In what could become one of the most seismic moments in Australian television history, Channel Seven’s flagship soap opera Home and Away faces an unprecedented crisis

as its writers confront the network in a high-stakes legal and industrial battle. The Australian Writers’ Guild (AWG) has launched a determined campaign to hold

Seven Productions accountable over decades of allegedly unpaid superannuation entitlements, with growing whispers of a looming writers’ strike that could bring production to a grinding halt.

The Spark of a Brewing Storm

For many years, the talented writers behind Home and Away — the very architects of the show’s gripping storylines and beloved characters — have worked under contracts that, according to a landmark ruling by the Australian Tax Office (ATO), classify them as employees rather than independent contractors. This classification carries significant implications: under the Superannuation Guarantee (Administration) Act, these writers are entitled to superannuation payments, a right that, until now, Seven Productions has allegedly denied.

The ATO’s ruling last December clarified that film and television writers engaged by production companies to produce original scripts perform services as employees. This means they are legally owed superannuation entitlements that should have been paid for years — potentially amounting to millions of dollars in back payments.

Writers’ Voices: Frustration and Resolve

Multiple insiders have revealed that many Home and Away writers feel they have been treated unfairly, with one expressing outrage, “We should all stop letting Seven treat us like s*** and threaten to go on strike.” This blunt sentiment reflects a simmering frustration that has been growing quietly behind the scenes.

An anonymous source close to the production revealed to Daily Mail that despite knowing the legal obligations for man years, Seven has refused to acknowledge the writers’ superannuation rights. “Network Seven has claimed there’s no legal basis, despite clear mandates in the Superannuation Guarantee Act,” the source said.

While there are anecdotes suggesting that superannuation was paid to writers in the distant past, it appears no Home and Away writer has received such payments in nearly two decades. This situation is echoed by writers on other major Australian dramas, such as Neighbours, produced by Fremantle Australia, which recently ceased production after its final episodes air later this year.

The Freelancer Dilemma and Fear of Reprisal

One of the challenges compounding this dispute is the precarious employment status of many writers. Though many have dedicated over a decade to Home and Away, most are officially freelancers. This status makes speaking out against the network fraught with risk, as there is widespread fear among writers that challenging Seven could jeopardize their livelihoods.

“The writers are too frightened to speak out over this issue—and other concerns—because they worry they won’t be rehired,” the source explained. This fear has kept much of the discontent simmering beneath the surface, but recent developments have brought the dispute into the public eye.

The Industry Context: An Uneven Playing Field

Superannuation payments are not standard across all Australian television production companies. Some independent production houses, such as Matchbox Pictures, are known to consistently pay superannuation to their writing staff. “It can be potluck,” the insider said, “with who pays it and who doesn’t.”

This uneven landscape has only deepened the frustration among Home and Away’s creative team, who feel their decades of service and creative input have been undervalued by the network.

Legal and Industrial Battle Lines Drawn

The AWG has made its position clear: writers engaged to write scripts are entitled to superannuation under Australian law. The Guild’s statement emphasizes that when a contract is “wholly or principally for the labour of the person,” the writer is legally an employee, not merely a supplier of a finished product.

This means that writers performing services related to the making of television or film must be treated as employees for superannuation purposes. The recent ATO ruling reinforces this interpretation, distinguishing writers hired to produce original scripts from those who simply sell completed scripts as intellectual property.

Despite this clarity, Screen Producers Australia—the industry body representing major production companies like Fremantle and Endemol Shine, though notably not Seven Productions—has maintained a more cautious stance. It argues that some writers are commissioned for copyright use rather than employment services, muddying the waters.

Potential Strike and Legal Action on the Horizon

With tensions escalating, the AWG has not ruled out drastic measures, including a class action lawsuit or a full-scale strike. While the Guild acknowledges that a strike could inflict financial hardship on its members, it is seen by some writers as a necessary step to force Channel Seven’s hand.

Industry observers are watching closely as the situation mirrors the turmoil seen overseas in 2023, when the Writers Guild of America waged a 148-day strike against the Alliance of Motion Picture and Television Producers. That high-profile dispute centered on issues like residuals from streaming platforms and the use of AI in writing, leading to the most significant disruption to American film and television since the COVID-19 pandemic.

Australian writers may soon follow suit in demanding fair treatment and recognition of their rights.

High-Profile Legal Challenges Emerge

Adding fuel to the fire, veteran Home and Away scriptwriter Fiona Bozic recently filed a statement with the Federal Court alleging breach of protections against unfair treatment. Bozic, who has contributed to the show for over 20 years and also wrote for Neighbours, is pursuing legal action with the support of workplace legal consultants.

Bozic’s extensive role as script producer and writer involved shaping complex storylines addressing sensitive themes such as domestic violence and mental health trauma—storylines that have resonated powerfully with audiences.

When approached for comment, Bozic declined to discuss her case, while Seven declined to comment, citing ongoing legal proceedings.

What Does This Mean for Home and Away?

Should the dispute escalate to a strike or prolonged legal battle, Home and Away—Australia’s longest-running soap opera—could face severe disruptions. Production delays or shutdowns would not only affect the network but also hundreds of cast, crew, and behind-the-scenes workers whose livelihoods depend on the show.

For viewers, it could mean a halt in new episodes and an uncertain future for a series that has been a cornerstone of Australian television since 1988.

Looking Ahead: The Industry at a Crossroads

This conflict has exposed deeper systemic issues within the Australian screen industry regarding fair remuneration and employment rights for creative talent. The outcome could set an important precedent for how writers and other creatives are treated across the country’s burgeoning film and television sectors.

As Channel Seven and the AWG seek legal counsel and negotiations continue behind closed doors, the industry—and the public—await a resolution that respects the contributions of those who bring beloved stories like Home and Away to life.

In Summary

The looming Home and Away writers’ dispute with Channel Seven is more than a contractual disagreement—it is a fight for recognition, respect, and fairness for the creative talent at the heart of Australia’s television industry. With a potential strike on the horizon and high-profile legal battles underway, the stakes have never been higher.

For now, the nation watches and waits, hoping this beloved institution can weather the storm without losing the voices that have shaped it for generations.