• Revellers

Fleabag: 10 Best Bits So Far

✨ LUCY EATON



With the final episode of Season 2 airing tonight, and after binge-watching the rest on Saturday night (to my shame, determined not to like it but obviously being human and falling totally in love) I thought it was worth running down the highlights so far. Phoebe Waller-Bridge's absolutely insane success is full of witty, unexpected moments and real-life feels, so here's my top 10.


THE PRIEST VS THE FOXES (Ep 3)

Andrew Scott talking about all the times foxes have been out to get him was sublime. He's an amazing actor anyway*, and it's no surprise that he's a show-stealer in Fleabag, but moments like this are when he really shines. With such a genuine human portrayal of endearing awkwardness, it's my number one best bit.


* His performance in The Old Vic's Design for Living is one of my all-time favourite performances I've seen in London, so don't miss him in another Noël Coward (Present Laughter) later this year.



THE "HAIR IS EVERYTHING" RANT (Ep 5)

"We wish it wasn’t, so we could actually think about something else occasionally!" - Phoebe Waller-Bridge dishes up some lady drama realness with this exquisite moment, which ends with a speedy apology and a quick withdrawal from the hair salon when they realise the hairdresser really did do his job. We all know the importance we put on hair, and we all know the difficulty surrounding our relationships with our hair-dressers and their work, so A+ Phoebe.


THE OPENING SCENE (Ep 1)

Frank Sinatra crooning Strangers in the Night, Fleabag covered in blood, that voice at the door which you're not aware is Andrew Scott yet, the reveal of another bloody girl on the floor who you never realised was there and finally the inimitable look to camera and assertion that "this is a love story" - Bravo. Bravo.

THE PRIEST LOOKS STRAIGHT TO CAMERA (Ep 3)

After picking up on Fleabag's narrative to camera during the fox conversation (when the priest asks "where did you go just then? It's like you disappeared"), the program continues to push this idea further when they're sat having a conversation in her café and Andrew Scott literally looks straight down the camera lens himself, demanding again to know where she goes to during her intimate moments with the audience. This kinda "meta" stuff really gets me going and is rarely seen on TV. I remember when BBC's Hustle first introduced the idea of freeze frame and character narration back in 2004 and it was beyond thrilling. This takes it to a whole other level. So classy and so surprising.


GOD INTERVENING (Ep 2)

Fleabag revels her firm atheism and the picture falls off the wall behind her. This is a cute moment in itself, but coupled with Andrew Scott's cheeky "I love it when he does that", it becomes a moment of sheer perfection.


"I WANT SOMEONE TO TELL ME HOW TO LIVE MY LIFE!" (Ep 4)

One of Fleabag's most open and honest moments. I sort of didn't want this to be followed by the priest's giving in to his physical desires; it seemed like too predictable a shift following her moment of vulnerability. But the frustrated, under-the-breath exclamation of, "Is it a skirt and trousers?!" followed by another moment of divine intervention as wall-hangings crashed to the floor brought me back to pure unadulterated adoration.


KRISTIN SCOTT-THOMAS TALKING MENSTRUATION (Ep 3)

There are so many cracking cameos in Fleabag, and even more thrillingly female cameos. We've already got Olivia Colman (Oscar-winner dontcha know) and Fiona Shaw (multi-Olivier-winner herself) but now we get a snippet of Kristin Scott Thomas too (don't worry, she's got a BAFTA): Be still my beating heart! What ensues is a refreshing perspective on periods and menopause; the idea that women carry pain in their bodies from birth and that men have to go looking for it, which is why there's so much war, is perhaps flawed but a mighty interesting conversation starter, and the notion that the menopause was a relief, because finally you're not a machine with parts but a normal person, was an idea that really resonated with me.



BYE CLAIRE, BYE KLARE, BYE CLAIRE (Ep 5)

Enough serious chit-chat, now back to the silly. Claire's crush being also called Klare is fabulous. And Fleabag's 3-pronged farewell to Claire, Klare and then the camera (referred to as another Claire) before running away with the bassoon really tickled me.


CLAIRE BEING FLUSTERED BY KLARE (Ep 3)

I haven't finished with the Claires/Klares yet. Another moment that felt painfully recognisable to me was poor Claire's bother over seeing the Finish hunk at her award ceremony. From inappropriately swearing "Let's go fuck like crazy tonight" (freudian penis) to her inability to say "clockwork", I had a real sense "I've been there". When Fleabag is having a bit of a giggle and Claire implores "Please don't. Please don't. I can't cope. Ok?" Sian Clifford was so perfect that my heart melted. It was so real. What's happening is funny and a bit sexy but actually she's breaking and this sisterly demand to be gentle simply broke my heart.



AMPUTATED DICK IN MY HAND (Ep 5)

I'm going to end this list with my biggest laugh-out-loud moment. I was sat at home watching this alone and exploded at this comment. Fleabag dissects Martin's suggestion that carrying a bassoon could look like an erection of some kind and paints a pretty vivid picture of herself walking into the cafe "with an amputated dick in my hand". There are no words. Just - wonderful.



Let us know if we missed any corkers off by commenting below.

© Revels in Hand 2018

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