Michaela-Moses Ewuraba O Boakye-Collinson,
Aka Michaela Coel, Star and whole entire creator of Netflix show Chewing gum is hilarious, regal, genuine, proud of her blackness, talented beyond belief, amazing, wow, I’m dead
British comedy writer Michaela Coel takes a no-holds-barred approach to her breakout hit Netflix series Chewing Gum, so it only makes sense that she’d take the exact same approach to talking about her real-life experiences with colorism.
The second season of the show debuts this week and, like its predecessor, is filled with vulgar, hilarious, awkward and deeply uncomfortable moments. One of those moments includes the main character, Tracey (played by Coel), dressing up in racist tribal garb to try to please a white date and finally succeed in her never-ending quest to lose her virginity.
“I think the foundations of racism are ridiculous,” Coel said in an interview with the Fader. “I also do know that racism comes with a lot of pain, violence, murder, rape, slavery — and those [issues] are covered by people that don’t write comedy. Read more.(4/6/2017 11:30 AM)
A modern day romance set in London’s Camden, “Been So Long” sees Michaela Coel star as a dedicated single mother who, on an unusual night on the town, is charmed by a handsome yet troubled stranger, played by Arinzé Kene. It was developed by Greenacre Film and the BFI, which co-financed the film with Film4, from an original play by Che Walker and ”Legends of Tomorrow” actor Arthur Darvill. It is produced by Nadine Marsh-Edwards and Amanda Jenks for Greenacre. Lizzie Francke and Eva Yates serve as executive producers on behalf of the BFI and Film4, respectively.
The film’s soundtrack will feature original tracks composed by Christopher Nicholas Bangs, influenced by the backdrop of London’s historic music scene, ranging from Caribbean Soca and soul jazz, to punk and acid house. [X]
Tracey Gordon, the protagonist in the Netflix hit show, Chewing Gum — a British comedy about a 20-something Christian woman on a quest to lose her virginity and find herself — is weird. The fact is, if I knew her in real life, she’d probably irritate me a lot. And yet, I love her.
I don’t just love her because we’re both British-born Africans. Or that, like her, I lived in public housing for part of my childhood, or that we both have dirty laughs. I love her because she, mostly, succeeds in breaking free from what society and her faith have told her she should be and how she should act.