From start to beginning, a constantly engaging piece of art. There is seldom a second said, suggested or showed that was wasted; its ability to find a comedic moment yet simultaneously deliver genuine drama is the reason it is so endlessly entertaining - and particularly, rewatchable as it can be watched, in total immersion, as both a pure comedy and a pure comedy (almost).
The comedy's strength is its relatability without it even being about something you have actually experienced: the sharp and witty fourth wall breaking of Phoebe Waller-Bridge's character feels so authentic, and strikes at just the right moment, that you are never pause to think it is manufactured - that it is a show, but that you are in conversation.
The drama's strength is very simple: in order for drama's job to be done - to be a drama - the audience has to be emotionally invested: to draw in the audience, in innocence, with a relatable, slightly goofy character and familiarise ourselves with this character, proportional to an increase in her drama with her family, friends and romantic partners is perfect for feeling genuinenly affected. Fleabag recreates the emotions people seek when they look for drama by setting out our journey with Fleabag herself (the main) as a light-hearted aquaintance and then successively adding deeper relationship layers, until by the end of the entire journey you feel as though you are best friends: you had a laugh and you had fun. The only unfortunate thing is that it ends.
Pilgrims of both the dramatic and comic worlds must pass by this art before moving on in life.
The comedy's strength is its relatability without it even being about something you have actually experienced: the sharp and witty fourth wall breaking of Phoebe Waller-Bridge's character feels so authentic, and strikes at just the right moment, that you are never pause to think it is manufactured - that it is a show, but that you are in conversation.
The drama's strength is very simple: in order for drama's job to be done - to be a drama - the audience has to be emotionally invested: to draw in the audience, in innocence, with a relatable, slightly goofy character and familiarise ourselves with this character, proportional to an increase in her drama with her family, friends and romantic partners is perfect for feeling genuinenly affected. Fleabag recreates the emotions people seek when they look for drama by setting out our journey with Fleabag herself (the main) as a light-hearted aquaintance and then successively adding deeper relationship layers, until by the end of the entire journey you feel as though you are best friends: you had a laugh and you had fun. The only unfortunate thing is that it ends.
Pilgrims of both the dramatic and comic worlds must pass by this art before moving on in life.
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