It was not your standard bagels-and-coffee briefing.

Walking into the Next on Netflix 2026 event, the atmosphere felt less like a corporate update and more like a mysticism-soaked speakeasy.

The air was thick with the aura of a tarot card reading, a fitting motif for a streamer trying to predict the future of entertainment.

It was slick, unashamedly showbiz and made a definite statement.

If the goal was to look into the future, the cards revealed a strategy that is doubling down on Australian IP, as well as making space for sweeping international production investment across the country.

Productions are underway in practically every corner of Australia and New Zealand.

Getting the feet under the desk

Taking the stage for the main presentation was Amanda Duthie, the recently appointed head of content for Netflix Australia and New Zealand.

Having been in the chair for just over three months, Duthie acknowledged that she and content manager Katherine Slattery are the custodians of a slate largely commissioned before their arrival.

But since taking their respective chairs, she says, “they’ve taken hundreds of meetings, received hundreds of pitches”, and arguably filled “the top drawer, middle drawer, and the bottom drawer.”

Her vision for what comes next, however, is already distinct. Speaking to Mediaweek, Duthie revealed she is looking for big bets and stories that evoke the same visceral reaction as a Baby Reindeer or Squid Game.

“Absolutely,” Duthie said when asked if she was hunting for the next global phenomenon.

“It is the ones that excite you, and even the ones that scare you, that you do wake up in the middle of the night going ‘Oh, my goodness. That is a big bet.’ But that’s a bet I absolutely want to take.”

Goodbye Hartley High, hello 1901

The showcase confirmed that Heartbreak High Season 3 will land on Netflix on March 25, 2026. It marks the final year for Hartley High’s graduating class, a show Duthie credited with creating a whole industry dedicated to translating Aussie slang for global audiences.

“There were websites to help viewers understand what ‘no wuckas’ means, what a ‘gronk’ is and what it means to get ‘munted’”, Duthie joked to the crowd.

While one door closes at Hartley High, another opens in 1901. The streamer revealed a sneak peek for My Brilliant Career, a modern interpretation of the Miles Franklin classic.

Duthie described the series as the OG of women’s aspirations, which fits into the slate as a counter-balance to darker content with necessary joy and lightness.

The international hybrid model

What stood out from the slate was the sheer scale of international productions setting up shop locally.

Apex: An action thriller starring Charlize Theron and Taron Egerton, filmed in the Blue Mountains and Canberra, dropping April 24, 2026.
War Machine: A sci-fi actioner with Alan Ritchson, filmed in Victoria, arriving March 6, 2026.
The Golden Ticket: A reality competition series based on the world of Willy Wonka, produced by Eureka Productions and filmed on the Gold Coast.
Breakers: A surfing drama starring The Boys’ Antony Starr, filmed in Margaret River, WA.

And when asked about finding the line between newly legislated local content quotas versus international investment, Duthie was unfazed.

“What is so great is it is not something we have to worry about because we are absolutely already doing it,” she told Mediaweek.

“Yes, we are commissioning those originals, but also to be having that international production working with our crews means we have a pipeline of continuous employment.”

Animated nostalgia and local legends

The slate also leaned into nostalgia and animation. Daley Pearson’s Ludo Studio is bringing Allen to the screen. It’s a quirky film about a man who’s been reunited with the best friend he ever had. Meanwhile, the Stranger Things universe expands with Tales from ’85, an animated series produced by Flying Bark.

For Duthie, the transition from previous commissioning roles such as ABC, SBS, and even Stan to the streaming giant offers a distinct advantage in speed and simplicity.

“I think the difference is that it doesn’t require that international financing piece, which might have required the English uncle or the French cousin,” Duthie noted. “That is liberating to just be looking at local stories for local stories’ sake.”

With a slate that spans from the dusty plains of 1901 Australia to a retro-futuristic chocolate factory, the Netflix 2026 prediction seems clear. Local chaos travels well.

Full presentation content list

Australian originals

Heartbreak High Season 3
Premiere: March 25, 2026
Synopsis: It is the final year for the graduating class of Hartley High. When a revenge prank goes wrong, Amerie and her friends must cover up a secret or risk losing everything.
Production: Fremantle Australia, NewBe.

My Brilliant Career
Premiere: 2026
Synopsis: Set in 1901 Australia, Sybylla (Philippa Northeast) is a modern woman with the ambition to be a writer, while her family is determined to marry her off.
Cast: Philippa Northeast, Christopher Chung, Genevieve O’Reilly.
Production: Jungle Entertainment.

Allen
Premiere: 2026
Synopsis: A film from Ludo Studio. Twenty years after Petey lost his best friend, Allen is back.
Cast: T.J. Power.
Production: Ludo Studio.

Breakers
Premiere: 2026
Synopsis: Two best friends from the US are drawn into a seemingly perfect surfing community in Margaret River, led by a charismatic but mysterious figure.
Cast: Antony Starr, D’Pharaoh Woon-A-Tai.
Production: Clerkenwell Films (BBC Studios).

International productions (made in ANZ)

Apex
Premiere: April 24, 2026
Synopsis: A grieving woman (Charlize Theron) testing her limits in the wild is ensnared in a deadly game with a ruthless predator.
Cast: Charlize Theron, Taron Egerton, Eric Bana.
Filmed In: Blue Mountains (NSW) and Canberra (ACT).

War Machine
Premiere: March 6, 2026
Synopsis: During the final stage of US Army Ranger selection, a training exercise turns into a fight for survival against an unimaginable threat.
Cast: Alan Ritchson, Dennis Quaid, Jai Courtney.
Filmed In: Victoria.

The Mosquito Bowl
Premiere: 2026
Synopsis: Following Pearl Harbor, four top college football stars enlist in the Marines and play a legendary game while preparing for the invasion of Okinawa.
Cast: Nicholas Galitzine, Bill Skarsgård.
Filmed In: Queensland.

The Golden Ticket
Premiere: 2026
Synopsis: A reality competition series based on the world of Willy Wonka. Contestants must survive a “retro-futuristic dreamscape” of games and temptations.
Production: Eureka Productions.
Filmed In: Gold Coast (QLD).

East of Eden
Premiere: 2026
Synopsis: A modern interpretation of the Steinbeck masterpiece exploring the multigenerational saga of the Trask family.
Cast: Florence Pugh, Christopher Abbott, Mike Faist.
Filmed In: Auckland, New Zealand.

Stranger Things: Tales from ’85
Premiere: 2026
Synopsis: An animated series set in the winter of 1985. The original characters must fight new monsters in Hawkins.
Production: Flying Bark (Animation).

Steps
Premiere: 2026
Synopsis: An animated musical comedy that reimagines the story of Cinderella’s “evil” stepsisters.
Cast: Ali Wong, Stephanie Hsu.
Production: Netflix Animation.

Main image: Content Director, Netflix ANZ, Amanda Duthie. Image: supplied.

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In a historic shift for the Triton Australian Podcast Ranker, Mamamia has claimed the #1 spot with its flagship Mamamia Out Loud, marking the first time a female-led independent podcast has summited the chart.

The January 2026 results reveal a tale of two summers: while independent digital publishers and news-heavy formats surged, legacy entertainment giants saw massive seasonal contractions.

Mamamia’s breakthrough moment

Mamamia Out Loud claimed the top spot with 755,303 monthly listeners, a staggering jump of 194,408 from December, representing one of the strongest single-month audience increases in recent ranker history.

“Today’s result proves you don’t just reach an audience – you lead the conversation. Hitting #1 isn’t a fluke of the calendar; it’s a proof of concept. It proves that when the big broadcast machines take a breath over Summer, Mamamia Out Loud, and our entire podcast network, does not,” said Zara Curtis, Chief Content Officer, Mamamia.

The “always-on” strategy paid off, with the show recording 2.02 million downloads for the month – a 31% year-on-year increase.

The summer slump

While Mamamia rose, the industry’s perennial heavyweight, Hamish & Andy, suffered the steepest decline of the month.

The LiSTNR flagship fell from over 609,000 listeners in December to roughly 315,000 in January – a drop of 293,845 listeners.

The decline saw the duo slide from #1 to #8, reflecting the show’s reduced publishing cadence during the summer break.

Other entertainment and sports titles followed suit as seasonal interest waned:

• Unravel (ABC): −174,551 listeners

• The Grade Cricketer: −165,238 listeners

• Happy Hour with Lucy & Nikki: −75,732 listeners

• The Imperfects: −48,954 listeners

News formats consolidate power

As Australians returned to their usual routines, news podcasts strengthened their hold on the Top 10.

The New York Times’ The Daily (via ARN/iHeart) gained 65,852 listeners to land at #7, while ABC’s If You’re Listening climbed 45,133.

The structural strength of news was evident across the board, with ABC News Top Stories (#2), Sky News Australia Update (#3), and The Update (#5) all maintaining ironclad positions in the top five.

Verified reach for advertisers

For media buyers, the January results highlight the reliability of the Triton Ranker as a “single source of truth” for verified data.

“Mamamia Out Loud is a modern superbrand and one of the most powerful marketing vehicles in the country.

“Over the last 10 years we have built a loyal audience, providing an unrivalled platform to connect with the most engaged listeners in Australia,” said Georgie Nichols, Chief Revenue Officer, Mamamia.

January 2026: The Top 10 Podcasts

Mamamia Out Loud (Mamamia)

ABC News Top Stories (ABC)

Sky News Australia Update (News Corp Australia)

Conversations (ABC)

The Update (NOVA Entertainment)

The Front (News Corp Australia)

The Daily (The New York Times/ARN/iHeart)

Hamish & Andy (LiSTNR/SCA)

Life Uncut (ARN/iHeart)

Hamish & Andy Plus + (LiSTNR/SCA)

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Havas has reported full-year organic growth of 3.1 per cent in 2025, slightly ahead of its guidance range of 2.5 per cent to 3 per cent, marking its first full year as a stock exchange listed company.

The global advertising group said net revenue for the year was AUD$4.65 billion, with net income (profit) of AUD$351 million, up 11.1 per cent year-on-year. Headcount at year-end was 22,641 staff.

Looking to 2026, Havas forecast organic growth of between 2 per cent and 3 per cent, alongside an adjusted EBIT margin of 13.2 per cent to 13.5 per cent.

What did Havas report?

• Full-year 2025 organic growth: 3.1 per cent (above guidance)
• 2025 net revenue: AUD$4.65 billion
• 2025 net income: AUD$351 million (up 11.1 per cent)
• Q4 2025 organic growth: 3.7 per cent (vs -0.8 per cent in Q4 2024)
• 2026 outlook: 2–3 per cent organic growth

December quarter lifts momentum

The result was supported by a stronger final quarter. Havas reported Q4 organic growth of 3.7 per cent, compared with a decline of 0.8 per cent in the same period last year.

By region, Europe accounted for 50 per cent of net revenue and grew 2 per cent organically. North America, representing 34 per cent of net revenue, rose 4.9 per cent, while Latin America (7 per cent) grew 3.6 per cent.

APAC and Africa, which together contributed 9 per cent of net revenue, recorded organic growth of 1.7 per cent.

Business lines: Creative, Media and Health

Havas said its Creative division contributed 40 per cent of group net revenue, with Media at 38 per cent and Health at 22 per cent.

CEO comments and AI focus

Yannick Bolloré, chairman and CEO, said: “2025 was a transformative year for Havas, marking our first full year as a listed company and one in which we moved forward with the rollout of our global plan and Converged.AI Operating System.”

Bolloré added: “Focused on our strategic vision, we fully delivered on our guidance with strong results, including organic growth of +3.1 per cent and an adjusted EBIT margin of 12.9 per cent.”

“We continued to evolve as an AI-driven organisation fuelled by human ingenuity, where technology amplifies human creativity rather than replacing it,” he said.

Acquisitions: Kaimera and more deals flagged

During 2025, Havas acquired five agencies globally, including Australian independent media agency Kaimera, now part of the Havas Media Network. Havas said the deal lifted Havas ANZ headcount to 450.

For 2026, Havas said it intends to pursue bolt-on and targeted acquisitions, with an ambition to acquire five to 10 majority stakes. Since the start of 2026, it has announced majority-stake acquisitions in Spain and Sweden.

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Author and academic Dr Randa Abdel-Fattah will be featured in two parts of the Sydney Writers’ Festival program in 2026.

A statement from festival chief executive Brooke Webb and artistic director Ann Mossop said Dr Abdel-Fattah is a “significant Sydney writer”, adding the festival holds “freedom of expression as a core value”.

The announcement comes after Dr Abdel-Fattah was uninvited from Adelaide Writers’ Week, part of the Adelaide Festival, last month, after pressure from the South Australian government.

The controversial decision led to a large number of planned speakers boycotting the event, the resignation of the Adelaide Festival’s entire board, and the event’s eventual cancellation.

Randa Abdel-Fattah to appear at Sydney Writers’ Festival

Adelaide Writers’ Week uninvited Dr Abdel-Fattah because of her previous comments that Zionists “have no claim or right to cultural safety,” a sentiment they found especially sensitive in light of the December 2025 Bondi mass shootings.

Abdel-Fattah also made a 2024 social media post, saying: “The goal is decolonisation and the end of this murderous Zionist colony”, with a video claiming that Israel’s existence depended on violence against Palestinians.

In a statement in response to questions from ABC News about that comment, she said her “post made clear that I oppose the espousing of Zionist ideology [but] NEVER the unsafety of Jews”.

Dr Abdel-Fattah has been invited to attend Adelaide Writers’ Week next year.

The Sydney Writers’ Festival statement on Wednesday said they respected “that public figures and members of the community may hold different views” to Dr Abdel-Fattah.

“A festival like ours, which holds freedom of expression as a core value, is not in the business of cancelling or censoring writers.”

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Talkshow host Stephen Colbert has accused Donald Trump’s administration of censoring its critics after CBS pulled his interview with Texas Democrat Senate candidate James Talarico on Monday.

“That’s Texas state representative James Talarico,” Colbert told his audience. “He was supposed to be here, but we were told in no uncertain terms by our network’s lawyers, who called us directly, that we could not have him on the broadcast.

“Then, I was told, in some uncertain terms, that not only could I not have him on, I could not mention me not having him on. And because my network clearly does not want us to talk about this…Let’s talk about this.”

Colbert claimed that CBS pre-emptively bowed to “guidance” from the Federal Communications Commission (FCC) chair, Brendan Carr, to enforce equal air time on a talkshow for all candidates in any political race.

“Let’s just call this what it is. Donald Trump’s administration wants to silence anyone who says anything bad about Trump on TV, because all Trump does is watch TV.”

Stephen Colbert defies CBS with YouTube post

The FCC has traditionally acknowledged a bona fide exemption for news interviews, but Carr decreed in January that the commission would no longer do so for talkshows: “Broadcast television stations have an obligation to operate in the public interest – not in any narrow partisan, political interest.”

New FCC guidance, though, indicates to those talk shows that they no longer should believe that they would fall under the so-called “bonafide news” exemption. Carr said that a determination on whether a show is exempt would come down to a number of factors, including whether there was a “partisan motivation” in having a political candidate as a guest.

“If you’re fake news, you’re not going to qualify for the bona fide news exemption,” said Carr.

Colbert said on his show: “It’s no surprise that two of the people most affected by this threat are me and my friend Jimmy Kimmel.”

Carr later responded, “If Kimmel or Colbert want to continue to do their programming and they don’t want to have to comply with this requirement, then they can go to a cable channel or a podcast or a streaming service and that’s fine.”

Colbert then said he was following Carr’s advice and posting his Talarico interview in full on YouTube.

Talarico’s take on Trump’s ‘censorship’

Talarico suggests in the clip that the reported intervention by the FCC was prompted by Trump’s declining popularity.

“I think that Donald Trump is worried that we’re about to flip Texas,” he said. “This is the party that ran against cancel culture, and now they’re trying to control what we watch, what we say, what we read.

“Corporate media executives are selling out the first amendment to curry favor with corrupt politicians.”

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After more than two decades inside commercial radio’s relentless content machine, Mike E (Michael Etheridge) is stepping into a new phase of his career, launching his own long-form podcast, aptly called Behind the Mic with Mike E.

Etheridge’s decision to pursue podcasting came after more than a decade as one half of the Mike E & Emma duo. The pair’s professional path diverged when Emma Chow joined the new 2DayFM Breakfast team alongside Jimmy & Nath; the team is now Nath & Emma after fellow co-host Jimmy Smith stepped away from the show last year.

Following the split, Etheridge stayed on to host solo shifts for the Hit Network and continues to do those, and can be heard across the country.  

The former Edge 96.1 and Hit Network host admits the transition from the daily grind of a Breakfast show – complete with its 3 am starts – initially rattled him.

“It was a bit of a shock; I’d spent 14 years doing the one show, and I was so used to doing that,” he told Mediaweek. “All that time, I was doing the daily grind of creating content for a show while simultaneously looking ahead to the next day.”

Stepping away

What followed was not a scramble for another slot; instead, he sought distance, travelling and recalibrating after years defined by ratings cycles and the pressure of daily output.

“I took a few months off, went to Thailand, and then realised I didn’t miss it. I think I’ve done it long enough.”

That separation proved clarifying. After spending most of his adult life immersed in radio, he found a creative landscape that extends far beyond traditional network roles.

“When you’re in it, you absolutely love it. You live it and think there’s no other world out there. But now, being removed, it’s been amazing to see that there’s a whole other world out there.”

A creator-led reset

Out of that reset came Behind the Mic with Mike E, a podcast built on his industry relationships and insider perspective. Crucially, the project sits firmly outside the network ecosystem.

“I came up with it last year. I believe I was working on it for months. I had a whole bunch of different ideas,” he said.

“Everyone wants to do a podcast, and I was throwing around all these different ideas. I came on this because you should write what you know. I know broadcasting and podcasting. Beyond that, I am passionate about the medium, and I have the contacts.”

The show opens with ARN’s Amanda Keller and features a roster that includes 2GB’s Ben Fordham and Mamamia’s Clare Stephens.

“I want to sit down and find out what the person behind the mic is like. We’re not going to talk about techniques or how you structure content. It’s really about getting to know the real person. While it’s not an industry podcast, I think industry people will love it as well.”

Industry support reinforces creator-led pivot

The response from within the audio sector has reinforced his sense that the move is a meaningful career reset rather than a personal project.

“I’ve already received a nice congratulations from Craig Bruce at the industry podcast Game Changers.”

Bruce, a former radio executive, told Mediaweek that Etheridge’s move reflects the industry’s unpredictability.

“Mike E and Emma were one of my favourite shows on the Edge; they had great chemistry and some of the best callers on Sydney radio. I’m super excited to hear his podcast. Sometimes out of necessity, good things can happen – I’m hoping that’s the case for Michael.”

Having spent more than 20 years building relationships, Etheridge said the willingness of major audio figures to participate has been validating.

“Amanda Keller was great and got back to me straight away. It was humbling because some people just don’t do podcasts like this. But it also showed me the strength of the career I’ve had and the quality of the people I’ve met who decided to join me.”

While his daily radio role has ended, he remains clear-eyed about the medium’s future, even as podcasting and creator-led platforms reshape the landscape.

“I would say that podcasting is complementing it. Every radio show has a podcast, and many of the people I’m interviewing have their own shows. I think content will become increasingly important, but I still teach my media students this: you can’t replace live and local radio.”

For Etheridge, the microphone now represents a platform he owns rather than a shift schedule.

Listen to Behind the Mic with Mike E here.

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QMS has moved to bring the Australian sales representation of its New Zealand business in-house, as it looks to strengthen its trans-Tasman offering for local clients.

The change takes effect from 1 April, with all Australian-based bookings for New Zealand activity transitioning to QMS during Q1. QMS is currently the largest out of home (OOH) operator in New Zealand.

Until now, the company’s New Zealand inventory has been represented in Australia by We Think Media. Under the new structure, We Think Media will continue to represent MediaWorks’ radio business in Australia.

New appointment to support ANZ strategy

As part of the shift, QMS has appointed Nicole Angel as senior account manager, New Zealand. Based in Melbourne, Angel joins from ARN and previously held sales roles at Nova Entertainment in Melbourne, as well as MediaWorks and Radio Bay of Plenty in New Zealand.

In the role, Angel will work with Australian clients on the strategic planning and delivery of trans-Tasman and New Zealand campaigns. She will also liaise with QMS’ Australian team to align capabilities across both markets.

Tim Murphy, chief sales officer at QMS, said: “We Think Media has been a fantastic partner and has done a great job of representing MediaWorks’ OOH assets in the Australian market. We sincerely thank Pete, Jane and the entire We Think Media team for the strong results they have achieved over the years.

“With our transition to the QMS NZ brand and new broader ANZ strategy, the time is right for us to represent our OOH network across both major markets. It’s another exciting step in the development and growth of QMS. With many of our clients now seeking cross-market OOH solutions, the experience and expertise of our Customer Team will provide significant opportunities for our media agency partners and their clients to buy with ease and confidence.

“I’m very pleased to welcome Nicole to the team. As a New Zealander, she understands the local market inside and out, and her experience in Australia means she knows what clients here want. She will be a great asset for QMS and our clients,” he said.

Angel said: “QMS now provides the ability for clients to access OOH across Australia and New Zealand like never before, and I am thrilled to be joining the team to help maximise the enormous opportunities the business can now deliver to clients across both countries with one provider.”

The network was handed over to QMS in October 2025, cementing its position as the largest OOH operator across New Zealand. The assets are being integrated with QMS’ existing portfolio of transit, transport hubs and large format billboards.

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Anderson Cooper is leaving the US incarnation of 60 Minutes after nearly twenty years.

This move ends a significant cross-network partnership between CNN and CBS. It also highlights the ongoing changes at CBS News under editor-in-chief Bari Weiss.

Cooper confirmed his departure through a statement, which was first reported by Breaker Media. He cited family priorities after years of managing roles at competing networks.

“Being a correspondent at 60 Minutes has been a great honour. I told amazing stories and worked with the best crews in the business,” Cooper said.

“For nearly two decades, I balanced my jobs at CNN and CBS. I have little kids now and want to spend time with them while they are young.”

His exit concludes a chapter that started in the 2006–2007 season.

At that time, CBS and CNN created a rare agreement. It allowed the anchor to report for the flagship investigative program while hosting his nightly CNN show.

Over the years, Cooper delivered major investigative stories. His career has covered defining global events such as the Iraq War and Hurricane Katrina.

Cooper’s departure also comes as CBS News undergoes a profound editorial shift.

A new editorial era

The network’s direction has faced scrutiny since Paramount acquired Weiss’s digital outlet, The Free Press. Paramount installed her as editor-in-chief in October 2025.

Weiss is known as an opinion journalist. She has introduced a “21st century” editorial vision. Her appointment changed the direction of CBS News, raising questions about editorial independence and newsroom culture.

Tensions first surfaced in December.

It all began when Weiss ordered 60 Minutes to hold a report on Cecot prison in El Salvador. The segment focused on Venezuelan immigrants detained without due process. Weiss argued the report lacked enough input from the Trump administration after officials declined to comment.

The move frustrated staff and soon became a point of contention over editorial oversight and ideological balance.

Producer resignation exposes internal unease

Internal strain seeped through into the public arena this week, when producer Alicia Hastey resigned and criticised the network’s direction in a farewell note.

“There is a new vision prioritising a break from traditional norms to embrace ‘heterodox’ journalism,” Hastey wrote.

“The commitment to stories is becoming difficult. Stories may be evaluated on whether they conform to ideological expectations. This pressures reporters to avoid narratives that might trigger backlash.”

She added that her comments do not ignore the talent of CBS News journalists. She warned that the excellence they seek is hindered by uncertainty.

A symbolic departure at a pivotal moment

Cooper framed his decision as personal, citing his family. However, his exit carries weight as CBS News redefines itself.

The acquisition of The Free Press and the appointment of Weiss reflect a network in transition, with the organisation seeking to balance modernisation and journalistic credibility.

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The Australian production landscape shifted significantly today following the news that Universal International Studios will close the doors at Matchbox Pictures. After 18 years of defining high-end Australian drama, the prolific production house ceases operations after an extensive evaluation by its parent company.

As reported by IF‘s  Jackie Keast, NBCU confirmed the decision to shutter the company, citing evolving strategic priorities and a change in its operating model for the region.

While the studio maintains its commitment to the local market, it plans to engage with talent and producers on a case-by-case basis rather than maintaining a permanent production banner.

Strategic shifts and studio shudders

The closure also extends to Tony Ayres Productions (TAP), the standalone company that Tony Ayres launched in 2018 with Universal’s backing. Ayres, a titan of the local industry, reportedly shifts his focus back to writing following the restructure which was quietly announced today at the Netflix ‘What’s Next’ in 2026 Event.

Managing director Alastair McKinnon expressed immense pride in the team’s achievements and the quality of work produced since the company’s inception.

Founded in 2008 by industry heavyweights Ayres, Penny Chapman, Helen Bowden, Michael McMahon, and Helen Pankhurst, Matchbox Pictures became a global success story. In 2011, NBCUniversal International took a majority stake in the company: its first-ever investment in a production house outside the UK.

The global giant took full ownership in 2014.

A legacy of global hits

Across 18 years, the company produced over 55 projects for every Australian network and numerous international streaming platforms. From the cultural phenomenon of The Slap to the International Emmy-winning Safe Harbour, Matchbox proved that Australian stories command a global audience.

The news comes while the company remains at the top of its game.

The comedy Dog Park currently airs on the ABC, while the TAP-produced series The Survivors recently dominated Netflix.

As the most-watched local series of 2025, it racked up over 28 million views.

Beyond the hits, Matchbox served as a vital incubator for Australian executive talent like Chris Oliver-Taylor, Que Minh Luu, and Kylie Washington.

Main Image: Managing Director, Alastair McKinnon

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