In some ways, it makes you more pure, because you’re like, “I just have to write exactly what I think.” It’s a completely different relationship with the work. I was talking to a friend the other day: Do you remember when a writer got a show on the BBC and that slot was gold? Now people could be like, “I’ve got a show,” but you don’t know where it’s going to go out, you don’t know how many people are going to see it. But does laughing for the sake of laughing feel like cheating somehow because the world is in turmoil? It’s such an interesting time. Are we allowed to just sit and giggle at a sitcom? I feel like there’s a craving for that. What else? OK, another thing I’m thinking about a lot is the role of comedy. Maybe we’ll get to a point where the novelty will be that a human being wrote something: This person proved that they were in a box away from any A.I. art played by an orchestra? Is it still art if it’s created by A.I.? Is it OK that we’re moved by it? Christ, I don’t know the answer. that can compose music so beautiful that we cannot deny that it moves us, and we go to those concerts and buy those tickets, and the novelty is hearing this beautiful piece of A.I. So what does it mean to be part of this era? It’s like that old nursery rhyme: You can’t go over it, you can’t go under it, you’ve got to go through it. We’re not in a period like the ’80s when we were like: “Go! Go! Money and future and tech!” It’s not a supernostalgic time either. There’s this tension between wanting to evolve and go to this next stage and also wanting to go backward and feel secure. Everyone is terrified of it, but they go on ChatGPT and experiment. This is what I was thinking about this morning: With A.I., there’s this fascination with this other voice that’s going to come in and be smarter and quicker than all of us - yet we want to hear it. Because that goes right to the question I’m asking myself every day as a writer. What ideas are most interesting to you right now? You’re such a bastard. Is there another way? Well, I’ve been having these conversations with myself. “I ask myself this question all the time,” she says, smiling mischievously. projects is not an obvious one, least of all to Waller-Bridge. writers’ strike.) The progression from her prior idiosyncratic, relatively small-scale work to big-action pre-existing I.P. (At the time of publication, though, that show’s progress is currently on hold because of the W.G.A. Waller-Bridge, 37, is co-starring in the just-released “Indiana Jones and the Dial of Destiny.” (This is after previously contributing to the screenplay for a film about another iconic character: the 2021 James Bond effort, “No Time to Die.”) Further out on the horizon, Waller-Bridge, who also created the spy-thriller series “Killing Eve,” is working on a show based on the “Tomb Raider” video game for Amazon Studios. Where does a person go from a moment like that? Now, a few years down the line, we know. In it, the British writer-actress is wearing a glittering low-cut dress, sitting in a high-back chair, a cigarette in one hand, a vodka gimlet in the other, flanked by end tables littered with golden statuettes awarded to “Fleabag,” the ribald, form-breaking, swoon-inducing show she created and in which she starred. There’s a photo of Phoebe Waller-Bridge, taken at an Emmys afterparty in 2019, that captures, better than any other contemporary celebrity photo I’ve seen, the enduring allure and glamour of Hollywood success.
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