I'm incredibly proud to have authored this single drama for Channel 4, a broadcaster well-known for bold, boundary-breaking, hard-hitting television, and telling this story and acting in it alongside some of Britain's finest upcoming talent has been a pleasure and privilege.

[3] Ofsted, wrote Anita Singh in The Telegraph, reported[note 1] how "sexual harassment is a normal part of school life", which she says "is the starting point for Consent".

[1] According to Channel 4, the film attempts to demonstrate "what it feels like for young people in an environment where sexual expectations are distorted by the instant access to porn and where the lines of consent are minimised".

[8] Consent was written by first-time screen writer Emma Dennis-Edwards,[8] directed by Nadira Amrani and executively produced by Aysha Rafaele.

[citation needed] The story is told from the point of view of Natalie, a working class girl who has recently joined a prestigious, upper-class public school on a scholarship.

[5] Archie is a popular boy, part of a close-knit WhatsApp group, and characterises the college, being "rich, privileged and an academic high achiever".

[12] Consent has been described by Anita Singh in The Telegraph as "required viewing" for UK schools, particularly teenagers, and in style and construction[note 3] has been compared with John Hughes' 1980 Brat Pack film, Pretty in Pink.

[9] The choice of casting the Archie character as the main protagonist was praised by Sophie McBain in the New Statesman, who suggested that had, for example, the film focussed on Raffy, it would have been far less powerful viewing.

[11] The acting out of their WhatsApp messages by the characters was criticised by Singh, which she suggested was "stagey" and detracted from the film's authenticity, as also, she felt the use of actors older than those they were portraying.

[4] Soma Sara, who founded the anti-rape website, Everyone's Invited, welcomed the film's release, stating in Glamour magazine that she saw it as restarting an urgent discussion in UK schools.

[10] The film was described by Morgan Cormack in The Radio Times as "one of the most important watches" of the year, based mainly on its approach to themes such as porn culture, sexual harassment and misogyny, but also on how it suggested the inability or unwillingness of staff to recognise the extent of the issue.

[5] A similar comparison was made by McBain, who — describing Raffy as "cartoonishly awful"[11][note 5] — compares him to The Inbetweeners' Jay Cartwright, had the latter "been born into the Andrew Tate generation".