Let's talk about how the TV series Fleabag, winner of the 2019 Emmys, break the canons of female storytelling with comedy and a bucket of cold water!

After the success ai Emmy 2019 there are many a to wonder what will become of Fleabag. And its creator and star, Phoebe Waller-Bridge, so a bright future seems about to open up in the world of original Amazon productions.

In its first season, the BBC signed series took its first steps in which the author managed to tackle important topics such as the mourning, identity crisis, solitude and guilt without instigating the public to commit suicide. The second season, however, has consecrated Fleabag as a jewel, perhaps even a cult object. This is not only because of the irony, the interpretative skills and the undeniable chemistry between the characters, but also because has its roots in genre fiction and common life, turning them over like a sock.

Phoebe Waller-Bridge as the protagonist in Fleabag
Phoebe Waller-Bridge as the main character in Fleabag

Fleabag, a female story that breaks the rules

Fleabag it is many things, but above all it is a female story which, like many of those that preceded it, is told through the perspective of a woman on the threshold of adulthood. But what are i common themes that we find going to search among the products of this more traditional trend?

The main themes of traditional female fiction

The female narrative, especially the one that addresses the masses, the one that points to commercial success, often relies on a main theme. On the one hand we have she, an ordinary woman, an inhabitant of her time; on the other him, the unreachable man. Two distant worlds that meet and from which, contrary to all expectations, love blossoms.

It doesn't matter how impossible the object of desire is to reach (like Mr. Big for Carrie in Sex & The City), how much fate seems adverse (as for Bella and Edward in the saga of Twilight) or how much he looks - and is - a psychologically abusive manipulator (like Christian Gray of the damned 50 shades of gray). You also remember ours comment on Snape's toxic love in Harry Potter? Love triumphs - if you are able to call it love.

Stories of this type have been written and told for years, and always find their audience, even when their content is highly questionable. This because they give an almost tangible form to a fantasy that almost everyone has had at least once in a lifetime: to be paid by an "impossible" person. If you happen to hear the phrase "Why am I always falling in love with the wrong person?" you know what I mean.

Andrew Scott as the priest in Fleabag
Andrew Scott as the priest in Fleabag

The female narrative in Fleabag: traditional but subversive canon

In Fleabag the object of desire of the protagonist is The priest: the paradigm of man sentimentally and physically unattainable. It doesn't matter from what point of view you want to observe it, The Priest is and can only be unavailable. By examining both the characteristics it possesses and those it does not possess. On the one hand, he is married to God; on the other hand, he cannot enter into a relationship with another person. Data of semiotic precision. The fact that he is presented to us as an attractive man (Andrew Scott), brilliant and that he shows a strong compatibility with our unnamed protagonist does not change anything.

Here is the subversion of Fleabag. If traditional female products, focusing on the principle of escapism, told us that Love, driven by the waves of Destiny, triumphs over everything, even on the most adverse conditions, Fleabag reminds us of the rules of the real world, throwing a bucket of frozen water on us.

And if perhaps not all of us got involved with an impossible person, surely we all felt the burning desire to do something, even knowing that it could only end badly. An awareness that does not escape Phoebe Waller-Bridge, which looks at us through the fourth wall, as if to say to us: “I know. Let's go get carried away by this train running together".

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