The idea for Monster in the Closet came about during one of our initial group brainstorming sessions. The concept itself was suggested by Elizabeth, and I really liked the idea and found it intriguing and funny – I felt there was potential from a great sketch to be made from the idea. As a group we had decided to work independently on the actual script writing, with the bulk of our collaboration consisting of brainstorming sketch ideas, as well as sharing our scripts with one another for feedback. I felt that the concept of a feminist in the closet and a very traditional, somewhat bogan, father with outdated views on feminism coming across her was a goldmine of comedy potential, and I had good fun exploring the idea in the sketch. Once I decided to pursue the idea the script was written very fast, as I found the jokes and humour to flow easily once I had a firm concept and direction established.
Receiving feedback from Cal and Stayci was invaluable. They reaffirmed that my script was heading in the right direction, despite needing a few minor adjustments and tweaks. I had found that having looked at the script multiple times and for prolonged periods, there was some jokes that I either doubted or was too fixated on including, therefore having a third party either laugh at the jokes I was unsure of, or question ones I had become attached to was highly useful. Being able to hear others read the script aloud enabled me to notice things that I hadn’t previously realised – such as repetition of lines, or jokes that needed some polishing. As such, in my second draft I was able to further shape and mould my characters so their intentions and opinions were clearer, in addition to firming up jokes and altering lines where required.
Shifman and Lemish (2010) discuss the rise of feminist humour as that which not only challenges traditional views of gender, but also exposes how ridiculous some long accepted gender roles are. These techniques are definitely utilised in Monster in the Closet. The use of the father as a stereotypical father figure more obsessed with football than his child is a deliberate criticism of the traditional expectations and values held in some families — both with reference to feminism as a societal concept, and more specifically in this sketch how the conversation around women’s rights exists in the home. In discussing feminist humour, Shifman and Lemish (2010) also refer to the explicit focus on gender in feminist comedy, and the way in which this comedy type focuses on the “social reality,” often targeting men in its criticism of society. This is definitely utilised throughout Monster in the Closet, both in criticising the reaction of men to open discussion around feminism and, in poking fun at the reaction of some men and media outlets to women’s football and female athletes in general.
An additional technique utilised in Monster in the Closet is the use of situational irony, in combination with assertions with a grain of truth. This is largely used in the subtle criticism of The Footy Show (AFL), a running joke throughout the sketch. Although it is a joke that will not necessarily be picked up by every viewer, the references to Wayne Carey, Sam Newman and Eddie McGuire and their opinions on women’s football is a very deliberate and important inclusion. As three of the more prominent media figures in the AFL, it is incredibly ironic that McGuire and Newman have had and continue to have prolonged and impassioned conversations around the existence of women’s football, with the assertions that they shouldn’t be the spokespeople for women’s football having a very real grain of truth behind them.
Swink (2017) suggests that much of the humour in a comedy sketch is dependent on what the audience brings to it and their interpretation of a sketch, as well as the form of feminism that they adhere to. According to Swink (2017), an audiences position in regard to feminism can greatly correlate with their position on and interpretation of a sketch. This is certainly true with Monster in the Closet, with many of the jokes and nuances being somewhat dependent on viewers being not only knowledgable on feminism, but also having a somewhat detailed knowledge of AFL and the prominent figures within the industry,
One such figure referenced within the sketch is Wayne Carey—this is a very pointed and deliberate reference to Carey’s past, in which he has been convicted of indecent assault of a women in addition to reports of domestic violence, as well as various other allegations of violence and brutality. This joke is very much dependent on the viewer having some knowledge of AFL and some knowledge of Carey and his passed discretions, but for those who understand, this is certainly a relevant and amusing reference. Ultimately, comedy is used in this reference to reinforce the absurdity of such men having strong and prominent opinions regarding women’s sport.
Furthermore, comedy is used to portray just how delicate men can be when it comes to the discussion of feminism. Although the reaction to Erin the Feminist in the sketch is exaggerated and unrealistic, it strongly mimics the reaction many men have to feminism. Many men will not even enter into a discussion around feminism due to fear of change, and an inability to see how feminism is a positive for all, not just for women. In this sense, comedy is used to showcase just how ridiculous some arguments are when it does come to issues around feminism, gender and equality.
The type of feminism used in Monster in the Closet is hard to define, as the feminist herself has minimal lines and only comes in at the end. Having a woman hiding in the closet and waiting to discuss feminism is obviously a fairly extreme portrayal of a feminist, and as such she would likely be a more extreme form of radical feminist. As a whole, however, the actual inequalities and issues discussed and referenced in the sketch occur in what we can refer to as “the public arena” (Beasley, 1999, p. 52). The sketch advocates for, at a baseline, equal rights and opportunities for women and men, falling largely under the banner of liberal feminism.
Ultimately the development of Monster in the Closet has involved taking on feedback both from my group and from Stayci, Cal and the class as a whole. The opportunity to complete a table read and garner that feedback was invaluable to the sketch’s development, and the inclusion of pop culture references and understanding who the sketch was intended to be for really assisted with refining my characters and the humour used in the sketch. The collaborative process undertaken throughout the script’s development was essential to it’s success, and the themes and techniques used throughout enabled it to be as impactful and humorous as feasibly possible.
References
Beasly, C 1999, What Is Feminism Anyway?,1st edn, South Win Production Ltd, Singapore.
Shifman, L & Lemish, D 2010, ‘Between Feminism and Fun(ny)mism’, Information, Communication & Society, vol. 13(6), pp. 870-891.
Swink, R.S, 2017, ‘Lemony Liz and likable Leslie: audience understandings of feminism, comedy, and gender in women-led television comedies’, Feminist Media Studies, 17(1), pp.14–28.