Dan Barrett

Dan Barrett is the Content Director of Televised Revolution. His musings on television have been heard across ABC Radio, on websites like The Guardian and Crikey, and drunkenly in pubs across the country. At night he spends too many hours watching repeats of Cheers.

Netflix By The Regions Report 2014: Brazil

Purpose Of The Report
When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory. The Netflix By The Regions Report is a mere snapshot of the sorts of content on offer in each region (in October 2014) and how they differ to other Netflix offerings.

Territory Overview
Netflix launched into Brazil in September 2011 and will cost a monthly subscription price of BR $14.99 (US $5.94). Brazil is a market where content companies have traditionally listed their content at a high price point, one of the main reasons why piracy is rampant in Latin America. The pricing of Netflix’s monthly subscription equals the cost of approximately three pirated DVD’s, or just one legitimately purchased DVD. In Brazil the Netflix service is squarely targeted at the middle class.

The content on offer is very similar to that in other Latin American Netflix regions. A large US content offering with some local titles made available. Titles are offered in the original language, along with a Portuguese track. Netflix say that the dubbed versions in Brazil are the most widely watched.

Netflix - Brazil - Screen
Titles included in the Popular On Netflix section are:
Galinha Pintadinha (TV), Secret Life of Babies, Video Games: The Movie, Dexter (TV), How I Met Your Mother (TV), The Walking Dead (TV), Transcendence, Sugar Vs Fat, Breaking Bad (TV), A Haunted House 2, Resurrection (TV), Fabio Porchat: Fora Do Normal, Avengers Assemble (TV), Modern Family (TV), House (TV), Hunger Games 2: Catching Fire, Ted, Once Upon A Time (TV), Grey’s Anatomy (TV), The Croods, Despicable Me, Man On Mars: Mission To the Red Planet, The Wolf of Wall Street, 21 Jump Street, God’s Not Dead, Nitro Circus: The Movie, Tron: Uprising (TV), Prison Break (TV), Vikings (TV), Friends (TV), The Office (TV), Hansel & Gretel: Witch Hunters, Supernatural (TV), Family Guy (TV), Lone Survivor, De Welle, The Americans (TV), David Beckham: Into The Unknown, Revengs (TV), David Bowie: Five Years, Wild Brazil, Lie To Me (TV),Taboo Latam, Lee Daniel’s The Butler, E-Team, Mickey’s Once Upon A Christmas, Turminha Paraiso, The Fresh Prince of Bel Air, El Chavo (TV), Larva (TV), Hugh Laurie: Down By The River, Spongebob Squarepants (TV), Bruna Surfistinha, Pocoyo (TV), Inglorious Basterds, The Goonies, Superbad, Saint Seiya (TV), Snitch, Life Hack – Ted Talks, Hidden Kingdoms, Orphan Black (TV), Back To the Future, Zach Galifianakis: Live, The Hobbit, Print The Legend, Shooter, Pulp Fiction, Hermanoteu na Terra de Godah, The Boy With The Striped Pyjamas, Lego Superheroes: Maximum Overdrive, Death Note (TV), Natiruts Acustico no Rio de Janeiro, Seven, The Way Way Back.

A true stand-out in the Netflix Brazil catalogue is the three volume set of tribute shows done by a local Beatles tribute band. The collection “All You Need Is Love” is the closest you’ll ever get to a modern feeling concert DVD featuring the fab four.

Netflix Brazil has come a long way in just the past eighteen months. It’s library feels far more fulsome than it traditionally has. The range of Brazilian Movies is still a little lacking with concert films making up the bulk of the films offered.

Is A Sense of Curation Lost On Broadcast TV?

What you see on broadcast TV and when you see it is not lovingly considered. It’s a numbers game generally, with TV programmers scheduling for specific audiences on certain nights, while counter-programming and attack-programming against their rivals. It’s a cutthroat game of chess with maths supporting them with every move.

And the audiences can feel it.

Audiences know that they’re watching two and a half hours of a dancing reality show because it’s relatively cheap programming that attracts a high number of viewers and that the network can stretch out a show to two hours and retain the enthusiasm of that viewership. They also know that they’re watching two episodes back-to-back of that sitcom with the four nerds and a sexy blonde lady because the network knows it is a reliable performer that offers little risk of audience erosion.

TV has always been a numbers game, but the audience perception of it has altered. In years gone by, those decisions seemed to exist much further in the background than they do now. Seeing shows pulled after two weeks of terrible ratings tend to reinforce the idea that it is a business in the minds of the viewer. But it never used to be this way. There were spots on the schedule that felt hand-crafted. These curated segments felt almost artisanal with hosts introducing segments. Whether that was Bill Collins introducing The Golden Years of Hollywood in the afternoons on weekends, or on the ABC and SBS with presenters like David Stratton, John Hinde, Des Mangan, and Ivan Hutchinson.

Of course, Bill Collins can still be found on Fox Classics introducing the films of yesteryear and Marc Fennell can be found on SBS2 introducing cult movies as part of ‘Movie Mayhem’, but they serve as the last vestiges of a time gone by. It all seems so quaint today.

But, is it really such an old fashioned idea?

Audiences today can access movies and TV shows through distribution channels that are far removed from broadcast TV. Content is now streamed from the likes of Netflix, Presto, and SBS On Demand among other sources. Or audiences are illicitly downloading material. Or buying it off iTunes/Google Play. The viewing options for on demand content are endless. What can a broadcast network do when fighting off competition that allows their users to watch what they want to watch when they want to watch it? They need to offer a compelling reason to watch the TV that can only be offered on a linear broadcast service. Broadcasters need to play to their strengths and not just come across as a mathematically driven automated content delivery system.

TV needs to feel curated again. And it doesn’t just have to be movies. TV is ripe for this sort of treatment today.

Consider SBS. They screen all manner of international series that have limited name recognition and often deal with cultures that have interesting quirks that differ to our own. It would be fantastic to see a dedicated time-slot each week that presents a foreign language TV show that also comes with a recognised critic/presenter/commentator who can deliver a 90 second guide to the episode that is set to air, advise on interesting cultural quirks, and build upon the viewers understanding of the show prior to air.

It’s a more difficult proposition on the commercial channels where it’s riskier not launching straight into a series for fear of losing casual viewers to a show. But there are ways to implement it. On Friday nights, why isn’t Ten employing a Couch Time style party show to introduce their Eleven Friday night trash fun line-up of series like Snog Marry Avoid and The Graham Norton Show? On Saturday nights why isn’t Nine extending their Kids WB brand to incorporate the children-orientated Saturday night films that they schedule.

Presenters can be annoying, but employed in the right way, presenter-based content can deliver a compelling reason to tune in to otherwise lifeless timeslots. It delivers a belief (as false as it may actually be) that the programming has been hand-picked and is an integral part of the audiences viewing experience.

Broadcast TV has a number of advantages in their arsenal against a world of growing alternatives to their services. A sense of curated content can go a long way to reminding us why broadcast TV is still relevant.

Televised Revolution "What Is The Value Of The ABC?" (Ep 367)

The ABC is under threat. The government are looking to cut funding, while The Australian are seeking to set the news agenda –  waging war against the organisation and its staff. Despite this, the public love the ABC. Ratings are stronger than some of its commercial rivals with polling revealing the public support the work of the ABC.

Is the ABC right to keep funding the ABC? Is the strong conservative voice in Australia right to want to pull funding? We discuss the ABC and our own engagement with Aunty.

As always the panel also discuss the TV news of the week:

  • A Place To Call Home officially gets the Foxtel greenlight.
  • Warners launch their digital devision Blue Ribbon
  • Here Comes Honey Boo Boo is cancelled
  • Manhattan Love Story marks the first US TV season cancellation of the 2014/15 season.
  • Zombies invade Ramsay Street.
  • Is the ABC set to drop its state-based Friday 730 shows?
  • 7Plus launches on the T-Box
  • The very first feature film for the Oculus Rift launches.

At Televised Revolution, we look forward to receiving your mail and check us out on the Twitter. You can also find the podcast on iTunes (please leave us a review, it helps people find the show).


Netflix By The Regions Report 2014: Belgium

Purpose Of The Report
When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory. The Netflix By The Regions Report is a mere snapshot of the sorts of content on offer in each region (in October 2014) and how they differ to other Netflix offerings.

Territory Overview
Netflix launched in Belgium recently on September 18. The starting price to access the service is €7.99 (US $10.12). Telco Proximus also offer Netflix as part of a bundle with their TV offering.

As one expects, titles are predominantly from the US, but the Belgium service offers a very strong French influence on their library. The library certainly feels quite a bit smaller than others. Austria, which also launched in mid September, seems to have a more substantial service. Due to rights already issued elsewhere, House of Cards is not available in this region. Netflix Originals from Orange Is The New Black onwards are available.

Belgium NetflixTitles included in the Popular On Netflix section are:
Once Upon A Time (TV), Orange Is The New Black (TV), Breaking Bad (TV), The Walking Dead (TV), The Wolf of Wall Street, The Big Bang Theory (TV), Pretty Little Liars (TV), How I Met Your Mother (TV), Penny Dreadful (TV), Call The Midwife (TV), Tangled, Jobs – Gates, Suits (TV), Fargo (TV), Dexter (TV), , The Book of Eli, Prison Break (TV), Les Lapins Cretins: Invasion (TV), What To Do When You’re Expecting, New Girl (TV), Hemlock Grove (TV), Sons of Anarchy (TV), Orphan Black (TV), Elementary (TV), The Paradise (TV), Top Gear (TV), Lost (TV), Homeland (TV), Liar Liar, Wreck It Ralph, The Americans (TV), Moonrise Kingdom, The Killing – US (TV), Video Game: the Movie, The Dark Knight, Twin Peaks (TV), Walking Tall, I Am Number Four, Something Borrowed, Africa, Charlie & The Chocolate FactoryAnnika Bengtzon: Crime Reporter (TV), The Hangover Part 2, The Mentalist (TV), Shutter Island, Deadwood (TV), Fais Pas Ci Fais Pas Ca (TV), Heroes (TV), Finding Nemo, Metronome (TV), Tron, Fargo, The Hangover, Sherlock Holmes, Brave, Misfits (TV), Hitchhikers Guide To The Galaxy, White Collar (TV), Hotel Transylvania, Bolt, From Duck Till Dawn (TV), Limitless, Hercules, Due Date, Dracula (TV), Ray Donovan, Lego Superheroes: Maximum Overdrive, Lie To Me (TV), Doctor Who (TV), High Fidelity, Celeste & Jesse Forever, The Adventures of Tin Tin (TV), The King’s Speech.

There are a few stand-out titles that caught my eye. The documentary series Metronome, which explores the history of Paris looks promising. Scandi-noir TV movie series Annika Bengtzon: Crime Reporter is also attention-getting, even if it is one of the lesser scandi-noir shows of recent years. US series Ray Donovan will also garner some attention on the service.

While light on content, that’s often to be expected with an SVOD service right upon launch. In the coming months the library will grow. The content that is on offer is perfectly fine, but certainly not compelling.

The Missing and Benched – The Watchlist 26 October 2014

This week sees the end of HBO series Boardwalk Empire, concluding after five seasons. The show never quite established itself in the mainstream pop culture psyche, always flying just a little under the radar with a very loyal fan base. It’ll be interesting to see if Boardwalk Empire builds a viewership over the next few years as audiences discover it, or if it just fades away.

A number of shows return this week – Mom, Degrassi, 2 Broke Girls, Lillyhammer, Two & A Half Men, and Elementary. Debuting this week is the rote US sitcom The McCarthy’s.

The Watchlist is a primer for shows that are debuting or have an episode of note. If you want more complete TV listing site, be sure to check out the Pogdesign Calendar. Please note that all dates cited below are in accordance with their local broadcast times/airdates.

Special thanks goes to Jen Knight for assisting in compiling the Watchlist.

* * * *

The Missing
Airs: Tuesday 28 October (BBC1 – UK)
A child goes missing during a family holiday to France and is never found. His father spends years searching for the child, causing further difficulty in his marriage. The detective assigned to the case is similarly obsessed, believing that the child is still alive. This series is obviously inspired by the Madeline McCann case and looks to be a solid drama.

Airs: Tuesday 28 October 2014 (USA Network – US)
The premise of this series comes across as very US TV typical, but it may well be worth checking out and sticking with. Eliza Coupe (Happy Endings, Scrubs) stars as Nina, a top end attorney who has a mild breakdown and falls from grace where she then needs to find work in the down & dirty world of working as a public defender.

It’s the cast that sells this series and suggests it has the potential to be better than the premise would suggest. Eliza Coupe is a comedic standout in everything we’ve seen her in yet. Her co-star is Better off Ted lead Jay Harrington. Oscar Nunez from The Office is also on board as a supporting actor, as is the great stand-up Maria Bamford.

Netflix By The Regions Report 2014: Austria

Purpose Of The Report
When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory. The Netflix By The Regions Report is a mere snapshot of the sorts of content on offer in each region (in October 2014) and how they differ to other Netflix offerings.

Territory Overview
Netflix have launched operations in Austria just weeks ago, in mid September 2014. The starting price to access the service is €7.99 (US $10.12). While this will soon change as the service adds subscribers, the Austrian service launched without any local content.

Austria Netflix 1

The content selection leans heavily on US content, but also draws from a healthy selection of European movies and TV shows with a strong emphasis on German content.

Titles included in the Popular On Netflix section are:
Walking Tall, Madagascar 2, Barbie: Life In The Dreamhouse, Luther (TV), Gamer, Monsters vs Aliens, 7 Psychos, The Raid, Iron Clad, Over The Hedge, Inception, Bee Movie, Matrix, Deadwood (TV), The 4400 (TV),  American Gangster, My Little Pony (TV), Minority Report, Kung Fu Panda, The Hobbit, Dieter Nuhr: Nuhr Unter Uns, Breakout Kings, On Death Row (TV), Secrets of The Third Reich, Eagle Eye, The Smurfs (TV), Life, Person of Interest (TV), Shaun of The Dead, The Jungle Book, The Departed, Tom & Jerry: the Movie, Tucker & Dale vs Evil, The Lincoln Lawyer, The Blue Planet, Pokemon: Black & White, Dragonball Z, Coraline, The Next Three Days, The To Do List, Ripper Street (TV), Man on A Ledge, TMNT, H20 Just Add Water (TV), Kaya Yanar: Made In Germany, Don’t Be A Menace To South Central, Margin Call, Blue Exorcist (TV), The Hurt Locker, Die Maus (TV), Clash of The Titans, Jim Jefferies: Bare, Training Day, Seven, Charlie & The Chocolate Factory, The Mask, Jumper, Robin Hood, I Am Legend, Fireman Sam: The Great Fire of Pontypandy, Kevin Hart: Seriously Funny, Terra Nova (TV), Bad Boys, Mia and Me (TV), Print The Legend, Robots, We Were Soldiers, V For Vendetta, Rush Hour.

It was curious to find HBO drama Deadwood is appearing on the Netflix service. A great get for Netflix, but one would presume HBO would be displeased to see their content on the rival service.

Netflix Austria Deadwood

It’s interesting to see how much content is on the service in comparison to when Netflix first started International services. Their UK launch seemed very limited in content, whereas this feels like a rich offering. The number of art-house independent films of note seem a little higher than expected with some really great titles in the mix.

Netflix By The Regions Report 2014: Argentina

Purpose Of The Report
When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory. The Netflix By The Regions Report is a mere snapshot of the sorts of content on offer in each region (in October 2014) and how they differ to other Netflix offerings.

Territory Overview
Netflix Argentina launched in September 2011 where they have 310,000 subscribers. The price is a monthly 39 pesos (US $4.59).

In September 2014, the Buenos Aires govt announced a 3% tax on connected streaming media services. Dubbed the ‘Netflix tax’, the tax (effective November 01) applies to services that provide access to “movies, TV and other audiovisual entertainment that are transmitted over the Internet to TV sets, computers and other devices connected to the Internet”. While some believe the law was put in place to level the playing field between local and international players, the law has received criticism by those who believe international streaming services will now have to re-assess the value of operating in Argentina.

Netflix Argentina 1

As with every other international territory, Argentina offers predominantly US content with a smaller selection of content that is either produced locally, or by neighbouring counties that shares similar cultural tastes.

Titles included in the Popular On Netflix section are:
Resurrection (TV), Secret Life of Babies (TV), El Senor de los sielos (TV), Video Games: the Movie, The Walking Dead (TV), Breaking Bad (TV), Dexter (TV), How I Met Your Mother (TV), Sugar vs Fat (TV), Gallina Pintadita, A Haunted House 2, Toy Story 3, Grey’s Anatomy (TV), Avengers Assemble (TV), Modern Family (TV), Revenge (TV), Despicable Me, Nitro Circus: The Movie, House (TV), Once Upon A Time (TV), Casese Quien Pueda, The Croods, Man On Mars: Mission To The Red Planet, Transcendence, Taboo Latam (TV), Ted, Hunger Games 2: Catching Fire, Instructions Not Included, The Americans, Prison Break, Mickey’s: Once Upon A Christmas, El Tiempo Entre Costuras (TV), The Wolf of Wall Street, Tron: Uprising (TV), Vikings (TV), Friends (TV), Tangled, The Office (TV), 21 Jump Street, Jessie (TV), Pocoyo (TV), Cars, Family Guy (TV), Monsters Inc, Lone Survivor, Law & order: SVU (TV), Mary Poppins, Happy, David Bowie: Five Years, Lie To Me (TV), The Borgias (TV), Curious George: Halloween Boo Fest, How To Train Your Dragon, La Reina Del Sur (TV), Zapped, Real Steel, Savages, The Parent Trap, Larva (TV), Lego Superheroes: Maximum Overload, Orphan Black (TV), Hunted, Chelsea Handler: Uganda Be Kidding Me, Hidden Kingdoms (TV), Print The Legend, Zach Galifianakis: Live, Serrat & Sabina: Two For The Road, Obsesion: Cuerpos Que Gritan (TV), Saint Seiya: The Hades Chapter (TV), Super Bad, Ripper Street (TV), Yengo Ganas De Ti, Shooter, Supernatural (TV), Criminal Minds (TV).

A highlight found in the TV Comedies section is the Mexican 1973 series El Chapulin Colorado – the inspiration for the Bumblebee Man character on The Simpsons.El Chapulin Colorado


Overall Thoughts
Netflix Argentina is content rich and is well worth the subscription for locals. People venturing from other Netflix regions will find many familiar titles on offer, but mixed in with a very healthy number of Latin American movies and TV shows. It may be an issue of perception based on the Netflix algorithms, but it does seem that the titles on offer skew more masculine and more in the direction of family viewing.

Netflix By The Regions Report – 2014

Televised Revolution is undertaking a project to better understand Netflix as it roles out across the globe.

When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory.

Due to the recommendation algorithms determining what content one does and does not see via Netflix, subscribers rarely see the full scope of Netflix’s library. The Netflix By The Regions Report is an effort to offer a snapshot of the sorts of content on offer in each region (as of October 2014) and how they differ to other regions offerings. How large is the library in any given region? How much local content do the have on offer?  Do they have any content unique to the region?

Check in with Televised Revolution daily over the next fortnight as we investigate the look and feel of Netflix around the world.

Neighbours vs Zombies: The Erinsborough Walking Dead

A number of years ago on the former ABC TV Freakchat forums the regulars used to joke about Neighbours: After Dark, a fictional series that shows what the residents of Ramsay Street really got up to – free of the restrictions of a 6:30pm timeslot. This coming Monday the Ten Network are unveiling the next best thing: Neighbours vs Zombies.

This 5-part web series will bring back former Neighbours characters from the dead, while dropping a few current ones into the grave.

Leading the posthumous cast is Dan Paris, who played Libby Kennedy’s late husband, Drew Kirk. The ensemble also includes Ben Nicholas as Stingray Timmins, Kevin Harrington as David Bishop and Aaron Jakubanko as Robbo Slade.

Current Neighbours cast partaking include Ryan Moloney, Jackie Wooburne, Josef Brown, Alan Fletcher, Eve Morey, Jenna Rosenow, Stefan Dennis and Calen Mackenzie, with a special guest appearance by Taylor Glockner.

For Neighbours fans, this should prove to be a whole lot of fun. While inspired by the success of shows like The Walking Dead and our society’s current zombie obsession, Neighbours vs Zombies feels like a similar text perversion to what we saw with the Marvel Zombies comic books of recent years that saw the Marvel superheroes turned into soulless flesh eaters.

Marvel Zombies

While this is a one-off series for Halloween, it is wonderful that Ten is permitting flexibility with the long-standing Neighbours brand. At this point, everyone understands what Neighbours is, so extreme side projects like this pose no threat to Neighbours. Hopefully this is just the start of alternate looks at what Neighbours can be. Neighbours: After Dark could become a saucy reality after all.

Neighbours vs Zombies can be seen on the Neighbours YouTube channel commencing Monday Oct 27 2014.

Australian Cinema Fails At The Box Office. Let's Get Rid Of The Box Office.

Taking just $65,000 on 53 screens and $69,000 with previews, it is safe to say that Australian crime thriller Son of A Gun has failed at the box office. This follows a long line of Australian releases that have performed poorly recently including These Final Hours, The Little Death, Felony, The Rover, and The Babadook. It is silly to even question why this Australian film failed at the box office, rather the only question we should be asking at this point is: Why are we still making so many films?

In the US the market for mid-tier films is dead. It is rare for a film that costs between $30-80 million to make much of a dent at the box office – especially one that doesn’t already have pre-existing brand recognition. Yes, Gone Girl may be doing great box office right now, but much of that is off the back of the strong fan following that the book the film is based on. The films that perform well are micro-budget niche audience films from the US that appeal to audiences that are just large enough (thanks to the size of the US population) to support the films, or massive budget, effects-heavy, spectacles that perform very well in the US and internationally.

Robert Downey Jr, arguably one of the biggest movie stars on the planet last weekend launched the $50 million dollar film The Judge across 3,003 screens in the US. Starring RDJ, Robert Duvall, and Vera Farmiga, the film pulled in just $13.1 million on its opening weekend.

If a Robert Downey Jr film can’t compete in today’s global film marketplace, what hope does an Australian film have? The economics of marketing and distribution make it next to impossible for local films to generate much, if any awareness. And add to that distributors who are understandably weary about dedicating screens to a film they know is going to under-perform.

The Babadook. It's supposed to be very good. No, I didn't see it either.

The Babadook. It’s supposed to be very good. No, I didn’t see it either.

Audiences simply are not interested in this level of filmmaking any more. Why go and see RDJ in a court room procedural when TV’s each week deliver well-produced court-room and family drama series that equal and often better the productions screened in theatres. The mid-tier drama has been replaced by similar television experiences through premium dramas like Mad Men, True Detective, Breaking Bad, Masters of Sex, The Knick, etc. Why go to the expense and difficulty of going to a cinema, when the quality of exhibition and content is often better in your own lounge-room?

Which brings us back to Australian film. Why is it that we’re producing so many films that are competing for the mid-tier theatrical dollar when the audiences interested in this sort of cinema are seeking it at home? Instead of releasing a film destined to fail at the cinema, why not turn that same story into a 4-6 part serialised drama and get it into Australian lounge-rooms. If the commercial networks and Foxtel aren’t interested in broadcasting it, there are other avenues. Online streaming services are hungry for good quality, inexpensive content. Series can also be sold direct to the consumer through stores like iTunes, Google Play, and YouTube.

Consider the Australian production Restoration. Stuart Willis’ sci-fi mini-series went into production in August on what will be a 3-episode 40 minute production. It’s short-form, low-budget story-telling that will more than likely be seen by an audience far greater than that of an Australian film playing in a limited number of theatres in art-house cinemas.

As limited as the audience for lower profile series may be on

Foxtel, it’s almost a certainty that locally-produced series like Tangle, Spirited, and Devil’s Playground saw much larger audiences than they would have if produced as films.

Audiences will still turn up for and sample television.

The definition of insanity is trying the same thing repeatedly and expecting a different result. Australian films will never have the budget to compete with American Hollywood spectacle. It doesn’t matter how good the films may be, Audiences are clearly not interested in seeing most Australian films at the cinema anymore.

It’s time to try something different.