Who would have predicited this- a series featuring supposedly dinkum Aussie blokes, twittering around like brainless inner-city tarts, written by a hatful whose next will quite likely be her first, has flopped more than Michael Moore’s paunch when his control brief lets go.
Certainly the scriptwriter/producer is connected, but what was Channel Seven thinking? A pinko pooch wouldn’t have the first clue of what average Australian chaps think or say, with her only exposure to blokes being cheese-dick Che’ wanna-bes from South Yarra and great flaming radishes from the world of the Yartz- what a fertile ground to pick up vernacular and views.
Last Man Standing joins an impressive list of Australian dramatic failures, currently joined by the ABC’s second series of MDA, featuring unfunny twonk Shane Bourne in one of the lead roles and a viewing audience level so low it can only be observed from a diving bell. Of course, it’s all John Howard’s fault:-
Simpson identifies key reasons: the decline of the ABC as a prolific producer of drama, the increasing difficulty of securing international investment and the demise of the Commercial Television Production Fund.
The fund was set up in 1995-96 by the Keating government to increase “the amount, quality and diversity of Australian television screened on the commercial networks”. It invested $54.9 million in 38 projects, including the award-winning mini-series about the Granville train crash, The Day of the Roses, and Simpson and Le Mesurier’s quirky crime series Good Guys, Bad Guys.
“There were promises made by the Howard Government that they’d replace the Commercial Television Production Fund with something else, but they haven’t,” Simpson says. “That fund was important to commercial television because it would take the risk of pilots. It gave producers a chance to get a pilot made as a way of demonstrating to a network what you could do.”
Nothing to do with the fact that local productions have been unmitigated bollocks; the ABC had a good run in the ’80s with quality, well scripted, tightly produced grittily realistic productions like Phoenix, Janus and Blue Murder; the rot set in with the unbelievably politically correct Coreli and Wildside; when dramas start to hector viewers, they’ll switch off in droves.
But when the series stinks on ice, they barely switch on in the first place; when your main target demographic thinks the show idiotic and insulting, perhaps some more in-depth market research should have been performed prior to going into production:-
Presumably, there is an audience that thinks three friends chatting at a wedding and realising they’ve all slept with the bride is enormously hilarious.
That audience doesn’t include me.
This is the first big joke of Last Man Standing, so I should have been laughing. Instead, I could almost hear the brains of the scriptwriters crunching as they set up one cliched situation after another: the embarrassing wedding “reading”, the daggy theme for the reception, the silly speeches and the former boyfriend (one of the aforementioned guys) who’s determined to find out whether he was “the best” - or, as one of his mates put it, a “better stickman”. Clearly, he must be: that’s why the bride married someone else.
When are we going to see the end of local content rules, which only serve to ensure the most retarded dross is dished up to a captive audience?
BTW- how’s the commie clobber company going, Fitsy?