Barbara Stephen, CEO of Australia's Flying Bark Productions, shares the secrets to the prodco's global expansion and its move into cross-genre scripted entertainment, while also calling for joined-up thinking on funding for Australian animation.

With microdramas booming globally, producers are increasingly exploring microreality formats. C21 investigates the story behind Flex, which its Australian producers claim is the first vertical reality series to reach screens.

Jenny Buckland, CEO of the Australian Children’s Television Foundation, outlines how the funding landscape for Australian children’s content is changing, what this means for producers and distributors, and what steps need to be taken to keep the sector healthy.

Australia’s Nine Network will reduce staffing across its television news production divisions as it rolls out a multi-year restructuring initiative.

Australian production company and animation studio Princess Pictures has secured a US Netflix commission for new adult animated comedy series Dad’s House.

Dan Taylor has stepped down from his position as executive director at Australian streamer Stan to become CEO of Australian Football League club Melbourne Demons.

Australia’s free-to-air broadcasters have urged the country’s government to ensure the draft News Bargaining Incentive legislation, that would see a 2.25% levy imposed on Google, Meta and TikTok’s Australian revenues, remains a priority.

Two New Zealand production companies have teamed up to launch a production financing outfit called The Wing to bridge the funding gap on international coproductions with the antipodean country.

The development of a robust and renewed cultural export strategy and revitalising Australia’s international coproduction framework are two of the key remits for Screen Producers Australia as the industry braces for further adaptations to market conditions.

Tom Garton has been elevated to the role of creative director at London-based prodco Wonderhood Studios.