satire
7 Tells Lehrmann You’re Off The Bachelor And Heading To SAS Australia
Channel 7 has taken a break from surfing the dark net for sex and drugs to call their favourite son, Bruce Lehrmann, to tell him he won’t be on this year’s Bachelor program but instead will be on SAS Australia.
”When we signed up Bruce we thought he would be a big star, interviews, the Bachelor, heck ,maybe even the new host of Carols by Candlelight.” said a Channel 7 Executive. ”But, you know the public hasn’t warmed to him as we expected so maybe a stint on SAS Australia will help.”
”Ant will help lil” Brucey tow the line, as opposed to snorting it.”
When asked why the network was investing so much in such a flawed individual, the Channel Seven executive said: ”He’s not that flawed, I mean he’s no Andrew O’Keefe.”
”Look, someone has to look out for lil’ Brucey, he’s just a man who went back to the office late at night to drink some scotch, do a little work and well things went a bit awry.”
”Anyway, if you’ll excuse me, we’re trying to land an exclusive interview with Bluey, don’t suppose you know where I can grab some Scooby snacks?”
Mark Williamson
@MWChatShow
You can follow The (un)Australian on twitter @TheUnOz or like us on Facebook https://www.facebook.com/theunoz.
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”What Do You Mean School Holidays Is Still 2 Week’s Off!” Scream Nation’s Teachers
Australian school teachers have let out a collective scream, upon the realisation that the World’s longest term still has a week and a half to go.
”Oh, dear God please end this term,” cried Launceston Primary school teacher Mary Chalk. ”The kids are ratty, they’re all sugared up from Easter and quite frankly I’m not paid enough for this.”
”An 11 week term! What genius thought this one up.”
It’s not just Teachers upset, parents aren’t happy with school holidays and Easter not lining up this year as well.
”Bloody bureaucrats, don’t they realise that a lot of people just go away for the whole Easter/school holidays.” said Father of two Ivar Jeep. ”I mean, this weekend we only got a couple of days down at the shack, wasn’t even worth bringing down the boat.”
”And we’ve gotta do it all again in two weeks time.”
”Should’ve just left the boat there.”
The education department could not be reached for comment, they were already on holidays.
Mark Williamson
@MWChatShow
You can follow The (un)Australian on twitter @TheUnOz or like us on Facebook https://www.facebook.com/theunoz.
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Katie Britt Wants You to Be Afraid — It’s the Fuel That Feeds Conservative Power
Last week, Katie Britt, one of Alabama’s two Christian nationalist senators, provided a now-notorious rebuttal...
The Revolution Will Be Hilarious: Comedy for Social Change and Civic Power – review
Caty Borum‘s The Revolution Will Be Hilarious: Comedy for Social Change and Civic Power considers how comedy intersects with activism and drives social change. Borum’s accessible text draws from case studies and personal experience to demonstrate how comedy can successfully challenge norms, amplify marginalised voices and foster dialogue on issues from racism to climate change, writes Christine Sweeney.
Can you teach comedy? Can a sense of humour, charisma, delivery, stage presence and timing be learned? Comedy programmes popping up in universities across the world would say, “Yes, yes it can”. If the question is, “can you teach comedy as a tool for social change and civic power?”, Caty Borum has an entire book which aims to provide an answer.
The Revolution Will Be Hilarious: Comedy for Social Change and Civic Power by Caty Borum explores the intersection of comedy and social activism, delving into the question of whether comedy can be taught and used as a tool for social change. Borum discusses the role of creativity, cultural power, and participatory media in driving social change and how postmillennial social-justice organisations collaborate with comedians. Serving as a follow-up to Borum’s work co-written with Lauren Feldman in 2020, A Comedian and an Activist Walk into a Bar: The Serious Role of Comedy in Social Justice, this new book is a how-to manual with case studies on integrating comedy into social justice efforts.
[The] book is a how-to manual with case studies on integrating comedy into social justice efforts.
Borum reflects on her own comedy career, drawing from experiences working with sitcom legend Norman Lear on get-out-the-vote campaigns in the late ’90s and early 2000s like Declare Yourself. While these campaigns engaged young people and demonstrated the power of comedic efforts, Borum notes that the impact on electoral outcomes was limited. Though 2004 saw the largest turnout (nearly 50 per cent) of voters aged between 18 and 24, that demographic still accounted for just 17 per cent of the total voter population, and Bush beat his democratic rival John Kerry to secure a second term.
Although mobilising the public through comedy for direct political action may be too great an ask, Borum emphasises comedy’s narrative power in shaping public understanding and influencing cultural attitudes. The book explores the evolution of comedy in the participatory media age, especially its increased visibility during the pandemic and its role in challenging societal norms. The rise of independently produced content on social media has challenged the authority of networks and studios, boosting the democratisation and creative agency of comedy “content”. Though Borum acknowledges the benefits of social media for amplifying marginalised creators, she falls short of critically examining its impact on mental health, the spread of misinformation and biased algorithms. Despite this, she underscores comedy’s potential as a cultural intervention empowered by the participatory networked media age.
Positive deviance, according to Borum, is the quiet power of comedy that journalism lacks.
The book discusses the comedic response to political events, particularly the rise of Donald Trump, positioning comedy as a force for social change by offering fresh ways of undermining the status quo. According to Borum, comedians say what journalists cannot, thinking of Michelle Wolf, who at the 2018 White House Correspondents dinner pointed out the mutually beneficial cycle of journalists covering then-President Trump’s near-constant news feed. Positive deviance, according to Borum, is the quiet power of comedy that journalism lacks.
Comedy also serves as a creative space for marginalised voices, providing an alternative narrative and critique that traditional journalism may lack. Borum highlights the importance of optimism in comedy. Comedy provides a space for an alternate reality, for example the TV series Schitt’s Creek portrays a world where the LGBTQ community is fully accepted. In this sense, optimism can be a survival tactic. As Borum suggests,
[C]omedy as a force for social justice breaks down social barriers and opens space to discuss taboo topics; persuades because it is entertaining and makes us feel activating emotions of hope and optimism; serves as a mechanism for traditionally marginalized people to assert and celebrate cultural citizenship through media representation; acts as both social critique and civic imagination to envision a better world; and builds resilience to help power continued struggle against oppression.
Borum provides an in-depth, well-researched review of cultural entertainment activists, tracking the power of the entertainment industry to affect how people feel. “Pioneering cultural entertainment activists pushed for ‘mainstreaming’ oppressed people – including and normalizing their lives and lived experiences in entertainment.”
The book is something of a documented workshop, drawing from the experiences and insights of leaders across social justice activism and comedy to emphasise the power of media.
The book is something of a documented workshop, drawing from the experiences and insights of leaders across social justice activism and comedy to emphasise the power of media. Its instructive aspect lies in Borum’s description of running comedy workshops and writers’ rooms, offering a practical guide for both comedians and social activists. These collaborative spaces aim to translate key messages into comedy routines through storytelling, making complex issues more accessible. The author uses climate change and the opioid epidemic as examples, demonstrating how comedy can humanise and mobilise audiences to address pressing challenges.
Borum examines a case study of youth political activist group Hip Hop Caucus which aims to communicate a basic awareness of climate change to Black, Indigenous, and other People of Colour, who are the most affected by, and yet contribute the least to, climate change in the US (and globally). Even if this comedy work may not reach the oil companies responsible for the brunt of climate change, it serves to educate and mobilise audiences. In this sense, the messaging of the book goes, culture is important because it is the mechanism by which we relate to each other. Although it’s hard to demonstrate the material impact of comedy and the entertainment industry overall on political dynamics, communicating the mechanisms translating individual experiences in collective narrative storytelling to foster understanding and support is convincing.
Culture is important because it is the mechanism by which we relate to each other.
The Revolution Will Be Hilarious emphasises the power of comedy as a force for social justice and provides practical insights into its integration with activism. She effectively shows how collaboration between the two has the power to start meaningful conversations around racism, climate change, economic disenfranchisement, addiction and more. Borum’s work serves as a valuable guide for media and communication theorists, entertainment industry professionals, social activists, and comedians, showcasing the potential of collaboration between comedy and activism in sparking meaningful conversations on various societal issues.
This post gives the views of the author, and not the position of the LSE Review of Books blog, or of the London School of Economics and Political Science.
Image Credit: Paul Craft on Shutterstock.
Stay-At-Home Barnaby Calls For A Royal Commission Into Daytime TV
The Coalition’s shadow minister for home affairs, Barnaby Joyce, is away from Parliament on ”sick leave” this week and has taken the opportunity to call for a Royal Commission into day time television.
”It’s a bloody debacle, morning show, shopping networks and bloody cartoons,” despaired the member for New England. ”Bluey isn’t even on until the evening.”
”Where’s the midday movie gone?”
When asked why if he was on ”sick leave” did he appear on Channel 7’s Sunrise program, the member for New England said: ”That’s not really work, it’s just me shouting at Tanya.”
”Besides, if I don’t appear who will they get, Angus? Littleproud, please.”
”Anyway, gotta be off, the community nurse will be here soon to give me my sponge bath.”
Mark Williamson
@MWChatShow
You can follow The (un)Australian on twitter @TheUnOz or like us on Facebook https://www.facebook.com/theunoz.
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Barnaby Blames Wind Farms For Canberra’s Increased Horniness
The Opposition’s shadow minister for home and foreign affairs, Barnaby Joyce, has blamed the prevalence of wind farms in the vicinity of Canberra for the territories increased level of horniness.
”Before all these windfarms, I was a happily married man and Christian Porter was still in Canberra,” said the member for New England. ”These giant erections bursting from the ground and reaching for the sky have to be stopped.”
”Look around the World, no one is horny who lives in the vicinity of a nuclear reactor.”
When asked why he was seemingly channeling Don Quixote as part of his one man war on windfarms, Mr Joyce said: ”I am sick and tired of the Government telling me what to do.”
”It was bad enough that when I was in Government that they told me I couldn’t bonk anymore.”
”Now, if you’ll excuse me, I’m off to be a guest speaker at a function for a bunch of cookers who’ve set up camp at the McDonalds down the road from the Governor Generals place.”
Mark Williamson
@MWChatShow
You can follow The (un)Australian on twitter @TheUnOz or like us on Facebook https://www.facebook.com/theunoz.
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Barnaby Calls For A National Apology To Victims Of The Bonk Ban
The Opposition’s shadow minister for home and foreign affairs, Barnaby Joyce, has demanded the Government issue a National apology to victims of the previous Government’s bonk ban.
”A lot of lives were ruined due to the ill-thought through bonk ban,” said the member for New England. ”I mean how many lonely nights were members of parliament forced to endure due to it’s cruelty.”
”All well and good for those techy types who can figure out Tinder and all those swipey dating apps.”
When asked if he seriously was calling for an apology over the bonk ban, the opposition’s shadow minister for home and foreign affairs said: ”Of course I want an apology and some compensation as well.”
”Do you know how much cash I burnt through on hand cream alone?”
”Anyway, Albo, do the right thing, make things right, so I don’t have to learn how to swipe.”
Mark Williamson
@MWChatShow
You can follow The (un)Australian on twitter @TheUnOz or like us on Facebook https://www.facebook.com/theunoz.
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Donald Dutton Warns Australia To Be Wary Of Taylor Swift
Australian Opposition leader, Donald Dutton, has warned the nation to be wary of American singer Taylor Swift, after Donald’s news station of choice, Sky News Australia, ran a story on the singer somehow being linked to a plot to destroy Donald Trump.
”I’m always wary of any celebrity that comes out here and draws a crowd but does not pay tribute to the Nation’s traditional owners, Rupert and Gina,” said Opposition leader Dutton. ”Who is this Taylor Swift person?”
”What does she stand for? I need more details.”
When asked if he was serious about believing a tin-foil hat conspiracy about Taylor Swift, Donald Dutton said: ”I take everything Sky News Australia says seriously, as do their other 5 viewers.”
”People are always so quick to attack fine news sources like Sky News Australia with accusations like, where’s the proof, that doesn’t make sense and isn’t that slander?”
”Not me though, when Sky says jump I say who do I land on?”
Mark Williamson
@MWChatShow
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Barnaby Joyce To Appear On ‘Who Do You Think You Are’ In An Effort To Track Down His Roots
The Opposition’s shadow minister for home and foreign affairs, Barnaby Joyce, is set to appear on the SBS show Who Do You Think You Are, in an effort to track down his roots.
”As you get older you tend to get a bit wistful and nostalgic for past encounters,” said the member for New England. ”You wonder what happened to your old high school crush, or that girl you met in the copy room.”
”Sure, some of them get in contact with you with paternity suits and the whatnot, but not all of them.”
When asked how many little Barnaby Joyce’s could be out there, the shadow minister for home and foreign affairs said: ”Ah, who knows, no one cares, well the media do and I guess my current squeeze probably does, but besides that.”
”Anyway, we should be more focused on the cost of living with Albo. He lied you know.”
”Last time I lied it was front page news and I lost my house.”
”Well, got to be off, I saw some good sorts down at the parliament house canteen, must go down and press the flesh so to speak.”
Mark Williamson
@MWChatShow
You can follow The (un)Australian on twitter @TheUnOz or like us on Facebook https://www.facebook.com/theunoz.
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‘As Soon As Comedy Feels Controlled, It Loses Its Power’: The Comedians Afraid of Lawyers
Just the idea of having lawyers pre-approve her jokes makes comedian Rosie Holt break out in a cold sweat. It’s understandable. As Holt says, “intimidation is like poison to comedy” – and legal threats are a particularly insidious form of intimidation.
“You never see them, the public never knows about them, and yet few threats are as powerful as the threat of losing all your money in a lawsuit.”
Holt is writing in the new issue of Index on Censorship, alongside her brother Charlie, a lawyer. The magazine highlights the myriad threats comedians face, from arrests in Uganda, China, Vietnam and Belarus; to comedians being killed at the hands of the Taliban in Afghanistan.
The risks of a good roast landing badly – usually invoking the charge 'offence’ – are high, something we knew when we started to commission this edition. But what we didn’t expect was that some of these risks would come via lawyers. And yet there they were, lawyers, at the centre of several pieces.
In India, for example, Prime Minister Narendra Modi and others within the political establishment appear unable to take a joke, so stand-up comedians are showing scripts to lawyers before performing. “What does it take to be a stand-up comedian?" comedian Neeti Palta mused. "Quick wit, quicker legs and a lawyer on speed dial.”
The UK’s comedians do not have lawyers on speed dial (that we heard of at least). Still, fear of legal repercussions is alarmingly close.
Just say the name Louise Reay to anyone in the UK’s comedic scene and watch their reaction. In 2018, Reay mentioned her estranged husband in a show at the Edinburgh Fringe. She was then sued by him for defamation, breach of privacy, and data protection to the sum of £30,000 plus legal costs. Before the case came to an end – he dropped the charges – comedians throughout the UK were rattled.
The case "raised serious concerns about the perils of drawing on individual experience for artistic purposes,” Andrew Doyle observed. For David Baddiel, “it would be a pity if the outcome... meant that comedians’ versions of their histories would have to be constantly checked by lawyers before they could be told on stage”. Sofie Hagen confessed to legal concerns ahead of the show Dead Baby Frog, which was about her abusive grandfather.
Even in the absence of a courtroom drama, what Reay’s case highlighted was that the supposedly sacred, safe space of a dim room serving cheap drinks to a chortling crowd was not, in fact, quite so sacred or safe.
Reay’s case was personal and some may dismiss it as irrelevant to other comedians. Except comedy is often deeply personal. Mining one’s own experiences and repackaging them for comedic effect is standard practise.
Doyle has described comedians as “parasites”. "If you choose to associate with us, don’t be surprised if some of your more egregious behaviour ends up forming the basis of a routine,” he wrote as he imagined a scenario in which his exes pressed charges too.
The personal is one thing, the political another.
Plenty of sets go beyond riffing bad relatives to public interest stories riffing bad people. And thank goodness for that. In the words of Shalom Auslander, another contributor to this Index issue, comedy “masquerades as folly, but it can take down an empire”. The problem is that, today in the UK, the emperor comes with an army of lawyers.
Our courts are not in the best place, having garnered a global reputation for claimant-friendly libel and defamation laws. The rich and powerful take up lawsuits here with little to no legal merit, their only real purpose being to silence journalists and civil society players from exposing wrongdoing. It would appear comedians are no less immune. Only they’re arguably even more exposed – journalists at least have editors behind them.
“All the best comedy is either unfiltered or appears unfiltered,” said Holt in response to the idea of sets being written in the abstract. “As soon as comedy feels controlled, forced or affected it loses its power.”
In Holt’s article, she describes how, for years, comedians had been whispering about Russell Brand, who in September 2023 was accused of rape and sexual assaults (allegations he denies). Two of her friends had even included Brand in their routines. Both received threatening legal responses.
Holt said she could give countless examples of comedians having “whole passages from stand-up acts, articles or books about celebrity misconduct” scrapped due to legal concerns. Except she can’t say who. She’d be sued.
Comedians peddle in the uncomfortable and ideally take aim at those most deserving of being pilloried. Sometimes they punch up, sometimes down, sometimes sideways, sometimes inwards. Whichever direction they’re punching, fear of lawsuits will and has made some soften their blows.
A concerted effort is underway to close the loopholes that turned the UK into such an appealing place for litigation, and we can only hope the campaign for legal change wins – for comedians as much as others. To paraphrase the great American humourist Erma Bombeck: when humour goes, so too does civilisation.
Jemimah Steinfeld is the Editor-in-Chief of Index on Censorship. Editions of the magazine can be viewed here