For too long the baseless stereotype that “women simply aren’t funny”, or rather, “women are not as funny as men”, has been allowed to stifle the creativity and progress of the entertainment industry. The recent resurgence of female-led shows, like Emmy darling Fleabag, is breaking down barriers, proving that only good things can come from women getting a chance in the spotlight.
What started out as a one-woman play at the Edinburgh Fringe Festival, Fleabag, centred on a grief-stricken and complicated young woman trying to cope with life in London, has morphed into a critically acclaimed and internationally adored BBC series.The show’s popularity was helped in part thanks to its wide circulation via streaming platforms, allowing it to reach different markets, like the USA, beyond its original airing period on the BBC.
The show’s place as a classic has been firmly cemented thanks to its recent Emmys triumph, where it scooped the coveted Outstanding Comedy Series award. The show’s creator, rising star Phoebe Waller-Bridge, also secured awards for Outstanding Lead Actress in a Comedy Series and Outstanding Writing for a Comedy Series. To round out their wins for the evening, the series also bagged the award for Best Directing for a Comedy Series.
Despite its resounding success, shows like Fleabag would never have been greenlit twenty, or even ten, years ago. At that time, studios often failed to see the mass appeal of female-driven content, citing lack of demand for their rejections.
However, in an age of increasing honesty on the struggles of modern life, from open dialogue on mental health, to transparency about photo retouching on social media, such a female-exclusionary narrative is getting harder to push. Waller-Bridge’s no-holes-barred approach to creating realistic, relatable on screen women is a breath of fresh air. She has previously stated that she wrote the parts she wasn’t being offered as an actress, and her irony-riddled, sarcastic and self-depreciating characters are definitely distinct, a far cry from the more clean cut versions often popular with American audiences. However, it’s clear from the series’ universal adoration that her creations have struck a chord with viewers across the globe.
In a show that depicts real, well-rounded women in all their flawed, messed up glory, Waller-Bridge gives her characters permission to be unlikable and make mistakes. This is refreshing to see in a world where the women on screen are far too often epitomised as ‘the cool girl’; a picture of perfection. In contrast, Fleabag’s titular character is allowed to be a multitude, as all women are in reality. She can be impulsive, promiscuous and vindictive, not confined to just one particular character flaw. Despite this, through the power of masterful writing, we root for her throughout, as just like real life, no one is perfect.
Such unapologetic exposure validates the experiences of women across the globe, normalising taboo topics from the menopause to casual sex. In particular, the show has a unique ability to deliver powerful, thought-provoking monologues on controversial topics, such as women’s often complicated relationship with feminism, interspersed with obscure speeches about feelings seldom voiced yet widely shared, like the importance of a good haircut. This juxtaposition presents a well-rounded vision of the female experience. Beyond that, Fleabag transcends gender by offering a unique perspective of universal experiences, such as loss, grief and addiction.
Regardless of what many TV executives of the past, and maybe even the present, believe, ‘female’ is not a genre. Female-centric shows are about being human, not just being female. We all share experiences of adversity; crises do not discriminate. Painting a broader picture of the ups and downs of life, with a touch of humour, goes a long way in diversifying media to bring even more entertainment to the masses.
The success of Fleabag will pave the way for future female voices to be heard, celebrating the raw, honest reality of the female experience and perspective. This will open doors to endless possibilities for new comedy to be produced that can entertain universally, regardless of gender. In one of her many acceptance speeches of the night, Waller-Bridge remarked, “It’s just really wonderful to know — and reassuring — that a dirty, pervy, angry, messed up woman can make it to the Emmys”. Hopefully, she, and many other women in entertainment, can take these authentic, messy female characters to new heights in the future. Allowing women to helm their own ships can only serve to advance the industry as a whole. After all, a rising tide lifts all boats.
