![]() There are companies who are trying, and the more we talk about this, the more those companies will rise up and we’ll be able to find them. I feel like there will be teething problems along the way whilst we try to empower a diversity of voices, but we’re trying, bit by bit and step by step. I’ve always felt optimistic even through Chewing Gum. MC: I think it’s always good to be optimistic. Do you feel at all optimistic about where the diversity effort in Hollywood-or in London-is going? They’re reining them in, they’re saying, “Yeah, you can make a show, but we’re going to have a different producer come in, and we’re going to not give you all the credit.” You have been notably outspoken about this in regards to Chewing Gum. Let’s give them shows.” But then they might not let them execute that show or that film or that project with an unfettered vision. She has to go back to Italy.”ĪVC: Another thing that I really enjoyed in the Vulture piece were the points about how, sometimes networks and studios see the social push for diversity and say, “Oh, let’s get people of color in the door. And then I decided, “Oh, I know what she has to do. So that was another episode that had many, many different permutations. That took a really long time, but originally, the story didn’t go back to Italy. And that required me going into myself and seeing ugly bits. Arabella has to reveal that she herself is both the hero and villain and neither hero nor villain. Then I realized, no, I have to put it on Arabella. I was using the therapist as an example, so we went back in time to see the therapist do something that was very questionable… But then I felt like that was a cop-out, and I just knew I wasn’t there. is about trying to rebuild Arabella, and explaining that there aren’t good people here and bad people here. You know how sometimes we flash back? We went to Italy, we went to the school… And in one draft we actually went into the therapist’s life. ![]() Originally it was a flashback to the therapist’s life. I don’t know how much you’ve seen, but originally wasn’t about social media. The episodes I did the most rewrites for were nine and eight. Excerpts of that interview are in the video above, with the full transcript posted below. Club recently sat down with Coel via Zoom to discuss tokenism in Hollywood, what it takes to get a seat at the table, and if she found closure from writing about her sexual assault-or whether such closure even exists. “Is it important that voices used to interruption get the experience of writing something without interference at least once?” ![]() “Of late, channels, production companies, and online streaming services have found themselves scrabbling for misfits like kids in a playground scrabbling for sweets-desperate for a chew, not sure of the taste of these sweets, these dreams, just aware they might be very profitable,” she said in a keynote speech at the 2018 Edinburgh International Television Festival. Ultimately, she walked away from Chewing Gum and went on a tour making her views about the experience widely known, and charging networks to do better. The Black actors were forced to share one trailer, while the white actors weren’t, and she often felt she wasn’t given due credit for the show’s massive success. While thrilled to have the chance to make it, she was barred from acting as the show’s executive producer. She’s shared the deeply personal stories that inspired IMDY, and addressed the institutional barriers she encountered during the making of her previous show, Chewing Gum. As the creator and star of the sensational new HBO and BBC drama I May Destroy You, Michaela Coel has been splashed across magazine covers and billboards for the past few months.
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