This show came to Canada via PBS in the mid 90s and I really, really loved it then. Even 10 yrs later watching the various news networks, I cant help but think of the cynical manipulation that goes on in the name of ratings and the various "show ponies" we all see on TV as depicted in various Frontline episodes. The scripts are tightly written and the actors all have impeccable comic timing and none of it is encumbered by an idiotic laugh track. There is a lot of funny material here really well executed and we don't need to be told when to laugh and what to laugh at. I don't understand why this show never took off in North America as its truly a gem! I was really excited to see the DVDs available, even though they are PAL format. I figured I would rip them to my computer and then watch the converted files. I took a chance and ordered it from ABC
6 to 8 weeks later, I had all 3 seasons. Even better it worked on my NTSC DVD player. I suspect any player bought in the past 2 yrs that does xvid/divx will play them. Great stuff! 10 yrs later the episodes all hold up really well! You don't need to know anything about Australian politics to get the humor as it will all be familiar to western audiences. My wife and I had a 10 day Frontline fest and are still chuckling weeks later after watching all 39 episodes
16 Reviews
Current-affairs shows will never seem the same
ackstasis9 September 2007
Warning: Spoilers
Even a decade after "Frontline" aired on the ABC, near as I can tell, "current affairs" programmes are still using the same tricks over and over. Time after time, "Today Tonight" and "A Current Affair" are seen to be hiding behind the facade of journalistic professionalism, and yet they feed us nothing but tired stories about weight-loss and dodgy tradesmen, shameless network promotions and pointless celebrity puff-pieces. Having often been subjected to that entertainment-less void between 'The Simpsons' at 6:00 PM and 'Sale of the Century' (or 'Temptation') at 7:00 PM, I was all too aware of the little tricks that these shows would use to attract ratings.
Fortunately, four rising comedians Rob Sitch, Jane Kennedy, Santo Cilauro and Tom Gleisner were also all too aware of all this, and they crafted their frustrations into one of the most wickedly-hilarious media satires you'll ever see on television. The four entertainers had already met with comedic success, their previous most memorable television stint being on 'The Late Show,' the brilliant Saturday night variety show which ran for two seasons from 1992-1993, and also featured fellow comedians Mick Molloy, Tony Martin, Jason Stephens and Judith Lucy.
"Frontline" boasts an ensemble of colourful characters, each with their own distinct and quirky personality. The current-affairs show is headed by nicely-groomed Mike Moore (Rob Sitch), an ambitious, pretentious, dim-witted narcissist. Mike works under the delusion that the show is serving a vital role for society he is always adamant that they "maintain their journalistic integrity" and his executive producers have excelled into getting him to believe just that. Mike is basically a puppet to bring the news to the people; occasionally he gets the inkling that he is being led along by the nose, but usually this thought is stamped out via appeals to his vanity or promises of a promotion.
Brooke Vandenberg (Jane Kennedy) is the senior female reporter on the show. She is constantly concerned about her looks and public profile, and, if the rumours are to be believed, she has had a romantic liaison with just about every male celebrity in existence. Another equally amoral reporter, Marty Di Stasio, is portrayed by Tiriel Mora, who memorably played inept solicitor Dennis Denuto in the Australian comedy classic, 'The Castle.' Emma Ward (Alison Whyte) is the Line Producer on the show, and the single shining beacon of morality on the "Frontline" set. Then there's the highly-amusing weatherman, Geoffrey Salter (Santo Cilauro), Mike's best friend and confidant. Geoff makes a living out of always agreeing with Mike's opinion, and of laughing uproariously at his jokes before admitting that he doesn't get them.
For each of the shows three seasons, we are treated to a different EP, Executive Producer. Brian Thompson (Bruno Lawrence), who unfortunately passed away in 1995, runs the programme during Season 1. He has a decent set of morals, and is always civil to his employees, and yet is more-than-willing to cast these aside in favour of high ratings. Sam Murphy (Kevin J. Wilson) arrives on set in Season 2, a hard-nosed, smooth-talking producer who knows exactly how to string Mike along; the last episode of the second season, when Mike finally gets the better of him, is a classic moment. Graeme "Prowsey" Prowse (Steve Bisley), EP for the third season, is crude, unpleasant and unashamedly sexist. It's, therefore, remarkable that you eventually come to like him.
With its cast of distinctive, exaggerated characters, "Frontline" has a lot of fun satirising current-affairs programmes and their dubious methods for winning ratings. Many of the episodes were shot quickly and cheaply, often implementing many plot ideas from recent real-life situations, but this never really detracts from the show's topicality ten years on. Celebrity cameos come in abundance, with some of the most memorable appearances including Pauline Hanson, Don Burke and Jon English. Watch out for Harry Shearer's hilarious appearance in the Season 2 episode "Changing the Face of Current Affairs," playing Larry Hadges, an American hired by the network to reform the show.
Particularly in the third season, I noticed that "Frontline" boasted an extremely gritty form of black humour, uncharacteristic for such a light-hearted comedy show. Genuinely funny moments are born from Brooke being surreptitiously bribed into having an abortion, murder by a crazed gunman and Mike treacherously betraying his best friend's hopes and dreams, only to be told that he is a good friend. The series' final minute minus an added-scene during the credits, which was probably added just in case a fourth season was to be produced was probably the greatest, blackest ending to a comedy series that I've yet seen.
Below is listed a very tentative list of my top five favourite "Frontline" episodes, but, make no mistake, every single half-hour is absolutely hilarious and hard-hitting satire.
1) "The Siege" (Season 1)
2) "Give 'em Enough Rope" (Season 2)
3) "Addicted to Fame" (Season 3)
4) "Basic Instincts" (Season 2)
5) "Add Sex and Stir" (Season 1)
Fortunately, four rising comedians Rob Sitch, Jane Kennedy, Santo Cilauro and Tom Gleisner were also all too aware of all this, and they crafted their frustrations into one of the most wickedly-hilarious media satires you'll ever see on television. The four entertainers had already met with comedic success, their previous most memorable television stint being on 'The Late Show,' the brilliant Saturday night variety show which ran for two seasons from 1992-1993, and also featured fellow comedians Mick Molloy, Tony Martin, Jason Stephens and Judith Lucy.
"Frontline" boasts an ensemble of colourful characters, each with their own distinct and quirky personality. The current-affairs show is headed by nicely-groomed Mike Moore (Rob Sitch), an ambitious, pretentious, dim-witted narcissist. Mike works under the delusion that the show is serving a vital role for society he is always adamant that they "maintain their journalistic integrity" and his executive producers have excelled into getting him to believe just that. Mike is basically a puppet to bring the news to the people; occasionally he gets the inkling that he is being led along by the nose, but usually this thought is stamped out via appeals to his vanity or promises of a promotion.
Brooke Vandenberg (Jane Kennedy) is the senior female reporter on the show. She is constantly concerned about her looks and public profile, and, if the rumours are to be believed, she has had a romantic liaison with just about every male celebrity in existence. Another equally amoral reporter, Marty Di Stasio, is portrayed by Tiriel Mora, who memorably played inept solicitor Dennis Denuto in the Australian comedy classic, 'The Castle.' Emma Ward (Alison Whyte) is the Line Producer on the show, and the single shining beacon of morality on the "Frontline" set. Then there's the highly-amusing weatherman, Geoffrey Salter (Santo Cilauro), Mike's best friend and confidant. Geoff makes a living out of always agreeing with Mike's opinion, and of laughing uproariously at his jokes before admitting that he doesn't get them.
For each of the shows three seasons, we are treated to a different EP, Executive Producer. Brian Thompson (Bruno Lawrence), who unfortunately passed away in 1995, runs the programme during Season 1. He has a decent set of morals, and is always civil to his employees, and yet is more-than-willing to cast these aside in favour of high ratings. Sam Murphy (Kevin J. Wilson) arrives on set in Season 2, a hard-nosed, smooth-talking producer who knows exactly how to string Mike along; the last episode of the second season, when Mike finally gets the better of him, is a classic moment. Graeme "Prowsey" Prowse (Steve Bisley), EP for the third season, is crude, unpleasant and unashamedly sexist. It's, therefore, remarkable that you eventually come to like him.
With its cast of distinctive, exaggerated characters, "Frontline" has a lot of fun satirising current-affairs programmes and their dubious methods for winning ratings. Many of the episodes were shot quickly and cheaply, often implementing many plot ideas from recent real-life situations, but this never really detracts from the show's topicality ten years on. Celebrity cameos come in abundance, with some of the most memorable appearances including Pauline Hanson, Don Burke and Jon English. Watch out for Harry Shearer's hilarious appearance in the Season 2 episode "Changing the Face of Current Affairs," playing Larry Hadges, an American hired by the network to reform the show.
Particularly in the third season, I noticed that "Frontline" boasted an extremely gritty form of black humour, uncharacteristic for such a light-hearted comedy show. Genuinely funny moments are born from Brooke being surreptitiously bribed into having an abortion, murder by a crazed gunman and Mike treacherously betraying his best friend's hopes and dreams, only to be told that he is a good friend. The series' final minute minus an added-scene during the credits, which was probably added just in case a fourth season was to be produced was probably the greatest, blackest ending to a comedy series that I've yet seen.
Below is listed a very tentative list of my top five favourite "Frontline" episodes, but, make no mistake, every single half-hour is absolutely hilarious and hard-hitting satire.
1) "The Siege" (Season 1)
2) "Give 'em Enough Rope" (Season 2)
3) "Addicted to Fame" (Season 3)
4) "Basic Instincts" (Season 2)
5) "Add Sex and Stir" (Season 1)
One of the Greatest Satirical TV Shows of All Time
Better_TV12 April 2019
I'm not from Australia, but this show is one my favorite all-time television satires. It does a better job showing the venality, cynicism and amorality of the broadcast news business than anything I've ever seen. It's also wickedly dark, and it succeeds in one crucial aspect that sinks many lesser comedies: it's got great characters, acted with impressive naturalism by a fantastic cast.
From ignorant airhead anchor Mike Moore (Rob Sitch) to the perpetually harried line producer Emma (Alison Whyte), to the cruel yet resourceful reporter Brooke (Jane Kennedy) and the apathetic senior reporter Marty (Tiriel Mora), there's a great cast of characters here who start out by conforming to type and then, as the series goes on, actually reveal a surprising amount of nuance. Like many comedies (Seinfeld, Always Sunny, Archer etc.) the characters are essentially jerkoffs, but you come to like them and - sometimes! - even see things from their point of view. Each of the three seasons also features a different executive producer character, from the sage Bruno Lawrence to the ratings-driven Kevin J. Wilson to the gleefully boorish Steve Bisley.
The naturalistic acting and cinéma vérité-style camerawork makes it all feel like a real newsroom. It's a great example of how (what was obviously) a low budget can still yield something special when you have great acting and writing.
And the writing really is that good here, with plenty storylines following our amoral news team as they report on such sensitive issues as immigration, hostage situations, sexual harassment, Nazis, little kids getting open heart surgery and more. There's plenty of references to Australian news events and media scandals, and some fun cameos from the likes of Harry Shearer and real-life Aussie politicians.
Overall this is a phenomenal comedy, and clips from it should be shown in journalism, media literacy and ethics classes around the world.
From ignorant airhead anchor Mike Moore (Rob Sitch) to the perpetually harried line producer Emma (Alison Whyte), to the cruel yet resourceful reporter Brooke (Jane Kennedy) and the apathetic senior reporter Marty (Tiriel Mora), there's a great cast of characters here who start out by conforming to type and then, as the series goes on, actually reveal a surprising amount of nuance. Like many comedies (Seinfeld, Always Sunny, Archer etc.) the characters are essentially jerkoffs, but you come to like them and - sometimes! - even see things from their point of view. Each of the three seasons also features a different executive producer character, from the sage Bruno Lawrence to the ratings-driven Kevin J. Wilson to the gleefully boorish Steve Bisley.
The naturalistic acting and cinéma vérité-style camerawork makes it all feel like a real newsroom. It's a great example of how (what was obviously) a low budget can still yield something special when you have great acting and writing.
And the writing really is that good here, with plenty storylines following our amoral news team as they report on such sensitive issues as immigration, hostage situations, sexual harassment, Nazis, little kids getting open heart surgery and more. There's plenty of references to Australian news events and media scandals, and some fun cameos from the likes of Harry Shearer and real-life Aussie politicians.
Overall this is a phenomenal comedy, and clips from it should be shown in journalism, media literacy and ethics classes around the world.
Low-key but wickedly hilarious satire
budikavlan29 June 2002
Our local public TV station showed this, though a change of title was necessary ("Frontline" is the title of a very serious investigative/documentary series produced by PBS). It didn't attract a lot of attention (and wasn't heavily promoted), but for those who caught it, many laughs were to be had. The satire was sharp and very funny, but perhaps the most surprising aspect of the show was that just about every character, from the pompously moronic host through the crew of pranksters to the earnest producer (and the Machiavellian Exec producers) managed to remain largely sympathetic. If this makes its way around again, I encourage all to watch it.
Grubby journalism.
Baldrick444 September 2006
The sad thing about Frontline is that once you watch three or four episodes of it you really begin to understand that it is not far away from what happens in real life. What is really sad is that it also makes extremely funny.
The Frontline team in Series One consists of Brian Thompson ( Bruno Lawrence )- a man who truly lives and dies merely by the ratings his show gets. Occasionally his stunts to achieve these ratings see him run in with his Line Producer Emma Thompson ( Alison Whyte ); a woman who hasn't lost all her journalistic integrity and is prepared to defend moral scruples on occasions. The same cannot be said of Reporter Brooke Vandenberg ( Jane Kennedy )- a reporter who has had all the substance sucked out of her- so much so that when interviewing Ben Elton she needs to be instructed to laugh. Her reports usually consist of interviewing celebrities ( with whom she has or hasn't 'crossed paths' with before ) or scandalous unethical reports that usually backfire. Martin De Stasio ( Tiriel Mora ) is the reporter with whom the team relies on for gravitas and dignity, as he has the smarts of 21 years of journalism behind him. His doesn't have principles so much as a nous of what makes a good journalistic story, though he does draw the occasional line. Parading over this chaos ( in name ) is Mike Moore ( Rob Sitch ) an egotistical, naive reporter who can't see that he's only a pretty face for the grubby journalism. He often finds his morals being compromised simply because Brian appeals to his vanity and allows his stupidity to do the rest.
Frontline is the sort of show that there needs to be more of, because it shows that while in modern times happiness, safety and deep political insight are interesting things; it's much easier to rate with scandal, fear and tabloid celebrities.
The Frontline team in Series One consists of Brian Thompson ( Bruno Lawrence )- a man who truly lives and dies merely by the ratings his show gets. Occasionally his stunts to achieve these ratings see him run in with his Line Producer Emma Thompson ( Alison Whyte ); a woman who hasn't lost all her journalistic integrity and is prepared to defend moral scruples on occasions. The same cannot be said of Reporter Brooke Vandenberg ( Jane Kennedy )- a reporter who has had all the substance sucked out of her- so much so that when interviewing Ben Elton she needs to be instructed to laugh. Her reports usually consist of interviewing celebrities ( with whom she has or hasn't 'crossed paths' with before ) or scandalous unethical reports that usually backfire. Martin De Stasio ( Tiriel Mora ) is the reporter with whom the team relies on for gravitas and dignity, as he has the smarts of 21 years of journalism behind him. His doesn't have principles so much as a nous of what makes a good journalistic story, though he does draw the occasional line. Parading over this chaos ( in name ) is Mike Moore ( Rob Sitch ) an egotistical, naive reporter who can't see that he's only a pretty face for the grubby journalism. He often finds his morals being compromised simply because Brian appeals to his vanity and allows his stupidity to do the rest.
Frontline is the sort of show that there needs to be more of, because it shows that while in modern times happiness, safety and deep political insight are interesting things; it's much easier to rate with scandal, fear and tabloid celebrities.
Frighteningly funny stuff
bevo-136781 April 2020
Hilarious satire of current affairs shows
Christopher_Reid8 December 2021
Frontline lets us see what happens behind the scenes of a fictional current affairs show in Australia. It makes fun of many real events, controversies and personalities.
It often feels very natural and real, as if it's an actual documentary rather than a show. But it also has occasional slapstick comedy and running gags.
Rob Sitch plays Mike Moore who evolves as the show progresses, but not in a good way. At first he's well-intentioned but simply naive. He does care about issues but is often ignorant about them and is more conscious about how he comes across than whether he actually helps the situation. The other staff often work around him without him realising.
Later, Moore becomes more arrogant and insufferable. The show starts to blur the line between hilarious and sad or infuriating. Moore often goes from one extreme to another in reaction to some kind of criticism. Perhaps some people say he's too soft. Then in the next interview he's grilling an old lady. Maybe an article implies that he has no opinions of his own. So then he weighs in on a heated topic without warning, causing more problems.
One of the best segments is whenever Moore visits his friend Geoffrey Salter (Santo Cilauro), the weather guy. Salter is so nice, he'll listen to any of Moore's problems and support him. But they often disagree only for Salter to realise and quickly backpedal. And the focus is always on Moore who clearly has the much larger ego. Later, Moore is inevitably insecure because of what Salter accidentally said - usually the truth.
Brooke Vandenberg (Jane Kennedy) is the female equivalent of Moore, perhaps more intelligent but just as obsessed with her reputation and career. Her fakeness on the camera is hilarious as she abruptly turns on her superficial reactions of surprise, interest, laughter, concern, etc. Other staff often find her annoying and make fun of her.
Martin di Stasio is the intelligent but corrupt journalist who actually knows how to do his job. He mocks Moore and Vandenberg but also gets frustrated that he doesn't get enough credit. He's also willing to bend the rules and manipulate people to get a good story.
Emma Ward is the only staff member who has solid principles but even she gives up pretty quickly, realising that ratings matter and that the show has to do whatever sells, not what is necessarily right. She can be a bit self-righteous at times but she's the main voice of common sense.
In each season, the style of the show shifts a bit which keeps things fresh. The main change is that the show becomes bigger and Moore becomes more extreme in his shallow personality and condescension to others.
Many real events are echoed in hilarious ways. We see how superficial and selfish the news crew are. Reading an 800 page book is not as important as calling it racist because that will get views. Interfering with a hostage situation and risking lives is worth it to get views.
In many cases, the hypocrisy is exaggerated. They complain that their private lives aren't respected while invading the privacy of others without hesitation. Moore complains about Koreans and other groups while preparing to grill a "racist" author.
Frontline is almost too well made. There are so much jokes and ideas to follow. The realism can make it uncomfortable and depressing as much as it is funny at times. These people probably do think this way. If they can't interview someone and portray them as an angel, they'll portray them as a devil. Principles come last in the order of priorities. Ratings and egos are what matter.
It often feels very natural and real, as if it's an actual documentary rather than a show. But it also has occasional slapstick comedy and running gags.
Rob Sitch plays Mike Moore who evolves as the show progresses, but not in a good way. At first he's well-intentioned but simply naive. He does care about issues but is often ignorant about them and is more conscious about how he comes across than whether he actually helps the situation. The other staff often work around him without him realising.
Later, Moore becomes more arrogant and insufferable. The show starts to blur the line between hilarious and sad or infuriating. Moore often goes from one extreme to another in reaction to some kind of criticism. Perhaps some people say he's too soft. Then in the next interview he's grilling an old lady. Maybe an article implies that he has no opinions of his own. So then he weighs in on a heated topic without warning, causing more problems.
One of the best segments is whenever Moore visits his friend Geoffrey Salter (Santo Cilauro), the weather guy. Salter is so nice, he'll listen to any of Moore's problems and support him. But they often disagree only for Salter to realise and quickly backpedal. And the focus is always on Moore who clearly has the much larger ego. Later, Moore is inevitably insecure because of what Salter accidentally said - usually the truth.
Brooke Vandenberg (Jane Kennedy) is the female equivalent of Moore, perhaps more intelligent but just as obsessed with her reputation and career. Her fakeness on the camera is hilarious as she abruptly turns on her superficial reactions of surprise, interest, laughter, concern, etc. Other staff often find her annoying and make fun of her.
Martin di Stasio is the intelligent but corrupt journalist who actually knows how to do his job. He mocks Moore and Vandenberg but also gets frustrated that he doesn't get enough credit. He's also willing to bend the rules and manipulate people to get a good story.
Emma Ward is the only staff member who has solid principles but even she gives up pretty quickly, realising that ratings matter and that the show has to do whatever sells, not what is necessarily right. She can be a bit self-righteous at times but she's the main voice of common sense.
In each season, the style of the show shifts a bit which keeps things fresh. The main change is that the show becomes bigger and Moore becomes more extreme in his shallow personality and condescension to others.
Many real events are echoed in hilarious ways. We see how superficial and selfish the news crew are. Reading an 800 page book is not as important as calling it racist because that will get views. Interfering with a hostage situation and risking lives is worth it to get views.
In many cases, the hypocrisy is exaggerated. They complain that their private lives aren't respected while invading the privacy of others without hesitation. Moore complains about Koreans and other groups while preparing to grill a "racist" author.
Frontline is almost too well made. There are so much jokes and ideas to follow. The realism can make it uncomfortable and depressing as much as it is funny at times. These people probably do think this way. If they can't interview someone and portray them as an angel, they'll portray them as a devil. Principles come last in the order of priorities. Ratings and egos are what matter.
A masterful satire of Current Affairs TV
Ben_Cheshire23 April 2001
Frontline is the best, most intelligent series to have come out of Australia. It is as insightful as it is funny. For anyone who believes in the validity of what you watch on current affairs television, this show is for you.
Rob, Santo, Tom, and Jane (the creators, and producers) should have kept making these episodes, television is worse off without them. They did go on to great things though, and their same brand of humour is evident. These people, are the creators of the brilliant Australian movies "The Castle", and "The Dish", and you would enjoy this series if you liked those movies.
This series is made up of a host of hilarious characters who help to expose aspects of journalists that we all can identify with, like the huge egos, (Brooke van den Burg), the stupidity and lack of talent accept as an actor pretending to be serious and intelligent (Mike Moore - the classic anchorman), and the drive for ratings (executive producer Brian Thompson was the best of the three - R.I.P Brian).
"Frontline" was an apt satire that exposed current affairs television for the uncaring, sexist, ratings-grabbing, irresponsible shows they are.
What's more, the show is hilarious! Funny in an intelligent way.
9 out of 10
Rob, Santo, Tom, and Jane (the creators, and producers) should have kept making these episodes, television is worse off without them. They did go on to great things though, and their same brand of humour is evident. These people, are the creators of the brilliant Australian movies "The Castle", and "The Dish", and you would enjoy this series if you liked those movies.
This series is made up of a host of hilarious characters who help to expose aspects of journalists that we all can identify with, like the huge egos, (Brooke van den Burg), the stupidity and lack of talent accept as an actor pretending to be serious and intelligent (Mike Moore - the classic anchorman), and the drive for ratings (executive producer Brian Thompson was the best of the three - R.I.P Brian).
"Frontline" was an apt satire that exposed current affairs television for the uncaring, sexist, ratings-grabbing, irresponsible shows they are.
What's more, the show is hilarious! Funny in an intelligent way.
9 out of 10
Ummmmmmmmmmm...
dominodancing22 September 2001
As I am so far the only non-Australian to post a comment, I'll assume no-one in the UK knows much about this gem of a show. In fact I happened to catch it when I was on holiday and haven't seen it anywhere in Britain, whether it be on Sky or terrestrial TV.
Anyway, to get a flavour, it is 'The Larry Sanders Show' crossed with 'Drop The Dead Donkey'. It doesn't have a laughter track but unlike 'DTDD', there is no attempt to make it topical ('DTDD' had segments that were filmed the day before to get a current, satirical comment in the script).
The real star of this show was Bruno Lawrence (such a shame to hear he died in 1995), who was simply hysterical as the Executive Producer Brian Thompson. He was the first person I saw as EP and so far (I've only seen him and Sam Murphy) the best by far.
The script is tight, although sometimes, albeit very occasionally, it does decend into pure sit-com territory. While this does not prevent the show from being funny, I feel that the show succeeds more as a satire.
I feel that it could work in Britain as the humour is very similar to British humour, although we do not have these daily tabloid current affairs programmes that seem so popular in the USA and Australia. So assuming no-one in the UK has bought it already, SOMEONE GET THE RIGHTS AND SHOW THIS DAMN FUNNY COMEDY! NOW!!!
Now I'm off to watch 'The Castle'. I'll let you know...
Anyway, to get a flavour, it is 'The Larry Sanders Show' crossed with 'Drop The Dead Donkey'. It doesn't have a laughter track but unlike 'DTDD', there is no attempt to make it topical ('DTDD' had segments that were filmed the day before to get a current, satirical comment in the script).
The real star of this show was Bruno Lawrence (such a shame to hear he died in 1995), who was simply hysterical as the Executive Producer Brian Thompson. He was the first person I saw as EP and so far (I've only seen him and Sam Murphy) the best by far.
The script is tight, although sometimes, albeit very occasionally, it does decend into pure sit-com territory. While this does not prevent the show from being funny, I feel that the show succeeds more as a satire.
I feel that it could work in Britain as the humour is very similar to British humour, although we do not have these daily tabloid current affairs programmes that seem so popular in the USA and Australia. So assuming no-one in the UK has bought it already, SOMEONE GET THE RIGHTS AND SHOW THIS DAMN FUNNY COMEDY! NOW!!!
Now I'm off to watch 'The Castle'. I'll let you know...
Making current affairs funny...
Yak-61 March 1999
"Frontline" is an amazing show. It combines actual current events (Pauline Hanson, the Gulf War, etc.) with a funny and thought-provoking analysis of topics such as how the media treats people and events, and how people are stereotyped. Laugh at Mike Moore and crew as they battle the odds, the rival networks and each other in search of good television... or is it good ratings?
Favorite Moment: When Mike goes on Burke's Backyard and proves himself as a complete idiot.
Favorite Moment: When Mike goes on Burke's Backyard and proves himself as a complete idiot.
Simply Brilliant
c_cooper1 May 2001
This series is just marvellous, another gem by the great team of Santo Cilauro, Rob Sitch, Tom Gleisner etc.
It is basically a satirical look at the ficticious current affairs program 'Fronline'. It has a great cast of characters including Mike Moore, the slightly naive host of the show.
Each episode revolves around a storyline, usually involving the team trying to chase a big story or, for example, their night at the Logie awards. Each episode is carried along brilliantly by it's humour, sometimes subtle but none-the-less excellent.
Definently a must see.
It is basically a satirical look at the ficticious current affairs program 'Fronline'. It has a great cast of characters including Mike Moore, the slightly naive host of the show.
Each episode revolves around a storyline, usually involving the team trying to chase a big story or, for example, their night at the Logie awards. Each episode is carried along brilliantly by it's humour, sometimes subtle but none-the-less excellent.
Definently a must see.
The "Reality" of Current Affairs
greg-23312 January 2002
Mike Moore is the well groomed host of Frontline, a current affairs show that presents "the stories behind the stories". Just like any other current affairs programme on commercial television, it has its share of sensationalism, controversy, and cynical manipulation of the truth. All in the pursuit of ratings.
There are good days and bad days for the Frontline team. On a good day there are hard-hitting stories like the gun siege, where Mike becomes an impromptu negotiator speaking to a gun-man's children over the phone. On other occasions, when the show needs to spice things up a bit, there are stories about tabletop dancers or the lesbian netball team.
In an industry without ethics, Mike is an idealist who really cares about the show. But every now and then he needs reassurance, whether it be from the unctuous E.P, the enthusiastic weatherman, the fawning secretary, or the fan mail. (Unknown to Mike the hate mail addressed to him ends up in the shredder before he gets to see it.)
Needless to say, Mike's presentation of the show is all mapped out with precision. Without even watching the stories he can react with a deeply concerned "Mmmm", or put on a fake chuckle at the Friday night funnyman. (Mike has tried to get the funnyman axed on more than one occasion.) Sometimes the production team slip up and let Mike do a studio interview live. On each occasion the result has been a fiasco.
Frontline is an astute look at the unscrupulous manipulation that goes on in the high-pressure world of T.V. journalism. Some of the episodes are based on events from "real" current affairs shows, such as the three unemployed teenagers who turned down jobs at a holiday resort, the feeding frenzy over a grieving widow, or the time when Mike Willisee was drunk on air. The "big villains" who come under the spotlight are usually shonky repairmen, dodgy mechanics, and illiterate kids who don't want to work. The team at Frontline know their stories have to appeal to a vapid blue collar audience, because that's where the ratings come from. As Sam Murphy once said: "Why would anyone with brains or money be sitting round a telly at 6.30 each night?"
There have been many guest celebrities on Frontline, such as Jon English, who was used in a Frontline charity special: the challenge to build a playground for needy kids within 24 hours.
I think Series 3 was the funniest of the lot. We see a lot more of Mike's extravagant lifestyle while the E.P. vainly tries to sell Mike as a man of the people. One of the funniest moments is when Mike goes on "This Is Your Life".
Frontline has got to be the most credible of Australia's current affairs shows. It's the only one I take seriously.
There are good days and bad days for the Frontline team. On a good day there are hard-hitting stories like the gun siege, where Mike becomes an impromptu negotiator speaking to a gun-man's children over the phone. On other occasions, when the show needs to spice things up a bit, there are stories about tabletop dancers or the lesbian netball team.
In an industry without ethics, Mike is an idealist who really cares about the show. But every now and then he needs reassurance, whether it be from the unctuous E.P, the enthusiastic weatherman, the fawning secretary, or the fan mail. (Unknown to Mike the hate mail addressed to him ends up in the shredder before he gets to see it.)
Needless to say, Mike's presentation of the show is all mapped out with precision. Without even watching the stories he can react with a deeply concerned "Mmmm", or put on a fake chuckle at the Friday night funnyman. (Mike has tried to get the funnyman axed on more than one occasion.) Sometimes the production team slip up and let Mike do a studio interview live. On each occasion the result has been a fiasco.
Frontline is an astute look at the unscrupulous manipulation that goes on in the high-pressure world of T.V. journalism. Some of the episodes are based on events from "real" current affairs shows, such as the three unemployed teenagers who turned down jobs at a holiday resort, the feeding frenzy over a grieving widow, or the time when Mike Willisee was drunk on air. The "big villains" who come under the spotlight are usually shonky repairmen, dodgy mechanics, and illiterate kids who don't want to work. The team at Frontline know their stories have to appeal to a vapid blue collar audience, because that's where the ratings come from. As Sam Murphy once said: "Why would anyone with brains or money be sitting round a telly at 6.30 each night?"
There have been many guest celebrities on Frontline, such as Jon English, who was used in a Frontline charity special: the challenge to build a playground for needy kids within 24 hours.
I think Series 3 was the funniest of the lot. We see a lot more of Mike's extravagant lifestyle while the E.P. vainly tries to sell Mike as a man of the people. One of the funniest moments is when Mike goes on "This Is Your Life".
Frontline has got to be the most credible of Australia's current affairs shows. It's the only one I take seriously.
Brilliant
dlewis-1020 February 2001
Between 'Frontline'and 'Media Watch', the credibility of 'tabloid tv' was destroyed. Brilliant playing, great scripts, and all this, on a shoestring budget. Like 'The Games', 'Frontline' often prophesied actual stories. Journalists both loved it and hated it. It's a shame these guys did 'The Panel'. It's not likely that tv comedy will get as good as this in the near future.
So close to the truth it's frightening
jmdata12 October 2000
This series was the watershed of satirical description of TV current affairs. After the rubbish that the commercial stations dish up as current affairs it was at times hard to tell the difference between this and the real thing.
The funniest show in Australia
Big Rich10 December 1998
I'm a person who thinks that Australian A Current Affairs shows like A CURRENT AFFAIR with Ray Martin and TODAY TONIGHT are just a joke. They do the same things like The little kid with the life threatening disease, or the dole bulgers who refuse to get a job so they make anyone under the age of 35 look evil.
Frontline is like a Behind the Scenes look at these shows. Which is hilarious to see how much trouble the crew can go to get a breaking story.
The Characters are Frontline host Mike Moore (Rob Sitch), who thinks he is doing all the hard work but is really just reading of an autocue, Brooke Vandaberg (Jane Kennedy), a reporter with a massive ego problem, Martin Di Starsio (Triel Mora), a sarcastic field reporter who never gets the attension from the media and a bunch of Executive producers who are just interested in the ratings and not the issues.
A classic show, a must see.
Frontline is like a Behind the Scenes look at these shows. Which is hilarious to see how much trouble the crew can go to get a breaking story.
The Characters are Frontline host Mike Moore (Rob Sitch), who thinks he is doing all the hard work but is really just reading of an autocue, Brooke Vandaberg (Jane Kennedy), a reporter with a massive ego problem, Martin Di Starsio (Triel Mora), a sarcastic field reporter who never gets the attension from the media and a bunch of Executive producers who are just interested in the ratings and not the issues.
A classic show, a must see.
The Pinacle of Television Satire!
Darth_Stat27 May 2001
I have seen about 25 of the 39 episodes, whats more I have seen 25 episodes at least twice each, some even more. This is the superb and definitive satire series, endlessly funny and pretty damn enlightening too, theres never a dull moment.
The definitives if it is fair to name such since every aspect has it's own axe to grind are as follows. Proudcey is the definitive EP, his over the top attitudes, hilarious commentaries and unforgettable quotes make the 97 series a superb achievement. The definitive exposee would have to be The Simple Life, a traumatically funny look at image making and star relationships. You can't name a single best Moore moment since all of Marties prodding has hilarious consequences as do the situations Mike gets himself into but to name a couple, you have to love the My Generation moment when Mike goes loopy after taking extasy on national television, I doubt that could ever happen but it was funny all the same, also both parts where Marty steals Mikes angel fish, the one with the water dispenser and especially the one with the water jug on his desk, or even the Moore moment with the translator lady and Mikes commentary on Elliot Rhodes' Boganville take in 'I' disease. As far as single episodes go the two parter 'A Hole In The Heart' would lead the way.
This series is unforgettable and even induces laughs when your not watching it at all but rather the current affairs shows it sends up, it's a pity they are no fun now that they have been gutted for all to see and hence have had to refine all their procedures. In seriousnes my condolences to the Weather man who has quite obviously lost his job following a rivalry with the host on the Today show, a little too close to a Frontline situation.
01. A Hole In The Heart
02. The Art Of The Interview
03. The Simple Life
04. One Big Family
05. Divide The Community, Multiply The Ratings
06. My Generation
07. The Shadow We Cast
08. 'I' Disease
09. Add Sex And Stir
10. The Desert Angel
The definitives if it is fair to name such since every aspect has it's own axe to grind are as follows. Proudcey is the definitive EP, his over the top attitudes, hilarious commentaries and unforgettable quotes make the 97 series a superb achievement. The definitive exposee would have to be The Simple Life, a traumatically funny look at image making and star relationships. You can't name a single best Moore moment since all of Marties prodding has hilarious consequences as do the situations Mike gets himself into but to name a couple, you have to love the My Generation moment when Mike goes loopy after taking extasy on national television, I doubt that could ever happen but it was funny all the same, also both parts where Marty steals Mikes angel fish, the one with the water dispenser and especially the one with the water jug on his desk, or even the Moore moment with the translator lady and Mikes commentary on Elliot Rhodes' Boganville take in 'I' disease. As far as single episodes go the two parter 'A Hole In The Heart' would lead the way.
This series is unforgettable and even induces laughs when your not watching it at all but rather the current affairs shows it sends up, it's a pity they are no fun now that they have been gutted for all to see and hence have had to refine all their procedures. In seriousnes my condolences to the Weather man who has quite obviously lost his job following a rivalry with the host on the Today show, a little too close to a Frontline situation.
01. A Hole In The Heart
02. The Art Of The Interview
03. The Simple Life
04. One Big Family
05. Divide The Community, Multiply The Ratings
06. My Generation
07. The Shadow We Cast
08. 'I' Disease
09. Add Sex And Stir
10. The Desert Angel
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
