Uploaded December 2025 | Updated September 2026, 2 weeks ago
In a previous video, I mentioned an Aboriginal superhero, Blackie Blackie Brown, in passing. It resonated with so many of you that I decided it deserved a deeper dive.
When the play was released in 2018, the ABC reported: “A blood-soaked new Australian comedy flips the script on Indigenous trauma.” The play was created by Nakkiah Lui, an Aboriginal Australian actor and writer. On her Substack, she describes herself as a “First Nations Hedonist.”
As expected, the taxpayer-funded ABC was front-and-centre promoting it: “Nakkiah Lui unleashes vigilante Aboriginal superhero Blackie Blackie Brown in her new comedy.” It wasn’t just the ABC, either. The Conversation joined in with the headline: “Blackie Blackie Brown is a ridiculously fun story of archaeology, race and revenge,” while The Guardian published: “Blackie Blackie Brown review – murderous heroine dishes out revenge and laughs.” They label it a “satirical revenge comedy.”
The issue, aside from this play receiving endless free publicity on the public dime, is the content itself. As published on the ABC’s Radio National, in a piece titled “Blackie Blackie Brown: The Traditional Owner of Death,” they note: “It’s a vigilante story with a twist — a woman dressed as a superhero is on a mission to kill 400 descendants of the white colonialists who killed her great-great grandmother.”
So, the premise is simple: because of a historical injustice, 400 presumably innocent white descendants are considered fair game for the murderous rampage of this so-called superhero.
But don’t worry, it’s just a comedy.
Obviously, if the roles were reversed—if the play was titled ‘Whitey Whitey Smith: Reclaiming the Colony’ and was about a white Australian superhero seeking revenge on 400 Aboriginal descendants of the person who killed his great-great grandmother—then I’m sure the ABC and The Guardian wouldn’t be so kind in their reviews.
Actually, I’m sure they would do the exact opposite. I’m sure they’d cry racism and systemic bigotry, and probably even demand that the play be shut down due to its obvious hate-filled rhetoric. They probably would even accuse it of inciting violence. But apparently, if white people are the targets, then it’s A-OK. What a bunch of sanctimonious hypocrites.
To be fair, the ABC does question the premise—ever so slightly. They wrote: “Blackie’s victims meet a hit list of ridiculous and gruesome ends. One is impaled with an Australian flag; another has his face melted off by acidic blackface makeup.”
They continue: “Lui’s talent for creating complex ethical scenarios is on full display here, with Blackie left questioning her role in the murder of people who are, essentially, innocent.”
Complex ethical scenarios? Killing innocent white people simply because they happen to have a genealogical link to someone the play’s creator has decided is a villain? How is that a ‘complex ethical scenario’? In my mind, it’s a very simple one: it’s out-and-out murder.
But don’t worry… it’s just a comedy.
The hypocrisy here is staggering when you consider the track record of the ABC and their peers. You may remember Chris Lilley’s character, Jonah from Tonga, where he used dark makeup and a wig. In 2017, The Guardian reported: “Jonah from Tonga was withdrawn for good reason: it’s Chris Lilley’s satire at its worst.” While in 2020, the ABC declared: “Lilley has long been criticised for his depictions of non-white characters, perpetuating racial stereotypes and using blackface.”
Yet, apparently, a play featuring a murderous Aboriginal superhero who uses “acidic blackface makeup” to literally melt the face off a white character is celebrated as a “fun story” by the very same media outlets.
In their promotional material, the Sydney Theatre Company actually explicitly stated: “White people, watch out. This isn’t about forgiveness. And it’s not about reconciliation.” This proves that the “violent” intent wasn’t just an interpretation—it was the official marketing. They even finish with a quote from the protagonist: “Your white meat is DONE, motherf***er.”
Look, I’m not against a good revenge story. I love movies like Kill Bill, but in those stories, the characters were deserving of their fate. They were targeted for what they did. But in this intergenerational revenge fantasy, the victims aren’t being killed because of something they did to the protagonist, but rather simply because they are related to alleged “evil white colonialists.”
As I said, that’s not revenge… that’s race-fuelled murder.
But don't worry… it's just a comedy.
MUSIC
Allégro by Emmit Fenn
In a previous video, I mentioned an Aboriginal superhero, Blackie Blackie Brown, in passing. It resonated with so many of you that I decided it deserved a deeper dive.
When the play was released in 2018, the ABC reported: “A blood-soaked new Australian comedy flips the script on Indigenous trauma.” The play was created by Nakkiah Lui, an Aboriginal Australian actor and writer. On her Substack, she describes herself as a “First Nations Hedonist.”
As expected, the taxpayer-funded ABC was front-and-centre promoting it: “Nakkiah Lui unleashes vigilante Aboriginal superhero Blackie Blackie Brown in her new comedy.” It wasn’t just the ABC, either. The Conversation joined in with the headline: “Blackie Blackie Brown is a ridiculously fun story of archaeology, race and revenge,” while The Guardian published: “Blackie Blackie Brown review – murderous heroine dishes out revenge and laughs.” They label it a “satirical revenge comedy.”
The issue, aside from this play receiving endless free publicity on the public dime, is the content itself. As published on the ABC’s Radio National, in a piece titled “Blackie Blackie Brown: The Traditional Owner of Death,” they note: “It’s a vigilante story with a twist — a woman dressed as a superhero is on a mission to kill 400 descendants of the white colonialists who killed her great-great grandmother.”
So, the premise is simple: because of a historical injustice, 400 presumably innocent white descendants are considered fair game for the murderous rampage of this so-called superhero.
But don’t worry, it’s just a comedy.
Obviously, if the roles were reversed—if the play was titled ‘Whitey Whitey Smith: Reclaiming the Colony’ and was about a white Australian superhero seeking revenge on 400 Aboriginal descendants of the person who killed his great-great grandmother—then I’m sure the ABC and The Guardian wouldn’t be so kind in their reviews.
Actually, I’m sure they would do the exact opposite. I’m sure they’d cry racism and systemic bigotry, and probably even demand that the play be shut down due to its obvious hate-filled rhetoric. They probably would even accuse it of inciting violence. But apparently, if white people are the targets, then it’s A-OK. What a bunch of sanctimonious hypocrites.
To be fair, the ABC does question the premise—ever so slightly. They wrote: “Blackie’s victims meet a hit list of ridiculous and gruesome ends. One is impaled with an Australian flag; another has his face melted off by acidic blackface makeup.”
They continue: “Lui’s talent for creating complex ethical scenarios is on full display here, with Blackie left questioning her role in the murder of people who are, essentially, innocent.”
Complex ethical scenarios? Killing innocent white people simply because they happen to have a genealogical link to someone the play’s creator has decided is a villain? How is that a ‘complex ethical scenario’? In my mind, it’s a very simple one: it’s out-and-out murder.
But don’t worry… it’s just a comedy.
The hypocrisy here is staggering when you consider the track record of the ABC and their peers. You may remember Chris Lilley’s character, Jonah from Tonga, where he used dark makeup and a wig. In 2017, The Guardian reported: “Jonah from Tonga was withdrawn for good reason: it’s Chris Lilley’s satire at its worst.” While in 2020, the ABC declared: “Lilley has long been criticised for his depictions of non-white characters, perpetuating racial stereotypes and using blackface.”
Yet, apparently, a play featuring a murderous Aboriginal superhero who uses “acidic blackface makeup” to literally melt the face off a white character is celebrated as a “fun story” by the very same media outlets.
In their promotional material, the Sydney Theatre Company actually explicitly stated: “White people, watch out. This isn’t about forgiveness. And it’s not about reconciliation.” This proves that the “violent” intent wasn’t just an interpretation—it was the official marketing. They even finish with a quote from the protagonist: “Your white meat is DONE, motherf***er.”
Look, I’m not against a good revenge story. I love movies like Kill Bill, but in those stories, the characters were deserving of their fate. They were targeted for what they did. But in this intergenerational revenge fantasy, the victims aren’t being killed because of something they did to the protagonist, but rather simply because they are related to alleged “evil white colonialists.”
As I said, that’s not revenge… that’s race-fuelled murder.
But don't worry… it's just a comedy.
MUSIC
Allégro by Emmit Fenn
