Abstract

Abstract As a work of art, the show Fleabag prompts differing kinds of judgements by critics. But as a project that reflects life in capitalist society, its gimmickry models the existentially fraught dynamics of despair. Informed by Sianne Ngai’s Theory of the Gimmick, this article explores three sets of gimmicks in relation to despair, where each holds differing pedagogical stakes for viewers: being alone; being a bad feminist; being smitten with a priest. Gimmickry, as a technique within the show, puts viewers on the hook for judging gimmicks as wonders or tricks. Gimmickry as an object of criticism, in turn, brings into view the political and existential significance of Fleabag for viewers.

Highlights

  • As a work of art, the show Fleabag prompts differing kinds of judgements by critics

  • While gimmicks won’t save us, our aesthetic responses to television and its gimmickry can take part in this kind of transvaluation. Given this possibility, assessing Fleabag in light of the gimmicks that run throughout its two seasons, described below, allows for an assessment of its impact on viewers as a dynamic one

  • A more apt term for such experiences is despair, and so along these lines, in this article, I make the case for Fleabag as a show that exemplifies a pedagogy of gimmickry that is existentially salient.[9]

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Summary

Introduction

As a work of art, the show Fleabag prompts differing kinds of judgements by critics. But as a project that reflects life in capitalist society, its gimmickry models the existentially fraught dynamics of despair. From the show’s devices like direct address to the comedic portrayals of feminists and priests, Fleabag solicits judgements from each of us, as viewers.

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Conclusion

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