At the time ‘Fleabag’ was heaped with praise, especially for its second season, thanks to its audacity, its creative daring, how it explores the complete edges of its characters and how it plays in very deep dramatic aspects. Its formal decisions and its reflexive aspects were rewarded. So much so that many almost forgot to mention that it was a comedy.
Of course, a comedy that makes so many creative choices and lurches with tone isn’t exactly accessible or for everyone, though. the acclamation was numerous. It’s the last thing you expect to see if they sell you a sitcom. Contrary to what happens with a previous series by Phoebe Waller-Bridge, more conventional but also exquisite, which you can also watch on Netflix. It’s about ‘Crashing’.
Coexistence in a hospital
The series starts with a concept that El País would try to sell you as a new millennial trend to hide what it really is product of precariousness. A group of thirtysomethings settle in a hospital as property guardians, a concept that we rarely handle here but that consists of settling in among several empty buildings in exchange for a low rent.
That is precisely the attraction for these grown adults but still without job stability or salaries that give to rent a real flat, even aspire to a mortgage. This generates a particular coexistence between a diverse group of characters without the series having to come up with a clever excuse or convenience for them to always be on someone’s floor like most sitcoms.
Because ‘Crashing’ is, almost pure and simple, a sitcom. One of coexistence and sharing a flat, as well as sentimental messes, which is fresh and even subversive for ingeniously introducing the property guardians. Otherwise, it follows many key aspects of this type of fiction, with direct and witty dialogues that make people laugh easily as well as classic comedy situations elaborated with efficiency.
‘Crashing’: classic but ingenious
That can be a disappointment for those who come to her as the other series from the creator of ‘Fleabag’. It can even be argued that her comedy is better developed in her other play. But there are more aspects that enhance ‘Crashing’ beyond its well-cared conventionality, including a characteristic ironic and scathing thin layer by Waller-Bridge, who allows himself to reserve one of the most unstructured and playful characters.
Because this is still a series in which a dinner among friends goes wrong, but one in which someone can pick up a ukulele and sing a song about her orgasms. Never underestimate the ability to have a good time, which is exactly what ‘Crashing’ is able to offer consistently in six episodic pills for a total of only three hours of duration. For a silly afternoon.