Skilful and substantial, Phoebe Waller-Bridge is exhaling her views, you might have know this subject before too, but she makes sure, you never went this far.
Phoebe Waller-Bridge, the creator, the blood and dust, the whole crowd, of the game, is practically confessing. The honesty, often similar to Lena Dunham’s Girls, is the aspect that grounds this exaggerated cut-throat world that we all crave for. The writing is sharp, there is no denying that, but shot like a film, the execution is erotically beautiful especially, when it comes to balance the drama with the absurdity, that it, without failing, wishes to achieve so gleefully. No matter how sensitive and deeply personal an issue grows, the mockery is a part of how these characters breathe
Plus, all the family drama that comes in every now and then, brimmed with sarcastic comments that casts quite a contradiction in its taste; the loud subtlety is the language which looks easily addictive and raunchy. The series also breaks the fourth wall which ironically, despite its vocab, it follows less Ryan Reynolds’s Deadpool version and more Guy Ritchie’s Sherlock-ian theory. The narrator is often questioned and after getting used to it, the switched authority is both fascinating and engaging. Personally, the motivational piece of ingredient in here is to be confident and brave enough to be persuasive in your manner.
For instance, pointing out the elephant, is the theme of the party, then you shouldn’t be afraid to rattle your audience with repetition and expressive innuendos. Waller-Bridge is never afraid to do so, she will scrape off one more layer if it can tantalise you. And then there is always that slapstick humor at the back of your pocket, to block these calls from being a cheap shot; calculatively provocative and never manipulative. Fleabag, the last likeable person for us to be rooting for, is pretty much like a character from any gangsta film, the character begs for empathy as much as you get to know her, error is her crown and sarcasm her main weapon.