CRUISIN’ FOR A BRUISN’
ONLINE FROM 29th JULY 2026
Friday 17th July 2026
Written by: Tom Wilson and Rashid AlKamraikhi
Photographed by: Rashid AlKamraikhi Cruisn’ For A Bruisin’ Stills provided by: Kiosk Films
The AI-Generated Elephant In The Room
Tom’s Perspective:
A cross between Housos and Garn, this is the story of two 20-something bogans in a regional town, who for some reason absolutely hate each other. Rather than get into a mere punch up, they battle using contemporary dance, leading to some surreal and hilarious scenes of two dropkicks in hi-vis battling with high-calibre acrobatics and superbly choreographed violence, as God (played by TikTok creator Taron “Taza” Geyl) watches from on high while breakdancing in the clouds. Kate "Babyshakes" Dillon of FULL FLOWER MOON BAND pulls double duty as twin sisters Britt and Tracey, and is clearly having a brilliant time. There are great references to Aussie bogan culture, from greyhound racing to speed-dealer sunnies, and everyone will be able to find something relatable. It’s a lot of fun, which makes it all the more disappointing when a musical number features Pauline Hanson and Barnaby Joyce singing along, and we realise that we’re watching something made with generative AI.
Pictured: BRETT AND TREY FIGHTING provided by KIOSK FILM
Pictured: GOD DANCING provided by KIOSK FILM
Things only get worse after the screening, when the panel assembles onstage and reveals that not only did the production feature several shots made with generative AI, but all the music we just heard was created in Suno. The word “music” is literally in the middle of our name, so it’s something we feel very strongly about. Simply put, if I had known about this ahead of time, I would have stayed home, and I feel like I’ve just had my time wasted. What is most frustrating about this is that the use of AI simply isn’t necessary to tell the story they wanted to. We didn’t need Pauline and Barnaby, and in showcasing some of the AI-generated shots during the Q&A, no-one even mentions the glaring spelling error in a Lotto scratchie … all for a shot that could have easily been captured on location with a camera. The scratchie would have even been spelt correctly. I’m struck by a quote from the press release: “CRUISIN' FOR A BRUISIN’ is what happens when artists from across disciplines collide, take creative risks, and make something new without apologising for it.” The thing is, they probably should apologise. Director Ryan Renshaw clearly has very talented friends who were willing to bend over backwards for this project. Why the hell wouldn’t you use them? Casting the frontwoman for a flesh-and-blood band in a series with completely artificial music feels completely wrong. Rashid and I have about a half-hour drive on the way home after a gig, and most of the trip is usually spent talking about what we just saw. This trip home, however, saw most of the conversation about the ethics of AI, instead of the creative project we were asked to review.
If you need to cut corners to realise your vision, either make the effort, or change your vision. The use of AI isn’t a conversation starter – it’s a conversation ender.
Pictured: BRITT FLIPPING THE BIRD provided by KIOSK FILM
Pictured: GREYHOUND RACING provided by KIOSK FILM
Rashid’s Perspective:
Arriving at The Princess Theatre, we didn’t really know what to expect other than that CRUISN’ FOR A BRUISN’ was an absurd musical based in rural Queensland. An introduction before the screening was given by Sara Taghaode from Kiosk Films about the work being a celebration of Australia’s Bogan culture, followed by creator and director, Ryan Renshaw, who talked about the concept being inspired by the poetry that he used to ad-lib while commuting around Brisbane. Ryan recited a few passages that garnered riotous applause, before beckoning for the viewing to commence.
Pictured: Sara Taghaode hosting the Panel
Pictured: Creator/Director Ryan Renshaw speaking on Panel
The story was told in brief spurts of narration by a ‘god like’ character, about the rivalry of opposing mechanics, ‘Saints’ Brett and Trey, in the small regional town of Killarney. Each ‘Act’ saw the two of them face off in various Ocker scenarios, such as at the backyard BBQ, down at the fishing hole, and while putting a punt on and getting a feed at the local, where they initially ‘serve’ each other through contemporary dance battles, before invariably resorting to escalating levels of physical violence. These setups get big reactions from the audience as esky’s go flying, fishing rods become fencing rapiers, and, as for the bar, well, that one’s already a classic. There’s a stark contrast between the graceful movements of the dances and the brutish slapstick fights that result from them, as if someone had attempted to make ‘The Three Stooges On Ice’ except in this case, the ice has been replaced with the red dirt of the outback. It is this polarising pastiche that serves to give this story a sizeable chunk of its charm, but it’s not the polarising thing that most people will probably end up talking about. That, as Tom said, would be the AI generated elephant in the room.
Pictured: Trey Actor Antonio Rinaldi speaking on Panel
Pictured: Britt & Tracey Actor Kate Dillon speaking on Panel
I distinctly remember while watching one of the scenes, and recognising the lyrics from the poem that Ryan read out at the start, but now set to a trap beat, and wondering who they had gotten to perform the song. Would it turn out to be a well-known figure of the Australian Hip Hop community, or an up and comer getting the chance to have their voice heard by a new and larger audience? Instead, only for it to later be disappointingly revealed to be solely AI generated, and credited to literally an ‘Algorithm Educated By The Uncredited And Stolen Work Of Thousands Of Musical Artists’. It’s hard to tell if it’s some form of self-deprecating tongue-in-cheek observation, or just a straight-up admission that they know what they’ve done is wrong.
Pictured: Slide showing the Music Credit during Panel
Pictured: Jesse McCart SCREEN QUEENSLAND speaking on Panel
In the panel that followed the screening, Ryan addressed it by likening it to how the use of cameras overtook paintings, due to their relative ease of use and accessibility, and that in some sense, with the advent of AI, that even the camera itself was now ‘dead’ (this came as a bit of shock to me, as I was three feet away photographing him at the time) but, also how these superseding technologies had forced the proprietors of the old to grow and adapt their mediums in order to stay relevant, therefore leading to new and innovative forms of expression. Romanticism about the death of cameras aside, their usage of AI was also reasoned to be due to budgetary constraints, and as a cheaper alternative to hiring true flesh-and-blood musical artist to contribute towards the work. As maddening as that was, I truthfully can’t hypocritically do the Spider Man point at film makers who choose to cut audio artists out of the process to save money, when they can so easily point back to the increasing number of musical artists choosing to create their film clips using generative AI.
Pictured: Audience attending Screening/Panel
Pictured: Audience and Panel
It feels like we are all becoming trapped in this giant tech-company whirlpool, where it is becoming harder and harder to escape the current that is dragging the entire creative industries down towards the AI vortex at its centre. All we can seemingly hope for now is the chance to poke our heads above water, and breathe in something real. And there are plenty of moments in CRUISN’ FOR A BRUSIN’ that are indeed real, but is it enough for people to truly connect with? Can we forgive, nay, accept this new AI generated landscape that we currently find ourselves in? I hope so, if only so they can receive a bigger budget for their next project, and ditch the need to rely on AI.
CRUISIN’ FOR A BRUISIN' launches online from Wednesday 29 July, with new episodes released every Wednesday, Friday & Monday.
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