The life of a young teenager and naive girl, who has traveled to London for the first time, has been changed completely, as there, she has no idea about anything, the thing that brings terrible for her, as she finds herself involved in terrible and has no source of living, so she tries to sell the stolen status she has.
If Fleabag begins as a collection of single-girl moments, patience through a few episodes reveals a fuller, sadder, more multidimensional story anchored by Waller-Bridge's bracing honesty, inventive uses of jumbled time and an abrupt editing style.
Fleabag reminded me of the brave aspects of many of the Sad Clowns we've encountered over the years, who use the tools they know best in order to cope. They're in a battle with grief, despair, loneliness, and worse, and they refuse to succumb.
Its theatrical DNA lingers in its fleet style of storytelling: Fleabag is both narrator and actor, turning to the camera to commentate on a scene before seamlessly re-entering it. It's been done before, not often as charmingly.
Fleabag [is] a quite impressively depraved and filthy (in a good way, obviously) comedy tour-de-force by very talented writer/actor Phoebe Waller-Bridge.
Those hungry for an alternative to Lena Dunham's Girls will find plenty of dark relationship humour in this very funny comedy by writer/star Phoebe Waller-Bridge...Fleabag might be full of self loathing but she is very easy to like.
