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AbstractHistoryArchive Description
'A group of friends who shared a house in their younger days all communicate via an online video chat room during the COVID-19 shutdown. As lives and ambitions are suddenly put on hold without notice they struggle to come to terms with life in lockdown, dealing with everything from unemployment to a lack of toilet paper. Filmed in mid-June of 2020 and released in early July the show was actually written, filmed and edited under lockdown regulations.' (Production summary)
Includes
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1.03form y
Catfish
Australia
:
Unless Pictures
Orange Entertainment
,
2020
23334215
2020
single work
film/TV
Australia
:
Unless Pictures
Orange Entertainment
,
2020
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Boxed In : Covid-19, Comedy, and a Captive Audience
2021
single work
criticism
— Appears in: TEXT Special Issue , October no. 62 2021; 'This article considers the place of screenwriting practice in relation to comedic television projects created during an extended lockdown period in Australia and internationally. During times of global disruption, society has repeatedly relied on the literary and performing arts to entertain and inform. I will use the television series Retrograde (2020) as a case study to consider screenwriters’ resilience during times of turbulence and unrest and how they were able to create television in isolation to deliver comic relief to an online audience. Retrograde was written and produced entirely online in direct response to the restriction of movement and face- to-face interactions imposed due to the global Covid-19 pandemic. The comedic television show was written for a multiscreen performance and features a predominantly female writing team and cast. It is set in the online video conferencing space, which many have become accustomed to using for educational, professional, and social encounters during lockdown. Retrograde’s characters depict the intersection of cultures of disability, sexuality, gender, race, and class, with the shared experience of being stuck at home, alone together. The Retrograde project proves intercultural representations can flourish within screenwriting practice when given the opportunity, and intermedial collaboration is possible despite the imposed hindrance of isolation.' (Publication abstract) -
Comedy Locks down Quarantini Moment
2020
single work
review
— Appears in: The Weekend Australian , 18 July 2020; (p. 20)
— Review of Retrograde 2020 series - publisher film/TVFree-to-air A quartet of former housemates regroups nearly a decade later via an online chat room “bar” as the Australian lockdown closes in around them in Retrograde, an effervescent, culturally savvy six-episode comedy from the ABC that reaches its halfway point with Wednesday’s instalment and is worth catching up with as we lean into the maw of phase two.' (Introduction)
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Comedy Locks down Quarantini Moment
2020
single work
review
— Appears in: The Weekend Australian , 18 July 2020; (p. 20)
— Review of Retrograde 2020 series - publisher film/TVFree-to-air A quartet of former housemates regroups nearly a decade later via an online chat room “bar” as the Australian lockdown closes in around them in Retrograde, an effervescent, culturally savvy six-episode comedy from the ABC that reaches its halfway point with Wednesday’s instalment and is worth catching up with as we lean into the maw of phase two.' (Introduction)
-
Boxed In : Covid-19, Comedy, and a Captive Audience
2021
single work
criticism
— Appears in: TEXT Special Issue , October no. 62 2021; 'This article considers the place of screenwriting practice in relation to comedic television projects created during an extended lockdown period in Australia and internationally. During times of global disruption, society has repeatedly relied on the literary and performing arts to entertain and inform. I will use the television series Retrograde (2020) as a case study to consider screenwriters’ resilience during times of turbulence and unrest and how they were able to create television in isolation to deliver comic relief to an online audience. Retrograde was written and produced entirely online in direct response to the restriction of movement and face- to-face interactions imposed due to the global Covid-19 pandemic. The comedic television show was written for a multiscreen performance and features a predominantly female writing team and cast. It is set in the online video conferencing space, which many have become accustomed to using for educational, professional, and social encounters during lockdown. Retrograde’s characters depict the intersection of cultures of disability, sexuality, gender, race, and class, with the shared experience of being stuck at home, alone together. The Retrograde project proves intercultural representations can flourish within screenwriting practice when given the opportunity, and intermedial collaboration is possible despite the imposed hindrance of isolation.' (Publication abstract)
