![]() On Friday, Fleabag nonetheless joined Big Little Lies and The Night Manager in the ranks of limited series turned multipart sagas. Fleabag’s journey appeared to be complete, while her author’s was just beginning. Having done so, Waller-Bridge was free to apply her talents elsewhere: to the more straightforward sitcom Crashing, premiering a few months before Fleabag’s filmed version but commissioned on the strength of the original to the cat-and-mouse thrills of the spy drama Killing Eve to voice acting in Star Wars and producing for HBO. Adapted from writer-creator-star Phoebe Waller-Bridge’s stage show of the same name, Fleabag accomplished its mission of introducing Waller-Bridge’s witty, macabre, tonally dextrous voice to the world. Besides, Fleabag was designed as a self-contained piece. So complete was Fleabag’s unraveling, so thoroughly did Fleabag break down her emotional defenses, that wanting more seemingly made one a glutton for punishment. The lone bit of solace Fleabag offered either its protagonist or its audience was a small scrap of consolation from Fleabag’s loan officer, himself a less-than-stellar human being: “People make mistakes.” In six episodes, Fleabag had alienated her father, her sister, and her boyfriend in the process, she peeled back every layer of psychological bandage separating Fleabag from reckoning with her role in the suicide of her closest friend. ![]() The last time we saw the titular antiheroine of Fleabag, she was at rock bottom, or at least something close to it. ![]()
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