![]() "I think it's quite short-sighted to think, 'How can we bring closure to Kwame's story?'" he added to Digital Spy. Indeed, a topic as sensitive as this shouldn't be exploited into a franchise, and it's "short-sighted" to assume closure can be forced into the narrative, Essiedu says. While the premise follows rising writer Arabella (Coel) as she puts together the pieces from the night she was sexually assaulted, the story also sheds light on her friends' own experiences with sexual abuse and trauma. I think we're at least going to sit back and let people enjoy this before we think about what the next step would be." He added, "We were all really sure and comfortable in the story we were telling, and we feel like we've done a good job in doing that. Michaela Coel Turned Down $1 Million Netflix Deal.Instead, Academy voters looked elsewhere. A sweep for I May Destroy You would have felt like a clarion call belying the poignant urgency of the series. That, in turn, made it all the more confounding to see the Academy repeatedly overlook one of the most staggering shows of the year-not least because, at their most altruistic, awards shows amplify works that might have been overlooked by TV viewers who reflexively reach for the safe thing, or the thing with the biggest marketing budget and the biggest stars. She ended it by dedicating her speech to “every single survivor of sexual assault.”Ĭoel’s speech reflected what made her own series so resonant. Though this year’s nominee pool was inclusive, every acting award was ultimately handed to a white performer, while a majority of the other awards were given to white writers, directors, and producers.Ĭoel accepted with aplomb, delivering a succinct ( ahem) speech in which she urged writers to “write the tale that scares you, that makes you feel uncertain, that is uncomfortable. It was also a respite from an overwhelmingly white night of winners. ![]() Her win was historic, making her the first Black woman to win the category. Instead, Coel picked up one statuette at Sunday’s Emmy ceremony, for best writing. It’s not always the case, of course similarly hyped TV auteur Lena Dunham never won an Emmy for Girls (though there was always a cloud of controversy swirling around her), while later creator Aziz Ansari won two, in two separate years, for Master of None, and Donald Glover won two in 2017 with Atlanta.Ĭoel, however, seemed destined to be the next big winner in this vein, especially after being snubbed by the Golden Globes-a glaring oversight from the Hollywood Foreign Press Association, a group that seemed determined to dash its dwindling influence this year. Who can forget Phoebe Waller-Bridge picking up three well-deserved Emmys for the searing second season of her dramedy Fleabag in 2019? Or just last year, when Schitt’s Creek cocreator and star Dan Levy picked up four statuettes, including best comedy, for the final season of his beloved series? Emmy voters love to lavish certain creators with awards, recognizing their respective faculties for writing and directing and acting and producing all at once. In recent years Emmy voters have chosen to recognize zeitgeist-capturing multihyphenates with armfuls of statuettes. When the show finally dropped, its reception was warm and widespread, and the critical consensus was clear: There has never been anything like this before. In many ways there were few shows more urgent than I May Destroy You when it debuted last summer, both in terms of what it was doing narratively and what Coel was modeling for others as she navigated the industry and retained creative autonomy.
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