spinofflive
MAFSS5_TELVSARAH_WEDDING_223

Pop CultureFebruary 11, 2018

MAFS Australia is bloated, bizarre and sometimes brilliant

MAFSS5_TELVSARAH_WEDDING_223

There are over 350 minutes of Married at First Sight Australia a week on Three. Should you spend almost all your spare time watching them?

Married at First Sight Australia returned this week, a few months after our first season ended in the abyss. Of our six couples, only one survived the show, which became a grim catalogue of all the casual cruelties strangers can inflict on one another when slammed from zero to marriage in a matter of hours.

It’s strange but also entirely possible to know the likely fate of these couples while also mooning over this fresh batch, watching these wounded humans tentatively opening their hearts again. The first episodes feature pocket biographies of the couples, testimony from the ‘experts’ who pair them up, then the marriages and receptions.

When they go well, it’s an absolute joy. Sarah is 38, a Greek Australian who accurately describes her look as ‘Boglam’. She’s big hair, big eyes, a big scar from a previous relationship and a bigger desire to have kids right now, thanks. On her way in, with her hyper-protective brothers, she frets about her Spanx riding up and whether he’ll find her attractive.

Across the aisle is Telv, a “proud Aboriginal man” and “typical tradie, rough as guts”. He appears sweet, but it’s always hard to get a read on the show’s men – how they respond on first sight tends to be the tell.

Telv’s eyes, always bulging, nearly pop out of his head when he sees his bride. “The experts have absolutely nailed it” he says, delightedly. From there on in, despite the tension of whether Sarah’s minor Mafioso-looking brothers will accept him, their storyline glides on serenely. Whether it’s reality or just a crafty edit, they appear lifers already.

Same goes, to a lesser extent, for Matt and Alycia, each of whom possesses their own sweet backstory – his an extreme devotion to a just-deceased grandmother; hers a lifelong obsession with marriage. Despite Matt being late to the altar (due, shockingly, to him not having tried on his pants), the pair are instantly smitten.

If every character were as sweet as those four, this would be a dull show and the world likely a dull place. So each is twinned with a relationship which seems freighted with danger from the start. These are a signature of the show – it requires them and, in all likelihood, casts for them. Yet it’s hard to be overly concerned: society at large is filled with disastrous marriages which flame-out within days. At least these leave the participants with monetisable social media followings.

Some doomed relationships are just sad, like that of Jo and Sean. She’s loud and energetic, him shy and diffident. She likes the look of him, he clearly can’t stand her. Time alone might render this recoverable, but for now it’s a wreck, and watching Sean’s chasm of regret is one of the most viscerally nauseating parts of the show.

Bad as they are, nothing touches the skin-crawling Dean. He’s a 39 year old creative and proud misogynist, given to making the most obnoxious pronouncements. “My ideal woman would be a tall, beautiful brunette… into makeup and nice shoes,” he says. “That’s what women are all about.”

He’s matched with Tracey, who is indeed a tall, beautiful brunette, into makeup and nice shoes. She also has “a really good rig,” Dean says. “I’m not gonna lie – I kept looking down at her chestal area.”

He sizes her up like a prize filly, his hands everywhere, his every word about her appearance. It’s foul to watch, but Tracey unaccountably loves it. The only hiccup comes when Liam, Dean’s best friend, discovers that Tracey has a child from a previous relationship. “There’s some missing information,” he snarls at her. He wanders round, dribbling to anyone who’ll listen that he must tell his noxious mate what’s really going on, rather than allowing Tracey to do it in her own time.

When she finally does, Dean freaks out, but eventually goes back to groping her, and by the episode’s close the relationship seems to have recovered. Your every instinct screams run, but she seems genuinely happy, and it’s a strange world out there so maybe it’ll work.

These first two episodes span 205 minutes and four of the eleven couples, with the show scheduled to run, at 90 minutes an episode, four nights a week. Which is to say that our commitment to these couples is in many cases greater than theirs to one another. It’s a marathon, exhausting and occasionally rewarding, but characters like Dean and Sarah make it one worth starting. Making it to the end will require a whole lot more dewy eyes and drama, which the loud, unselfconscious Australian temperament seems likely to provide.


Married at First Sight Australia airs on Three Sundays at 7pm and Mon-Wed at 7.30pm

This content, like all television coverage we do at The Spinoff, is brought to you thanks to the excellent folk at Lightbox. Do us and yourself a favour by clicking here to start a FREE 30 day trial of this truly wonderful service.

Keep going!
NZMoses

Pop CultureFebruary 10, 2018

Cheat sheet: What is the New Zealand Music Industry Manifesto?

NZMoses

Welcome to the Cheat Sheet, a clickable, shareable, bite-sized FAQ on the news of the moment. Today we figure out what the New Zealand Music Industry Manifesto means for local music.

The what?

The New Zealand Music Industry Manifesto. It’s basically just a detailed vision board, an agreement between a bunch of our local music representatives (APRA/AMCOS, OneMusic NZ, Recorded Music New Zealand, the Music Managers’ Forum, Independent Music New Zealand and the New Zealand Music Commission) that outlines a plan of action for making the most of the huge musical talent in New Zealand.

Over the past few years some strange things have been happening – beneath huge successes like Lorde and six60 a gulf is emerging. In the streaming era charts and playlists have been getting harder to crack, particularly for new artists, and campaigns (including Equalise my Vocals, in conjunction with The Spinoff) have highlighted some long-standing issues for the industry. The manifesto paints a picture of where we are from multiple angles – and attempts to get all stakeholders to live in the now: the statement “the broadcast environment is now online” is both hard to argue and something which will challenge many in the industry.

So what does it say?

Putting it simply, it’s a five-part plan with an end goal to strengthen and grow the existing music industry in New Zealand from the ground up, to create “a thriving and sustainable contemporary music industry”.

Go on then, quick-fire round, name the five parts.

Okay.

  1. Value. This is about solidifying local music at the heart of our national identity, to promote the merits of creativity and the culture displayed through music.
  2. Protection. Valuing intellectual property so artists are protected and can afford shelter and food as well as all the sick equipment that makes the music in the first place. This part will also help to see returns into the economy so we can continue to fund cool artists from across the country.
  3. Investment. More strategic investment will help to showcase the huge range of talent, from small fringe artists to classical artists to live music to Waiata Māori and Te Reo Māori. There’s just so much talent!
  4. Education. Studies say there are huge benefits to learning music in school, so a push for music education from early childhood through to tertiary would help to foster and grow early talent and could just end up making way smarter young people.
  5. Expansion. Let’s take this talent to the world, baby! Thinking globally and helping local artists carve pathways into the international market will give New Zealand artists a huge hand in exporting their goods. And we have some seriously good goods.

What’s wrong with New Zealand music at the moment?

Because this is a multi-partner official release, nothing is exactly wrong, but the manifesto highlights some areas where there could be improvements. It brings up some very interesting points about the distribution of funding across genres. In 2015, $31 million dollars was invested in New Zealand music, and almost $24 million of that went to classical music. Classical music only brought back around $15 million of the $472 million that New Zealand music contributed to the economy last year.

Classical is great! 

Sure is! And the manifesto is at pains to make sure we know they’re not trying to fight the classical musos.

Yeah, but that disparity is quite large.

True. The authors couldn’t resist slipping in a little knife:

Manifestos are usually radical and revolutionary, will this be radical and revolutionary?

It reads like they’re asking nicely for more support – but are not ruling out taking to the streets if these graphs stay so divergent:

OK, so what now?

All those organisations listed above just get to work, really, ideally with the government alongside them. This isn’t an overnight plan, it’s more of an ideal, a shining star in the distance for the music industry to look towards. If all goes well we’ll see growth of New Zealand culture through music, both locally and worldwide, with greater government support for the industry. But if we don’t… well, musicians know how to get loud.


The Spinoff’s music content is brought to you by our friends at Spark. Listen to all the music you love on Spotify Premium, it’s free on all Spark’s Pay Monthly Mobile plans. Sign up and start listening today.