Shondaland’s new miniseries The Residence has arrived with a blend of farcical humor and a murder mystery set against the iconic backdrop of the White House. The show features Uzo Aduba as Cordelia Cupp, a whimsical detective who navigates a crime that occurs during a state dinner. As a playful homage to the Knives Out franchise, The Residence incorporates several references to the films, including a direct nod with an episode titled “Knives Out.”
The series dives headfirst into a Cluedo-style atmosphere, using exaggerated humor to explore the absurdities of a fictional state dinner honoring Australian Prime Minister Stephen Roos, portrayed by Julian McMahon. The premise plays off the American stereotype of Australia, with jokes about kangaroos, heart disease, and an over-the-top portrayal of Australian culture. A highlight is Kylie Minogue, who appears as herself, performing for hours as the clues pile up.
The humor escalates with running gags, such as Hugh Jackman’s off-screen tap dancing (a subtle, and perhaps budget-conscious, nod to Australian talent) and the diplomatic incident involving an Uluru-shaped dessert. Characters frequently toss around “bloody” and “mate” as punchlines, exaggerating the portrayal of Australians as both clueless and overly enthusiastic.
The portrayal of Australian culture in The Residence taps into an ongoing trend in American entertainment, dating back to the 1980s with the success of Crocodile Dundee. This fascination with Australia has manifested in quirky stereotypes and cultural references, such as the infamous “shrimp on the barbie” and the American Outback Steakhouse, which serves dishes like the “bloomin’ onion”—a creation entirely foreign to Australia.
While Australians might find the depiction of their culture reductive, it’s not likely to offend unless one is overly sensitive. In fact, the humor, while broad, rings true in some ways. The show’s portrayal of an Australian experience—such as being surrounded by Kylie Minogue’s Spinning Around on loop while navigating a chaotic situation—is humorously relatable, albeit exaggerated.
Yet, despite the simplifications, there’s a sense of recognition in the depiction. The series captures the essence of Australian pop culture, albeit through a lens of exaggerated comedy. The show may have missed the mark on incorporating some of Australia’s more unique aspects—like the democratic sausage or the country’s contributions to technology—but its comedic portrayal resonates with a certain cultural familiarity.
In this sense, The Residence serves as a mirror to Australia’s international image: a country known for its quirky cultural exports and distinct accents. It’s not so much an accurate representation as it is a broad, childlike drawing of an idea that’s been popularized abroad. The show may be over the top, but in many ways, it gets Australia’s essence right—just not in the way locals would prefer.
Ultimately, The Residence is a lighthearted, farcical take on a murder mystery that leans into comedic stereotypes of Australia. While the cultural references are exaggerated, the show finds humor in the very absurdity of the cultural fascination between the two nations, proving that sometimes, even the most generalised depictions can hold an uncomfortable kernel of truth.
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