The domestic ecology of Australian subscription video on demand services 2015 was a banner year for Australian consumers of screen media content, largely because several subscription video on demand (SVOD) platforms launched in the country. The most notable market entrant was the SVOD behemoth Netflix. However, Fairfax Media and Channel Nine-financed local SVOD service Stan also entered the market and existing SVOD service Presto (financed by Foxtel and Seven West Media) began to offer television shows alongside their collection of films in the same year. 1 These market entrants sat alongside ondemand free to air (FTA) content that was being made available on a range of networkcontrolled applications as well as Quickflix, Fetch TV, T-Box and Apple TV (Herd, 2016). Australians who had long struggled with the 'tyranny of digital distance' (Leaver, 2008) suddenly had access to a wealth of on-demand screen content that could be accessed at a comparatively cheap price or-in the case of FTA content-for free. This was a significant shift for a country that had long been colloquially referred to as one of the global leaders in online piracy. For a number of years Australians had been enthusiastically downloading movies and television shows (