
Influencer calls out comedian on-stage over ‘sickening' skit
An Australian influencer has called out a British comedian during a tirade about diabetics at one of his live shows.
Carmen Azzopardi, a type one diabetic, attended one of Paul Foot's comedy shows in Europe where he launched into a 10 minute rant in the latter half of his act.
Azzopardi claims Foot 'made fun of people' who wear medical technology like continuous glucose monitor's — which is a device used to keep tabs on blood glucose levels.
Foot then proceeds to mimic a diabetic having a hypoglycaemia episode by violently shaking his body and then inferring they die after suffering a heart attack.
Although Azzopardi admits she is willing to see the funny side of life, she called out from the crowd to let Foot know he had taken it too far.
In footage captured by Azzopardi, she can be heard booing and shouting 'that was a shit joke . . . I have type one diabetes, that was extremely extremely insensitive and misinformative.'
Foot hit backs with a follow up joke, saying he doesn't agree his comments were out of touch.
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'I don't think it's up to you to decide if it's insensitive or not,' Azzopardi replies.
After the two go back and forth in disagreement, Foot declares comedy is subjective, before blaming Azzopardi for the act's sour ending.
'Due to the failure of you to grasp that simple intellectual point, cause you fail to grasp the difference between these issues, cause of that it's ending in an awkward way,' he said.
In a TikTok following the 'embarrassing' display, Azzopardi explained the impact it has had on her.
'All in all, deeply embarrassing for him, deeply deeply sickening to witness as someone who is living with that disease, but also just as like a human who has empathy for others and doesn't find there to be humour, cleverness or anything intellectual or remotely creative about making fun of someone's disability,' she said.
'I's probably one of the most blatant acts of ableism that I have ever personally experienced since being diagnoses with this illness, because that's what it is, it's an illness, not a punch line to a joke.
'It's amazing to me we are still platforming these grotesque, vile looking little rat men, who very clearly cannot tell a joke to save their lives.'
Holding a middle finger up to the camera, Azzopardi concludes the video with a message to Foot.
'Paul Foot let me know if you need some tips on writing a f**king joke you little shrivelled raisin,' she said.
Well-known influencers including Abbie Chatfield weighed in on the ordeal.
'What a fucking loser … what's this niche diabetes beef???? Well done for standing up for yourself and others queen,' she commented.

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With text by John Cameron Mitchell and lyrics by Stephen Trask, Hedwig and the Angry Inch – born from a character created in downtown New York clubs in the 1990s and known for a cult 2001 movie (also starring Mitchell) – debuted as a musical off Broadway in 1998. Productions have run in almost 20 countries since, including a multi-Tony Award-winning 2014 Broadway show starring Neil Patrick Harris and, more recently, Mitchell's stripped back 2019 production, The Origin of Love Tour: The Songs and Stories of Hedwig, which they also starred in. In Australia Hedwig and the Angry Inch premiered in 2006, with iOTA winning several awards in the lead role. An aborted 2020 production was to have starred Hugh Sheridan. Blending punk, blues, heavy metal and rock 'n roll, the musical is Hedwig telling her story. Forced into botched gender reassignment surgery as a way to marry an American soldier and flee Berlin, she is left with a dysfunctional mound of flesh, the 'angry inch' (described as having 'a scar running down it like a sideways grimace on an eyeless face' in the musical's song Angry Inch). When we meet Hedwig she is performing a low-rent gig with her band, The Angry Inch, as the US concert tour of rock star Tommy Gnosis plays nearby (heard when Hedwig opens a door on-set). Gnosis collaborated musically with Hedwig before fame (his success comes from those songs) and began a relationship, but he has abandoned her. Aiding Hedwig during her tour is a surly Croatian Jewish drag queen, Yitzhak, played by Adam Noviello, with whom she has a toxic co-dependency. Noviello, who has a long-term love for the film and musical, sees himself in its themes. 'To me, the show, film and the character of Hedwig have always represented the in-betweenness of human beings and of gender, music and expression,' they say. 'Personally, I feel like I've spent my whole career and my whole life on that spectrum. 'The misfits, the losers, we've always felt like that growing up and in our careers.' Seann Miley Moore 'Hedwig is one of those rare beauties of a role where as gender-diverse people, and as trans people and as artists, we see ourselves. She represents our otherness and our fabulousness and our traumas and our battles. So, she's a very big deal for us.' Miley Moore agrees by singing from the song Midnight Radio in the show's finale. ' The misfits, the losers, we've always felt like that growing up and in our careers,' they say. 'But, to do it in this, it's two queens colliding and queer excellence on that stage and we both feel absolute pride and power up there. 'And we're both Scorpios so it's hot.' The musical's songs, from Wig in a Box to Tear Me Down, The Wicked Inch and The Origin of Love, lead much of the show, swinging from full body guttural rock to heart-rending emotional sorrow. In Adelaide's aptly named Queens Theatre, Midnight Radio soars to its ending – ' All the misfits, and the losers/Well you know you're rock and rollers/Spinning to your rock and roll/Lift up your hands ' – bringing some audience members to tears while waving their arms in the warm muggy air. This physical connection to Hedwig begins long before the show's ruched powder blue circular curtain rises above the stage. In Adelaide, a whole trailer park, with wooden refreshment booths under lines of pegged washing, was built outside the theatre as a nod to Hedwig's on-tour life living in a mobile home between gigs. Audience members could visit her caravan, filled with personal effects and memorabilia, before watching a pre-show bar show. Co-directors Shane Anthony and Dino Dimitriadis say this set-up – also planned for Melbourne and Sydney venues – is about transcending boundaries of audience, cast and the stage. 'The show feels big in its themes, big in its appeal to love, big in its appeal to identity and self-searching, big in its appeal to cultures and across different continents,' Anthony says. 'We wanted to make that concrete for the audience, both in the immersive experience provided before the show, but also inside the venue.' Anthony, who vividly recalls seeing the 2014 Broadway production starring Harris, believes Hedwig and the Angry Inch affects people deeply whoever they are. 'It lands in your DNA in a really exciting way,' he says. 'It hits you. You don't immediately understand it, but it taps into something that's more transcendent, more universal, more about the human condition. 'John Cameron Mitchell and Stephen Trask have created something that mines truth and authenticity with characters in a way that perhaps a lot of musicals don't,' he says. 'It's about searching for love and it's done in an incredibly poetic way. 'Those songs are poems. They're explosive, they're dynamic, and I think they resonate with any audience member who's wanting to find love.' As their ice-blocks melt and the sun beats on in Adelaide, Miley Moore and Noviello echo Anthony's words. 'As much as the show is built to and will empower the queer community, it's absolutely a universal story,' Noviello says. 'So much of Hedwig's journey has her caught in a cycle of abuse and now she decides to end that. 'As the show progresses, she's choosing goodness, she's choosing wholeness and choosing love going forward and that's all of our story. We all have to make that decision within ourselves to lead with love and kindness. It's not taught to everyone. 'As much as Hedwig is for queer folks, her story is absolutely for everyone.' Miley Moore lets out a whoop before licking drips of ice-block off their arm. 'And who doesn't love rock and roll baby?' they say. 'Whatever the temperature is, hot or cold, we're dealing with all the elements, all the emotions in there.' They mime a lingering kiss. 'On and off the stage.'