Harold Holt

‘A blood sport feigning as government’: what the ABC’s Nemesis taught us about a decade of Coalition rule

Retrieved on: 
Wednesday, February 14, 2024

For God’s sake let us sit upon the ground And tell sad stories of the death of kings.

Key Points: 
  • For God’s sake let us sit upon the ground And tell sad stories of the death of kings.
  • The latest instalment, Nemesis, dealing with the Abbott-Turnbull-Morrison years, is the fourth of these series since the pioneering Labor in Power screened in 1993 chronicling the Hawke-Keating era.
  • The Howard Years (2008) and The Killing Season (2015) followed examining respectively the Howard and Rudd-Gillard governments.
  • By contrast, The Killing Season and Nemesis focus predominantly on the leadership wars that blighted Australian politics between 2007 and 2022.
  • The most striking takeaway from Nemesis is that the Coalition’s decade in office from 2013 to 2022 was a time of abject irresponsibility.

The Abbott years

  • It was a catalogue of swingeing cuts and broken promises (Abbott had pledged no cuts to health or education during the 2013 election campaign).
  • The Abbott government never really recovered.
  • Chastened by that result, Abbott then caused incredulity among colleagues by proclaiming that “good government begins today”.
  • According to Turnbull, Abbott did not welcome the approach, telling him “to fuck off”.

The Turnbull years

  • The public were relieved to see the back of Abbott and welcomed enthusiastically the ostensibly progressive Turnbull.
  • Attorney-general in the government, George Brandis, refers to the Faustian bargain Turnbull had made to win the prime ministership.
  • Dutton, the right-wing hard man who Turnbull scathingly describes as “a thug”, challenged for the leadership, losing relatively narrowly.
  • A revelation about events during that febrile week is that Turnbull considered heading off his opponents by calling an election.
  • The episode ends with Turnbull offering another pungent character assessment, this time of his successor: “duplicitous”.

The Morrison years

  • It errs towards generosity to Morrison, not fully capturing why his leadership became a byword for inauthenticity, a prime minister whose obsession with the theatre of politics consistently trumped substance.
  • The episode recalls many of the notorious statements made by Morrison, which by suggesting he was evading responsibility, was a bully or lacked empathy corroded his public image, especially among women voters.
  • Asked about the comments, Morrison admits to poor choices of words.
  • Nemesis shows that the COVID pandemic was both a blessing and curse for the Morrison government.
  • Morrison then expended dwindling political capital by fruitlessly pursuing religious rights protections, causing ructions with Liberal moderates.
  • We are left with the suspicion that once again Morrison is bending the truth.

A decade of banality and pettiness

  • Participants in the documentary draw on classical allusions in making sense of the chaos.
  • We are told, for instance, that the leadership feud between Abbott and Turnbull was Shakespearean.
  • Yet what Nemesis exposes is the banality of these events and the pettiness of the actors.
  • The post-Menzies Liberal triumvirate of Harold Holt, John Gorton and William McMahon were respectively overwhelmed by the office, reckless and pygmy like.


Paul Strangio received funding from the Australian Research Council in the past.

A theatre production … in the pool? This new play in Perth leaves the audience buoyed

Retrieved on: 
Tuesday, February 13, 2024

My obsession for public pools began when I was growing up in Perth at the iconic 1960s Beatty Park.

Key Points: 
  • My obsession for public pools began when I was growing up in Perth at the iconic 1960s Beatty Park.
  • So, I was looking forward to Black Swan State Theatre Company’s new production The Pool, and it doesn’t disappoint.

Watching on from poolside

  • Given Perth’s current heatwave, this venue is welcomed.
  • Seated poolside, we observe the goings on in and around the pool just as Rodgers did.
  • Loved-up teens Safiyah (Edyll Ismail) and Ananda (Tobias Muhafidin) are escaping the censuring gaze of adults.
  • The over-60s trio of Roy (Geoff Kelso), wife Greta (Polly Low) and her buddy Val (Julia Moody) are healing their ageing bodies and family rifts.
  • Keeping these regulars afloat are poolside staff Kirk (Joel Jackson) and Sandra (Kylie Bracknell) with their own reasons for being there.

Passion for the pool

  • Rodgers’ passion for water and the pool washes through his play.
  • She has achieved this in The Pool with details that blur the distinction between reality and theatre.
  • As we are ushered into the space, swimmers are in the pool, prompting somebody near me to speculate on whether they were actors or actual lap swimmers.
  • The actors’ movement in and around the pool and their entrances and exits are carefully choreographed not only to retain focus on the main action but to replicate the rhythms and patterns of people at public pools.
  • The Pool is greatly enhanced in its subtle shifts away from realism.
  • Champion picks up on the aesthetics of the public pool, focusing on the sensuality of its water and beauty of its objects: handrails, ramp, deckchairs and lane ropes.

A place of connection


Crucial to all this is the audio. The use of headphones for the audience creates an intimacy with the characters. Composer and sound designer Tim Collins’ finely nuanced score supports the action without dominating, and without any hitches.

  • This production shows they are also a space where we can have a laugh, shed our skins and find or lose ourselves – and ultimately find connection with others.
  • Read more:
    Take a plunge into the memories of Australia's favourite swimming pools


Helen Trenos does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.