Inquiry into Victoria's cultural and creative industries — Legislative Council Economy and Infrastructure Committee, June 2025

Failing to index the industries' funding has decreased financial support in real terms.

report: §3.2.1 p35

reason: Multiple witnesses and submissions directly state that the absence of indexation has caused real-term declines in funding (22.8%, 26%, 30%), fully supporting the claim's subject, scope, and direction.

With the creative enterprises program not being indexed – and its predecessor, the organisations investment program – basically it is a 30 per cent loss of income over the past 10 years. For the regional partnerships program, which funds programming at galleries and artist fees at our regional galleries, that is equivalent to a 26 per cent cut. — hearing:2025-03-13/4_public-galleries-association-of-victoria, Public Galleries Association Of Victoria, line 48

Since 2017 state arts funding has not been indexed to inflation, leading to a real-term funding decrease of 22.8 per cent as of 2024. — hearing:2025-03-12/3_theatre-network-australia, Theatre Network Australia, line 9

CEP and its former iteration the Organisations Investment Program (OIP), is not indexed for CPI and has remained static over the past 10 years. When rising costs are taken into account, this is effectively a 30% reduction in funding to the sector. — submission:33, Public Galleries Association Of Victoria, p.8

Grant and reporting requirements can be very onerous, esp on individuals and orgs made up of volunteers or part-time staff.

report: §3.2.2 p36

reason: The witness directly described grant requirements as "extremely onerous," singling out volunteer and part-time organisations as those most burdened. The claim faithfully captures subject, scope, and direction.

The load of a grant application can and really does need a certain amount of information, particularly if it is taxpayers money. Certainly there are very onerous requirements. In a short amount of time, gathering all of the data that you need but then also getting support letters and other kinds of information is extremely onerous, particularly if it is a volunteer or a part-time organisation that is putting something like that together. — hearing:2025-02-27/2_regional-arts-victoria, Regional Arts Victoria, line 53

Unpredictable grant programs cause instability and prevent forward planning and longer-term investment.

so what: The report says unpredictable grants stop groups from planning ahead and making long-term investments. The source only says Creative Victoria's uncertain grants calendar blocks careful, forward-looking planning.

report: §3.2.3 p38

reason: The source supports the planning-prevention point but only for Creative Victoria's grants specifically, not grant programs generally. The claim about "longer-term investment" is also not in the source; only strategic planning is mentioned.

Policy and program uncertainty: Creative Victoria's 2025 grants calendar is as yet unknown, and their current funding opportunities webpage shows closing dates as far back as 2022, which prevents strategic, responsible and courageous planning — submission:21, Test Pattern, p.3

It is difficult to determine Victoria's fair share of other funding in the cultural-funding-by-government dataset, as state/territory breakdowns are not released.

report: §3.3.5 p56

reason: Kate Fielding explicitly states the cultural-funding-by-government dataset does not release federal expenditure by state/territory, making it impossible to assess Victoria's full share — exactly what the claim says.

we do not have visibility on cultural funding by government. As we spoke about earlier, if the cultural funding by government dataset was released, cut by state and territory data in terms of where federal government is sending its cultural expenditure on a state and territory basis, we would be able to have a data-informed conversation about that in a coherent way. But because that data is not released at the moment, we are really left with a very partial view — hearing:2025-03-13/3_a-new-approach, A New Approach, line 30

Victoria receives its fair share of funding from Creative Australia.

so what: The report says Victoria as a whole gets its proper portion of Creative Australia money. The source only says The state overall gets its population share, but the regional part of Victoria gets far less than its share.

report: §3.3.5 p55

reason: The "fair share" finding applies only to Victoria as a whole on a per-capita basis. Multiple witnesses and submissions show regional Victoria receives far less than its share. The claim omits this critical regional dimension, making it partial.

Victoria is the only state or territory that is getting exactly its fair share on a per capita basis. You have 26 per cent of the population, and our analysis shows that you are getting 26 per cent of Creative Australia money. — hearing:2025-03-13/3_a-new-approach, A New Approach, line 28

when we cut the data from Creative Australia by region using the accessibility/remoteness index of Australia – ARIA – definition, which has 40 per cent of Australians living in regional Australia, the total of Creative Australia's investment that goes to regional is 17 per cent, so 23 per cent less than what they should be getting. — hearing:2025-03-13/3_a-new-approach, A New Approach, line 30

we draw a conclusion that in some cases the quantum and type of investment in regional Victoria by the Commonwealth government is disproportionately small. — submission:15, Regional Arts Victoria, p.4

Absolutely inadequate. — hearing:2025-02-27/2_regional-arts-victoria, Regional Arts Victoria, line 47

It is difficult to determine regional Victoria's fair share of other dataset funding, as remoteness/geography breakdowns are not released.

report: §3.3.6 p59

reason: Kate Fielding explicitly stated that the cultural funding by government dataset is not released by remoteness or geography, preventing data-informed answers about regional Victoria's share. The summary accurately reflects this.

the cultural funding by government dataset is also not released by remoteness level or geography or any of the things that would help us answer these questions — hearing:2025-03-13/3_a-new-approach, A New Approach, line 44

we do not have visibility on cultural funding by government. As we spoke about earlier, if the cultural funding by government dataset was released, cut by state and territory data in terms of where federal government is sending its cultural expenditure on a state and territory basis, we would be able to have a data-informed conversation about that in a coherent way. But because that data is not released at the moment, we are really left with a very partial view — hearing:2025-03-13/3_a-new-approach, A New Approach, line 30

Regional Victoria does not receive its fair share of funding from Creative Australia.

so what: The report says Regional Victoria is underfunded by Creative Australia specifically. The source only says Victoria overall gets its fair share from Creative Australia; regional areas across all of Australia get far less than their share.

report: §3.3.6 p57

reason: Multiple sources confirm regional Victoria is underfunded, but Kate Fielding (ANA) found Victoria overall gets exactly its per-capita share from Creative Australia. The underfunding of regional areas applies nationally, not specifically to Creative Australia's treatment of regional Victoria versus other funders.

Absolutely inadequate. — hearing:2025-02-27/2_regional-arts-victoria, Regional Arts Victoria, line 47

per capita spend on regional Victorians by Creative Australia is $1.06 versus a total of $3.79 per capita invested in their regional peers in other states and territories — submission:15, Regional Arts Victoria, p.10

we draw a conclusion that in some cases the quantum and type of investment in regional Victoria by the Commonwealth government is disproportionately small — submission:15, Regional Arts Victoria, p.4

when we cut the data from Creative Australia by region using the accessibility/remoteness index of Australia – ARIA – definition, which has 40 per cent of Australians living in regional Australia, the total of Creative Australia's investment that goes to regional is 17 per cent, so 23 per cent less than what they should be getting — hearing:2025-03-13/3_a-new-approach, A New Approach, line 30

Victoria is the only state or territory that is getting exactly its fair share on a per capita basis. You have 26 per cent of the population, and our analysis shows that you are getting 26 per cent of Creative Australia money. — hearing:2025-03-13/3_a-new-approach, A New Approach, line 28

No state/territory has an ABC headcount that accurately reflects its population; over- or under-representation exists to varying degrees in all.

so what: The report says every state and territory has an ABC headcount that mismatches its population share. No held source says this.

report: §4.3.1 p62

reason: The passages only discuss Victoria (~20%) and NSW (~50%) ABC staffing shares, with no witness making a claim about all states and territories having mismatched headcounts. The broad, universal claim is simply not in the passages.

ABC content-production decisions are shaped by state screen-agency policies and funding availability.

so what: The report says ABC choices about what content to make depend on state screen-agency rules and money. The source only says Screen agency funding and budgets are key to financing productions; agency budget limits affect what gets made.

report: §4.3.2 p70

reason: Witnesses said screen-agency funding is essential to financing productions and that agency budget constraints affect what gets made, but they did not say agency policies (criteria/rules) specifically shape ABC content decisions — only that funding availability does. The "policies" element is not clearly supported.

there is quite a lot of government financing across the board, in terms of Victorian government, ABC and Screen Australia funding for those series—not all of the series, but the series that have been able to attract Screen Australia funding to them—and then of course the producer offset. All of those are mechanisms that are available and that we need as an industry in order to finance internationally competitive productions — hearing:2025-02-27/4_abc, Abc, line 73

Different agencies lean on different kinds of mechanisms that help production in addition to direct funding and different kinds of funding criteria. They might have state PDVs that complement the federal PDV tax offset. Some also provide for very low cost financing loans, with the cost of money and interest rates being a pretty significant line item in large production budgets. So there are a range of things, and I suppose each agency needs to make its own choices around the creative aspects. — hearing:2025-02-27/4_abc, Abc, line 142

The ABC's budget is, in real terms, 14% less than it was a decade ago (~$1.2bn annual budget).

so what: The report says ABC budget is 14% lower in real terms than ten years ago, at about $1.2bn. The source only says ABC funding is 14% lower in real terms than ten years ago; no dollar figure stated.

report: §4.3.2 p70

reason: The source confirms the 14% real-terms decline over a decade, but the ~$1.2bn annual budget figure is not stated in the passages — it appears only as a questioner's implied reference ("$1.288 I think"), not confirmed by Tapley.

In real terms it is 14 per cent less than what it was 10 years ago. — hearing:2025-02-27/4_abc, Abc, line 48

Rising production costs and the budget reduction have constrained the ABC's capacity to create content and expand its footprint.

so what: The report says Budget cuts and rising costs have limited ABC content creation and growth.. The source only says ABC funding is 14% lower in real terms than a decade ago and costs are rising, forcing hard choices; more could be done if resources allowed..

report: §4.3.2 p70

reason: The source supports cost pressures and reduced real-terms funding, and hints at constrained expansion (e.g. Geelong). However, the claim bundles both as a single constraint on content creation and footprint expansion — the passages address these separately and with hedging, making the combined assertion a partial match.

we do face a rising cost of production. We do have the big streamers in market. They are making shows, but they are also I guess lifting audience expectations around quality, so then we have to lift as well to meet those expectations. — hearing:2025-02-27/4_abc, Abc, line 129

In real terms it is 14 per cent less than what it was 10 years ago. The cost of production is going up as well, so there are tough choices to be made. But we are regularly in contact with people from Geelong. We do have a radio residency we do down there, and I think if resources were available, that would be an area of great opportunity for us down there in Geelong. — hearing:2025-02-27/4_abc, Abc, line 48

ABC spending is unevenly distributed across states/territories relative to their population sizes.

so what: fetch qon:abc/2025-02-27

report: §4.3.2 p69

reason: cited document(s) not in corpus: qon:abc/2025-02-27

No state/territory receives ABC funding proportionate to its share of Australia's population.

so what: fetch qon:abc/2025-02-27

report: §4.3.2 p69

reason: cited document(s) not in corpus: qon:abc/2025-02-27

It is unclear why Victoria was not considered in the Federal Government's SBS relocation feasibility study.

so what: The report says The reason Victoria was left out of the study is not known. The source only says The federal government ran the study and set it up to look at western Sydney only, leaving no room for other places.

report: §4.4.1 p78

reason: O'Neil clearly explained why Victoria was not considered: the federal government deliberately scoped the feasibility study to western Sydney only. The reason is not unclear; it was explicitly stated.

The relocation feasibility study, which commenced in 2023 and concluded last year, was a process commenced and run by the federal government, and that was narrowly scoped to look at western Sydney only. It did not consider any other alternative location— — hearing:2025-03-12/5_sbs, Sbs, line 54

The available funding to us is for western Sydney. That is a matter for the federal government. — hearing:2025-03-12/5_sbs, Sbs, line 59

A main challenge for ABC regional-Victoria content is the lack of independent-sector proposals for shows to be made in regional Victoria.

report: §4.5.1 p84

reason: Tapley directly identifies the key barrier to regional-Victoria content as the independent production sector not bringing ideas for shows made there, which matches the claim precisely.

I think it is more around the independent production sector and them coming to us with ideas around shows that would be made in regional Victoria. That is probably the main barrier. — hearing:2025-02-27/4_abc, Abc, line 110

The cost of producing content in regional Victoria requires significant financial investment.

so what: The report says Making content in regional Victoria demands large amounts of money. No held source says this.

report: §4.5.1 p85

reason: No passage directly states that producing content in regional Victoria requires significant financial investment as a general claim. The closest passage notes travel costs for shows seeking regional locations, which is narrower and different from the summary's broad assertion.

Producing content in regional areas delivers significant social (representation) and economic (jobs, local spending) benefits.

so what: The report says Making content in regional areas brings big social and money benefits to those places. The source only says Witnesses spoke about wanting more regional activity and noted some economic and community value from it, without firmly stating it delivers major proven benefits.

report: §4.5.1 p85

reason: The passages show aspirations and partial evidence of regional economic contribution (Victoria broadly, not specifically regional areas), but no witness flatly asserts that regional content production delivers "significant" social and economic benefits as a settled conclusion. The claim overstates the strength and specificity of what was said.

The ABC has committed $157 million to 75 projects with the independent production sector, where the majority of production expenditure occurred here in Victoria. These projects have a total production value of over $318 million and represent 319 hours of programming. — hearing:2025-02-27/4_abc, Abc, line 14

We do have, I think, the largest regional workforce of any media organisation. We have got around 600 staff that are located in rural and regional Australia. Through that radio network that we were talking about before, that is a really important part of how we connect with those communities. — hearing:2025-02-27/4_abc, Abc, line 60

if we are able to create these things and make them sustainable within regional areas and create those opportunities to do so, then the AAM definitely would love to try and amplify those opportunities (passage unresolved)

Victorian cultural & creative industries contributed $40.5 billion to the Victorian economy in 2022–23.

report: §2.1.1 p7

reason: Multiple passages confirm the $40.5 billion figure for Victoria's creative industries in 2022–23.

The most recent data shows that Victoria's creative industries contribute $40.5 billion to the Victorian economy and represent 7.6 per cent of the total state economy. — hearing:2025-03-12/1_creative-victoria-and-vicscreen, Creative Victoria And Vicscreen, line 6

According to Creative Victoria, in 2022-23 the creative economy contributed $40.5 billion, representing a 7.6 per cent share of Victoria's total economy. — submission:34, University Of Melbourne, p.16

The industries employ more than 320,000 Victorians.

report: §2.1.1 p8

reason: The witness explicitly stated more than 320,000 Victorians work in the creative economy, matching the claim exactly.

More than 320,000 Victorians work in the creative economy. — hearing:2025-03-12/1_creative-victoria-and-vicscreen, Creative Victoria And Vicscreen, line 6

That is almost 9% of total employment in the state.

report: §2.1.1 p8

reason: The claim matches the source exactly in subject, scope, and direction.

More than 320,000 Victorians work in the creative economy. That is almost 9 per cent of total employment in the state. — hearing:2025-03-12/1_creative-victoria-and-vicscreen, Creative Victoria And Vicscreen, line 6

The industries provide significant economic stimulus by attracting visitation and tourism.

so what: The report says creative arts draws visitors and boosts tourism spending. No held source says this.

report: §2.1.1 p8

reason: No passage directly states that the industries as a whole provide significant economic stimulus through attracting visitation and tourism. The silo art trail example is a single anecdote, not a sector-wide claim. The claim as stated is not supported.

Victoria rated higher for cultural participation than all other jurisdictions surveyed, including New York, Sweden and the UK.

report: §2.1.1 p10

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Victoria rated higher for cultural participation than all other jurisdictions where this research has been undertaken. This includes New York City, Sweden and the UK. — hearing:2025-03-12/1_creative-victoria-and-vicscreen, Creative Victoria And Vicscreen, line 6

Engagement with the industries brings communities together, breaks down barriers between groups, and encourages cohesion.

so what: The report says Arts and creative industries unite groups and build social cohesion. No held source says this.

report: §2.1.2 p12

reason: No passage directly states that engaging with creative industries brings communities together, breaks barriers, and builds cohesion as a unified claim. Adjacent ideas appear in scattered passages but not this specific proposition together.

A growing body of evidence recognises the role arts and creativity play in positive mental health and wellbeing outcomes.

report: §2.1.2 p13

reason: Multiple passages explicitly state that a growing body of research shows arts and creativity contribute to positive mental health and wellbeing outcomes, matching the claim in subject, scope, and direction.

A growing body of research demonstrates that the arts can help address the pressing mental health and wellbeing challenges faced by many Victorians. — submission:33/attachment-1, Public Galleries Association Of Victoria, p.17

The research out of Western Australia – its catchphrase is 'You don't have to be good at the arts for the arts to be good for you.' They recommend 2 hours of any kind of art activity a week, and it can improve your mental health by 30 per cent. — hearing:2025-03-13/4_public-galleries-association-of-victoria, Public Galleries Association Of Victoria, line 14

COVID-19 severely damaged the industries, limiting opportunities to present/engage publicly and restricting practitioners' income.

report: §2.2.1 p14

reason: Multiple passages confirm COVID-19 forced venue closures, halted productions and exhibitions, slashed attendance, and cut off income streams for practitioners — matching the claim's subject, scope, and direction without overstatement.

These measures disproportionately impacted the creative arts industry as galleries, museums, theatres, live venues, and pubs were forced to close their doors as restrictions impacted audience numbers and forced productions and exhibitions to cease or move elsewhere. — submission:14, Parliamentary Budget Office, p.21

the COVID-19 pandemic severely impacted certain sub-sectors within the creative arts industry. Th 'motion picture and sound recording' d 'creative and performing arts' sub-sectors experienced a significant contraction in their economic output. Government-mandated lockdowns and restrictions dampened business opportunities and attendance numbers as art galleries, museums, and live performance venues were forced to close their doors or significantly limit their activity. — submission:14, Parliamentary Budget Office, p.48

many creative workers were ineligible for the scheme because they could not demonstrate 12 months of continuous employment with one employer. — submission:14, Parliamentary Budget Office, p.21

Victoria's artists, practitioners and cultural organisations were amongst the first and hardest hit of the COVID-19 pandemic, and have been amongst the slowest to recover — submission:28, Nets Victoria, p.39

most independent artists were ineligible to apply for — submission:28, Nets Victoria, p.39

The COVID-19 pandemic exacerbated the sustainability challenges already faced by Victoria's public gallery sector. The sector lost hundreds of skilled staff and volunteers, over $22.4m in earned income and 72% of its visitation. — submission:33, Public Galleries Association Of Victoria, p.7

COVID-19 took away critical training opportunities from those looking to enter the industries.

so what: The report says COVID removed training chances for people trying to break into the sector. The source only says training chances are being lost for people already in or finishing study in the sector, linked to post-COVID funding and workforce pressures.

report: §2.2.1 p15

reason: The passages describe a post-COVID decline or loss of professional development and training opportunities, not a direct removal of training by COVID itself. The claim presents COVID as the direct agent stripping training; sources describe an ongoing, broader structural erosion tied to COVID's aftermath.

Critical professional development opportunities are being lost for emerging artists, curators and arts workers. The decrease in training opportunities for graduates of Fine Arts such as gallery technicians, puts both artworks and careers at risk. — submission:28, Nets Victoria, p.42

Exclusion from COVID-19 financial support programs exacerbated financial issues and created ongoing skill gaps.

so what: The report says Being left out of COVID money programs made money problems worse and left lasting skill gaps. The source only says Many creative workers could not access COVID support due to their casual work patterns, and skill and staff losses followed the pandemic.

report: §2.2.1 p16

reason: Sources confirm that exclusion from COVID support worsened financial hardship and that skill/staff losses occurred, but the passages do not directly link the exclusion from support programs to the skill gaps — those are presented as separate consequences of the pandemic broadly, not specifically of program exclusion.

While the Australia Government introduced schemes such as JobKeeper to enable workers to retain an income, many creative workers were ineligible for the scheme because they could not demonstrate 12 months of continuous employment with one employer. — submission:14, Parliamentary Budget Office, p.21

while targeted COVID-19 support was provided by Commonwealth and State Governments at the peak of the pandemic, national support was primarily through JobKeeper payments and the Boosting Cash Flow for Employers program, which most independent artists were ineligible to apply for. — submission:28, Nets Victoria, p.39

Critical skills have been lost in the industry, particularly in production and technical areas. — submission:39, Live Performance Australia, p.13

they also lost a lot of casual staff, understandably. Some councils were able to keep employing or engaging their casual staff but not for the full length of time, and they were not eligible for the federal government's income support initiatives during the pandemic. So subsequently there has been a loss of casual staff — hearing:2025-03-13/4_public-galleries-association-of-victoria, Public Galleries Association Of Victoria, line 24

Children's and young people's creative participation and attendance declined significantly between 2017–18 and 2021–22.

so what: The report says Both kids and young people saw big drops in arts attendance and creative activity over that period. The source only says Children's attendance at performing arts events fell from 40% to 31%; the source covers children and adults, with no separate figure for young people or creative participation.

report: §2.2.1 p16

reason: The source documents a drop in children's attendance at performing arts events, but says nothing about "young people" as a distinct group or about "creative participation" declining. The claim adds a scope not supported by the passage.

Between 2017–18 and 2021–22 attendance at performing arts events by children dropped from 40% to 31%, and adult attendance at cultural venues fell from 86% to 69%. — submission:19/attachment-1, Theatre Network Australia, p.8

Several live music venues have closed following COVID-19 due to pressures such as rising costs and inconsistent financial support.

so what: The report says some live music venues shut down after COVID due to costs and patchy support. The source only says 256 live music venues in Victoria closed since COVID began; venues cite huge insurance cost rises as a key reason they cannot keep operating.

report: §2.2.1 p18

reason: The sources confirm large-scale venue closures since COVID and rising costs (especially insurance), but the passages do not specifically name "inconsistent financial support" as a driver of closures. The claim's scope is narrower than what the sources establish (256 closures in Victoria alone), and the "inconsistent financial support" cause is not directly linked to closures in the evidence.

1300 live music venues in Australia, including 256 in Victoria alone have closed since COVID-19 began (ref). — submission:17, Sir Zelman Cowen School Of Music And Performance, p.3

We have had music venues citing increases of eight times, nine times what they were paying a few years ago, and it has got to the point where a lot of them just cannot operate. — hearing:2025-03-12/4_association-of-artist-managers-and-music-victoria, Association Of Artist Managers And Music Victoria, line 67

COVID-19 led to worsening mental health in the industries, particularly among children and young people.

so what: The report says the pandemic made mental health worse across the arts sector, especially for kids and young people. The source only says witnesses described emotional harm to young people from cancelled productions and noted depression and wellbeing issues among culturally diverse creatives after lockdowns.

report: §2.2.2 p19

reason: Passages support COVID harming young people emotionally and worsening mental health among culturally diverse creatives, but no passage broadly states COVID worsened mental health across "the industries" as a whole, particularly for children and young people as a defined group. The claim overstates the scope.

our younger people felt the impact of that more because of the work they had put in, the investment of time and love that they gave to that production, only for it to be taken away from them in such a sudden moment. Obviously we as adults knew what was going on but unfortunately the younger ones took that quite hard — hearing:2025-03-13/6_bendigo-theatre-company-and-sertori-consulting, Bendigo Theatre Company And Sertori Consulting, line 35

Financial precarity was already an issue for artists generally before the COVID lockdowns, but the intensity and duration of lockdowns in Melbourne significantly depressed the creative economy, and the ensuing cost of living as well as housing affordability has resulted in high rates of depression and mental health and wellbeing issues among these groups. — hearing:2025-02-27/3_multicultural-arts-victoria, Multicultural Arts Victoria, line 11

I think people really understand the need for children especially, for youth, to play sport, and we all know how important that is. But I do not really think we understand the need and the impact for creative children, that it is not a nice-to-have; it is actually a necessity. It is something that they really need to do to be able to express themselves and it is about their mental health, it is about their whole wellbeing — hearing:2025-03-13/6_bendigo-theatre-company-and-sertori-consulting, Bendigo Theatre Company And Sertori Consulting, line 36

Since COVID-19, the costs to produce and present work have significantly increased.

report: §2.2.3 p20

reason: Multiple passages confirm that since COVID-19, production and presentation costs have risen substantially, consistent with the claim.

Producers and promoters are grappling with significant increases in production and business costs (up 30-50%) and higher employment costs. — submission:39, Live Performance Australia, p.13

The core costs of delivering festivals in Australia are now up to 40% more than pre-COVID. — submission:20, Victorian Major Arts Festivals Alliance, p.7

The same inflationary pressures are impacting performing arts presenters and venues, with significant increases in costs such as flights, petrol, accommodation and freight while federal and state funding levels have generally remained stagnant. — submission:23, Mva, p.10

It has never been harder for Victorians to make a living in the industries.

so what: The report says earning a living in the creative sector is harder than ever for Victorians. The source only says the Artists as Workers report says earning a living has never been harder for Australian artists broadly.

report: §2.2.4 p21

reason: The claim scopes the hardship to Victorians, but the cited evidence refers to Australian artists generally. The Victorian-specific data covers artists considering leaving the sector, not a "never been harder" living-standard claim. Scope mismatch: national vs Victorian.

TNA's research found that in 2024, 59 per cent of independent artists had considered leaving the sector and 33 per cent had taken active steps to do so. — hearing:2025-03-12/3_theatre-network-australia, Theatre Network Australia, line 9

the Artists as Workers report has shown that it's never been harder for Australian artists to make a living — submission:28, Nets Victoria, p.39

The 2024 Artists as Workers report from Creative Australia showed it's 'never been harder' for Australian artists to make a living. — submission:13, Kate Larsen, p.8

Insecure or low wages impact retention and discourage people from pursuing a career in the industries.

report: §2.2.4 p22

reason: Multiple passages confirm that low/insecure pay drives people to leave or consider leaving arts careers, matching the claim.

A lot of stage managers and production managers went off and worked in other sideline industries or went off and worked in other operational roles. They love the arts and the creative industries, but actually they are making a judgement call for themselves. Is it worth what you said in terms of their mental health, their families and what support they need to provide, what money they can earn? — hearing:2025-03-12/3_theatre-network-australia, Theatre Network Australia, line 27

In TNA's 2024 Member Survey, 59% of independent artists said they have considered leaving the arts industry, with 33% saying they have taken action to leave the industry (such as retraining). The main reasons for considering leaving the industry were: • Burnout (53%) • Lack of employment/work (46%) • Seeking better pay/benefits (43%) and seeking a better work/life balance (43%) — submission:19, Theatre Network Australia, p.8

the Artists as Workers report has shown that it's never been harder for Australian artists to make a living — with only 9 per cent able to dedicate all their working time at their creative practice. Overall artist income barely exceeds minimum wage (falling 26 per cent below the national average and 45 per cent less than similarly-educated workers). — submission:28, Nets Victoria, p.39

Many who want to engage with the industries cannot afford to due to the cost-of-living crisis.

report: §2.2.5 p23

reason: Multiple passages confirm that cost-of-living pressures are a major barrier preventing people from attending arts and cultural events, consistent with the claim's subject, scope, and direction.

Financial hurdles are the biggest barrier to attending arts events. As reported by Audience Atlas, Victoria.2.1m fewer people have attended fewer events in the last 5 years, with 47% citing the citing that ticket prices and 38% the cost-of-living crisis as the cause. — submission:18, City Of Yarra, p.11

nearly half (49%) of respondents reported attending fewer events over the previous 6 months due to cost-of-living pressures — submission:14, Parliamentary Budget Office, p.36

the barrier I think is money. It is ticket prices. I am sorry to be so simple about it, but I think if there were cheaper tickets or low-cost tickets, people would go to more shows. — hearing:2025-02-27/1_yarra-city-council, Yarra City Council, line 14

Surveys show strong public interest in attending performing arts events, with 76% of Australians indicating they would like to attend more events if barriers such as cost and accessibility were addressed. — submission:19/attachment-1, Theatre Network Australia, p.10

Ticket prices are a key barrier for people wanting to engage with the industries.

report: §2.2.5 p23

reason: Multiple passages from different submissions and witnesses consistently identify ticket prices (cost) as a primary or key barrier to arts attendance and participation, directly supporting the claim without overstatement.

A 2023 survey found that cost and location are the two primary barriers preventing Australians from participating in cultural activities. — submission:19/attachment-1, Theatre Network Australia, p.8

Surveys show strong public interest in attending performing arts events, with 76% of Australians indicating they would like to attend more events if barriers such as cost and accessibility were addressed. — submission:19/attachment-1, Theatre Network Australia, p.10

2.1 million fewer people have attended fewer events in the last five years, with 47 per cent citing the ticket prices and 38 per cent citing the cost of living as a cause. — hearing:2025-02-27/1_yarra-city-council, Yarra City Council, line 17

I think the key barrier could be around paying for a ticket to see a show, and sometimes the ticket price and the promise of what it can deliver for someone is a really key barrier. — hearing:2025-02-27/1_yarra-city-council, Yarra City Council, line 14

COVID-19 and the cost-of-living crisis have accelerated the decline of volunteerism in the industries.

so what: The report says Both COVID and the cost-of-living squeeze sped up a fall in volunteers across the industries. The source only says The public gallery sector saw a big drop in volunteers due to COVID, with cost of living also playing a part in people changing habits.

report: §2.2.5 p25

reason: The source evidence is limited to the public gallery sector, not the cultural and creative industries broadly. The cost-of-living link to volunteer decline is also only briefly mentioned alongside other factors, not stated as an accelerant industry-wide.

The loss of volunteers was really pronounced, and they also lost a lot of casual staff, understandably. Some councils were able to keep employing or engaging their casual staff but not for the full length of time, and they were not eligible for the federal government's income support initiatives during the pandemic. So subsequently there has been a loss of casual staff, and we see that in the performing arts sector as well, especially with technicians. But the loss of volunteers is quite significant, and we have not seen them resume those levels. — hearing:2025-03-13/4_public-galleries-association-of-victoria, Public Galleries Association Of Victoria, line 24

most of the volunteers are people of retirement age, which adds another complexity, in that often they have responsibilities of raising and caring for grandchildren and wanting to go on holidays and those things. We can see there are reasons why, but also with cost of living, people are just changing what they have been doing as well, and post COVID. — hearing:2025-03-13/4_public-galleries-association-of-victoria, Public Galleries Association Of Victoria, line 40

The COVID-19 pandemic exacerbated the sustainability challenges already faced by Victoria's public gallery sector. The sector lost hundreds of skilled staff and volunteers, over $22.4m in earned income and 72% of its visitation. And while visitation is returning to pre-pandemic levels, recent PGAV benchmarking reveals the sector has experienced a 16% drop in volunteers — submission:33, Public Galleries Association Of Victoria, p.7

COVID-19 exposed and intensified systemic issues in the industries, incl barriers for women and gender-diverse people (esp with caring responsibilities) and long-term financial precarity.

so what: The report says COVID-19 made things harder for women and gender-diverse people, especially those with caring duties, and deepened long-term money problems. No held source says this.

report: §2.2.6 p26

reason: No passage in the provided material specifically links COVID-19 to barriers for women and gender-diverse people with caring responsibilities. The claim's specific subject and scope are absent from all passages.

Infrequent grant programs leave greater numbers of applicants without government support for longer periods.

so what: The report says fewer grant rounds mean more artists go without funding for longer. No held source says this.

report: §3.2.4 p40

reason: No passage makes this claim. The closest reference is that only three Creative Projects Fund rounds have run since 2020, but no source links infrequent rounds to larger numbers of unfunded applicants or longer gaps in support.

A low $20,000 max grant cap in some programs limits what recipients can achieve and may necessitate multiple applications.

so what: The report says a $20,000 ceiling on some grants holds back recipients and forces them to apply multiple times. No held source says this.

report: §3.2.5 p41

reason: No passage discusses a $20,000 cap as limiting what recipients can achieve or as driving multiple applications. The cap is mentioned only as a factual detail about grant rounds, with no witness making the claimed argument.

There needs to be a balance between infrastructure investment and investment in artists; without it Victoria risks depending on interstate/international artists to fill venues.

report: §3.2.6 p42

reason: The witness explicitly calls for a balance between venue/infrastructure investment and support for artists, warning that without it Victoria risks filling venues exclusively with interstate and international artists. The summary captures this accurately.

we have to make sure that those incredible venues are not empty. We have to think about what goes in those venues, what goes on the stages and what gets put on the walls. Unless we want it to be exclusively interstate and international artists, we need to make sure that people can have sustainable careers and that they have the resources to make that art here in Victoria. I imagine it is very attractive for a government to build a building and cut a ribbon – I would be delighted if I got to cut a ribbon – but it is not as exciting to invest in something that remains hidden until the performance or the exhibition happens. I think it is really important to have a balance of both. — hearing:2025-03-12/3_theatre-network-australia, Theatre Network Australia, line 21

By requiring a developed concept/project, grant programs exclude creatives unable to do significant unpaid ideation work.

so what: The report says Grant rules force creatives to do big unpaid idea work, locking out those who cannot afford it. The source only says The ideation work before a grant starts goes unpaid, leaving some creatives out of pocket.

report: §3.2.7 p43

reason: The source confirms unpaid ideation is a real burden, but does not say it "excludes" creatives who cannot do it — only that it goes uncompensated. The exclusionary consequence is the summary's inference, not the witness's stated claim.

in order to get the funding, you need to have a project. You need to give a concept, an example of a project. All of the work that goes into that takes time, and then when you receive the funding, if you get the funding, you are only paid from when that funding starts. So that entire ideation process that comes behind that concept is not paid for. — hearing:2025-03-13/6_bendigo-theatre-company-and-sertori-consulting, Bendigo Theatre Company And Sertori Consulting, line 55

The role each level of government plays could be better defined to help the industries know where to seek investment/support.

so what: The report says clearer definitions of each tier's role would help arts bodies know where to seek money. The source only says witnesses say a lack of clarity about what each level of government does is a barrier, and better structures for working together are needed.

report: §3.2.8 p44

reason: The passages support a need for clearer understanding of government roles, but witnesses frame the problem as a barrier to coordination and co-investment across government — not specifically as helping industries know where to seek support. The claim narrows the purpose to industry navigation, which is only part of what the sources say.

one of the real barriers in this space is a lack of understanding of what levels of government can do what and where different types of investment are focused and why — hearing:2025-03-13/3_a-new-approach, A New Approach, line 15

it is really clear in the data that particularly the Commonwealth and the states and territories have a really different focus on where they put their investment at really broad levels — hearing:2025-03-13/3_a-new-approach, A New Approach, line 15

How do we compel all tiers of government to co-invest? What brings us to the table to come together with mutual benefit to co-invest in models? — hearing:2025-02-27/1_yarra-city-council, Yarra City Council, line 51

the role of government in leadership, and that is the role that government can play to create the necessary structures and systems to support investment across government and across other industries — hearing:2025-02-27/1_yarra-city-council, Yarra City Council, line 8

People should not need to leave regional Victoria to engage with its cultural and creative industries.

so what: The report says People in regional Victoria should not have to travel away to take part in arts and culture.. No held source says this.

report: §3.2.9 p45

reason: No passage makes this claim. Sources discuss funding gaps, travel barriers, and underinvestment in regional Victoria, but none states that people should not need to leave regional Victoria to engage with its cultural industries.

The ABC Ultimo→Parramatta relocation was influenced by legal obligations under the ABC Enterprise Agreement 2022–2025.

report: §4.3.1 p66

reason: schema failure: the judge reason carried a raw tag (</antml :parameter>)

In determining Parramatta as the location for the move the ABC was mindful of its obligations under the ABC's Enterprise Agreement 2022-2025 (the Enterprise Agreement). The Enterprise Agreement provides the processes that the ABC must comply with in relation to managing change and redundancies, which includes considering the impact of relocating staff to another workplace. — qon:abc/2025-03-21, ABC, 2025-03-21, p.17

Under the Enterprise Agreement an employee is redundant when their function is transferred to another location that is not within reasonable commuting distance of their current location, they are not willing to relocate and there is no suitable alternative position available within reasonable commuting distance. Consequently the ABC did have to consider the possible costs if the location was not within a reasonable commuting distance of a current ABC location. — qon:abc/2025-03-21, ABC, 2025-03-21, p.18

I think there were cost and industrial implications around moving people. (passage unresolved)

...and by budget constraints that made NSW the most cost-effective option.

so what: The report says budget limits made NSW the cheapest and best choice. No held source says this.

report: §4.3.1 p66

reason: No passage states that NSW was the most cost-effective option. Budget constraints were cited regarding staff relocation costs generally, but no witness identified NSW as the cheapest option compared to alternatives like Melbourne.

...and by the Parramatta office's proximity to key state departments and agencies.

report: §4.3.1 p66

reason: schema failure: the judge reason carried a raw tag (</antml_parameter>)

The number of state departments and agencies within the Parramatta area such as the Department of Planning, Department of Education, Environment Protection Authority and NSW Police Headquarters was a key draw factor along with the need to better represent the population of Sydney. — qon:abc/2025-03-21, ABC, 2025-03-21, p.18

...and by a strategic goal to better reflect NSW's population demographics (Western Sydney = ~1 in 10 Australians).

so what: The report says The move to western Sydney was driven by a goal to mirror NSW population makeup. The source only says The move aimed to better connect with western Sydney, where roughly one in ten Australians live; cost savings from selling surplus land also enabled it.

report: §4.3.1 p66

reason: The source supports the western-Sydney population rationale (~1 in 10 Australians) but the claim frames this as a "strategic goal to better reflect NSW's population demographics," which overstates the scope — the stated aim was connecting with western Sydney specifically, not reflecting NSW broadly.

The situation in Sydney was that we owned land on the North Shore in Artarmon. That land we identified as being surplus to requirements, so we were able to sell that land and we took the opportunity to lease space in Parramatta for up to 300 people. We have moved the Sydney newsroom out there as well as ABC Sydney radio, the idea being that we decentralise out of Ultimo and we connect better with western Sydney, where I think 11 per cent of the Australian population lives. — hearing:2025-02-27/4_abc, Abc, line 132

The ABC announced in June 2021 the intention to relocate around 300 employees from its Ultimo headquarters to new facilities in Parramatta. Approximately 1 in 10 Australians live in Western Sydney, and it is one of the fastest growing corridors in the country. — qon:abc/2025-03-21, ABC, 2025-03-21, p.17

It is disappointing that both the ABC and SBS expanded their presence to Western Sydney instead of Victoria.

so what: The report says Both the ABC and SBS choosing western Sydney over Victoria is a letdown. The source only says Committee members expressed anger that both broadcasters moved toward western Sydney; witnesses gave reasons and did not share the disappointment.

report: §4.3.1 p68

reason: The disappointment expressed belongs to committee questioners (Mulholland, Davis), not to any witness. The summary attributes their view as a neutral finding, and no witness called the western-Sydney expansion "disappointing" in their own voice.

we have got both national broadcasters deciding that western Sydney is where they are going to go at the expense of our multicultural growth areas. I will leave it at that. — hearing:2025-03-12/5_sbs, Sbs, line 151

I think there were cost and industrial implications around moving people. I understand the Committee's interest in the headcount, and I will take that on notice. I would just emphasise that the ABC's impact does go beyond that headcount. (passage unresolved)

The ABC's ability to culturally represent a state goes beyond headcount or office location.

report: §4.3.1 p68

reason: Mark Tapley explicitly stated that the ABC's impact goes beyond headcount and beyond physical presence in cities, matching the claim's subject, scope, and direction faithfully.

I would just emphasise that the ABC's impact does go beyond that headcount. Most of the things that Sacha has been talking about, that working with the independent production sector, we do not make drama in-house, but we are able to use the money and invest it in partnership with local cultural institutions and the independent production sector. So we can have an impact around the country that is beyond just the headcount in the relevant cities. (passage unresolved)

The Committee calls for continued advocacy for the return of a Victorian 7:30 Report.

so what: The report says The Committee formally pushed for the Victorian 7:30 Report to come back.. No held source says this.

report: §4.3.2 p73

reason: The passages show a single committee member (Evan Mulholland) expressing personal disappointment about the loss of the Victorian 7.30 Report and asking if it might return. No formal Committee call or advocacy for its return appears anywhere in the passages.

No state/territory reflects an SBS FTE number proportionate to its share of Australia's population.

so what: The report says No state or territory gets an SBS workforce share matching its population share. No held source says this.

report: §4.4.1 p75

reason: The passages show Victoria has 14% of SBS FTE and NSW has 82%, but no witness or document makes the broader claim that every single state and territory lacks proportionate SBS staffing. That all-jurisdictions assertion is not present anywhere in the passages.

SBS staff distribution doesn't reflect content availability; a large share is in NSW, but services are national and platform-agnostic so all Australians can access SBS content.

report: §4.4.1 p76

reason: O'Neil explicitly said services are national and platform-agnostic, that all Australians benefit wherever content is made, while the record confirms most staff are in NSW. The summary faithfully captures her position and the staffing context.

The other consideration is that our services are national and they are platform agnostic. Wherever our content is produced, all Australians have the benefit of it. We do not produce less content for Victorians, for example, because of our staffing levels. — hearing:2025-03-12/5_sbs, Sbs, line 129

But that is not reflected in your numbers, because 83 per cent of your staff are in Sydney. (passage unresolved)

192 in Victoria (14%) • 1,108 in New South Wales (82%) — qon:sbs/2025-04-10, SBS, 2025-04-10, p.5

SBS's decision to relocate to Western Sydney was determined by funding requirements set by the Federal Government.

so what: The report says SBS chose to go to western Sydney because the government said it had to. The source only says The government made funds available for a western Sydney hub; the board still held the final say on whether to move.

report: §4.4.1 p77

reason: O'Neil confirmed the government set the western-Sydney scope and provided the funding, but also said it was "a decision of the SBS board ultimately whether to move." The summary drops that qualification, overstating government determination and understating SBS board agency.

As part of the resolution of that process, the federal government decided to provide SBS with funding for a production hub in western Sydney. This is not something we can fund ourselves. While it is a decision of the SBS board ultimately whether to move, as the minister noted in her statement in December last year, full relocation is expensive. The available funding to us is for western Sydney. That is a matter for the federal government. — hearing:2025-03-12/5_sbs, Sbs, line 59

Yes. That was the opportunity that was available to us. — hearing:2025-03-12/5_sbs, Sbs, line 142

No, of course not. When the minister provided the report to the board for its consideration, she invited a conversation on other options for an SBS presence in western Sydney, and that was the response to that invitation. — hearing:2025-03-12/5_sbs, Sbs, line 146

The alternative proposal was part of the minister's engagement with the board, and it was in the parameters and in the context of the relocation feasibility study, which was limited to western Sydney. — hearing:2025-03-12/5_sbs, Sbs, line 150

SBS provides significant financial and creative investment to Victoria.

report: §4.4.2 p78

reason: Multiple passages confirm SBS's substantial financial investment (e.g., $55.8m in project budgets, ~20% of external content production budget) and creative engagement in Victoria, directly supporting the claim.

Averaged over the last four years, SBS has committed a substantial proportion – about 20 per cent of external content production budget – in Victoria, and as I noted earlier, in particular we over-index in Victoria in our spend on premium scripted drama productions, which sits at about 34 per cent. — hearing:2025-03-12/5_sbs, Sbs, line 12

Between July 2021 and February 2025, SBS contributed to projects with a total combined budget of $55.8m in Victoria. — submission:42, Sbs, p.6

SBS devotes a significant proportion of its resourcing to Victoria, producing content and engaging with local organisations and diverse communities, in addition to investing in initiatives to support career pathways for under-represented screen creatives. — submission:42, Sbs, p.15

SBS content remains nationally accessible regardless of production location.

report: §4.4.2 p79

reason: Two separate statements by Clare O'Neil directly assert that SBS services are national, platform-agnostic, and enjoyed equally across Australia regardless of where content is produced — matching the claim's subject, scope, and direction precisely.

The other consideration is that our services are national and they are platform agnostic. Wherever our content is produced, all Australians have the benefit of it. We do not produce less content for Victorians, for example, because of our staffing levels. — hearing:2025-03-12/5_sbs, Sbs, line 129

our services are national services and I think the same services are enjoyed by people all over Australia regardless of where that content is made. — hearing:2025-03-12/5_sbs, Sbs, line 162

Between 2020–21 and Jan 2025, the ABC commissioned 75 external projects with the majority of production in Victoria.

report: §4.5.1 p80

reason: The submission and oral evidence both confirm that from 2020/21 to January 2025 the ABC commissioned exactly 75 independent-sector projects with the majority of production taking place in Victoria, matching the claim in subject, scope, number, and direction.

In the period from 2020/21 to January 2025 the ABC commissioned 75 projects with the independent sector where the majority of production has taken place in Victoria. — submission:41, Abc, p.5

Over the last four and a half years the ABC has committed $157 million to 75 projects with the independent production sector, where the majority of production expenditure occurred here in Victoria. — hearing:2025-02-27/4_abc, Abc, line 14

...and produced 52 internal projects with the majority of production in Victoria.

so what: The report says all 52 internal projects had most of their work done in Victoria. The source only says the 52 internal projects were based in Victoria, not described as having majority production there.

report: §4.5.1 p80

reason: The "majority of production" qualifier applies to the 75 external commissions, not the 52 internal projects. The source describes the 52 internal projects as "based in Victoria," a different and broader characterisation than "majority of production in Victoria."

over the same period the ABC invested over $80 million in 52 internal productions based in Victoria, delivering a further 507 hours — hearing:2025-02-27/4_abc, Abc, line 14

over the same period the ABC spent $80 million on 52 internal projects — submission:41, Abc, p.5

they are productions where the majority of activity took place in Victoria. There will be other productions where there was still activity in Victoria, but it was not the majority (passage unresolved)

...demonstrating the ABC's vital role in supporting the state's screen industry.

so what: The report says the ABC plays a vital role in supporting Victoria's screen industry. The source only says the ABC made large financial commitments to film and TV projects in Victoria, helping workers in the creative sector.

report: §4.5.1 p80

reason: The passages support a significant ABC contribution to Victoria's screen production sector, but the claim's framing — "vital role in supporting the state's screen industry" as a standalone verdict — is broader than what any single witness asserted; the evidence covers production investment, not an explicit "vital role" characterisation of the whole screen industry.

Over the last four and a half years the ABC has committed $157 million to 75 projects with the independent production sector, where the majority of production expenditure occurred here in Victoria. These projects have a total production value of over $318 million and represent 319 hours of programming. Additionally, over the same period the ABC invested over $80 million in 52 internal productions based in Victoria, delivering a further 507 hours. — hearing:2025-02-27/4_abc, Abc, line 14

These investments have made a significant contribution to the development of the sector, supporting employment and opportunity for talented Victorian creative workers. — hearing:2025-02-27/4_abc, Abc, line 14

The ABC partners with major Victorian cultural institutions to create educational content and showcase Victorian talent.

report: §4.5.1 p82

reason: The passages directly confirm ABC partnerships with major Victorian cultural institutions (NGV, MSO, ACMI, Melbourne Museum, etc.) for educational content creation and promoting performing arts, matching the claim's subject, scope, and direction.

ABC Education has partnered with the Melbourne Museum, the Melbourne Holocaust Museum, the National Gallery of Victoria, the Hellenic Museum, Sovereign Hill museum, the Bendigo Art Gallery and the Australian Centre for the Moving Image to create content used by teachers and students across the country. — hearing:2025-02-27/4_abc, Abc, line 14

It is part of the ABC's role to encourage the music, dramatic and other performing arts, which we do through connections with cultural institutions like the MSO and the Australian Centre for the Moving Image here in Melbourne. — hearing:2025-02-27/4_abc, Abc, line 14

Through VicScreen internships and Indigenous placements, the ABC develops Victoria's creative and cultural workforce.

so what: The report says ABC programs grow Victoria's creative workforce broadly. No held source says this.

report: §4.5.1 p82

reason: The source confirms both programs exist but they are narrow: two internships for screen creatives and one four-month Indigenous placement. The claim's phrase "Victoria's creative and cultural workforce" implies a broader workforce-development role than the source's two specific, small-scale programs support.

The ABC delivers 16 unique regional local-radio programs in Victoria.

so what: The report says ABC has 16 distinct local radio shows for regional Victoria. The source only says the written ABC submission states 16 unique regional local radio programs in Victoria.

report: §4.5.1 p83

reason: The written submission supports "16 unique regional local radio programs in Victoria," but the claim says "16 unique regional local-radio programs," adding a hyphen that implies only regional-radio programs. The spoken testimony says "nine local radio services." The written submission is the only source matching the number 16, and it is a written submission, not a witness statement. The claim is supported only by the written submission, not by witness testimony, making it partial on attribution scope.

the ABC provides nine local radio services that amongst other things showcase the creative and cultural life of communities across Victoria. — hearing:2025-02-27/4_abc, Abc, line 14

...producing over 112 hours (6,751 minutes) of local content each week.

so what: The report says the ABC produces over 112 hours of local content every week in Victoria. No held source says this.

report: §4.5.1 p83

reason: The source specifies this 112 hours / 6,751 minutes figure applies only to the ABC's 16 regional local radio programs in Victoria, not to all local content. The claim drops "regional local radio" and widens scope to "local content" generally.

...across 9 local radio stations/services.

report: §4.5.1 p83

reason: The ABC witness and written submission both confirm nine local radio services operating across Victoria, matching the summary claim exactly.

the ABC provides nine local radio services that amongst other things showcase the creative and cultural life of communities across Victoria — hearing:2025-02-27/4_abc, Abc, line 14

SBS receives about one-third of the ABC's funding.

report: §4.5.2 p87

reason: Clare O'Neil stated SBS government funding is about one-third of the ABC's, matching the claim exactly.

SBS's government funding is about one-third that of the ABC's, and we make significantly less commissioned scripted drama and commissioned programming generally — hearing:2025-03-12/5_sbs, Sbs, line 12

...which restricts its ability to produce and commission content for and in Victoria.

so what: The report says SBS faces limits that stop it making or buying content for Victoria. No held source says this.

report: §4.5.2 p87

reason: No passage states that SBS is restricted in its ability to produce or commission content for or in Victoria. Witnesses cited budget constraints and staffing decisions, but no one made this specific causal claim about content production or commissioning being restricted.

SBS sustains substantial Melbourne-based operations producing language programs.

report: §4.5.2 p85

reason: The passages confirm SBS has a significant Melbourne office with 192 FTE staff, and that many language programs are entirely staffed and produced out of Victoria, matching the claim's subject, scope, and direction.

Today we have a highly visible presence in Melbourne through our office in Federation Square. Staffing at this location includes a range of team members from news and current affairs, media sales, corporate affairs, human resources, language programs, community activations and technology. Indeed many of our language programs are entirely staffed and produced out of Victoria. — hearing:2025-03-12/5_sbs, Sbs, line 12

SBS is established in Victoria with an office in Melbourne's Federation Square. This highly visible presence in the heart of Melbourne ensures that the community feels connected to SBS as an important and accessible public institution. We have a headcount of 192 FTE employees in Melbourne as of the end of January 2025, which is approximately 14% of SBS's FTE staff. — submission:42, Sbs, p.5

...reaching 3.42 million Victorian viewers monthly (~49% of the Victorian population, OzTAM VOZ).

report: §4.5.2 p85

reason: Both figures appear verbatim in the SBS QoN response, matching subject, scope, direction, and attribution precisely.

SBS's network reaches 3.42 million people every month in Victoria via TV broadcast and its broadcast video on demand service, SBS on Demand. — qon:sbs/2025-04-10, SBS, 2025-04-10, p.8

This translates to 49% of the Victorian population, according to the OzTAM VOZ database. — qon:sbs/2025-04-10, SBS, 2025-04-10, p.9

...while supporting diverse communities through partnerships with VicScreen and local creatives.

so what: The report says both ABC and SBS back varied groups by teaming up with VicScreen and local creatives. The source only says ABC and SBS each have some VicScreen tie-ups focused on screen production and career programs.

report: §4.5.2 p85

reason: Passages confirm VicScreen partnerships and work with local creatives, but the claim's phrase "supporting diverse communities" implies a broader community-support role; the sources focus on screen industry and career development, not community support generally.

SBS partners with VicScreen, Arenamedia and Screen Australia to deliver Originate Features – a dynamic development and production program designed to support and amplify feature film writers and writer/directors from traditionally under-represented backgrounds. — submission:42, Sbs, p.8

SBS deeply engages Victoria's multilingual/multicultural communities by supporting community events and major cultural events.

report: §4.5.2 p87

reason: Multiple passages confirm SBS participates in 21 Victorian community events annually, attends major cultural celebrations like Lunar New Year and NAIDOC Week, and explicitly partners with Victoria's multilingual and multicultural communities around key cultural moments.

We are also present on the ground in communities across Victoria throughout the calendar year for important community and cultural celebrations, including Lunar New Year, NAIDOC Week, Ramadan and Eid al-Fitr, and Diwali/Deepavali. — hearing:2025-03-12/5_sbs, Sbs, line 12

SBS is committed to engaging and inspiring all Australians in the shared project of building a more cohesive and inclusive society. We partner with and have an active presence at local community events regularly across the country. In 2023-24, we supported and participated in 21 events in Victoria, including 19 across Melbourne and 2 in regional towns including Ballarat and Bendigo. — submission:42, Sbs, p.9

SBS partners with Victoria's multilingual and multicultural communities to celebrate and share in key cultural moments and events. — submission:42, Sbs, p.2