“This generation of Australian comedians is absolutely 100 percent the most diverse, most interesting, most entertaining, most hilarious generation of comedians there has ever been.”

“The level of competition has increased so much since people like me and Hughesy [Dave Hughes] started doing shows. And the level of talent that is available for [on-air] positions is just huge.”

It’s possible that TV executives are simply not keeping up with this new wave of creatives, he says, but the problem is also structural.

“We are coming to the end of the old school free-to-air television model. And the people who are running out the time on that old model don’t feel like it’s the space to take risks [on new talent].

“You’ll find all these young, brilliant performers behind the scenes, writing jokes or producing segments for people like me. But you don’t necessarily see them so much on screen.”

Loading

Tom Whitty, the creator of a new show that is featuring as part of 10’s Pilot Showcase, is trying to change that.

“I come across a lot of new Australian comedy on Instagram and TikTok,” he says. “But it’s a real form of narrowcasting because they don’t have that big opportunity to speak to an entire nation and get familiar with them.”

His series, Time To Die, sees two emerging comedians writing deliberately bad jokes for each other and performing them live at comedy clubs. The pilot, streaming on 10 Play from Monday, features younger comedians Sonia Di Iorio and Tom Cashman, and is hosted by fellow comedians Gen Fricker and Ben Russell.

Though the show hasn’t yet been commissioned for a full series, Whitty is thankful a broadcaster like 10 is considering giving it a go: “The last time I saw stand-up regularly on TV was Tom Ballard’s show [Tonightly] on ABC. And that was quite a while ago.”

The ABC’s decision to not renew Tonightly in 2018 was a huge disappointment to many in the industry – and not just the many young writers and performers who worked on it.

Anderson, for instance, says he’s still angry about it: “The ABC and SBS should be where this new talent [is given time and space to] develop. The ABC should have a young people’s show like Tonightly on every night.”

Tom Ballard, who hosted the show, tells The Age and The Sydney Morning Herald he’s not after any sympathy and has been given lots of support from the public broadcaster over the years (“an exception that proves the rule”).

But, he says, “it’s fair to say the ABC hasn’t done anything since that gave as many new, weird and radical voices a platform as we were able to, and I do think that’s a loss”.

Loading

“Honestly, it is bizarre how rarely millennials and zoomers are seen and heard from across the mainstream media in this country; not just when it comes to comedy, but social commentary, hosting opportunities – the lot. And that kinda stinks.

“At its worst, Australian TV just often feels suffocatingly safe.”

Those interviewed for this story would like to see more stand-up, more “radical, risk-taking” sketch comedy, more shows led by young people (and given time to grow), and more consistent investment from streaming services too.

More than one person was astonished at the fact new talent Aaron Chen doesn’t have his own show. And he’s not the only one being overlooked.

Other bright talents recommended for Australian screens include Scout Boxall, Matt Stewart, Suren Jayemanne, Zack Dyer, Jonathan Schuster, Nat Damena, Gabbi Bolt, Anna Piper Scott, Cam James, Alexei Toliopoulos, Bec Shaw, Greg Larsen, Bec Melrose, Nikki Britton, Sam Campbell, Rosie Piper, Concetta Caristo and Damien Power.

If things don’t change, Rajan says Australia is at risk of losing a generation of writers and performers. Some of our best young creatives are all moving overseas, where their talent is in demand. And, increasingly, she says it “feels like a foolish decision [to stay].”

“I had this really bizarre moment where I was trying to get a meeting with a TV exec here, and then at the same time being contacted by an international scout,” Rajan says.

“I know the industry is larger [in other countries] ... but how can the dissonance be so large? How can someone overseas know my work, but I can’t get a meeting in my own hometown?”