ABSTRACT
This chapter continues the examination of the fracture, exploring how colonial ideals of Australian masculine identity are utilised in contemporary Australian culture. I explore contemporary representations of Australian masculine identity, highlighting the shift between appropriate and inappropriate performances of the identity through an examination and comparison of three Australian-based television series, emerging within three years of each other and two of which are continuing to air, Blokesworld (2003–present), Last Man Standing (2002), and Bondi Rescue (2006–present). These shows have been selected as they are either about men, targeted to men, or representative of men. I ask, how is identity, nationality and masculinity configured here in these productions? What meaning do they give, do they draw from historical iconic imagery concerning Australian identity, and how is masculinity produced and understood in these ventures? Why has Blokesworld and Bondi Rescue continued to flourish, while Last Man Standing only lasted one season? What do Blokesworld and Bondi Rescue offer audiences that Last Man Standing could not?
