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Issue Details: First known date: 2020... 2020 Callback Setup in the Funny Factory : Sketch Comedy, Full Frontal and the Last Days of Mass Culture
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'This is an insult! I’m a professional.’ Halfway through day one of week 15 of the third season of Australia’s biggest sketch-comedy show, and the A-list comedienne had had enough. She was tired of crappy roles and crappy scripts. Now here she was at the door of the writers room, giving us hell. She was a goodish writer herself, but none of her stuff—loose, aleatoric in the Melbourne cabaret style— was being used any more. She had a right to be angry and the only thing that took the edge off her protest was that she was dressed as a giant rotisserie chicken. Even as she was denouncing us, I was admiring the skill of our costume department, who had rendered oily skin and white meat with a bit of chintz and kapok.' (Introduction)

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  • Appears in:
    y separately published work icon Meanjin vol. 79 no. 2 June 2020 19657092 2020 periodical issue 'The pandemic is a portal, Arundhati Roy wrote in early March, ‘a gateway between one world and the next’. We are yet to enter that next world, nor can we clearly see its shape from here. For now we are filled with one numbing certainty: the sad sense that the world we left behind as the coronavirus took hold is closed to us now, much as we might hanker for it, much as daily life is still formed around our memory of what it really ought to be.' (Jonathan Green, Editorial introduction) 2020 pg. 102-111
Last amended 25 Feb 2021 08:50:50
102-111 Callback Setup in the Funny Factory : Sketch Comedy, Full Frontal and the Last Days of Mass Culturesmall AustLit logo Meanjin
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Subjects:
  • The Castle Rob Sitch , Santo Cilauro , Tom Gleisner , Jane Kennedy , 1997 single work film/TV
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