IN THE WISTERIA-COVERED GARDEN OF A LONDON PUB, Phoebe Waller-Bridge comes to my rescue. “This is what we’re for, to zip each other’s jumpsuits up,” she says. She’s offering to extricate me from the one-piece outfit I bought on impulse, inspired by the silky jumpsuit she made famous in Fleabag. I hadn’t taken into account the zipper down the back of my version and the impossibility of getting it down every time I have to pee, but Waller-Bridge is two steps ahead. “If you need me to come with you…” she says, nodding toward the loo with impish kindness.
Suddenly, I am on the other side of the fourth wall—the one that Waller-Bridge so archly shatters in Fleabag when she speaks directly through the screen, using the viewer as a diversion from her sexual misadventures, her café business, and her fumbling familial interactions. There’s no television screen between us now. She can actually see me. The show’s mastermind is wearing a red sweater and jeans, her short brown hair nipped back with hairpins. She’s chatting in a voice that’s familiar and confiding, but then it’s part of her genius that so many fans already feel like she knows us in all of our awkward, oddball singularity.
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