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Kids’ TV content ‘in grave danger’ as government stalls on Australian content requirements for streamers

Swinburne researcher Dr Joanna McIntyre said the success of shows like Bluey might have led to the perception that Australian children’s television was “stable and solid”, but that was not the case. (ABC)

Do we still need Australian children’s television, or can we make do with PAW Patrol and Peppa Pig?

For nearly four years, this question has been plaguing Swinburne University of Technology researchers Liam Burke and Joanna McIntyre.

Since 2021, they have been conducting a longitudinal study as part of the Australian Children’s Television Culture (ACTC) research project, asking parents how much they value locally produced children’s television programs.

The project’s latest report found that 83% of parents believed it was very important that children’s content be Australian.

“Part of it is that they want their children to see their own experiences on screen and gain a better understanding of the people in Australia and across the country,” explained Dr Burke, associate professor of film and screen studies.

Parents believe that the qualities of “good” children’s television are relevance and diversity, followed by positive educational messages and uniquely Australian humour.

Given this, it’s no surprise that the report ranked Bluey’s Day Out as children’s favorite TV show. It’s also the show parents most want to watch with their kids.

Set in Queensland, this International Emmy Award-winning ABC iview show is rich with variety, local jokes and idioms from ‘bush wees’ to ‘bilbies’ – it’s quintessentially Australian.

Why does this matter?

The new figures come just days after the federal government delayed plans to introduce local content requirements for major streaming platforms with little fanfare.

There is no indication yet when work will resume on the policy – which is at the heart of Labour’s national cultural policy.

Children's TV content 'at grave risk' as government drags its feet on Australia's streaming content requirements

Global streaming services are subject to quotas in other countries, as are broadcasters in Australia. (ABC News: Matthew Dolan)

The ACTC team found that the ABC remains the preferred platform for children and parents to watch children’s content (93%). But they also found that viewing habits are changing, with the rise of global streaming services such as Netflix (73%), YouTube (66%) and Disney (56%), none of which are subject to local content quotas.

But this isn’t the case everywhere. The European Union, for example, requires streaming platforms to offer at least 30% European content to European consumers. Australian broadcasters have long been subject to local content quotas.

Evie wishes she had a show like First Day growing up

The photo shows Evie Macdonald smiling in front of a colorful background.

Children's TV content 'at grave risk' as government drags its feet on Australia's streaming content requirements

Evie had a hard time talking to her parents about her gender transition. Now she’s starring in a show that explores what it’s like to be transgender in school.

For example, the Broadcasting Services Act 1992 requires that 55% of the programmes broadcast by free-to-air television stations on their main channels between 6am and midnight must be locally produced.

In recent years, streaming giants such as Netflix have produced high-profile Australian content such as Heartbreak High and Boy Swallows Universe.

But Dr Burke said: “The quota provides assurance that even as our audiences gravitate towards global streaming services, local content will still have a place on these global platforms”.

Dr McIntyre, a senior media studies lecturer, agreed, adding that while local children’s television might feel “stable and solid” at the moment, it is actually in “serious danger”.

“We can’t leave this up to Bluey. It’s too difficult for a little blue dog to take on all by himself,” she said.

“Without proper support from government, we don’t have the size of our population to make this industry work, and that has always been the case with the Australian film and television industry.”

Dr McIntyre explained that it was the broadcast content quota that “ensured the evolution of children’s television in Australia over the decades” with shows such as Bluey, Day One and Lil J & Big Cuz.

After the government removed children’s content quotas on commercial television in Australia in 2020, we already have some evidence of what happens without quotas.

According to the Australian Communications and Media Authority, commercial broadcasters saw an 84% drop in local children’s programming between 2019 and 2022.

Who would be affected by a decline in local kids’ content?

Dr McIntyre said the government’s decision not to provide local content quotas to global streaming platforms would affect everyone – including “people who are not yet parents or will never be parents”.

“They were once children themselves,” she added.

As part of the ACTC research project, she and Dr Burke interviewed four generations of Australians, from baby boomers to Generation Z.

Each generation credits local children’s television for its influence as a decades-long social glue that not only provides a common cultural reference but also introduces Australia to a global audience.

‘Have you ever, ever felt like this?’ Round the Twist has been turned into a rollicking musical

The photo shows a middle-aged man and an elderly man posing in front of the camera. Both are wearing sweaters with the word Paul printed on them

Children's TV content 'at grave risk' as government drags its feet on Australia's streaming content requirements

Remember Round The Twist? It’s back! In musical form.

“If you’re 30, you can walk into a pub on the other side of Australia and enthusiastically discuss a show like Round the Twist. It’s a shared cultural understanding,” Dr McIntyre added.

“But people tend to take it for granted.”

That said, Dr McIntyre does not believe that local children’s television will “disappear completely” without the guarantee of a quota system.

At least for now, the global streaming service is producing some locally produced children’s content.

“[And] there are some really smart, strong, passionate people in this industry who are going to forge ahead no matter what,” Dr McIntyre said.

“So, not all hope is lost .. but it would be better to have support.”

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