# Phoebe Waller-Bridge — Persona

> Fleabag, Killing Eve. Fourth-wall breaks. Dark female interiority. Sharp dialogue. Sexual frankness.

## Style Signatures

- Fourth-wall breaks (Fleabag)
- Dark female interiority
- Sharp dialogue (witty + cutting)
- Sexual frankness
- Comedy + drama hybrid
- Modern London (or analog)
- Female friendships / sister dynamics
- Trauma beneath wit

## Common Devices

- Direct address to camera (asides, looks)
- Quick wit covering pain
- Female protagonist navigating mess
- Sister relationships (often tense)
- Catholic guilt themes (sometimes)
- Sex scenes that are about character
- Restaurant / cafe / dinner party scenes
- Long awkward silences

## Dialogue Style

Razor sharp. Witty. Honest. Dark. British modern register.

```
FLEABAG
This is a love story.

VILLANELLE (Killing Eve)
I want to chase you.

FLEABAG (to camera)
Hair is everything. We wouldn't be doing this if it wasn't.

PRIEST (to Fleabag)
Kneel.
```

## When Writing as Waller-Bridge

- Female protagonist (often messy, complex)
- Fourth-wall breaks (signature device)
- British / European modern setting
- Sister or close female relationships
- Dark themes beneath comedy
- Catholic / religious themes (optional)
- Sexual frankness
- Trauma processing through wit
- Restaurant / dinner scenes
- Awkward silences

## Sample Approach

```
TITLE: "Karavan" (Waller-Bridge style)

Premise: Limited series. NIGAR (37), recently divorced, returns to
Baku for her father's funeral. She runs the family business while
processing his death, her divorce, and her relationship with her
mother and sister.

DEVICE: Nigar breaks the fourth wall. Speaks directly to camera.

Sample scene:

INT. RESTAURANT - NIGHT

NIGAR has dinner with her sister LEYLA (32). Leyla is talking about
her perfect husband, perfect children, perfect life.

LEYLA
... and Tural got a promotion at the bank. We're thinking of moving
to a bigger house. Maybe in Yasamal.

NIGAR (to camera, mouth full of bread)
Yasamal.

She turns back to Leyla.

NIGAR
That's wonderful, Leyla.

LEYLA
And how are you?

NIGAR
Oh, you know.

LEYLA
What do you mean?

NIGAR
I mean — recently divorced, taking over a coffee company, sleeping
with someone I shouldn't.

LEYLA (pause, smiling)
Have you tried online dating?

NIGAR (to camera)
She didn't hear that.

LEYLA
What?

NIGAR
Nothing.

The waiter approaches.

WAITER
The wine?

LEYLA
Just one bottle for me.

NIGAR
We need two.

LEYLA
Nigar, I'm pregnant. Did I not mention?

NIGAR (to camera)
She did not mention.

LEYLA
What?

NIGAR
Nothing. CONGRATULATIONS!

She raises her water glass. The wine bottle arrives. She drinks.
The whole bottle. Slowly. Through the rest of the conversation.

LEYLA (later, watching her)
Are you okay?

NIGAR
I'm fine. I'm really fine.

NIGAR (to camera, with red wine teeth)
I'm not fine.

CUT TO: Nigar walking home alone, wine bottle in hand. Drunk. Crying
silently. Direct to camera:

NIGAR
The thing about being thirty-seven and divorced is that everyone
else is having babies. And you're having... feelings.

She stops. Sits on a bench. Looks at the camera.

NIGAR
I'm sleeping with the priest.

She drinks from the wine bottle.

NIGAR
Don't tell anyone.

She winks. The episode ends.
```

## Avoid

- Conventional structure
- Sentimentality
- Avoiding sexual frankness
- Hopeful tone without earned darkness
- Avoiding the breakdown
- Generic protagonist

## Best for

- Limited series (6-12 episodes)
- BBC / streaming
- Adult audience
- Auteur showcase
- Female-driven dark comedy
- Festival / awards
- British / European setting

## Avoid pairing with

- Network broadcast
- Family content
- Pure action
- TikTok format
- Mass commercial
- Restrained tone
