Australian Tumbleweeds
Dream a Little Dream
News time!
Stan and Film Victoria today launched a comedy fund designed to help Victorian writers and producers develop Australian comedy with world-class scope and scale.
The joint initiative initially will provide up to $30,000 each for up to four Victorian writers or writer/producer teams to deliver a 30-minute pilot script and series outline.
(taken from here)
So a max of $120,000 a year to develop four comedy series: wonder which single solitary utterly useless executive got fired to fund this? Don’t worry, they’re still got plenty left.
Mind you, it doesn’t take long for the flaw in the system to be revealed:
“We want stories that respond to Stan’s creative brief and feature relatable characters with unique dilemmas fueling the comedy for a multi-season run,” Film Victoria said.
Stan’s brief, which references such shows as Catastrophe, Fleabag, Younger, The Moodys and Broad City, calls for serialised comedy, romcoms and comedy-dramas, but not sitcoms, stand-up or sketch comedy.
Hang on a second – this is a comedy fund that specifically excludes sitcoms and sketch comedy? What the hell did they think The Moodys – good job casually shoehorning that forgotten turd into a list of otherwise world-class shows by the way – was?
Why didn’t they just come out and say what they mean: “we’re looking for the next Josh Thomas”. You know, a story where some upper middle class type finds themselves – through the fault of some currently trendy issue – cast down into a wacky world of “regular” (loser) folk. Also, someone should die.
It’s 2020: if you thought comedy meant jokes and funny situations, wake up to yourself. Today, “comedy” means drama, only the characters occasionally say something that might get a chuckle at one of the producer’s dinner parties.
Stan’s chief content officer Nick Forward said: “We had an outstanding response to the Stan and Film Victoria Development Fund for premium drama projects last year and are thrilled to continue our partnership with Film Victoria in 2020.
“Our focus is always firmly set on finding the next must-watch Stan Original Series and we’re expecting big things from Victoria’s world renowned comedy community. My advice to creatives submitting their pitches this year: Go big. Be bold. And hold nothing back.”
(except for any jokes you might have in mind, you won’t be needing those)
Film Victoria CEO Caroline Pitcher added: ““We’re excited to have partnered with Stan to find irresistible comedy ideas that have an essence that is unmistakably Australian and which will resonate with audiences around the world.”
And there you have it: please come up with something unmistakably Australian yet at the same time make sure we can get some overseas sales. We’re guessing by “essence” they mean “location”, while the “resonate” part really means “seem familiar to”.
But at least it’ll be a valuable foot in the door right? An important stepping stone on your way to a real career?
The fund is open to up-and-coming creative talent as well as established players.
So good news! Even if you become an “established player”, this is the kind of bullshit you’ll be dealing with your entire career.
99 Problems and Hughsey Ain’t One
After its strong showing in the most recent Tumblies, we figured it was time we checked back in on Hughesy, We Have a Problem. Yeah, thanks for that. Much appreciated.
Two things immediately come to mind:
1): Do Hughsey and Wil Anderson go to the same barber, and if so, why?
2): Who thought turning a drive radio call-in segment into an hour-long show was a good idea?
Yeah, we know that this is basically a more diverse version of the old Beauty and the Beast format, but watching this week’s episode – which, as is often the case with this show, had a reasonable cast: Tom Ballard, Nazeem Hussain, Cal Wilson and Meshel Laurie – it really was obvious that this is just a radio call in show with pictures. Pictures that don’t add much unless you’re a big fan of Hughsey chortling away. Which is still better than the way he delivers his lines like he’s shouting in a wind tunnel.
That’s not to say radio call-ins don’t have their charms, what with them being massively popular all over the world, and this does manage to mix it up a little. There’s a mystery celebrity guest, video questions, someone from the audience comes up to discuss their problem (this week: my pick-up game is weak, let’s do some role-play, Tom Ballard says “poofta juice”), there’s banter, more banter, a third round of banter…
The original Beauty and the Beast could be a pretty snarky show at times, and with a regular cast there was plenty of scope for bitchiness and character comedy. This doesn’t have much of that – apart from a fairly consistent hanging of shit on Hughsey, which we’re all on board for. Instead we get the usual battle of the guests trying to out-funny each other, which usually means there’s four people trying to do basically the same thing and results in a show that’s both exhausting and somehow boring at the same time. This kind of show used to be filed under “variety”, and a bit more variety comedy-wise wouldn’t hurt here.
This is pretty much the polar opposite of Have You Been Paying Attention? It’s a more relaxed format, the guests get to chat away, Hughsie is… inexplicably popular, and this week at least everyone got in a few cracks about his obscene wealth and him murdering one of his tenants who didn’t pay rent on time. Anything that shifts the narrative from “Hughsey, knockabout average Aussie” to “Hughsey, extremely rich man who could buy and sell you in a heartbeat” is fine with us.
As is this show in general, if we’re being honest. It’s established enough now to attract decent panelists – Judith Lucy and Shaun Micallef were on last week – and while nobody’s letting rip with the classic gags they’re generally strong enough to leave the show feeling like actual comedy and not something Rove might host.
Let’s not get carried away with the praise though either: this could still easily lose ten minutes or so, even if it’s hardly a show you’re going to give your attention to for the full hour. If you’re not watching this looking down at your phone then you’re not doing it right; maybe radio with pictures really is the future of television.
Sweetly crackin’ winners through the gap
If we can take anything from the last few months worth of news, it’s that the Morrison government doesn’t give an actual damn. Climate change? Nah, don’t worry about it. Money to sports clubs in marginal electorates? Here’s a truckload! All of which should give our satirists plenty to talk about, you’d think.
Mark Humphries’ first sketch of the year for 7.30 focused on the Sports Rorts scandal. It started off as a parody of Wide World of Sports, in which two hosts analyse what happened, before throwing to an ad break, during which there are several spoof ads for products that may be of interest to rorting politicians. All fair enough as targets for satire, of course, but not especially hilarious. So, standard stuff from Humphries, there.
Sammy J, meanwhile, re-wrote late-1970s cricketing anthem C’mon Aussie C’mon! as C’mon Pollies C’mon!, an entreaty to our leaders to lift their game when it comes to bushfires, global warming, sports funding and various other current issues. He’s done better – and there’s a problem here, in that the song is too fun and upbeat to properly convey his anger and frustration at the political class – but it’s hard to argue with the intended sentiment.
Meanwhile, on Shaun Micallef’s Mad As Hell, Micallef only needs to put a small pause between ‘Our Prime Minister’ and ‘Scott Morrison’ to get a laugh (and make a point). And he’s been doing that exact joke and making that exact point (albeit with a range of different Prime Ministers) for years.
So, why is Micallef’s pause funnier than two whole entire sketches? Well, what it comes down to is the quality and uniqueness of the observation being made.
Most of us have spent the last few months, nay years, wishing our politicians were better. And not just our politicians, most of the world’s politicians, frankly. So, several minutes of song, repeating that one thought over and over again, isn’t really going to cut it when it comes to satire.
Similarly, the fact that certain sports clubs only got funding because they were in marginal elections, isn’t news to us. Because, you know, we’ve seen the news. So, to make us laugh there’s got to be a new observation in there.
Whereas Micallef’s pause? Sure, it wasn’t a new observation either – the high turnover of Prime Ministers in the last decade or so has been much talked about – but it was funny because it didn’t labour the point. It didn’t spend two and a half minutes on this one observation, it spent less than a second on it.
And every time it gets repeated, it’s perfectly timed – and, crucially, surrounded by jokes about other things. It’s not the same point being made matter-of-factly for several minutes, which is what you get in C’mon Pollies C’mon and Mark Humphries’ work. Or, to put it another way, it doesn’t feel so much like a lecture.
Cynics reading this blog probably think this is yet another love letter to Mad As Hell from Australian Tumbleweeds, or something. But it’s not. This is a plea to our satirists to raise their game. C’mon Satirists C’mon! in other words.
Wednesday Night Fever!
Ratings have begun for 2020 and the ABC has decided to lure viewers away from the horrors of a Australian summer with a big Wednesday night of comedy. But how big is ABC comedy in 2020?
It can’t be that big, because Hard Quiz is back, and it’s still just a solidly competent time-waster for fans of mildly engaging facts. Even the days of a nasty mis-match between Tom Gleeson being smarmy and contestants looking like they were about to cry is over now that the ABC casting department got the memo about only letting on flashy-dressing nerds. Logies all around?
Yeah, nah.
The traditional defense when it comes to wondering exactly why a quiz show needs to be hosted by a smug insult comedian is “it’s just an act”. Trouble is, it’s just not a good one. There’s no levels to what Gleeson does beyond “making fun of people is funny”, which is a pretty dubious proposition even if these days the show is doing a better job of finding contestants who both deserve it and can give it back. After all, all that really means is now it’s a show where smug types insult each other. How is that an improvement?
*
Onto Mad as Hell, and hey, why not flip the script and start off the season with a musical number? Otherwise it’s business as usual – extremely usual in fact, with no new characters or segments to be seen. Maybe Shaun shaving off the beard was seen as already enough of a shock?
It’s traditional for a returning Mad as Hell to take a “steady as she goes” approach to the first episode of the year, but even so this felt like there hadn’t been any break at all since 2019. Which is… interesting? These days Mad as Hell occupies a slightly unusual position somewhere between those older satire shows that had relatively short runs and were often pretty free-wheeling as far as format went (The Gillies Report), and the more traditional model where the format remains largely the same and the change is the news that’s being mocked (The Weekly). The best of both worlds? Sure, why not.
Of course, Mad as Hell doesn’t really need to shake up the format: it’s an extremely well-polished machine for sinking the boot into the government of the day, and with the current lot it doesn’t seem like there’s going to be any shortage of material. It’s nice to see that the level of political thought on display extends beyond the usual “urggh, politicians are greedy and stupid” too: pointing out things like the Coalition currently feel no need whatsoever to actually answer questions, and that Andrew Forrest’s $70 Million bushfire donation was largely to himself for tax reasons are the kind of self-evident truths that the mainstream media seem strangely reluctant to point out.
So yeah, it’s still the best comedy on Australian television, and would be even if the bar was a lot higher.
*
Black Comedy has been the last vestige of traditional sketch comedy on the ABC for four seasons now. Reportedly this is the final season; it’s been a pretty good run, especially as the show’s flaws have remained remarkably consistent over the years.
As you’d expect from a sketch show, it’s hit and miss – a basement zombie training sketch doesn’t go anywhere, while a sinister all-white Indigenous Support Center is both funny and on point (tho to be honest, any time you have someone saying “it’s all a lie!” and a smash zoom to a skeleton wearing clothes it’s a winner here). The cast remains the show’s strongest point; there’s nobody on here that can’t get laughs in the right sketch.
But a sketch on whether it’s okay to wear an flag t-shirt if you’re not black but are hot underlines Black Comedy‘s biggest problem: there’s plenty of strong concepts here but not all of them are developed into actual sketches. It was literally just three people sitting on couches talking*; why not set it in an actual pub and have someone coming back from the bar with drinks?
(Money. The answer to those kind of questions is always money)
It’s not a matter of punchlines – the running sketch about the Indigenous Support Center didn’t have a great punchline, but it earned the extra time with a couple of okay twists – but too often the sketch is just a funny concept that’s not developed comedically beyond the initial idea. Sometimes it still works (ie: “What if the Tooth Fairy wanted to borrow some money”); too often it doesn’t.
That said, the party sketch with the mate who’s just a little too right-on had the best punchline of the night when a white guy ran in and said “You aren’t going to believe this – Chris Lilley just showed up!” followed by the Black guys saying. “Lets get out of here”.
Just end every single sketch exactly like that and it’ll be two thumbs up from us every week.
*it did feel a little like it was possibly a set-up for a running sketch about student types lounging around discussing the big issues, which wouldn’t really make much difference to our point
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