Now the first Black woman to win an Emmy for outstanding writing in a limited series, Michaela Coel has broken new ground. Still, as she argues in this 2018 essay for British Vogue, visibility can’t undo centuries of social conditioning
I May Destroy You.visibility can’t undo centuries of social conditioning.—I’m lucky to be in two episodes of this incredible show, and the screening is in New York. But I’m late, stuck in traffic, knowing I’ve missed my flight. “Oh, we’ll just pop you on the next one, madam,” says the person at the Virgin desk. “Free of charge, of course.” My tears freeze in their ducts. I come to understand that I have opened and entered a new portal. Upper Class. This is nuts.
It’s… whatever. Until I start wondering what she expected to find between the queue I’m in and, well, a wall. I turn to her, smile. “Is it your first time flying Upper Class with Virgin?”I smile—“Safe travels”—and turn back. I’m intrigued at how her actions confused her as much as they did me. What happened? Did three Black people signify a queue she usually walks to the right of? I called my wonderful ally of an agent, who gasped, “Whadda bitch!” But I disagree.
To suggest things may be going on in our brains that we aren’t fully conscious of, that we unknowingly make classist, sexist, and racist presumptions… Well, there just aren’t many comfortable ways to take that. And in the face of discomfort comes the mask of defense.
If it was only in 1928 that women got voting rights on equal terms with men in the U.K.
And that flight to New York just gets weirder. A woman in her late forties wakes up from a snooze. She takes her sleep mask off and looks at me as if she left a dream and entered a nightmare. It’s only for a few seconds. Perhaps I’m being paranoid, but five minutes later she calls a stewardess and I hear her say: “I don’t think that person was there before.” Most of Upper Class stare. The children, too. I return one woman’s gaze.
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