And Michaela is switched on, so she wants the actors on her show to feel safe. It’s part of a language of “I May Destroy You,” that sexuality and that physicality. But if it was the other way around, or if neither of us had had that experience, it’s fully the blind leading the blind in a situation that’s incredibly dangerous and intimate. Set in London, this series centers on Arabella (Michaela Coel), whose raw and personal experience of consent is at the heart of the story. She’d already had an amazing career, so she had the experience to get us to discuss it, ask me what I thought. 8.1 (20,516) In the comedy-drama series I May Destroy You, contemporary issues of sexual assault and its consequences are explored. It was one of my first jobs of that level onscreen. I did a show awhile ago called “Press,” and Charlotte Riley and I had some sex scenes in that, and we obviously didn’t have an intimacy coordinator. The example she sets and the practices she keeps is what makes those scenes feel real. She makes any of those scenes so chill and safe. The finale of I May Destroy You, titled 'Ego Death,' is just as stunning and tricky as the rest of the series, a brilliant piece of art that follows Coel's Arabella as she grapples with the. What was it like working with the show’s intimacy coordinator, Ita O’Brien ?
You don’t have to look very far at all to realize that the system isn’t currently in a place where it serves people in an egalitarian way. You can learn a lot about a character from their moments of solitude and silence, and we see a lot of moments of Kwame by himself - even when he’s in the room with people, often you see him a little bit cut off from them. This might be because I come from a theatrical background, but I’m just curious about how deep you can go with characters in terms of their psychology, their responses and what they don’t say. What’s your process for figuring out how you’re going to embody a character like Kwame? All we can do is make it as truthful as possible and as authentic as possible. I think it’s pointless to try and second guess the way that people are going to react. Who could have predicted that we would now not only be lockdown, but also in the throes of a political pandemic, which also affects the way that people are able to take on this kind of work? We were just trying to do justice to the story that’s put in front of us and trying to fill these characters with as much humanity as they deserve. That allows ego to interfere with what you’re doing. As Arabella struggles to come to terms with what has happened, she begins a journey of self-discovery. After being sexually assaulted in a nightclub, her life changes irreversibly and Arabella is forced to reassess everything: her career, her friends, even her family.
Meanwhile, Terry has a lousy audition, and a concerned Kwame rushes to Arabella's side. Growing increasingly desperate to put together the pieces, Arabella drops by Simon's apartment - and, later, finds herself at an unwelcoming doorstep. Lunch with Terry gets Arabella thinking about the hazy events of the previous night, prompting her to probe Simon for answers.
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