![]() There’s no score in the show - it’s all commercial tracks - so we needed a lot of music. “Something About Us” by Daft Punk, “It’s Gonna Rain” and “Flowers”, which is the song they all dance to in the bar, were also in there. She had also written a few songs into the script, like “Truffle Butter” for Arabella’s karaoke scene in the first episode. I think a lot of the music that she had in mind for the series came from that. One of the main things she spoke about was this podcast Soulection, which she listens to. Elwis, who works for the music supervision company Air Edel, previously worked on “The End of the _ World,” “Sex Education” and Joanna Hogg’s “The Souvenir.” For “I May Destroy You,” she and a colleague, Matt Biffa, were tapped to expand and execute Coel’s unique musical vision.ĭid she describe what she was looking for? As in many stylish, music-heavy coming-of-age dramas, from “The O.C.” to “Euphoria,” the music of “I May Destroy You” - a vibrant, mostly modern mix of hip-hop, electronic music, R&B and jazz, much of it made by members of the African diaspora - provides an appealing and useful foothold into the characters’ social and psychological universe.īut if most soundtracks create a closed experience for the viewer, driving home a set of emotions that the writer or director has prescribed, the most memorable music of “I May Destroy You” does precisely the opposite, opening up room for ambiguity and uncertainty.Ĭiara Elwis, 27, a music supervisor based in London, was Coel’s partner in creating those moments - among more than 150 music cues across 12 25-minute episodes. Those extend to the series’s inspired and frequently arresting soundtrack. The show, like its central characters - young, exuberantly liberated but inherently vulnerable Black Britons navigating sex, power and friendship in a very recent London - is held together by the cumulative force of its apparent contradictions. ![]() In the world of “ I May Destroy You,” the critically hailed HBO/BBC series written, co-directed by and starring Michaela Coel, few things are ever static.
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