Two Unabashed Madams (Press, 20 April 1988)

On 20 April 1988, Ruth Ranker reviewed two contrasting television programmes broadcast on Television One, New Zealand's cultural and sporting channel, which focused on the lives and experiences of successful madams. Both shows featured women openly discussing their services, distancing themselves from the motivations of their clients. This unusual approach to the evening's content highlighted society's complex relationship with sexuality and fantasy. The first programme was noted for its bizarre hosting dynamic, featuring an Australian transvestite interviewing a Cockney, while the second was led by a more traditional British male interviewer, which Ranker described as "honest" versus "dishonest." The stark contrast in hosting styles mirrored the content's duality, with one leaning towards humour and the other presenting a more serious discussion. Ranker fondly lamented the absence of "The Dame Edna Experience," craving more sharp wit and humour reminiscent of Barry Humphries' performance, which masterfully blended social commentary with entertainment. Dame Edna’s character, known for her flamboyance, engaged with a variety of guests including Sir John Mills, ballet dancer Nureyev, and former madam Cynthia Payne. Payne's pragmatic views on male sexuality resonated with the audience, adding depth to humorous elements often present in Dame Edna's skits. Throughout the discussion, Ranker observed a subtle critique of societal views on sex work, touching on themes of feminism and societal expectations. She noted how the programmes managed to shift blame onto the consumers of the sex industry, a counterpoint to typical narratives that focus on the workers. Furthermore, Ranker highlighted the voyeuristic tendencies of the shows, suggesting that the audience's interest stems from deep-seated prejudices and cultural taboos relating to Australian society's views against sexual themes. Interestingly, one of the guests on the show, identified as Dome, discussed her husband's missionary aspirations while paradoxically supporting her business. This highlighted the complexity of individuals within the sex industry, revealing pressures and dualities in their lives. Ranker summarised that while the representations of these women were vivid, the portrayal was incomplete, as it overlooked the responsibility of the consumers underpinning the sex work market. She expressed a desire to see more balanced narratives, delving deeper into the lives and choices of those involved in the industry, particularly the social dynamics that lead individuals like Dome to run such businesses in a culturally rich yet morally ambiguous environment like Perth. Overall, Ranker's critique articulated the intricate layers of humour and seriousness intertwined in the representations of sexual fantasy on television, calling for more profound explorations of the social contexts behind these choices.

The text on this page is created, in the most part, using Generative AI and so may contain errors or omissions. It is supplied to you without guarantee or warranty of correctness. If you find an error or would like to make a content suggestion please get in contact

The text on this page is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 New Zealand