Dating Men - Series Two

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TAGLINE Double-dating disasters • Workplace perversion • Viral humiliation. All in a day's work. LOGLINE In a chaotic Adelaide office and beyond, sharp-tongued Audrey and her hapless co-worker, Ryan, endure one disastrous double-date that spirals into a chain-reaction vomit apocalypse, a massive private-photo leak to "The Cloud", corporate perverts turning humiliation into profit, and viral national shame — forcing them to navigate modern dating hell where every swipe risks total public exposure and zero dignity. See Original Edition on Amazon See Spellbound Edition on Amazon See Workbench Edition on Amazon GENRE Primary: Absurdist comedy Secondary: Black comedy, satirical humour, office farce, contemporary dating, romantic comedy (dark twist) It's not a straight romance (despite the title and dating focus) — the "romance" is ironic and disastrous. Think a raunchier, more Australian-inflected blend of 'The IT Crowd', 'The Inbetweeners', 'Superbad'-style gross-out vibes, and 'Fleabag'-esque cringe dating satire. SETTING 'Dating Men: Series Two' is primarily set in modern-day Adelaide, South Australia, unfolding across a chaotic downtown office building (home to the dysfunctional "Productions House" company), various local restaurants and occasional glimpses of the surrounding streets of Port Adelaide. This Australian urban setting grounds the absurd workplace antics, disastrous dates, and viral tech mishaps in a recognisably everyday Aussie context — complete with trams, office protests, and the author's signature South Australian flavour. BLURB The dating world is hard enough but for Ryan and Audrey, it’s absurder by the day! The Productions House is on the road to cancellation! Rumours of sexual misconduct are spreading like wildfire, and that's not the worst of it for The Man, Mr. Troy, and his libido-loopy employees. Protesters raging outside grow by the day, an inspector is determined to shut them down and, still, the staff must do their work or risk being fired by the Evaluators. Though desperate to save the company and their jobs, there's about as much hope for survival as there is for Audrey and Ryan finding love in the midst of it all. Will the chaos every end, or will it end them? REVIEWS ⭐⭐⭐⭐⭐Just as good, if not better than Series One! I was lucky enough to pick up Dating Men Series One, and I must admit, I took my time reading it because I didn’t want it to end! When I saw the second book come out, I couldn’t wait to get my hands on it. Just as entertaining and surprise-inducing as the first. When I thought the plot couldn’t thicken anymore, I was so wrong... Plenty to wince and laugh at as if you were right there in the room with the numerous quirky characters. Not that I would want to be!! Such an eclectic mix of elements to this book but the Productions House remains a beautifully designed mess throughout the story. A must-read. 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 FIVE Double-Dating EPISODE SIX Dick Pics AUTHOR'S NOTE If you've made it through 'Dating Men: Series Two' without needing a stiff drink, a long shower, or at least one sympathetic gag reflex, then congratulations — you're tougher than most of my characters. I wrote this book in the spirit of pure, unfiltered chaos because, let's be honest, modern life (especially dating and office politics) often feels like one long, escalating farce with no intermission. This isn't meant to be a gentle romance or a feel-good escape. It's a roast — raw, loud and deliberately over-the-top — of the absurd ways we chase connection, navigate power imbalances, and try (and fail) to keep our dignity intact in a world which uploads everything. Audrey and Ryan aren't heroes; they're survivors, stumbling through the mess with sarcasm and stubbornness, much like the rest of us. A huge thank you to everyone who's stuck with the 'Dating Men' series so far. Your laughs, your cringes, and even your outraged messages keep me going. If this book made you laugh until it hurt, spit-take your coffee, or mutter "that's too far" at least once — mission accomplished. If it made you think twice before hitting "upload" on your phone... even better. Thanks for reading. Now go forth and date responsibly — or don't. Either way, the chaos will find you. THEMES 'Series Two' themes emerge from its chaotic, satirical structure and are delivered through escalating absurdity, gross-out humour and workplace farce. The Absurdity and Futility of Modern Dating Dating (apps, double-dates, awkward encounters) is portrayed as a relentless minefield of disappointment, rejection and humiliation. Ryan's endless dating-app fails and Audrey's cringe-inducing viral exposure highlight how technology amplifies isolation, superficiality and zero genuine connection — romance is a punchline, not a payoff. Privacy Erosion and Digital Exposure in the Age of "The Cloud" Accidental auto-uploads, viral leaks, and the board's sleazy exploitation of intimate photos satirise how personal boundaries vanish online. What starts as a private photo becomes national news and corporate profit, underscoring loss of control, permanent digital footprints, and the commodification of humiliation. Workplace Dysfunction, Harassment Culture and Corporate Sleaze The "Productions House" office skewers incompetent leadership (Troy's oblivious chaos), passive-aggressive bullying (upstairs co-workers, Katrice), and unchecked perversion (boardroom wank sessions over leaked nudes). It mocks how rumours of misconduct spread unchecked, while exploitation is turned into "business opportunities." Gender Dynamics, Sexism and Power Imbalances Audrey's fierce independence clashes with constant objectification, leaked images and dismissive male figures (bosses, dates, board). Ryan's gay dating struggles add layers to non-heteronormative frustrations. The book pokes at performative equality (protests, rent-a-crowds) while showing real imbalances in workplaces and relationships. Cringe and Public Humiliation as Comedy Chain-reaction vomiting, press-conference disasters, chlamydia rumours, and taser-enforced deletions celebrate schadenfreude — the humour thrives on watching dignity implode in public, reflecting how social media and gossip turn personal fails into spectacle. Australian Workplace & Cultural Satire Set in Adelaide with trams, office protests, and local flavour, it roasts Aussie corporate culture (incompetent managers, pointless meetings, "cleaning ninjas"), media sensationalism, and the everyday absurdity of life Down Under — all with unfiltered, profane irreverence. Overall, the book uses black comedy to argue that in a hyper-connected, sex-obsessed, tech-driven world, dignity is fragile, romance is doomed, and institutions (offices, dating apps, media) profit from everyone's mess. It's cynical yet celebratory in its excess — a savage roast of contemporary life where the laughs come from how spectacularly things go wrong. If you're familiar with the full series, these build on Series One's foundations while ramping up the stakes for what's to come in Series Three. TONE & VIBE 'Beth Mac' is unapologetically crude, chaotic and gleefully absurd — a high-energy mix of gross-out black comedy, cringe-inducing farce, and sharp satirical bite delivered with an irreverent, no-holds-barred Australian edge. Imagine a rowdy night out in Adelaide gone horribly, hilariously wrong: loud, messy, profane and relentlessly escalating until dignity is obliterated. It's the literary equivalent of a viral fail compilation crossed with a workplace sitcom from hell, perfect for readers who love bold, boundary-pushing comedy that doesn't apologise for being outrageous. If you enjoy 'The IT Crowd', 'Fleabag's cringe, or classic gross-out farces with an Aussie twist, this nails that chaotic, laugh-out-loud energy. POV Third-person limited Third-person omniscient Past tense 'Series Two' is third-person limited (or close third-person), primarily omniscient-leaning in practice but focused on shifting perspectives between key characters — most often centring on Audrey and Ryan, with occasional dips into other characters' thoughts or actions for comedic effect. MAIN CHARACTER SNAPSHOTS Audrey Role: Co-lead protagonist; sharp-tongued, no-nonsense office worker on the 6th floor of Productions House. Personality & Vibe: Fiercely independent, quick-witted, sarcastic and easily exasperated; she's the voice of reason (and outrage) in chaotic situations, but her temper and impulsiveness often escalate disasters. Key Traits: High-maintenance fashion sense (e.g. expensive dresses and ill-fitting sale shoes), unapologetically blunt, deeply frustrated by workplace sexism/harassment vibes and modern dating fails. Arc Highlights in Series Two: Starts with a disastrous double-date which triggers restaurant-wide vomit chaos; suffers major humiliation when her intimate photo leaks to "The Cloud", goes viral nationally, endures press-conference embarrassment, dodges pervy colleagues/board exploitation, and still pushes forward on dates despite the cringe. Snapshot Vibe: The red-hot firecracker who refuses to be a victim but keeps getting burned by absurd circumstances — think a foul-mouthed, high-heeled anti-heroine in a sitcom from hell. Ryan Role: Co-lead protagonist; Audrey's gay co-worker/best mate at Productions House; perpetual underdog in the dating game. Personality & Vibe: Hapless, dryly sarcastic, self-deprecating and endlessly unlucky; he's the straight man (figuratively) to Audrey's chaos, often the one pleading "read the room" while disasters unfold around him. Key Traits: Dating-app obsessed but constantly disappointed (endless dick pics, no real connections), bullied by upstairs co-workers, quick with snarky comebacks, protective of his closet (e.g. avoiding outing to his best mate in broader series context). Arc Highlights in Series Two: Survives the vomit apocalypse double-date, deals with workplace mockery, gets tasered, arrested, assaulted with mettwurst; laments the futility of modern gay dating, and provides comic relief through his exasperated reactions. Snapshot Vibe: The relatable everyman trapped in escalating absurdity — witty observer who wants love but keeps getting slimed (literally and figuratively). Troy Role: Supporting antagonist/comic force; oblivious, manic manager figure at the Productions House. Personality & Vibe: Over-the-top enthusiastic, clueless, wildly inappropriate, and cheerfully destructive; treats crises like opportunities and turns everything into a spectacle. Key Traits: Loves puns, gadgets (including a useless grappling-gun escape plan), self-promotion, and bizarre tangents; zero filter on inappropriate comments; accidentally (or not) fuels company sleaze. Arc Highlights in Series Two: Demonstrates ridiculous emergency procedures, profits from viral photo leaks, poses for absurd photos, and gets "kidnapped" by the in-house cleaning ninjas. Snapshot Vibe: The chaotic, Superman manager who thrives on mayhem — think Michael Scott and Douglas Reynholm crossed with a hyperactive Australian entrepreneur who sees viral humiliation as marketing gold. These three drive the book's core ensemble energy: Audrey and Ryan as the grounded (yet doomed) duo navigating dating/office hell, with Troy as the gleeful accelerator of every disaster. DISCUSSION QUESTIONS General / Starter Questions What was your immediate reaction when you finished the book — did it make you laugh out loud, cringe, feel uncomfortable, or a mix? Why do you think the author pushes the gross-out and absurd elements so far? How did the book's fast-paced, escalating chaos (from restaurant vomit to viral photo leak to press conference) affect your reading experience? Did the absurdity ever feel overwhelming, or did it keep you hooked? Would you recommend this book to a friend? If yes, who — and with what warnings (e.g. content triggers, tone)? How does the Adelaide/South Australian setting influence the humour and satire? Does it feel distinctly "Aussie," and if so, how? Character-Focused Questions Audrey is fiercely independent and outspoken — did you find her relatable, frustrating, empowering, or something else? How does her handling of the viral humiliation evolve? Ryan often plays the "straight man" in the chaos — what does his arc (dating disappointments, workplace bullying, reactions to the disasters) reveal about modern masculinity or gay dating experiences? Troy is obliviously destructive and profit-obsessed — is he purely comic relief, or does he represent a deeper critique of corporate leadership? Could he exist in real life? Which secondary characters (e.g. the manager with the mettwurst bat, Katrice, the board members, cleaning ninjas, the Inspector) stood out most, and why? How do they amplify the satire? Themes & Satire Questions The book satirises modern dating apps, privacy in the digital age, and workplace culture. Which theme hit hardest for you, and how effectively does the absurdity drive the critique? How does the novel comment on gender dynamics, sexism and objectification? Consider Audrey's leaked photo vs. the board's exploitation — is the satire punching up, or does it risk reinforcing stereotypes? Privacy erosion is central: from accidental "The Cloud" uploads to viral national shame. Does the book feel prophetic about real-world issues (e.g. revenge porn, data breaches, social media humiliation), or is it more exaggerated farce? The gross-out humour (toe jam, vomit chains, bodily fluids) is relentless. What purpose does it serve beyond shock value — catharsis, exaggeration of disgust in relationships/work, or commentary on bodily autonomy? Compare this to other workplace satires ('The IT Crowd', 'The Office') or gross-out comedies ('The Inbetweeners'). How does Wright's style differ in tone, Australian flavour, or boundary-pushing? Humour, Style & Structure Questions The narrative uses fluid third-person with head-hopping for comedic effect. How does shifting perspectives enhance the farce and misunderstandings? Many scenes build through rapid escalation and chain reactions (e.g. sympathy vomiting, photo downloads). What makes these sequences funny, and did any fall flat for you? The book ends on a cyclical note (back to a disastrous date with the same photo issue). Does this reinforce the themes of futility in dating/modern life, or feel unsatisfying? Personal Reflection & Broader Questions Have you ever experienced (or feared) a similar digital humiliation or workplace absurdity? How did the book make you reflect on your own privacy or dating experiences? In a post-#MeToo, post-privacy-scandal world, does the book's dark humour around harassment rumours and exploitation still land effectively, or feel dated/risky? If this were adapted into a TV series or film, what would work best — and what might get toned down (or amplified)? Ultimately, does the book argue that dignity is impossible in modern life (dating, work, online), or is there a glimmer of resilience in Audrey and Ryan's persistence? ISBN 9798354136247 RELEASE YEAR 2017 SERIES INFO Productions Book 2 WORD COUNT 37,000 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