PRESS RELEASE
Cooking for Seamus is an unprecedented observational-docu-comedy-cooking series about a disabled bull food critic and the humans who cook for him which is building momentum with audiences hungry for something different.
Since launching in May, a devoted following has been growing steadily across regional and urban Australia and finding traction with international audiences thanks to its eccentric cast, unexpected guest list, and refreshingly authentic approach to storytelling.
Coming up next week, internet sensation, comedian, author, cook and mental health advocate Nat from the online cooking show Nat’s What I Reckon offers up a delicious feast for Seamus’s particular palate.
“Missing the chance to cook for a lovely bovine food critic in a paddock?… I don’t think so, mate!” – Nat’s What I Reckon
Alongside Seamus, the disabled bull, the series also features the charming, bohemian, wise-cracking Victorian folk singer and animal lover Archer, who lives in a leaky caravan by a creek in regional Victoria. Archer’s homespun wisdom and open-hearted approach to the world take each episode in unlikely yet riveting directions, while his haunting songs provide the heart of the soundtrack.
Set near Castlemaine in regional Victoria, the series blends lo-fi charm with cinematic documentary craft. Produced by a team of seasoned documentarians, Cooking for Seamus is a direct response to the increasingly complex and commercial commissioning landscape. With production funding support from Screen Australia, the creators have opted for a self-distributed, artist-led approach — one that prizes story, soul, and gentle pacing over algorithms and fast cuts.
Producer Carolina Sorensen of People Productions said:
"Pitching the concept of a series that stars a discerning, disabled bull in a muddy paddock in Victoria would have been difficult at the best of times, but since the rise of social media platforms such as YouTube, we have become curious about the possibilities of taking observational documentary directly to an online audience. So we thought, ‘Let’s not wait for permission, let's greenlight ourselves!’ We were very fortunate that Screen Australia saw the potential in the project and supported us to wade in and give it a go. As filmmakers from “traditional” media, it was a scary leap to make, but we are learning as we go along and feel empowered by the experience.”
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