Jo Briskey (Maribyrnong, Australian Labor Party) Share this | Hansard source

What an exciting day for Australian storytelling. Today, we're talking about something Australians do better than anyone else—telling our own stories in our own voices and on our own screens. The Communications Legislation Amendment (Australian Content Requirement for Subscription Video On Demand (Streaming) Services) Bill 2025 is about celebrating who we are, what we value and how we see ourselves in the world. In 2025, we're not just watching television anymore; we're streaming on our phones, tablets, laptops and smart TVs. The way we watch has changed, but one thing hasn't: Australians still want to see Australian stories—stories that sound like us, look like us, make us laugh, make us think and make us proud. That's exactly what this bill does. It guarantees that, no matter what screen you watch, there will always be a place for Australian stories.

Under this bill, streaming services with more than a million Australian subscribers, like the big players of Netflix, Disney, Prime and others, will be required to invest at least 10 per cent of their total program spend, or 7.5 per cent of their revenue, into Australian stories—dramas, children's programs, documentaries, arts and educational content. This is about more homegrown productions that capture our humour, our heart, our contradictions and our community spirit. This is about more jobs for Australian crews, writers, actors, editors, camera operators and designers, and it means audiences everywhere, from Essendon to Alice Springs, can continue to see Australia on screen.

Our stories are important. When we see ourselves on screen, we understand each other better. We see the beauty and chaos of our country reflected back, and that creates connection. Let's be honest. Australian content isn't just about entertainment; it's identity. It's how we see ourselves, how we laugh at ourselves and how we introduce ourselves to the world. Take Blueyit's not just a show for kids; it's a love letter to modern Australian life. Every episode is packed with joy, honesty and imagination. It's backyard cricket, pretend play adventures and the pure chaos of trying to get everyone out the door before the bell rings. It's teaching children across the globe what 'Aussie' really means. Kids in Europe and the US now know exactly what a bin chicken is—that's soft-power diplomacy at its cutest.

Then there's Wentworth. Filmed in Melbourne, it took the humble prison drama and turned it into a global phenomenon. It's fierce, clever storytelling with women at the centre, and it's unapologetic, raw and real. It showed that Australian creatives don't just follow trends; they set them. When we invest in local content, we invest in stories that make the world sit up and pay attention. Heartbreak Highwhat a triumph! It's a vibrant, fearless portrait of young Australia as it really is: diverse, messy, funny, political and proud. It's proof that, when we give new voices the mic, they create stories that reach millions. It's not nostalgia driving its success; it's authenticity. It's young Australians claiming their space and shaping the culture of tomorrow.

Of course, there's The Adventures of Priscilla, Queen of the Desert, our sparkling, defiant gift to the world. That film rolled out of the desert in a cloud of dust and glitter, waving a feather boa and changing cinema forever. It premiered when being gay was still illegal in parts of this country, and our film industry's answer was not shame but three drag queens, a hot-pink bus and a whole lot of sequins tearing through the red dirt, saying, 'Get used to it, mate.'

Then there's The Castle. I couldn't give a speech on Aussie content without mentioning this icon. Filmed in my electorate of Maribyrnong, in the streets of Strathmore and Essendon, it's an ode to working-class Australia: family, fairness and fighting for what's right. The Kerrigans reminded us that home isn't about bricks and mortar; it's where belonging lives. It's the vibe, and it's so Aussie.

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