Boy Swallows Universe has almost swept the awards, missing out on only one of the categories in which it was nominated. The actors were basically only bested by each other.

It's a demonstration of the domination of streaming services in the Australian drama space: Screen Australia's Drama Report 22-23 has their combined spending at a whopping $186 million, across 19 shows.

But the domination of streamers is not without issues: They have no obligation to make Australian content, or to keep making it. We were meant to see content quotas for streamers from the federal government by July this year, but they've yet to materialise.

And very few dramas on streamers make it beyond a season or two. Like Boy Swallows Universe, they're often adaptations of beloved books, so limited to just one miniseries.

Where's the space for risk-taking, for original Australian screenwriting? And for the development of character, tone, plot, and even an audience over the course of years?

Sometimes, it doesn't even matter if a show finds an international audience: Wellmania topped charts across the world for weeks and still didn't get renewed.

So yes, it's exciting that streamers are making high-quality drama like Boy Swallows Universe, but we want them to have an obligation to invest over a long period of time.

Because without them, what's left? ABC mostly. (To toot our own horn, ABC dropped $43 million on Australian drama in 22-23.  Combined with the SBS, it's a total of $50 million, on 23 shows.)