The Australian television industry remains vigilant but cautiously optimistic, as production levels have declined from peak periods, executive changes have hindered content availability, and international uncertainties have begun to impact local operations. Nonetheless, Australian narratives continue to resonate globally, with many recent standout shows imbued with elements of mystery or humor that provokes thought.
When the industry organization Screen Australia surveyed local professionals about their sentiments toward the domestic sector, a variety of concerns emerged. Words such as “concerned,” “frustrated,” and “disheartened” were noted, but one sentiment emerged above the rest: “hopeful.”
From 1,000 TV industry participants surveyed, 70% expressed that they believe the landscape for diverse storytelling will either remain stable or improve, and similar figures were found when inquiries were made about the value of collaboration and keeping updated with industry developments. However, this optimism was challenged when discussing job security, as only 27% felt conditions would improve.
This sentiment mirrors the local industry, which has recently faced some upheaval. Screen Australia’s report revealed that in 2023-2024, only 15 free-to-air and broadcast video-on-demand dramas were produced for general audiences, totaling 275 hours of content with a budget of $126 million. This marks a decline from the average of 38 productions during the 2010s and 29 in the 2000s, signifying a gradual three-decade decrease in the creation of local content in Australia.
“It has certainly been a quieter year, influenced by a global slowdown and the challenges in international sales arriving here,” notes Carly Heaton, head of scripted content at Fremantle Australia. “At the same time, we’ve seen considerable shifts in the commissioning teams at our local networks, leading to a period of uncertainty. Nevertheless, there’s a budding sense of stabilization. We’re witnessing the formulation of commissioning strategies, buyers re-engaging, and discussions shifting toward fresh content instead of fixating on the past year’s limitations. This reset will pave the way for innovative, groundbreaking projects and a more promising year ahead.”
Kate Marks, CEO of Ausfilm, recognizes a slight reduction in inbound TV productions from the previous high, but observes that, over the past year, the country has maintained a robust lineup that underscores Australia’s reputation as a creator of quality local content and a valuable international production partner.
“It’s been particularly rewarding to see Australian talent taking on significant creative roles in projects like [Peacock’s] ‘All Her Fault’ and [Apple TV+] ‘The Dispatcher,’” Marks emphasizes. “The variety of work spanning post-production, digital media, animation, and visual effects has been impressive, with projects such as ‘Alien: Earth,’ ‘The Last of Us,’ ‘Ted,’ and the forthcoming ‘Stranger Things: Tales from ’85’ highlighting the capability and diversity of our screen industry.” Marks also points to co-productions like “Mix Tape” with Ireland and the animated series “Flower and Flour” with Canada, demonstrating Australia’s ability to collaborate effectively on international storytelling ventures.
Louise Gough, Screen Australia’s director of narrative content, affirms that the industry is poised for recovery and notes the significant attendance of over 100 Australians at the upcoming Mipcom.
In addition to her confidence in the future of Australian TV content, she takes pride in the breakout successes of recent years.
“Over the last five years, there have been remarkable shows that have gained traction internationally,” Gough recounts. “Titles like ‘The Narrow Road to the Deep North’ are shining examples of quality Australian content; others like ‘Newsreader,’ ‘The Twelve,’ ‘Black Snow,’ and ‘100% Wolf: Legend of Moonstone’ are also performing well on the global stage.” She points out that Australian talent remains sought after, with series such as “Heartbreak High,” “Fisk,” “Colin From Accounts,” and, naturally, “Bluey,” leading discussions on Australian TV triumphs.
“The content that succeeds is distinctly Australian yet conveys universal themes,” she elaborates. “Globally, viewers are gravitating towards narratives that engage in meaningful dialogue and resonate with the diaspora, with a plethora of exciting projects on the horizon—whether it’s beautiful productions like ‘Top End Bub,’ which has just been released to positive reception, ‘The Chaplain,’ or ‘High Country.’”
“High Country,” a captivating thriller set in the stunning Victorian alpine region, has been a standout success for the BBC in the U.K., showcasing the strength of the genre.
“It always amuses me when people say, ‘Oh, we have too many detective shows,’ but then there’s a demand for them,” remarks Rosemary Blight of Goalpost Pictures, the creators behind the Travis Fimmel-led mystery “Black Snow.” “I genuinely believe audiences continue to respond enthusiastically to high-quality detective dramas, especially those that take them into unfamiliar realms. A series like ‘Black Snow,’ featuring someone as prominent as Travis Fimmel, is a case in point.” Blight mentions ongoing discussions regarding a potential third installment of the series.
The industry continues to emphasize that the theme of “crime” remains timeless, according to Gough. “The brilliance of crime-focused productions emerging from Australia lies in what we refer to as the 80-20 rule,” Gough explains. “Eighty percent feels familiar in the genre, but the remaining twenty percent introduces unique narratives or tones, whether through comedic or darker storytelling.”
“Deadloch,” a comedic murder mystery, parodies the conventional traits of police procedurals. Penning the series are comedians Kate McCartney and Kate McLennan, with Season 2 currently in post-production. Kevin Whyte, a producer from Guesswork, attests that shows with a well-defined creative perspective tend to perform better.
“We consistently achieve better entertainment outcomes when we empower creators to share the best stories they can, a principle that remains unchanged,” he asserts. “While the business side can overshadow this truth, it rings clear: fostering great talent, providing them with the space to craft unexpected narratives, and equipping them with the necessary resources will connect with audiences.”
Guesswork is also developing a new comedy, “Bad Company,” featuring comedians Anne Edmonds and Kitty Flanagan (“Fisk”). This workplace genre consistently finds success in Australia, demonstrated by the popularity of shows like “Newsreader,” “Fisk,” or the legal drama starring Sam Neill, “The Twelve,” on Fox Showcase.
Australia’s recent international hit, “Colin From Accounts,” from Easy Tiger Productions, has revitalized the country’s comedy scene.
Rob Gibson, CEO of Easy Tiger, highlights that while comedy has traditionally been a challenging sell due to worries about audience reception, “Colin” has broken barriers. “We’re now engaging in numerous dialogues in the U.K. and the U.S. regarding potential comedic projects to create here in Australia.”
Carly Heaton of Fremantle states that this genre’s upbeat offerings are a primary focus moving forward. “Currently, there is a significant demand for heartfelt, lighthearted programs that provide a pleasant escape from reality,” Heaton remarks. “Many of our commission projects, as well as those in development, reflect this optimism and humor. While we can’t disclose specific titles yet, expect a strong, exciting narrative thread of hope and laughter in our upcoming slate.”
Blight reflects on Goalpost’s pride in its lighter content, exemplified by the recent success of the Amazon Prime original “Top End Bub,” a TV spinoff from the film “Top End Wedding.” Showcasing a bustling family dynamic set in Australia’s tropical north, the comedy has received an overwhelming positive response domestically. “’Top End Bub’ depicts the chaos and love of family relationships in that vibrant environment,” she states.
“It features lush green scenery, serene aqua waters, and a plethora of crocodiles, representing a segment of Australia many have yet to experience. While many overseas see Australia as primarily red desert, there is an unexplored tropical paradise up north,” Blight explains. “Filming in places like the Tiwi Islands, our collaboration with Amazon allowed us to create something truly grand in scale, which has us feeling quite optimistic about its success.”
Blight emphasizes the necessity of strong local partnerships; the success of “Top End Bub” benefited from Amazon’s strong involvement, while Stan provided significant support to “Black Snow.”
“When a domestic partner truly champions a show, it can lead to domestic success that resonates globally,” she notes.
Matt Deaner, CEO of Screen Producers Australia, perceives encouraging signals stemming from the national broadcaster, the Australian Broadcasting Corporation (ABC). “The ABC, under the leadership of recently appointed managing director Hugh Marks, has conveyed a commitment to supporting regional intellectual property, allowing them to take risks—this is fantastic news for our sector,” Deaner remarks.
The ABC’s presence at Mipcom stands for shows like “Fisk,” alongside a comedy revival of “Mother and Son” and the thriller “Pine Gap.”
Whyte from Guesswork adds that while current successes on air are important, they represent only a fraction of ongoing development conversations that are happening below the surface.
“I believe there’s growing sentiment that after a few years of stagnation, the gears are starting to turn again, albeit at a slower pace. However, it certainly feels like decisions are being made and development is progressing forward,” he states.
Blight concurs: “We are accomplishing impressive feats despite the challenges; we should take pride in our achievements. At present, the global audience is less concerned with language barriers and more receptive to content from around the world, and we fit seamlessly within that narrative.”
