Phoebe Waller-Bridge makes dark, funny television, which means a lot of people think she has an agenda. She does. But not theirs
There’s something really pedophilic about those,” murmurs Phoebe Waller-Bridge, staring at four miniature, perfectly red apples nestled tightly in plastic wrap at a central-London Marks & Spencer, where she is shopping for a dinner party she’s to host that night for elderly relatives. “I need to make a fucking kick-ass fucking meal so my husband will be like, ‘Ay, ay, check this ricotta hotcake out.
Boo’s death is seen by everyone in Fleabag’s life, including Fleabag herself, as the proximate cause of her sadness, but there are clues suggesting that her unhappiness began earlier, perhaps when her mother died of breast cancer and her father remarried. Fleabag has a sweet, vulnerable, off-and-on doormat of a boyfriend who finally breaks up with her midway through the series, after which she is unmoored, free to be as wanton as the pain she feels.
Jones is blonde, thoughtful, and gentle-seeming. A friend of theirs once described the pair as being each other’s subtexts, which Waller-Bridge loved. “My early plays are all about romance and love and people finding one another in the end, and Vicky’s are these dark perverted fucked-up things,” Waller-Bridge explains. “Vicky’s always crashing around in these lovely floral dresses telling everyone how amazing they are, and I’m habitually a bit more caustic.
Waller-Bridge’s work is shot through with barbs about the way looks change a woman’s relationship to the world. She takes particular delight in turning her self-perceived flaws into jokes. “Well, you know I’ve always been insecure about my face,” Fleabag tells Boo as they talk about what they’d like to change in themselves. “There’s nothing wrong with your nose!” replies her friend. Partly, Waller-Bridge says, her preoccupation with objectification came out of her younger self.
After turning down a spot to read English at Trinity College Dublin, Waller-Bridge studied at the prestigious Royal Academy of Dramatic Art, where, she told the New York Times last year, she became bored with playing “crying girls who had just had an abortion or were having a bath” and complained to the head of the academy. She was subsequently cast as a bearded cross-dresser.
It had been the Times journalist’s last day on the job, so the trio had begun with Champagne over lunch. “Loose lips sink ships!” Waller-Bridge shouts happily, raising her vodka soda, then starts reminiscing about their early days in London theater. “I was raped horrendously in one,” says Waller-Bridge. “Raped over a sofa! That’s the first thing I ever saw her in,” replies Jones affectionately. “My dad was in the front row.
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