NZ’s Broadcasting Act is as old as Video Ezy. We need media reform for the streaming age
- Written by: Jesse Austin-Stewart, Lecturer, School of Music and Screen Arts, Te Kunenga ki Pūrehuroa – Massey University
One year after Video Ezy opened its first store in Aotearoa New Zealand, the Broadcasting Act 1989 was introduced. It established frameworks and funding for local content that largely still exist.
But in 2025, New Zealanders’ viewing and listening habits are radically different. We’ve shifted from local broadcasters to international streaming and online media services. Video and music streaming platforms now reach more people than local TV and radio.
This brings convenience and access to a world of film, TV, news, and music. But it also means local content risks being swamped on its own shores. A recent discussion document from Manatū Taonga/Ministry for Culture and Heritage is the latest attempt to address the problem.
Among the suggested changes to local content funding, promotion, and distribution are:
requiring newly manufactured smart TVs to pre-install New Zealand apps
the merger of NZ On Air with the NZ Film Commission
changes to the Broadcast Standards Authority
increased captioning and audio description
and requiring local and global media providers to invest in and promote New Zealand content.
Some of these are welcome – and long overdue. But broader media reform must also take this opportunity to create future-proofed policy; one that’s responsive to where local audiences are consuming content, and which supports the media sector to adapt to a rapidly changing landscape.
Why local content struggles
New Zealand media, already hit by wider platform choice and the movement of advertising revenue offshore, has experienced deep job cuts, including at state-owned TVNZ, and the complete closure of Newshub.
As audiences migrate towards online streaming services, TVNZ’s digital platform TVNZ+ now has a daily reach of 26% of local audiences. In 2024, nine New Zealand shows featured in its top 20 most watched.
The strategy also speaks of “modernising and streamlining government regulation to enable our cultural sectors to thrive”.
But there are significant omissions in the latest discussion document. Video gaming, for example, is largely missing from the proposals, although research suggests the industry could represent up to 44% of global consumer entertainment spending by 2040.
Global video sharing platforms such as YouTube, TikTok and Instagram are similarly absent in the proposals, despite their 81% daily reach among Aotearoa New Zealand’s 15-39 age bracket.
Addressing those omissions and strategically embracing new opportunities offers a chance to support local producers in two key ways: enhancing the global presence of New Zealand content, and ensuring local audiences see themselves in the media they enjoy.
This would require an ambitious rethink around media infrastructure and investments, focused on what can have the biggest impact long term. This might include:
investing in a fully-funded youth radio station
changing the revenue structure of TVNZ to be primarily state funded
legislating global video sharing platforms like YouTube and TikTok to promote New Zealand content
or developing a progressive, industry-informed video game policy.
It’s vital that any proposed policy changes are fit for purpose and adaptable for years to come.
Past attempts at media reform in Aotearoa New Zealand have often been reactive to changing environments, rather than proactive. But there’s an opportunity now to consider more meaningful changes, addressing current challenges while looking to the future.
Authors: Jesse Austin-Stewart, Lecturer, School of Music and Screen Arts, Te Kunenga ki Pūrehuroa – Massey University
