Olivia Colman press clippings - Page 8

Fleabag season two review

Phoebe Waller-Bridge's exemplary artistry shines through in the latest series of her beautifully candid comedy Fleabag.

Megan Kenyon, The Student Newspaper, 6th April 2019

What makes the BBC's cult comedy Fleabag so watchable

Fleabag divides opinion like few other television dramas. Can we even decide if it is a tragedy or a comedy? Like life itself, perhaps the BBC show is a double helping of both, with a dollop of proper sauce on top.

Jan Moir, Daily Mail, 30th March 2019

Fleabag is comedy as high, holy art

The latest episode of Phoebe Waller-Bridge's excoriating comedy was a devastating and intense display of grief.

Sarah Carson, i Newspaper, 25th March 2019

Review: Fleabag, series 2, episode 2

After last week's slam dunk of an opening episode the second instalment of the second series slips into more conventional comedy territory with Fleabag's main concern being the fact that she has the hots for a hot priest, played by Andrew Scott.

Bruce Dessau, Beyond The Joke, 12th March 2019

Why do I get the feeling that Phoebe Waller-Bridge likes trouble? The second series of Fleabag, again written by and starring her, arrived "371 days, 19 hours and 26 minutes later", in a flurry of sex (Fleabag flirting with new character, "cool, smoking priest", played by Andrew Scott), violence (a punch-up between Fleabag and her loathsome, lying brother-in-law, Martin, played by Brett Gelman), and miscarriage - suffered secretly in a restaurant toilet cubicle by Fleabag's sister, Claire (Sian Clifford).

In the end it was almost as much of a bloodbath as the other show Waller-Bridge writes, Killing Eve. Before it all kicked off, our favourite selfish, rude, inappropriate, fag-smoking malcontent (the Dorothy Parker of the Fomo generation?) had, relatively speaking, been behaving herself at the engagement meal of her inadequate father (Bill Paterson) and snaky godmother (Olivia Colman, on fine, forked-tongue form). The show's appeal lies in Waller-Bridge's gift for jumping between casual interaction ("Claire, you've been ages. Are you pissed off, or are you doing a poo?"), to fang-deep venom (Martin to Fleabag: "I'm so intrigued to see how you're going to make this whole evening about yourself"), to surreal pathos ("Get your hands off my miscarriage!"). While I felt the first series flagged slightly towards the end, this was a dark, stylish return - the telly staple of a tense family celebration, but with sudden twists and writing so sharp it could scratch your eyes out.

Euan Ferguson, The Guardian, 10th March 2019