Dating Men - Series Three

Beth Mac: Part One Beth Mac: Part Two Console Dating Men: Series One Dating Men: Series Two Dating Men: Series Three Nights on Hindley Sherlock Homes: The Boscombe Billabong Mystery The First Great Emu War of 1932 The Second Great Emu War of 1932 The Magpie The Problem with Ralph: Chugging Ulysses' Odyssey: Cyclops Uncle Ian Warlocks of Lōbethal: Class Clown Warlocks of Lōbethal: Older Writer, Father, Killer

TAGLINE One virgin. Endless disasters. Zero dignity. LOGLINE In the absurdly chaotic world of Adelaide's dating scene and a deranged corporate office, hapless virgin Ryan endures one vomit-soaked, cringe-inducing hookup after another in his desperate quest for love; his sharp-tongued colleague, Audrey, juggles disastrous relationships, workplace lies, and a crab-infested affair while trying to keep her life (and her string of boyfriends) from imploding; and eccentric boss, Troy, battles ethics raids, protesters, falling vaults, and budget Armageddon to save his sex-fuelled "Productions House" empire — all three colliding in a escalating farce of bodily disasters, moral hypocrisy, and hilariously doomed attempts at normalcy and romance. See Original Edition on Amazon See Spellbound Edition on Amazon See Workbench Edition on Amazon GENRE Primary: Raunchy absurdist comedy Secondary: LGB humorous fiction, workplace romance, workplace farce It's best described as raunchy, absurd LGB comedy — think farce meets gross-out humour in a queer Australian workplace setting, full of escalating ridiculousness, bodily-fluid gags, and satirical takes on dating, sex and corporate insanity. It's not subtle romance or drama; it's deliberately crass, hilarious and unapologetically chaotic. SETTING 'Series Three' is primarily set in contemporary Adelaide, South Australia, where the action unfolds across everyday urban locations like apartments, trams, dinner parties in suburban homes, a chaotic multi-floor office building known as the "Productions House", workplaces including a café downstairs, and occasional nods to local spots such as Hindley Street and Port Adelaide — creating a distinctly Australian backdrop of relatable city life mixed with absurd, escalating farce. BLURB The dating world is hard enough, but for Ryan and Audrey, it's downright ridiculous! Finding love continues to be an uphill battle for colleagues Audrey and Ryan. Between herding vermin, chasing ducks, hiding children, subduing protesters and running from zombies - lying to impress their dates sends them spiralling out of control. And while company money is being drained, the Ethics Committee is threatening layoffs, and bankruptcy is looming, it's never just another day at the office at the Productions House. Will a relentless inspector and his cohort end the establishment once and for all, or could finding love be enough to save them? CONTENT WARNING This book is Not Recommended for readers under the age of 15. It contains: Adult themes Violence Explicit language Strong language Sex scenes CHAPTERS EPISODE SEVEN The little things EPISODE EIGHT STIs and other lies THEMES 'Series Three' themes revolve around the absurdity and chaos of modern life, explored through a raunchy, farcical lens. The Ridiculous Pursuit of Love and Sex in the Queer Dating World At its heart, the book satirises the highs and lows of gay dating — especially for an inexperienced virgin like Ryan. It highlights the gap between romantic expectations and grim reality: disastrous hookups, performance anxiety, bodily mishaps (vomit, premature endings), fleeting connections crushed by fate, and the relentless search for "normal" intimacy amid constant humiliation. Hypocrisy and Double Standards in Relationships Audrey's arc sharply critiques relational hypocrisy — demanding forgiveness for her own affairs while harshly judging others. It extends to broader social/sexual ethics: people preaching morality while indulging in the very behaviours they condemn. Corporate and Workplace Absurdity / Institutional Madness The "Productions House" office is a microcosm of dysfunctional bureaucracy: budget crises, ethics raids, protesters, allowances for dancers/ducks/hounds, crab infestations planted as sabotage, and Troy's bombastic, delusional leadership. It lampoons corporate culture, sexual misconduct rumours, incompetence, and the farce of "professional" environments where sex, chaos and denial reign. Escalating Chaos and the Inevitability of Disaster Everything spirals: one vomit leads to a placenta party disaster, one affair to a crab epidemic, one vault to the release of "evil twins". The theme underscores how small lies, impulses, or mishaps balloon into catastrophic, interconnected mayhem — no one escapes unscathed. The Search for Normalcy Amid Absurdity Characters desperately crave "normal" (a successful date, a stable job, forgiveness, love), but the world conspires against it with gross-out humour, dark slapstick and satire. Love (or its promise) occasionally offers a glimmer of salvation amid the collapse — though it's often interrupted by literal disaster. Satire of Morality, Ethics and Authority The Ethics Committee raid, hypocritical inspectors, and self-righteous outrage poke fun at moral policing, performative virtue, and how "ethics" can be weaponised or ignored for personal gain. It questions who really gets to judge sexual/relational behaviour. Overall, the book uses over-the-top, gross-out comedy to explore how people navigate desire, relationships, work and self-image in a world that refuses to cooperate — delivering a distinctly queer, Australian-inflected take on farce where dignity is optional and disaster is inevitable. It's less about deep moral lessons and more about revelling in the hilarious mess of being human (and horny, awkward and incompetent). TONE & VIBE 'Series Three is gleefully absurd, raunchy, and relentlessly comedic — a high-energy, over-the-top farce which thrives on cringe-worthy embarrassment, gross-out physical humour (projectile vomiting, genital lice epidemics, bodily fluids everywhere), dark slapstick (falling vaults, zombie-like chaos), and unapologetic queer satire. It channels the dry, escalating ridiculousness of British workplace comedies like 'The IT Crowd' and 'The Inbetweeners', blended with Australian irreverence and a distinctly queer lens on dating disasters. The vibe is chaotic, irreverent and unpretentious: think fast-paced sitcom energy where every attempt at romance, sex or normal office life spirals into bigger, messier, more hilariously catastrophic absurdity. There's zero subtlety — no heartfelt romance arcs or serious drama — just pure, laugh-out-loud escalation of awkwardness, hypocrisy, incompetence, and bodily mayhem, all delivered with cheeky, self-aware humour which doesn't take itself (or its characters) seriously for a second. In short: filthy, frantic and fun — if you love comedies which revel in "everything going wrong in the most spectacular way possible," this book's tone is a perfect match. POV Third-person limited omniscient Past tense 'Series Three' is third-person limited omniscient, shifting fluidly between characters to capture their inner thoughts, reactions, and escalating chaos without being strictly confined to one protagonist. This multi-character third-person approach suits the ensemble chaos, allowing the comedy to build through contrasting viewpoints (Ryan's dating disasters vs. Audrey's relationship hypocrisy vs. Troy's corporate lunacy) rather than locking into one unreliable or limited lens. It's very much in the vein of ensemble British/Australian comedies like 'The IT Crowd' or 'Kath & Kim', where the narrator bounces around to maximize the absurdity. MAIN CHARACTER SNAPSHOTS Ryan A perpetually awkward, perpetually unlucky gay virgin in his thirties, Ryan is the wide-eyed, self-deprecating heart of the dating disasters. Desperately seeking love and "normal" first-time experiences, he endures one catastrophic hook-up after another — complete with projectile vomiting, premature gagging and zero dignity. His inner monologues are a frantic stream of panic, overthinking and hopeful delusion. Sweet, earnest and cringe-inducingly honest, Ryan's quest for Mr. Right collides hilariously with bodily mayhem, workplace absurdity and fleeting glimpses of romance. He's the everyman victim of fate, always one vomit away from rock bottom, yet stubbornly optimistic. Audrey Ryan's sharp-tongued, fiercely loyal (and fiercely hypocritical) best friend and colleague, Audrey is a quick-witted, scheming force of nature who juggles her own messy love life while enabling — and judging — Ryan's. Outwardly confident and sarcastic, she lies effortlessly to maintain social invites, covers up workplace affairs, and navigates a hypocritical double standard in relationships. Her vibe is chaotic pragmatism mixed with dry humour; she's the one distributing crab cream in a crisis or chasing forgiveness in the courtyard. Deep down, she's loyal to Ryan and terrified of losing her social/romantic footing, making her both the voice of reason and the architect of escalating ridiculousness. Troy The eccentric, self-aggrandising boss (aka "The Man" or "Mr. Troy") of the chaotic "Productions House" office, Troy is a larger-than-life corporate lunatic who treats his workplace like a personal kingdom of absurdity. Obsessed with his own image (knight-on-horseback portraits, "W.W.T.D." philosophy, tractor wisdom), he battles ethics inspectors, protesters, budget crises and crab epidemics with bombastic denial and impulsive decisions ("RELEASE THE HOUNDS!"). Sex-driven, flamboyantly incompetent, and oddly endearing in his delusions, Troy embodies the office's institutional madness — firing dancers, herding ducks, and grovelling to "Delegates" while quoting motivational nonsense. He's the chaotic puppet-master whose escalating schemes pull everyone (especially Ryan and Audrey) into deeper farce. These three form the core triangle: Ryan's personal romantic trainwreck, Audrey's relational hypocrisy and scheming, and Troy's corporate insanity — constantly intersecting in vomit-soaked, crab-riddled, vault-crushing hilarity. DISCUSSION QUESTIONS General Themes & Overall Impact How does the novel use escalating chaos to comment on the unpredictability of modern life, particularly in the realms of dating, relationships and work? In what ways does the book explore the tension between the desire for "normalcy" and the reality of constant absurdity? Do the characters ever achieve any version of normal, or is that the joke? How does the novel portray the gap between romantic/sexual expectations and lived experience? What does it suggest about hope, disappointment and resilience in the face of repeated failure? Character Analysis Ryan is often the focal point of humiliation and disaster. How does his inner monologue and self-deprecating humour shape our empathy (or lack thereof) for him? Is he a victim, a fool, or something more complex? Audrey frequently acts as both enabler and critic of Ryan’s choices while hiding her own hypocrisy. Discuss how her character critiques relational double standards and the performative nature of friendship/loyalty. Troy embodies a particular kind of corporate delusion and self-aggrandisement. What does his leadership style (and the "W.W.T.D." mantra) satirise about contemporary workplace culture and authority figures? How do secondary characters (e.g. the inspector, Slim, the PA, or fleeting romantic interests like Robert) function to heighten the absurdity or reveal something deeper about the main trio? Satire & Social Commentary The novel heavily satirizes workplace bureaucracy, ethics investigations, and performative morality. What real-world institutions or attitudes do you think it is targeting most sharply? How does the book use humour to critique hypocrisy in personal relationships—particularly around fidelity, forgiveness, and judgement of others’ sexual behaviour? In what ways does the story comment on class, privilege, or economic precarity through elements like budget crises, allowances, and the desperation to avoid "grovelling" to external authorities? Style, Tone & Structure The narrative shifts perspectives among multiple characters. How does this multi-viewpoint approach enhance (or complicate) the comedic effect compared to a single protagonist POV? The book relies heavily on physical comedy, slapstick, and gross-out humour. Why do you think the author chooses this level of bodily exaggeration, and how does it serve the themes? Discuss the pacing: the story builds through a series of escalating set-pieces. Does the relentless escalation feel earned, exhausting, liberating, or something else? Many scenes reference pop culture, music, films, and classic farce tropes. How do these intertextual nods shape the tone and make the humour more (or less) accessible? Queer & Cultural Context How does the novel represent contemporary gay male dating culture in an Australian urban setting? What feels authentic, exaggerated, or subversive about its portrayal? The story is unapologetically raunchy and explicit. How does this frankness about sex and bodily functions challenge or reinforce stereotypes in queer fiction? In what ways does the distinctly Adelaide/South Australian setting (suburban dinners, trams, local references) contribute to the humour and cultural specificity? Broader Literary & Ethical Questions The book ends on a darkly comedic note with death, destruction and fleeting hope. What statement (if any) is being made about happy endings, love, and survival in a chaotic world? Is the humour ultimately affectionate toward its flawed characters, or does it hold them up for unrelenting mockery? Where do you land on the balance between empathy and ridicule? If you were to place this novel in conversation with other works (e.g. British sitcoms like 'The IT Crowd', Australian comedy traditions, or queer farce writers), which comparisons feel strongest, and why? ISBN 9798336218046 RELEASE YEAR 2017 SERIES INFO Productions Book 3 WORD COUNT 46,000 AVAILABLE FORMATS Original edition: Paperback, Kindle Spellbound edition: Kindle Workbench edition: Kindle See Original Edition on Amazon See Spellbound Edition on Amazon See Workbench Edition on Amazon