They have even been driven into prostitution.
They have been tied up they have been forced to wear uncomfortable, sexually provocative outfits. They have been sexually taken advantage of, and then made to feel ashamed for it. In every episode, they are sexually harassed by a predatory female stalker named Mel. They have been violated, degraded, and humiliated by the women who fuck them. Over the course of two seasons of Flight of the Conchords, Bret McClegnie and Jemaine Clemaine (as their characters on the show are named) have been pressured into sex, coerced into sex, forced into sex, tricked into sex, and drugged into sex. So much of their comedy depends on their sexual passivity, on one or both of them taking the female sexual role, submissive to sexually dominant women.
" Ooh!"įor McKenzie and Clement are the most sexually objectified men on television, outside of gay porn. Finally McKenzie instructs, "When I go ooh, all the ladies go, Ooh, Flight of the Conchords, you're so big!" Lazily, he strums a few chords. "When I go ooh, all the ladies go ahh!" The audience complies, and so on. Encouraged, the two men begin to improvise, instigating a playful call-and-response with the audience. The joke isn't particularly clever or original, and the two men, Bret McKenzie and Jemaine Clement, exhibit no ambition to transcend the simple, ancient gag of nerdy white guys rapping: "Yes, sometimes my lyrics are sexist / But you lovely bitches and hos should know I'm trying to correct this." "Other rappers dis me / Say my rhymes are sissy / Why? Why? What? Why? / Be more constructive with your feedback!" "Ain't no party like my nana's tea party!" But the audience laughs the audience loves it. This is supposed to be funny in itself, and indeed, the audience is appreciative. Two young men from New Zealand are playing acoustic guitars and rapping in front of a live audience.
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