Daniel Monaghan Takes the Helm at Foxtel Group
In a bold move signaling Foxtel's unwavering commitment to streaming, Daniel Monaghan has stepped into the role of executive director of entertainment content at the Foxtel Group. Starting just this week, Monaghan brings a wealth of experience from his 14-year tenure at Paramount ANZ, where he shaped programming for Network 10 and launched the Paramount+ platform. In his first media interview since joining, Monaghan expressed a profound dedication to Binge, Foxtel's flagship streaming service, stating, 'I wouldn’t be here without Binge.' This comes at a pivotal time for the company, freshly acquired by global sports streaming giant Dazn, yet firmly positioned to expand its entertainment offerings in Australia.
From Paramount to Foxtel: A Career Pivot
Monaghan's journey in Australian television is storied. He began at Network 10 under the guidance of programming veteran David Mott and climbed the ranks to become senior vice president of content and programming for Paramount Australia and New Zealand. His portfolio boasts high-profile commissions like the gritty drama Last King of the Cross and the satirical Fake, alongside reality juggernauts such as I’m A Celebrity… Get Me Out of Here!, Survivor Australia, and MasterChef Australia. He also revived cult favorites like Big Brother and greenlit comedic hits including The Cheap Seats and Taskmaster Australia.
What drew Monaghan to Foxtel after such a long stint at one network? 'Foxtel excited me,' he told Mumbrella. 'I’ve always admired their commitment to Australian content—their drama slate, their team, and their unscripted shows as well.' The opportunity to join a new team and champion Binge proved irresistible, especially after meetings with Foxtel Group CEO Patrick Delany and Hilary Perchard, who oversees Foxtel, Kayo Sports, and Binge as chief strategy officer.
Monaghan steps into shoes left by Wendy Moore, who departed in 2025. Already, he's immersing himself: analyzing audience data, pitching with producers, and even jetting to the Gold Coast for sessions at the AACTA Festival. His role involves collaborating with Foxtel's channel teams, scripted, and unscripted divisions, all under Perchard's leadership.
Navigating the Dazn Era: Binge's Enduring Role
Foxtel's recent sale to Dazn—pronounced 'Da zone'—raised eyebrows in the industry. As a sports-focused powerhouse, would Dazn pivot away from general entertainment? Monaghan quashes such speculation emphatically. 'Dazn and Foxtel have publicly shared their commitment to Binge, and I wouldn’t have come across if it wasn’t going to be here,' he asserts. Binge, he notes, continues to perform strongly, even after losing HBO content, which has opened doors for fresh acquisitions and original commissions.
The strategy is multifaceted: sustain the existing audience while luring new subscribers and minimizing churn. Monaghan highlights cross-promotion opportunities with Kayo Sports, targeting its sports enthusiasts to dive into Binge's entertainment library. Meanwhile, Foxtel's traditional subscriber base remains robust and loyal, particularly to staples like Selling Houses Australia and lifestyle fare. 'Foxtel subscriber numbers have been really stable in recent times,' Monaghan observes, emphasizing the blend of linear TV and streaming.
Balancing Drama and Unscripted: Content Ambitions
Does Monaghan's arrival herald a shift toward more unscripted content? Not exactly—Foxtel already excels there with shows like The Great Australian Bake Off and the Real Housewives franchise. Instead, he aims to amplify both pillars: drama and unscripted. 'Foxtel has an incredibly strong history in the drama space, and those two things combined is what I came across for,' he says.
Looking ahead, the focus is on commissioning shows that resonate locally while competing globally. In Australia's crowded streaming landscape—dominated by Netflix, Disney+, and Stan—Binge's edge lies in its Australian-centric slate. Monaghan envisions content that not only entertains but fosters long-term loyalty, drawing in casual viewers who 'churn in and out' of services.
The Broader Streaming Landscape in Australia
Monaghan's optimism arrives amid a transformative period for Australian media. Streaming now accounts for over 50% of video consumption Down Under, per recent industry reports, with local content mandates pushing platforms to invest in homegrown stories. Foxtel's hybrid model—blending pay-TV with on-demand—positions it uniquely against pure-play streamers.
Yet challenges persist. The loss of HBO licensing deals means Binge must innovate swiftly. Monaghan is bullish: 'It’s time to find new acquisitions and make new commissions that drive growth.' His track record suggests success; at Paramount, his shows consistently topped charts and sparked social buzz.
Analysts view Monaghan's hire as a stabilizing force post-acquisition. Dazn's sports expertise via Kayo could synergize with Binge's entertainment, creating bundled offerings that appeal to diverse households. For consumers, this means more premium Australian dramas, edge-of-your-seat reality, and perhaps innovative formats blending sports and storytelling.
Industry Implications and Viewer Impact
For producers and creators, Monaghan's door is open. His early meetings signal a proactive commissioning pipeline, prioritizing narratives that reflect Australia's multicultural fabric. Viewers can expect enhanced personalization, leveraging Foxtel's data insights to recommend must-watch content.
As Foxtel evolves under Dazn, Monaghan's passion underscores a key truth: in streaming's gold rush, local flavor is the differentiator. Binge isn't just surviving—it's poised to thrive, one compelling story at a time.
This interview, conducted by James Manning for Mumbrella, offers a glimpse into Foxtel's roadmap. With Monaghan at the creative helm, Australian audiences are in for an exciting ride.
