Fleabag: Series 1 (BBC) [DVD]

With admirable restraint one Amazon reviewer euphemistically described Fleabag as 'hideous crap', thus echoing the opinion of many of us who still believe in the definition that something has to be funny if it is meant to be laughed at.It would seem, however, that Fleabag has found a solution to the problem of making people laugh without being funny. Their success lies in shocking their audience into laughing with a technique based almost entirely on smut. Needless to say this requires the constant use of that ubiquitous four-letter word, which having climbed the social ladder and become colloquial among most classes, may now be appreciated and enjoyed on television by a much larger audience; at least Fleabag appears to think so, a fact borne out by the unbelievable success of this bilge. This has led to the dictum that 'modern comedy is guaranteed to succeed provided it is bad enough'. No wonder the twenty-first century is increasingly being called the 'Philistine Century'. Spoken once this expressive, all-encompassing, super-word of the semi-literate is bound to elicit a grin from Fleabag fans; spoken twice it will excite them into a fever of anticipation; spoken three times in rapid succession, though, it will have them rolling in the aisles, overcome by the sheer daring of it. Since the once scandalous 'Nun's knickers' is now old hat, passed into oblivion by this exciting new Fleabag form of humour, based on a potent combination of expletives and constant references to parts of the male and female anatomy, plus the occasional mention of women's periods thrown in to provide an extra giggle, it is thanks to shows like Fleabag that we are gradually getting to what is generally acknowledged as the norm for popular comedy, another example of which is the dismal series 'The Vicar of Dibley'. One of Fleabag's most irritating traits is the overuse of the long silent pause, pregnant, naturally. Here itis used as a means of raising a laugh. The camera focuses on one of the characters, more often than not the 'queen of the four-letter word' herself, and immediately the tension begins to build up in anticipation of yet another hilarious episode. But just as the audience's smiles turn into incipient laughter, the excitedly expected denouement turns out to be nothing. Fleabag's devotees are left to laugh at nothing, which they obligingly do, of course. This being the case, it is hardly surprising that the series should be such a success: getting people to laugh at nothing. Let us take just one example, in this case from Series One. Where, one might ask, is the humour in the scene in which two sisters sit discussing the size of their mother's boobs? Are we to suppose that the mere fact that they are doing so is funny, shockingly funny, in itself? If so, should we be shocked into laughing? As we sit there pondering on the answer, Fleabag addicts who are watching are already convulsed with laughter. In 'Hope and Glory' a film set in the London Blitz, we see a schoolboy's ritual initiation into a gang which requires him to repeat three swear words. This is the sort of thing that would appeal to the authors of Fleabag. The thrill that some adults get from repeating aloud in front of an audience words which are taboo in respectable society is akin to that of this young boy's repeating swear words. The fact that they can do so in a television series and get prizes for it beggars belief. When in the course of Bernard Shaw's play 'Pygmalion' Eliza Doolittle says 'bloody' - referred to by the sensitive at that time as the 'sanguinary expletive' - the whole nation was in uproar. Now, though, the four-letter word is repeated seventeen times in one episode of Fleabag and nobody turns a hair. How lucky we are to live in such a progressive and enlightened society! Perhaps it is time for a Fleabag version of 'Pygmalion' with the language of Shaw's play appropriately updated to suit current taste. Did I hear someone say 'Perish the thought'?

Phoebe Waller-Bridge is undoubtedly one of the best dramatic writers currently around. She's also a highly accomplished actor and the combination of the two is particularly effective in Fleabags, not least with her witty asides to camera and unusual filming.The plot is ambitious - to fill it with a group of mostly dysfunctional, self obsessed, 'do anything' sex obsessed individuals who are on the verge of realising how needy and potentially 'soon to be unneeded' they are.One particularly excellent scene is the opening to episode two in a train carriage on the London Underground. I won't say more than that. A few more of (but not too many) such scenes would be very welcome.So why have we given up after three episodes? Well, there's only so much we can take of shallow and depraved individuals. Witty though it is, the plot seems to grind on this way (no pun intended) and, for us, almost no one in it is likeable. I know this is what is intended - and other viewers might delight in this plot - but three episodes were enough for us.

It starts off fine: for two or three episodes new characters and ideas and oddities are being introduced. But then it settles down, and the story arcs became more prominent than the characters and a lot less interesting. Olivia Colman is great, but I'm not so sure about the material she has to work on. Then it ends maudlin, melodramatic and pretentious, and the main character turns out to be more sinning than sinned against. There's a complex theme of feminism woven throughout, but I haven't been able to untangle it. Also the constant looking into the lens at the audience (symbolising fleabag's self-awareness) comes to seem smug and self-consciously clever after a while. I was disappointed, but maybe 3.5 stars rounded down. Series 2 was more of the same with a priest who was supposed to be sexy. If you thought he was, you might have liked it. If you didn't think he was, the whole thing was a mystery.

Both quirky and dramatic, and just the right side of dark, we follow 'fleabag" in her somewhat messed-up life, as she makes and breaks connections and opportunities, and tries to cope with her unorthodox family dynamic.Breaking the fourth wall with short, dry, cynical and rude comments while the remaining world stays normal, the show's cynical view of the world (and fleabag's complete insistence on not taking it seriously, or destroying every good thing in her world) is refreshing, real, and surreal all at once, while remaining grounded.If one thing this show portrays well is that the tomboy stereotype is misrepresented;, you can be immature, rude and sleazy, while still being feminine, sexy and realistic, and having depth. This is great work, wonderfully realised, with maybe not fully three-dimensional, but well rounded characters for the purpose all the same.

A good friend recommended I catch up with this series when it was on television. Watched the whole thing in one sitting....twice!I don't think I've come across a British drama/comedy - whatever you want to call it- which is so funny, incredibly sad, tearful, rude, cringe-worthy (to the point of not wanting to watch)! I could go on and on.......Phoebe Waller-bridge is a superb writer/actress. She has produced one of the best pieces of television I have seen in a long time. The cast are fantastic and make this drama a real one off.Have brought this for a friend of mine for her birthday- I hope she enjoys it as much as me!!5 stars!!

I missed this on TV so bought the DVD, unfortunately I can’t see what all the fuss is about, not sure I laughed once. Hopefully the charity shop I gave it to made a few pounds and someone did enjoy it.

Once you start watching you can't stop, because, whilst the main character is hard to like, there is a humanness, vulnerability to her that catches your interest. Fleabag is an apt title though. Watching it is akin to eating something that you're not sure if you actually like, but you continue eating it anyway!