Phoebe Waller-Bridge is riding a wave of awards recognition in her native England for her comedy series “Fleabag” that could continue on this side of the pond with the Emmys. Her acclaimed BBC laffer streams stateside on Amazon. The multi-hyphenate talent stars in this adaptation of her one-woman show as the title character, a twentysomething facing an uncertain future after the death of her best friend and cafe co-owner Boo (Jenny Rainsford). Over the course of six episodes, we meet her circle of friends and family, including her ex-boyfriend Harry (Hugh Skinner) who continues to haunt her doorstep, her super-serious sister Claire (Sian Clifford) and her nameless absentee father and interfering stepmother (Bill Paterson and Olivia Colman).
In March, Waller-Bridge won awards from the Royal Television Society for writing this well-received series and as breakthrough personality of the year. She claimed the comedy scripting prize over the team that produced the critically acclaimed “Motherland” and the BAFTA-winning Stefan Golaszewski (“Him and Her”) for his follow-up “Mum.” And she was named breakthrough personality over “Great British Bake Off” champ Nadiya Hussain who revisited her native Bangladesh in the documentary “The Chronicles of Nadiya” and first-time filmmaker Phillip Wood for “Chasing Dad: A Lifelong Addiction.”
In April, “Fleabag” bagged six BAFTA nominations. Waller-Bridge contended for both Breakthrough Talent and Comedy Writing at the TV Craft Awards that month. And in May she claimed Best Comedy Actress at the main awards prevailing over co-star Olivia Colman as well as Lesley Manville (“Mum”) and Diane Morgan (“Cunk on Shakespeare”). However, “Fleabag” lost Best Comedy Series to “People Just Do Nothing.”
Waller-Bridge could well contend at the Emmys for her work both in front of and behind the camera on “Fleabag.” When it debuted on Amazon last fall, just two days before the 2016 Emmy Awards were held, critics lavished praise upon the show and hailed its originality. All of these raves translated into a perfect 100 at Rotten Tomatoes and an impressive 88 at MetaCritic.
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