Sometimes I feel like Tube Ray Army gets mired in the continual whinge about Australian television, but I should make it clear that I don't set out to hate on local content.
If anything, it's because I love Australian television, and I want it to be better. I want the networks to make decisions that don't involve throwing millions at shows they know won't work and then canning them after one episode.
The answer seems to be a telemovie: a focus for a budget, the ability to draw in an excellent cast, better music, better costumes... the list goes on.
Telemovies seemed to go out of favour around the turn of the century, and more's the pity, as they - and their slightly longer counterparts, miniseries - have often been where Australian television really comes up with the goods.
Mary Bryant, Blue Murder, Bastard Boys, Changi - if there's one thing our networks used to do very well, it's a miniseries.
Now we can add the wonderful Paper Giants: The Birth Of CLEO to that small pool of televisual brilliance.
Airing in two parts, on Sunday and Monday nights, Paper Giants could have been another "And then this happened, and then this happened, and oh, here's a famous face" historical shopping list, but instead was genuinely compelling.
Ita Buttrose has always been one of my personal heroes - I met her when I was 10 years old and, yes, she lisped at me - and the marvellous Asher Keddie (who seems to get even more improbably great with every role - even Offspring) managed a performance that was a perfect blend of reverence and objectivity.
Likewise, Rob Carlton, previously "that guy" from plenty of meaty supporting roles, shone as the foul-mouthed yet oddly sympathetic Kerry Packer.
Jessica Tovey was terrific, too, as Leslie Carpenter; like that other Summer Bay refugee currently in the news, Tovey always seemed a lot better than her Home & Away material necessarily allowed her to demonstrate.
The contrast between Buttrose's full-steam-ahead office (and magazine) full of can-do women and liberating sex talk, and her more traditional home life as mother and wife, was fascinating.
If there was a weakness to Paper Giants it's that it was over in two episodes, and therein lies the bittersweet quality that has dogged all our best local miniseries.
But perhaps the success of the show - it rated highly, with 1.2m viewers for Sunday night's premiere - might set off a little light switch in the networks' collective brain: Australia's media has a rich history well suited to a 'post-Mad Men' TV climate.
Maybe now someone will take a punt on a historical drama (or comedy) series that isn't Underbelly?
In the meantime, let's celebrate with a song:
I believe, I believe!