Women and girls in these shows are defined by men and they often use their sexuality to reward, punish or manipulate. In what has become a disturbing plot"twist", many of them respond to a lover's betrayal or rejection by seducing another man. Any man. These woman need men to heal their wounds and stuff that do these characters tell girls Ladette to Lady, they re little more than"decorated f--dolls With so many lunatics running the asylum, where do girls turn to for sanity? Packed to the Rafters is a good place to start and it's the only show Im able to write for without selling my soul. The women here make no apologies for who they are and they dont put themselves beneath or above men. the concept that the genders are different but equal has hit a chord with viewers. Although it is getting tired now, City Homicide reaped similar rewards for featuring assertive female characters of principle Creating fictitious women of substance is (usually) par for the course at Seven, the only network to keep the ball rolling from the 1980s. In that decade, a slew of popular local dramas showed how women could be anything they wanted to be. They needn judge each other for their choices and men weren emasculated by their independence Neighbours, The Sullivans, The Flying Doctors, A Country Practice, G.P. Police Rescue, Phoenix and so many more were of this era Viewers seized on the concept of equality and, like Australia of the time our tv had a identity. The country watched its home-grown offerings en masse and with pride. The reason why the culture changed so dramatically is that from the mid 90s onwards, too many of the importantjobs in the television industry went to the wrong people. These players manage to keep their jobs despite their lack of affinity with the only people who matter- the viewers The audience has power in TV land and it's expressed through the ratings and, less so, through the Logie Awards"most popular"votes. Past winners such as Lisa McCune, Libby Tanner, Kylie Minogue, Sonia Todd, Georgie Parker, Melissa George and Rebecca Gibney were acknowledged because the haracters they played validated qualities we hold dear. They were flawed and complex women,s women who could love their men but not at any cost and god help anyone who tried to objectify them The men linked with these winning dames-Martin Sacks, Gary Sweet, Erik Thomson, Jason Donovan, Dieter Brummer-were also rewarded because they were strong enough not to be threatened by them There's nothing sexier Creating equal partnerships is the secret to attracting both male and female viewers and, as a consequence, pulling big numbers. The refusal of certain networks to see the obvious is indicative of thei blinding misogynyWomen and girls in these shows are defined by men and they often use their sexuality to reward, punish or manipulate. In what has become a disturbing plot "twist", many of them respond to a lover's betrayal or rejection by seducing another man. Any man. These woman need men to heal their wounds and stuff integrity. So what do these characters tell girls about themselves? In the eloquent words of a past contestant on Ladette to Lady, they're little more than "decorated f--- dolls". With so many lunatics running the asylum, where do girls turn to for sanity? Packed to the Rafters is a good place to start and it's the only show I'm able to write for without selling my soul. The women here make no apologies for who they are and they don't put themselves beneath or above men. The concept that the genders are different but equal has hit a chord with viewers. Although it is getting tired now, City Homicide reaped similar rewards for featuring assertive female characters of principle. Creating fictitious women of substance is (usually) par for the course at Seven, the only network to keep the ball rolling from the 1980s. In that decade, a slew of popular local dramas showed how women could be anything they wanted to be. They needn't judge each other for their choices and men were n't emasculated by their independence. Neighbours, The Sullivans, The Flying Doctors, A Country Practice, G.P., Police Rescue, Phoenix and so many more were of this era. Viewers seized on the concept of equality and, like Australian movies of the time, our TV had a solid identity. The country watched its home-grown offerings en masse and with pride. The reason why the culture changed so dramatically is that from the mid '90s onwards, too many of the important jobs in the television industry went to the wrong people. These players manage to keep their jobs despite their lack of affinity with the only people who matter – the viewers. The audience has power in TV land and it's expressed through the ratings and, less so, through the Logie Awards' "most popular" votes. Past winners such as Lisa McCune, Libby Tanner, Kylie Minogue, Sonia Todd, Georgie Parker, Melissa George and Rebecca Gibney were acknowledged because the characters they played validated qualities we hold dear. They were flawed and complex women's women, who could love their men but not at any cost and God help anyone who tried to objectify them. The men linked with these winning dames – Martin Sacks, Gary Sweet, Erik Thomson, Jason Donovan, Dieter Brummer – were also rewarded because they were strong enough not to be threatened by them. There's nothing sexier. Creating equal partnerships is the secret to attracting both male and female viewers and, as a consequence, pulling big numbers. The refusal of certain networks to see the obvious is indicative of their blinding misogyny