*Content Warning!* This blog post contains spoilers of the HBO Max Television series, I May Destroy You, and also discusses topics related to sexual assault and trauma.
Michaela Coel is an accomplished actress, writer, and producer, and has garnered acclaim for her ability to seamlessly navigate different facets of the entertainment industry. As a multi-hyphenate artist, Michaela Coel is not bound to just one division of creative sectors. She has written a book, Misfits: A Personal Manifesto—a detailed description on how she created the script for her television series, I May Destroy You, in addition to delivering impressionable acting performances, such as starring in the blockbuster film Black Panther: Wakanda Forever, as well as her own sitcom, Chewing Gum. She has even posted the full script to her first sitcom online for the benefit of all—notes and commentary included. Coel is an extremely talented screenwriter, and excels in writing for television shows. In fact, the events of sexual assault that are portrayed in the highly-acclaimed series I May Destroy You are based loosely on real-life moments that took place in Coel’s life when she was working on season two of the comedy sitcom that broke her into the TV industry, Chewing Gum. The series I May Destroy You is rooted in a nuanced black British experience, following twenty-something twitter star and novelist Arabella Essiedu after a dizzying night in which she’s drugged and raped by a stranger, while living in London with her two best friends, Terry and Kwame.
Describing the own trauma she endured, Coel states her writing allowed her to forcefully squash the emotional damage it caused her, stating “I don’t think I really understood how much making a show would make this thing lose its power. Now it’s just a scar like these ones [She points to her knees]” (Nnadi). The writing Coel produced not only acted as a release of her own trauma, but it also empowered many sexual assault survivor’s by presenting shared experiences in a new light. Coel’s work ignited conversations around sexual violence and consent globally, and it even created tangible legislative change. In episode 4 titled “That Was Fun”, the act of ‘stealthing’, which is non-consensual removal of a condom during sex, by the character Zain takes place with Arabella. She is shaken by the act, however, Zain’s gaslighting makes her feel unsure about the situation. Following viewing this scene from I May Destroy You, Maite Orsini, a congresswoman from Santiago was inspired to lobby for the bill and succeed in legally classifying sleathing—the act of removing a condom during sex without consent—as a crime in Chile (Nnadi). This illustrates the meaningful effect Coel’s work has on society, resulting in change not only in viewers, but governments as well.
In the Guardian article “‘I felt like a weight was lifted’: How I May Destroy You empowered sexual assault survivors”, various examples of audience members watching Coel’s series and having a profound connection to the material is highlighted. As presented in the aforementioned episode 4 of the series titled “That Was Fun”, Amanda Jones says the content in the episode caused her to have realizations about her own personal experiences. Jones states that her “limbs sort of turned to lead,” when describing her physical reaction to the episode, as she realized she herself was raped in her 20s after seeing Arabella be a victim to “stealthing” by the character Zain (Tailor). Jones, the native east Londoner, recalls the humiliation she felt and buried after the man who stealthed her gaslight her emotions and laughed at her anger. Jones highlights that the “ambiguity around the incident, with no “villain”, made it gut-wrenchingly real for many viewers… It was really brilliant how they portrayed [Zain] as a nice guy who she slept with again after that. It’s those grey areas around rape and sexual assault that you almost brush off” (Tailor). Coel’s work in the television industry is powerful, as it teaches audiences about consent, sexual assault, and rape, in a clearer way that any sex education class has ever done.
Lex Kennedy from Los Angeles said the show made him rethink how he supported survivors of sexual assault as well, stating “I identify as a black trans masculine person and I recognize that within my community we don’t really step up for black women,” he says. “It’s always: ‘Well, what happened?’, qualify your trauma, qualify your pain, versus: ‘How can I be there for you?’” (Tailor). Kennedy highlights the effect of seeing Kwame’s friendship with Arabella had on him. In reference to episode two, he focuses on the importance of how Kwame was there for Arabella when she had been assaulted—his presence is the best thing a friend can do for another friend during a time similar to that. Moreover, this series has the power to resonate with so many different people due to the manner in which Coel shines a light on topics that may be deemed difficult or ‘taboo’ to discuss socially. The show’s themes are heavy and focus on the space between consent and coercion, trauma, and experiences people suppress.
On the other hand, in Professor Stephen Mack’s article, “Are Public Intellectuals A Thing of the Past?”, the idea of public intellectuals' social function in society is discussed and dissected. One notable example is Jean Bethke Elshtain’s take on the term public intellectual, claiming they need to “puncture the myth-makers of any era, including his own, whether it's those who promise that utopia is just around the corner if we see the total victory of free markets worldwide, or communism worldwide… Public intellectuals… should be party poopers” (Mack). Indeed, this take on the public intellectual is focused on the role one plays in society, focused on criticism.
Elshtain suggests that in order to be a public intellectual, a person must be willing to break down assumptions and have people disagree with their work and views on society. Michaela Coel is unconcerned with criticism, and is unafraid to voice her opinion on the shortcomings of the television industry. Mack continues in his article, “if public intellectuals have any role to play in a democracy—and they do—it’s simply to keep the pot boiling. The measure of public intellectual work is not whether the people are listening, but whether they’re hearing things worth talking about” (Mack). Interestingly, the concept of public intellectuals igniting certain conversations to keep the pot boiling, so to speak, draws parallels to Coel’s work that highlights certain topics focused on topics that society at large would consider bold to openly talk about. Thus, Coel challenges and exemplifies the assumptions presented in Professor Mack’s essay, as she sheds light on certain issues with her platform that reaches millions of people. Her ideas shape her art in a way that is unapologetic and authentic to herself.
Moreover, Coel has not been shy to voice racial injustices she has endured behind the scenes of Hollywood, specifically while working on her first sitcom, Chewing Gum. The first two episodes “Sex and Violence” and “Binned” follow high-schooler Tracey as she navigates losing her virginity with her religious boyfriend who, actually, turns out to be gay. However, the less talked quality of the award winning show is the actual production of it; Coel had to deal with the dark depths of the TV industry’s shadows before coming out the other side. To elaborate, in the article “The People Who Make Your Favorite Movies and Shows Are Fed Up”, author Shirley Li discusses how the imbalance on set “was clear from the outset, when the executives at Fremantle declined to make Coel an executive producer on the project” even though Coel was involved with virtually every aspect of making the show, from “the music to the costumes to postproduction” (Li). Additionally, Coel arrived on set the first day of Chewing Gum to discover five Black cast members in one single trailer, whereas a white actor had one to themself. Coel stormed into the production office to tell them it looked like a “fackin’ slave ship” and ordered more trailers be given (Li). Truthfully, the racist producers of television shows and horrible set etiquette happening is not palpable in viewing the sitcom comedy show. Chewing Gum on the surface was a success, however it faced many production challenges in hidden corners. When Coel asked to be executive producer on the second season, she was given co-producer instead. Coel stated that she believes “it has to do with greed, however, her friend Kirwan put it more literally: “It’s like she built this house and gave the keys to someone, and they locked her out of different rooms in her own house, which is absolute bullshit” (Li). Michaela Coel faced racism and unfair imbalances of power on her sitcom. With a constantly changing and evolving industry, it is important for viewers to be aware of what is going on in production for shows they enjoy for entertainment.
Nonetheless, Michaela Coel does exemplify the assumption that public intellectuals put a voice to pressing topics in the world, with her screenwriting work providing advocacy and a voice for sexual assault experiences and survivors. Coel won an Emmy for Outstanding Writing for a Limited or Anthology Series for her influential work presented in I May Destroy You. During her acceptance speech, she urges writers to, “write the tale that scares you, that makes you feel uncertain, that isn't comfortable. 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 feel the need to be constantly visible, for visibility these days seems to somehow equate to success—do not be afraid to disappear. From it. From us. For a while. And see what comes to you in the silence” (Rosa).
All in all, Coel's impact on the entertainment industry and society, particularly through her groundbreaking series I May Destroy You, extends far beyond the realms of traditional television. As an accomplished actress, writer, and producer, Coel's multi-hyphenate talents have allowed her to navigate different creative sectors seamlessly. Her ability to share personal trauma, as reflected in the series, not only served as a cathartic release for herself but also empowered countless survivors of sexual assault by presenting shared experiences in a new and illuminating light. As aforementioned, the nuanced portrayal of sexual violence and consent in I May Destroy You sparked global conversations and even led to tangible legislative change, exemplified by the passing of a bill in Chile criminalizing the act of 'stealthing.' Coel's work resonated deeply with audiences, fostering a profound connection that transcended the boundaries of conventional storytelling. The series prompted self-reflection and realizations for viewers, as illustrated by Amanda Jones' and Lex Kennedy’s experience, demonstrating the show's power to bring hidden trauma to the forefront and inspire change.
Beyond the series, Coel fearlessly addresses racial injustices within the entertainment industry, sharing her personal struggles behind the scenes. Her refusal to be silenced or constrained by industry norms echoes the notion of public intellectuals challenging societal assumptions. Coel's unapologetic authenticity and willingness to voice uncomfortable truths align with the role of public intellectuals, as described by Professor Stephen Mack, who argues that these figures should be disruptors, puncturing societal myths and sparking crucial conversations. Despite facing racism and imbalances of power in her own productions, Coel's resilience and talent earned her an Emmy for Outstanding Writing, affirming the importance of her work. In her acceptance speech, she encourages writers to embrace discomfort and challenge the status quo, echoing her own commitment to addressing pressing issues through her art. In the grand tapestry of Coel's impact, she likens the experience to flying a kite—an act set in motion that has taken on a life of its own, buoyed by a collective force (Nnandi). It is clear that Coel's contributions extend beyond entertainment—they serve as a catalyst for societal introspection, advocacy, and, ultimately, meaningful change.
Works Cited
Chewing Gum. Created by Michaela Coel, HBO Max, 2015 - 2017.
I May Destroy You. Created by Micheala Coel, HBO, BBC One, 2020.
Framke, Caroline. “How Micheala Coel Processed Trauma and Fought to Own Her Story
With ‘I May Destroy You.’” Variety, 19 August 2020,
Jung, E. Alex. “Michaela the Destroyer.” New York Magazine, 6 July 2020,
Li, Shirley. “The People Who Make Your Favorite Movies and Shows Are Fed Up.” The Atlantic, 8 October 2021.
https://www.theatlantic.com/culture/archive/2021/10/iatse-strike-hollywood-labor- conditions/620350/
Mack, Stephen. “Are Public Intellectuals A Thing of the Past?”,
Nnadi, Chioma. “Micheala Coel on Creativity, Romance, and the Path to Wakanda Forever.”
Vogue, 6 October 2022, https://www.vogue.com/article/michaela-coel-november-cover-
Rosa, Christopher. “Read Micheala Coel’s Powerful Emmy’s 2021 Speech in Full”, Glamour,
full.
Tailor, Neelam. “‘I felt like a weight was lifted’: How I May Destroy You empowered sexual
assault survivors”, Guardian, 17 August 2020,
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