The Slap : Hector
Australia
:
ABC Television
Matchbox Pictures
,
2011
Z1816203
2011
single work
film/TV
'It's the eve of Hector's 40th birthday and his wife Aisha has organised a barbecue with their friends and family. Hector is ambivalent about celebrating the milestone and longs for the carefree days of his youth. He loves his wife, but her controlling nature and singular focus on the party only serve to heighten these feelings. Nonetheless, Hector is a genial host. The party begins, and tensions arise almost immediately between Hector's mother Koula and Aisha. Koula has catered, despite Aisha's protestations, and she and Manolis have bought Hector a birthday present - a family trip to Greece - which clashes with Aisha and Hector's planned trip to Bali. When Hector refuses to confront his parents about it, Aisha is infuriated by what she sees as his loyalty to family over her. Hector escapes by taking drugs and flirting with 17-year-old Connie, the teenager he's having an affair with.
The Slap : Anouk
Australia
:
ABC Television
Matchbox Pictures
,
2011
Z1816221
2011
single work
film/TV
'Anouk leaves the BBQ more appalled by seeing Hector flirting with Connie than Harry slapping Hugo. Her life is full of pressure - her mother is ill, a young writer at work has his sights set on her job - and the slap is the last thing on her mind. Feeling ill from what she assumes is stress, Anouk visits a doctor, where she discovers to her shock, that she is pregnant with her much younger boyfriend's child. She tries to talk to Aisha, but can't bring herself to. Her confusion is compounded when Rhys proposes they quit their jobs to travel around the world together. She is torn by her feelings for him, his kindness, and commitment to her, and the fear of tying him down and holding him back.
'The next day, Anouk gets into a heated argument with her boss, and quits. Still reeling, she catches up with Aisha and Rosie for a drink that night. When the conversation turns to the slap, and Rosie tells them she and Gary are pressing charges against Harry, Anouk doesn't hold back in telling them how she feels. Rosie and Aisha are stung at Anouk's reaction, and she storms out feeling estranged from her two closest friends.
'Feeling guilty, Anouk visits Rosie's house the next day to apologise, and inadvertently confesses that she is pregnant. Saying it out loud, and trying to persuade herself that it is a chance for renewal, Anouk realises she doesn't want to have the child. The morning after her abortion, Anouk wakes to find Rhys cooking her breakfast. Unaware of her decision to terminate, but having worked out she was pregnant, Rhys is overcome with excitement at the idea of having a baby. But when Anouk tells him there is no baby, Rhys is devastated. Furious at not giving him the choice, he leaves her.'
Source: ABC TV website, http://www.abc.net.au/tv/theslap/
Sighted: 18/10/2011
The Slap : Harry
Australia
:
ABC Television
Matchbox Pictures
,
2011
Z1816225
2011
single work
film/TV
Australia
:
ABC Television
Matchbox Pictures
,
2011
The Slap : Connie
Australia
:
ABC Television
Matchbox Pictures
,
2011
Z1816251
2011
single work
film/TV
'When Hector broke things off with Connie, her feelings for him didn't change, if anything, they got stronger. So, when Hector drives her home one night after babysitting, she kisses him, and Hector, in a moment of weakness, takes things further. Connie is thrilled by this development until she sees Aisha at the vet clinic, and her excitement turns to guilt. She tries to make contact with Hector but he doesn't respond. Unable to resist seeing him, and knowing Aisha is out, she dresses up and visits him at home, aiming to seduce him. But her plan goes awry when Hector not only rejects her advances, but tells her he regrets their affair and will never love her.
'Devastated and humiliated she takes off to a party, where she finds Richie, and blurts out that Hector raped her. Richie is shocked and insists she tell the police, but she refuses. At the party, Connie quickly forgets about Hector when she comes to the attention of Ali, a handsome, popular boy from school. After walking her home at dawn, and asking for her number, Connie is enthralled by her new love interest. As she slides into bed, still tingling with excitement, the teenage Connie is oblivious to the trouble her lie has created.
Source: ABC website, http://www.abc.net.au/tv/theslap/
Sighted: 18/10/2011
The Slap : Rosie
Australia
:
ABC Television
Matchbox Pictures
,
2011
Z1820050
2011
single work
film/TV
'Rosie receives notification of the court date. Finally Harry will be punished for what he did. But her relief is short lived when she realises she is alone in her crusade. Aisha won't attend the trial as it puts her in a difficult position with her family and Anouk won't testify as she's staying out of it. Even Hector wants nothing to do with it, and is only going because he's been summonsed. When Rosie starts to doubt herself, her spirits are lifted by Shamira, a guest at the BBQ, who contacts her and agrees to testify as a witness against Harry. Thrilled to have an ally, she tells Gary, but he hates that things have gone this far, and pleads with her to let it go. Rosie refuses, she's in too deep, and Gary lashes out, revealing his disdain for his wife.Source: ABC website, http://www.abc.net.au/tv/
Sighted: 31/10/2011
The Slap : Manolis
Australia
:
ABC Television
Matchbox Pictures
,
2011
Z1821945
2011
single work
film/TV
'As a man approaching the end of his life, Manolis hates what the slap is doing to his family. His wife is full of even more vitriol, Hector and Aisha are being torn apart by their split loyalties, and Aisha, still furious with Harry, will have nothing to do with the family. When he notices Hector still harbouring resentment towards Harry after the court case, he tries to reach out to him, but Hector rejects his efforts. Hector, as always, is consumed with his own problems. He's getting anonymous text messages calling him a rapist.
'Sandi pleads with Manolis to talk to Aisha, but even he is not sure he can turn her around. Manolis is further dismayed by the selfishness of his family, when Hector appears indifferent to the news that his godfather has died, and seems put out by Manolis' insistence that he attend the funeral. Manolis reminds him that it is a mark of respect, and important that he attend with Aisha and the children, but only Hector turns up.
'At the funeral, Manolis runs into his old friend, Thanasis, who brags about leaving his sick wife, and his new sex life with a much younger Filipina. Manolis is shocked, but secretly envious that Thanasis has put his own happiness first. His envy turns to irritation though after one too many jibes from Thanasis, and he lashes out, humiliating himself. Hector extricates him from the melee, and they stop for a drink on the way home. Hector confesses his affair to Manolis. Manolis shrugs and tells him to get a divorce; isn't that what everyone else does? But this is not the advice Hector seeks. Manolis then reveals his own secret. Koula was in love with someone else when they married, but Manolis stuck by her because they had a baby on the way. He put family first and is now regretting it. Hector is shocked.
'Manolis decides to meet with Aisha, to try to put an end to the familial disharmony. He implores her to forgive, to come to Greece with the family, but with Harry coming to, Aisha will not be swayed, and he loses it with her. Regretful, he returns home to Koula, feeling feeble and powerless. But to his surprise, Koula is delighted by his taking action, and the ice between them thaws.'
Source: ABC website, http://www.abc.net.au/tv/theslap/
Sighted: 24/11/2011
The Slap : Aisha
Australia
:
ABC Television
Matchbox Pictures
,
2011
Z1827269
2011
single work
film/TV
'Whilst the court case is over, the repercussions of the slap are far from resolved for Aisha. Her marriage is buckling, and Rosie isn't returning her calls. Relief comes in the form of a veterinary conference on the Gold Coast. No family. No drama. No slap. At the conference she meets the charming, charismatic Art Martinez, one of the keynote speakers. Art is gorgeous, interesting and doing exciting work around the globe. They click instantly and Aisha sleeps with him.
'After the conference, she meets Hector at a luxurious resort in Byron Bay for their anniversary. They are polite but distant. At dinner they get into a fight about Harry, and it is revealed they know he's hit Sandi in the past. She accuses Hector of covering for Harry, and blames him for revealing Rosie's secrets at the trial, but the truth of it is she feels guilty. Unable to cope, Hector breaks down, and back in their room confesses to an affair. Aisha feigns distress, but deep down feels nothing. They leave the holiday early.
'Back home, Rosie finally agrees to meet Aisha. Aisha confesses the truth about Harry's history of violence, and Rosie explodes, leaving their friendship destroyed. Aisha, Hector and the kids attend Rocco's birthday party. Alone with Harry, she confronts him about his mistreatment of Sandi and vows never to forgive him.'
Source: ABC TV website, http://www.abc.net.au/tv/
Sighted: 24/11/2011
The Slap : Richie
Australia
:
ABC Television
Matchbox Pictures
,
2011
Z1827277
2011
single work
film/TV
'The burden of Connie's secret is taking its toll on Richie. He's worried about her, and disgusted with himself for obsessing about Hector. Whilst everyone knows he's gay, Richie is still struggling to come to terms with it. He feels increasingly alienated from Connie, who's wrapped up in her new boyfriend and friends, so spends more and more time with Hugo, to fill the gap. When Rosie and Gary announce they're moving to the country, Richie is devastated.'Christos Tsiolkas has occupied an increasingly central position in the contemporary Australian literary and cultural imagination. Starting with his novel Loaded (1995), Tsiolkas’s fiction engages with subject matter that speaks to his personal experience as both a gay man of Greek heritage and a writer concerned with larger social and political issues affecting a multicultural Australia. Examples of recurring themes in Tsiolkas’s fiction include the irreconcilability of Greek and Australian identity, racial and class intolerance, emergent sexual consciousness, and the conflict between familial obligation and individual expression. In contrast to these arguably “reader-friendly” themes—that is, themes that are accessible to a wide and non-specialist audience—Tsiolkas’s early novels (Loaded; The Jesus Man, 1999; and Dead Europe, 2005) possess a subversive edge in how they explore obscenity and social transgression. However, the publication of Tsiolkas’s fourth novel, The Slap (2008), signalled a new phase in his career, in which the formal rawness of his prose and his uncompromising representation of extreme corporeal states gave way to a simplicity in his written expression that mirrored the growing topicality of his subject matter. This change in purpose mirrors the shift in both the reception of Tsiolkas the writer and of his fiction. Prior to The Slap, Tsiolkas was viewed as a “cult figure” who, though of some critical interest, neither captivated the attention of a mainstream audience nor was celebrated by the literary establishment as an “Australian” writer whose fiction reflected purportedly national interests. However, the critical and commercial success of The Slap has ensured that both Tsiolkas and his subsequent fiction have been (re)cast as pivotal sites of commentary on contemporary Australian class and racial politics. Put another way, Tsiolkas’s “increasing visibility … as a public intellectual, if not a literary celebrity”, has resulted in changes to the form, language and subject matter of his novels, and also the ways critics receive and understand his career.' (Publication abstract)
'During the 90’s and Noughties Greeks were everywhere in Australia. The success of comedy productions ‘Wogs out of Work’ and ‘Acropolis Now’ not only broke audience records for both stage and screen but took the Greek Australian experience mainstream. The ‘Heartbreak Kid’, ‘Head On’ and TV show ‘The Slap’ further explored the second generation in adapting to an ever changing culture. But in recent times there has been a distinct lack of Greek Australian stories and characters on TV and film screens.' (Introduction)
