After 18 years and dozens of acclaimed series, Australia’s most celebrated TV production house goes dark

Universal International Studios Closes Matchbox Pictures After 18 Years

In a development that has sent a wave of grief and alarm through the Australian screen industry, Universal International Studios announced on February 17, 2026 that it is closing Matchbox Pictures — the Sydney-based production company that for nearly two decades served as one of the most productive and internationally recognized homes for Australian drama, comedy, and documentary work. Approximately 60 jobs are expected to be lost. The closure also extends to Tony Ayres Productions, the standalone shingle that Matchbox co-founder Tony Ayres launched in 2018 with backing from Universal. Ayres, who appeared at a Netflix industry event in Sydney on the same day the news broke, announced he is stepping back from producing and returning his focus to screenwriting, with projects currently underway in both the United States and the United Kingdom.

The History of Matchbox

Matchbox Pictures was founded in 2008 by Tony Ayres, Penny Chapman, Helen Bowden, Michael McMahon, and Helen Pankhurst. From its beginning, it positioned itself as a company that could produce Australian content at a level of craft and ambition capable of competing internationally. That vision proved correct. NBCUniversal’s international arm took a majority stake in the company in 2011, signaling the kind of offshore confidence in Australian content that was rare at the time. NBCU acquired the company fully in 2014. Over its 18-year history, Matchbox produced a body of work that includes “The Slap,” which became an international seller handled by DCD Rights and is considered a watershed title for Australian drama distribution. “Stateless,” a co-production starring Cate Blanchett examining Australia’s offshore detention system. “Safe Harbour,” winner of the International Emmy Award. “Secret City.” “Nowhere Boys,” winner of a BAFTA and an International Emmy. “The Survivors,” which was Netflix’s most-watched Australian original in the second half of 2025. “Dog Park,” an ABC comedy series that premiered on February 1, 2026, and had been earmarked for a return season. “House of Gods,” which won Best Actor at Series Mania in 2024. The list is not exhaustive. Matchbox also produced reality and unscripted content and served as the Australian production base for American productions including “La Brea,” “Young Rock,” “Joe vs. Carole,” and “All Her Fault.”

The Industry Responds

Matchbox Managing Director Alastair McKinnon, who led the company through its most recent chapter, said in a statement to Australian trade publication IF: “Matchbox has made an enormous contribution to the Australian film and television landscape with groundbreaking programs that have defined our industry and captivated audiences here and around the world. I’m immensely proud of the achievements of the entire Matchbox team and the quality of work that the company has produced over the past 18 years.” Screen Producers Australia CEO Matthew Deaner offered a pointed tribute: “The closure of Matchbox Pictures marks the end of a remarkable chapter in the modern Australian screen industry. Over nearly two decades, Matchbox helped redefine what Australian television and film could be — ambitious, internationally confident and unapologetically local in voice. Many writers, producers and craftspeople built careers through its productions, and its legacy will continue through the people and projects it nurtured. Matchbox helped demonstrate that Australian stories could resonate far beyond our borders, and that contribution will endure across the industry.”

The Wider Context: A Precarious Industry

The Matchbox closure does not occur in isolation. The Australian production sector has been under sustained pressure from multiple directions. Domestic content production has declined: according to the most recent Screen Australia drama report, local projects going into production dropped from 89 to 71 in the prior year. The closure follows the liquidation of post-production house Cutting Edge, which shut down approximately eight months earlier after a boom in offshore productions — driven in part by international incentives and favorable exchange rates — began to wane. Universal International Studios said in its statement that it “maintains its commitment to Australia” and will “evaluate production opportunities and engage with local producers and talent on a case-by-case basis as new projects emerge.” That framing — case by case rather than through a permanent production banner — represents a significant structural retreat. The company did not provide details on the status of current projects, existing commissions, or its content catalogue. The news arrived on the same day that Australia passed legislation securing local content obligations from streaming services — a hard-won industry victory that now lands in an environment of diminished production capacity. For context on the Australian screen industry’s current challenges and advocacy efforts, Screen Producers Australia publishes ongoing research at Screen Producers Australia. Screen Australia tracks funding, production levels, and policy developments at Screen Australia. Writers and producers affected by the closure can find professional support and connection resources through the Australian Writers’ Guild.