Sean Slatter· IF magazine ·February 24, 2025
Prime Video Australia and New Zealand head of content Alexandra Gilbert, Stan chief content officer Cailah Scobie, and Netflix ANZ director of content Que Minh Luu.
The week just gone was one of mixed fortunes in Australia’s streaming landscape.
News of Stan’s 14 new commissions to celebrate its 10th anniversary and Paramount’s renewal of NCIS: Sydney was coupled with confirmation that big-budget drama Territory and long-running soap Neighbours would not be continuing.
Screen Producers Australia and the Media Entertainment and Arts Alliance have since renewed their calls for the government to intervene with streaming content obligations, initially slated for July 1 last year.
As the global market continues to grapple with contraction and changing viewer habits, IF spoke with Netflix ANZ director of content Que Minh Luu, Stan’s chief content officer Cailah Scobie, Prime Video Australia and New Zealand head of content Alexandra Gilbert* about their approach to local content in 2025.
IF: What do you think will be key to getting cut through with audiences this year?
Que Minh Luu: No big plot twists with our approach, but I’m glad your first question is about the audience. Ultimately, our role is to help forge and protect the emotional connection between the creator and the people they want their story to reach.
Competition for attention is aggressive, so finding those story hooks is an art. But with long-form especially, making that initial narrative promise is far easier than maintaining it across multiple episodes. Follow through on the hook is about landing the feelings with the audience – essentially clear eyes, full hearts, can’t lose.
Cailah Scobie: I think something we talked about is connection and I think that connection is what will come through with audiences. We’ve announced an incredibly diverse slate and really our aim is to ensure we’ve got something for everyone, from body horror features to family features to murdering gnomes to beautiful stories about organ donation and grief and love and hope. It all comes down to people connecting with other people through stories.
Emily Blunt in upcoming Stan Original Film ‘One More Shot’
Alexandra Gilbert: This year, a significant focus will be on delivering diverse, authentic local stories that resonate with Australian audiences, alongside our global slate. Our strategy includes balancing iconic franchises like Reacher with uniquely Australian narratives, like The Narrow Road to the Deep North and Top End Bub, offering premium live sports content, including ICC World Cup Cricket, NBA and further showcasing Prime Video as the first-stop entertainment destination where customers can get their favourite content, all in one app. Our global teams continue to deliver exceptional entertainment that resonates both worldwide and with Australian audiences. We’ve achieved unprecedented success with our content, including four of our most-watched TV series ever and two of our most successful films to date. Australians have enthusiastically embraced both returning favourites like Reacher, The Boys, and The Lord of the Rings: Rings of Power, as well as compelling new series like Fallout. Our films have also seen remarkable success with standout recent hits including Road House and The Idea of You.
IF: How do you plan on building your slate this year, and how does your approach differ from 2024?
QML: The slate is always a work in progress. We started four and a bit years ago with targeted bets to see what connected with Aussie viewers. Now we move with more conviction as we launch, reflect, and iterate. 2024 was a ‘go big’ year with Boy Swallows Universe – our biggest performing local show ever – followed by Heartbreak High S2 and Territory. The AACTA recognition for all three meant a lot to us. 2025 has started strong with Apple Cider Vinegar, with The Survivors and Son Of A Donkey to follow, plus more announcements coming. A streamlined approach to financing can provide more certainty for creative partners, with emphasis on development time. We aim for 80 per cent of scripts to be in third draft before pre-production begins, which means happier HODs, stronger creative, and better shows for our audiences.
CS: We’re ten years old and we are always learning more about our audience. We know what audiences want and what they are looking for, and we are always genuinely looking for stories that will stand out. Alongside the big time and investment we put into making the shows, we also market them heavily to ensure they get to the broadest audience possible. That is absolutely the aim of everything we are doing.
AG: As we move into 2025, our commitment to delivering compelling entertainment that resonates with Australian audiences remains stronger than ever. We’re particularly excited to be launching two distinctly Australian Original series: an adaptation of Richard Flanagan’s prestigious Man Booker Prize-winning novel The Narrow Road to the Deep North, and Top End Bub, a series inspired by the beloved Australian film Top End Wedding, Beyond our Australian Originals, our continued partnership with Roadshow Films ensures a robust pipeline of content specifically curated for Australian audiences. Australian viewers can also look forward to our premium drama offerings, including Nine Perfect Strangers season two, featuring an exceptional cast including Nicole Kidman alongside Australian talent Murray Bartlett, as well as Christine Baranski and Henry Golding. Nicole Kidman also stars in the film Babygirl which we will bring to Prime Video audiences this year. Our entertainment offering is complemented by a burgeoning slate of live sports programming. We’re in our second year of ICC cricket on Prime Video and cricket fans can look forward to extensive coverage in 2025, including the Champion’s Trophy and Men’s World Test Finals. Additionally, 2025 marks our first full year of NBA coverage, following the launch of this significant partnership in 2024.
IF: One of last year’s big talking points was the government’s inability to confirm a timeline for streaming content obligations, despite extensive consultation with the industry. Were you satisfied with the process and do you anticipate changes to the regulatory environment this year?
QML: Ultimately, everyone is working towards the same goal: telling more authentic local stories, and supporting Australian creators. Our team is lucky to be able to focus all our time and energy on making this happen at Netflix, as part of the local ecosystem and screen culture. With our permanent office now open, we’re even better positioned to deliver series and films that make Australians everywhere feel seen, heard, understood, and entertained.
CS: We’ve been involved in the process the whole way through but our position always has been and remains that regulation isn’t required [for us]. We are already commissioning an exceptionally large volume of quality drama that’s resonating both with Australian audiences – we talked about how originals made up five of our top ten shows in 2024 – but also working globally. Outside the global streamers, Australian productions have relied on collaborations with rest of the world distributors, so it’s important our stories are unashamedly Australian and can unashamedly connect with Australian audiences but also resonate with a global audience. I think that is what we’re always looking for across the broad slate of content that we’re bringing forward.
AG: We have consistently said that despite there not being an industry failure, we won’t oppose an investment obligation that is fair, flexible, and sustainable. Prime Video has and will continue to work constructively with the government on this issue. However, I don’t want to speculate on any future changes.
IF: What are the defining traits of Australian content at the start of 2025?
QML: The brilliant Hannah Carroll Chapman, series creator of Heartbreak High, summed up the vibe of the show as, ‘Everything is funny, until it’s not… and then it’s funny again’. I have determined that this sentiment reflects our overall vibe as a nation. Proud of it.
CS: I think it is about storytelling, it’s about connection, and seeing Australia in all that encompasses on the screen. I think that’s something we’re incredibly passionate about – ensuring that our audiences can watch something and see themselves, their culture, and their stories reflected in what we’re telling.
AG: Australian content continues to be defined by its authenticity, humour, and resilience. We’re witnessing film and television creators pushing creative boundaries with bold storytelling choices – crafting narratives that masterfully balance heart and humour while celebrating Australia’s distinct cultural identity and experiences.
IF: How does Australian storytelling measure up on the world stage and are there any areas where you think it could improve?
QML: Pretty great. Production-wise we are world-class: Thor and Star Wars get made here – there’s no question we know how to deliver. Above-the-line and onscreen talent are kicking goals all over the place, and part of our work includes bringing them back home for local projects. Perhaps we need to back ourselves more: be confident in our own voice, our humour, and our way of seeing the world, rather than smoothing out edges for a global audience.
CS: I think Australian productions are incredible. We have an incredible creative community in Australia and Australian stories are resonating, both in Australia and globally. A number of our shows have sold to huge platforms globally and that’s also the same for Australian stories told by other streamers and platforms globally. I think there’s incredible talent and appetite for Australian stories globally.
AG: Australian storytelling has earned global recognition for its authenticity and creative strength. You only have to look at the success of a show like Deadloch, which reached the top 10 in 165 countries and has retained a 100% score from critic reviews, to see how local shows can have a global appeal – and fans can’t wait for season two.
There’s an opportunity to continue evolving by delving deeper into diverse narratives and amplifying Indigenous and multicultural voices. We’re excited to champion projects that reflect this diversity with projects like Top End Bub, with Miranda Tapsell, which is coming to Prime Video this year.
IF: What advice would you give creatives wanting to work with you this year?
QML: Because we’re not a studio that self-produces, we work with established producers or production companies with proven track records delivering complex long-form productions. It’s an essential filter, but yes it can be tough getting through the door. If you’re a creator, partner with established producers who can help develop your project to market readiness.
We encourage producers to proactively seek out the next generation of creatives, unearth the best voices and ideas, and bring them to us with your creative backing. For below-the-line roles, our productions include talent development through salaried attachments and placements. Screen Australia and the state agencies that have supported our titles are also brilliant partners here.
CS: When you’re pitching content to us, [it’s about] knowing who the audience is. That would be one of our first questions. Really believe in the creative that you’re presenting and understand its point of difference in the crowded market, and make us believe in the team you’ve got to deliver it and produce it.
AG: We’re seeking ambitious original stories that could only come from Australia but speak to audiences everywhere. Our team is particularly drawn to projects with a strong creative vision and distinctive point of view. We want to hear from storytellers who are ready to push boundaries while staying true to what makes Australian content unique – its authenticity, humour, and heart.