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One year after Video Ezy opened its first store in Aotearoa New Zealand, the 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 .

This brings convenience and access to a world of film, TV, news and music. But it also means local content risks being . A recent 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 , 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 . In 2024, nine New Zealand shows .

While that might seem positive, Netflix, YouTube, Facebook, and Instagram each individually . And many global video-on-demand platforms have available for New Zealand audiences to watch.

Local music is also struggling. In 2024, only two national radio stations . Only one local song featured in the .

These figures might suggest New Zealanders aren’t interested in local content – but that isn’t necessarily true. If we compare local media structures to overseas markets, we see major differences in the opportunities for local content to reach audiences.

Unlike other comparable countries, New Zealand lacks government-owned and fully-funded platforms for locally produced content to find local audiences. Where these platforms exist overseas, engagement with local content is higher.

For instance, Norway’s publicly-owned youth station saw in 2023. Australia’s state-funded Triple J has a , and the state-owned, advertising-free ABC iview platform has a

Finding audiences where they are

Announcing his last year, Minister for Arts, Culture and Heritage Paul Goldsmith said it aims to “nurture talent and support a pipeline to provide sustainable career opportunities.”

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 .

Global video sharing platforms such as YouTube, TikTok and Instagram are similarly absent in the proposals, despite their .

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 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.

Dr Jesse Austin-Stewart is a Lecturer in the School of Music and Screen Arts, Dr Catherine Hoad is a Senior Lecturer within the School of Music and Screen Arts, Dr Oli Wilson is the Associate Director Research at Toi Rauwhārangi College of Creative Arts and Dr Dave Carter is an Associate Professor within the School of Music and Screen Arts.

Originally published on