Julie-Ann Campbell (Moreton, Australian Labor Party) Share this | Hansard source

When I was growing up, watching TV was a shared experience. We'd sit around the television with our TV trays full of food, and we'd catch up on the latest Australian television, whether that be McLeod's Daughters, Blue Heelers or The Secret Life of Us. After we'd go through that experience, we'd go to school or go to work the next day and we'd talk about that Australian television. It was a cultural experience that we had collectively.

That's not how TV works anymore because, nowadays, when we watch television, our faces are aglow with the light reflecting off a mobile phone screen. It's a very different experience. But the way that we watch TV shouldn't stop the presence and the persistence of Australian content. In recent years, it has become commonplace to ask your mates, 'What are you watching on Netflix?' Enthusiastic conversations follow, with people bonding over the shared enjoyment of a show, recounting late-night binge watches and noting recommendations of the next must-see series. You could substitute 'Netflix' in this question with Amazon Prime, Disney+, HBO, Apple TV, Kayo Sports, Stan, Binge, Paramount+—and the list goes on and on.

Australians have taken to video subscription on demand with absolute gusto. Mediaweek cites figures that show that Australian households subscribe to an average of 3.7 streaming services. This is up over 60 per cent since 2021. In fact, in 2020 to 2021, Australians were for the first time more likely to watch an online subscription service than free-to-air television, whether that be live or recorded. The estimated earnings of streaming services in Australia in this period were over $2.4 billion. All these services give us myriad entertainment options on demand, an immense volume of content that is readily available at our fingertips—for the price of a subscription, of course. Streaming services offer programs from all over the world, but, as the national cultural policy stated, this risks drowning out the voices of Australian storytellers, and those voices are important. That's what this bill's all about.

As Professor Julianne Schultz wrote:

Some of the largest, richest, most concentrated companies in the world have built streaming repositories that make the grand libraries of the past look like a child's Lego building.

…   …   …

Netflix alone has more than 16,000 titles that "live practically in perpetuity, even as they are slowly entombed by new shows, new movies, new documentaries".

Professor Schultz not only has a great name; she has a point. That's just Netflix. Think about the thousands and thousands of hours of programs that exist on all the platforms I listed.

With this in mind, it is now more important than ever to protect and, indeed, to amplify our stories—Australian stories. With the Communications Legislation Amendment (Australian Content Requirement for Subscription Video On Demand (Streaming) Services) Bill 2025, Australians will be guaranteed to see more Aussie content on their streaming services. These are the stories that deserve to be told. Not only that but these are the stories that are reflective of who we are, our culture and, fundamentally, who we as a country want to be. Not only are they reflective of that; they also have a practical and tangible outcome too, because they drive economic growth, they create important skills and they create jobs that we need for our country.

In January 2023, the Prime Minister launched Revive, a five-year plan to revitalise Australia's arts sector. Revive focuses on five main pillars which encompass putting First Nations front and centre, having a place for every story, celebrating the artists, building a robust cultural infrastructure and engaging the audience both at home and overseas. I want to talk a little bit more about pillar 2—a place for every story—because it puts into context what the heart of this bill is all about. To quote from Revive:

Australia's people and their stories are our greatest cultural asset. Stories communicate shared identities and a sense of belonging to place and each other, and can be shared through an artwork, narrative, dance, screen content, music or an idea.

Stories bring people together and enable the exchange of experiences, ideas and perspectives. Stories give us a voice. All Australians benefit when they are represented by and in the nation's stories and that they can hear their own voices resounding in the national narrative.

Our stories are shaped by histories, places, identities, languages, cultures, families and communities.

The importance of sharing and celebrating our Australian stories is absolutely clear. I think that is widely agreed upon. Indeed, there are rules regarding broadcasting Australian content on commercial television, and this is monitored by ACMA. The Broadcasting Services Act 1992 sets out the requirements. These are that 55 per cent of content must be Australian between 6 am and midnight on primary channels, and there must be 1,460 hours of Australian content between the same hours on non-primary channels. There are also requirements around first-release Australian program quotas.

Up until now, there have been absolutely no Australian content requirements for subscription video-on-demand or streaming services. This bill resolves that astounding problem. It's important that, while our viewing habits may be changing, our access to the stories that reflect who we are as a nation is unaffected. This bill means that, whether you're watching a show on commercial television or accessing a program via streaming, you will be able to watch Australian stories being told. It means that, whether you're picking up a channel changer, pressing a button on your phone or swiping, Australian stories can still be told no matter what the screen looks like.

To achieve this, the bill amends the Broadcasting Services Act and makes consequential changes to the Australian Communications and Media Authority Act 2005. The changes apply to streaming services with one million or more subscribers. These services will be required to invest at least 10 per cent of their total program expenditure in new Australian commissions or first-release acquisitions of eligible programs. These programs include drama, documentary, arts, educational formats and children's content. Children's content is so important. It's something that we can't forget. In my home the children's content of choice is Bluey, but I must warn you the opening credits have been altered in my household. Mum, Dad and Bingo still get a guernsey, but Bluey's name is regularly replaced by Margaret's.

Importantly, this requirement covers the Australian portion of globally commissioned or licensed programs, ensuring that our creative sector benefits from international productions as well. The bill provides flexibility. Streaming providers may choose an alternative compliance option by investing an amount equivalent to 7.5 per cent of their gross Australian revenue. The bill adopts the definition of 'Australian content' from the Broadcasting Services (Australian Content and Children's Television) Standards 2020. These are the definitions which currently apply to free-to-air and subscription broadcasters.

These new requirements do not apply to services that primarily host user generated content, have no paying subscribers, rely solely on advertising, operate on one-off transactions or cater to niche audiences or special events. These exemptions ensure that the framework targets the major players in the market without imposing unnecessary burdens on smaller or specialised services.

This bill has been welcomed by Screen Producers Australia, who recognise that the legislation represents a very critical step toward restoring confidence in the Australian screen sector and lays the groundwork for a more substantial future for production. Screen Producers Australia view the Australian content requirements as far more than regulations. They see them as the cornerstone of Australia's screen industry, noting that, as a relatively small English-speaking nation operating within a global market dominated by larger players, Australia faces a unique challenge. And this bill is designed to help our industry with it.

Without the content quota safeguards, Australian stories would struggle to be financed and would struggle to be produced. Audiences would lose the opportunity to see and hear their own voices, Australian voices, and Australian values and Australian experiences reflected up there on the screen. Screen Producers Australia insists that, to ensure these stories are told, a clear cultural mandate from government is absolutely essential, and this is what the bill provides. The Australian Writers' Guild also backed this bill in, with the president and Logie-Award-winning showrunner Peter Mattessi saying:

World events move fast and impact our industry in many different ways. Meanwhile, streaming platforms are taking billions of dollars out of the country in subscription fees from Australians—Australians who tell us over and over again that they want to see more Australian content on their screens.

The legislation also reinforces the principle that Australian content is vital, while providing certainty for creators, producers and investors alike.

The Australian screen industry is a significant contributor to the national economy. It's a vital source of employment for Australians. In 2025 the market is projected to reach approximately $3.3 billion, underscoring its scale and its influence within the creative sector. In the 2023-24 financial year alone, total expenditure on screen production reached $1.7 billion. Beyond production budgets, the sector supports a vast ecosystem of over 10,000 businesses. Many of those are small businesses, ranging from production companies to post-production facilities to technology providers and creative service firms. This network has grown steadily over the past five years, creating thousands and thousands of jobs for writers, directors, actors, technicians and other skilled professionals. The economic ripple effect extends far beyond the screen itself, stimulating tourism, regional development and innovation in important digital technologies. In short, the screen industry is not only a cultural powerhouse but also a critical driver of economic growth and employment in this country.

This bill is about so very much more than regulation. It is about safeguarding our cultural identity and supporting the many thousands of Australians who work in our screen industry by ensuring that streaming platforms invest in Australian stories. We are investing in and reflecting our people and creativity and our economy. And that's what this bill aims to do. By strengthening local content rules, we are not only protecting the jobs and fostering innovation within that creative sector. We are also investing in the social and cultural fabric of the nation. We are investing in us. We are investing in our families. We are investing in our neighbours, in our mums, in our dads and in our workmates, along with their very important stories. This is why the introduction of this legislation is both significant and deeply welcome. It is a decisive move towards a future where Australian voices remain strong, where Australian voices remain diverse and where Australian voices are visible in an ever-changing media landscape. It signals a renewed commitment to ensuring our stories are told.

See this speech in context