Netflix is killing linear broadcast television. In the future of Australian television, only ‘cinematic’ or ‘quality’ scripted dramas are likely to be successful. Australian funding agencies should therefore only invest in cinematic or quality productions. What are the arguments for and against this statement? Answer using specific examples from SVOD services and contemporary Australian television content.
The debate surrounding the influence of streaming video-on-demand (SVOD) services like Netflix on traditional broadcast television has sparked significant discussion in the media landscape, particularly in Australia. The assertion that Netflix is "killing" linear broadcast television is not only provocative but points to the broader shifts within the television industry, where digital streaming platforms are rapidly reshaping audience behavior, funding structures, and content preferences. The claim that only "cinematic" or "quality" scripted dramas will dominate the future of Australian television, and that funding agencies should prioritize such content, reflects ongoing tensions between traditional broadcasting and the on-demand model. This essay critically examines the arguments for and against the notion that Netflix is killing broadcast television and the proposition that future Australian TV funding should focus exclusively on cinematic productions. In doing so, this analysis will explore the dynamics of SVOD services, linear television trends, audience preferences, and contemporary examples from Australian television.
The growth of SVOD platforms, particularly Netflix, has fundamentally transformed television consumption. Streaming services offer convenience, extensive libraries, and original content, drawing audiences away from traditional linear broadcasting, which adheres to scheduled programming. This shift is widely seen as a primary driver behind the gradual decline of linear television in many markets, including Australia. A report by Deloitte (2021) notes that in Australia, SVOD subscriptions outnumber those of pay-TV services, reflecting a significant shift in consumer behavior. Many believe that the decline of linear TV is inevitable, driven by a younger, tech-savvy generation that values the flexibility and personalized viewing experience of streaming platforms.
However, some critics argue that the narrative of Netflix "killing" linear television oversimplifies the issue. Broadcast television remains a key medium for specific demographics, particularly older audiences and those in rural areas with limited internet access. Moreover, live broadcasting, particularly of news, sports, and event-based content, continues to attract large audiences. According to the Australian Broadcasting Corporation (ABC), live events like major sports games or political debates still pull in millions of viewers on linear television. Thus, while streaming may dominate certain markets, traditional broadcast television remains relevant, albeit in a reduced capacity.
One of the core arguments for focusing on cinematic or quality productions is that they provide a competitive edge in a saturated SVOD market. Platforms like Netflix have invested heavily in high-budget, cinematic dramas that blur the lines between television and film. Productions such as The Crown, Stranger Things, and The Witcher are indicative of a trend towards high-concept, visually sophisticated, and narratively ambitious shows that appeal to global audiences. These types of productions often attract more critical acclaim, drive subscription growth, and have a longer shelf-life compared to cheaper, quickly produced content.
In the Australian context, shows like Mystery Road and The Newsreader offer strong examples of how cinematic drama can be successful on both broadcast television and SVOD platforms. Mystery Road, in particular, has been widely praised for its production values, compelling narrative, and ability to showcase Indigenous talent and landscapes, appealing to both local and international audiences. It is these types of high-quality productions that could form the backbone of Australia's television future, allowing the country to compete on a global stage.
However, there are risks associated with focusing solely on cinematic productions. High-budget productions are expensive and resource-intensive, making them a risky investment for both broadcasters and funding agencies. Moreover, there is no guarantee that every cinematic drama will achieve critical or commercial success. For example, while The Gloaming (2020), an Australian series on Stan, had high production values and a star cast, it failed to capture significant viewership or critical acclaim. Therefore, an overemphasis on cinematic productions may result in wasted resources on projects that do not resonate with audiences.
Australian funding agencies, such as Screen Australia, have a mandate to support local content, which is crucial for preserving and promoting Australian culture. Historically, much of the success of Australian television has come from locally produced shows that resonate with national audiences. Soap operas like Neighbours and Home and Away have become cultural touchstones, and while they may not have the cinematic qualities of modern streaming dramas, they have provided significant employment opportunities for Australian talent and remain beloved by their audiences. These long-running series are part of the backbone of Australian broadcast television and have a reach and resonance that more niche, cinematic productions may not achieve.
The argument against prioritizing cinematic dramas is that it could lead to the marginalization of local, less expensive productions that nonetheless fulfill important cultural and social roles. Critics argue that Australia must continue to invest in a diverse range of content to ensure that all sections of the population are catered to, not just those who enjoy high-concept, high-budget dramas. Shows like Bluey, an animated children's series that has captured both domestic and international attention, demonstrate that quality content does not always have to be cinematic or expensive to be successful. By diversifying funding and supporting various types of productions, Australian television can remain relevant to a wide audience while still producing internationally competitive content.
An underlying assumption of the statement that Netflix is killing linear television is the notion that the rise of one necessarily comes at the expense of the other. However, this zero-sum perspective may not fully reflect the evolving media ecosystem. There are examples of coexistence between SVOD platforms and traditional broadcasters. For instance, The Newsreader aired on the ABC and was later available on streaming services, demonstrating that there is potential for hybrid models where content can thrive across multiple platforms. Similarly, platforms like Stan and Binge, both Australian-owned SVOD services, have complemented the local broadcast landscape by offering exclusive content that is also broadcast on linear television.
Moreover, linear broadcasters are increasingly adopting the practices of SVOD services to stay competitive. The ABC, SBS, and even commercial networks like Channel 9 and Channel 10 now have their own on-demand platforms (iView, SBS On Demand, 9Now, and 10Play) that allow audiences to stream content at their convenience. These services blend traditional broadcasting with modern viewing habits, demonstrating that the relationship between SVOD and linear TV is more complex than a simple “kill or be killed” scenario. Thus, while Netflix and other SVOD services have undoubtedly disrupted the industry, they have also prompted innovation and adaptation within traditional broadcasting.
While cinematic dramas might capture critical acclaim and international attention, they are not necessarily the preferred content for all viewers. Audience preferences are diverse, and the assumption that only quality scripted dramas will succeed in the future ignores the continued popularity of other genres. Reality television, for example, remains a significant draw for Australian audiences. Shows like MasterChef Australia, The Block, and Married at First Sight continue to dominate ratings, and these are far from the "cinematic" productions that the original statement advocates for. The popularity of such content highlights the importance of catering to a broad spectrum of tastes and ensuring that Australian television remains varied in its offerings.
Furthermore, the cultural specificity of some reality shows contributes to their success. Shows like The Block, which focus on Australian homes, architecture, and lifestyle, have a strong local appeal that international SVOD platforms often lack. Investing exclusively in cinematic dramas could therefore alienate a portion of the domestic audience that values content more closely aligned with their everyday experiences.
From an economic perspective, it may be unwise for Australian funding agencies to invest solely in cinematic productions. Diversification of investment across various types of content—ranging from scripted dramas to reality TV, documentaries, and children's programming—ensures a broader distribution of risk. High-budget cinematic dramas may offer the potential for international success, but they also come with high risks if they fail to capture an audience. In contrast, reality shows, news programs, and lower-budget scripted content can offer steady returns and cater to a more consistent viewership base.
The Australian television industry also faces the challenge of competing with well-resourced international streaming giants like Netflix and Amazon. These platforms have far larger budgets and are able to produce content on a scale that is often unattainable for local Australian producers. By diversifying investments, Australian funding agencies can ensure that local content remains competitive without relying solely on high-budget productions that may struggle to compete with international offerings.
The argument that Netflix is killing linear broadcast television and that future Australian television should prioritize cinematic or quality scripted dramas is a reflection of the significant changes taking place in the media landscape. SVOD platforms have undoubtedly reshaped viewing habits, and cinematic dramas often offer a way for local productions to stand out on the global stage. However, the idea that only these types of productions will be successful in the future is overly simplistic. Broadcast television still serves important functions, particularly for live events and certain demographics. Moreover, a diversified approach to content creation—supporting a range of genres and production scales—will ensure that Australian television remains relevant both domestically and internationally. Funding agencies should therefore be cautious about putting all their resources into high-budget cinematic productions and instead strive for a balanced portfolio that caters to a wide audience.
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