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Michaela Coel
Michaela Coel
Michaela Coel
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Michaela Ewuraba Boakye-Collinson FRSL (born 1 October 1987), known professionally as Michaela Coel, is a British actress, writer and television director. She is best known for creating and starring in the E4 television sitcom Chewing Gum (2015–2017), for which she won the BAFTA Award for Best Female Comedy Performance; and the BBC One/HBO comedy-drama series I May Destroy You (2020) for which she won the British Academy Television Award for Best Actress in 2021. For her work on I May Destroy You, Coel was the first black woman to win the Primetime Emmy Award for Outstanding Writing for a Limited Series, Movie, or Dramatic Special.[1]

Key Information

Coel is also known for her work in other Netflix productions, including guest-starring in the series Black Mirror (2016–2017), and starring in the series Black Earth Rising (2018) and film Been So Long (2018).

Early life and education

[edit]

Michaela Ewuraba Boakye-Collinson[2][3] was born on 1 October 1987 in East London, England.[4] Her parents are Ghanaian.[5] She and her sister were raised by their mother in East London,[4] primarily Hackney and Tower Hamlets.[6][7] She attended Catholic schools in East London,[5] and has said that, during primary school, she bullied other pupils, claiming it was caused by her isolation as the only black pupil in her age cohort. The isolation did not continue into her secondary education at a comprehensive school.[2]

From 2007 to 2009, Coel attended the University of Birmingham, studying English Literature and Theology.[8] She took a Ché Walker masterclass after meeting Walker at open mic nights.[9] In 2009, she transferred to the Guildhall School of Music and Drama, where she was the first black woman enrolled in five years.[7] She won the Laurence Olivier Bursary Award, which helped her fund her schooling.[10] During her time at Guildhall, Coel attended the Mark Proulx workshop at Prima del Teatro and took the Kat Francois Poetry Course at the Theatre Royal Stratford East.[8] She graduated from the Guildhall School of Music and Drama in 2012.[11]

Career

[edit]

Beginnings

[edit]

In 2006, Coel began performing at poetry open mics in Ealing.[12] As she continued to do open mics, she was encouraged by actor, playwright and director Ché Walker, who saw her perform at the Hackney Empire, to apply to Guildhall.[2][7] As a poet, Coel performed on many stages, including Wembley Arena, Bush Theatre, Nuyorican Poets Cafe and De Doelen, Rotterdam. She went by the name Michaela The Poet.[3]

Coel joined the Talawa Theatre Company summer school program TYPT in 2009.[13][14] During her time at Talawa, Coel was in the TYPT 2009 production of Krunch, directed by Amani Naphtali.[15] That same year, Coel released an album entitled Fixing Barbie, which featured her work as a poet and musician.[16] In 2011, Coel released the record We're the Losers.[17]

Coel's play Chewing Gum Dreams was her senior graduation project at Guildhall in 2012. The play was first produced at The Yard Theatre in Hackney Wick.[18] The play featured Coel in a one-woman show telling the dramatic story of a 14-year-old girl named Tracey.[7] The play then went on to be produced by the Bush Theatre (2012), Royal Theatre Holland (2012), Royal Exchange Theatre (2013) and the National Theatre (2014).[19] It received positive reviews.[20][21]

Early work and breakthrough (2013–2019)

[edit]

In 2013, Coel appeared in Channel 4 drama Top Boy and has had leading roles at the National Theatre, including the award-nominated Home and the critically acclaimed Medea.[22]

Channel 4 announced that Coel would write and star in a new sitcom called Chewing Gum, inspired by her play Chewing Gum Dreams in August 2014.[23] "C4 Comedy Blaps" were released as teasers in September 2014, and the series began on E4 in October 2015.[2] Her performance earned her the British Academy Television Award for Best Female Comedy Performance in 2016. She also won a BAFTA for Breakthrough Talent for writing the show.[24] Chewing Gum received overwhelmingly positive reviews.[25]

In 2015, Coel appeared in BBC One drama London Spy.[26] The following year, she played Lilyhot in the E4 sci-fi comedy-drama The Aliens, which was filmed in Bulgaria.[27][28][29]

Chewing Gum returned for a second series in January 2017.[5][30] She also appeared in both the "Nosedive" and "USS Callister" episodes of Charlie Brooker's series Black Mirror.[30][31] Coel also had a small role in the 2017 film Star Wars: The Last Jedi.[32]

In 2018, Coel starred in Black Earth Rising, a co-production between BBC Two and Netflix, where she played Kate, the main character. She also starred as Simone in the musical-drama film Been So Long, by Che Walker, based on his own stage play, which was released on Netflix to positive reviews in October 2018.

Critical acclaim (2020–present)

[edit]

Coel created, wrote, produced, co-directed and starred in the comedy-drama series I May Destroy You, inspired by her own experience of sexual assault.[33] The show launched on BBC One in the UK and HBO in the US in June 2020 to widespread acclaim.[34][35][36] She acknowledged refusing $1 million from Netflix after the streaming service declined to offer her intellectual property ownership of her show.[37][38]

In 2020, Coel was included in Time's 100 Most Influential People.[39] She was also named as one of the breakout stars of 2020 for film.[40] Coel also appeared in British Vogue's 2020 list of influential women.[41] Furthermore, in the 15th annual Powerlist of the most influential people of African or African-Caribbean heritage in the United Kingdom, Coel was ranked fourth for the impact of her work on I May Destroy You.[42][43]

In July 2021, Coel was cast in Black Panther: Wakanda Forever which was released on November 11, 2022.[44] She plays the role of Aneka, a member of the Dora Milaje.[45]

Coel's first book, Misfits: a Personal Manifesto, was published simultaneously in the UK and the USA on 7 September 2021 by Ebury Press. Based on her MacTaggart lecture at 2018's Edinburgh Festival, which touches on Coel's experiences with racism and misogyny, her publisher described the book as "a powerful manifesto on how speaking your truth and owning your differences can transform your life".[46][47]

Coel was elected a Fellow of the Royal Society of Literature in 2022.[48] She will next star in David Lowery's Mother Mary.[49]

On 19 August 2024 Coel announced her first TV show in four years. The upcoming TV show will see Coel write, star in and executive produce First Day On Earth, a 10-part series for the BBC, which will begin filming in 2025.[50]

Personal life

[edit]

At the 2016 British Academy Television Awards, Coel wore a gown designed by her mother, made of Kente cloth.[51] She has said that, like her Chewing Gum character Tracey, she became very religious as a Pentecostal Christian and embraced celibacy.[7] Coel stopped practising Pentecostalism after attending Guildhall.[2]

In August 2018, Coel disclosed that she was drugged and sexually assaulted by two unnamed men during the writing of her sitcom Chewing Gum. The attack would later inspire her to create the TV drama I May Destroy You.[52][53]

She identifies as aromantic.[54]

Her cousin is the rapper and author Guvna B.[55]

Performances and works

[edit]

Film

[edit]
Year Title Role Notes
2014 National Theatre Live: Medea Nurse
Monsters: Dark Continent Kelly
2017 Star Wars: The Last Jedi Resistance Monitor
2018 Been So Long Simone
2022 Black Panther: Wakanda Forever Aneka
2025 The Christophers Lori Butler
TBA Mother Mary † Sam Post-production

Television

[edit]
Year Title Role Notes
2013 Top Boy Kayla 2 episodes
Law & Order: UK Maid Episode: "Paternal"
2015 London Spy Journalist Episode: "Strangers"
2015–2017 Chewing Gum Tracey Gordon Main role; also creator, writer, producer and composer
2016 The Aliens Lilyhot Main role
Black Mirror Airline Stewardess Episode: "Nosedive"
2017 Black Mirror Shania Lowry Episode: "USS Callister"
2018 Black Earth Rising Kate Ashby Main role
2019 RuPaul's Drag Race UK Guest judge Series 1; Episode: "Family That Drags Together"
2020 I May Destroy You Arabella Essiedu Main role; also creator, writer, director and producer
2024 Mr. & Mrs. Smith Bev Episode: "Infidelity"[56]
TBA First Day on Earth Henri Main role; also writer, creator and an executive producer[57]

Stage

[edit]
Year Title Role Venue
2013 Three Birds Tiana Bush Theatre
Home[58] Young Mum / Portugal Royal National Theatre
Chewing Gum Dreams Tracey Gordon Royal Exchange Theatre
2014 Blurred Lines[59] Michaela Royal National Theatre
Home (Revival) Young Mum / Portugal Royal National Theatre
Chewing Gum Dreams Tracey Gordon Royal National Theatre
Medea[5] Nurse Royal National Theatre

Discography

[edit]

EP

LPs

  • Fixing Barbie (2009)[60]
  • We're the Losers (2011)[3]

Bibliography

[edit]
  • Coel, Michaela (2013). Chewing Gum Dreams (UK ed.). London: Oberon Books Ltd. ISBN 978-1-783-19014-0. OCLC 870600609.
  • Coel, Michaela (2021). Misfits: A Personal Manifesto (UK ed.). London: Ebury Press. ISBN 978-1529148251. OCLC 1246284580.

Accolades

[edit]
Year Association Category Nominee Result Ref.
2008 Theatre Royal Stratford East Poetry Slam Herself Won
2009 Won
2010 Won
Cordless Show Poetry/Music Won
2011 Laurence Olivier Award Bursary Award Won [10]
2012 Alfred Fagon Award Best Playwright of African or Caribbean Descent Chewing Gum Dreams Won [61]
2016 British Academy Television Award Best Female Comedy Performance Chewing Gum Won [62][63]
Best Scripted Comedy Nominated [64]
Breakthrough Talent Won [65]
RTA Programme Award Breakthrough Won [66][67]
Comedy Performance Won
Writer - Comedy Nominated
South Bank Sky Arts Award Times Breakthrough Award Herself Nominated [68]
2017 Black Reel Television Award Outstanding Comedy Series Chewing Gum Nominated [69]
Outstanding Actress, Comedy Series Nominated
Outstanding Writing, Comedy Series Nominated
2018 Berlin International Film Festival Award EFP Shooting Star Herself Won [70]
British Academy Television Award Best Scripted Comedy Chewing Gum Nominated [71]
Black Reel Television Award Outstanding Supporting Actress, TV Movie/Limited Series Black Mirror Nominated [72]
British Independent Film Award Most Promising Newcomer Been So Long Nominated [73]
2019 Black Reel Television Award Outstanding Actress, TV Movie/Limited Series Black Earth Rising Nominated [74]
2021 British Academy Television Awards Best Mini-Series I May Destroy You Won [75]
Best Actress Won
Best Director: Fiction Won
Best Writer: Drama Won
Critics' Choice Television Awards Best Limited Series Nominated
Best Actress in a Limited Series Nominated
Dorian Awards Best TV Movie or Miniseries Won [76]
Best LGBTQ TV Show Nominated
Best TV Performance Won
Wilde Wit Award Won
Independent Spirit Awards Best New Scripted Series Won
Best Ensemble Cast Won
MTV Movie & TV Awards Best Performance in a Show Nominated
NAACP Image Awards Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special Nominated
Outstanding Directing in a Comedy Series Won
Primetime Emmy Awards Outstanding Limited or Anthology Series Nominated
Outstanding Lead Actress in a Limited Series or Movie Nominated
Outstanding Writing for a Limited Series, Movie, or Dramatic Special Won
Outstanding Directing for a Limited Series, Movie, or Dramatic Special Nominated
Producers Guild of America Awards Outstanding Producer of Limited Series Television Nominated
Screen Actors Guild Awards Outstanding Performance by a Female Actor in a Miniseries or Television Movie Nominated
Television Critics Association Awards Individual Achievement in Drama Won
Broadcasting Press Guild Awards Best Drama Series Won
Best Actress Won
Best Writer Won
2023 The Fashion Awards Pandora Leader of Change Award Herself Won [77][78]
2024 Primetime Emmy Awards Outstanding Guest Actress in a Drama Series Mr. & Mrs. Smith: Infidelity Won [79]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Michaela Coel

View on Grokipedia
from Grokipedia
Michaela Ewuraba Boakye-Collinson (born 1 October 1987), known professionally as Michaela Coel, is a British actress, , director, , and of Ghanaian descent. Born to Ghanaian immigrant parents in , Coel was raised by her mother in the Tower Hamlets area after her father's early departure from the family. She trained at the Guildhall School of Music and Drama, where she later publicly detailed experiences of racism alongside fellow alumnus , prompting an apology from the institution in 2022 for failing to address such incidents adequately. Coel began her professional career in spoken-word , winning the Theatre Royal Stratford East in 2010 and earning a Award nomination for her debut play Chewing Gum Dreams in 2013. Her breakthrough came with creating, writing, and starring in the E4/ sitcom (2015–2017), which explored themes of identity and sexuality in a Pentecostal community. Coel's most acclaimed work is the 2020 / miniseries , which she created, co-directed, wrote, and starred in, semi-autobiographically addressing her 2016 by strangers and broader issues of and trauma. The series received widespread critical praise for its nuanced handling of complex personal and social dynamics, though it sparked debate over its inconclusive narrative resolution. In her work and public statements, Coel has critiqued systemic biases in the entertainment industry, including and racial inequities, as outlined in her 2021 Misfits: A Personal Manifesto delivered during the MacTaggart Lecture at the Edinburgh TV Festival.

Early life

Family background and childhood

Michaela Coel was born Michaela Ewuraba Boakye-Collinson on 1 October 1987 in to Ghanaian immigrant parents who separated before her birth and never married. She has an older sister, and the two were raised by their single mother in a council estate in , spanning the boroughs of Tower Hamlets and Hackney, where their family was among the few black households in the area. Coel's mother, originally from , worked multiple jobs to support the family in this working-class housing project on the outskirts of London's financial district. As children, Coel and her sister often skated around the estate, navigating the challenges of immigrant life in a predominantly non-black neighborhood. Her mother's devout Christian faith influenced their upbringing, including attendance at local Catholic schools. Coel's early exposure to performance came at age eight, when her mother took her to a drama production, igniting an initial interest in amid the constraints of their socioeconomic environment. The family's Ghanaian heritage, maintained through cultural practices despite the separation from her father, shaped her childhood identity in London's multicultural yet segregated urban landscape.

Education and formative experiences

Coel attended the from 2007 to 2009, initially studying before switching to English literature and , but dropped out after less than two years to focus on and creative pursuits. During this period, she experienced a profound through church-run classes, leading to an intense phase of Pentecostal Christianity that shaped her early worldview and later informed works like Chewing Gum. She later distanced herself from this faith, describing its departure as energetic and complete. Encouraged by open mic performances, Coel took a free masterclass with director at RADA, which honed her skills and paved the way for formal training. In 2009, at age 22, she enrolled in the BA Acting program at the School of Music and Drama, reported as the first Black woman admitted to it. She graduated in 2012, receiving the Laurence Olivier Bursary, with her senior project being the autobiographical play Chewing Gum Dreams, staged post-graduation at the Yard Theatre in Hackney. Her time at involved navigating institutional racism, for which the school issued a public apology in 2022. These experiences—marked by academic interruptions, religious intensity, and rigorous dramatic training—fostered Coel's self-reliant creative voice, emphasizing raw over conventional paths. multiple times underscored her rejection of structured in favor of through performance and writing.

Career

Early acting and writing pursuits (2000s–2012)

Coel initially pursued performance through poetry in her late teens and early twenties, sharing original works that garnered encouragement from peers and led her to formal acting training. She enrolled at the Guildhall School of Music and Drama in 2009, becoming the first Black woman admitted there in five years, after receiving a bursary. During her studies from 2009 to 2012, Coel trained in classical theater but grew frustrated with limited roles available to her, prompting her to write and perform her own material. As her senior graduation project in 2012, she created the one-woman play Chewing Gum Dreams, a semi-autobiographical piece drawing from her Hackney upbringing, in which she portrayed multiple characters exploring adolescence, innocence, and cultural tensions. Following graduation in 2012, Chewing Gum Dreams received its first professional production at the Yard Theatre in Hackney Wick, developed in collaboration with the venue, where it depicted the protagonist Tracey's experiences with friendship, family, and emerging sexuality in a London estate setting. The play earned the 2012 Alfred Fagon Award, recognizing outstanding work by playwrights of African or Caribbean descent, marking Coel's early recognition as both actor and writer. This production laid the groundwork for her later expansions into television, though her pre-2013 screen credits remained minimal, with no major film or TV roles documented prior to theater successes.

Breakthrough series and rising prominence (2013–2017)

Coel adapted her 2013 one-woman play Chewing Gum Dreams into the television series , which she created, wrote, starred in, and composed music for, marking her breakthrough in British television. The series, centered on a young woman navigating life in London's East End, premiered on E4 on 13 October 2015, following teaser shorts released on in September 2014. A second season aired in 2017, with Coel producing it alongside her other roles. Chewing Gum received critical acclaim for its raw depiction of urban youth culture and Coel's multifaceted contributions, earning her the BAFTA Television Award for Best Female Performance in a Programme for the first series in 2016 and again for the second in 2017. The show's success elevated Coel's profile, with reviewers praising its authentic voice drawn from her personal experiences, though some noted its polarizing humor and explicit content. Concurrently, she appeared in supporting roles that showcased her versatility, including Ra'Nell Smith's mother in season 2 of (2013) on Channel 4. Coel's rising visibility extended to other networks, with a role as Anja in the Black Mirror episode "Nosedive" (2016) on and , and as Pear in "" (2017). She also starred as Lilyhot in the sci-fi comedy The Aliens (2016) on E4, and appeared in (2015) on . These performances, combined with Chewing Gum's awards—including a 2016 BAFTA for Breakthrough Talent—solidified her as a prominent new voice in television by 2017.

I May Destroy You and expanded influence (2018–2020)

Following the conclusion of Chewing Gum in 2017, Coel turned down a $1 million offer from for the project that became , citing the streamer's refusal to grant her retention of ownership, which she viewed as exploitative, particularly for creators from marginalized backgrounds. She instead partnered with the and , securing terms that allowed her to retain partial rights and creative control, a decision she later described as empowering amid industry pressures on independent voices. This move underscored broader debates on creator equity, as Coel's agents stood to profit significantly from the Netflix deal without equivalent benefits for her long-term autonomy. Coel drew inspiration for from her own 2016 experience of while working late on Chewing Gum's second season, channeling the trauma into a nonlinear narrative process that incorporated , autobiographical elements, and metatextual experimentation to explore consent's ambiguities. The 12-episode limited series, each running approximately 30 minutes, follows Arabella Essiedu (played by Coel), a London-based writer grappling with fragmented memories of , professional deadlines, and interpersonal dynamics amid London's creative scene. Production commenced in July 2019 with a 96-day shoot, during which Coel served as creator, writer, lead actress, co-director, and executive producer alongside and Roberto Troni. The series premiered on in the United States on June 7, 2020, and on in the the following day, airing weekly through August. Upon release, it garnered widespread critical acclaim for its unflinching examination of , trauma recovery, and racial dynamics in modern Britain, with reviewers praising Coel's multifaceted role in subverting traditional storytelling conventions. In 2020, Coel received the TV 100 award for her performance, reflecting early industry recognition. The series' impact extended Coel's influence beyond and writing, positioning her as a commentator on creative ownership and representation; her rejection of the Netflix deal became a cited example in discussions of power imbalances favoring corporations over individual artists. By September 2020, Coel was named to Time magazine's 100 Most Influential People list, lauded by for redefining television through personal vulnerability and structural innovation. This period also saw her guest appearances and writings amplify conversations on and industry ethics, solidifying her as a pivotal figure in British media.

Recent endeavors and collaborations (2021–present)

In July 2021, Coel was cast as , a captain and combat instructor in the , for ' Black Panther: Wakanda Forever, directed by . The film, which explores Wakanda's response to international threats following T'Challa's death, premiered on November 11, 2022, and grossed over $859 million worldwide. Coel starred alongside Anne Hathaway in Mother Mary, an A24 musical drama written and directed by David Lowery, with original songs by Charli XCX and Jack Antonoff. The film depicts the relationship between a fictional pop star (Hathaway) and her lover/muse (Coel), blending epic melodrama with experimental elements; principal photography wrapped after extensive reshoots, positioning it for a potential 2026 release. In Steven Soderbergh's dark comedy The Christophers, Coel portrays Lori, a rising painter and forger commissioned to finish unfinished canvases for a terminally ill art icon () schemed by his children for inheritance. The intimate, London-set production, also featuring and , premiered at the on September 8, 2025, earning praise for Coel's sparring dynamic with McKellen amid themes of artistic authenticity and commerce. On August 19, 2024, , , and announced First Day on Earth, a 10-episode series created, written, starring, and executive-produced by Coel as , a British confronting identity and issues during a research trip to . Filming is scheduled to commence in 2025, marking Coel's return to the collaborators behind with A24's involvement for enhanced production scope.

Personal life

Relationships and family planning

Coel has historically kept her romantic life private, with limited public disclosures prior to 2023. In a 2018 interview, she confirmed having a boyfriend but declined to provide details or identify him. Since 2023, Coel has been in a relationship with entrepreneur Spencer Hewett, whom she met on the celebrity dating app Raya. The couple made their first red carpet appearance together at the British Fashion Awards on December 4, 2023. They attended subsequent events, including the premiere of The Christophers on September 8, 2025. Regarding family planning, Coel underwent egg freezing around 2020 as a precautionary measure against potential future desires for children, stating she was open to and not attached to biological childbirth. In August 2025, she affirmed having completed the process, expressing that she "would love a family" while emphasizing that choosing not to have children is not inherently selfish. No public information indicates or children as of October 2025.

Health issues and personal reflections

Coel experienced post-traumatic stress disorder (PTSD) resulting from racism she encountered at the Guildhall School of Music and Drama, where she trained in the early 2000s. In a 2023 interview, she described the psychological impact as lingering, prompting reflections on whether attending the institution was worthwhile, noting, "Do I regret going there? That's a complex question." In 2010, while out socializing in , Coel was drugged via a spiked drink and sexually assaulted by an unknown perpetrator, an event she did not fully comprehend until reviewing CCTV footage months later. This trauma informed the narrative of her 2020 series , which she has described as a process for exploring , survival, and recovery without prescribing a single path to healing. Coel publicly disclosed the assault for the first time in a 2018 speech at the TV Festival, framing it as part of broader industry inequities faced by women of color. Coel has reflected on trauma's dual nature, suggesting in 2021 that pain can foster growth and gratitude, though she cautioned against romanticizing it. She prioritizes mental in professional decisions, arguing that financial offers, such as a reported $1 million deal she declined in 2017, hold less value than psychological integrity and equitable creative control. Through her work and statements, Coel advocates processing personal wounds via art rather than suppression, emphasizing in relationships and recovery as key to resilience.

Works

Television creations and roles

Michaela Coel created and starred in the E4 sitcom , which aired from 2015 to 2017, portraying the lead character Rae, a young woman from navigating virginity, religion, and relationships in a Pentecostal household. The series, drawn from Coel's own experiences, consisted of two seasons totaling 12 episodes and earned her a BAFTA nomination for Best Female Comedy Performance. In 2020, Coel created, co-directed, executive produced, wrote, and starred as Arabella Essiedu in the and limited series , a 12-episode exploration of , trauma, and recovery following a drugged . The semi-autobiographical work, inspired by Coel's personal assault in 2016, received critical acclaim and won her an Emmy for Outstanding Writing for a Limited Series. Coel's other television roles include Nesrin in the E4 sci-fi comedy-drama The Aliens (2016), where she played a worker in a dystopian society divided by alien immigrants; a recurring role in Channel 4's Top Boy; and appearances in BBC's London Spy (2015). In 2024, she portrayed Bev, a rival agent, in the Prime Video series Mr. & Mrs. Smith, earning an Emmy for Outstanding Guest Actress in a Drama Series for her performance in the episode "Infidelity." In August 2024, Coel announced First Day on Earth, a 10-episode drama series for and that she created, wrote, starred in, and executive produced, following British novelist Henri traveling to the American South; production was set to begin in 2025.

Film appearances

Coel's entry into feature films came with a supporting role as Kelly in the science fiction sequel Monsters: Dark Continent, released in 2014, where she portrayed a character amid a narrative of infected zones and military operations in the . In 2017, she had a minor appearance as a Resistance monitor in Star Wars: Episode VIII – The Last Jedi, delivering the line "They found us" during a pivotal early scene involving the Resistance fleet. Her first lead film role was as Simone, a single mother navigating romance and family challenges in London's Camden district, in the musical drama Been So Long (2018), adapted from a production and directed by Tinge Krishnan. Coel portrayed Aneka, a member of the Dora Milaje warrior unit, in the Marvel Cinematic Universe film Black Panther: Wakanda Forever (2022), contributing to action sequences and tribal council depictions following the death of King T'Challa. Upcoming projects include a role as Lori Butler in The Christophers (2025).
YearTitleRole
2014Monsters: Dark ContinentKelly
2017Star Wars: The Last JediResistance Monitor
2018Been So LongSimone
2022Black Panther: Wakanda ForeverAneka
2025The ChristophersLori Butler

Stage, writing, and other contributions

Coel wrote and starred in the one-woman play Chewing Gum Dreams, which premiered at the Yard in 2013 before transferring to the National 's Shed venue for a run starting 26 February 2014. The play depicts the character Tracey Gordon navigating the end of childhood innocence in a estate, drawing from Coel's semi-autobiographical style of irreverent humor and social observation. By mid-2014, Coel had performed at the National on four occasions, establishing her as an emerging and . In her writing beyond stage works, Coel published Misfits: A Personal Manifesto on 17 June 2021 through in the and in the UK. The book expands on her 2018 BAFTA MacTaggart Lecture, advocating for transparency in creative processes, embracing personal vulnerabilities, and supporting marginalized "misfits" against industry exploitation. Coel has also been recognized as a and songwriter, though specific published poetry collections or standalone musical works remain limited in public documentation. Among other contributions, Coel has taken on mentoring roles for emerging filmmakers, emphasizing opportunities for underrepresented communities in the industry as of 2023. She collaborated with writer on the upcoming drama First Day on Earth, announced in August 2024, where she serves as creator focusing on a British novelist's return to her family's Ghanaian . These efforts extend her influence into script development and production guidance outside primary acting or television spheres.

Public views and controversies

Statements on race and identity politics

Coel has asserted the persistence of in everyday interactions, stating that incidents such as security guards following her in pharmacies or grocery stores, receiving dirty looks, and cars failing to stop at zebra crossings serve to "reinstall" her awareness of being a black woman. She described these experiences as occurring particularly in locations where she remains anonymous, which she views as fortunate because they motivate her continued advocacy against . In her 2018 MacTaggart Lecture at the Television Festival, Coel detailed personal encounters with , including childhood incidents in London's Tower Hamlets such as excrement placed through her letterbox, racial slurs from drama school staff like "Oi, nigger, what you got for me?", and on-set segregation of black actors into a single trailer, which she likened to a "fackin’ slave ship." She recounted being repeatedly urged by industry figures to refrain from identifying patterns suggestive of , emphasizing instead that individuals "aren't racist" despite observable tendencies. Coel has linked denial of racism to personal trauma, claiming in a 2020 interview that those who assert does not exist are "traumatised" and "blind" to evident realities, a position she tied to her own numerous, tear-inducing experiences she declined to detail further due to their pain. Earlier, in a essay, she advocated open discussions of race to combat subconscious prejudices rooted in historical conditioning, citing examples like white individuals bypassing queues of under assumptions of disorder and the legacy of Britain's slave trade, which transported approximately 3.4 million Africans between 1562 and 1807. Regarding identity, Coel has described her sense of self as shaped by ongoing racial encounters that reinforce her blackness, stating, "I am a black woman and that will always be true," irrespective of fame or context. However, her role in the series prompted reflection on fluid notions of belonging, leading her to reconsider rigid immigrant identities; as a first-generation Ghanaian-British individual, she expressed affinity for both and , viewing provocative "go home" rhetoric as potentially liberating enough to inspire plans for a sustainable home in Ghana. These statements align with her broader emphasis on intersectional experiences of race, class, and migration in creative work, without explicit endorsement or critique of as a framework. Coel's television series , which premiered on June 9, 2020, serves as a primary medium for articulating her perspectives on , drawing from her own experience of being drugged and sexually assaulted in 2018. The narrative centers on Arabella's fragmented recollections of the assault and subsequent explorations of 's boundaries, emphasizing how it can be "stolen" through subtle manipulations rather than overt force, such as in scenarios involving intoxication or withheld information. Coel has stated that legal definitions of vary internationally, complicating universal application, as illustrated in her discussions where crossing borders alters applicable rules. She critiques overly simplistic affirmative models by highlighting "gray areas" where violations occur without clear victim intent, yet insists on recognizing these as assaults, rejecting excuses rooted in ambiguity. In addressing men's involvement, Coel advocates expanding consent dialogues beyond women, noting that "men are sometimes scared of saying the wrong thing" and aiming to "bring men on this journey" through depictions like the male character Kwame's drugging and non-consensual encounter with a , which underscores reciprocal vulnerabilities in sexual dynamics. This approach challenges gender-stereotyped narratives of victimhood, portraying —prevalent among internet-era youth—as a site of mutual risk, where future generations may scrutinize its psychological toll. Regarding trauma, Coel describes processing her assault through writing as "cathartic," requiring 2.5 years of dedicated focus without other professional commitments, during which she confronted potential PTSD symptoms like shock-induced dissociation. She rejects self-blame, promoting self-forgiveness and kindness, while observing varied responses such as humor or denial over stereotypical pity, and warns against using external distractions to evade , a pitfall mirrored in Arabella's arc. Production safeguards, including an on-set therapist, enabled safe navigation of these "dangerous areas," framing trauma recovery as nonlinear and agency-restorative rather than punitive. On gender dynamics, Coel posits self-sufficiency as foundational to healthy relationships, stating the "secret to relationships is being happy by yourself," informed by her upbringing amid strong female figures and observations of millennial authenticity struggles amid pressures. Her work integrates male perspectives without antagonism, as in 's ensemble handling of assault's intersections with , fostering across genders rather than division. This reflects a causal view of trauma's ripple effects on interpersonal trust, prioritizing evidence-based healing over ideological absolutes.

Associated debates and responses

Coel's examination of in I May Destroy You (2020) ignited public discourse on the boundaries of affirmative consent, particularly in scenarios involving intoxication, , and retrospective realization. Viewers and commentators debated whether acts like the "spiked drink" encounter or the finale's dream sequences—where Arabella confronts her assailant in alternate realities, culminating in a hallucinatory —equated to , revenge fantasy, or ethical ambiguity in trauma recovery. These discussions highlighted tensions between individual agency and systemic failures in addressing , with some arguing the series challenged binary notions of victimhood by portraying flawed responses to . Responses to the show's queer narrative, centered on character Kwame's non-consensual experience with a male acquaintance, included critiques that it perpetuated stereotypes of bisexual men as predatory or unstable, potentially undermining supportive portrayals of same-sex recovery. However, mainstream critical reception emphasized the storyline's role in broadening conversations beyond heterosexual dynamics, crediting Coel for integrating intersectional perspectives on trauma without didactic resolution. Her 2018 MacTaggart Lecture, where Coel detailed experiences of "accidental" racism—such as segregated trailers on sets—and advocated for black creatives retaining IP ownership, prompted industry pledges for equity audits and diverse hiring, though subsequent analyses noted limited structural changes, with UK TV representation stagnating at around 15% for non-white writers by 2020. Coel attributed resistance to "unconscious bias," eliciting defenses from allies who viewed her critique as a catalyst for accountability, contrasted by quieter skepticism over prioritizing racial solidarity in collaborations.

Reception and impact

Accolades and achievements

Michaela Coel has received widespread recognition for her work in television, particularly for creating, writing, directing, and starring in the series I May Destroy You (2020), which earned her multiple prestigious awards. The series secured nine nominations at the 73rd Primetime Emmy Awards in 2021, including for Outstanding Limited or Anthology Series, Outstanding Lead Actress in a Limited or Anthology Series (for Coel), and Outstanding Writing for a Limited or Anthology Series or Movie (for Coel), the latter of which she won, marking the first time a Black woman received this honor. Additionally, I May Destroy You won a Peabody Award in 2021 for its innovative exploration of trauma and consent. At the (BAFTA TV Awards), Coel achieved significant success with , winning awards for , Best Mini-Series, , and Best Director: Fiction in 2021. Earlier, for her role in (2015–2017), she won the BAFTA TV Award for Best Female Comedy Performance in 2016 and the Breakthrough Talent award in the same year. The series also garnered three awards. Coel's accolades extend beyond television. In 2018, she was named an EFP Shooting Star at the Berlin International Film Festival, recognizing emerging talents from Europe. In 2023, she received the Pandora Leader of Change Award at the British Fashion Awards for her contributions to female empowerment and authentic representation in media. She earned an Emmy nomination for Outstanding Guest Actress in a Drama Series in 2024 for her role in Mr. & Mrs. Smith. These honors reflect her multifaceted impact as a writer, performer, and director in the entertainment industry.

Critical assessments and counterpoints

While I May Destroy You achieved near-universal critical praise, earning a 98% approval rating on from 94 reviews, select assessments identified narrative shortcomings such as an "unfocused and scattered" structure that prioritized thematic exploration over cohesive plotting. These critiques, from outlets like the Evening Standard, contend that the series' experimental form, blending dream sequences and nonlinear episodes, occasionally dilutes its examination of and trauma, favoring stylistic innovation over dramatic clarity. Academic analyses have offered counterpoints from within feminist scholarship, arguing that the show's refusal to affirm stable, positive identity categories—such as clear victim-perpetrator binaries or empowering resolutions for —marks an "aberration" from conventional feminist televisual narratives. In Camera Obscura, scholars note this resistance disrupts expectations for "respectability" and assimilation in stories of , potentially frustrating viewers seeking unambiguous agency or closure, though it invites reevaluation of rigid tropes around womanhood, race, and perpetrator dynamics. Such deconstructions, while innovative, have been seen by some as complicating rather than resolving the causal links between trauma and recovery, emphasizing over empirical patterns in survivor experiences. Coel's broader reception, including her 2018 MacTaggart Lecture critiquing industry and , has faced implicit pushback from skeptics of identity-focused discourse, who attribute her prominence partly to institutional emphases on diversity quotas over unadulterated merit. outlets, prone to systemic progressive biases, have largely amplified accolades for her thematic boldness on race and , potentially underemphasizing critiques of over-reliance on personal versus broader causal in addressing social dynamics. For , earlier works drew objections for their crass depictions of sexuality and religion, viewed by some as gratuitously vulgar and dismissive of traditional values, though such views remain marginal amid dominant positive evaluations.

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