# Australian TV industry - General Discussion **URL:** \ **Category:** General Television Topics\ **Created:** [July 17, 2018, 6:55am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177 "2018-07-17T06:55:33Z")\ **Posts on this page:** 20\ **Page:** 5
**Author:** ![TV.Cynic](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/tv.cynic/32/316932_2.png) [@TV.Cynic](https://forums.mediaspy.org/u/TV.Cynic)\ **Post date:** [April 5, 2022, 10:08pm UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/83 "2022-04-05T22:08:38Z")
Some Nine sponsored research into viewing habits with advertising. Summary - advertising on TV is better than on social media. > **[Study into viewer attention to advertising finds TV and BVOD provides a...](https://www.nineforbrands.com.au/media-release/study-into-viewer-attention-to-advertising-finds-tv-and-bvod-provides-a-golden-halo-for-brands/)** > > Longer adverts on linear television and BVOD provide a significantly longer window of active attention from viewers compared to equivalent length ads on social platforms, the most technologically advanced study into attention to advertising ever... > Longer adverts on linear television and BVOD provide a significantly longer window of active attention from viewers compared to equivalent length ads on social platforms, the most technologically advanced study into attention to advertising ever undertaken in Australia has found ---
**Author:** ![JohnsonTV](https://forums.mediaspy.org/letter_avatar_proxy/v4/letter/j/9dc877/32.png) [@JohnsonTV](https://forums.mediaspy.org/u/JohnsonTV)\ **Post date:** [July 1, 2022, 9:57am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/84 "2022-07-01T09:57:06Z")
> **[Is Australian Drama losing its 'Australianness?' | TV Tonight](https://tvtonight.com.au/2022/07/is-australian-drama-losing-its-australianness.html)** > > Foreign voices, international stories... it's good for production, but is it bad for Australian storytelling & audiences? ---
**Author:** ![JBar](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/jbar/32/151177_2.png) [@JBar](https://forums.mediaspy.org/u/JBar)\ **Post date:** [July 13, 2022, 8:37pm UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/85 "2022-07-13T20:37:14Z")
> **[Aussie drama the quiet achiever | TV Tonight](https://tvtonight.com.au/2022/07/aussie-drama-the-quiet-achiever.html)** > > When Total TV numbers are in, dramas like Mystery Road and Home & Away are bigger than Reality TV shows. ---
**Author:** ![TV.Cynic](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/tv.cynic/32/316932_2.png) [@TV.Cynic](https://forums.mediaspy.org/u/TV.Cynic)\ **Post date:** [July 20, 2022, 10:16pm UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/86 "2022-07-20T22:16:36Z")
Currently the 20 year anniversary special doesn’t have a broadcaster. > **[Kath & Kim cast reunite to film 20th anniversary special](https://www.smh.com.au/culture/tv-and-radio/kath-and-kim-cast-reunite-to-film-20th-anniversary-special-20220720-p5b36q.html)** > > The foxy ladies of Fountain Lakes are back in the studio for a one-off show to air later this year. ---
**Author:** ![TV.Cynic](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/tv.cynic/32/316932_2.png) [@TV.Cynic](https://forums.mediaspy.org/u/TV.Cynic)\ **Post date:** [August 4, 2022, 3:47am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/87 "2022-08-04T03:47:37Z")
[https://twitter.com/couriermail/status/1555035237700468737?s=20&t=MLGODHLR1HTzsa1oQVxcDA](https://twitter.com/couriermail/status/1555035237700468737?s=20&t=MLGODHLR1HTzsa1oQVxcDA) > Aussie TV networks will be relying on big-name celebrities, extravagant costumes, social media buzz and inclusivity this Sunday, as they scrum down for the most fierce reality show battle yet. > > Seven’s My Kitchen Rules, Nine’s The Block and Ten’s the Masked Singer go head-to-head in a highly-anticipated clash, not even the Commonwealth Games could delay. > > Seven, as the official broadcast partner of the Birmingham games, fast-tracked its third-quarter tent-pole shows’ launch, despite competition still running in the UK. > > David Knox, of blog TV Tonight, believes the time difference means there will be minimal impact on the reality ratings anyway. > > “Most of the key (Commonwealth Games) medal events are after 8.30pm but Seven can’t afford to let The Block or Masked Singer have a free pass,” he said. > > “Spending all that money on Birmingham is principally about launching its next slate of shows.” ---
**Author:** ![Tejas57](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/tejas57/32/70710_2.png) [@Tejas57](https://forums.mediaspy.org/u/Tejas57)\ **Post date:** [September 26, 2022, 7:10am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/88 "2022-09-26T07:10:49Z")
If i was setting up a new breakfast show, the first thing I would do is not even consider basing it out of Sydney. Sunrise and Today are both based out of Sydney so its hard to get product differentiation - often you’d see the same guests on both shows. I’d base out of Melbourne, have a city studio with windows overlooking somewhere like Fed Square or in Brisbane overlooking Southbank. ---
**Author:** ![JBar](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/jbar/32/151177_2.png) [@JBar](https://forums.mediaspy.org/u/JBar)\ **Post date:** [September 26, 2022, 9:00am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/89 "2022-09-26T09:00:50Z")
Who would be starting a new breakfast show? ---
**Author:** ![Tejas57](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/tejas57/32/70710_2.png) [@Tejas57](https://forums.mediaspy.org/u/Tejas57)\ **Post date:** [September 26, 2022, 9:38am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/90 "2022-09-26T09:38:42Z")
> [@JBar](#): > > Who would be starting a new breakfast show? i don’t think anyone is, i’m just throwing it out there ---
**Author:** ![JohnsonTV](https://forums.mediaspy.org/letter_avatar_proxy/v4/letter/j/9dc877/32.png) [@JohnsonTV](https://forums.mediaspy.org/u/JohnsonTV)\ **Post date:** [October 6, 2022, 8:37am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/91 "2022-10-06T08:37:40Z")
> **[Banijay grows Australian footprint: Taking over Beyond International](https://www.mediaweek.com.au/banijay-group-grows-australian-footprint-taking-over-beyond-international/)** > > Global production and distribution giant Banijay is to acquire Beyond International, a scripted and non-scripted content group. ---
**Author:** ![TV.Cynic](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/tv.cynic/32/316932_2.png) [@TV.Cynic](https://forums.mediaspy.org/u/TV.Cynic)\ **Post date:** [October 11, 2022, 1:29am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/92 "2022-10-11T01:29:17Z")
> **[Exclusive and Latest Top Talent Report of 2022](https://talentcorp.com.au/talent-corp-releases-the-2022-top-talent-report/)** > > Talent Corp’s 2022 Top Talent Report reveals Hamish Blake as the top Australian broadcaster & Hugh Jackman as the overall top celebrity. Explore now. #### HAMISH BLAKE TOPS AUSTRALIAN BROADCAST TALENT LIST IN 2022, WHILE AUSTRALIA’S GREATEST SHOWMAN, HUGH JACKMAN TOPS OVERALL TALENT > Podcaster and TV personality Hamish Blake is Australia’s No. 1 broadcast personality as voted by consumers, while Australia’s ‘Greatest Showman’, Hugh Jackman has topped the overall list of celbriries , the 2022 The Top Talent Report reveals. > > Hamish Blake was also the only broadcast personality to make the top 10 overall talent list this year, in sixth position. Top 10 Overall Talent 2022 1. Hamish Blake +43 2. Dr Chris Brown +40 3. Georgie Parker +34 4. Andy Lee +33 5. Guy Sebastian +32 6. Shane Jacobson +31 7. Manu Feildel +30 8. Carrie Bickmore +30 9. Bruce McAvaney +25 10. Miguel Maestre +25 ---
**Author:** ![killy06](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/killy06/32/366375_2.png) [@killy06](https://forums.mediaspy.org/u/killy06)\ **Post date:** [October 11, 2022, 1:48am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/93 "2022-10-11T01:48:16Z")
Some interesting inclusions in the top 10. ---
**Author:** ![JohnsonTV](https://forums.mediaspy.org/letter_avatar_proxy/v4/letter/j/9dc877/32.png) [@JohnsonTV](https://forums.mediaspy.org/u/JohnsonTV)\ **Post date:** [November 2, 2022, 8:49am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/94 "2022-11-02T08:49:38Z")
> **[ITV Studios takes majority stake in Lingo Pictures - IF Magazine](https://if.com.au/itv-studios-takes-majority-stake-in-lingo-pictures/)** > > UK’s ITV Studios has acquired a majority stake in Lingo Pictures, with the company to become its first ever Australian scripted label. As part of the wider ITV Studios Group, Lingo will sit under the international production arm led by managing... ---
**Author:** ![TV.Cynic](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/tv.cynic/32/316932_2.png) [@TV.Cynic](https://forums.mediaspy.org/u/TV.Cynic)\ **Post date:** [November 9, 2022, 10:17pm UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/95 "2022-11-09T22:17:55Z")
> **[Drama Report 2021/22: Record $2.29 billion spent on drama production in...](https://www.screenaustralia.gov.au/sa/media-centre/news/2022/11-10-drama-report-2021-22)** > > Screen Australia’s 32nd annual Drama Report released today shows an all-time high expenditure in Australia on scripted screen production of $2.29 billion. Includes: FTA drama continues to be in decine (though up slightly from last year) while there has been a 4 times increase in subscription TV drama production. ### FREE-TO-AIR AND BVOD TELEVISION > FTA TV and BVOD drama is drama first released on either FTA television — ABC, NITV, SBS, Seven, Nine and 10 — or those broadcasters’ online platforms — ABC iview, SBS On Demand, 7plus, 9Now and 10 play. > > In 2021/22 there were 24 Australian titles totalling $208 million expenditure, an increase of 8% on last year, but 8% below the 5-year average. Of these titles, 19 were created for the public broadcasters. **The number of hours produced for FTA broadcasters has been in steady decline since 2000/01, when 715 hours of general drama was produced for free-to-air television, and this year there were 278 hours generated.** > > The number of series/serials produced decreased for the third year in a row, with nine titles down from the 5-year average of 16. Titles included [_Home and Away_](https://www.screenaustralia.gov.au/the-screen-guide/t/home-and-away-series/1163?stxt=home%20and%20away) (Seven), [_Neighbours_](https://www.screenaustralia.gov.au/the-screen-guide/t/neighbours-series/2235?stxt=neighbours) (10) and [_Aftertaste_](https://www.screenaustralia.gov.au/the-screen-guide/t/aftertaste-series-1-2021/38462?stxt=aftertaste) (ABC). Eleven mini-series entered production – steady on last year - including [_Barons_](https://www.screenaustralia.gov.au/the-screen-guide/t/barons-2022/38160?stxt=barons) (ABC), [_After the Verdict_](https://www.screenaustralia.gov.au/the-screen-guide/t/after-the-verdict-2022/39823?stxt=after%20the%20verdict) (Nine), and [_Safe Home_](https://www.screenaustralia.gov.au/the-screen-guide/t/safe-home-2023/40315?stxt=safe%20home) (SBS). ### SUBSCRIPTION AND SVOD TELEVISION > General subscription TV and SVOD drama is drama first released on either subscription TV and related platforms — Foxtel, Foxtel Now, Foxtel Go and other Foxtel services — or subscription VOD platforms such as Amazon Prime, Binge, Disney+, Netflix, Paramount+ and Stan. > > **This year 29 Australian titles entered production, up from just nine in the previous year. Spend increased significantly to a record $445 million, up from $119 million in 2020/21 and more than double the 5-year average.** > > There was increased production across most platforms, including Stan which had seven titles in this year’s slate, including [_Bad Behaviour_](https://www.screenaustralia.gov.au/the-screen-guide/t/bad-behaviour-2022/38804?stxt=bad%20behaviour) and [_Bump_](https://www.screenaustralia.gov.au/the-screen-guide/t/bump-series-2-2022/39431?stxt=bump) series 2 and 3. Paramount+, Amazon Prime and Netflix had four titles each enter production, three titles were produced for Foxtel and one title for Binge ([_Colin from Accounts_](https://www.screenaustralia.gov.au/the-screen-guide/t/colin-from-accounts-2022/40303?stxt=colin%20from%20accounts)). ### AUSTRALIAN CHILDREN’S TELEVISION > For the first time this section now includes all Australian children’s drama released across television, SVOD and online, providing a more holistic view of children’s drama production. > > Results in children’s television were largely consistent with the previous year, with 11 titles entering production (the same as 2020/21) generating $67 million (a 5% increase) in spend in Australia. While hours increased by 12% from last year, they were 32% below the 5-year average, the data from the past five years shows an overall decline in production from a peak year in 2018/19. > > Of the 11 titles in 2021/22, the **ABC financed eight** , including animations [_100% Wolf: The Book of Hath_](https://www.screenaustralia.gov.au/the-screen-guide/t/100--wolf--the-book-of-hath-2023/39673?stxt=100%25%20wolf), [_First Responders_](https://www.screenaustralia.gov.au/the-screen-guide/t/first-responders-2022/40058?stxt=first%20responders), [_Ginger and the Vegesaurs_](https://www.screenaustralia.gov.au/the-screen-guide/t/ginger-and-the-vegesaurs-series-1-2022/36994?stxt=ginger%20and%20the%20vegesaurs) and [_Kangaroo Beach_](https://www.screenaustralia.gov.au/the-screen-guide/t/kangaroo-beach-series-2-2023/40167?stxt=kangaroo%20beach) series 2, and live action titles _Beep and Mort_, _Crazy Fun Park_, [_First Day_](https://www.screenaustralia.gov.au/the-screen-guide/t/first-day-series-2-2022/39514?stxt=first%20day) series 2 and _The PM’s Daughter_. **NITV financed the live-action series _Barrumbi Kids_. One title that entered production in 2021/22 was financed by the commercial free-to-air broadcasters, _Rock Island Mysteries_ (Network 10), and [_Gymnastics Academy: A Second Chance!_](https://www.screenaustralia.gov.au/the-screen-guide/t/gymnastics-academy--a-second-chance!-2022/39549?stxt=gymnastics%20academy) was financed by Netflix.** ---
**Author:** ![JohnsonTV](https://forums.mediaspy.org/letter_avatar_proxy/v4/letter/j/9dc877/32.png) [@JohnsonTV](https://forums.mediaspy.org/u/JohnsonTV)\ **Post date:** [November 10, 2022, 8:49am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/96 "2022-11-10T08:49:51Z")
Press release from Screen Producers Australia ### Great result overall but more to be done, and let’s not forget about the children > Screen Producers Australia (SPA) today welcomed the release of the Screen Australia Drama Report 2021/22, which continues to highlight the volatility of the screen sector with a range of recent factors generating both pressures and opportunities for Australian screen productions and the people and businesses that make them. While generating a nice top-line result, a lot more needs to be done to address the underlying challenges the sector faces. > > The new record for total Australian drama expenditure of $1.15 billion midst an overall total spend of $2.29 billion is welcome, and points to the importance of the Australian screen industry to Australia’s creative economy which is likely to be in total more than four times as large as this drama report captures. > > It also demonstrates the capacity of the Australian screen industry to grow rapidly, in response to investment opportunities. SPA believes that conditions are right to capitalise on this growth through increased skills development and an industry plan for well managed and permanent growth. > > **SVOD Demonstrates a Move in the Right Direction** > > SPA also welcomes the increase in spending on drama in 2021/22 by Australian and foreign online streaming services that contributed $186 million to 24 titles, representing a significant step up of investment. > > This brings SVOD services even closer to the 20% minimum investment requirement sought by SPA as an ongoing commitment to Australian screen content. > > **Data is King but Needs Reviewing** > > For context, SPA notes that these figures capture only one year, so it is important to weigh any record spend against the 5-year averages. SPA also notes that this report is for drama only, and that Australian audiences value diversity of screen content across all genres. > > Achieving a consistent and transparent reporting methodology for screen industry data by Screen Australia and the ACMA is an important goal and should be a focus of outcomes associated with the National Cultural Policy under current development. > > For example, SPA notes that the figures for Australian VOD drama applied by Screen Australia include titles that are not likely to be considered “Australian” under the definition applied by the industry regulator, the ACMA. SPA believes a consistent framework for the collection and reporting of screen industry data across all platforms of free-to-air, subscription, and streaming services is of critical importance. > > **Commercial Free to Air Needs to Deliver More** > > SPA remains concerned about the continued downward trend in hours and investment from commercial free-to-air channels which reflects the damaging deregulation of this sector under the previous government. > > These vastly lowered requirements are completely at odds with an expectation that Australians should be able to view a range of well-made content on freely available services that in turn benefit from industry protection through the anti-siphoning scheme as well as the use of public assets in the form of spectrum for their delivery to audiences. > > This harmful deregulation also hastened the trend for the collapse in the number of series/serials produced by commercial broadcasters, with Home and Away (Seven Networks) and Neighbours (Network 10), providing the bulk of series and serials hours in this report. > > With the final episode of Neighbours having gone to air, this leaves continuing challenges for our sector which has benefitted from the training ground that long-running drama programs made for commercial television have traditionally provided. These programs, as well as children’s content, have key roles in developing talent in front of and behind the camera and our sector needs both to continue to ensure a healthy sector with key skills is maintained. > > **The Results for Children’s Content are Disastrous** > > The result for children’s content is again disastrous with only one title across a whole year being generated by commercial television businesses, and one by SVOD services despite all these businesses supplying Australian children with thousands of hours of foreign children’s content. Urgent regulation across these platforms is needed if we want to ensure our children can dream Australian dreams. > > **Our National Broadcasters: Steady and Critical** > > The ABC has provided the only respite here doing all the heavy lifting for children’s content and together with SBS, continues to fund a strong backbone of Australian drama series. The ongoing delivery of steady investment in our sector by ABC, SBS and NITV continues to demonstrate how important it is for the Australian Government to provide ongoing, stable, transparent, and appropriate levels of funding to our national broadcasters. > > **Feature Films Have Significant Challenges Hidden by the Top Line Data** > > The Drama Report also highlights that the number of Australian feature films that are being made has dropped significantly being well below the five-year average and expenditure associated with a handful of very large budget films mask the ongoing challenges this part of our sector faces both in finance and distribution. > > SPA is also concerned about the drop in features with budgets of less than $1 million (down from 13% to 8%) and less than $5 million (down from 52% to 33%). While this is partly a reflection of inflationary pressures in the film industry, SPA believes it is important that cost doesn’t become a barrier to new, independent productions to ensure we continue to see a diversity of stories on screens. > > **An Urgent Need for Terms of Trade** > > SPA’s most significant concern though is that the commercial deals that underpin the expenditure captured in this report on Australian-created stories are increasingly disastrous for Australian businesses and creators. > > Without a “terms of trade” framework, Australian producers are losing creative control and ownership of valuable IP in the titles they create – this needs to be fixed as a priority. ---
**Author:** ![JohnsonTV](https://forums.mediaspy.org/letter_avatar_proxy/v4/letter/j/9dc877/32.png) [@JohnsonTV](https://forums.mediaspy.org/u/JohnsonTV)\ **Post date:** [January 4, 2023, 11:25am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/97 "2023-01-04T11:25:04Z")
> **[Banijay Takes Full Control Of Beyond And Prepares For Rebrand; ‘Bridgerton’...](https://deadline.com/2023/01/banijay-beyond-full-control-mythbusters-global-briefs-1235211024/)** > > Banijay Takes Full Control Of Beyond And Prepares For Rebrand Banijay has taken full control of Mythbusters firm Beyond International and intends to rename and rebrand the Australian outfit as the … Banijay now owns Beyond International (distribution), as well as Endemol Shine and Screentime (production) in Australia. Beyond was first listed on the Australian Securities Exchange in 1987. ---
**Author:** ![Aurora](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/aurora/32/249208_2.png) [@Aurora](https://forums.mediaspy.org/u/Aurora)\ **Post date:** [January 4, 2023, 12:02pm UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/98 "2023-01-04T12:02:32Z")
They would be close to the biggest one on the globe? ---
**Author:** ![JohnsonTV](https://forums.mediaspy.org/letter_avatar_proxy/v4/letter/j/9dc877/32.png) [@JohnsonTV](https://forums.mediaspy.org/u/JohnsonTV)\ **Post date:** [January 4, 2023, 10:13pm UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/99 "2023-01-04T22:13:13Z")
I think Fremantle is still the biggest TV production firm in the world. ---
**Author:** ![TV.Cynic](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/tv.cynic/32/316932_2.png) [@TV.Cynic](https://forums.mediaspy.org/u/TV.Cynic)\ **Post date:** [January 6, 2023, 12:22am UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/100 "2023-01-06T00:22:31Z")
I don’t recall this second edition getting much attention at the time. It was mentioned briefly during The Last Year of Television 2022 special specifically the table of diversity in news presenters where Seven has highlighted for having a 91.6% Anglo-Celtic percentage in 2022. From the report > We also examined the number of appearances of presenters and reporters by television network (Table 4 and Figure 4). Anglo-Celtic background was consistently over-represented across the four major networks, ranging from 72.7% at Network 10 to 91.6% at Seven Network, but was under-represented at SBS and NITV. ABC had a sharp rise in the Anglo-Celtic category in 2022, with almost three in four (74.1%) on-screen appearances being by Anglo-Celtic presenters and reporters, compared to 57.2% in 2019. The shift at ABC was mainly from the European category. > By frequency of appearance, Nine and Network 10 substantially increased their representation of Indigenous presenters and reporters on air, during the 2022 study period. > > After NITV, Network 10 had the next highest representation of appearances by Indigenous presenters and reporters, increasing from 5.4% in 2019 to 13.6% in 2022, while Nine also increased from zero in 2019 to 6.1% in 2022. The ABC also maintained strong Indigenous representation on air at 4.5% in 2022. > However, we did not identify a single appearance by an Indigenous presenter or reporter at the Seven Network in > the two-week study period. ![image](https://mediaspy-org-s3.s3.dualstack.ap-southeast-2.amazonaws.com/original/4X/d/7/9/d79b5b04793cbd89bf3ba96b257678b7f5eff681.png) > **[Who Gets to Tell Australian Stories? 2.0 - Media Diversity Australia](https://www.mediadiversityaustralia.org/who-gets-to-tell-australian-stories-2-0/)** > > Australian first research into the alarming lack of cultural and linguistic diversity in television news and current affairs. A handbook for journalists reporting on Indigenous people and issues. ---
**Author:** ![JohnsonTV](https://forums.mediaspy.org/letter_avatar_proxy/v4/letter/j/9dc877/32.png) [@JohnsonTV](https://forums.mediaspy.org/u/JohnsonTV)\ **Post date:** [February 1, 2023, 10:04pm UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/101 "2023-02-01T22:04:47Z")
From The Age Green Guide today > **[Why is Australian TV failing to punch through internationally?](https://www.smh.com.au/culture/tv-and-radio/why-is-australian-tv-failing-to-punch-through-internationally-20230201-p5ch3m.html)** > > Northern Europe has Nordic-noir shows like The Killing and The Bridge, South Korea has K-dramas like Squid Game and Sky Castle, and the Brits have their BBC crime dramas. But Australian television seems to lack its own distinctive genre. ---
**Author:** ![Radiohead](https://forums.mediaspy.org/user_avatar/forums.mediaspy.org/radiohead/32/21429_2.png) [@Radiohead](https://forums.mediaspy.org/u/Radiohead)\ **Post date:** [February 1, 2023, 10:11pm UTC](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177/102 "2023-02-01T22:11:03Z")
Australia does have its own genre that we specialise in. Cheap reality crap TV. [Previous page](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177.md?page=4) [Next page](https://forums.mediaspy.org/t/australian-tv-industry-general-discussion/5177.md?page=6)