New York (AFP)

Britain's Phoebe Waller-Bridge triumphed on Sunday at the Emmy Awards, a US television award, driven by offbeat play and a corrosive feather.

The television adaptation of his one woman show "Fleabag" has won four statuettes, including that of the best series of comedy but also the best actress in this category.

She put on the post the super favorite, Julia Louis-Dreyfus.

"It's just wonderful and reassuring to know that a disgusting, twisted and angry woman can win at the Emmys," said Sunday the one who defines herself primarily as an author, in her atypical style and full of self-esteem. derision.

"PWB" is at first a pace. That of a slender thirty-year-old who is close to the eighty-foot mark, a short brown square, a slender, elegant nose, unmistakable in the televisual landscape.

There is also this voice of throat, this flow of machine-gun, this laugh always at the corner of the lips, who live "Fleabag", the series of which she is the heroine.

Behind this character, a very British mixture, like her, of an impeccable education and a keen sense of derision, there is a sharp writing that explains his rise much more than his only actress game.

In "Fleabag", whose second season was broadcast on the BBC and the Amazon platform, Phoebe Waller-Bridge offers an explosive cocktail of humanity without filter, with irreverent humor, sex, darkness, but nothing of free.

"My initial idea was to say things that women do not usually say openly," she said in an interview at Broadway World in early March.

"We always pretend to be innocent and adorable, these little perfect creatures," she said, "but in reality, we have many, many other facets."

The main character, who often breaks the "fourth wall" to address the viewer directly, is known only as "Fleabag", which can be translated as "lousy" or "spitting".

A young woman in revolt against conventions and against herself, she is cracked, sometimes self-destructive, but her character never falls into caricature.

Phoebe Waller-Bridge "does not apologize for presenting an imperfect heroine", added in an interview with AFP in the spring, Andrew Scott, one of the main characters of season 2.

- "Killing Eve" too -

This tone is at this point in its time that Canal + commissioned a French adaptation, "Mouche", with Camille Cottin (seen especially in "Ten percent") in the lead role.

It was enough for the British to be erected as a feminist heroine.

"Because it's a woman who wrote it, it's highlighted as a feminist series, but I think sometimes it undermines the work done," says Andrew Scott. "I think his talent and his gift is his understanding of the human."

This feminist dimension is reinforced by its propensity to offer other actresses dense roles, also full of contradictions.

This is the case in "Fleabag", where shines Olivia Colman, Oscar winner for "La Favorite", in passive-aggressive stepmother. Or, in the series "Killing Eve" that "PWB" adapted to the small screen, actresses Jodie Comer and Sandra Oh.

On Sunday, Jodie Comer was awarded the Best Actress category in a dramatic series, completing Phoebe's harvest.

After the second season of "Fleabag" and "Killing Eve", Phoebe Waller-Bridge has already flown to other horizons.

She was called to the bedside of James Bond's 25th episode of adventure, at the express request of 007 himself: comedian Daniel Craig wanted to see more humor in this film, which was screened in April 2020.

Then comes a new series, "Run", commissioned by HBO, written with her longtime accomplice, Vicky Jones, and which will feature a woman in search of reinvention.

For "Fleabag", it's probably over after two seasons, she hinted.

"I have the fantasy of resuscitating Fleabag when I turn 50," she said in early August. See you in 2035.

© 2019 AFP