When Phoebe Waller-Bridge looks into the camera, it is rarely just to elicit a quick laugh
IN THE second season of “Fleabag”, the celebrated comedy series written by and starring Phoebe Waller-Bridge, the titular character is given a counselling session for her birthday by her father. When she attends, hoping to swap the voucher for cash, she is drawn into an interview. The therapist asks some preliminary questions—why she is here, is she close to her family, and so on—which Fleabag deflects with humour. When she asks about friends, Fleabag makes a joke about her pet guinea pig .
But Fleabag’s concerns are not purely romantic. When she reveals hidden feelings in her asides, they tend to be bound up with other issues. She wants to wind up her sister, Claire ; she wants to outflank her awful godmother ; and in the new season, she toys with defrocking a dishy Catholic priest . The “hello Father” that she utters to the camera is much dirtier than the one she offers to the minister himself .
Yet although the format seems to lend itself to straight confession, and a chance to hear a character’s honest thoughts, it eventually becomes clear that Fleabag is in fact an unreliable narrator. For the majority of the first season she withheld the fact that she slept with Boo’s boyfriend, prompting her friend to injure and kill herself. When confronted about it, Fleabag glances, panicked, into the camera, looks away and then back again, as if worried about the audience’s reaction.
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