Press release time!
Cameras ready to roll in Tasmania on Rosehaven series three
The multi-award-winning ABC and SundanceTV (USA) comedy series Rosehaven, written by and starring two of Australia’s favourite comedians Luke McGregor and Celia Pacquola, starts filming this month in Tasmania.
Reprising their 2018 Logie nominated roles for Most Popular Actor and Actress, series three finds best friends and workmates Daniel (Luke McGregor) and Emma (Celia Pacquola) now ensconced as bona fide Rosehaven real estate agents. Weathering a storm of recalcitrant landlords, anxiety inducing tenants and an overbearing boss (Daniel’s mum), series three sees them also faced with big changes in their personal lives and a real estate opportunity that threatens to divide the whole town.
The hit ABC comedy will showcase Tasmania’s unique stories, characters and landscapes to the rest of the world. Filming over seven weeks in Tasmania, Rosehaven will feature locations such as Oatlands, Geeveston, New Norfolk, Longley, Richmond, Seven Mile Beach, Mountain River, Brighton and Chigwell.
Head of ABC Comedy Rick Kalowski said: “Being back in Tasmania making Rosehaven Series 3 for ABC, and Sundance thanks to our US partners, is a joy. I’ve had few more thrilling days than when Celia and Luke first pitched it – knowing immediately ABC had to make it, and that it had the potential to charm audiences worldwide. And so it’s proved to be.”
The third series of Rosehaven will boost Tasmania’s television industry and talent, on and off camera, including the full-time employment of 35 Tasmanian practitioners and additional full-time training roles on the crew, supported by Screen Tasmania.
The ABC’s investment in Tasmanian productions has more than doubled since 2014/15, exemplifying the ABC’s unrivalled commitment to high-quality, distinctive Australian content across the country.
Rosehaven series 3 starts filming Monday 18th June.
What we wouldn’t give to have been in the ABC offices when they realised they “had to make” Rosehaven. Can you imagine the excitement? Two of the ABC’s comedy stalwarts coming in with a pitch so compelling the network knew “immediately” that they had to make it. Thrilling stuff!
As for those various behind-the-scene deals with Screen Tasmania and the Tasmanian Government that put a bunch of money into the series, they clearly had absolutely nothing to do with the ABC’s decision.
Media Release: Thursday 28 April 2016
TASMANIA’S PRIMETIME SHINE IN NEW COMEDY SERIES ROSEHAVEN
Production is set to commence in Tasmania on Rosehaven, a new eight-part comedy series for ABC TV. From the production base at the ABC Centre in Hobart, the series will be filmed entirely on location in the state, creating jobs for 200 Tasmanians as cast, crew and extras. In addition, 8 emerging screen practitioners will be engaged by the production in training positions funded by Screen Tasmania. Tasmanian actors have been cast in over 80% of the sixty roles in the series.
…
Rosehaven is the latest in a string of first class screen productions to be filmed in Tasmania. The seven week shoot will feature variety of locations across South East Tasmania. Geeveston, in the stunning Huon Valley south of Hobart, will provide the main street for the fictional town of Rosehaven, whilst historic New Norfolk in the Derwent Valley will provide other parts of the town centre and several other key locations for the series.
Jonathan Brough (The Family Law, Sammy J & Randy In Rickett’s Lane, It’s A Date, The Time Of Our Lives) will direct seven of the eight episodes, whilst Hobart based director Shaun Wilson (Noirhouse) will make his long form television directorial debut. Leading Tasmanian screen practitioner Fiona McConaghy (The Kettering Incident, Noirhouse, The Outlaw Michael Howe) is Co-Producer on the series alongside Producer Andrew Walker (The Kettering Incident, Wanted, Mr & Mrs Murder, A Moody Christmas).
Minister for the Arts Vanessa Goodwin said television series like Rosehaven cement Tasmania’s reputation as an exceptional filming destination, with a number of major Australian and international productions being filmed here in recent years.
‘The Tasmanian Government is a strong supporter of our screen industry and I’m very pleased that our investment in this project will support local actors and crew, in addition to boosting the economy and growing our state’s profile in the screen sector.’
Seriously, how could any of this have affected the ABC’s decision? We now know that on the day it was pitched the ABC decided “immediately” they had to make it.
It was just lucky that this particular sitcom pitch would “showcase Tasmania’s unique stories, characters and landscapes to the rest of the world” and “feature locations such as Oatlands, Geeveston, New Norfolk, Longley, Richmond, Seven Mile Beach, Mountain River, Brighton and Chigwell” as well as helping to “boost Tasmania’s television industry and talent, on and off camera”.
After all, that’s what audiences look for in a sitcom.
Let’s try this-
-from a slightly different angle for once: what’s good about The Weekly with Charlie Pickering?
Well, okay… let’s start with that it’s a show that takes advantage of its lengthy run and weekly schedule to change things up. Remember when Tom Gleeson’s fake travel segment Go Away was the only halfway decent thing about that one episode? The producers sure did, because it’s back! And with Gleeson asking for suggestions at the end of the segment, you just know it’s coming soon to a town near you. Probably more than one.
But what about his other popular segment, Hard Chat? Don’t worry, he also let us know that’ll be back next week because The Weekly is also a show that gives the viewers what they want. And it seems that what they want is a whole lot of Tom Gleeson; it’s not a new observation that Gleeson is the clear number two on The Weekly, with Kitty “not really in this episode, guys” Flanagan a distant third and Briggs not on the show at all.
That’s because Gleeson seems to be the only cast member who’s willing to try new things; Pickering is a smarmy host 4lyfe, and Flanagan is pretty much still plowing the same furrow she was when she came on board. While that often works great for her as far as laughs go, it does mean that, as The Weekly is clearly a show that’s never quite found its groove, it’s easy to file her under things that don’t quite work.
This is unfair, of course: she’s almost always the funniest thing on the episodes she appears on. But The Weekly, taken as a whole, clearly doesn’t work. It desperately needs to try new things. Hello Tom Gleeson.
Obviously there’s a few downsides to The Weekly’s willingness to try new things beyond giving Gleeson loads of air time: for one, a lot of this season seems to have been experimenting with the idea of having everyone act even smugger than usual, which is not a good look for a show with very little to be smug about. Worse, this willingness doesn’t go right down to the level where it would really make a difference: the comedy.
All too often on The Weekly the packaging is slightly different but the actual laugh-generating material remains the same: straight news delivered with smarm, followed by “check out this hilarious clip we got from breakfast television / pay TV”, followed by Tom Gleeson treating people like shit. Remember when we said Tom Gleeson was willing to try new things? What we meant to say was that he’s willing to do the exact same thing in a different setting. What is Go Away really but Hard Chat except he’s insulting regular people? Which is also Hard Quiz the game show. Can’t wait to see what he’ll do next!
If all Gleeson can do as a comedian is treat people like shit – seriously, point out something he’s done in the last five years that hasn’t been based on this dull as fuck idea – then the only way to keep it fresh is to keep putting him in new situations. Hard Chat worked briefly because it was him doing his usual crap in a different setting; same with Go Away. So keep finding different settings!
(of course, that costs money, so… no)
There’s a bunch of reasons why The Weekly has never settled into a comfortable rut. Going viral never really happened. Most of the early big plans never happened. But a big, big part of it is that it’s a show built around months and months of the same three people who just keep on doing the same thing. The few times The Weekly has worked have almost always been when they’ve found a new spin to put on things: remember when Pickering went out to interview Sam Neil at his farm? But they never seem to find enough new angles for the same old cast, and so they keep being dragged back to the same old place.
If someone ever put together a “best of breakfast television” weekly clip package they’d all be out of a job.
Adelaide’s the kind of place a lot of young people move away from as soon as they can, gleefully embracing the wider range of opportunities in cities on the east coast or overseas, and only coming back when they really have to. Returning to Adelaide – or any other small-town type of place – after months or years away, isn’t easy. Fucking Adelaide (a six-part series now on iView) captures the hilarity, pain and sheer frustration of it incredibly well.
Sydney-based Eli loses his job, his boyfriend and his place to crash in the space of about an hour, only to be saved by a phone call from his Mum, Maude, summoning him back to Adelaide on important family business. There he finds older sister Emma, who’s come back from Thailand with her husband Toby and daughter Cleo, and younger sister Kitty, who never left home.
At first, there are knowing laughs: “Adelaide’s really changed since you left” insists Kitty, enthusing about inner-city Peel Street which has places “just like Melbourne” now. Then there’s the inevitable moment where Eli and Kitty have awkward run-ins with an acquaintance of an acquaintance, the sort of person they’d never see again in a larger city (“Fucking Adelaide!” they sigh). Finally, there’s the dredging-up of painful memories that are inevitable when you’re surrounded by the echoes of childhood. We learn why Emma and Eli left home, why Kitty’s a scatty dreamer, why the family sometimes struggle to interact and are quick to anger, and why Maude has summoned them all back.
Anything a family represses will one day come back to smack it in the head, and Maude’s big secret about her violent and emotionally abusive ex-husband Geoff is one hell of a smack in the head. It almost tears the family apart, then it brings them all back together in a way they never expected.
Smarter and better written than a lot of TV dramas, Fucking Adelaide doesn’t just get the drama right it also does the comedy bits really well. The comic moments are genuinely funny (especially if you’re from Adelaide) and they don’t detract from the drama at all. And unusually for Australian TV, this has theatre- or literary novel-level characterisation and depth of characterisation, all brought together by a top-notch cast including Pamela Rabe, Kate Box and Geoff Morrell.
If you often wonder where dramedies (or comedies that end up being dramedies because they’re so unfunny) are going wrong, check out Fucking Adelaide, because it gets it right. But don’t just take our word for it, we heard it from a guy in a café in Rundle Street whose sister one of us went to school with. How fucking Adelaide.
So what’s all this then?
Comedy Friends: At Tonightly, we're looking for good new comedy voices to contribute to our show. If you think you are one, or know one DM me your email address. #tonightly #contributors pic.twitter.com/IUXrZhpGqu
— Dan Ilic (@danilic) May 31, 2018
It’s safe to say it’s a little… unusual… for an Australian comedy show to put out an open call for writers and performers, especially a show that’s already been on the air for a fair while without coming apart at the seams.
The obvious answer is that they want to bring in some fresh voices, but hasn’t the ABC been running competitions year-round looking for those? Wanting to add a greater range of diverse voices would also be a good thing, but from what we’ve seen the Tonightly team was already pretty diverse (at least by Australian television standards). Always room to improve there of course, and Ilic seems to be looking around in a variety of directions:
Hello…. I'm looking for Australian podcasts made by POC that aren't published by main stream media.🎙️
— Dan Ilic (@danilic) May 29, 2018
This kind of call-out for new voices does also raise questions about the situation of the current team. You don’t usually bring on new people unless you need to replace old people. With Dan Ilic only recently stepping into the executive producer’s shoes, it’d be interesting to know if he’s actively replacing people or just looking to broaden the writing staff.
Also: in the comments Ilic says he’s looking for people to put together “packages” – that’d be sketches to us old-timers – which suggests he’s more after people doing stand alone segments than coming on board as part of the core team. But who knows? Advertising for a position on Twitter is not yet an exact science.
What is an exact science is making a comedy show work, because the way you do that with a show like Tonightly is to have a tight-knit core of writers working together developing a shared approach to what the show is. Which is what we assumed they already had. And which isn’t something you create by hiring new staff off Twitter.
Anyone out there know what’s really going on?
Press release time!
Tonightly with Tom Ballard is back!
After a short, definitely-not-government-mandated hiatus, Tonightly with Tom Ballard is back from Monday June 18 at the new time of 9.30pm on ABC COMEDY and ABC iview.
The show’s first 100 episodes received record-breaking ratings* and overwhelming critical acclaim (“…on occasions the program is witty.” – Gerard Henderson, The Australian). Armed with the power of comedy news-making, the Tonightly team have solved a range of issues (same-sex marriage, Australia Day, Barnaby Joyce, etc, you’re welcome) and now they’re hungry for more. So hungry in fact that they’ve added rising star Nina Oyama (Utopia, The Angus Project) as an official Tonightly reporter alongside Bridie Connell, Greta Lee Jackson and Greg Larsen.
“I can’t BELIEVE we get to be back on air making dumb funnies about the dumb news,” said host Tom Ballard. “Seriously. With those budget cuts, I genuinely can’t believe this. I think it’s an admin error.”
“I’m excited to drive the Tonightly team to be the highest rated/only nightly comedy program on Australian TV,” said new show runner Dan Ilic when asked for a quote for this press release. “The first order of business is to commission the prop department to make a swear jar. That should provide us with a healthy budget for a third season.”
So, rejoice, Australia: as long as politicians continue to stretch the truth; as long as the internet remains a hellish toxic swamp, as long as the nice ladies in wardrobe keep providing a variety of wigs, and as long as the ABC still (technically) exists, you’ll have a place to go every night to see the daily happenings of the human race devastatingly lampooned.
Tonightly with Tom Ballard screens 9.30pm Monday to Friday on ABC COMEDY and ABC iview. A weekly podcast of the show is also available from the ABC listen app.*Fact check TBC
A): this isn’t exactly news. B): but it is good news. C): we’ll wait and see re: Dan Ilic.
And in news that’s a week old so it isn’t really news but we thought we’d mention it here anyway:
Hannah Gadsby is funny — but her new comedy special is going to leave viewers with a lot to unpack after the laughter.
After the success of her stage current stage show Nanette — in which she poignantly (and hilariously) tackles everything from feminism to homophobia to the #MeToo movement — the actress and stand-up comedian is releasing a Netflix comedy special of the same name at 3:01 a.m. ET on June 19, EW can exclusively reveal.
This show has been exceptionally well-reviewed world-wide, and as it’s Gadsby’s farewell to stand-up it’s probably not a bad idea to check it out in case she specifically blames Daryl Somers for why she’s moving on.
Okay, one of us saw it live. It’s highly recommended.
(no spoilers regarding Daryl Somers)
The nominations for this year’s Logies have been announced and we have a question: Where’s the Most Outstanding Comedy Program category gone?
Last year, and for several years previously, the Logies had two comedy categories: Best Entertainment Program, decided by a public vote and for which comedy shows were eligible, and Most Outstanding Comedy Program, decided by a panel of peers. Now, the Logies has dropped the Most Outstanding Comedy Program category and included a Most Popular Comedy Program, which will be decided by a public vote.
In one way this is a good thing – the Best Entertainment Program category was an odd one, which meant that shows as different as Family Feud and Upper Middle Bogan was competing against each other; it was a category that needed a re-think. But the loss of the Most Outstanding Comedy Program is something we should question.
Admittedly, we almost never agreed with the choice of the panel of peers – was Please Like Me really last year’s best comedy in a field that included both Mad As Hell and Upper Middle Bogan? But, historically, the Most Outstanding Comedy Program category has at least given the kind of shows that the public were never going to vote for some recognition at Australia’s biggest TV awards ceremony. Shaun Micallef’s Mad As Hell was deemed Most Outstanding Comedy in 2016, in 2015 it was Utopia – both good choices.
So what happens if the peers want to award an outstanding comedy program in the future? Does it get a nomination in the drama category? Or do outstanding comedy programs have to hope they’ll get an AACTA Best Television Comedy Series nomination (last year’s winner was Utopia)?
Meanwhile, here’s our list of comedy nominees in various categories. Which leads us to another question: what’s with the love for Rosehaven in the acting categories? And in what sense is Dilruk Jayasinha a newcomer?
MOST POPULAR ACTOR
Aaron Jeffery (Underbelly Files: Chopper, Nine Network)
Erik Thomson (800 Words, Channel 7)
Luke McGregor (Rosehaven, ABC)
Ray Meagher (Home And Away, Channel 7)
Rodger Corser (Doctor Doctor, Nine Network)
MOST POPULAR ACTRESS
Asher Keddie (Offspring, Network Ten)
Celia Pacquola (Rosehaven/Utopia, ABC)
Deborah Mailman (Cleverman, ABC)
Jessica Marais (Love Child, Nine Network; The Wrong Girl, Network Ten)
Julia Morris (House Husbands, Nine Network)
GRAHAM KENNEDY AWARD FOR MOST POPULAR NEW TALENT
Dilruk Jayasinha (CRAM!, Network Ten; Utopia, ABC)
Matty Johnson (The Living Room, Network Ten)
Sam Frost (Home And Away, Channel 7)
Sophia Forrest (Love Child, Nine Network)
Sophie Dillman (Home And Away, Channel 7)
MOST POPULAR ENTERTAINMENT PROGRAM
Anh’s Brush With Fame (ABC)
Family Feud (Network Ten)
Gogglebox Australia (Foxtel/Network Ten)
Hard Quiz (ABC)
The Project (Network Ten)
MOST POPULAR COMEDY PROGRAM
Have You Been Paying Attention? (Network Ten)
Here Come The Habibs (Nine Network)
Hughesy, We Have A Problem (Network Ten)
Shaun Micallef’s Mad As Hell (ABC)
True Story With Hamish & Andy (Nine Network)
As for a prediction for who’ll win the popular vote for Most Popular Comedy Program? Our money’s on Have You Been Paying Attention? even if our heart says Shaun Micallef’s Mad As Hell. (Or the would-have-been-nominated-for-Most-Outstanding-Comedy-Program-if-the-category-still-existed Get Krack!n.)
There’s nothing necessarily wrong with a show that’s just a jumble of unrelated parts, but there is definitely something wrong with The Weekly. No, we’re not talking about the way its listed as a comedy yet features straight news segments asking why isn’t dentistry covered by Medicare (hilarious!), or the fact it was allowed to go to air this week without Kitty Flanagan, AKA the only part of the show worth watching. We’re talking about interviews.
Everybody knows the celebrity interview is bogus. It’s an act: the guest has something to sell, the host needs to fill time, and the funnier and more entertaining the end result the further it’s gotten from the truth. Which is fine, because entertainment is what the celebrity interview is all about. But you have to decide up front what kind of entertainment you’re going to provide.
Each week The Weekly provides viewers with two diametrically opposed forms of celebrity interview. Charlie Pickering usually does the “straight” interview, where he plays nice with the guest and in return the guest gives lengthy, seemingly open replies to his softball questions. It’s cuddly, pointless TV: even when the topics are difficult, the interviews themselves never are. As for finding out anything exciting or new… you’re watching The Weekly; get outta here.
Then The Weekly serves up Tom Gleeson’s segment Hard Chat, in which he asks supposedly difficult questions and milks it for all the awkwardness he can. This week’s installment with Andrew Denton – there to promote his own interview show – was the kind of edgy television that seems edgy right up until the moment you actually think about it. Asking Denton about getting Rolf Harris to sing Stairway to Heaven? Reminding him of Randling? Suggesting he tries to make people cry on his interview shows? Does anyone really think this was the first time in his life that Denton was asked about this kind of thing?
But Hard Chat – a one joke segment that stopped being funny two seasons ago – does serve one minor purpose: it points out how tame and ineffectual Charlie Pickering’s interviews are. Hard Chat isn’t edgy television designed to make us squirm: more often than not it’s the bare minimum a legitimate interviewer should do. Denton trying to make guests cry has been a running joke for a decade – any serious interview with him about his current show should cover that area, and the fact that kind of question is shunted off into a joke segment shows just how pointless and soft most “serious” celebrity interviews are.
Boring interviews are as much a part of television as hair spray so we’re not blaming The Weekly for that. But when you run a soft puff piece interview back-to-back with a segment making fun of soft puff piece interviews, there’s something wrong with your show. What, holding up a sign that says “this segment is bullshit” during the interview was too difficult?
You could perhaps argue that this is what internet-era television looks like: discrete segments that bear no relation to each other aimed at an audience savvy enough to accept this disconnect as the equivalent of scrolling through Facebook. Or you could argue it’s the result of a sloppy, slap-dash show latching onto literally anything that seems even slightly entertaining and throwing it all at the wall to see what sticks.
You don’t need us to say which side we’re on, do you?
Well, our worst fears came to pass: despite starting at 7.30, Talkin’ ’bout Your Generation ran just long enough to overlap with the start of Have You Been Paying Attention?. Comedy fan crisis! Fortunately TAYG is being repeated this Wednesday night (weird that HYBPA? is currently one and done screening-wise though), plus there’s all the various online catch-up services that may or may not work depending on the mood at the network.
And the show itself? As host Shaun Micallef pointed out, Nine wanted back the exact same show that aired on Ten almost a decade ago – only with a different logo, different opening, different set, different team captains… and maybe different host, lets wait and see on that last one. So despite a lot of the core elements remaining consistent with the previous version (same producers, same host, same writers), this definitely felt a little like a show finding its feet.
Back when TAYG began on Ten, there was a mildly spirited discussion around the comedy traps as to whether we should be a): glad to have Micallef on our televisions in any form, or b): annoyed that Micallef was wasting his time on an otherwise fairly average comedy game show. As the show became wackier over the years, the b): fell away a little, but there was always the sense that out of all the things Micallef could be doing with his time, hosting a game show wasn’t the top of the list.
So not bursting out the gate like a maniac was a bit of a problem with this revival, because TAYG is a pretty basic gameshow at its core and what made it work the first time around was that the creative side of things were confident enough to go very big and very crazy. So a version of TAYG that’s playing things relatively restrained is not the best TAYG.
Yes, this episode did feature Robyn Butler licking a window blindfolded while revealing that the most exciting letter to lick is “G” and the whole thing wrapped up with a tractor cleaning contest that largely featured Andy Lee throwing eggs, but compared to the Golden Age TAYG things were barely rolling downhill.
Obviously there’s some bedding in to take place. The original TAYG had a surprisingly strong dynamic between Micallef and the team captains – strong enough to give both Josh Thomas and Charlie Pickering substantial career boosts, which is even more impressive considering we’re talking about Charlie Pickering and Josh Thomas. And this version has a stronger foundation: Robyn Butler and Andy Lee are both proven comedy quantities who’ve worked with Micallef before, while Gen Z captain Lawrence Boxhall will presumably be ruthlessly mocked for being an infant just as soon as is reasonably possible.
On the plus side, the show does have (in common with HYBPA?) the feeling that pretty much everyone involved is having a fair amount of fun. Micallef himself has sharpened his skills as a host after all that work in front of the live Mad as Hell audience, so there’s more going on than just fake keyboard skills and answering fake phone calls from Eddie McGuire.
And to be fair, coming down more on the side of the basic quiz stuff was probably a good move for the first episode back after an extremely long break; we might have wanted it to be zany right from minute one but throwing in a few basic quizzes based on pop culture history first didn’t really hurt.
The thing with TAYG is that it’s always a bit of a high-wire act. Unlike HYBPA?, which really just needs a group of funny people to get comfortable shouting out news-related quips, it’s a show that has a lot more moving parts. It took a fair while on Ten before it really became something special, and this run doesn’t have that long to get up to speed. It’s still a fun show and Micallef is a great host, but when you’re up against Have You Been Paying Attention? fun alone isn’t enough.
On the surface, Corey White’s Roadmap to Paradise looks like another of those shows, in the tradition of John Safran, which uses comedy to make a point. Except it isn’t; Corey White takes a different approach. He’s got actual solutions to some of the most pressing problems facing our society – the state of democracy, excessive capitalism, affordable housing – solutions which could really make a difference. He wants to make us laugh too, and he succeeds, but mainly he’s making a point.
This approach feels very timely. The 90s/00s attitude of giving it to all sides because they’re all dreadful, and not taking a firm stand on any serious political issues, has clearly got us nowhere. Also – and we’re about to say something we don’t often say here – sometimes comedians have to be serious about things to be effective. Sometimes, going for laughs would ruin the show.
When White’s talking about the problems he sees in our society and his solutions to them, the absolute worst thing he could do is chuck in some zingers in the middle of his argument. Instead, he lays out the facts as he sees them, trusts the audience to go with him, but, equally, isn’t afraid to throw in a few irreverent laughs when they won’t detract from what he’s saying.
Corey White is a comedian who really understands how and when to use different tones. And Roadmap to Paradise is a show worth watching, with arguments worth thinking about, even if you don’t necessarily agree with them.
It’s a shame The Weekly with Charlie Pickering can’t get the balance as right as Corey White (or even Tonightly with Tom Ballard) does. Serious points plus silly gags works well, serious points plus smug self-righteousness less so. Or, to put it another way, Corey White (and Tom Ballard) are playing low status and punching up or speaking truth to power, while Charlie Pickering’s playing high status and telling us all what to think and do. We all know by now which is funnier.
What’s going to be interesting with Corey White’s Roadmap to Paradise though, is later episodes in the series when White talks about problems he has personal experience of – domestic violence and foster care. These episodes are likely to be even less about laughs and more focused on solving the problems. But then, as we said, laughs aren’t the point here.