A decade after its debut, Phoebe Waller-Bridge’s Fleabag remains a landmark in British television comedy, credited with reshaping the landscape for female showrunners and nuanced female characters. The series, which began as a one-woman play before expanding into a critically acclaimed half-hour TV show, broke new ground by blending sharp humor with candid explorations of complex themes, all while breaking the fourth wall.
When Fleabag premiered, it stood in stark contrast to the gender imbalance prevalent in British television. A Writers’ Guild of Great Britain report noted that between 2001 and 2016, only 14% of primetime TV writers were women, with an even smaller proportion in sitcoms. Chris Sussman, former BBC comedy commissioner, highlighted the industry’s awareness of this disparity and the desire to change it, a shift catalyzed in part by Fleabag’s success.
The mid-2010s also saw the rise of female-led comedy dramas internationally, paralleling Fleabag’s influence. US shows such as Lena Dunham’s Girls introduced audiences to female-authored content that was raw, awkward, and vulnerable. This movement encouraged the creation of semi-autobiographical series by women like Sharon Horgan (Catastrophe), Daisy Haggard (Back to Life), and Aisling Bea (This Way Up), diversifying portrayals of womanhood on screen.
British television’s traditionally cautious commissioning practices began to embrace these voices more confidently after Fleabag, leading to additional groundbreaking series. Michaela Coel’s I May Destroy You, which debuted in 2020, garnered acclaim for its innovative narrative structure and unflinching treatment of issues such as sexual assault, mental health, and identity, blending drama and dark comedy with high production values. Both Fleabag and I May Destroy You benefitted from international co-productions, reflecting a broader trend whereby streamers such as Netflix, HBO, Hulu, and others partner with British broadcasters to fund ambitious content amid tightening domestic budgets.
Despite Fleabag’s trailblazing status, some creators have expressed mixed feelings about the comparisons it invites. Rose Matafeo, creator of Starstruck, described such parallels as “a compliment and a little lazy,” cautioning against limiting female characters to the "messy millennial" archetype popularized by Fleabag. The range of female characters on British television has since expanded, encompassing more varied experiences and complex emotional landscapes, as seen in shows like Am I Being Unreasonable? and Such Brave Girls.
Producers acknowledge that Fleabag’s low-budget beginnings and artistic freedom contributed to its unique success, a formula that is increasingly hard to replicate as public broadcasters reduce funding for new talent. Lydia Hampson, one of Fleabag’s producers, noted the growing risk aversion in the industry, compounded by streamers prioritizing established intellectual property to ensure subscriber numbers rather than fostering original voices.
The legacy of Fleabag also highlights the vital role of experimental theatre in nurturing groundbreaking work. Francesca Moody, who produced its theatrical runs, pointed out that the Edinburgh festival fringe has historically been a space for artists to take creative risks—risks that are central to producing innovative television.
Since Fleabag, Waller-Bridge’s career has taken a somewhat lower profile, including her work on the first season of Killing Eve, co-writing for the James Bond film No Time to Die, and acting in the recent Indiana Jones sequel. A TV adaptation of Tomb Raider is also forthcoming. Reflecting on Fleabag, Waller-Bridge described her character as far from an “every woman,” embodying instead a deeply flawed, self-aware persona. In the decade since, a broader spectrum of women’s stories has emerged on screen, signaling an evolving era for British comedy and drama forged, in part, by Fleabag’s pioneering influence.