![]() Fleabag may not delve as deeply into the subject as I May Destroy You, but you get the sense that, if their protagonists met in a certain guinea pig-themed café for a chat, they might both have a laugh and a cry about that particular set of shared experiences. While Fleabag is a lost, upper-middle class white woman whose main trauma stems from the death of her best friend, the two share experiences of sexual assault. Both characters make horrible mistakes many times over, causing audiences to question who we’re rooting for in nearly every episode. More inclusive and certainly more sardonic than Fleabag (to which it is often compared), I May Destroy You painstakingly follows its heroine as she pieces together the events leading up to her own rape – and the audience is left to watch her deal with the immediate and lingering aftermath of her trauma.įleabag and Arabella, though they come from different parts of London and have distinctly different backgrounds, share some similarities. The show spends its time meticulously unpacking the vicious ins-and-outs of consent and sexual assault in the Internet age. The HBO dramedy about working-class black writer Arabella Essiedu (played in the series by Coel) is brilliant. It felt like the floor had fallen out from under me. Then I saw Michaela Coel’s I May Destroy You. One moment is flooded with poignancy, the next with cheeky and exquisitely timed to-camera glances. Waller-Bridge engages in a brilliantly choreographed dance between the poetic moments of the script and her knack for sharp comedy. ![]() Finally, a nuanced discussion of the woes of modern dating from a complex, completely unreliable female narrator, who was wittier than I could ever dream of being and more deeply flawed than I’d ever admit to being. Six months ago, I didn’t think I could ever be as in awe of a television series as I was of Phoebe Waller-Bridge’s Fleabag. Well, the Golden Globes have done it again.
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