Sep 28

RAW: Comment – At Home With Julia Axed

By Lewis Dowell

It’s funny how when there is a truly biting satire, that’s as accurate and sharp as it is funny, you rarely hear about it from newspapers and especially politicians. I am of course not talking about the ABC’s At Home With Julia but about the political satire Hollowmen that featured on the ABC in 2008.

Hollowmen looked at the new culture of unelected political advisors in the Australian Government, and revealed very real cynicism and hypocrisy that exists in today’s politics, whilst being extremely funny.

Episodes dealt with the Government trying to curb childhood obesity with out upsetting the recreational sports lobby’s as ‘there isn’t one sporting code in this country that isn’t currently being propped up by saturated fats and sugars’, and trying to get the independent PBS to fund an ineffectual and expensive drug, because it has been named by the media as a ‘wonder drug’.

Hollowmen outlined shared interests and genuine questions of Australia’s state of democracy, however whilst and since it aired, it has not once been mentioned by either politician or journalist at any press conference, political commentary show or even editorial columns.

Which is strikingly different to At Home With Julia which has featured on Q and A at least 3 weeks in a row, has been the bane of many a columnist, has been the question of many a talk back caller and has been discussed by many a politician and journalist, all of which has ended with the series being pulled up 2 episodes short (the ABC insists it was only a four part series, but there were 6 episodes written in total) and it will not likely be commissioned for a second series.

My biggest problem with the commentary that has featured around this sit-com is the fact that it has been labelled a satire. Satire should either reveal a truth about the specific subject matter, or deliver an opinion or stance about a subject matter. What satire isn’t, is putting on a funny voice and having sex under a flag.

Saying At Home With Julia isn’t a satire, is not me being toffee nosed and certainly isn’t and shouldn‘t be seen as a put down to the show, because I’m certain the show never sought to be a satire.

The show is essentially about a couple where the Man’s occupation has become obsolete, due to the sudden rise to power of his partner. This could have taken place many environments, such as in the corporate world and the world of media or celebrity. The makers of At Home With Julia obviously just felt that setting the show in Australian politics with real characters would give the sit-com somewhat of an edge. But just because it has real life characters doesn’t mean it’s anything more than a broad comedy, where unexpected dinner parties with fussy guests, and misunderstandings due to bad phone reception are the central premises for the episodes.

This show could have easily been done using alias’ instead of real characters and real character names, and it would receive a lot less contention because it would be recognised that the characters were fictional caricatures, and should in no way be thought of as linked to the real people. However it would seem that the makers of At Home With Julia gave the public and media too much credit, as they thought that they could keep the real names and people would still be able to work out that these were fictional characters.

I suppose the real problem is that one of the most harmless, broad and intellectually un-stimulating of comedies could become that much of a topic, when there is so much satire out there to be consumed. You just have to watch one episode of the English The Thick Of It to know what I’m talking about.

Even when the Chaser’s War on Everything was on, the only sketches and stunts focussed by those in the media were those that were simply the most offensive or dangerous, completely ignoring some of the genuine topics and hypocrisies that some of their segments raised.

This show was nothing more than The Nanny or Roseanne set in the Lodge, but somehow got confused with something that it wasn’t meant to be. What’s worse though, is that out of all the people I’ve spoken to about this, who were so quick to pass judgement, none of them had seen one episode and had based their judgement on what they had heard from the press. There is nothing wrong with having an opinion just make sure that it’s your own.

This show clearly was never meant to make any poignant points about Prime Minister Gillard’s professional or private life. It just used the public’s perception of her and her partner, as well as her colleagues and opposition to add an element to what is a humorous but broad style of comedy. To have the complaints it has that it tarnishes the office of the Prime Minister or intrudes on to her private life, means that either people haven’t seen the show or haven’t fully grasped the idea of a grotesque or caricature.

Hopefully next time a ‘satire’ is brought to the attention of the public by journalists and politicians, it’s about the questions raised by that satire.

Sep 28

RAW: How Does Your Arts Career Grow? Panel Discussion – 31st Oct

The Adelaide Festival Centre and Carclew Youth Arts are encouraging all passionate young arts enthusiasts to connect with South Australian arts industry professionals at How does your arts career grow?
How does your arts career grow? will be a thought provoking discussion between young people and arts industry leaders about what it takes to start, grow and sustain a career in the arts today. The forum will take place on October 31 at the Space Theatre, Adelaide Festival Centre.
A panel discussion relevant to current and future arts leaders will be followed by an informal ‘Q and A’ session along with opportunities to network with leading arts organisations and professionals, cultivating new ideas for the growth of fresh arts projects in Adelaide.

The panel consists of Adelaide’s most forward thinking and proactive arts professionals who will drive informative and inspiring discussion and debate, addressing tough questions and fresh ideas presented by the young arts professionals of tomorrow.

Christie Anthoney, Creative Director, Adelaide College of the Arts, will facilitate the panel of experts including Annette Tripodi, Operations and Program Manager, WOMADelaide; Brigid Noone, independent artist/curator; Edwin Kemp Attrill, Artistic Director, University of Adelaide Theatre Guild; and Ianto Ware, Project Manager, Renew Adelaide.
Christie Anthoney said “this is the perfect opportunity for young and emerging artists and arts administrators to connect with people already established within the arts industry, a vehicle for expressing their thoughts, opinions and ideas”.
As places are limited, registrations for How does your arts career grow? are essential and can be
made online at www.adelaidefestivalcentre.com.au/theartsgrowth

What: How Does Your Career Grow?
Where: Space Theatre, Adelaide Festival Centre
When: Monday 31 October, 6.30pm
Cost: FREE
Registration Essential: seats are limited, to reserve a place visit www.adelaidefestivalcentre.com.au/theartsgrowth

Sep 28

RAW: Australia’s Got Talent Auditions – 8th Oct – Details

NATIONAL AUDITIONS FOR THE NEXT SERIES OF AUSTRALIA’S GOT TALENT BEGIN NOW!

Network Seven’s hit Talent show ‘Australia’s Got Talent’ is on the road auditioning once again!!!
‘The Grand Final – Decider’ show saw over 3 million viewers watch 14 year old singer JACK VIDGEN become the ‘Winner for 2011’, walking away with the $250,000 cash prize and an exclusive recording deal with Sony Music, changing his future forever!
Following up from the phenomenal success of Series 5, where more than 2 million viewers tuned in every week to watch Australia’s most astonishing new acts. Like illusionist Cosentino, comedians Old Fella and Ben Price, dancers Instant Bun and
Timomatic, and the incredible voices of jazz singer Liam Burrows, David Devito, barbershop quartet Benchmark and rap star, The Bandit!
We are also the only show in Australia that allows Singer/Songwriters to present their original music to a national TV audience of millions!!!

THAT SAME OPPORTUNITY IS NOW OPEN TO YOU AS OUR NATIONWIDE AUDITIONS ARE ABOUT TO START ONCE AGAIN!

We’re looking for anything and everything … solo acts, group performances, singers, dancers, magicians, circus & stunt acts, instrumentalists, comedians, novelty acts, animal acts, child performers, and whether amateur or professional, our doors are
open to everyone of any age!

OPEN AUDITIONS – ADELAIDE SATURDAY 8th OCTOBER 2011
Ridley Centre
Adelaide Event & Exhibition Centre
Adelaide Showgrounds
Goodwood Road, Wayville
Registration: 9.00am – 4.00pm

IMPORTANT INFORMATION TO QUALIFY FOR AUSTRALIA’S GOT TALENT


To qualify for Australia’s Got Talent you must be either an Australian citizen or have permanent residency in Australia. Proof may be required.

WHAT TO EXPECT AT THE OPEN AUDITIONS
• If your Act uses recorded music please bring a copy of your music on CD (we cannot play IPods or any other playback devices).
• You may have less than 2 minutes to audition so make sure you choose the best part of your Act. Please have your music cued and ready to go.
• Due to time restrictions, you may be stopped during your audition.
• Bring everything you need for your audition such as instruments, shoes, costume, props etc as your audition may be recorded.
• If your Act has any special requirements involving fire, animals or dangerous stunts or if your Act is a band, please make us aware of your requirements upon your arrival.
• Unfortunately there may be a lot of waiting around, so you may want to bring a book or magazine, water and some light snacks.
• Do not post your questionnaire to us. Please bring it along with you and make sure it is completed before you arrive.
• At your audition you will be given a release form to sign. If you are under 18 years of age at the time of your audition then you will need to bring a Parent or LEGAL Guardian to sign your release form. Our registration staff will also need to speak to your Parent or LEGAL Guardian before we can accept your release form. You will NOT be able to audition unless we have accepted your signed release form.

DVD & ON-LINE AUDITIONS
If you are unable to attend our Open Auditions, you can still apply to be on the show by sending us a DVD or on-line submission. Simply log on to australiasgottalent.com.au and follow the instructions to send us your audition. We will notify you by Friday December 16, 2011 if you are being invited to take part in the next stage of the competition.

For more information you can contact us at gottalent@fremantlemedia.com.au

Check out our website at Australia\’s Got Talent for all terms and conditions.

Sep 23

RAW That Face – five.point.one – Bakehouse – 3.5K

The capacity of the family unit to produce simultaneously both farce and tragedy was observed on two consecutive nights this week; Wednesday’s offering was the medieval machinations of the Lancasters and Yorks in Richard III at AC Arts and then last evening at five.point.one’s production of Polly Stenham’s That Face at the Bakehouse (written in 2007).

I suppose not much separates the two family mayhems that play out other than the modern day use of money and distance to attempt to solve problems that those with ultimate responsibility ought to have dealt with up front.

School drop-out Henry, 18 (Matt Crook) tends to his drunk and somewhat deranged mother, Martha, (Tamara Lee)  while other members of the family stay clear; his sister Mia (Elleni Karagiannidis) is in boarding school and quite bereft of any sort of moral compass and their father, wealthy money trader Hugh (John Maurice) has flown the coup to shack up with a local in Hong Kong.

When Hugh needs to come home to sort out a big mess created at school by Mia, tensions mount as the moments tick by to his imminent arrival.

There are times in the first half of That Face where you wonder whether this is going to elevate itself above the slightly manic. Matt Crook provides the antidote to those worries with a deeply moving performance that seems to trigger all the other players into new life. Crook, already for one quite young, has quite some credit list and performing here as he does, sometimes half naked and then in women’s clothing, ensures this can be added high up on that tally.

Having seen Maurice in Misery, he must wonder when he gets to play a role that doesn’t have him being dropped into the midst of female mania. As always his ability to play the role of the isolated middle aged man is spot on.

Tamara Lee warms to her task and her later moments with her tormented son resonate with any who have seen the damage that can be done to young men by split families. Kate Roxby’s Izzy, the brat boarding house prefect, is also a fine performance.

With highly efficient staging, the five.point.one team has done it again with a modern work that tears the fabric of our society in front of eyes (like those of Hugh) that would most often prefer to not see.

Matt Crook needs to be added to any future stars watch list you may be compiling.

Kryztoff Rating  3.5K

Sep 22

RAW: Richard III – AC Arts – 4K

The role of Shakespeare’s Richard is as demanding as any – anger, self pity, nuanced scheming – but playing it as a member of the opposite gender only compounds the task. Matilda Bailey overcomes these hurdles and presents herself as a name to look for and a career to watch. With perhaps too much beauty for the vicious and deformed king to be, Bailey possesses a great ability to make penetrating eye contact with members of her audience and carried her physical burdens for the part – hunch back and withered arm on the left, club foot on the right – without any sense of them being props. A stunning performance.

Chelsea Evans as Anne was also a standout amongst the female players.

Of the guys (playing guys), Matt Gregan (as Buckingham) was probably the strongest but he certainly gets the nod for the best hairstyle of the show – a slicked back breaker bordering on a mane – and for the best dying moments. Adam Cirillo as the measured Richmond also does well and he is certain to make his mark in the world one day in a Queen revival playing Freddie Mercury.

In his notes, director Terence Crawford defends the use of females in male parts by saying ‘in an acting school, the only alternative to [playing females in male parts] are to either discriminate against women, and cast them around the edges of the play while the guys take the leading roles, or not do the plays.’ There can be no doubt that in the acting school environment that is entirely appropriate and indeed use of someone of the opposite gender in the lead role may be considered inspired but for an audience such overwhelming use as was the case here can tend to lead to confusion.

Not that any should be dissuaded from attending for that. For when any confusion sets in, time can be usefully spent admiring the staging. Use of a sloping main performing area, with haunting use of spot lights in the closing scenes, reminds one of some Danny Boyle production in the West End of London rather more than the west end of Adelaide. The complimentary use of colours in the clothing worked well, as did the moveable screens that heralded arrivals and closed out departures from the stage.

All up, this a worthy rendition of Richard III, with abundant young talent on show in the cast and the crew. Terry Crawford needs to be congratulated for the production and Matilda Bailey needs to be added to any theatre goers’ watch list for the future.

Kryztoff Rating  4K

Sep 22

RAW: Hey Gracie, Time To Come Home From Italy And Answer An Important Question.

FROM HANSARD

House of Assembly – 14 September 2011 In Response to Question From Leader of Opposition, Isobel Redmond.

The Hon. G. PORTOLESI: I have enormous respect for Lowitja O’Donoghue. She is a Yankunytjatjara woman, so she is very much entitled to speak about issues that are going on in the lands. In relation to the report that she prepared with Tim Costello, I understand that most of the issues (because they did not provide recommendations per se) that they highlighted have absolutely—

FROM Anangu Pitjantjatjara & Yankunytjatjara Lands Report By Tim Costello & Lowitja O’Donoghue

Key Recommendations:

Our key recommendation furthermore, is to place a person in the Lands who can unblock

service delivery, mediate family/clan disputes and clarify governance confusion with the

full mandate, legitimacy and direct access to the Premier is required. Without the full

legitimacy of the office of the Premier, the various silos of government departments and

petty clan bitterness, will subvert the coherent authority to manage essential services at a

level that will both protect lives and give minimum standards for Lands occupants. This

person needs to live on the Lands and be the honest broker desperately needed. She/he

should report directly to the head of the Department of Premier and Cabinet. They must

have powers like an ombudsman to range across every department area with access and

power to intervene and unblock resources.

The final strategic (objective six) is to develop an effective governance model for the

APY Lands. In short this is the greatest challenge and the most difficult challenge.

Already a bill has enabled fresh elections with a new chair of the APY Lands. In

democratic theory, this should provide a new mandate without the defects that saw the

Commonwealth government stop funding and withdraw support from the former

Executive. However, the probability that language groups have been instrumental in this

election, fuelling unresolved bitterness, will require a person on the APY Lands with both

the mandate of the Premier and the respect of the community to mediate differences and

help people move on and through their disappointment and personal hurt.

Secondly the review of the APY Land Rights Act along with all other relevant acts and

local government models is the critical piece of intellectual and policy work. There are

those who believe the APY Lands Council is the right governance instrument through

which all of government funding can flow. They say it just elects the wrong people!

Others believe there needs to be a clear demarcation between the APY Lands Council

which should only deal with mining companies, grant permits and deal with matters

strictly pertaining to Land as opposed to a separate peak body for welfare and service

delivery. Whatever the model finally resolved upon, it needs to clearly demarcate role,

rights and resources. Until now the confusion of the model has been its’ worst enemy

intensifying bitter clan and family disputes and the worst governance practice that

damages community morale.

etc, etc.

Looks it may be time for Minister for Aboriginal Affairs Minister Portolesi to come home from her trip to Italy and answer the question – did she mislead Parliament over the O’Donoghue / Costello Report.

Sep 22

RAW: The Course of Justice In SA

Editorial From www.icac-sa.com

The Premier of South Australia, Mike Rann, was seriously assaulted in public.  His assailant walked from court a free man.  The Premier avoided cross-examination under oath about his alleged relationship with the man’s wife.

The Deputy Premier and Treasurer of South Australia, Kevin Foley, was twice allegedly assaulted in public.

Mr. Foley was promptly appointed Minister for Police, despite his blatant conflict of interest.
In one case, the suspect surrendered to police.  Mr. Foley claimed he was unable to identify his assailant from a photographic lineup, charges were dropped and the man walked free.  Police have never explained why Mr. Foley was not presented with a live lineup, where the height and build of his alleged assailant would be crucial factors.  Under parliamentary privilege, both Mr. Rann and Foley vilified the man in question and declared him guilty.

In the other case, vital CCTV evidence was erased, lost or edited by police.  A key eyewitness, whose sworn deposition contradicted Mr. Foley’s version of events, developed amnesia, such that his evidence became inadmissible.  Two other witnesses who, the defence lawyer claimed, would testify that Mr. Foley had sexually confronted them on the same occasion, mysteriously vanished.  Mr. Foley had previously vilified these witnesses and called them liars under parliamentary privilege.

A plea bargain was struck whereby Ante Tony Grgic would plead guilty, subject to extenuating circumstances.  The agreed terms of this plea bargain did not accord with Mr. Foley’s version of events, leading to an extraordinary outburst in open court by a Minister of the State.  Mr. Foley appears to believe he is above the law.
In November 2010, and again in March 2011, icac-sa predicted that Mr. Foley’s versions of the two alleged assaults would never be tested in court under oath, and we have been proved right.

A convicted pedophile, a schoolteacher who had sex with one of his male students, walked free from court, on the grounds of his present depressed state of mind,  although published precedents confirm that such offences almost always result in a custodial sentence.  In this instance, there was no admission of guilt, no apology and no expression of remorse.  The convicted man, Malcolm Fox, is the father of a serving state Labor MP, Chloe Fox.  Arguably, the personal circumstances of the presiding judge might have led him to disqualify himself from hearing the case.

The victim, together with the Victims of Crime Commissioner, asked the Director of Public Prosecutions to appeal against the leniency of the sentence.  DPP Stephen Pallaras refused to do so.  Attorney-General John Rau declined to intervene, citing the DPP’s complete independence from government interference.  In 2003, the Rann Government had directed (then) DPP Paul Rofe to appeal the sentence in the Nemer case;  Mr. Rofe lost his job when he refused to do the government’s bidding.

A mother who murdered her severely disabled son this week escaped a custodial sentence on the grounds of her clinical depression.  A Liberal Senator, suffering clinical depression and under medication, is being prosecuted for allegedly shoplifting $92 worth of groceries from a suburban supermarket. Even though supermarket management declined to press charges, police insisted on proceeding with the case.  Kevin Foley remains Police Minister.

The State Labor Government constantly cites the advice of Crown Law – rather than the DPP or Anti-Corruption Branch – in shutting down inquiries and dropping charges, such as with the suppressed Lipman Karas Report into the SAJC and the termination of the MacPherson investigation into Burnside Council.  The Crown Solicitor is the government’s own in-house lawyer and has no formal investigative or prosecutorial function.

Amidst all this, Police Commissioner Mal Hyde remains unwilling or unable to explain his role in the MacPherson investigation of Burnside Council:  why in August 2010 he was given a (part) copy of the draft MacPherson Report, along with persons adversely named in the report;  why he did not refer it to the Anti-Corruption Branch;  why he did not declare any conflict of interest;  what he did or did not tell Police minister Kevin Foley; whether MacPherson’s evidence is currently being investigated by the Anti-Corruption Branch;  and if not, why not.

In most mature societies, the unhealthy interaction between politicians, the police and the courts in the above matters would lead to severe public disquiet.  In South Australia, the media and the dormant Opposition look the other way.  But then, most mature societies have an anti-corruption commission to ensure the integrity of the system and the proper separation of powers.  South Australia is the only state which does not have such an ICAC, and day by day it becomes more apparent why.

icac-sa calls for a Royal Commission into the conduct of these matters.

Sep 21

RAW: Gorelesque 3 – Nexus Oct 6 & 7 – Preview

GORELESQUE 3 – NATIONAL TOUR
Australia’s premier dark variety and horror burlesque show, Gorelesque, is celebrating 3 years of blood, guts and glitter!
Oct 6 & 7 – Adelaide, Nexus Cabaret

Australia’s premier dark variety and horror burlesque show, Gorelesque, is back with a vengeance! 2011 sees the year of the Gorelesque thrillogy, celebrating 3 years of blood, guts and glitter! Like all good filmic sequels, you just can’t stop at one… And so, these gore‐gore girls are packing up their coffins, electric chairs and film cameras, and hitting the road baby!

This year, Sydney, Adelaide and Melbourne are all on the kill list for our axe‐wielding, blade‐slashing babes. It’s Halloween come early for all you fiends… and it’s going to be a monster of a show!
2011 has already been a big year for the crew, with the infamous Gorelesque Opening Sequence 2 receiving nominations for Best Short Film Director and Best Short Film at the inaugural Bloodfest Fantastique Film Festival (MUFF). You can be sure the camera will be rolling for the third time…

So prepare yourself for a memorable fright night of all your favourite heroines, fresh victims, and scream‐worthy villains that’ll leave you in hysterics! All our burly‐ghouls are shaking off the gravedust and lurching for a vaude‐kill night to remember, forever!

“The latest show, Gorelesque, will leave you quivering you in the shoes and feeling
a little hot under the collar…” – BEAT MAGAZINE

Event: Gorelesque 3
Who: Miss Nic, Vesper White, Glitta Supernova, Betty Grumble, Betty Blood,
Becky Lou, Lux St Sin, The Strawberry Siren, BB Le Buff, Herbie Strangelove, Rod
Lara, Luna Eclipse, Bettie N Page, MC Renny Kodgers and more!
Age Restrictions: 18 +
Entry: $25 + bf presale, $30 door. Tickets available from the vanguard.com.au,
redbennies.com, and moshtix.com.au

Website: www.gorelesque.com.au
www.facebook.com/gorelesque
Awards: Best Short Film Nomination (Gorelesque Opening Sequence 2)
Best Short Film Director Nomination (Vesper White)
@ the Bloodfest Fantastique Festival (MUFF) 2011
2009 Season: SOLD OUT!
2010 Season: SOLD OUT!

Sep 20

RAW: OzAsia – Japanese Film Fest – Gantz 2

By Kosta Jaric

My how Japanese cinema never ceases to (confuse and) amaze.

Gantz 2 not only plays out like a comic book does and humans physically can’t, but it will blow you away with some of the most unique fight scenes ever seen on screen.

Gantz 2 (also known as Gantz: Perfect Answer) follows on from where the original Gantz left off. In the first film, friends Kei Kurono (Kazunari Ninomiya) and Masaru Kato (Kenichi Matsuyama) die in a train accident that then sends them into a weird semi-posthumous game run by a big black orb, which funnily enough is called Gantz (which I won’t describe any further because to see this thing will highlight just how weird the concept is). In this game, they and other quasi-deceased people must be assigned to kill aliens whereby once they receive 100 points, they can choose to re-enter the real world – which they still awkwardly seem to be a part of – or resurrect the dead (ironically a race Western cinema has been trying to kill off for decades).

Sound familiar? Like a video game perhaps? That the film was based on the every-increasingly popular manga (comic) and anime version explains that then.

If you don’t, Gantz 2 does an ultra convenient 5 minute montage of the first film so you’re not left to sit through the next 141 minutes with no idea of what is going on. Even if you don’t get it, the special effects and fight scenes are pretty kick-ass.

In this sequel, Kurono re-enters Gantz to get 100 points and resurrect Kato. Conflicting with his love for the innocent Kojima Tae (supremely overacted by Yoshitaka Yuriko) is a raging desire to kill all of the ‘black suit’ aliens. Cue an outstanding fight scene on the Tokyo subway that has a kill count higher than any Rambo sequel and could rival any blockbuster schlock without peer.

Ninomiya is an unlikely hero but he does have this certain likeability to him. Matsuyama looks like a Japanese pop star that walked onto the wrong set, but actually excels as an alien version of himself trying to kill everything in sight.

There are some over-the-top performances, and really weird choices of character (although I guess nerdy engineers and doped out hairdressers can be stone-cold alien killers too, right?) The greatest performance without fail is that of the weirdest and scariest pop-star obsessed schoolkid cum assassin Joichiro Nishi (teen heartthrob Kanata Hongô), although this could purely be because of how disturbing his smile is.

If you’re not a fan of the improbable then avoid; however if you want to have some fun with a film that’ll only make sense to you for a fleeting moment before confusion reigns in again, welcome home.

Sep 20

RAW: Xenophon Names and Shames

Independent Senator Nick Xenophon’s decisions to name and shame alleged rapist Ian Dempsey this week has incited mixed reaction. Some say it was courageous and brave of Mr. Xenophon to use his power of parliamentary privilege to name the man the South Australian Catholic Institution refused to stand down, and others have deemed that it was negligent and an abuse of the privilege.

I my self have dealt with the same angst, not quite sure whether to look at Mr. Xenophon as a type of crusader against sexual abuse in the Catholic Church, or whether or not he may have just named an innocent man or indeed hindered in investigations or court proceedings that may yet take place.

The fact the Church was told 4 years ago of the rape that allegedly took place 50 years ago, and no action, aside from councilling, has seemingly been taken it would suggest that the Church’s action has been unsatisfactory.

However many leaders of the Church have stated that they urged alleged victim Anglican Bishop John Hepworth to go to the police with the allegations but he refused, before taking the allegations to the media in the past 3 weeks. I am not about to question the actions of a sexual abuse victim, but you could argue that if the Church urged Bishop Hepworth to go to the police and he refused, then their place in the investigation and inquiry is difficult. Should they stand down a man whom police haven’t had the chance to investigate or should they run their own inquiry, the outcome of which would be scrutinised heavily.

I must admit that my view of this maybe skewed by a somewhat prejudice when talking about the Catholic Church and their inability to deal with sexual abuse amongst their institution. The Catholic Church’s history of covering up, looking over and blind-eyeing sexual abuse across the globe only puts me into a position to support Mr. Xenophon and believe Bishop Hepworth’s allegations.

What has come as a surprise to me however, is the public and media reaction which has followed the allegations.

It seems to me that when it comes to claims of sexual abuse in the Catholic Church, all of a sudden people are very quick to jump to the defence of the Church and the alleged abuser. People jump up and down spouting innocence before proven guilty and are very cautious and uncomfortable in the naming and shaming of the alleged abuser. This is not to say that this stance isn’t completely acceptable, because it is. Even The Advertiser last week originally decided not to name the alleged because of the lack of investigation by proper authorities.

However this stance is one that only ever seems to be granted members of the Catholic Church. When it comes to football players or politicians the public and media are usually less forgiving.

Take the case of Andrew Lovett, who was sacked from St. Kilda when charged with two counts of rape. Since then Lovett has been found not guilty of all counts, however he will most likely not play AFL football again.

When it’s a footballer, there seems to be an underlying belief that even if they are technically innocent, they must have been participating in behaviour questionable enough to afford the allegations, so the shaming, humiliating and sacking of them is completely appropriate.

If we then take another step further and look at ex-rugby league player and NRL media personality Matthew Johns, we see that by participating in sexual acts that to some may be morally questionable but not illegal, you can still be named, shamed, sacked and dragged through the mud of the national media. Johns participated in group sex with a woman of the legal age, who consented to every part of the incident and who openly bragged about it the next day to work colleagues.

Then later down the line she felt embarrassed, ashamed and uneasy about the night, as most likely many of those who participated did, and went to the media. It did not matter to the public or the media then if Johns was innocent, or at least not guilty of breaking the law, and he was named, shamed and stood down from his position at Channel 9.

So why, when apparently Australian media outlets, public and organisations, love to name people with allegations of sexual abuse, and love to stand them down, do we only stop and think about the repercussions when it comes to the Catholic Church? Is it because the media does not want to upset the Church demographic or because we some how think the people who are part of the Church are inherently good, even though throughout history this notion has been shown not only to be completely inaccurate but dangerous?

The Church was notified about these alleged incidents over 4 years ago, one of the incidents of which Bishop Hepworth received compensation for as the alleged abuser had since died. I understand the Church not wanting to take action until there was some type of due process, and this is made harder by the fact Bishop Hepworth did not want to take the incident to the police. However to not do anything for fear of trying an innocent man is negligent, which is why in the end I have to support Mr. Xenophon’s decision to name priest Ian Dempsey, and to share his opinion that the Church’s actions on the matter were not up to standard.