NZ On Air Invests $2.8 Million in Reality TV, Sparking Debate

NZ On Air has allocated nearly $2.8 million to local reality television, with three standout projects receiving significant backing. The first non-fiction funding round for the agency resulted in $1,493,313 awarded to the long-standing comedy panel show 7 Days, along with $1,349,000 for Celebrity Treasure Island and $1,436,911 for The Traitors NZ. This investment comes as the media landscape faces considerable challenges, with NZ On Air asserting that without such support, these shows would likely not see production.

Dr. Rachel Trelease, a senior lecturer at Auckland University of Technology’s Critical Media Studies Department, strongly defends the funding decisions. Trelease, who has a background in reality television both as a scholar and a participant on The Bachelor NZ in 2016, argues that the selected shows reflect New Zealand culture and have the potential for international appeal. “Out of all the reality shows that could have been funded in New Zealand, and we have so many, it does actually make sense for the two shows that have been selected to receive funding,” she states.

Exploring Cultural Relevance through Reality TV

Trelease highlights Celebrity Treasure Island as a unique format that integrates New Zealand’s cultural elements effectively. The show, which will enter its seventh season in 2026, features well-known Kiwis competing in challenges that benefit charities. According to Tara Ward from The Spinoff, the program not only entertains but also prompts conversations around important societal issues such as ageism, sexism, and queer politics, all presented on mainstream television.

“Watching 71-year-old activist Tāmati Iti inspiring young comedian James Mustapic or seeing actor Gaby Solomona support MP Carmel Sepuloni with a traditional Samoan song is culturally significant,” Ward notes. Trelease adds that the show’s portrayal of local languages and interactions with the indigenous iwi contributes to a broader understanding of New Zealand’s identity.

Arts and culture writer Karl Puschmann shared his experience reviewing the previous season of Celebrity Treasure Island. Initially, he approached the show with skepticism, but over time, he appreciated its appeal. “What I really liked about it was how Kiwi it was, and how much of our own stories were coming across,” he explains. Puschmann believes that the $1.4 million investment is justified for a well-crafted program that screens three nights a week for six weeks. He even suggests that NZ On Air’s funding for such productions should be increased to better reflect local stories.

Global Appeal and Market Viability

Regarding The Traitors NZ, Trelease emphasizes its potential for international success, given its structure as a popular format worldwide. The show pits 22 players against each other, where selected “Traitors” must outmaneuver the “Faithful.” Its popularity spans several countries, including Australia, the United States, and Canada, with the BBC One version hosted by Claudia Winkleman attracting millions.

Cameron Harland, the Chief Executive of NZ On Air, acknowledges the shift in funding strategy. He explains that while reality shows have received financial support in the past, the focus on Celebrity Treasure Island and The Traitors NZ reflects changing audience preferences and declining advertising revenue in traditional media. “We could see this coming with our local platforms continuing to face declining advertising revenue,” Harland states.

The agency’s decision to open this year’s non-fiction funding rounds to reality series aims to address market gaps, ensuring that audience engagement remains a priority. Harland emphasizes the importance of considering various factors, including production size and employment opportunities, in the application process.

As NZ On Air navigates the evolving landscape of media consumption, the investment in reality television may serve as a crucial pivot point, not only for funding but also for fostering a deeper connection with New Zealand’s cultural narratives.