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This Way Up (2019)
7.8/10on IMDb
First aired
An English-language teacher recovering from a mental-health crisis can make almost any conversation funny, which does not mean the people around her know how she is doing. Aisling Bea gives Áine a quick comic intelligence with loneliness just beyond its reach. Her relationship with her sister offers a particularly close companion to Fleabag's mixture of intimacy and defensive habits. The humour is gentler without turning recovery into an easy progression.
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Feel Good (2020)
7.5/10on IMDb
First aired
A stand-up comic enters an intense relationship while trying to maintain sobriety and understand the patterns it is drawing them into. Mae Martin makes the desire to be wanted both funny and capable of distorting a person's choices. The two-season story is a strong route from Fleabag's uncomfortable gap between knowing oneself and behaving differently. Addiction, past harm and the uneven terms of intimacy carry substantial weight beneath the jokes.
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I Hate Suzie (2020)
6.9/10on IMDb
First aired
When private images become public, an actress has to manage the collapse of several versions of herself at once. Billie Piper turns panic and performance into the series' physical language, with shifts in style making it harder to find a safe distance. The connection to Fleabag is the effort of controlling how one is seen. It is much more abrasive and formally restless, including the dance-competition follow-up I Hate Suzie Too.
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Catastrophe (2015)
8.2/10on IMDb
First aired
An unexpected pregnancy brings two adults into a relationship before they have had much time to work out how they will behave inside it. Sharon Horgan and Rob Delaney make verbal fluency useful for affection and spectacularly unhelpful in an argument. The four-series comedy offers a more sustained domestic companion to Fleabag's fear of being properly known. Its later difficulties ask more of the couple than simply maintaining a good line of banter.
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Back to Life (2019)
7.6/10on IMDb
First aired
A woman returning to her coastal hometown after a long prison sentence finds that everybody else's account of her arrived first. Daisy Haggard makes a hopeful attempt at normal conversation painfully funny without erasing the reason people react to her. The attraction is an awkward, compassionate perspective on shame and the wish to begin again. Her small talk is often an attempt to keep a conversation possible with someone who has already decided what she deserves.
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Such Brave Girls (2023)
7.4/10on IMDb
First aired
Two sisters and their mother pursue love and reassurance with judgement that keeps making their cramped lives worse. Kat Sadler's family comedy, which returned in 2025, strips away the comforting idea that recognising distress makes somebody considerate. The connection is Fleabag's ability to expose the transaction hidden inside an appeal for affection. This is a much harsher, more callous comic world, with poverty and mental illness close to the surface.
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Am I Being Unreasonable? (2022)
7.5/10on IMDb
First aired
A lonely woman finds a new friend who appears ready to understand her, while a private grief makes ordinary domestic life increasingly unstable. Daisy May Cooper and Selin Hizli let comic intimacy and suspicion share the same conversation. It is a good detour for viewers interested in Fleabag's unreliable presentation of a painful past. The thriller structure rewards going in without further explanation of what either friend is concealing.
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I May Destroy You (2020)
8.0/10on IMDb
First aired
A writer tries to understand a sexual assault and rebuild a life whose existing friendships, work and habits do not pause to make that process simpler. Michaela Coel uses formal invention and sharp humour while refusing a neat account of what recovery should look like. It is a compelling next step for Fleabag's interest in who gets to narrate an experience. This is a far more distressing drama about consent and trauma, with explicit material.
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Paquita Salas (2016)
8.0/10on IMDb
First aired
A talent agent clings to her methods and her idea of loyalty while the Spanish entertainment industry changes around her. Paquita's certainty makes embarrassing encounters funny, then occasionally reveals how much she needs the people she is trying to manage. The connection is to Fleabag's self-protective performance, not its romance or grief story. The Spanish-language comedy is broad, affectionate and very particular about an industry that rewards appearing effortlessly current.
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Can You Hear Me? (2019)
7.9/10on IMDb
First aired
Three women in a low-income Montreal neighbourhood use friendship and blunt humour to get through circumstances that do not become manageable just because they can joke about them. The Quebec series, originally titled M'entends-tu?, gives its characters conflicting needs rather than one collective role as survivors. It is a raw companion to Fleabag's uneasy dependence on other people. Poverty, abusive relationships and sexual violence make its emotional terrain substantially harsher.
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