AWGIE Awards 2016: winners

Winners include The Code, Rake, Barracuda, Please Like Me, Beat Bugs and Neighbours.


ABC titles including The Code, Rake, Barracuda, Please Like Me, The Weekly With Charlie Pickering and Ready for This were amongst winners at the 49th Australian Writers’ Guild Awards last night.

The Code‘s second season won writer Shelley Birse the major award -for the second time.

Other wins went to Neighbours, Beat Bugs, Mary: The Making Of A Princess and Sydney Sailboat.

Barry Humphries received the Fred Parsons Award for Outstanding Contribution to Australian Comedy.

President of the AWG Jan Sardi, said, “With the advent of streaming services such as Netflix and Stan revolutionising the way we all consume screen content, there is an undeniable buzz and energy around our film and TV industries in particular. This heralds exciting times ahead for not only Australian writers for performance, but for the millions of viewers hungry for top-notch content on their screens and stages.”

The awards were hosted by Julian Morrow at the Ivy Ballroom in Sydney.

TV and related categories:

Major Award
The Code: Season 2 – Shelley Birse

Television – Series
Rake: Season 4, Episode 407 – Andrew Knight

Telemovie – Original
Mary: The Making Of A Princess – Samantha Strauss

Television: Miniseries – Adaptation
Barracuda – Blake Ayshford And Belinda Chayko

Television: Miniseries – Original
The Code: Season 2 – Shelley Birse

Television – Serial
Neighbours: Episode 7202 – Jason Herbison

Comedy – Sketch Or Light Entertainment
The Weekly With Charlie Pickering: ‘Halal Certification’ And ‘Stadium Naming Rights’ – Gerard McCulloch With Charlie Pickering

Comedy – Situation Or Narrative
Please Like Me: Season 3, ‘Pancakes With Faces’ – Josh Thomas And Liz Doran

Beat Bugs: ‘Yellow Submarine’ – Josh Wakely

Documentary – Public Broadcast Or Exhibition
Baxter And Me – Gillian Leahy The Silences – Margot Nash

Children’s Television – P Classification
Sydney Sailboat: ‘Trash And Treasure’ – Rachel Spratt

Children’s Television – C Classification
Ready For This: ‘The Birthday Party’ – Leah Purcell

For Outstanding Service And Dedication To The Australian Writers’ Guild
Karin Altmann

Dorothy Crawford Award
For Outstanding Contribution To The Profession
John Romeril

Fred Parsons Award
For Outstanding Contribution To Australian Comedy
Barry Humphries

Hector Crawford Award
For Outstanding Contribution To The Craft As A Script Producer, Editor Or Dramaturge
Marcia Gardner

The Australian Writers’ Guild Lifetime Achievement Award
Proudly Presented By Foxtel
Craig Pearce

The AWGIE Awards are the only writers’ awards judged solely by writers, based on the written script – the writer’s intention rather than the finished product.

5 Responses

  1. The sad reality is that our drama writing is generally poor and below the world’s best, usually poorly researched and lacking authenticity and a singular voice. But in fairness to the writers when you have to adapt something as inherently boring as Barrucuda then no writer can make it interesting and few people watched either The Code or Barracuda. And why is Jan Sardi touting new streaming content as exciting for Australian writers when it has commissioned almost nothing Australian and is based on an import content model. At least the commercial free to airs are obliged to create new Australian drama even if they manage to wriggle out of a lot of it by buying cheap New Zealand content which is treated under the law as Australian.

  2. I literally just finished watching the second season of The Code. I really struggled to get through it to be honest. I committed to watching it and stayed until the end to see if it would improve. I struggled with the main plot line and sub plots but congratulations on the award all the same. I doubt it will return and if it does I won’t tune it. I really did enjoy season 1 but this season not so much.

    1. Agreed, and would also put the last season of Janet King on notice for this.
      I’m not sure yet, but Hyde and Seek could also fall foul in the realm of convoluted plot, needlessly unimportant subplots and rushed endings trying desperately to remember all the loose ends to be tied up in the final.
      It seems to be a common trait amongst limited run Australian drama in recent years.

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