Sally Aitken Talks About Her Adventures in Wiggle World with Hot Potato in This Interview

I cannot overstate how significant The Wiggles are to me.

As a child of the late ’90s, I grew up with Greg Page, Murray Cook, Jeff Fatt, and Anthony Field. They were my first exposure to both music and film, and I quickly became a devotee. I had a collection of CDs and VHS tapes that, if you ask my parents, were always in use. The works of the skivvy-wearing quartet totally enthralled me, and they certainly shaped my love for media. But pivotally, they also showed me the possibilities of creativity. Through The Wiggles, I saw what you could make when you applied passion and determination to an artistic endeavour. And I can honestly say the group’s influence is a massive factor in why I am where I am today.

But that connection is far from mine alone. It is one I share with several generations, which is exemplified in Hot Potato: The Story of The Wiggles, a new documentary about the band. The film is directed by Sally Aitken, who is no stranger to tackling the lives of Australian icons. Her previous features centred on famed diver Valerie Taylor and film critic David Stratton, for example. So unsurprisingly, Aitken completely understands the legacy of her latest subjects. She illuminates the group’s unimaginable success of going from small stages in community centres to selling out Madison Square Garden. But she recognises the film’s heart lies in the relationship between band and fan. Doing so creates a joyous and often emotional watch for people like me while cementing how The Wiggles have remained evergreen.

In a long-form conversation, Aitken and I discussed filming the band’s reunion concert, compacting 30 years of history into an under two-hour runtime, and her efforts to include everyone who has officially worn the skivvy.

Hot Potato: The Story of the Wiggles is now available to stream on Prime Video.

This conversation has been edited and condensed for clarity.

What was the genesis of this project?

Sally Aitken: Well, it began in 1991 when they started … no, just kidding (laughs). The specifics were that a colleague of ours in New Zealand made the first approach. Then they reached out to me to see if myself and my business partner, Aline [Jacques], would be interested in being involved. We began probably about two years ago conversing with The Wiggles and then with various potential investors. And we were in a very happy position where everybody said, ‘That’s an amazing story! We’d love to take that!’ And Amazon ended up being the partner, and they’ve been absolutely terrific. So, as is the way with many of these projects, it’s a combined genesis. 

What was it like first meeting the four OGs?

SA: It was pretty great. We all jumped on a Zoom, and we have a screen grab of that very first meeting. There was something really thrilling about all of our faces, and then populated were all the OG Wiggles in there as well (laughs). But I didn’t grow up with The Wiggles myself. I mean, you’d have to be under a rock if you didn’t know who they were and what they did, but I was not five in 1991. I know that is shocking to you, Connor. But, yeah, I’m a child of the ’80s, not the ’90s.

This film is an authorised work. I noticed the group’s tour manager, Luke Field, is a producer. How involved was The Wiggles’ company? Did they set any parameters?

SA: Really great question. There were no parameters. Both Luke [Field] and [The Wiggles’ Head of Production and Operations] Kate Chiodo are producers on the film alongside Aline Jacques, myself, Fraser Grut, Cass Avery, and Daniel Story. So it’s quite a big producing team. Part of the way this worked is because there’s so much music in the film, [the company’s involvement provided] a clear line to negotiating music rights. Also, it meant that The Wiggles had a degree of comfort [knowing] it was authorised. But at the same time, it wasn’t like we had any of the performers or board members as producers. 

There was definitely an arm’s length relationship, and they were terrific. I don’t know if you can imagine, but their organisation is so busy, it’s ridiculous. They are doing live shows, touring, appearances, filming, music — they are here, there, and everywhere. So Luke and Kate were particularly terrific at helping us manage the schedule, in terms of filming concerts and interviews and so on. And it’s a nerve-wracking moment when you show anybody the project for the first time, but they said, ‘No, I think they’ll like it.’ Sure enough, they did — they being the performers.

At the beginning of the film, when the group steps out at their reunion show in Sydney, I had goosebumps. I was there that night, and I had never experienced an atmosphere like it before. What was it like filming that concert?

SA: Well, first of all, we were there the day before, filming the load-in. I don’t know if you’ve ever been behind-the-scenes at a rock concert, but there’s something completely thrilling about the semi-trailers pulling in, all the lighting rigs, all the props, and the road crew going to work. And I have to tell you, at that time, I had started to look at a lot of archive footage, but we hadn’t done any other filming. The concert was actually one of the first things we filmed. And I stood in the middle of Qudos Bank Arena, this giant stadium, and I was just like, ‘Wow, this is a long way from four guys, a microphone, and a fabric backdrop.’ So there was something already surreal to me about it. Certainly, there was a kind of delicious juxtaposition in my mind on that first day, and I was already quite excited. 

Funnily enough, I met one of the audio engineers who was fairly stressed, as you often can be in those pre-show moments. I was talking to everybody and asking what they did, how they connected to the picture, what they thought of the film and the idea of doing a story on The Wiggles, and so on. And the audio engineer said to me, ‘Well, they’re punk.’ I said, ‘What do you mean their punk?’ And he said, ‘The Wiggles have charted their own course. They don’t take what other people say as a reference. They do their own thing. That is innately punk.’ And I thought, ‘This is such a great story. He’s so right.’ Then, the next day, the concert was on, and I could not believe the number of people pouring in. The queues were outside the door well before the gates opened. All these concertgoers were all dressed up, ready to have a good time. The atmosphere, you will know, was extraordinary. So much love, so much happiness, so much joy. It was amazing, and I was completely thrilled we managed to capture it. 

I loved the setup for your interviews. You had retro furniture and stylish clothing colour-themed to whichever Wiggle was speaking. Moreover, there were era-appropriate televisions for when specific clips were being discussed. How did you arrive at those choices?

SA: Connor, you’re a very astute viewer. I’m so happy you got all of that (laughs). It was all very conscious. The starting point for me was this assumption that a lot of people might have that they know The Wiggles’ story because they’ve seen them presented in a particular way. Often, that would entail either being at a concert, on television, or possibly on news media, whether it be talk shows, breakfast television, or evening shows like The Project. People have seen The Wiggles in brightly lit studios wearing their brightly coloured skivvies, and there’s a real sense that they’re in someone else’s space. 

So I worked quite closely with our production team and an amazing cinematographer that I love and adore, whose name is Simon Morris, to develop what we felt would be, first of all, an appropriate homage to the fact they are musicians. There was a real sense that we wanted to treat this with a degree of sophistication because they are very sophisticated about what they do. And we really wanted to show that visually. So we settled on this idea of a behind-the-scenes rock studio. 

Then, in terms of the skivvies, I was very keen that people understood that they are people as much as they are performers. So again, the colour was a way of paying homage to who they are but that they are fully capable of retrospective thoughts and feelings. They have their own stories to tell and their own perspectives on the origin and evolution of the group. I thought that was a good way of recognising people’s contributions, but at the same time, didn’t make them appear in the same way they have appeared in other media, particularly those that are no longer in the group. I took a leaf also from their recent Rolling Stone cover. I thought, ‘Whoever that stylist is, I would love to work with her.’ So Jana Bartolo was our stylist, and we had an amazing production designer as well, Ben Wilson. Those heads of department and myself worked together to look at the set and the clothing.

For the nod to the technology, we had a lot of fun sourcing ’90s-era video players that we could plug into the camera. We had a feed from the laptop when we were showing different bits of archive so Anthony or Murray could look at the laptop, but that would also be represented on the television. I’m so happy you noticed that because it was a bit technical to try and work out how we were going to do that seamlessly because it’s a documentary. You want that real sense of creating an authentic space in which people can speak and that you’re not pulling levers everywhere. Once you’ve set it, you want that space to be as dynamic and engaging as possible between yourself and the interviewee. So, yeah, that was a lot of fun.

The Wiggles have been around for over 30 years. That is a lot of ground you had to cover. How did you structure such an extensive history into a documentary that is under two hours?

SA: Yes, I still feel tired (laughs). It’s huge, and what we couldn’t put in is as huge as what we were able to put in. Obviously, we wanted to tell both the origin and evolution story. It’s absolutely delicious and one of the greatest, if not the greatest entertainment story to come out of Australia. It’s so improbable how a group of school teachers and a friend take out Madison Square Garden. So we wanted to be able to delight in the way in which everybody had formed the group, what they thought they were doing at the time, and having that deliciousness of knowing where the group are today. 

But there’s a lot of story. There’s been evolution in terms of the group lineup. There have been many dramatic things that have happened to them along the way. Then, there’s also the relationship with the audience. As I said before, one of the things that I wanted to do was create a film that told a story of this improbable meteoric rise and the way in which this group has endeared itself, not just into the hearts of families here but around the world and have continued to do so. It’s not an easy task to stay relevant in entertainment, and The Wiggles have consistently toured and stayed in tune with their audience, who consistently regenerate. So that was important to me to show the circularity of that relationship, as evidenced with things like the Triple J Hottest 100 win, the OG reunion concerts, and even Greg’s cardiac arrest and the outpouring of response to his health and journey to get well again. 

We took the approach quite early on that it would be very interesting to use the concert as a spine and that relationship as a tonal spine. But then to also look at particular songs and the way that those songs had perhaps marked a moment in the group’s evolution. So that was the original structural coat hanger. The film is chronological in terms of the events, but it’s very nonlinear in terms of the emotional understanding and the backstory. So, as you move through the film and you get to know everybody in a more profound way, we reveal certain things about individuals or experiences. So you’re going through a journey that is, on the one hand, chronological to the events but actually deeply emotional and almost going back in time as you go through the story. 

You weren’t short on archive material. The Wiggles’ appearances in media are innumerable, and they’ve been well preserved. I’ve seen the clips of them on Healthy, Wealthy and Wise and Recovery online, for instance. How was the process of combing through all that footage and selecting what made it in the film?

SA: You’re completely right. If you look at the different types of archive, first of all, there’s the archive that The Wiggles’ team have produced and by that, I mean their television series, publicity photographs, you know, the full documentation along the journey of the group. We had full access to that. And The Wiggles themselves have done quite a good job, particularly with the television shows, of archiving according to era. Also, some years previous, they had done a big exhibition at the Powerhouse Museum, so a lot of early Wiggles-related photographs, which would have been analogue at the time, had been digitised for that project. But there was still a big process of digitising because we asked everybody for their personal archive as well. 

This is where Jeff Fatt’s photo project of taking a photograph every day since the early ’90s came in. In the film, you see what is only a small representation of his albums — it was all we could fit on one trolley. But Jeff loaned us those albums, and we went through and digitised those photographs, which suited Jeff very well because now he has a digital copy. But it obviously was another layer of preparedness for the project. 

Then we had a call out to fans of The Wiggles and anybody who’s encountered them in the last 30 years to send us their photographs or videos of the way they had seen The Wiggles in their own home. Quite often, we received videos of kids who were dancing to The Wiggles when they were young, but they had been sent in by 30-year-olds. That was an amazing treasure trove because I think people have seen some degree of the official archive, but no one’s seen those. That was a really important and special part of the film, especially because of that aforementioned tone — the relationship between the audience and the group and why that exists. That’s not an easy thing to just snap your fingers and you have a deep and abiding love. It is love, it is respect, and a two-way relationship that people feel they have had and enjoyed with The Wiggles through their own childhoods and now are passing on to their own children. You only pass on the things that are precious to you. So clearly, The Wiggles hold a very special place in many people’s hearts.

Then, we also had all the archives that were from the news shows, breakfast TV slots, and so on. Those are just all the usual sources of you going to Channel Nine or the ABC and saying, ‘Give us everything you’ve got on The Wiggles!’ And then you get reams back. We did have a huge amount to draw on. That’s a very happy place for any documentarian to be in, but it’s no mean feat. The editor, Adrian Rostirolla, and I had worked together on a couple of other very big archive projects — one being a history of Australian cinema with David Stratton and [his] own personal story (David Stratton: A Cinematic Life). That project had 150 Australian films [in it] — it was small by comparison to The Wiggles (laughs). Then we’d also done the Valerie Taylor feature documentary that played at Sundance a couple of years ago (Playing with Sharks). The Taylor archive is equally extensive, but that had just one source of archive, whereas this one had multiple. Anyway, we got there, I think.

An element of the film I appreciated was the time you spent exploring the impact of Greg, Murray, and Anthony studying early childhood at university. Most people know they did that course, but you sharply showcased how they applied what they learned to their work. When did you determine that needed to be emphasised?

SA: Right from the very beginning. I found that absolutely fascinating. I was completely engaged with the idea that there was method behind the magic. I very much wanted to understand what they understood about children as a way of understanding why they’ve had this impact and relationship with their fans. And I’m a parent, so it was a revelation to me. You kind of know that children think differently, but to actually have that encased in early childhood educational understanding was fantastic. I loved every single anecdote of how the teaching experience informed the music. I think the guys knew that at the beginning. 

And what is really interesting is that with the various evolutions of the group, that understanding has expanded. So while the original Macquarie University early childhood principles have absolutely been core to the way The Wiggles continue to do their music — looking at children directly through the eye contact of the television and understanding the differences between a dancing song and a challenge song, for instance — performers like Emma [Watkins] brought in sign language and Auslan in a really amazing way. And Caterina [Mete] is studying early childhood today, so her more contemporary education is also feeding the group. These things are not static; they continue to evolve in line with the way education continues to evolve. But The Wiggles are right; they’re still learning and applying those principles. It does run to the overcall core, which is to put the child at the centre of everything they do.

Another impactful decision was the inclusion of Jackie Cannizzaro. Her story is so touching, and it embodies how the Wiggles became so revered in the United States. How did she get involved?

SA: Well, I think you’ve touched on it — it was such a pivotal, dramatic moment in The Wiggles’ story. They were scheduled to play in New York, then the terrible events of 9/11 unfolded, and the question on the minds of performers all around the world was: what do we do here? We wanted to obviously include that in the film because I think it’s a great testament to The Wiggles and what they represent, which is this idea of bringing light into dark places. And I don’t mean that in any superficial way; they really struggled with the decision. As Greg says in the film, was that the right call? Would people want to see that? And, in fact, yes, people were crying out for it. There is this opportunity with a group like The Wiggles to recognise all that is positive and good, and I’ve said this before, but I really believe that is actually a radical act.

Jackie’s story, of course, is so poignant and so connected to all of those themes. Very interestingly enough, there were many other stories [like hers]. For the purposes of contraction, we just couldn’t fit everybody in. But in that call out we did for fan archive, we had the most extraordinary stories of people who, for example, in their own families might have had somebody who is on the neurodiverse spectrum or had a disability or people who themselves grew up with The Wiggles and today are childhood teachers because of the enjoyment they had with music and dance and performance. There were all these different layers that we could have explored in relation to how individuals had experienced The Wiggles, but we just weren’t able to fit that in. We hoped we could convey some of that through the archive. 

But with Jackie, there was the historical element that people who might not have been around the time of 9/11 would have needed to know. Also, it felt appropriate that Jackie and [The Wiggles’ former manager and Anthony’s brother] Paul Field would speak to those tragedies in their lives and how The Wiggles related to their various challenges. That’s how we made the decision, and she is the most extraordinary woman, and I was just so privileged to interview her. 

Once they made a name for themselves in foreign markets, a lot of the band’s attention shifted to their wealth. Much of it felt cynical, and it was interesting to hear Murray say he found it puzzling. Why do you think there was such a fascination with their finances?

SA: That is hard to answer, but I knew that it was important to include in the film because the story that has been told about The Wiggles is about their wealth and success. I think that in the Australian context, we are proud of anybody who achieves. Although I think the response can feel cynical, whether it be the tall poppy syndrome still hanging around everybody’s neck or every media outlet always wanting to tell a different story. By that, I mean the news cycle wants to come up with new angles — that’s part of how media works. That’s how papers are sold and programmes are seen. But I think that it is because of what is improbable. I think there is still something [many think, which is] ‘They’re not in Hollywood movies. How are they so successful?’ 

I think it was terrific that Murray acknowledged how hard everybody works for that. Also, they should feel proud of that. They are bringing entertainment to people around the world, including Australians. It’s also not like they stay in a five city tour. When they tour, they tour to small towns and the regions. They do that in Australia and Canada, and they are going to do that in America upcoming. They understand it isn’t just about reaching urban children. It is about trying to tap into families and kids in all areas. They’ve spent a lot of time up in the Northern Territory, working with remote communities. They’ve spent time behind-the-scenes that never make it to the media. But those families know what and who they are. Anyway, I sound like I’m the fifth Wiggle or the ninth Wiggle. I’m still looking for my audition, Anthony. 

The film isn’t idolatry. It doesn’t shy away from the tough times, and seeing their struggles is powerful because we’re so attuned to seeing these guys with high spirits and big smiles. In the Today Show interview, you can see how uncomfortable Anthony is when discussing his mental health. And watching the outtakes of Greg’s farewell video was tough to sit through. How was it charting the hardships of their story?

SA: Well, the dramatic storyteller in me knows that all heroes need to go through turbulence and be challenged in order to come out the other side victoriously transformed, at the very least. That is true in real life, and it’s true in drama. The reality is that when you’re vulnerable, there’s empathy from the audience. And the point of it is to be authentic, so there wasn’t really an alternative. If we had shied away from things like the difficulty of mental health, the challenge of missing family, or the ruptures that happen when people leave the group for whatever reason, first of all, people would have asked us why we didn’t include those things very suspiciously, as if there was something to hide. Second of all, those are the moments that make you. They encapsulate a philosophy of how you continue to learn and move on. It’s a very foolish person who goes through the world thinking they have all the answers and they’re not going to be changed by life events. So, to me, part of the privilege of this kind of storytelling is you have a moment to take people’s lives seriously. 

And absolutely, Greg watching the outtakes, he says in the film, is tough to watch. It’s tough to revisit those moments. It was extraordinarily tough for Sam Moran to revisit his departure from the group, and yet everybody willingly participated. I think that goes down to the relationship of trust — they know that you want to tell the full story. I never said to anybody, ‘I’m not going to do this if you ask me.’ I was always very fair-handed with everybody. I said, ‘This is the story for us to tell, and hopefully, you will like it.’ This was an independent film, and the tone, structure, and storytelling were created by the production team. And happily, people recognise the truth in that. That, more than anything else, is what you strive for — you feel satisfied that even though it might be tough and awkward and people want to sit under a chair and not answer that question or watch that moment again, they acknowledge that is actually part of the story. 

While the original four guys are the primary focus, it was nice to spend time with everybody who has worn a skivvy for a substantial period. And to link back to someone you just mentioned, I say that especially for Sam Moran. I was very surprised to see him appear.

SA: It was important to me, exactly as you said, that everybody who’s had a profound relationship with the group was in the film. That was my starting point. And Sam was involved in The Wiggles for a long time, not just as Sam the Yellow Wiggle, but prior to that as a performer and then Greg’s understudy. It’s a huge testament to Sam, and he is really proud, I think, of his time with the group and everything since. I was delighted to meet him. And because there’s a whole audience for whom Sam was Yellow Wiggle, I would be doing a disservice to that audience if we didn’t include Sam Wiggle. So that was a no-brainer, actually. But I was aware that he might feel awkward or uncertain about participating, so we talked about it amongst ourselves. 

And with Emma, it was a pretty easy yes because there’s nothing other than pride, I think, for both performers. They’ve both done so well since. They’ve both got albums; they’ve both pursued solo careers. Sam’s latest album is beautiful; it’s about emotions. And Emma just won the ARIA. I think they know, as much as anybody else, their time in The Wiggles was foundational for both of them. And it was foundational for the group; these things are a two-way exchange. As I was saying before, there are things that every performer contributes, from Anthony, Murray, Jeff and Greg all the way through to Tsehay [Hawkins], Katerina, Evie [Ferris] and John [Pearce]. 

The way Sam departed the group caused such a big controversy. You can tell some of your interviewees are still sensitive about discussing it. How did you handle broaching that subject?

SA: I’m a fairly forthright person, so I broach it by simply asking the question and giving everybody the space to answer in the way they would like. I think in filmmaking, there is a lot of power in what is said, but sometimes what is not said can be as instructive emotionally for a viewer. That’s not just pertinent to the awkward moments but also to the joy, and there are other moments in the film that do that. For example, when Lachlan [Gillespie] talks about receiving all kinds of fan art, he tears up talking about receiving one piece of art in which there was the quote, ‘Not all superheroes wear capes, mine wears purple.’ He doesn’t, in an immediately verbose way, go on about what that means to him. You don’t need him to; it’s all there in his face and body language. There’s a mixture of pride, vulnerability, and feeling overcome, recalling that moment.

I think that’s true in the departure of Sam, the original exit of Greg, the retirement of Murray, Greg, and Jeff, and Anthony’s discussion around his tattoos. There are lots of moments in the film where, hopefully, the space is there for viewers to recognise there’s an underlying opportunity to interpret because these things are complex. They’re not reduced down to a single voice grab. And hopefully, Adrian’s craft in editing those moments allows those things to be there emotionally. You know, the number of people who have said, ‘I can’t believe I’m in tears. I don’t know why I’m crying. I’m crying through the whole film,’ it’s not that we set out to do that. But what that tells me is that it’s touching people emotionally. 

For the diverse group that follows the four OGs and Sam, the film notes that while they were all well-received by their audience, almost all faced some degree of external criticism. How was it delving into the evolution of the band and the weird discourse that oddly came with it?

SA: I don’t know if it’s weird. Change in any context requires people to come to it in ways that they know. So if that is, ‘I need to understand this more. Therefore, I need to talk it out,’ or ‘I need to ask questions of this,’ what that’s telling you is that the change itself is profound. [When we show] the Sky News panel, it is about Sky’s response, obviously, but it is about saying this is a moment. Now, where you sit on what that conversation is and how that unfolds is down to your own firsthand experience and politics. But one of the things I enjoy about the group and this story is there have been those moments from which we can actually chart ourselves.

The response to Emma in 2012, for example, well precedes #MeToo, but it’s not unrelated. It’s well after second-wave feminism, but it’s not unrelated. It’s another example of two things. It’s about how an original fan base might be responding to the loss of the original lineup. So there’s a grief, and Emma articulates this very well. She says, of course, she found it initially very hard not to take that personally, as it was for Simon [Pryce] and Lachlan. But when she recognised it was about the grief, that made it personally easier to get out there every day and continue to perform and feel good about what [she was] doing. I think it’s true, and I also think it’s society’s conversation about female representation. 

For the original guys, [their success] was improbable. They were friends jamming together in the music room at Macquarie University to pass the time. They were not developing a group they knew was going to sell tickets at Madison Square Garden. Their origin story is so disconnected from what evolved. In fact, they had the Taiwanese Wiggles and the Spanish Wiggles — they had looked immediately for a more diverse representation. But to answer your question, it’s not so much a weird response as it is a response that says something about our multicultural society and how we continue to grapple with these questions of change, acceptance, and integration. The relevance is important because it’s actually about us. It’s not so much about their decision-making or what they’re doing. They’re punk; they’re just going to do it anyway. 

Now that the film is available and they have seen the finished product, what are the reactions you’ve received from all of The Wiggles?

SA: They have been so kind. The reactions have just been beautiful. Most of them are, ‘I don’t know how you pulled it all into one feature documentary!’ Paul Paddick, for example, who plays Captain Feathersword, was like, ‘How did you do that?’ (laughs)

And how have you reflected on this journey now that it has been out for a few weeks and is accessible in over 200 countries?

SA: I’m overjoyed with the reaction. The production feels very privileged to have been entrusted with this story. People have tried to tell The Wiggles’ story before, and I don’t know what special cosmic alchemy was at play, but we’re really pleased they trusted me and the team. We’re thrilled that it’s on Amazon Prime and available around the world. When the OG reunion concert was announced, there were so many reactions saying, ‘Are you bringing this to America? Will you be coming to England? I’d like to see you in Germany!’ So the fact that Amazon has put it out on their platform to 240 territories is so great because those people in those countries and regions can see the film. That’s very rare unless you are making a project for one of the international streamers. So that part is brilliant.

And the views have been incredibly lovely. You know, you’re a film critic, you always come to every film [thinking], ‘What can I say about this one that no other film critic has said.’ There’s always that thing in any kind of artistic criticism of looking for points of distinction. And for people to say, ‘I don’t know how, but the film wiggled its way into my heart,’ You think, ‘Yes!’ On a filmmaker level, that’s delightful. But mostly, it’s been incredible to see on TikTok people going, ‘I’m in floods of tears; I’m a mess because I just watched The Wiggles documentary. How have they done this?’ That immediacy of the web is like at a film festival when people come up to you at the end, and you get to talk about the film. The ability to do that today on social media is fantastic. 

I’d like to close things out with a sincere thank you. The Wiggles are so important to me, and they’re a big reason why I fell in love with film and why I’m where I am right now. I’m sure you would have felt a sizeable responsibility with this project, so I want you to know it is a truly wonderful work.

SA: Connor, thank you so much. I sincerely appreciate your interest and everything you’ve said about the film. You have completely understood the filmic intention. The fact is there is an incredible story of determination, dreaming, chasing a passion, and enduring in the hearts and minds. They are evergreen. The Wiggles are in the same realm as Roald Dahl and Disney. They have become icons, and they’re still working hard, and they’re still relevant. They still love it, and their audiences still love them. 

Finally, if you run into the OGs in the future, feel free to tell them if they need someone to wear the green skivvy, I’m their guy!

SA: I shall pass that on!

Connor Dalton

Connor Dalton is a freelance entertainment journalist with a Bachelor’s degree in film and television studies. When he isn’t interviewing stars of the screen, he works in the reality television sector. He is sadly not related to Timothy Dalton.

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