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If you needed any more evidence that I May Not Destroy You is a series with a bigger purpose, then there you have it.Ĭoel's latest work is rooted in all too common experiences, and serves as both a reminder of their prevalence and the many different forms that they can take.
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"That's where we are with every single camera in the world."Īlongside the series, HBO launched digital campaign Gathering the Pieces, a series of live virtual events delving into the themes and topics traversed across the ten episodes, and a page full of resources including Black- and queer-specific organisations for those who have been affected by any of the topics discussed in the show.
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"The origin of the camera was that it was made to make white skin visible," she told The Irish Times. Coel opted for Leica lenses after testing out a number of different options and finally hit the jackpot. It should be noted that having Black creatives behind the camera is also essential for ensuring that darker skin is lit correctly. The Mayor of London's Violence Against Women and Girls report from 2019 shows that Black female sexual offence victims are over-represented – 18% compared to 16% of the London population.īut telly and films which relay that are few and far between, further feeding into the feeling, among Black people, that the world isn't interested in them or their experiences, particularly when it comes to their trauma. Not only will large swathes of Black people see themselves and their friends in I May Destroy You, but the show goes further, acknowledging a specific line of storytelling that has been given very little airtime. The entertainment industry still hasn't done enough to redress the balance, and while moves are under way, it's not there yet. In a sea of white, this is a series which also centres Black characters, which will never stop being important. The experiences of Arabella, Terry and Kwame all differ, but that doesn't stop Coel from unpacking each of them with equal consideration, highlighting the fact that you don't need to censor one narrative to amplify another. The stats also revealed that "one in eight LGBT women said they had been seriously sexually assaulted or raped at work". In 2018, the Trades Union Congress revealed that "nearly seven in 10 lesbian, gay, bisexual and trans (LGBT) people have been sexually harassed at work". That is magnified when you look at the LGBTQ+ community. We know that women are more at risk and don't always go to the police for fear of not being believed, but many men are also suffering under the assumption that they, too, will not be taken seriously and choose to bear their ordeal in silence. It was reported in 2018 that sexual offences against men and boys in England and Wales had tripled since 2006-07.
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The series also devotes significant time and care to Kwame (Paapa Essiedu), a gay fitness instructor who, like both Arabella and Terry, has his own cross to bear. There's no hint of "We don't believe you" or "What were you wearing when it happened?" or "How much did you have to drink?" – all factors that deter vast numbers of people, particularly women, from reporting sexual assault. It should be noted that the two female enforcement personnel who question Arabella both listen to her account and treat her with compassion. She was back at the office, with zero recollection of how she had made it there and what had happened in the interim.Ĭoel later pieced together that her drink had been spiked and she had been sexually assaulted. She brings her t-shirt up to cover her face as she sobs, her agony laid bare.īack in 2016, Coel was working at a production company's office one night when she decided to head out and grab a drink with a friend. It's out there, and when Arabella is giving a statement to the police, her easy, breezy facade falls. Verbalising what happened will make it real, and once you've done that there's no stuffing your pain back into the dark recesses of your mind. With each recollection comes a devastating realisation, but she can't bring herself to say it out loud. The hazy details are teased out through a series of scattergun flashbacks, each one coupled with a piercing, tinnitus-like noise that penetrates the skull. It's the central mystery around which the series orbits.īut that mist which obscures her memory begins to lift as the cogs of her subconscious start to turn. We try to map out her night, but we can't.