
PLEASE NOTE: These films are intended for use with students over 15. The films contain content which some people may find upsetting; students may also have had direct or indirect experience of a controlling relationship. You should view each part and read the accompanying guidance (at the bottom of this page) on creating a safe teaching and learning environment before using with students, considering its suitability for your cohort with care.
Coercive control is a pattern of behaviour by an abuser to harm, punish or frighten their victim. It’s been illegal since 2015, but would we be able to spot it if we saw it happening?
To find out, BBC Three and journalist Ellie Flynn brought together 20 people aged 18-25 from across the UK to explore whether they know what coercive control actually is. Over two days, the group watch a specially-written drama telling the story of the relationship between Rachel and Alex. As the drama progresses, it becomes clear that the young people have different perceptions of the events in the story. Some think that what they are being shown amounts to normal behaviour in a relationship, while others believe that a line has been crossed.
At the end, the group hear from barrister Clare Ciborowska, who analyses the events in Rachel and Alex’s story. She explains the law and reveals the answer to the key question posed by the programme – is this coercive control?
Below you will find a special edited version of the drama for classroom use, in five parts.
Each part is accompanied by discussion notes. These discussion notes are for guidance only. You may wish to use different questions or statements to stimulate discussion, depending on your cohort.
During discussion it is important to revisit and emphasise any previous teaching about what to do if a relationship feels unhealthy or unsafe, including speaking to someone about it and retaining any evidence such as photos, text messages or voicemails, writing these down if necessary. It is also important to signpost students to sources of help should they or anyone they know need it, including named members of staff in school. Students should be reassured throughout that if they, or someone they know, find themselves in a controlling relationship, then if they report it they will be believed and helped.
Students should also be made aware that although the films show a relationship between a man and a woman, coercive control can happen in a relationship regardless of gender, age, race, socio-economic status, sexual orientation, disability or background.
Click or tap here for information and support from the BBC Action Line website.

Part 1
Rachel and Alex have celebrated three months together and he’s met her work mates. When Rachel loses her job, Alex asks her to move in with him.
ALEX WHISTLES
Happy birthday - slash - three-month anniversary. If that's a thing.
Oh it's not three months is it? Oh no! I'm so sorry I feel so bad!
Yeah I'm sorry too. Here. So the woman helped me pick it out. But I agreed with her so that's half the battle isn't it?
Oh my God. I so love it. Thank you so much.
Oh no. I'm OK thank you.
I love you. You know that right?
I love you too.
POUNDING DANCE MUSIC PLAYS
Hi guys. Here it is everyone. Actual proof to all the non-believers this is Alex.
Hi how are you doing?
Hi.
He's perfect. Whoo!
LAUGHTER
And he's mine!
Does that mean the guys in the office are safe again now?
Right!
Shots?
Yes!
UPBEAT DANCE MUSIC PLAYS
MUSIC DROWNS SPEECH
I am…properly wasted.
Who's that you were chatting to?
Who Vish? Oh he's a real laugh actually. You two would really get on.
PHONE PINGS
Oh that's so annoying. My mates from back home they're down next week. I never get to see them. They want to take me out for this birthday thing. Like I can't miss any more work though. I've already got a final warning from last week for being late last week.
Why don't you use me? Say I don't know I've got a… I've got a funeral. I need you there. No-one's going to ask me are they?
Oi. Walking dead.
Oh thank you.
How was the um funeral?
Rachael?
Messy.
Can I have a word in my office please?
It's been brought to my attention that you weren't at any funeral on Thursday. You've been warned about missing work several times now.
Hang on who said I wasn't at the funeral?
That's not the issue here Rachael. Is it true?
Yeah OK fine I'm sorry I lied but… …it's been hard moving here.
I'm sorry Rachael. You knew what a final warning meant. It was explicitly explained to you.
Hang on. Am I…? Am I fired? This is such a…
All right I've heard enough now.
No you know what? I'm actually glad. No more putting up with you and your…
I don't even know how he found out. I mean what am I supposed to do? You know my landlord's putting the rent up. I mean I… I can't move in with my mum can I? How do we even see each other? Or my mates. I just…
SHE SOBS
Seriously Alex I'm so not in the mood for this.
I know I know. Just watch your step watch your step.
I know.
But just indulge me for a second. Voila.
SHE GASPS
Alex… It's beautiful.
Now I know it's proper early days and this might seem a bit mental but… I…
I can't afford the rent here.
No no I know I know. But um just pay me when you can. I love you. Let me take care of you.
OK.
Yeah?
RACHAEL LAUGHS
Notes for discussion
Does the relationship seem healthy (you could ask students for their opinions and to identify clues)?
Are there any warning signs about either character’s behaviour?
Identify any clues as to the characters’ feelings about one another.
Collate any thoughts, opinions or questions at the end of this part.
Part 2
Rachel and Alex are living together in Alex’s flat while Rachel tries to find a new job.
Hiya.
Hi.
Good day?
Yeah. It smells good.
Do you think?
Mm.
Babe you need to stop buying these bits. They're so expensive.
Just cos you're living like a homeless beggar doesn't mean I have to. See our little agreement about the kitchen didn't last long.
Yeah well I'm not your slave Alex. I've um… I've not had a great day. I've had three rejection e-mails today. I actually don't think anyone's going to give me a job.
Hey, hey, hey. I'm sorry, I'm sorry. Listen. Don't take this the wrong way you know I love how you dress, it's just… …maybe this whole job thing is just down to first impressions.
I'll literally have nothing left at this rate.
Here, look, this. It's exactly what I'm talking about. Just… You deserve something classier.
You're actually being quite rude and I love this top so…
You know what? Forget it. Come home, try to help, and I'm dealing with this?!
All right, calm down.
Why even ask for my opinion? I'm trying to help you get a job, bring some money in. Christ! Wasting my time!
DOOR SLAMS
ALEX ON PHONE: Hey, it's me. Sorry. It's just that I want you to look as amazing as I know you can. Love you. Always.
WHISPERS: Yeah?
Perfect.
It's weird right? Sasha isn't responding to any of my texts. It's like not a single one.
Is that surprising? Come on. How many other people knew about that funeral blag?
What Sash? No way. She wouldn't do that. She's my best mate she wouldn't.
Like you said not answering your texts. It's a bit weird.
ALEX ON PHONE: It's me again. Where the hell are you? I've been calling. Just give me a call when you get the chance yeah?
Ah! Oh, my God! Hello, stranger.
Whoa! How long have you been wearing old bag-lady clothes for?
Alex picked this.
You didn't have to wear it. Anyway… …where have you been hiding? Feel like I've not seen you in ages. I miss you.
Yeah, I miss you, too.
Found out who dobbed me in to Wensley yet?
No, not yet.
Actually, I did want to talk to you about something.
What?
I wanted you to hear it from me. Wensley offered me your old job. I haven't said yes. I didn't make a decision.
No, it's… It's OK. Someone had to get it. Erm… I'm glad it was you. So, is that why you've been ghosting me, then? Not texting me back?
What are you on about? I haven't got any texts.
Erm… Right.
Hey. You OK? It's horrible out there.
Where the hell have you been? I left you like six messages.
My phone died.
What? You think that's OK? Not telling me where you are? Look at the mess I've had to sort.
Sorry I just… …went to see my old work lot. I wanted to speak to Sash.
Did she tell you why she hasn't been texting you back?
She reckons she isn't getting my texts.
HE CHUCKLES
What about your old job? Who's doing that now?
Um…
What?
She's…
What? No.
Well, it's not her fault, is it? I mean… Someone had to get it. Should be her really.
Wow.
What?
Don't suppose she told you who dropped you in it?
She's my only friend from work. My only friend anywhere near here. I need her.
To me it just seems a bit convenient.
Well… I… Why would she…? Why would she…?
Oh hey hey I'm sorry I'm sorry. I didn't mean to upset you. Who else was there?
Just erm… You know just the usual lot.
Well I suppose Vish was there. Just tell me.
Babe…
Knew it! Seriously? The clothes you wear the food you eat and this is what I get? After everything I've done for you!
SHE GASPS
See what you made me do? God.
FOOTSTEPS
Sorry.
No I should have said I was going out. Promise it won't happen again.
It's just… …work has me so stressed lately. They're not paying me the same commission. Look I know it's bad timing but… …I'm going to need you to start contributing somehow. I wouldn't normally ask it's just… …if we don't start getting some cash in soon I'll have to start making some cutbacks.
SHE SIGHS
So when is it? This interview?
Tomorrow morning. Pretty early.
We should celebrate. It's a big thing. We'll get a takeaway in there's a bottle of fizz in the fridge.
Oh no I won't have any.
It's just to relax you for tomorrow.
I'm so proud of you.
Thanks.
Hey! There we go. To new opportunities.
MUSIC: Tell Me That You Love Me by James Smith
Oh I'm OK thank you.
What? This is expensive stuff we have to finish it.
Yeah but…
Just take the night off. You deserve it.
MUSIC PLAYS OVER SPEECH
Maybe you should be going to bed now.
Maybe YOU should be less boring.
Oh.
SHE LAUGHS
Notes for discussion
How does the relationship seem now?
Are there any warning signs about either character’s behaviour?
Identify any clues as to the characters’ feelings about the relationship or one another.
Do either of the characters seem different, or to be changing their behaviour as a result of things the other has said or done?
How might Alex’s behaviour be affecting Rachel?
Is there anything else that raises questions or concerns?
Collate any thoughts, opinions or questions at the end of this part.
Part 3 - Rachel's Evidence
With the help of her friend, Rachel brings a case of coercive control against Alex, and gives her evidence in court. Before viewing this part it may help to define coercive control for your students and explain that Rachel has brought a case against Alex. Ask them to identify reasons why she might have accused him of coercive control, and compile a ‘for’ and ‘against’ list of evidence.
So when is it this interview?
Tomorrow morning. Pretty early.
We should celebrate it's a big thing. Maybe we should be going to bed.
Maybe YOU… should be less boring.
PHONE VIBRATES
PHONE VIBRATES
Oh no!
VOICEMAIL: Hey it's Josh from Fitness World. You haven't turned up for your interview. So sorry we're going to go with someone else.
KNOCK ON DOOR
Hey.
Hey.
Miss Philips, you and my client were together for 18 months before you ended the relationship, yes? And the reason you ended it - it was no longer working for you, correct?
No. No, my friend made me realise that what he was doing was wrong.
Now, it's right my client never physically assaulted you, did he?
No. But he'd get angry a lot.
It's true all couples bicker and argue, don't they?
It wasn't just arguing. He was… Well…
You lost your job, so my client offered a place to stay. There was no control involved was there?
I needed a place. Alex knew that. It was his fault I lost my job.
That's simply not true. You wanted to see some friends during a workday so you lied to your boss saying that Alex had to go to a funeral. A funeral that you had to attend with him. But then your work found out didn't they? This wasn't the first time you lied to your work was it? They trusted you. You betrayed that trust… …time and time again. Her employer has provided information to prove this was a regular occurrence.
I'm not lying! He wanted to keep me in the house locked away basically his slave.
You could have left at any point.
No… No he kept me there. Started um…moulding me changing what I looked like what I wore.
All he did was make suggestions on how to dress for a job interview. You're a grown woman. You didn't have to take his advice!
He would send me these voicemails all the time saying how useless I was that no-one would ever want to hire me.
You've produced no evidence of this have you?
I… I lost my phone.
Let's be honest there was never any messages was there?
There was. He'd send them all the time. Simply more lies.
Like your claim that Mr Bennett is somehow responsible for the large debt you're currently in debt due to payday loans that you willingly took out.
No. I got… I got desperate.
Quite the recurring theme.
At the beginning Alex didn't care about the money. He kept saying you know "Pay me back whenever." And then one day he tells me that I owe him all this money.
The truth is as soon as my client asked you to repay your debt that's when you decided to end the relationship.
No. No it wasn't about the money…
In fact your whole case is simply an elaborate story with no truth in it whatsoever. Isn't it Miss Philips?
No…
Notes for discussion
How does Rachel seem at the beginning of this film? Identify any clues that the relationship affecting her feelings or behaviour.
Why is Rachel’s friend important? (Reinforce messages around the importance of speaking to a friend/family member, or a trusted source such as a helpline if someone feels afraid or unsafe).
Discuss Rachel’s evidence and how it compares to the ‘for’ and ‘against’ evidence that the class drew up.
Are there any other clues as to Rachel’s feelings?
What does the class think the verdict should be having heard Rachel’s evidence?
Is there anything that raises questions or concerns?
Share any thoughts, opinions or questions at the end of this part.
Part 4 - Alex's Evidence
Alex is cross-examined in court.
Mr Bennett, when Miss Philips lost her job, it had a huge impact on her, didn't it? Made her pretty vulnerable, would you say? Is that what first attracted you to Miss Philips?
What?
Her vulnerable side? Something you knew you could use later on down the line?
I don't understand.
You began to isolate her from her friends, make her dependent on you, hacking into her phone, using her password to change numbers so that when she contacted what she thought was her best friend, Sasha, it was in fact the wrong number.
I would never do that.
You were aware that she had no savings, no income, and yet you demanded that she somehow pay you, claiming your work had dried up. But you see, we obtained your bank statements. Could you take a look, please? At no point in those 18 months do we notice any change in your income. It ended up not being as bad as I thought. You continued to emotionally manipulate Miss Philips, threatening that if she didn't pay, there'd be consequences.
I never said that.
No. You were much cleverer than that. You knew exactly how she'd react. You also hated the idea of Miss Philips earning any money. You wanted her to come to rely on you more. You needed it. Her loving master in control of everything.
That's rubbish. I… I loved her.
In fact, you were the one who lost her her job, isn't that right?
No, that's a total lie.
Is it? Well, we checked the records and were able to locate the phone call you made. We'll ask the court to play it now.
Hi, is Rachael Philips there, please? It's Alex, her boyfriend. Just wanted to see what time she's on lunch, if she fancies meeting up.
Oh, she's actually off today, I think, for a funeral.
Oh, yeah. Yeah, yeah. Erm… God, we must have got our dates all… all mixed up. Sorry. Thanks. All the best.
By calling up, exposing Miss Philips's lie, the one that you yourself invented, you knew she'd be fired.
I didn't know it was that day. She was so… drunk when she told me, she must have mixed her dates up. I wouldn't do that deliberately. Why would I?
Because, Mr Bennett, by removing Miss Philips from her job, that was all part of your control over her life.
God, this is mental!
Even when she tried to better herself and was offered an interview for a new job, you sabotaged it, didn't you?
What? I…
The night before her interview, you deliberately got her drunk, filling glass after glass, knowing that she wouldn't resist, and then she missed her interview, didn't she?
Why? Why would I do that?
You hated the thought of her returning to work, where she could see men. Men she could speak to, fall in love with, then leave you. That terrified you, didn't it? Didn't it?
SHOUTS: No!
That anger. The one you used to intimidate Miss Philips. You messaged her over and over again, insinuating that if she failed to meet your rules on cooking, on cleaning, on loving you, there'd be consequences.
I never left any messages. Where's the proof? Show me the phone.
You acted as an emotional terrorist, waging war on a girl whose vulnerabilities you knew exactly how to exploit.
No. No!
You transformed her into an obedient shell of a person, one who couldn't even think straight long enough to leave you, isn't that right, Mr Bennett?
No. No, this isn't true.
Notes for discussion
Discuss Alex’s evidence and how it compares to the ‘for’ and ‘against’ evidence that the class drew up.
What does the class think the verdict should be having heard Alex’s evidence?
Is there anything that raises questions or concerns?
Share any thoughts, opinions or questions at the end of this part.
Part 5 - What is coercive control?
Barrister Clare Ciborowska explains the law and answers the question posed by the drama: Is this coercive control?
Ellie Flynn: It's time to reveal the crime actually suspected here.
Clare Ciborowska: The offence is controlling or coercive behaviour in an intimate or family relationship. But importantly what we must show in the offence is that it's had a serious effect on Rachel. When it has got to that level that it has affected somebody else to the point where it's had an effect on their day-to-day activities.That's when we know it's turned into a criminal offence.
Ellie Flynn: So I just want to quickly go through some of the things that we've seen in the drama. And if you can sort of tell me if each of these elements is coercive control.
Clare Ciborowska: So I think initially we have the scene where she's in the bar. Alex is visibly quite upset, angry even that Rachel's talking to Vish, her colleague.
Alex: Who's that you were chatting too?
Clare Ciborowska: If that had just stopped there, then perhaps it wouldn't amount to coercive control. But it's when it's fed into a pattern of behaviour over a period of time, and that is when it would turn into a criminal offence.
Ellie Flynn: So, moving her in, was that coercive control?
Clare Ciborowska: In itself, not necessarily, but taking as part of the overall pattern, Yes.
Ellie Flynn: Controlling her finances?
Clare Ciborowska: Yes.
Barrister: We checked a phone call you made.
Alex:Hi, er, is Rachel Phillips there, please? It's Alex, her boyfriend.
Ellie Flynn: Calling her boss?
Clare Ciborowska: I think he's quite clever about the way he does that phone call because he doesn't specifically rat her out, but he knows that she's on her final warning.
Alex: Just call and make-up.
Ellie Flynn: Calling her names?
Clare Ciborowska:Yes, part of the pattern of behaviour.
Rachel:Sasha isn't responding to any of my texts, like not single one.
Ellie Flynn: Isolating her from my friends?
Clare Ciborowska: Definitely.
Ellie Flynn: And then forcing her to clean the flat?
Clare Ciborowska: Yes.
Ellie Flynn: Is there anything else that you need to prove coercive control?
Clare Ciborowska: So you have to either prove that there have been at least two occasions where somebody has caused you to fear violence could be used against you, not necessarily in that incident at any time.
Ellie Flynn: Have we seen two in the drama?
Clare Ciborowska: I think we've definitely seen one. And that was where the plate was smashed. Arguably, we could say that when he is commenting on her appearance.
Alex: This is exactly what I'm talking about. You know, you deserve something classier.
Clare Ciborowska: At that point, he snaps at her, they have a bit of an argument and she's sort of quite taken aback by that.
Alex: Waste of my time.
Clare Ciborowska: So, it's possible we could say that that incident also caused her to fear violence.
Ellie Flynn: So, then, all together, is that a pattern of a criminal offence?
Clare Ciborowska: I think it is.
Anon: What physical evidence do you need in court to, obviously, fight the case?
Clare Ciborowska: Evidence in this type of case is one of the biggest legal challenges. And because it's in an intimate relationship, it is usually going to be the case it's one word against the other. The prosecution has to prove, beyond reasonable doubt, that the offence has happened. And this case, in certain courts, you might end up with a guilty verdict, in other courts you might not, and that's because people do see things differently.
Notes for discussion
Discuss the lawyer’s explanation of coercive control.
Does the class think Alex will be convicted? Why/why not?
Share any thoughts, opinions or questions at the end of this part.
You may want to explore the Serious Crime Act and other forms of relationships-based behaviour which are defined in law as part of further citizenship or relationships education learning.
Safe teaching and learning
Ensure a safe environment for use by doing the following for each lesson in which the videos are used:
Create or revisit ground rules
Remind pupils of any existing ground rules you might already use, or agree ground rules with them before the lesson. Examples could include:
- Judge and comment on what other students say, not on who they are
- Discuss the situations of the characters in the videos, not others’ personal experiences
- Everyone has the right to pass
Encourage and respond to questions safely
Use techniques such as an anonymous question box or post-its to enable students to ask questions privately and anonymously if they wish to. This can also help you prepare responses to challenging questions, or identify any potential safeguarding issues or disclosures.
Be sensitive to individual students who may be living with or have experience of controlling relationships, either directly or indirectly. Sensitivity is important even if you are not aware of any personal experiences in the class – working on the basis that there is at least one person who may be vulnerable ensures safe delivery for all. No-one should feel under any pressure to discuss their own circumstances or experiences.
Always work within your school’s safeguarding and confidentiality policies and procedures
This is especially important if a student makes a disclosure. If you are unsure of the procedures, seek advice from your Designated Safeguarding Lead, or contact the NSPCC on 0808 800 5000.
Signpost students to sources of additional information or support if they need it, including named adults within school. Click or tap here for information and support from the BBC Action Line website. Definitions and explanations of coercive control with links to relevant documentation are below.
Using the videos for discussion and further activities
The drama is divided into five parts which can be used flexibly to suit your teaching needs, depending on your cohort, scheme of work, subject/topic area, learning objectives, etc. You can choose how to view each part with your students – however, it is advised that you allow time during or between each part for questioning and discussion, and to allow students time to follow the story as it develops. It is also advisable to allow some quiet reflection time at the end of the lesson before students leave the classroom.
The following notes are general suggestions for ways to structure discussion or develop further opportunities for understanding. You may choose not to tell students that this is a story about coercive control until the final parts – in this way they can explore indicators and impacts of healthy versus unhealthy relationships, before being introduced to what is recognised in law.
During discussion it is important to revisit and emphasise any previous teaching about what to do if a relationship feels unhealthy or unsafe, including speaking to someone about it and retaining any evidence such as photos, text messages or voicemails, writing these down if necessary. Students should be reassured throughout that if they, or someone they know, find themselves in a controlling relationship, then if they report it they will be believed and helped. Students should also be told that although this resource focuses on relationship between a man and a woman, coercive control can happen regardless of gender, age, race, socio-economic status, sexual orientation, disability or background.
Before showing the first video, ask students to consider and discuss any features of a healthy relationship, and collate these on a graffiti wall, or as a mind map or class list. Then ask them for any signs of an unhealthy relationship and record these in the same way. Keep these to refer to as reminders or for consideration during future discussion.
After watching each film, allow plenty of time for discussion and sharing of perceptions and opinions. Group students in a way that suits your needs, but always ensure sharing of responses so that everyone in the class hears from one another.
Try to lead the discussion with impartial and non-judgemental questioning that encourages students to form their own opinions e.g. ‘What might Rachel be feeling? What are the clues?’ rather than ‘Why is Rachel scared?’ Encourage students to both support and challenge one another.
Ask students about evidence for their responses e.g. if they think something isn’t right, what are the clues? Encourage them to look at body language and expressions as well as what the characters say, including clues as to what may have happened off-camera.
Finish sessions by summing up the story so far, and writing down any notes or unanswered questions. Encourage students to suggest what they think might happen next, or how they think the story will conclude.
Before watching each new part, recap on the story so far and look at the notes from the previous part. Have questions been answered? Were any predictions correct? Have anyone’s perceptions changed?
Techniques such as those outlined below can be useful ways of exploring students’ responses and reasons for them. These can be used at the beginning and end of a lesson, or returned, to gauge how opinions can change as more of the story is revealed.
- Continuum line: label extremes at either end of an imaginary line across the classroom e.g. Strongly agree; Strongly disagree. Ask students to stand on the line depending on the strength of their feeling about different statements, and ask them to explain reasons for their positioning. After hearing different responses, give students the opportunity to change places on the line.
- Conscience alley: students form two lines facing one another, creating an ‘alley’ which others walk down. Ask a question e.g. Is Alex being loving or controlling? then ask those forming the alley to give opposing opinions as another student walks down it. At the end of the alley, the walker needs to consider all they have heard and decide on their own verdict.
- Corners: place a different statement in each corner of the room (or adapt for use e.g. statements on walls or tables). Students move to the statement with which they most agree, or remain in the middle of the room if they are undecided. Ask students in different corners to share their reasoning, then give students the opportunity to change positions.
Coercive control and the law
Under the Serious Crime Act, coercive control became illegal in England and Wales in December 2015. Controlling or coercive behaviour in intimate or family relationships is an offence carrying a maximum sentence of five years imprisonment, and/or a fine. Two top-level definitions are below with key words that might aid discussion highlighted – please see the sources for further information and detail.
- Coercive behaviour is an act or a pattern of acts of assault, threats, humiliation and intimidation or other abuse that is used to harm, punish, or frighten their victim
- Controlling behaviour is a range of acts designed to make a person subordinate and/or dependent by isolating them from sources of support, exploiting their resources and capacities for personal gain, depriving them of the means needed for independence, resistance and escape and regulating their everyday behaviour Source: Home Office guidance, 5th September 2015
These short films might be useful for teaching relationships, sex and health education, citizenship, or PSHE in England. They might be useful for teaching health and wellbeing education in Scotland, learning for life and work in Northern Ireland, and PSE in Wales.
If your students need support
You should always tell someone about the things you’re worried about. You can tell a friend, parent, guardian, teacher, or another trusted adult. If you're struggling with your mental health, going to your GP can be a good place to start to find help. Your GP can let you know what support is available to you, suggest different types of treatment and offer regular check-ups to see how you’re doing.
If you’re in need of in-the-moment support you can contact Childline, where you can speak to a counsellor. Their lines are open 24 hours a day, 7 days a week.
There are more links to helpful organisations on BBC Action Line.
Where next?
Football, Prince William and our mental health. collection
A series of short films based on HRH The Duke of Cambridge's mental health campaign, with focus on men's mental health.

Digital Literacy. collection
A series of short films for secondary schools, which provide students with a toolkit for navigating the online world.

Mimi on a Mission: Sex Ed. collection
Documentary series following YouTuber Mimi Missfit as she takes seven teenagers to Holland to find out how they teach relationships and sex education.
