Ted Sarandos - the man who decides what 81 million Netflix subscribers get to watch - is often pestered about an Aussie detective.
"I have friends constantly asking me about Miss Fisher's Murder Mysteries; when the next season is coming," says Sarandos, chief content officer of the streaming giant. (Netflix has exclusive rights to the ABC series in several countries.)
By the end of this year, Netflix will have spent $6 billion on original programming: House of Cards, Orange is the New Black, Making a Murderer and much more. This makes Sarandos - who began scrutinising customer habits as a teenage video store clerk - one of the most powerful programmers on the planet. And he would love to commission original Australian content for his global audience. 
"Absolutely," he says, when asked if local TV and filmmakers would find a welcoming ear for their pitches.
"Australia has such a rich production infrastructure and great talent, both in front of, and behind, the camera. There's no reason we would not [commission] original shows for Australia."
Rival streaming service Stan* has already spent big on Australian programming. Its acclaimed Wolf Creek series broke viewing records and drove a "huge lift" in subscriptions, says content chief Nick Forward. A new season of comedy No Activity will debut later this year, and Stan will shoot its first feature film, The Second.
Presto achieved its best one-day results with an exclusive Home and Away special, and has commissioned two more. Its Australian short series Let's Talk About is also popular.
In a report supplied exclusively to Fairfax Media, leading research company Roy Morgan estimates that Netflix is now in 1.88 million Australian homes - reaching 5 million Australians aged 14 or older. Stan reaches 900,000 potential viewers across 332,000 subscribing homes, while Presto's potential viewership exceeds 350,000 people across 142,000 households.
A Stan spokeswoman claims the service has more than 1.3 million active users in 500,000 homes. Netflix and Presto do not divulge subscriber numbers, but a Presto spokesman claims its performance is "on par" with Stan's. (Audience estimates vary because Roy Morgan and each streaming service uses different measurements.)
As streaming grows, traditional TV declines. This week, OzTam reported that Australians watch an average of 85 hours of broadcast or subscription television each month - down from almost 100 hours in 2012. Still, most of us, most days, watch some free-to-air.
Of the 50 highest-rating broadcasts on Australian television last year, all were local. Stan and Presto say they're hungry for more Australian content, and have several fresh projects in development. But Sarandos insists there is still enormous demand for international drama - when viewers get it the way they want.
"In the UK, Breaking Bad was cancelled in its second year. We picked it up as an original show in the UK, and it transformed our business."
Netflix went on to create its own bold, intelligent series, sparking a surge in subscriptions.
At first, nearly all were American. This year, the company will deliver series from France, Italy, Spain, Brazil, Germany and Mexico. Each will be subtitled for international audiences: Netflix demands every show draw viewers outside its home country.
Australian dramas such as Rake, and films including Holding the Man (both exclusive to Netflix in many countries) are doing especially well. Local actors also benefit from its global platform. Sydney's Yael Stone plays Lorna Morello, a major character in Orange is the New Black, one of its most-watched programs, and Melbourne-born Ben Mendelsohn stars in Bloodline. "Chalk up another forceful punch [for Netflix]," said The Hollywood Reporter in its review of the thriller series.
Another good example is Foxtel's acclaimed prison series Wentworth. Americans do not consider it an "Aussie" program, Sarandos explains, just a great drama: "It's a huge show, a big success for us everywhere."
Indeed, Wentworth typifies what he wants to commission in Australia - regardless of genre. "Really interesting stories filled with very rich characters; people they want to spend a lot of time with. That really drives it."
*Stan is a joint venture of the Nine Entertainment Company and Fairfax Media, owner of this masthead.