TAG / 11 PIECES

[STREAMING]

The shows are good, the platforms are crowded, and the audience is splitting into fragments too small for any one show to own.

When the scoring budget dropped, Australian composers did what they have always done: made do, made less, and made it work.

The year's best shows were on six different platforms, and nobody watches all six, which means every show was somebody's blind spot.

Total commissions are down 22 per cent on the 2023 peak, and the local content quota has not yet made up the difference.

The argument between cinema and streaming was never about screens; it was about who gets to decide what watching means.

Every Australian streamer has a true-crime limited series in development, and the genre is starting to eat itself.

The score that used to live inside a cinema now lives on a playlist between a lo-fi beats mix and a podcast, and the context changes everything.

Retreats became series, gurus became characters, and the audience who buys both did not notice the overlap.

Lockdown taught me to watch films on a laptop, and the cinemas reopened, and the laptop stayed where it was.

Three months into lockdown, the streaming queue has replaced the cinema queue, and the couch has replaced everything else.

The cinemas shut, the couch stayed, and the back catalogues on iview and Stan are deeper than you think.

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