The Australian screen industry is reeling from the abrupt closure of Matchbox Pictures, a production company that, for nearly two decades, served as a vital link between local storytelling and the global market. Universal International Studios confirmed the shutdown on , leaving over 60 creatives without jobs and raising serious questions about the future of Australian content production.
From the nuanced domestic dramas like The Slap to the international success of The Survivors – which garnered a global audience of 28 million on Netflix in 2025 – Matchbox Pictures established itself as a consistent producer of high-quality, award-winning television. The company’s impact extends beyond viewership numbers; productions like Safe Harbour and Nowhere Boys earned International Emmy Awards, and the Cate Blanchett co-production Stateless achieved a record-breaking 13 AACTA awards.
The decision by Universal International Studios to shutter Matchbox came as a shock to many within the Australian screen industry. The company had recently delivered what was described as the most successful Australian-made TV drama on Netflix for 2025, a feat that seemingly solidified its position within the studio’s portfolio. However, Universal has opted to move away from a permanent on-the-ground presence in Australia, instead adopting a model of evaluating production opportunities and engaging with local producers on a project-by-project basis.
In a statement, Universal International Studios explained the decision followed “an extensive evaluation of the business and the broader production landscape.” The studio maintains its commitment to Australia, but indicated a shift in strategic priorities necessitates a change in its operating model within the region. This means foregoing the overhead of physical offices in Sydney and Melbourne, and a dedicated staff of over 60.
The closure also impacts Tony Ayres Productions (TAP), the standalone company launched in 2018 by Matchbox co-founder Tony Ayres with Universal’s backing. Ayres had stepped away from Matchbox in 2018 to focus on TAP, which was intended to create high-end content for international distribution. Universal’s statement confirmed that TAP would also cease operations. Ayres himself has not publicly commented on the decision.
Alastair McKinnon, managing director of Matchbox Pictures, released a brief statement acknowledging the company’s contribution to the Australian film and television landscape. The sentiment was echoed by Screen Producers Australia (SPA), which highlighted Matchbox’s role in redefining Australian television and film, fostering ambitious and internationally-confident storytelling with a distinctly local voice. SPA CEO Matthew Deaner noted the company’s legacy would endure through the many writers, producers, and craftspeople whose careers were built through its productions.
The Australia Writers’ Guild (AWG) expressed concern over the closure, recognizing Matchbox’s consistent valuing of writers and employment of Australian talent. AWG CEO Claire Pullen emphasized the shutdown as a “sad reminder that our industry can’t rely on the whims of international studios to keep us afloat.” Pullen argued for the need to explore solutions to maintain a robust and distinctly Australian screen sector, highlighting the country’s inherent talent for creating internationally renowned drama.
The timing of the closure is particularly sensitive, coming shortly after the debut of Matchbox’s latest project, Dog Park, on ABC. The comedy-drama received a four-star review, but the future of a potential second season is now uncertain. The move by Universal also occurs against a backdrop of ongoing debate surrounding new legislation requiring streaming services to invest a portion of their local earnings into original Australian content. Whether these rules will ultimately support or hinder Australian production companies remains a key point of contention, but Universal’s decision suggests a move away from relying on such frameworks.
The closure of Matchbox Pictures represents a significant loss for the Australian screen industry, not just in terms of jobs, but also in the loss of a stable and successful production house with a proven track record of delivering high-quality, internationally recognized content. The industry now faces the challenge of navigating a landscape increasingly shaped by the strategic priorities of global studios, and the need to find sustainable models for supporting distinctly Australian storytelling.
