This submission from a team of screen academics at Griffith Film School and QUT’s Film, Screen, Animation discipline addresses and responds to the Consultation Questions in Options Paper and makes a number of recommendations. The submission is made in the interest of supporting Australian stories on screen, growing the volume of Australian content available across all commercial platforms providing screen content, and ultimately maintaining an innovative, vibrant and robust local screen industry. Our assessment is that a 100% platform neutrality, while desirable, is not entirely workable, and thus we recommend a system that adopts elements from both Model 2 and Model 3A. presented in the Options Paper. We also propose some entirely new approaches to content regulation that we outline in this submission. The key recommendations are: • That the hours-based 55% Australian content quota between 6am and midnight be replaced with an expenditure-based system where commercial broadcasters are required to spend 77% of the overall program expenditure for their FTA channels and BVOD services on Australian content. • The current sub-quota and points system to be replaced with an expenditure-based subcategory system, which includes a new mechanism of ‘weighted’ expenditure credits as a financial incentive for broadcasters to meet and ideally exceed their minimum required subcategory expenditure. • The subcategories would include First Release Adult Drama, Documentary, Children’s Drama, Children’s Other and a new subcategory called Other Culturally Significant. The rationale for these changes and a detailed explanation of how the elements of the proposed new expenditure-based system would work can be found in sections 6 and 6.1 of this submission. • Foxtel would be required to meet minimum subcategory expenditure spread across its Australian channels, see section 6.3. • Subscription Video On Demand (SVOD) providers would be required to meet similar subcategory requirements for investment in Australian content, but based on a percentage of their annual revenue from Australian subscribers rather than on expenditure, see section 6.2. The arguments in favour of these new approaches and a range of other recommendations to better support the local screen industry and maximise the volume of Australian stories we see on screen are presented in the body of the submission below.