In Virginia Trioli’s new-ish series Creative Types, she “explores the essence of creativity with some of Australia’s greatest artistic minds.” And Tom Gleeson.
Was that a cheap shot? Yeah, but Gleeson is kinda the master of the cheap shot. So we think it’s appropriate.
Gleeson is sold to us as a hard-working stand-up who’s forever listening to recordings of his routines and trying to improve them. Apparently, he spends hours cycling around the country town where he lives doing this. We admire his work ethic and his commitment to creating quality comedy. But the problem is, Gleeson’s comedy is not always quality.
Let’s compare two recent-ish Gleeson routines which get a fair bit of attention in Creative Types. The first is some observational material about KeepCups which is fairly average but nevertheless seems to go down well with the audience. Yeah, okay, KeepCups are a bit of a wank. People think they’re saving the planet by bringing their own cup, but they’re not really, are they? We’ll give Gleeson that one.
More contentious is Gleeson’s material on owning a “spare house”. This routine, Gleeson justifies as being “one of the things you’re not supposed to talk about”. And it’s the “things you’re not supposed to talk about” that Gleeson believes are the best areas for comedy.
This is often true of comedy, of course. Saying the unsayable, pricking pretensions, shining a light on hypocrisy, these are all things that comedy can do brilliantly. But – and this is pretty important – only if the audience agrees with you.
Listen to the audience’s muted reaction to Gleeson talking about his spare house. And his justifications for owning it. Yes, he acknowledges, there is a housing crisis, but that’s up to others to fix. There’s a small amount of uncomfortable laughter at this. Undeterred, he doubles down. Unsuccessful people live in share houses, he says. He’s successful, which means he’s got a spare house. The audience, presumably thinking of how much they’re paying in rent, the sky-high cost of their mortgage, or how impossible it is to save for a deposit, are less convinced. Clearly, they preferred laughing at those idiots with their KeepCups. They can afford a KeepCup.
We then hear a bit about Gleeson’s origins. He says he felt like an outsider at his tiny country primary school, and later at the boarding school he attended. At Sydney University, he had a chance to perform and won a comedy competition because he worked hard, doing spots at local clubs to hone his routine. Later we see footage of some of his early routines in the late 90s and early 00s, on Recovery and at the Melbourne International Comedy Festival. Peter Hellier and Melbourne International Comedy Festival Director Susan Provan pop up to say how hard-working and talented Gleeson is.
We see footage from Skithouse, of Gleeson’s character the Australian Fast Bowler, which Gleeson described as coming from the idea that most sketch show characters are losers and what if a character was a winner. Nice theory, but in the sketch shown the only funny bit is when the Bowler, who’s asked to rescue a cat from a tree, knocks the cat out of the tree with his ball. It’s the comic violence that people are laughing at, not the idea that the Bowler is a winner, making a failure of Gleeson’s theory of comedy.
Speaking of failure, it’s over to The Weekly where we hear about the origins of the Hard Chat segment and Hard Quiz. And, yeah, in these Gleeson does deliver some funny lines from a position of power. But aren’t the funniest bits of Hard Chat and Hard Quiz when the guests/contestants are funnier than him? Gleeson’s punching-down comedy may be why he thinks he’s successful, but his punching-down material isn’t his most successful comedy.
His work getting Grant Denyer and then himself the Gold Logie also gets featured. We discover that Gleeson’s a huge Norman Gunston fan and was inspired by Gunston’s 70s campaign to win the Gold. There are some differences between Gunston’s campaign and Gleeson’s though. Gunston’s campaign was in the context of the central joke of the Gunston character and the Gunston show, that Gunston was a shonky interviewer on a shonky show, on a network that no one watched. So, whether he won or not, there were laughs to be had about the improbability of it all.
Gleeson’s campaign also tried to have it both ways but in (a) different (two) way(s). At the time, Gleeson argued both that the Logies was so shonky that even he could win one, and that his winning the Gold Logie meant he was brilliant. Whereas in the case of Gunston, the joke was more that there was no way that Gunston, who was shonky, could win. It was about the Gunston character being a chancer, rather than a real-life Gleeson actually thinking his win justified everything he’d ever done.
And, yeah, Amanda Keller’s death stare was funny during Gleeson’s victory speech (she was one of the nominees he beat). But maybe she had a point? Tom Gleeson just won something, which he’ll dine out forever more on. Is that actually what we want?
Towards the end of Creative Types, Gleeson describes his act as both trying to make the audience laugh and annoy them. And, yeah, a comedian annoying their audience can sometimes be very effective, in terms of getting them to see other points of view or getting up the noses of people whose noses a comedian should be getting up. But Gleeson isn’t always annoying people for these reasons. A lot of the time, he’s lording it over them. Like he is with his second house.
Is Gleeson then, not only a diligent and hard-working comedian but also on some kind of power trip? A power trip he makes more palatable by doing some audience-friendly routines about minor things that annoy people. And yes, he’s successful, and he makes a good living, but does he deserve it?
Taskmaster Australia is returning to 10 later this month, but in a surprise twist, the network will screen its third batch of comedians now as a second season.
Last July, 10 announced Peter Helliar, Mel Buttle, Aaron Chen, Concetta Caristo and Rhys Nicholson for a second season. In March TV Tonight revealed Anne Edmonds, Jenny Tian, Josh Thomas, Lloyd Langford and Wil Anderson were also filming next episodes -these will now form a second season to screen later this month.
TV Tonight understands the switcheroo is due to talent availability for promotion, with the remaining season to screen later this year.
Returning to their hosting thrones for season two, is tough-love Taskmaster Tom Gleeson, and his loyal sidekick “lesser Tom” a.k.a. Tom Cashman, both ready to test the wiles, wit and wisdom of our five new comedians.
Stepping up to the Taskmaster challenge and competing for the golden version of Tom Gleeson’s delectable noggin, is comedy royalty Anne Edmonds, Jenny Tian, Josh Thomas, Lloyd Langford and Wil Anderson.
Each week viewers will witness these best and brightest comics go head-to-head in a string of ridiculous, rambunctious and bewildering tasks to bag the highest points, all for our amusement.
From building scarecrows, to catching hot chips and fielding a lesson with lemons, will they have the prowess to win over our supreme Taskmaster?
Taskmaster Australia is produced for Network 10 by Avalon / Kevin & Co.
Thursday, 23 May at 7.30pm on 10.
More comedy on TV is good, but is Taskmaster comedy? Or just some comedians doing stupid tasks? And are stupid tasks, even if done by comedians, actually funny? Or is “doing stupid tasks” a concept better suited to YouTube or TikTok?
Also: two series of this in one year? Really? When there are actual comedy ideas out there being pitched all the time?
Both the Taskmaster concept and that we’re getting two series of it in one year, say a lot about where TV comedy is today. Networks are too scared or too poor to do the kind of comedy that TV’s great at (sketch, sitcoms, tonight shows, satire), so they’re scrabbling around for cheap, YouTube-esque concepts that aren’t particularly funny but, hey, there’s probably an audience somewhere. What a time to be alive!
The Cheap Seats is back for 2024, and if you were ever looking for a textbook example of “if it ain’t broke, don’t fix it”, it’s your lucky day. And has been since 2021, if we’re being honest.
As this is currently one of our favourite Australian comedy shows, we’d love to have a lot to say about it. But as it’s also a well-oiled comedy machine where those involved know exactly what they’re doing, we’re coming up short.
One thing that did stick out about the first episode back? Just how much time and effort goes into a show that looks so, uh, cheap. Not only were there a huge amount of news clips being churned through at a rapid rate, a hefty slice of them were from overseas outlets. Sure, after four years they know where to look. But even so, once you start looking globally for clips of newsreaders impersonating seagulls, your job gets a whole lot bigger.
Hosts Tim McDonald and Melanie Bracewell remain great: no notes. The duo continue to be slightly dorky while also being extremely quick when it comes to cheap gags. If the clips are 60% of the show’s success, they’re another 60% on top of that.
The days Bracewell has a firmly developed comedy persona that extends into the real world (ever noticed how often there’s a clip or news story involving her doing something outside the show?). She’s a successful stand up, she likes and plays netball, there’s that whole New Zealand thing. McDonald is more of a man of mystery, in that he probably isn’t a dateless loser with a drunk mum.
Obviously with an entire new season ahead, the first episode is probably only a rough guide to what’s to come in 2024. No sponsors yet! Zero sketches in the first week! No time for What’s On What’s On in the Warehouse! Will What’s Flappening be back and will they ever do an story on an actual bird?
Not that there aren’t one or two real questions to be asked. Having Adam Rozenbachs hosting the sport segment might mean he’s the new regular sports hosting person. Or it might just be that he was handy this week.
Would it be be good if they could find a regular sports host? Yeah, probably. But as none of the Titus O’Reily replacements have been as good as Titus O’Reily (let alone up there with breakout star Mel Tracina covering “the arts”)… maybe the door remains open* for a dark horse candidate?
Eh, whatever. The clips are funny, the hosts are funny, the jokes are funny: Cheap Seats, as always it’s good to have you back.
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*Unfortunately The Front Bar seems to have hoovered up all the top-tier sports comedy talent
It’s press release time! Or, more accurately, here’s something we saw on TV Tonight:
Season Two of Colin From Accounts, written by and starring Patrick Brammall and Harriet Dyer, will be premiere on Binge / Showcase in May.
Returning cast members are Emma Harvie, Genevieve Hegney, Michael Logo, Helen Thomson, Darren Gilshenan, Annie Maynard and Tai Hara.
Joining for season two is Celeste Barber (Wellmania, The Letdown) as Katie, Virginia Gay (Savage River, Safe Home) as Rumi, Justin Rosniak (The Surfer, Mr Inbetween) as Alistair, Lynne Porteous (Home and Away, The Commons) as Dawn and John Howard (SeaChange, The Merger) as Brian.
Virginia Gay said: “It’s very rare that you get to walk onto the set of your favourite show and become a part of it. I love this show with all my heart, and the reason that it’s so brilliant is because of the Patty-and-Harrietness of it. They are a joy to be around, and that joy is all over the screen.”
John Howard said: “I am so excited to be joining the cast of Colin from Accounts. The series has made so many people around the world laugh and it is a hilarious take on bouncing through love and life, warts and all. Well, no warts as far as I know of…”
Justin Rosniak said, “Colin From Accounts is the best show in Australia, hands down. If you’re not laughing your head off, you’re bawling your eyes out. It is truly an honour to be a part of this magical experience.”
In season two Ash and Gordon are now living together and trying to get their beloved, special needs dog, Colin, back from his new owners. It’s the first in a series of hurdles for the new couple, as they find out more about each other, for better and worse.
Colin From Accounts is produced by Easy Tiger Productions (Jack Irish, Rake, The Twelve) and CBS Studios with Rob Gibson, Ian Collie, Patrick Brammall, Harriet Dyer, Trent O’Donnell, Alison Hurbert-Burns and Lana Greenhalgh serving as executive producers and Kevin Greene producing. O’Donnell returns as set-up director, with Robyn Butler and Wayne Hope taking the reins for three episodes and Madeleine Dyer returning to direct an episode.
Thursday May 30 on Binge / 8.30pm on Showcase.
The return of any Australian series should be a moment of joy, especially in these lean comedy times, but it’s hard to get excited about this one. Two years ago, when the first series was announced we said:
We’re predicting mildly eccentric characters, low-stakes peril, and minimal belly-laughs.
This isn’t the kind of show that’s designed to be funny. It’s the kind of show that’s designed to be sold to international streaming services looking for inoffensive dramedies in mildly exotic locales.
And, yeah, we were right. Oh, look! The BBC bought the second series sight unseen after the first series became popular in the UK.
Remember when Colin from Accounts won Best New Comedy in the 2022 Australian Tumbleweeds Awards and the best any of the people who voted for it could say was:
This was a mediocre year.
But why is this series, which tries to be funny and charming and relatable, but is actually a bit of a dog’s breakfast, so successful? We think the show’s secret is that key factor in any comedy’s success: timing. Although sadly not the sort of timing which makes jokes work.
Colin from Accounts landed as the Covid-19 pandemic was coming to an end. Lots of people were signed up to multiple streaming services and were looking for something light-hearted and uncomplicated to watch. Colin from Accounts fit the bill at a time when there were fewer options than usual.
So, while this is a show which can boast international sales and multiple award wins and nominations, its real secret is it was there at the right time to meet a need. But several years on, with a cost of living crisis and multiple wars raging around the world, will Colin from Accounts still be the kind of show people want to see?
Where do you draw the line with White Fever? As previously discussed, it’s perfectly fine for what it is: it’s just that what it is isn’t a comedy. Which is a problem, because if a half hour scripted series airing on the ABC at 9pm on a Wednesday isn’t a comedy, what is?
As you’ve possibly heard, Gruen is due back on our screens May 15. Well, not our screens; fucked if we’ll be putting ourselves through that for a 16th season. But it’s a timely reminder that the ABC “comedy” timeslot – roughly one hour on a Wednesday if you don’t count Hard Quiz and who does – increasingly doesn’t bother with comedy.
For example, White Fever. It’s a prime example of one of the many genres the ABC likes more than comedy: an issues-based series aimed at young* people. As we all know, pretty much every show aimed at young people on Australian television is going to be promoted as a comedy whether it’s funny or not. What have young people got to be worried about? Nothing: therefore comedy.
It’s also about young people’s relationships. That usually sets off alarm bells when the ABC is involved because they seem to only take on stories that feature young characters whose primary relationship is with being annoying. Over and over again they serve up series where the main idea seems to be “what if we reinvented the concept of screeching harridans for the 21st century?”. Clearly the only way any character under 40 could be funny is if they were some hideous caricature even Chris Lilley would think twice about playing.
Remember All My Friends Are Racist? Of course not. How about Why Are You Like This? Not that we’re saying they’re the same show, but the ABC does have a type when it comes to young people’s programming. And if you manage to get your eyes to unfocus like you’re looking at a magic eye poster, White Fever kinda sorts fits the formula.
Fortunately, White Fever is better than your average ABC young person’s relationship comedy. That’s not difficult: it’s a grim lineage that stretches back at least as far as Laid. Unfortunately, the way it manages to be a better program is by not even trying to be funny for long stretches.
Again, it’s good at not being funny, in large part because it’s actually about something beyond the lead’s romantic entanglements. Remember Please Like Me? The hilarious sitcom that ended every season with a main character’s death (or coma) bumming everyone out? Was that ever about anything beyond Josh Thomas making out with various handsome actors?
To take a wider view, it’s been extremely obvious for the last few decades that, thanks to Australia’s model of television funding – where your real audience is funding bodies – actually making a completed television series comes a distant second in importance behind the funding body crafting a press release announcing that they’ve given your brilliant concept some cash.
White Fever works because creator and star Ra Chapman had a story she wanted to tell. More often, we just get a concept that sounds good to the funding bodies. When it comes to the finished product, the execution falls over.
And when you’re making a comedy, execution is everything.
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*for “young”, read “under 50” – after all, this is the ABC we’re talking about
The ABC is excited to announce filming has commenced on the third six-part season of award-winning comedy Fisk. The series is created, written, co-directed by – and starring – one of Australia’s most beloved comedians, Kitty Flanagan.
Having captured the hearts and funny bones of millions of Australians, the laugh out loud series returns, along with cast favourites Julia Zemiro, Marty Sheargold and Aaron Chen. As with the two previous seasons, each episode will guest star some of the best in the comedy business as they navigate their way through the world of wills and probate.
Helen (Kitty Flanagan) is now a name partner at Gruber & Fisk which means new responsibilities and pressures, largely due to Ray (Marty Sheargold) having other things taking up his time. Things like his new (age-appropriate) lady love and her “fashion psychologist” business. Meanwhile Roz (Julia Zemiro) has a midlife crisis, Viktor (Glenn Butcher) resigns as Roz’s assistant and George (Aaron Chen) jumps ship to work for Conch Mediation. On the home front, Helen has finally moved out into a place of her own. But true to form she soon gets her new neighbour offside. And in an ironic twist, Helen and Viktor become the stereotypical, over-emotional, irrational, bickering family members when Dad (John Gaden) decides to update his will.
Kitty’s Fisk role has won her back-to-back Silver Logies for Most Popular Actress on television, as well as the AACTA Award for Best Comedy Performer, with Julia also being nominated at the Logies and AACTAS for her performance. On top of multiple other Logie and AACTA nominations, Fisk won the AACTA Award for Best Narrative Comedy Series in 2021, the Screen Producers Award for Best Comedy Series, and, internationally, it won Best Series in the Comedy Competition at Series Mania, France.
Kitty Flanagan says “I’m delighted to be back in the brown suit and on set with all of my favourite funny people. This is such a fun show to make and we have got our fingers crossed that everyone loves it.”
ABC Head of Scripted, Rachel Okine says “Fisk has become such a beloved character on our screens, both in Australia and now also around the world, we cannot wait to unleash another much-anticipated season onto ABC’s audiences”.
VicScreen CEO, Caroline Pitcher says “We are proud to continue supporting the award-winning comedy Fisk for a third season. This series has proven that unique, Australian comedy can truly crack-up audiences not just here in Australia, but also internationally. I’m looking forward to delighting in more of the adventures of Helen Tudor-Fisk and her enviable sense of fashion.”
Fiskseason 3 will air later in 2024 on ABC TV and ABC iview.
The key to all this is “now also around the world”. But hey, no complaints here if the Netflix effect is working to make an Australian comedy internationally popular for once. Later in 2024 can’t come fast enough.
So The Weekly isn’t funny. No news there. You know what else contains no news? The Weekly itself.
Wait, hang on a second. The selling point of the current version of The Weekly is that “we watch the news so you don’t have to”. As the ABC Youtube channel put it:
“Charlie Pickering takes all the news and puts it back together again to make sense of the nonsense.”
The entire point of the show is that it provides a week’s worth of news – only, you know, funny*.
So this week we tuned in to see… well, we tuned in to see Guy Montgomery, because he really is funny. Turns out the ABC are planning an Australian version of Guy Montgomery’s Guy Mont-Spelling Bee with Aaron Chen as co-host! We hate comedy game shows and yet we love this idea. Kinda weird to announce something funny on The Weekly though.
But besides that, it’s also been a big week in local news, what with there actually being some local news these last few days. Not exactly cheery comedy news, but like they say,
“Charlie Pickering takes all the news and puts it back together again to make sense of the nonsense.”
Not seeing any qualifiers near “all the news” there. No suggestion that it’s only the light, frothy news. All the news. All. Of. It.
Come their coverage of Saturday – a somewhat news-heavy period in the Sydney region – and what did we get? The by-election for Scott Morrison’s old seat, because The Weekly likes few things more than making the same three Scott Morrison jokes everyone else stopped making two years ago.
And Monday? A segment on Bluey followed by “let’s roll into Tuesday”. It may have been a big few days for edged weapon attacks and mass chaos in Sydney, but on The Weekly? Hey, South Korean election coverage doesn’t just happen, y’know.
Sarcasm aside (there’s a first time for everything – ed), obviously it’s a massive relief that the crack team of gagsters at The Weekly steered well clear of a couple of serious news stories. Imagine just how impossibly shit their attempts to find an angle on a mass stabbing would be. On second thought, don’t.
But it’s not like this version of The Weekly is in any way amusing. There’s nothing at all wrong with only covering soft news – so long as you make it funny. Half the time they don’t even seem to be trying. “Let’s get Margaret Pomeranz to review yet another TV game show!” Yeah, that’s some comedy gold right there.
So if they aren’t funny, and they are claiming to cover “all the news”, why not just have an actual serious segment? They used to have them all the time. Remember when Pickering would appear in some fake cosy home office and explain some serious news topic in a slightly informative fashion? Those segments weren’t much good, but at least they weren’t trying to be funny.
Once again, the result is bland, nothing, pointless viewing. The Weekly could try to be funny… but no. The Weekly could try to actually cover the news… but no. “To get good, you have to be bad first,” Montgomery said during his appearance. But what if you just keep on finding different ways to be bad?
Not quite a sitcom and not quite a drama, White Fever, categorised on ABC iView as ‘Comedy’, ‘Offbeat’ and ‘Feel-good’, is lots of things but not really a comedy. Co-written by and starring Ra Chapman (Wentworth), White Fever is inspired by Chapman’s experience as a South Korean-born adoptee, raised in Australia by white parents. Chapman is one of more than 3,500 people adopted from South Korea to Australia, and White Fever draws on her experience and those of other South Korean adoptees she has met.
As Jane Thomas, Chapman explores the identity and sexuality of a Korean adoptee with issues. Jane is only attracted to big, hairy white guys, kind of like her adopted father Jack (Greg Stone) and worries that her “type” is problematic. Should she try dating Asian guys, or is that, as a fellow South Korean adoptee suggests, “like kissing yourself.”
As the show proceeds, it becomes clear that Jane’s preference for white guys comes from her childhood spent in the country town of Mount Whiteman (geddit). Internalised racism is a strong theme in White Fever, and there are some pithy scenes involving big, hairy white guys Jane dates, and Jane’s adoptive family, in which both their fetishisation of and racism towards Asians are brought to the surface. A birthday meal, at which Jane’s adoptive family are shown as both loving and caring but also insensitive towards her heritage and her search for her birth father, is indicative of the internal conflict driving Jane throughout the series.
Hera (Cassandra Sorrell), a fellow Korean adoptee and vlogger/influencer, who discusses the concept of “white fever,” a preference for white boyfriends and white culture, in her videos, becomes a sort of mentor for Jane, but Jane finds confronting her inner demons hard.
Jane’s “white fever” plays out as a fever dream. Hyper-real, fast-paced scenes in which multiple friends and associates throw potential or actual home truths at Jane, drive her into a sort of mania, leading to some questionable romantic encounters with both white and Asian guys, an episode where her cute, blonde-haired childhood doll Cindy (Susanna Qian) comes to life, and some not entirely necessary K-Pop sequences.
Ra Chapman as Jane Thomas with Susanna Qian as Jane’s childhood doll Cindy
Along the way, Jane loses her long-standing friendship with Edi (Rosehaven’s Katie Robertson), after she knocks over her wedding cake, and recalls suppressed memories of participating in an egging of Mount Whiteman’s Chinese restaurant, owned by the mother of the only Asian guy she genuinely seems to fancy, childhood friend Yu Chang (Chris Pang).
White Fever does include some elements which suggest a comic intent – puns like Mount Whiteman, some hyped-up performances, a cast which includes Mad As Hell’s Roz Hammond as Jane’s adoptive mother – but this isn’t a comedy. Its bigger influence is theatre, hence the multi-dimensional characters, and how Jane’s inner life and traumas often play out through monologues, or long, dialogue-heavy scenes. (Unsurprisingly, the idea from White Fever came from Ra Chapman’s previous theatre work.)
As for what we think of White Fever, it’s perfectly fine for what it is – a light, surreal, theatrical drama about identity. Our main beef is that White Fever occupies a timeslot which was previously for comedy. And this would be fine if lots of comedies were being made and screened on the ABC at other times…but they’re not. Drama has always been and continues to be well-funded by the ABC. But where’s the money and the timeslots for sitcoms, sketch shows and topical programs which aren’t The Weekly?
The Cheap Seats Returns To Cover The Important Stories.
Premieres Tuesday, 30 April At 8:30pm On 10 And 10 Play.
Some have said that The Cheap Seats hosts, Melanie Bracewell and Tim McDonald, took a superficial approach to news and current affairs last season.
This feedback has been taken seriously and is something season four plans to rectify.
Melanie Bracewell said: “Despite Tim and I not being on speaking terms, I’m willing to fake it for the 2024 season of The Cheap Seats. I’m hearing whispers that “Across The Ditch” will be returning, bigger and better than ever! I am the one doing the whispering.”
Tim McDonald said: “We’re so excited to be back for Season 4! New year, new stories, but the brief remains the same – Media Watch meets Love Island. 2024 will be a year of big events, from the Olympics in Paris to the US Election. I think there’s even a pickleball tournament in Launceston. We’ve got it all covered.”
Comedians Melanie Bracewell and Tim McDonald, alongside their Cultural Correspondent Mel Tracina, will return to cover all the important stories. Plus, all new instalments of Mel’s Markets, Timfomercials, Across The Ditch and What’s On What’s On In The Warehouse.
So… still no regular sports reporter? Eh, we’ll live with that.
So yeah, things have been pretty dry around here of late. There’s only so many weeks you can watch The Weekly expecting to see something new (or funny). Other options? They’re somewhat slim. What’s going on? Don’t people like to laugh any more?
We’re a comedy blog, so don’t expect any great insights here. But in our search for things to watch, there are a couple of things we’ve noticed in recent months. Yes, despite the lack of posts we have been working behind the scenes to try and find fresh televisual comedy content. We’re slack, but we’re not that slack.
The first point is pretty obvious: there’s no money out there. Australian television doesn’t really have non-ratings periods like they used to, where everything went on break and a bunch of weird US imports filled the schedules from November to February. But there’s not enough money for year-round programming either, so at some stage the plug has to be pulled. And that stage is now.
From around mid-November through to sometime after Easter, Australian television largely assumes you’ve got better things to do. There’s the occasional new program or returning regular, but they’re few and far between. The ABC isn’t putting to air their first sitcom of 2024 until next week – a third of the way into April. Sure, The Weekly was back at the start of the year, but that proves our point. We’re currently in a dead zone where garbage rules.
On the one hand, this slow start to the year makes sense from a comedy perspective. Right now the Melbourne International Comedy Festival is in full swing, and a lot of Australia’s prime comedy talent is hard at work trying to make a year’s worth of cash in a month. Telling them nope, they’ve got day jobs to go to wouldn’t be popular; this way everyone wins.
On the other, this makes zero sense from a television perspective. You suddenly have Melbourne jam-packed full of primo comedy talent with ongoing shows to promote. Any half-decent talk show* – or format that uses live performers – would be swamped with quality guests. And you do see them cropping up where they can. It’s just that if there was a decent, respected show currently on air where they could appear, it’d be handy for them and great for audiences.
(this, however, would require Australia to have comedy talent under the age of 60 who didn’t make a living from stand up)
The other big problem facing Australian television comedy right now is that a lot of people out there just aren’t as funny as they think. We have a bit of a reputation for going hard on shit television shows, but it’s not like we’re grabbing stuff you’ve never heard of and dangling it in front of your face before giving it a good kicking. Once you get a profile, then we’re interested in your quality. If we’re not talking about you, it’s because we’ve got nothing useful to say.
And just quietly, in recent months we’ve had our attention directed towards a lot of shows about which we’ve decided to keep quiet. It’s never been easier to put together a semi-professional product, but putting together something that’s funny? Yeah, keep at it buddy.
Partly this is the fault of the way the attention economy currently works. People are encouraged to start putting things out there early and often, because you never know what will work. Have an idea, bang it into some kind of shape and get it out in front of people. Either it works or it doesn’t, and when it doesn’t just do it again.
The idea of developing into someone who’s good at comedy has become kind of pointless. You do it until you start getting attention, then you just keep it ticking over while you figure out how to turn that attention into money. If you somehow hit really big with a clip, you can just live off that (for a while). And if you have talent but it’s going to take a while to figure it out, don’t worry. You’ll burn out long before then.
People who want to be funny are off doing stand up. People who see comedy as a means to an end make comedy clips. Australian television is the result.
