Top 10 Reasons You Need to Watch Fleabag

Where the first season was a roaring success, the second has vastly increased the amount of attention on the show thanks to the rising profile of its creator. But “Fleabag” has plenty of celebrity endorsements going for it, too, as more famous faces are expressing their love for it. It’s impossible to count the number of people who have tweeted in support, but the list includes the likes of Reese Witherspoon, Joss Whedon, Chris O’Dowd, and Kumail Nanjiani. Actor Andrew Scott didn’t even wait for a script before signing up to star in season two. Suffice it to say, if you’re still resisting sitting down to binge “Fleabag”, you’re running out of excuses.

“Fleabag” wasn’t the first to do it and certainly won’t be the last, but much of the show’s charm and humor comes from the frequent fourth wall breaks. The camera, and subsequently the audience, become the main character’s confidante, privy to all of her dark thoughts and the funniest things even she won’t say out loud. The tell-tale turns to the lens were eventually clocked by the hot priest, and the whole series ended on a bittersweet note where she finally says goodbye to her long-time co-conspirator: the camera. But being in on the joke in a way none of the other characters are is all part of the viewing experience.

Andrew Scott made waves when he appeared as the otherwise-unnamed sexy priest, a devout and celibate Catholic that our sex-obsessed protagonist becomes enamored with. But while he was likeable and refreshing, like all the characters he wasn’t without his flaws, and these appeared best in the show’s explorations of consent and vulnerability. One of the most controversial moments in all twelve episodes comes when their sexual tension is about to boil over, after Fleabag confesses to her guilt over her best friend’s death and the two start tearing each other’s clothes off. This scene triggered an important conversation about boundaries on social media.

Described by many as a feminist show, “Fleabag” exposes contemporary womanhood for the struggle it is – warts and all. The female experience is an integral part of the show and its appeal, exploring issues like embarrassment over which size tampons she needs to buy when a hot guy walks past, a loss to breast cancer, and anxiety over ageing. Kristin Scott Thomas’ superb monologue about getting older in a society that values youth and beauty in women received much widespread acclaim, as did the show’s tackling of the difficulties of dating in a world of hook-ups and superficiality.

By the time the first episode begins, Fleabag’s best friend Boo has already died in a complex and ambiguous suicide – the details of which are slowly exposed across the first six episodes. But despite their friendship only being shown in painful flashbacks, we still get a very clear sense of how close they are, through their shared moments, inside jokes, and Boo’s role in helping Fleabag deal with her mother’s death. The other core relationship is between Fleabag and her high-strung sister Claire, with whom she attends feminist lectures while suffering through their father’s chaotic relationship with their evil godmother.

While the men in Fleabag’s life come and go, it’s her family bonds that hold strong throughout. The show’s main love story is that of Fleabag and her ailing but loving sister, while one of the most emotionally poignant moments is a flashback to her and her father comforting one another at her mother’s funeral. Where unbearable in-laws are concerned, Brett Gelman steals the screen as Martin, Claire’s easy-to-hate, grossly inappropriate husband. Season two’s dinner party premiere is one of the best things to ever air on television, where we finally see Martin get his just-desserts when Fleabag punches him in the face.

Fresh off her Oscar win for best actress in “The Favourite,” Olivia Colman returned to the role of the world’s worst godmother for season two – which was actually written for her specifically as a last-minute addition to the pilot. She’s the irritating in-law-to-be you love to hate but brings her usual charm to the table as well. The Godmother gets some of the best and cruellest one-liners on the show, stealing the scene whenever Claire and Fleabag are subjected to her obnoxious presence. And she’s also the owner and creator of that ugly, golden statue that appears in almost every episode.

Despite the serious themes and issues, “Fleabag” is ultimately still a comedy at heart, and deals with plenty of real-world problems and insecurities during its half-hour run-time. Some of the best moments include her jumping out at her boyfriend with a knife while he showers for a ‘fun surprise’, and the entire episode she and her sister spend struggling to be quiet at a silent, women-only retreat. Not to mention the golden statue constantly changing hands, including being accidentally given as an award in place of a broken one in season two.

The show begins with its main character haunted by grief, after the back-to-back loss of her mother to breast cancer and then her best friend Boo to suicide. Her self-destructive coping mechanisms ring true for lots of people struggling with loss, and the show never shies away from the grisly details. The second season sees her try to tackle her emotions head-on, too, when her father gives her a birthday voucher for a talk therapy session. This normalization of therapy and seeking treatment for mental health is important for those who struggle with this in real life, serving to remove stigma.

“Fleabag”’s debut season launched its creator and star into the limelight, and she’s quickly become one of the most sought-after writers and actors in the industry. Season two came straight after the runaway success of “Killing Eve,” adapted for the small screen by Waller-Bridge in 2018, and has only increased her popularity since then. She’s even found her way into “Star Wars,” and when “Killing Eve” star Jodie Comer picked up a BAFTA for Villanelle, Phoebe was one of the first people she thanked. Though “Fleabag”’s second season will be the last, we can’t wait to see what Waller-Bridge does next.