The D-Generation
The D-Generation was an Australian sketch comedy television series produced and broadcast by the Australian Broadcasting Corporation (ABC) for two seasons comprising 16 episodes between 1986 and 1987.[1][2] Originating from a group of performers, many of whom were Melbourne University students or alumni, the show featured satirical sketches parodying Australian media, culture, and institutions through low-budget production values, exaggerated 1980s fashions, and characters such as those in "Thunderbirds Pizza" and "Dag City."[3][4] Key cast members included Magda Szubanski, Santo Cilauro, Michael Veitch, and John Harrison, whose collaborative work on the series helped establish them as prominent figures in Australian comedy.[1][4] The program is recognized for its influence on subsequent Australian television comedy, serving as a precursor to projects like the group's ABC radio breakfast show on EON FM (1986–1992) and later endeavors under Working Dog Productions, including The Late Show (1992–1993).[3][5] While the series earned acclaim for reviving sketch comedy on Australian screens during the 1980s, it faced no major controversies but contributed to the group's transition to commercial specials on the Seven Network in 1988–1989.[6][4]Overview
Synopsis
The D-Generation was an Australian sketch comedy television series produced by the Australian Broadcasting Corporation (ABC), airing its first episode on 13 March 1986 and concluding after two series in 1987, with a total of 16 half-hour episodes across the seasons. Created by a group of Melbourne University alumni who had honed their craft through student revues and stage performances, the program featured original sketches written collectively by its core members, emphasizing absurd humor, parody, and social commentary on Australian life. The show's format drew from British influences like Monty Python while grounding its content in local absurdities, such as bureaucratic inefficiencies and suburban banality, often executed with deliberately amateurish production values to heighten the comedic effect.[1][7][8] Central to the series were recurring ensemble performers including Rob Sitch, Santo Cilauro, Tom Gleisner, Marg Downey, Michael Veitch, Magda Szubanski, and John Harrison, who portrayed a wide array of characters in sketches ranging from mock advertisements and news reports to surreal vignettes like "Thunderbirds Pizza" and "Dag City." These segments targeted institutions such as media personalities, political figures, and everyday Australian archetypes, employing rapid-fire timing and visual gags to critique complacency and pretension without overt preachiness. The program's influence extended beyond its run, as key contributors later formed production company Working Dog and developed successor projects including The Late Show (1992–1993) and satirical series like Frontline (1994–1997).[1][3][4] Though ratings were modest during its ABC tenure—reflecting the niche appeal of sketch comedy at the time—The D-Generation garnered critical acclaim for revitalizing Australian television humor, earning Logie Award nominations and paving the way for commercial specials on the Seven Network in 1988–1989. Its legacy lies in fostering a generation of comedians who prioritized irreverence over polish, influencing subsequent hits like Full Frontal and The Ronnie Sanders Effort.[6][3]Historical Context and Formation
The D-Generation emerged from the university comedy scene in Melbourne during the early 1980s, when a group of students at the University of Melbourne began collaborating on satirical revues that lampooned Australian culture, politics, and media.[3] Key early members included Rob Sitch, Santo Cilauro, Marg Downey, John Harrison, and Nicholas Bufalo, who honed their sketch-writing and performance skills through these student-led productions amid a burgeoning local comedy festival environment.[9] This period coincided with Australia's evolving media landscape, including the expansion of public broadcasting and a growing appetite for irreverent, youth-oriented satire following the influence of imported shows like Monty Python's Flying Circus.[4] In 1984, the troupe produced their breakthrough revue Let's Talk Backwards, a national tour that concluded with seasons at prominent Melbourne venues such as The Last Laugh, solidifying their local notoriety for sharp, low-budget sketches targeting national identity and bicentennial hype.[4][10] The revue's success drew attention from ABC producers scouting fresh talent at comedy spots, leading to an informal discovery process where one executive, impressed after attending a performance, greenlit further development despite the group's unpolished, student origins.[3] This marked a shift from fringe theater to broadcast potential, reflecting the ABC's strategy in the mid-1980s to invest in domestic sketch comedy amid competition from commercial networks. The formation culminated in 1985 with the ABC commissioning and filming an unscreened one-hour pilot titled The D-Generation, starring the core cast from Let's Talk Backwards—including Sitch, Cilauro, Downey, and Harrison—along with contributions from Bufalo.[9] The pilot tested their adaptation to television format, incorporating recurring elements like parody news segments and absurd characters that would define the series.[4] This pilot directly facilitated the greenlighting of the full series, which debuted later that year, transitioning the group from university improvisers to a structured TV ensemble while retaining their emphasis on unfiltered Australian absurdities.[11]Production Details
Development and Broadcast History
The D-Generation originated from a comedy troupe formed by students at the University of Melbourne, who honed their satirical sketches through live performances in the city's 1980s comedy scene, including university revues. The group's breakthrough came with their 1984 stage show Let’s Talk Backwards, a national tour that ended at Melbourne's Last Laugh comedy venue, drawing the attention of an ABC producer who commissioned them for television.[4][3] The ABC greenlit the series as a half-hour sketch comedy program, with production centered in Melbourne, including work at the network's Highett workshops for props and effects.[12] The first episode aired on ABC Television on March 13, 1986, focusing on Australian identity through parodies of media, stereotypes, and cultural touchstones in anticipation of the 1988 bicentennial.[1][4] The show ran for two seasons, delivering 16 episodes in total between 1986 and 1987, establishing the troupe's reputation for irreverent, character-driven satire.[13] Following the ABC run, the core members produced four one-hour specials titled The D Generation Goes Commercial for the Seven Network from 1988 to 1989, along with compilation episodes such as The Least Worst Of.[6]Filming Techniques and Format
The D-Generation utilized a sketch comedy format consisting of standalone, self-contained segments within each 30-minute episode, eschewing narrative continuity in favor of rapid transitions between parodies of television genres, advertisements, and cultural phenomena. Episodes typically featured 8 to 12 sketches, drawing from the troupe's university revue roots to deliver absurd, low-fi satire without recurring episode arcs. This structure allowed for experimental humor, including re-voiced archival footage and improvised elements, broadcast weekly on ABC Television from 1986 to 1987 across two series totaling 16 episodes.[3][1] Filming predominantly occurred in ABC studios in Ripponlea, Melbourne, with prop fabrication at the Highett production facility, emphasizing practical effects over sophisticated post-production. The show's signature "shonky production values"—deliberately cheap sets, rudimentary costumes reflecting 1980s fashions, and handmade props—were achieved through in-house craftsmanship, such as custom special effects for sketches parodying action sequences or sci-fi tropes. While most content was studio-bound using multi-camera setups typical of era sketch programs, select sketches incorporated location shooting, for instance at the Sandringham Yacht Club, to enhance verisimilitude in outdoor parodies. This approach prioritized comedic timing and visual absurdity over polished cinematography, aligning with the troupe's ethos of subverting broadcast norms.[12][3][13]Content and Style
Sketch Structure and Themes
The sketches in The D-Generation followed a traditional anthology format, comprising multiple short, self-contained segments typically lasting 2–5 minutes each within a 30-minute episode, eschewing any continuous storyline in favor of rapid transitions between disparate ideas. This structure emphasized quick setup and punchy payoffs, often relying on visual gags, verbal absurdity, and minimalistic staging to maintain momentum, with episodes featuring 6–10 sketches on average. Production choices like shaky camera work, rudimentary sets, and exaggerated 1980s costumes amplified the comedic effect by intentionally mimicking amateurish television, underscoring the troupe's disdain for polished media conventions.[3][4] Thematically, the series targeted Australian societal quirks, media institutions, and cultural self-importance through irreverent satire that blended exaggeration, dark humor, and surrealism. Common motifs included parodies of national identity—such as bicentennial celebrations critiquing colonial history via anachronistic Captain Cook fantasies—and everyday hypocrisies like suburban banalities or advertising clichés, as seen in sketches mocking faux-dramatic TV ads or re-voiced police procedurals like Homicide to expose narrative clichés. Political and social commentary often highlighted authority's absurdities, including government responses to crises (e.g., nuclear incidents) and stereotypes around immigration or race relations, delivered with unapologetic bluntness rooted in the performers' anti-establishment university revue background. Absurdity permeated many segments, such as religious send-ups like The New Christ is Right or dystopian suburbia in Dag City, prioritizing causal ridicule of pretension over moralizing.[4][3] Recurring elements reinforced thematic consistency, with motifs like vox populi interviews capturing public folly or serialized soap opera parodies (e.g., a bicentennial-themed ongoing drama) providing episodic continuity amid the chaos. This approach drew from influences like British sketch comedy but localized it to deflate Australian tall poppy syndrome, favoring empirical observation of cultural foibles over idealized narratives.[4][3]Recurring Characters and Sketches
The D-Generation featured a number of recurring characters that satirized Australian suburban archetypes and media personalities. Lynne Postlethwaite, a gossipy neighbor character known for phrases like "I said 'love', I said 'pet', I said 'please'", appeared across multiple sketches, embodying intrusive domestic busybodies.[14] Gina Hard-Faced Bitch, portrayed as a abrasive, no-nonsense economist or talk-show host, critiqued media pretensions through her blunt demeanor and exaggerated toughness.[15] Other regulars included Eileen Maverick, a parody of tough female archetypes, and Kelvin Cunnington, contributing to ensemble sketches targeting institutional absurdities.[16] Recurring sketches often employed parody and low-budget effects to lampoon popular culture and news formats. "Thunderbirds Pizza" twisted the Thunderbirds puppet series into a delivery service mishap, highlighting ineptitude in everyday scenarios. "Dag City" depicted uncool urban life through awkward social interactions, amplifying generational stereotypes. "The New Christ is Right" mocked televangelism with over-the-top religious salesmanship.[3] The Tense Family explored dysfunctional household dynamics under stress, while "The Dubbo Olympics" satirized regional events as mock-international competitions. "Degenocide" involved re-dubbing footage from the Australian crime series Homicide, substituting absurd narratives for dramatic ones, often reviving dated fashions like kakhi-brown suits.[3] Tommy Cravat Jr., a suave yet hapless figure, recurred in various comedic predicaments. These elements, produced with deliberately shoddy production values, reinforced the show's critique of 1980s Australian media and society.[3]Satirical Approach and Targets
The D-Generation's satirical approach combined none-too-subtle critique with parody and absurdity, employing character-driven sketches and low-fi production to amplify everyday banalities into exaggerated farce. This style facilitated a mix of social commentary and silliness, often subverting familiar Australian scenarios to expose underlying hypocrisies without overt moralizing. Sketches typically built from realistic setups—such as vox pops soliciting opinions on national identity—escalating into illogical extremes to underscore cultural pretensions.[4][17] Key targets encompassed Australian politics and bureaucracy, including parodies of governmental responses to crises like a fictional American nuclear strike on Wollongong, depicted through inept panel discussions that mocked official denial and media spin. The show frequently lampooned national identity and the 1988 Bicentennial via sketches such as a mock soap opera reinventing colonial history, questioning self-congratulatory narratives of Australian exceptionalism. Cultural stereotypes, consumerism, and media formats drew sharp send-ups, with advertising spoofs highlighting materialistic excesses and television tropes critiquing sensationalism in news and drama.[4] Race relations and immigration attitudes faced direct scrutiny, as in absurd reimaginings of European-Aboriginal land negotiations that highlighted historical injustices and contemporary nationalism's darker edges. International perceptions of Australia were also satirized, exemplified by a sketch portraying Britain floating the nation on the stock market, ridiculing colonial legacies and economic dependencies. Relationships and suburban mores provided lighter but pointed fare, targeting domestic absurdities through recurring family dynamics and social rituals. Overall, this irreverent focus on local absurdities and sacred cows established the series as an early benchmark for unsparing Australian comedic satire.[4][2]Cast and Creative Team
Principal Performers
The principal performers of The D-Generation formed an ensemble drawn largely from Melbourne University comedy revues, delivering satirical sketches through versatile character portrayals and physical comedy. The core group included Rob Sitch, Santo Cilauro, Tom Gleisner, Marg Downey, Michael Veitch, Magda Szubanski, and John Harrison, who appeared across the 16 episodes of the two series broadcast on ABC in 1986 and 1987.[8] [18] These performers handled multiple roles per episode, often impersonating politicians, media figures, and everyday Australians to critique social norms and institutions.[1] Rob Sitch, a central figure in the group's formation, performed lead roles in sketches targeting bureaucracy and authority, while also contributing to writing; his work in the series helped establish the troupe's reputation for sharp, observational humor.[19] Santo Cilauro and Tom Gleisner complemented this with impressions of public figures and absurd scenarios, often drawing from their shared university background in law revues.[5] Marg Downey specialized in female character archetypes, including exaggerated suburbanites and professionals, adding gender-specific satire to the mix.[20] Michael Veitch brought aviation-themed parodies and character-driven monologues, leveraging his broadcasting experience for authenticity in media spoofs.[21] Magda Szubanski delivered high-energy physical comedy and vocal impressions, notably in ensemble pieces lampooning television tropes.[18] John Harrison rounded out the group with versatile supporting roles, including announcements and straight-man characters that amplified the absurdity of sketches.[21] Additional performers like Tony Martin appeared in select episodes from the second series, contributing voice work and sketches, though the original ensemble remained the backbone.[22] This collaborative dynamic, rooted in live theatre improvisation, minimized reliance on guest stars and emphasized the performers' chemistry.[13]Writers, Directors, and Producers
The writing team for The D-Generation consisted primarily of core group members Tom Gleisner, Rob Sitch, and Santo Cilauro, who developed the majority of sketches for the 1986 first series and contributed collaboratively to the show's satirical content.[23] These individuals, originating from Melbourne University comedy revues, focused on absurd, character-driven humor targeting Australian institutions, media, and politics, often drawing from their own performances.[13] For the 1987 second series, Tony Martin joined as a writer, penning material for six episodes and introducing sharper verbal wit to segments like news parodies.[21] Additional contributions came from performers such as Jane Turner, though the primary scriptwork remained with the founding trio.[24] Directing was handled chiefly by Kris Noble, an experienced Australian television professional who oversaw production and helmed key episodes, including "D Generation, Bloody D Generation" and "That's D Generation!" in 1987.[24] [25] Noble's approach emphasized the troupe's live-wire energy, utilizing minimalistic sets and rapid cuts to enhance the sketch format's chaotic timing, aligning with the series' low-budget, improvisational roots.[26] His direction maintained consistency across the 16 episodes, ensuring the performers' ensemble dynamic—blending physical comedy and voice work—remained central without overshadowing the material. On the production side, Kris Noble served as producer for all 16 episodes (1986–1987), managing the ABC-broadcast series' tight schedules and resource constraints typical of mid-1980s public television comedy.[21] Frank Ward acted as executive producer for 10 episodes, primarily in the first series, handling oversight from the network level to secure funding and airtime for the upstart group's vision.[21] The core D-Generation members, including Gleisner and Sitch, exerted informal producer-like influence through script approvals and casting, fostering an auteur-driven process that prioritized unpolished authenticity over commercial polish. Later specials, such as The D-Generation Goes Commercial, saw the group assuming more direct production control, reflecting their evolving independence.[26]Episode Breakdown
Series One (1986)
Series One of The D-Generation aired on ABC Television from 13 March to 15 May 1986, comprising ten 30-minute episodes broadcast weekly on Thursday evenings.[27] The season established the program's sketch-based format, with each installment loosely themed around societal topics, featuring original material written and performed by the core troupe including Santo Cilauro, Rob Sitch, Tony Martin, Michael Veitch, Magda Szubanski, and Tom Gleisner.[4] Sketches drew from Australian cultural observations, often employing parody, absurdity, and satire of everyday institutions and stereotypes, without reliance on guest stars or pre-recorded segments in this initial run.[4] The episodes maintained a consistent structure of 5-7 sketches per show, blending live-action parody with minimal production values reflective of the low-budget ABC commission.[4] Production originated from the troupe's university revue background, emphasizing rapid-fire transitions and ensemble performances.[4]| Episode | Air Date | Theme | Key Sketches and Notes |
|---|---|---|---|
| 1 | 13 March 1986 | Australia | Vox pops on national identity; bicentennial soap opera parody; American nuclear strike on Wollongong satirizing alliances; Governor-General announcing stock market float of Australia; Captain Cook vision of future life; European-Aboriginal land deal with trinkets. Explored media stereotypes, history, race relations, and immigration ahead of 1988 bicentennial.[4] [17] |
| 2 | 20 March 1986 | Religion | Sketches targeting religious institutions and beliefs, including parodies of clerical hypocrisy.[28] |
| 3 | 27 March 1986 | The Media | Satire of journalistic practices and broadcast sensationalism.[28] |
| 4 | 3 April 1986 | Leisure | Parodies of recreational activities and consumer culture.[28] |
| 5 | 10 April 1986 | Work | Critiques of employment, office dynamics, and labor relations.[28] [29] |
| 6 | 17 April 1986 | (Unspecified) | Continuation of thematic sketches in established format.[29] |
| 7 | 24 April 1986 | (Unspecified) | Ensemble-driven parody without thematic deviation from series norm.[29] |
| 8 | 1 May 1986 | (Unspecified) | Focused on social commentary through absurd scenarios.[29] |
| 9 | 8 May 1986 | (Unspecified) | Maintained rapid sketch pacing.[29] |
| 10 | 15 May 1986 | Comedy | Season finale emphasizing meta-humor on comedic tropes.[28] [29] |
Series Two (1987)
Series Two consisted of six 30-minute episodes broadcast weekly on Thursday evenings by the Australian Broadcasting Corporation (ABC), premiering on 30 April 1987 and concluding on 4 June 1987.[30][27] This season introduced unique opening titles for each episode, departing from the standardized format of Series One.[27] The episodes adopted thematic titles parodying films, idioms, and cultural references, maintaining the program's focus on rapid-fire sketches satirizing Australian media, politics, and social norms.[31] Documented titles include:| Episode | Title | Air Date |
|---|---|---|
| 1 | Nightmare on D Generation Street | 30 April 1987[32][31] |
| 2 | Hercules, Saviour of the D Generation | 7 May 1987[31] |
| 3 | Deep Generation | 14 May 1987[30][33] |
| 4 | D Generation, Bloody D Generation | 21 May 1987[30][31] |
| 6 | That's D Generation! | 4 June 1987[30] |
Specials and Compilations
Following the conclusion of the original ABC series in 1987, The D-Generation produced four one-hour specials for the Seven Network between 1988 and 1989, collectively known as The D-Generation Goes Commercial. These specials featured new sketches in the group's signature satirical style, targeting commercial television tropes, historical parodies, and absurd cultural commentary. The first, titled The D-Generation Goes Commercial, aired on 23 May 1988, emphasizing mock advertisements and media satire.[6] Subsequent installments included Degenocide, a parody of historical documentaries and extinction narratives, aired in October 1988; The D-Generation Salute to Roy Smeck, a tribute-style spoof of early 20th-century vaudeville performer Roy Smeck with anachronistic twists; and The D-Generation Country Homestead, focusing on rural Australian life exaggerations.[6] [36] [37] In addition to these broadcast specials, compilation episodes were aired as retrospectives. A "Best of the D-Generation" special was broadcast on ABC in August 1993 during a programming break in The Late Show's second season, compiling highlights from the original series sketches.[38] The group also referenced "Least Worst of" compilations in promotional contexts, selecting standout segments for repeat viewings, though these were not formally serialized.[13] Home video compilations preserved key material from the series and specials. VHS releases included The Best of The D-Generation and The Second Best of The D-Generation, issued in the late 1980s, featuring edited selections of popular sketches such as media parodies and recurring character bits.[39] In 2004, these were reissued on DVD as The Best and Least Worst of The D-Generation, combining approximately two hours of content with minimal additional footage.[40] No further official compilations or remastered editions have been released, limiting access primarily to archival broadcasts and second-hand media.Multimedia Extensions
Video and DVD Releases
The principal home video releases of The D-Generation consisted of "best of" compilations featuring selected sketches, with no complete series sets issued on VHS or DVD. "The Best of the Original D-Generation," a VHS tape compiling highlights from the show's runs, was distributed by Roadshow Entertainment in association with ABC Video under catalog number 17432.[41] A follow-up DVD edition, titled The Best and Second Best of the D-Generation, combined material from prior video compilations into a single disc offering roughly three hours of content, including sketches such as those from the 1986–1987 ABC series.[40] This Region 4 release, produced for the Australian market by ABC TV, became available around 2005 through retailers like Sanity.[42] These editions preserved key satirical segments but omitted full episodes due to archival and production constraints typical of 1980s television transfers to home media.Radio Serial
The D-Generation extended its comedic output to radio through The D-Generation Breakfast Show, which aired on Melbourne's EON FM (later rebranded as Triple M) from 1986 to 1992. Anchored by radio veteran Kevin Hillier, the program featured core members of the group, including Rob Sitch, Tom Gleisner, Santo Cilauro, Tony Martin, Michael Veitch, Marg Downey, Magda Szubanski, and Jane Kennedy, alongside occasional contributors such as Mick Molloy, Jason Stephens, Judith Lucy, and John Harrison.[43] The show adopted a breakfast radio format blending talk, music, and original sketch comedy, with serialized segments that parodied current events, advertisements, and Australian culture, often overlapping with material from the group's concurrent ABC television series. Sketches emphasized absurd humor, celebrity impersonations, and satirical jabs at media and politics, maintaining the D-Generation's signature irreverent style.[43] Musical elements were prominent, leading to commercial releases such as the 1987 single and album Thanks for Being You, which compiled comedic songs and jingles from the broadcasts, and The Breakfast Tapes in 1990, capturing live-on-air antics and parody tracks. These outputs extended the radio content's reach, with songs like parodies of pop hits gaining local airplay.[43] The program's six-year run paralleled the TV series' peak, providing a platform for improvisational comedy and fostering the group's collaborative dynamic before transitions to projects like The Late Show. It concluded in 1992 amid shifting lineups and station changes, but preserved audio clips and ads highlight its role in popularizing the D-Generation's voice beyond television.[43]Channel 7 Specials
Following the two seasons on the Australian Broadcasting Corporation, The D-Generation transitioned to the Seven Network, producing four one-hour specials between 1988 and 1989.[6] These specials maintained the group's irreverent sketch comedy style, often parodying media, advertising, and cultural icons, while experimenting with formats suited to commercial broadcasting.[44] The specials were:| Title | Air Date |
|---|---|
| The D-Generation Goes Commercial | 23 May 1988 |
| Degenocide | 11 October 1988 |
| The D-Generation Salute to Roy Smeck | 1 November 1988 |
| The D-Generation Country Homestead | 1989 |