There’s a cast of local talent involved in the show, the writers have all worked on other Australian TV productions including Wentworth, The Heights and Red Dog, and Clickbait producer Tom Hoffie produced the whole thing. He decides to swap out the old look and transforms into Reverend Mackenzie Boyd, a decision he ends up liking, as the locals turn to him for guidance and spiritual healing as he continues to stay one step ahead of the bad guys.Īs the official Netflix synopsis reads: “ Irreverent is a redemption story that ultimately celebrates the power of community in a world that needs more of it”. US actor Colin Donnell ( Chicago Med, Arrow), 40, plays a good-looking Chicago mobster involved in a failed bank robbery who goes on the run and ends up in a small Australian coastal town in Far North Queensland to hide out. Photo: Netflix What we’re going to love about Irreverent Sourcing local talent, film crews, set locations and massive Gold Coast studios make production in Queensland a breeze. Reason enough to make entertainment in Queensland. “Not only does their reputation precede them, they work to budget, deliver clear and practical feedback about how to get the greatest visuals on screen, and intuitively problem-solve with a creative edge.” “Choosing Chop Shop Post to manage the visual effects across the series, both on set and in post-production, was an easy decision to make. “Screen Queensland’s PDV financial incentive is a welcome added bonus to a production as large in visual scale as Helium’s Last King of The Cross,” Mr Fennessy said. Helium co-founder and chairman Mark Fennessy says the changes to Queensland’s PDV incentive created a compelling drawcard. Paramount+’s big project is the 10-part series adaptation of the Australian best-selling book, Last King of the Cross – produced by Sydney’s Helium, with post-production by Brisbane facility Chop Shop Post. Some would say Queensland’s prayers have been answered. Not to mention Upright (Season 2) with Tim Minchin and House of the Dragon’s Milly Alcock was filmed in the south east (November 15, Foxtel), with production under way for Boy Swallows Universe and the sequel to Godzilla vs Kong. Streaming giant Netflix was not to be outdone, with its quirky 10-part drama series Irreverent ready to roll out on December 4 after being shot entirely on the Queensland coast and off-shore reefs. Photo: Foxtelįilming started in September on the Gold Coast and South-East Queensland for new action flick Land of Bad, starring Westworld star Luke Hemsworth, his brother Liam Hemsworth and the indefatigable Russell Crowe. “Netflix alone produced four titles in Queensland - Boy Swallows Universe, which is currently in production, Irreverent, A Perfect Pairing and True Spirit.” Milly Alcock and Tim Minchin are back for season two of Upright. “Queensland rode the wave of record-breaking investment in Australian drama by streaming services, with Screen Queensland supporting projects from Netflix, Stan, Disney+, Paramount+, Amazon and more. “Within the first 12 months of the increased incentive, 20 projects were confirmed for Queensland post-production facilities across a variety of services including visual effects, animation, editing and sound – boosting Queensland production expenditure by 270 per cent since 2019–20,” Premier Annastacia Palaszczuk said in a statement. Multiple reasons, but essentially it’s a mix of choice of desert, farming and coastal locations, multiple studio operators, federal government funding and specifically, the state government’s so-called Post, Digital and Visual Effects (PDV) incentive. So what’s the Queensland appeal for a share of that pie? Spend on free-to-air (FTA) TV and broadcast video on demand (BVOD) drama, and children’s drama across TV and VOD platforms also increased from last year.Īll up, Queensland’s screen industry contributed $465 million to the local economy in the past year, including hosting four international productions. There were 162 productions in total with a record spend of $786 million on theatrical (including Furiosa, Better Man and Foe), as well as a record triple spend on Australian subscription TV and subscription video on demand (SVOD). Overall, the data shows an all-time high expenditure on scripted screen production of $2.29 billion, made up of a record spend on Australian titles of $1.51 billion, plus $777 million spent on foreign productions.
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