse through the lives of others to help us better determine how we feel about ourselves, and to in turn fill the need to be constantly visible," she added. "Write the title that scares you, that makes you feel uncertain, that isn't comfortable. ![]() ![]() Emmys 2021: Hulu’s ‘The Handmaid’s Tale’ Creates Record for Most Award Losses in One Single Night. "I just wrote a little something for writers really," she began. She addressed her powerful acceptance speech specifically to her fellow writers, before dedicating the show to all survivors of sexual assault, reported People magazine. Actor and writer Michaela Coel, who took home an Emmy for writing on her limited series 'I May Destroy You', dedicated her win to sexual assault survivors.
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