When even the Herald-Sun’s pointing out there’s only one woman nominated for a Gold Logie this year, you know there’s a problem with Australian television.
JESSICA Marais has earned applause for playing ground-breaking women in two roles across two TV networks — now she’s about to star in a new Logies controversy, as the only woman to be nominated for Gold.
The Wrong Girl and Love Child leading lady is up for the most popular TV personality gong against last year’s winner, Waleed Aly, his colleague on The Project, Peter Helliar, Family Feud presenter Grant Denyer, Doctor Doctor actor Rodger Corser, and Molly telemovie star Samuel Johnson.
Well done also to the only non-white Gold Logie nominee this year, Waleed Aly, who unlike Jessica Marais at least didn’t have to pose sexily in a revealing outfit in the group photo (or possibly Photoshop).
Sadly, none of this is terribly surprising. Australian TV has been white and male for… ever, and change is taking a long time.
Also, Peter Helliar? He’s in the top 6 of anything? Guess that kind of twisted thinking explains some of the other nominations…
Best Entertainment Program
Anh’s Brush With Fame
Family Feud
Have You Been Paying Attention?
The Voice Australia
Upper Middle Bogan
Yes, that’s right, comedy panels and sitcoms are exactly the same as game shows and reality programs. Are we sure this wasn’t the Best Random Other Stuff category?
Still, there’s always the industry-nominated categories…
Most Outstanding Entertainment Program
Anh’s Brush With Fame
Gruen
Have You Been Paying Attention?
The Voice Australia
The Weekly with Charlie Pickering
Most Outstanding Comedy Program
Black Comedy
Please Like Me
Rosehaven
Shaun Micallef’s Mad As Hell
Upper Middle Bogan
That’s more like it. If only because someone in the industry has realised that The Weekly with Charlie Pickering isn’t an Outstanding Comedy Program.
Sure, you can quibble with Anh’s Brush With Fame, Gruen and The Weekly being described as “entertainment”, but for once the comedy nominations don’t stink to high heaven.
Black Comedy? A solid sketch show with some good laughs in it.
Please Like Me? We hated it, and no one watched it, but the industry liked it so it was always going to be nominated here.
Rosehaven? A decent sitcom with potential.
Shaun Micallef’s Mad As Hell? Should win. In all categories. For everything.
Upper Middle Bogan? Again, a decent sitcom. And a worthy nominee.
What these nominations do highlight, though, is how little actual comedy gets made these days. Because apart from maybe The Chaser’s Election Desk, and various short-form satire shows (Clarke & Dawe, Sammy J’s Playground Politics) and pilots (Ronny Chieng International Student) there were no other comedies made last year worth nominating.
Which, in theory, means an easy win for Mad As Hell, but with the industry so in love with Please Like Me, it wouldn’t surprise us if that won instead.
So yesterday on Twitter this happened:
Love 2 signal boost enormous racists forspicy memes https://t.co/Q5VcxR5MGY
— Ben Jenkins (@bencjenkins) March 24, 2017
Which got this reply:
@bencjenkins might be hard ben, but listen to the podcast first
— Mark Di Stefano (@MarkDiStef) March 24, 2017
Cue this snappy comeback:
@MarkDiStef pic.twitter.com/Z7ioDJ1qkw
— Ben Jenkins (@bencjenkins) March 24, 2017
Followed by this devastating finishing move:
@bencjenkins pic.twitter.com/ldx9fB2bmC
— Mark Di Stefano (@MarkDiStef) March 24, 2017
And that, as they say, was that.
Ben Jenkins, in case you don’t know, is about as core a member of The Chaser as you can get outside of the core members, having worked with them on pretty much everything since The Hamster Wheel. Remember all those times we said having politicians on a political comedy show pretty much puts your political comedy show on the side of the politicians? Yeah, this is yet another drawback to having politicians on: even if Jenkins had a good point, The Chaser – which includes Jenkins – have zero credibility in this area.
In the world of politics, of course, this kind of thing is hardly a fatal blow. There are loads of excuses that can be made for doing something in the past that you now find offensive. It’s even possible to imagine – if you think really hard – a world where simply pointing out something dodgy would lead to a discussion focused solely on that dodgy thing and not the errors of the past. But despite The Chaser’s increasing interest in moving among the power brokers of society as equals –
The Sydney Town Hall was a little off kilter on this balmy spring night. The formal table settings and black ties were as might be expected of the venue, as was the diverse list of guests, including former NSW premier Kristina Keneally, former federal cabinet minister Craig Emerson, Human Rights Commissioner Ed Santow, 2GB drive host Ben Fordham, ABC News boss Gaven Morris, and authors Anna Funder and Peter FitzSimons, the latter head of the Australian Republican Movement. Yet table numbers had to be deduced from not-always-simple maths formulae; fortune cookies contained risqué notes; and the program promised a menu including a “roulade of road kill (possum, skunk, the weak) fresh baked in a trash can set on fire by a man in a Bernie Sanders T-shirt muttering about Michigan”.
Welcome to the 2016 Sesquicentennial Inaugural Chaser Lecture and Dinner, starring pioneering Indonesian female stand-up comedian Sakdiyah Ma’ruf and designed to raise money for Article 19, a freedom of expression human rights organisation. The top sale in the auction was $3000, paid for “A Deeply Stressful Personal Interview with Sarah Ferguson [the ABC 4 Corners host]”. The opportunity to “Throw the Complete Works of Peter FitzSimons at Peter FitzSimons” went for $1100.
In two years, the loose piss-take of the ABC’s annual Andrew Olle Media Lecture has become more than just another undergraduate stunt hosted by the Chaser boys. They protest that their success, nay very commercial existence, is a little tenuous. But the Sesquicentennial event suggests otherwise. Both established and emerging companies buy tables, sponsors include Commonwealth Bank and Media Super, and tickets cost double those for the Olle lecture. The Chaser’s Craig Reucassel avers “not quite all of them paid” but even so, it’s an impressive sign of acceptance by the top end of town.
“The Chaser might say it’s all not so serious, but the establishment is here,” notes one attendee.
– the fact remains that their business empire is built on comedy. And their past behaviour means that as political satirists these days they’re nothing but a joke.
Watching Australian television comedy is a thankless task, or it would be if there was any fucking Australian television comedy to watch. Aside from two minutes of Clarke & Dawe actually being funny, what is there? Remember when performing stand-up was a path to getting on television? Seems it still is, only the “path” is now just “let’s just film your stand-up show”.
“But what about The Weekly,” some random idiot just shouted from a speeding car, “that’s the ABC’s comedy flagship, isn’t it?” Newsflash: if that’s the flagship, then the fleet has sunk with all hands then sharks ate the survivors, because… okay, yes, we watched it again this week and so here goes:
Briggswatch! No sign of him. He’s basically left the show. Wonder what happened there.
Tom Gleeson: still on, still not funny. Hard Chat? More like Fresh Scat. Consider that our application to The Weekly‘s writer’s room. More like bathroom!
Kitty Flanagan: she’s back! We’re not sure whether to applaud her efforts to make this show watchable or decry her as a willing member of a brutal regime.
Everything else: Jesus Christ, this is depressing. Even with a third of the show taken up with interviews and Flanagan presumably off doing her own thing, how hard is it to come up with ten minutes of news-based comedy a week? Oh wait, considering how much of this show is nothing more than showing news clips while Pickering explains the context, we’re probably looking at closer to five minutes of actual comedy required each week. So with ten or so listed writers each week, that’s thirty seconds of comedy per writer. This show is ten writers each giving us the funniest thirty seconds of comedy they can muster. Really makes you think. Mostly about Centerlink.
C’mon people, are we going to have to start covering The Feed? The Project? That one time they put on a comedy segment on 7.30? The whole idea behind news comedy is that you make comedy out of the news, not report the news in a sarcastic voice.
A recent article in the Fairfax press claimed:
all jokes aside, comedy at the moment has a very powerful role as a filter for the constant onslaught of outrage perpetrated through social and traditional media across both sides of the political spectrum. Is comedy more important than ever?
Geez, how we laughed. Seriously, just look at the amount of comedy out there on our television screens: “fuck-all” barely begins to describe it. While it might seem exciting for those working in the media to claim a new relevancy thanks to a few people overseas cracking jokes about their shithouse leaders, in Australia the only way comedy could be less important would be if they figured out a way to bring Daryl Somers back.
Week in week out The Weekly – currently, let us remind you, the national broadcaster’s ONLY locally-made stand-alone comedy program – goes out of its way to prove comedy is totally irrelevant to Australian society. Breathtakingly superficial on every level, hosted by a spiv you wouldn’t let in the door if he was carrying a giant novelty check worth $80 grand, firmly committed to stirring up zero outrage about any issue unless social media – SOCIAL MEDIA FOR FUCK’S SAKE – has pre-approved it, and most importantly of all utterly unfunny, The Weekly is a weekly rebuttal to the idea that comedy deserves any place in society whatsoever.
Good thing the only thing anyone cares about in this godforsaken country is sport, right?
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“Hello and welcome to The Weekly – like us on Facebook, follow us on Twitter or correspond with us by fax, we’re not really that picky”. Has there ever been a more dispiriting introduction to an Australian comedy show? Even Please Like Me gave you the option of reading the title ironically: this is just... Read More »
Does broadcast TV have a future beyond the things that only it can do best: news, live coverage of sport and big budget “event TV”? With Netflix, Amazon, Stan and other streaming services offering drama, documentary, and films to watch anytime you want, should broadcasters like the ABC even bother? When it comes to comedy,... Read More »