Australian Tumbleweeds
Back to The Office
Various reviews of this country’s very own remake of The Office (now streaming on Amazon Prime Video) have been published in the past week which range from “Why bother re-making The Office?” to “What’s the point of re-making The Office?”. And fair enough, there are already two versions of The Office in English, and countless more in other languages. Why make another?
The reason, presumably, is that it’s harder to get a broadcaster or streamer to take a punt on an original concept, so why not just re-boot something from a few decades back that people remember fondly? The recent reboot of Frasier (which isn’t a patch on the original series, but still has some decent laughs it) is in the middle of its second season, for example. And wouldn’t be in that position unless decent numbers of people had subscribed to Paramount just to watch it.
But is the Australian version of The Office with Felicity Ward as Hannah Howard (the David Brent/Michael Scott role) going to inspire anyone to subscribe to Amazon Prime Video? Based on the first few episodes, absolutely not. It’s just not funny enough, and that’s partly because what people read as funny in 2024 has changed a lot from when The Office debuted in 2001.
Hannah Howard is a rude, self-centred, obnoxious, bullshitting, possible psychopath who shouldn’t be in charge of anyone, let alone a company employing at least 30 people. In the first episode, she ignores instructions from her boss Alisha (Pallavi Sharda) to close the office and let the team go fully remote, something the team want, and forces everyone to come in full time. In other episodes she belittles people, commits tax fraud and promotes her suck-up, power-mad assistant Lizzie (Edith Poor) to a role she is not cut out for.
And, yes, this kind of behaviour is common amongst senior managers, and we all have experience of it. So, we should all be laughing at The Office because it’s true, right?
Er, no. What the makers of this re-boot seem to have forgotten is that quite a lot has changed since 2001, when the original UK version of The Office debuted, and the central tenant of The Office’s comedy was laid down: that watching a bully belittle others is funny.
In 2024, people working in offices are no longer in the mood for this. Think of all the bullies, predators and fraudsters who’ve hit the headlines in recent years, and in some cases been sent to jail, thanks to their former subordinates outing them for abusing their positions. Think of the way that the workers who realised the advantages of working from home during the pandemic, are now quitting jobs that force them to come into the office five days a week. The antics of Hannah Howard are, at best, ill-advised, and at worst will lead to Melissa Caddick or Sam Bankman-Fried-type behaviour, but are not especially funny in and of themselves.
This is not to say there aren’t a few laughs in The Office. Hannah, with one eye on her reputation, makes a lot of decisions so that she doesn’t look like an idiot in front of the ever-present but never seen documentary crew. This leads to her doubling down on some obviously bad calls, like holding a wake for a recently deceased employee, who it turns out no one really knew. The resulting event is, naturally, a disaster. And a funny one.
However, there really aren’t enough scenes that are as good as this throughout each episode. This isn’t the original Fraiser, or even the above-mentioned, not-so-great reboot, where there are lots of funny moments in each scene, all working towards a big moment at the end of the show. The Office prefers to waste the audience’s time, by having a staff member tell the documentary crew how they’re feeling about the situation, when we’ve already seen how they feel about the situation from their visible reaction in the previous scene. Sometimes repeating something is funny, or helpful, to an audience, but in this case…why?
There probably is a way of re-booting The Office in Australia which breathes new life into the format, but this seems like it’s aping something which worked 20 years ago without significantly updating things or adding an original spin. Even the much-promoted fact that the boss is a woman doesn’t bring much to the party. Still, isn’t it great to know that women can be awful bosses too? Finally, feminism has achieved its goals!
An Australia version of The Office is something which didn’t need to exist and likely won’t make much impact with audiences. Because there are better locally made comedies which happen to be set in offices. More on that soon…
Vale Thank God You’re Here 2024
Fans of old school hip-hop know the rhyme scheme where one rapper says most of a line then the rest of the crew come in on the last word. C’mon, don’t look at us like that, you know this! Call and response! Every single (bad) social media joke about The Beastie Boys is based on them rapping exactly like that:
Thank God You’re Here is that joke, only they don’t tell the other rapper what the last line is meant to be and they have to make up something on the spot that’s funny. Over and over and over again.
Honestly, at this stage we’d rather listen to Paul’s Boutique.
Question Everything? Don’t Mind If We Do
Question Everything is useless. Every single thing it tries to do, something else does better. And that includes “giving Wil Anderson something to do outside of his stoner podcast”, because it’s not like they’re ever going to stop making Gruen.
Of course, we’re just pissing into the wind here. Now into its fourth season, Question Everything is the last show standing after that brief flurry of activity where the ABC decided it wanted back into the panel chat / quiz show game. You don’t remember that Question Everything used to be a quiz show? And not just one where every single answer was “get this shit off”?
The big problem Question Everything faces is that it is currently the third news clip comedy show of the week on Australian television. Third as in timing, third as in quality: it is not essential viewing. Have You Been Paying Attention? is top shelf. The Cheap Seats soaks up the crumbs. Then you get Question Everything, showing the same clips again only with shittier jokes.
You’d think this would be kind of awkward for the ABC. They hardly make any local comedy as it is: duplicating the commercial networks so blatantly ain’t a good look. So why bother?
The real reason they can get away with it is pretty obvious. ABC viewers only watch the ABC. All the clips you’ve seen used elsewhere? Brand spanking new to them. Unfortunately, this would be somewhat embarrassing for the ABC to admit – they’re supposed to be pulling in new audiences, remember. So there has to be another reason why they’re making a show that just duplicates what we’ve already had two hours of earlier in the week.
Enter “The Next Up Initiative“, which is like The Avengers Initiative only it leads directly to the dole queue:
Most people probably aren’t familiar with ‘The Next Up Initiative’. Can you give us a brief explanation of what it’s about?
One of the broader aims of the show (Question Everything) is to give less experienced comedians a chance to get a start in the industry.
I have always admired the way producers like the team at Good News Week or the legends at Working Dog have tirelessly tried to encourage new and diverse talent.
At Question Everything we have an intern program for emerging writers to give them experience of what it is like to work in a TV writing room, combined with a program to give newer comedians panel experience in a TV studio.
In practical terms what that means is each week, as well as the episode of Question Everything that goes to air, we run another version of the show with different panellists (the only difference being that there is no studio audience).
This gives comedians the chance to be in a studio, making a show, and see how it all works without it being the pressure of their first TV appearance.
We have used that process to bring new guests to the show, but also to hopefully provide comics with studio and writing experience that they can take to other opportunities outside our world.
Which raises the question: why bother broadcasting Question Everything?
Seriously, and putting aside our usual snark and outright hostility for once, but doesn’t this sound like a scheme that doesn’t actually require them to make Question Everything? The new talent isn’t getting a shot on the actual show that goes to air. Oh no: they’re working on a practice show out the back that doesn’t even have a studio audience.
If you just want to train new talent on something you’re not going to air, why not just do the fake show? It’d be a shitload cheaper for starters. And if you want to give new talent real experience, why not get them to work on the real show*? Anderson says he admires the way Working Dog helps new talent. Maybe he could follow their lead and actually employ new talent on his show? You know, give them real credits they can put on their resumes?
Of course, there’s always the chance that the new talent might not be quite as polished as the regular panelists. Which would be a problem for Anderson, because the entire schtick of the show is sneering at other shows for not being as good as the version of Question Everything that exists only in his head. When Working Dog pulls up a clip for a laugh, the laugh is usually because something funny happens. When Question Everything does it, the laugh is usually “look at this shit”.
Which is why having Wil Anderson hosting a new talent showcase makes no sense. He might be a top bloke away from the cameras, but on-camera? His entire comedy persona on the ABC is built around a kind of snarky one-upmanship that means he always has to have the last laugh. Other people get to say things on his shows, but he’s the one who swoops in with the big joke. Is Jan Fran still on this show?
In contrast Shaun Micallef, AKA that other ABC fixture who’s been speaking out recently about the need to nurture new comedians, has put two shows to air in 2024 where he’s played second fiddle to – hang on, this can’t be right – new comedians? The guests on Eve of Destruction and Origin Odyssey may not be complete unknowns, but a lot of them aren’t getting that kind of prime time push anywhere else on free-to-air television. And Micallef, as host and interviewer, is clearly doing what he can to present them in the best light.
Meanwhile, Wil Anderson is hiding them out the back making a show that isn’t going to air. But at a guess, involving the new talent with the real show would suggest that they might actually be able to have a career doing comedy on the ABC.
And that’s a position currently reserved for Wil Anderson.
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*some of the back room talent does graduate to the real show, which is great but doesn’t really answer the question of why a show that’s meant to be a new talent showcase won’t put new talent to air until after they’ve spent a few months in Wil Anderson’s comedy boot camp
Bask in more Tasks
Taskmaster is back for the second time this year, but is the second time the charm? Or the third time, given this is the third series of Taskmaster Australia.*
On paper, this is a strong cast, featuring popular and successful comedians from several generations: Peter Helliar, Rhys Nicholson, Mel Buttle, Aaron Chen and Concetta Caristo. But as always, it’s the format that lets it down, with many of the laughs coming from the post-task wash-up rather than the task itself.
Not that they aren’t trying. Strapping four yoga balls to the contestants as they play Tetris with giant blocks sounds like it’ll be heaps funny but sadly doesn’t result in a lot of laughs. In the end, it’s people trying to get some differently shaped blocks to form a square, and that involves seriously thinking through the problem, whether they’re wearing four yoga balls or not.
The same thing applies to the task where they have to hide traffic cones around the Taskmaster estate for Deputy Taskmaster Tom Cashman to find. Sure, there’s a kind of comic chaos as the comedians chuck the cones into the lake or wherever, but there are also lots and lots of better ways to make an audience laugh.
Filming an emotional scene on a drone was pretty funny, with Aaron Chen making a bizarre black-and-white German drama and Peter Helliar donning a dress and an unconvincing ginger wig to remake Saving Private Ryan. And doing the most epic wink also saw Aaron Chen excel, as an oddly charming dictator delivering a cheeky wink to the crowd from the balcony. But for every task which gives the contestants opportunities to be funny and creative, there’s also a lot of padding, and not of all of it was Taskmaster Tom Gleeson’s funny takedowns of their efforts back in the studio.
Taskmaster is one of those shows where the madness of having to make your bed whilst in it is framed as an acceptable substitute for well-thought-out, guaranteed-to-make-you-laugh material. It gives more of a chance for the comedians to actually do comedy rather than, say, having to spell some words, but it’s a way less satisfying or funny watch than a good sitcom or sketch show would be.
And while “shows the whole family can enjoy” are a good thing to have on free-to-air TV, it’d be nice if our comedians could do something other than this kind of thing. You know, the kind of thing where they have to do a thing which isn’t being funny.
* This is technically the second series of Taskmaster Australia as it was shot before the series which aired earlier this year. There are a bunch of theories about why the order was swapped, but the fact that the cast of this series is better known than the cast of the second series to air seems to have been a factor. There’s also a fourth series coming next year, which was shot last month.
Vale the ABC’s Current Wednesday Night Comedy Line-Up
Shaun Micallef’s Eve of Destruction went out the same way it came in: as a relatively engaging, definitely low-stakes talk show that managed to be utterly inessential viewing even by the standards of the genre. It wasn’t bad television, but was it really prime time television? Oh wait, it was on in the Hard Quiz slot. Hang on a second while we dial our expectations all the way down.
There’s nothing intrinsically wrong with watching a couple of people have a decent chat. Especially when one of them’s Shaun Micallef, a man whose interviews skills have come a long way since the heady days of Micallef Tonight – a great tonight show where the interviews were never a strong point.
Now though? He’s keeping things on track but knowing when an aside is worth following up, maintaining a light touch and going for the laughs when they’re there while showing a real interest in the more serious side of things (and drawing a decent tree besides). Australia’s top television interviewer? Well, he’s looking better than most of our “serious” journalists, that’s for sure.
And yet, it’s still just a talk show, and a lightweight one at that. Either Australian television needs two or three of these shows running away quietly in the background as part of a healthy media environment, or ditch them entirely and put what little resources they consume into something with more substance. We’re not holding our breath for either – but we would like to see Micallef back doing something closer to comedy before the Destruction finally gets here.
*
Guy Montgomery’s Guy Mont-Spelling Bee is a bit of a tricky one to pass judgment on. And yet here we are: let’s give it a crack. With a risky mix of comedy and what is pretty much the exact opposite of comedy, this seemed like the kind of show that would appeal both to comedy buffs and the boring quiz-obsessed stiffs who seem to compose most of the ABC’s audience these days. And yet!
It was hardly a surprise that the spelling stuff was played for laughs. Didn’t always get them, because spelling is boring. But the show’s commitment to complicated and firmly comedic set-ups for the various challenges really hammered home the idea that no, this was in no way a serious spelling competition. Suck it quiz show fans.
So comedy was the big winner, right? Depends what you mean by comedy. If you mean “a bunch of mates laughing at each others jokes and the general silliness of the show around them”, then yes. Comedy – in the form of the comedians on the show – won big. If you mean the audience at home got some good laughs, bad news.
Look, there were a lot of funny moments across the eight weeks. But way too often, the show felt like the kind of thing that’d be hilarious to watch happen live in front of you but didn’t quite translate that excitement to the folks at home. Comedians cracking up at their own jokes (or the jokes of the person next to them) is nice, but it tends to leave the audience shut out. If these guys are doing all the laughing, what’s left for everyone else?
Which, funnily enough, brings us back to Eve of Destruction. Micallef is pretty much the local master of the silly game show. Nobody’s excited about the idea of Talkin’ ’bout Your Generation coming back without him, even if that final season on Nine didn’t quite work. On that show, and on Eve as well, he’s always fully aware of the audience. When everyone else is getting wrapped up in their own witty japes, he’s the one pulling things back.
Micallef can and does do a lot of funny things on the seemingly endless run of shows with his name in the title, but he’s also always the host. His job is to make sure everyone – audience included – has a good time. If that means standing a little apart from the hilarity, that’s where you’ll find him.
Guy Montgomery’s a very funny guy. So is everyone else on the show: the big selling point was a relentless, freewheeling, anything can happen vibe. How else could you make a spelling bee funny week after week? And it was the contrast between the vibe and the dull-arse subject matter that made it work as well as it did. Not enough vibe? All you have is a spelling bee. If you put that much vibe into a comedy set-up? You get a big old mess – as proven by any number of wacky random lol shows over the history of television.
And yet, once you got past the whole “I can’t believe what I’m watching here” thing, Guy Montgomery’s Guy Mont-Spelling Bee was still a spelling bee. It was an extremely well done, one joke show: “what if a spelling bee was as funny as humanly possible”. And now we know. Thanks.
Mind you, Aaron Chen sure can riff with the best of them.
Buried
The new web series Buried is marketed as a comedy about being a mother, but before you start having flashbacks to The Letdown, stop. Buried, it turns out, is an entertaining and occasionally funny horror.
Abi Cohen (Miriam Glaser), a stressed-out single mum of two, is trying to get her primary school-aged daughter Rosa (Audrey O’Sullivan) to school when a cyclist (Alex Yakimov) almost runs Rosa down. What follows is a pretty standard driver-cyclist interaction: Abi gives him a blast for not watching the road, he cycles off not caring what she thinks, and Abi gets into the car and off they go to school. Except whilst taking a shortcut, she encounters the cyclist again. And accidentally kills him.
With baby Leo (Hazel Howe) in the backseat crying, and Rosa moaning that she’ll be late for school, Abi feels she has no choice but to dispose of the cyclist’s body as quickly as possible. But it’s not as simple as popping him into the boot and driving out to the bush with a shovel, Abi has to dodge a seeming obstacle course of other people, who all threaten to uncover the secret she’s trying to bury.
Buried has a classic horror/thriller plot but set in the everyday world of solo parenting and suburban mores, and it ratchets up the tension well. Louise Siversen (Prisoner, The Games), Alicia Gardiner (Deadloch), Genevieve Morris (No Activity) and Michael Faaloua Logo (Colin from Accounts) are just some of the well-known performers playing characters who almost work out what Abi’s up to. Heather (Eliza Matengu) is another memorable person for Abi to dodge. She’s the mum at the school gate who seems to have it all – and be able to do it all – except she’s got a secret too.
Running over 5 x 7 minutes-long episodes, Buried far from outstays its welcome, leaving you wondering what might happen if this became a full 6 x 25 minutes series. It also leaves you wondering why so many people making comedy hybrid shows always seem to pair comedy with drama, leading to mostly disappointing results (In Limbo, Austin, White Fever… you know the kind of shows we’re talking about).
Horror pairs far better with comedy than drama, partly because it’s not meant to be serious and partly because, like comedy, it’s pretty good at surfacing ordinary human anxieties. So, maybe one of the shots in the arm that Australian screen comedy needs is less comedy-drama about suicide and “finding yourself”, and more comedy-horror involving ordinary people with chainsaws?
Puppet for destruction
Randy Feltface, sometime collaborator with Sammy J on shows like Sammy J & Randy in Ricketts Lane, has a new radio series on BBC Radio 4, Randy Feltface’s Destruction Manual (available in Australia on BBC Sounds). And while putting a puppet on the radio seems like a funny idea out of the blocks, the UK has plenty of form in that department already, so the laughs do not start and end there.
Randy, it seems, is a climate contrarian, and far from wanting to save the planet from global warming, he wants to speed up our inevitable destruction. So, he invites climate deniers and climate warriors onto the show to find out how he can get more carbon monoxide spewed into the atmosphere, so we can all stop worrying and be put out of our misery.
But as bleak as that the set-up sounds, this acerbic and ironic look at the discourse around climate change is actually pretty funny. When Randy starts digging into the views of climate deniers, he ends up kind of siding against them…not that the climate warriors get off lightly – they’re shown to be fairly ridiculous too.
Along the way, there are a few gags which we could probably do without – including a hoary old joke about how hoary and old Mick Jagger is (is there a comedian who hasn’t done one of those?) and some material about silly English town names (again, many comedians have trodden that path) – but overall, there’s enough fresh and original material in Randy Feltface’s Destruction Manual to keep you laughing throughout the four episodes.
It’s Time to Hit the Road: Shaun Micallef’s Origin Odyssey
Now that Shaun Micallef’s entered the “not trying to be funny” stage of his career with Eve of Destruction and now Origin Odyssey, it’s time to ask: is there anything here for comedy fans? Sure, it features comedians each week. So did that Julia Zemiro show where they did burnouts in a parking lot and nobody was laughing there.
After watching the first episode we can safely say that… maybe? There’s definitely some funny moments in this first episode, where Micallef takes Aaron Chen – in only his second show airing Tuesday nights at 7.30, what with him also being in the new series of Taskmaster over on 10 – back to China. There they visit a bunch of places associated with his father’s ten years working on a pig farm due to a Chinese cultural policy they’re not allowed to mention.
Micallef’s voice over is in no way dry and humourless, and there’s more than one decent gag built around odd street signs. Chen is a funny guy too: the bit where Micallef suggests some bland platitude is a good guide to life and he snaps back “maybe your life” is possibly the funniest thing on Australian television this week. And this is the week The Cheap Seats introduced us to the concept of “the wanket”.
But this is basically a mash-up of a bunch of different formats. There’s the tried and tested “comedians go on holiday, do dumb stuff” one, right down to an opening featuring dueling Trump impressions that could almost have come out of Steve Coogan and Rob Brydon’s epic salute to / takedown of the genre The Trip. There’s also a hefty chunk of “comedians explore their family tree, are confronted with the past” mixed in, especially during the back half.
This stretch is a lot lighter on laughs. It’s not exactly tear-jerking stuff, but Chen is clearly taking a few emotional knocks being confronted with the physicality of what his father went through. He also gets to hang with a bunch of relatives. Which is nice and also occasionally feels like Micallef is hosting an outdoors version of This Is Your Life.
The dynamic will be different with different comedians – Wippa next week seems closer to being Micallef’s peer, in age if not comedic ability – but here the vibe is very much “Chen’s comedy dad is taking him on an emotional journey”. Chen even points out that he’s roughly the same age as Micallef’s oldest son. Can Micallef paint as well as Chen’s real dad? If so, get those adoption papers ready.
This burst of dad vibes – “avuncular” is probably the technical term – isn’t something we’ve seen a lot of from the previously ageless Micallef. To be honest, it’s probably not great comedy-wise. His particular style of comedy has always relied on energy and a certain intellectual silliness: a laconic John Clarke style humourist he is not. Possibly he’ll find a way to make being the nation’s well-meaning dad funny; possibly there’s still a bit more gas left in the tank. But here at least, the old Micallef is taking a back seat and a newer yet older Micallef is to the fore.
As we find ourselves saying a lot these days; this is good television, but it isn’t exactly good comedy. It’s not trying to be. In this post Mad as Hell period Micallef seems committed to lowering expectations around him being a wacky prankster every time he turns up on screen. And there are some funny moments here, even beyond Chen’s “edgy” early material as a teenage stand-up.
It’s just that once again the funniest man on Australian television is making Australian television that isn’t really trying to be funny. It’d be nice if someone was.
Fresh Blood 2024: Sorting the middling from the good and the bad
It’s press release time!
ABC and Screen Australia announce Fresh Blood projects set for production
The ABC and Screen Australia are delighted to announce the next stage of the Fresh Blood initiative, with three projects being selected to move into production.
Each team will receive $400,000 in funding ($200,000 from the ABC and $200,000 from Screen Australia) for the production of a 30-minute pilot, reflecting a continued commitment to supporting emerging Australian talent and innovative storytelling.
The three projects were selected from a highly-competitive pool and showcase the calibre of new and diverse voices within the Australian screen industry.
Rachel Millar, ABC Head of Entertainment said, “The ABC is thrilled to be moving into pilot stage for the next round of Fresh Blood. We were so impressed with the ingenuity, diversity, and production value in the stage 1 short form. We can’t wait to see their truly ‘fresh’ storytelling come to fruition in long form and we’re excited to be once again partnering with Screen Australia on this fantastic initiative.”
Lee Naimo, Head of Online and Games Screen Australia said, “Building on the success of the previous Fresh Blood initiatives, we’re proud to support these three teams and their exciting projects to move into production on their pilots, promising to bring fresh perspectives to Australian audiences. These projects exemplify the creativity and diversity that the Fresh Blood initiative aims to champion.”
The successful projects are:
- Going Under: A comedy-drama that explores the lies people tell to save face, grieving for something not yet lost, and not disappointing Mum. Written by Lauren Bonner and Danielle Walker and produced by Craig Ivanoff and Saskia Vaneveld. The story is set in a town on the brink of destruction. As the protagonist gets reacquainted, she falls back in love with the community she had left behind. Going Under is about personal growth and the connection between individuals and their communities.
- Urvi Went to an All Girls School: A coming-of-age comedy-drama set in 2010 Melbourne. Directed by Nina Oyama and written by Urvi Majumdar, Nina Oyama, Rohan Ganju and Suren Jayemanne, this story follows the journey of a teenage girl determined to become an actress despite her traditional Indian family’s wishes. Produced by Lauren Nichols with executive producers Michelle Buxton, Urvi Majumdar and Chris Mcdonald, Urvi Went to an All Girls School, asks audiences how far they’d go to follow a dream — defying cultural expectations in the uniquely heightened environment of a selective all-girls school.
- Westerners: Immerses viewers in the vibrant, multicultural milieu of Western Sydney. Directed by Munasib T Hamid and co-written by Kevin Duo Han and Mark Mariano, the story follows three young adults navigating the challenges of their unfulfilling jobs while contending with cultural clashes and personal dilemmas. Produced by Monique Mulcahy and executive produced by Max Miller, Georgia Mappin and Sam Lingham, Westerners combines humour with a surrealist style, depicting the characters’ struggles and comedic escapades in a culturally diverse environment – exploring themes of identity, community and the quest for meaning.
It’s always fun when a press release puts the word ‘fresh’ in (sarcastic?) quotation marks so we don’t have to.
Seriously, though, is there anyone out there who thinks these were the three most deserving of this year’s Fresh Blood pilots? If we were ranking them in order of how funny they were, these three would be solidly in the middle. They were neither laugh-out-loud hilarious nor obviously dreadful. They were neither edgy nor downright dull. They had some laughs, but don’t worry folks, there’s a bit of relatable drama in there too (two of them are “coming of age” shows and one is about being challenged by a natural disaster).
Given the current state of ABC comedy, which is to play it as safe as possible whilst having one eye on potential international sales, this makes sense. And if you want a good laugh, hey, at least the ABC’s one remaining, actually funny sitcom is back next month!
Closed For Business
So this dropped today:
Was it what we were expecting? Pretty much, but you know what we’re like.
What is puzzling about this is not that it looks bad, because it was always going to look bad*. It’s that it seems to have been made by people with absolutely no idea of how Australian television works in 2024. Which is a problem, because this is an Australian television show in 2024.
The Office as a concept has a lot of things going for it. It’s got name recognition: that’s great for bringing in viewers. There’s been more than one extremely successful version of it: that means it’s a concept that can work in different situations. But the one thing it doesn’t have – the one thing those other strengths actively block it from having – is the ability to come out strong right from the start.
Because people know about it, and because people have enjoyed the earlier versions, it’s going to take a while to become anything more than a knock off. This isn’t news; the US version had the exact same problem. You know what else the US version had? Multiple seasons to work it out.
Going by this trailer – a promotional device designed to show off the best available moments from the series – this sucks. Which isn’t really a surprise: the first season of the US version of The Office largely sucked too. But being expected doesn’t make it acceptable.
If you’re making a series for Australian television in 2024, you have zero room to suck. You have to arrive on screen as your best possible self. Maybe overseas there’s a production process that allows room for change and development. Australia is too small for that luxury. Here, series arrive fully formed, go through their run, and vanish.
This means that what you see is what you get. Even when a dud gets a second series (which only happens on the ABC), it’s just more of the same. There’s no “oh well, maybe it’ll get better as it goes”, because that never happens. And it won’t happen here.
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*Specifically, it looks bad because it seems to be following very firmly in the very deep footsteps of the original UK version, which, you know, we already have. Which is also a comedy that’s 20 years old**, so it’s a bit like someone deciding to remake To The Manor Born in 1993. Or Mother and Son in 2023 oh wait
**Is it just us, or have general attitudes towards (office) work kind of hardened over the last few decades? In 2001 a comedy about how working in an office was shit was like “haha yeah, it sucks but it’s a living”, whereas now it’s more like “this bullshit is a total fucking fantasy, I can’t even pay my rent”. If we’re meant to be getting laughs from recognition, then the hostility and desperation needs to be cranked up a fair bit – and you know, that stuff’s always hilarious