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. She took subject matter that can be so tough and alienating and complex, and she invited us entirely inside the experience and it was funny and deeply surprising, and the twists and turns of that show go so far beyond narrative cleverness.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. As “WandaVision” creator Jac Schaeffer put it, “I think that it is groundbreaking in the truest sense of the word.
#EMMYS 2021 MICHAELA COEL WINS FOR I MAY DESTROY YOU SERIES#
Variety polled more than 130 Emmy hopefuls and 21.5% of them selected “I May Destroy You” as the series they hoped would be nominated - the majority by a mile.Įven Coel’s peers in the limited series category were rooting for the show. During nominations-round For Your Consideration season, “I May Destroy You” and Coel herself became early favorites among quite a number of contenders. Coel didn’t pick up wins at the SAG Awards, nor at the Critics Choice Awards, but she did nab the two aforementioned BAFTA trophies (for herself as lead actress and the series as a whole) in May and a Peabody in June.Īs Emmy FYC season got underway, momentum just kept rolling, which can be rare for series that launched almost a calendar year earlier. voters nominated both Coel and the series.
It continued to make headlines through the winter when the HFPA snubbed both the series and star Coel at the 78th annual Golden Globes, while SAG voters nominated Coel and Broadcast Film Critics Assn.
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