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New Zealand Media and Entertainment (abbreviated NZME) is a New Zealand newspaper, radio and digital media business. It was launched in 2014 as the merger of APN New Zealand (a division of APN News & Media), the Radio Network (formerly part of the Australian Radio Network) and GrabOne, one of New Zealand's biggest ecommerce websites.

Key Information

NZME brands include flagship national newspaper The New Zealand Herald, and regional newspapers Bay of Plenty Times, Rotorua Daily Post, Hawke's Bay Today, Northern Advocate and Gisborne Herald. Its radio division operates multiple networks, including the country's largest commercial station Newstalk ZB, The Hits, ZM, Radio Hauraki, Flava, Coast, and Gold. The company owns the New Zealand rights to the iHeartRadio service.[3][4][5] It also owns the Tauranga-based SunMedia company.[6]

History

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Formation

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NZME was formed in September 2014 through the merger of the New Zealand division of APN News & Media, APN New Zealand, The Radio Network, part of the Australian Radio Network,[7] and GrabOne, one of New Zealand's largest ecommerce websites.[8] The launch of the business fuelled speculation APN News and Media could be planning to fully separate its New Zealand operations, or issue an initial public offering for up to 60 percent of its New Zealand assets on the NZX. Fairfax Media declined to confirm speculation in The Australian Financial Review that it could buy some or all of those assets.[9][10][11]

In June 2016, APN News & Media completed the demerger of NZME, and NZME was listed on the New Zealand Exchange on 27 June 2016.[12][13][14]

Attempted acquisition of Stuff

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In 2016, NZME and Stuff Ltd. proposed merging their operations in New Zealand, with Stuff's Australian parent company Fairfax Media receiving a 41% stake in the combine business plus $55 million cash. On 2 May 2017, the Commerce Commission declined to approve the proposed merger. The two companies appealed the Commissions' decision at the Wellington High Court, which upheld the commission's decision on 18 December 2017. In June 2018, the companies appealed the commission's decision at the New Zealand Court of Appeal, which rejected their merger bid on 25 September 2018.[15][16] In October 2018, NZME and Stuff abandoned their first merger attempt.[17]

In November 2019, NZME confirmed that it had entered into negotiations with Stuff's new Australian owners, Nine Entertainment, to purchase Stuff. As part of the second merger proposal, NZME proposed a "Kiwishare" arrangement that would ringfence Stuff's editorial operations and protect local journalism.[18][19]

On 11 May 2020, NZME made a second attempt to purchase Stuff for NZ$1 under the pretext of saving jobs during the pandemic. In response, Nine Entertainment terminated further negotiations with NZME.[20][21][22] In response, NZME filed an emergency injunction at the Auckland High Court to force Nine Entertainment back into negotiations.[23] On 19 May, the Auckland High Court ruled against NZME's bid for an interim injunction against Nine Entertainment.[24][25] On 25 May, Nine Entertainment sold Stuff to Stuff CEO Sinead Boucher.[26]

2020s job cuts

[edit]

On 14 April 2020, NZME announced that they were making 15% of their workforce redundant (a loss of roughly 200 jobs) as a result of the economic fallout caused by the coronavirus pandemic.[27][28]

In early June 2024, NZME proposed cutting 10 to 12 regional and community vacant roles across the country in order to reinvest in new regional roles.[29]

In November 2024, NZME announced plans to eliminate 30 jobs and close 14 community newspapers, including Hauraki-Coromandel Post, Katikati Advertiser, Te Puke Times, Taupō & Tūrangi Herald, Napier Courier, Hastings Leader, CHB Mail, Stratford Press, Bush Telegraph, Whanganui Midweek, Manawatū Guardian, Horowhenua Chronicle and Kāpiti News.[30][31]

In January 2025, NZME announced plans to eliminate 14 reporting and 24 production jobs as part of a restructuring process. These restructuring measures included merging news desks, producing fewer but more focused stories and developing a specialist print team.[32] On 20 February, NZME confirmed plans to layoff several senior reporters and create a new Free ad-supported streaming television (FAST) channel. Notable staff members affected by the restructuring include political editor Claire Trevett, deputy business editor Grant Bradley, senior sports reporter Chris Rattue, science reporter Jamie Morton, investigative journalist Nicholas Jones, reporter Kirsty Wynn and social media head Mitch Powell.[33] In late February 2025, NZME reported a net loss of NZ$16 million for the 2024 financial year after taking a non-cash write-down of NZ$24 million on its publishing assets.[34]

2024 acquisitions

[edit]

On 5 March 2024, NZME acquired the Tauranga–based regional media company SunMedia for an undisclosed confidential sum. SunMedia was founded by Claire and Brian Rogers in 2001 and owned the SunLive website, the Weekend Sun, Coast & Country News and New Farm Dairies publications.[6] On 12 March, the company acquired the Gisborne Herald and its website from the Muir family. NZME previously owned a 49% minority stake in the Gisborne Herald through the former New Zealand Herald publisher Wilson and Horton Ltd in 1987.[5]

Use of artificial intelligence

[edit]

In early August 2024, NZME admitted that it had used artificial intelligence to create editorials that appeared in the Weekend Herald and other publications as well as an editorial on MMA boxer Israel Adesanya. Following criticism, NZME's editor-in-chief Murray Kirkness stated that AI "was used in a way that fell short of its standards and more journalistic rigour would have been beneficial".[35]

2025 leadership changes

[edit]

On 3 March 2025, Canadian private equity billionaire Jim Grenon, the founder of TOM Capital, acquired a 9.3 percent stake in NZME.[36] Grenon owns the alternative media publications The Centrist and NZ News Essentials (NZNE).[36][37] On 6 March, Grenon wrote to NZME proposing to remove all the directors from the board and to replace them with new directors, including himself.[38] On 21 March, NZME said that it had been in talks with Stuff since late 2024 to purchase several of its Wellington and South Island newspapers to try to boost its OneRoof business revenue and audience. However, these talks had been paused due to Grenon's takeover bid.[39]

On 26 March, Grenon said that he was willing to compromise to appease shareholders opposing his plans, including appointing NZME CEO Michael Boggs to the company's new board, as long as Grenon himself became chair. Grenon had also nominated Des Gittings, Philip Crump, and Simon West as the three other new directors.[40]

In early May 2025, former National Party MP and cabinet minister Steven Joyce was nominated to become a director and expressed willingness to replace Barbara Chapman as chair, ahead of NZME's annual shareholders meeting scheduled for 3 June 2025.[41] On 2 June, Joyce succeeded Chapman as chair of NZME during a board meeting. Grenon was also appointed as the company's director during that same meeting.[1]

Publishing

[edit]

The publishing division of NZME reaches an estimated 2.1 million people each week by print, desktop computer and mobile. It includes national New Zealand Herald titles, six other daily newspapers, 23 non-daily newspapers and over 20 websites, mobile sites and apps.[42]

New Zealand Herald

[edit]

The New Zealand Herald is the flagship title of NZME and is the daily newspaper of Auckland. It has the largest circulation of any newspaper in New Zealand, peaking at over 200,000 copies in 2006, with numbers down to 162,181 by December 2012.[43] Auckland is its main delivery area, but it is also delivered to much of the north of the North Island including Northland, Waikato and King Country.[44]

The Herald's main book publications include New Zealand Herald, Weekend Herald and Herald on Sunday. Its supplements include Be Well on Monday, Travel on Tuesday, Viva, Driven and Herald Homes on Wednesday, TimeOut on Thursday, Canvas on Saturday, and Spy on Sunday.[45]

Regional newspapers

[edit]

NZME's flagship daily regional papers include The Northern Advocate, Bay of Plenty Times, Rotorua Daily Post, Hawke's Bay Today and the Whanganui Chronicle – New Zealand's oldest newspaper, founded in 1856.[46]

The company also publishes multiple weekly community papers, such as the Bay News, Katikati Advertiser, Te Puke Times, Coastal News, Waihi Leader, Hamilton News, Country News, Taupo & Turangi Weekender, Manawatū Guardian, Whanganui Midweek, and Horowhenua Chronicle[47]

In March 2024, NZME acquired SunMedia and its assets including the SunLive website, the Weekend Sun, Coast & Country News and New Farm Dairies publications.[6] That same month, the company acquired full ownership of the Gisborne Herald and its website.[5]

Joint publications

[edit]

NZME co-owns the Chinese New Zealand Herald. In 2019, it was reported that the website and content of the Chinese New Zealand Herald is under the operational and editorial control of the state-run China News Service, controlled by Chinese Communist Party's United Front Work Department and subject to state censorship and government propaganda.[48]

In late June 2023, NZME partnered with Australian media company Are Media to launch an online digital exclusive version of the New Zealand Listener. The website is hosted on The New Zealand Herald's website.[49]

Radio

[edit]
Radio Network House in Christchurch was imploded on 5 August 2012

NZME Radio began as The Radio Network in 1996 when the commercial radio activities of Radio New Zealand were divested by the fourth National government as part of the Ruthanasia free market economic policies of that government.[50] Radio New Zealand Commercial, which included talk networks Newstalk ZB and Radio Sport and music networks Classic Hits and ZM, became privately owned and was renamed The Radio Network. In 2014, it became part of NZME and was rebranded again as NZME Radio.

The majority of the programming on stations is networked from the main studios on Graham Street in Auckland Central. However, Newstalk ZB run local programmes in Wellington, Nelson, Christchurch and Dunedin. The Hits run local breakfast and morning programmes. Auckland station Mix 98.2 was relaunched in 2014, based on stations previously known as Radio i, Easy Listening i, Viva and Easy Mix, later being rebranded in 2020 as Gold. Privately owned Gore station Hokonui Gold is operated by NZME under a long-term lease contract.

History

[edit]

Publicly owned Radio New Zealand Commercial became privately owned The Radio Network in 1996, and later that year it also purchased Prospect Media Limited and its eleven Auckland and Hamilton stations. The brands of Auckland's Radio Hauraki and Easy Listening i were retained and launched as nationwide networks, while Hamilton's Easy Listening i, Auckland's The Breeze on 91, Hamilton's The Breeze on 89.8 and the other stations were converted to the former Radio New Zealand brands.

The company was bought out by a syndicate that included United States radio company Clear Channel Communications and publisher Wilson & Horton. Wilson & Horton was then purchased by Ireland-based media conglomerate Independent News & Media, and on-sold to Independent's Australian subsidiary APN. The Radio Network became an APN and Clear Channel networked commercial radio joint venture, like the Australian Radio Network already was, and as a result The Radio Network became part of the Australian Radio Network.

Radio Network House in Christchurch was damaged in the February 2011 Christchurch earthquake beyond repair. The building became infamous for being the first New Zealand demolition by implosion in August 2012.[51] The implosion was conducted by US specialists and went without problems, providing reassurance for contractors planning to carry out similar operations.

Community Radio Network

[edit]

The Radio Network previously ran a group of provincial radio stations known as the Community Radio Network. Established in June 1998, the network retained the local names and live breakfast shows of each station but began broadcasting a network feed from Taupō for other times of the day. The line-up included Mark Bramley (10a – 2p), Aaron Gillions, Scott Armstrong and Brian Gentill (2p – 7p), and Peter Gosney, Corey K and Duncan Allen (7p – 12a). Other voices heard on the network included Geoff Bargas, Rebecca Ali, Nadine Christiansen, Sarah McMullan, Chris Auer, Marke Dickson and Paul Frost.

On 1 December 2000 CRN stations joined the Classic Hits programme fed from Cook Street Auckland, also operated by TRN. Where the station had both an FM and AM frequency the FM frequency was usually used to broadcast a localised version of Classic Hits while the AM frequency was used to broadcast Newstalk ZB. Two stations, Radio Waitomo 1ZW and King Country Radio closed down. Classic Hits was rebranded as The Hits in April 2014. Stations continuing to operate as The Hits include Tokoroa's Radio Forestland, Taupō's Lakeland FM, Gisborne's 2ZG, Masterton's Radio Wairarapa and Wanganui's River City FM. It also included South Island stations Radio Marlborough in Blenheim, Scenicland FM on the West Coast, 3ZE in Ashburton, Radio Caroline in Timaru and Radio Waitaki in Oamaru.

Current networks

[edit]

The NZME radio networks are the result of the re-branding of the Community Radio Network and several further years of brand consolidation. In 2004, Cool Blue 96.1FM in Auckland became the first Flava station and Jammin' Oldies in Hawke's Bay became the first Coast station. Original stations of The Breeze in Auckland and Hamilton, 2QQ in Palmerston North and The Planet 97FM in Nelson became ZM. Classic Rock 96FM in Hawke's Bay was replaced with Radio Hauraki. The station once known as Easy Listening i has subsequently been rebranded as Viva FM, Easy Mix, Mix 98.2 and now Gold (on 105.4FM, replaced by iHeart Country).

In 2014, the entire Classic Hits network was rebranded as The Hits. Newstalk ZB and The Hits now reach 25 markets, and ZM and Gold AM reach 19 markets. Radio Hauraki reaches 16, Coast reaches 12, and Flava reaches 8.[52]

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

New Zealand Media and Entertainment

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from Grokipedia
New Zealand Media and Entertainment (NZME) is an integrated media company headquartered in , , specializing in newspapers, , and digital platforms. It was established in 2014 via the merger of APN News & Media's New Zealand division, which traced its roots to publications dating back to 1863, and The , a of the Australian Radio Network. NZME's portfolio includes the national daily New Zealand Herald, regional titles such as the Bay of Plenty Times and Waikato Times, and radio brands like and ZM, collectively reaching about 3.6 million monthly across print, audio, and online channels, or roughly 90% of the adult population. The company has pursued expansion through mergers to consolidate its position in a contracting traditional media landscape, notably attempting to acquire rival Fairfax New Zealand (owner of Stuff.co.nz and other titles) in 2016-2017, a deal that would have controlled nearly 90% of the market but was blocked by the Commerce Commission over concerns for media diversity and . NZME revived merger overtures in 2018-2019 and offered to buy Stuff for NZ$1 in 2020 amid the latter's financial distress, but these efforts also failed amid regulatory and ownership resistance. In recent years, NZME has focused on and cost efficiencies, including job reductions, while achieving share price outperformance relative to Australasian media peers over the past five years. A defining recent controversy involves activist investor Jim Grenon, a Canadian who acquired nearly 10% of NZME shares by early 2025 and campaigned for board changes, prompting concerns from directors about potential on editorial decisions and sparking a protracted proxy battle that delayed the annual . NZME ultimately repelled the bid through legal and restructuring expenditures running into millions, while reinforcing governance amid broader industry pressures from digital disruption and declining ad revenues. These events highlight ongoing tensions in New Zealand's media sector between consolidation for viability and preserving independent journalism.

Company Background

Formation and Corporate Evolution

New Zealand Media and Entertainment (NZME) traces its corporate origins to Wilson & Horton Limited, which had operated as the publisher of the New Zealand Herald since the late before undergoing significant ownership changes in the . In December 2001, APN News & Media acquired full ownership of Wilson & Horton from Independent News & Media for A$809 million in cash, integrating it into APN's New Zealand operations alongside radio assets such as The Radio Network. This acquisition consolidated APN's control over key publishing titles including the NZ Herald and regional newspapers, as well as a growing radio portfolio, forming the foundation for a multi-platform media presence in . The formal formation of NZME occurred in 2014 through an internal restructuring and merger of APN's New Zealand publishing division—still operating under the Wilson & Horton name—and its radio businesses, including full acquisition of the remaining 50% stake in Clear Channel Independent Radio for complete ownership of stations like . This integration, announced as part of APN's strategy to streamline its Australasian assets, rebranded the entity as NZME to reflect its combined publishing, audio, and emerging digital operations, with Wilson & Horton Ltd officially renamed NZME Limited. The move positioned NZME as an integrated media company, emphasizing synergies between print, broadcast, and online platforms amid declining traditional revenue models. Corporate evolution accelerated with APN's of its business in 2016, approved by shareholders on June 15 and implemented on June 29, distributing one NZME share for each APN share held. This separation established NZME as an independent, on the NZX and ASX, free from APN's Australian-focused operations, with initial reflecting its core assets in newspapers, radio stations, and digital properties. Post-demerger, NZME focused on and cost efficiencies, though it faced challenges from industry-wide shifts toward online .

Core Business Model and Revenue Streams

NZME employs an integrated multi-platform media that leverages content production in , , and to drive audience engagement across print publications, , digital websites, apps, and specialized platforms like OneRoof for real estate. This model prioritizes audience scale—reaching over 3 million unique users monthly in recent years—to attract advertisers while transitioning from print-centric operations to digital-first strategies, including subscriptions and data-driven . The company's operations are structured into three primary segments: , which handles metropolitan and regional newspapers alongside digital news portals such as nzherald.co.nz; Audio, encompassing terrestrial radio stations (e.g., , ZM), digital streaming via , and podcasts; and OneRoof, a digital property listings and insights platform. generation relies heavily on advertising, which forms the core monetization mechanism, supplemented by circulation fees, digital subscriptions, and ancillary services like and external printing. In , digital channels accounted for 31% of total , reflecting ongoing diversification amid print declines. For the ended December 31, 2024, ME generated total of $345.92 million, a 1.52% increase year-over-year. The segment contributed approximately $200.32 million, primarily from in print and digital formats alongside subscription growth; Audio delivered $116.28 million, supported by stable radio ad revenues despite a 6% market contraction and rising at $10.8 million (up 32%); OneRoof added $27.16 million through listings and premium features. Digital subscription specifically rose 10% to $22.6 million, driven by premium news access, while revenues increased 67% year-on-year, underscoring the shift toward high-margin streams. overall remains dominant, with digital showing resilience (e.g., 26% growth to $56.1 million in 2021 as a benchmark for trends), though total operating faced pressures from closures.

Ownership and Shareholder Structure

NZME Limited, known as New Zealand Media and Entertainment, is a publicly listed company on the New Zealand Exchange (NZX) Main Board and the Australian Securities Exchange (ASX) under the ticker symbol NZM, having listed in June 2016 following its formation from the 2014 merger of APN New Zealand and The Radio Network. The ownership structure is dispersed, with no single entity holding a , reflecting a typical profile for a mid-cap media stock traded across exchanges. This dispersion has enabled activist interventions, such as substantial shareholder James Grenon's board nomination and appointment in April 2025 alongside as chair, amid efforts to address operational challenges. Institutional investors collectively hold around 45% of NZME's shares, exerting significant influence through diversified funds and asset managers, while the remainder is split among individual investors, nominees, and other entities. data from substantial holder disclosures reveal concentrated stakes among a few key players, updated via regulatory filings to the NZX and ASX. As of September 2025, Canadian investor James Grenon held just under 18% after incremental increases, positioning him as a pivotal voice in . The following table summarizes major beneficial shareholders based on mid-2025 disclosures:
ShareholderOwnership PercentageShares Held
Spheria Asset Management Pty Ltd19%35,702,300
James Grenon18.46%34,694,802
Pinnacle Investment Management Group9.7%18,234,168
Osmium Partners, LLC~6.5%Not specified
Registered holdings, often custodians for beneficial owners, show Citicorp Nominees Pty Limited as the top entity with 19.68% as of February 2025, followed by Custodians Limited at 8.92% and Custody Nominees () Limited at 8.69%. These nominee structures obscure ultimate beneficiaries but comply with disclosure rules requiring notices for stakes exceeding 5%. No foreign government or state-linked entities appear among top holders, contrasting with concentrated media ownership patterns elsewhere.

Historical Milestones

Pre-Merger Developments (Pre-2014)

Wilson & Horton Limited, a key predecessor to New Zealand Media and Entertainment (NZME), was established in 1876 through a partnership between the Wilson brothers—publishers of the New Zealand Herald (founded in 1863)—and Alfred George Horton, owner of the Daily Southern Cross. This union produced the New Zealand Herald and Daily Southern Cross, which shortened its name to the New Zealand Herald by 1879 and expanded to include regional titles and the Auckland Weekly News. The firm operated as a family-dominated enterprise, incorporating as a public company in 1925 while the Wilson and Horton families retained majority shares and board control until the late 20th century. By the 1990s, Independent News & Media (INM), an Irish conglomerate, acquired majority ownership, shifting management toward international media strategies amid rising competition from free newspapers and early digital platforms. APN News & Media, an Australian-based group, entered New Zealand's media landscape primarily through via The Radio Network (TRN), established in but expanded under APN's influence from the onward following of the sector. TRN operated key commercial stations including (launched 1936, acquired by APN interests in the ), Classic Hits, and ZM, achieving a combined audience reach of over 1 million listeners weekly by the early 2000s through acquisitions and frequency expansions post-1980s liberalization. APN also developed digital and specialist publishing arms, including APN Specialist Publications, which by 2014 handled eight magazine titles such as NZ Woman's Weekly and The Listener, generating revenue from advertising and subscriptions amid print circulation declines. A pivotal pre-2014 development occurred on October 31, 2001, when APN acquired Wilson & Horton from INM for A$809 million (approximately NZ$1.02 billion at the time), assuming an additional A$429 million in . This transaction integrated major assets—including the New Zealand Herald (circulation exceeding 200,000 daily in 2001), nine regional dailies, and community titles—into APN's portfolio, creating a diversified NZ operation with publishing revenue of around A$250 million annually post-acquisition. The deal, financed via equity, convertible notes, and , positioned APN as New Zealand's largest print media owner but exposed it to challenges like falling ad revenues (down 5-10% yearly by mid-2000s due to classifieds migration online) and regulatory scrutiny over market concentration. By the early 2010s, APN faced intensifying pressures from digital disruption, with print ad share dropping from 40% of total media spend in 2000 to under 20% by 2013, prompting investments in online platforms like nzherald.co.nz (launched 1997, reaching 1.5 million unique monthly users by 2013) and acquisitions such as GrabOne, a daily deals site launched in 2010 and integrated into APN's digital strategy by 2011 for revenue diversification. Radio remained resilient, with TRN's EBITDA stable at around NZ$30-40 million annually through audience growth in talk and music formats, though overall NZ operations reported combined revenues of NZ$400 million by 2013 amid calls for structural separation from APN's Australian assets to address underperformance. These developments set the stage for internal restructuring, highlighting the need for unified print, radio, and digital operations to combat fragmented competition from global tech platforms.

2014 Merger and Early Expansion

In September 2014, New Zealand Media and Entertainment (NZME) was established via the merger of APN New Zealand's publishing operations, The Radio Network's broadcasting assets, and the GrabOne platform, all previously under the APN umbrella. This integration consolidated New Zealand's leading newspaper titles, such as the New Zealand Herald, with commercial radio networks including and ZM, alongside digital deal-finding services, forming a diversified media entity separate from APN's Australian interests. The combined operations reached approximately 2.9 million weekly across print, audio, and online channels, enabling cross-platform content sharing and unified advertising sales. The merger facilitated operational synergies, including cost savings from shared and revenue growth from integrated opportunities, as APN reported progress in these areas by early 2015. It marked a strategic shift toward multi-platform delivery amid declining , with initial efforts emphasizing digital content aggregation from radio and newspapers to bolster online audience engagement. Cultural integration posed challenges, as the traditionally siloed print and radio divisions adapted to collaborative workflows, but this laid groundwork for a "digital first" restructure implemented in 2015. Early post-merger expansion included enhanced integration via GrabOne, which complemented media-driven promotions, and exploratory investments in data analytics for targeted advertising, contributing to APN's overall profit uplift from radio segments in fiscal 2015. By mid-2016, NZME pursued independence through a from APN, listing on the NZX and ASX to fund further digital and content investments, signaling confidence in the merged entity's growth trajectory. These steps positioned NZME to navigate competitive pressures from global digital platforms, though sustained print revenue declines underscored the need for ongoing adaptation.

Major Events in the 2010s

In June 2016, NZME completed its from APN News & Media Limited, transitioning to a standalone publicly listed entity on the New Zealand Exchange (NZX) and (ASX). This separation enabled focused management of its core assets, including newspapers like , radio networks such as and Radio Sport, and digital platforms, with shares distributed in-specie to APN shareholders on June 29. In May 2016, NZME announced a proposed merger with Fairfax Media's New Zealand operations, which included Stuff.co.nz, Dominion Post, and regional titles, valuing the combined entity at around NZ$1 billion and aiming to consolidate resources amid declining print revenues and rising digital competition. The deal received shareholder approval but faced regulatory scrutiny over potential reductions in media diversity and advertising competition. The Commerce Commission declined to authorize the merger on May 3, 2017, determining it would substantially lessen competition in and pose risks to independent plurality, given the duo's control of over 80% of daily newspapers. NZME and Fairfax appealed to the , which upheld the block on December 18, 2017, affirming the Commission's analysis that the merger could lead to higher advertising rates and reduced investigative reporting incentives. A further to the Court of Appeal was dismissed on September 25, 2018, solidifying the regulatory barrier. Concurrently, NZME pursued digital diversification, launching the iHeartRadio app in fiscal year 2016 to expand audio streaming and hosting 25 events including the Live Well Festival and Herald Talks series. In 2018, it introduced OneRoof, a property data platform, and YUDU for job listings, targeting vertical ad revenues amid print circulation declines from 1.2 million daily in 2014 to under 800,000 by 2019. The decade closed with the April 2019 rollout of premium paywalls for NZ Herald , aiming to monetize 1.5 million monthly unique users while sustaining investments.

Adaptations and Challenges in the 2020s

The severely disrupted NZME's operations in 2020, with revenues across its businesses plummeting by nearly 50% in the initial shock period due to lockdowns and economic contraction. This exacerbated pre-existing pressures from declining and from digital platforms like and Meta, which captured significant shares of spend, contributing to structural revenue erosion in the division. By 2024, these challenges culminated in a statutory net loss after tax of $16.0 million, driven by a $24 million non-cash impairment on assets amid weaker demand and broader economic headwinds. Workforce reductions became a recurring response to cost pressures, with NZME announcing multiple rounds of redundancies. In early 2025, the company proposed cutting nearly 40 roles from the New Zealand Herald, BusinessDesk, and Newstalk ZB news operations, primarily affecting reporters, sub-editors, and production staff, as part of a restructure to streamline operations. Earlier cuts in 2020 reflected pandemic-induced market conditions, while 2025 also saw proposals to close 14 community newspapers, eliminating about 30 jobs and reducing local coverage capacity. These measures highlighted ongoing difficulties in sustaining print-centric models amid falling industry revenues, projected to decline at an average annual rate of 0.7% through 2025-26 for newspaper publishing overall. In adaptation, NZME accelerated its digital pivot, forging agreements with in June 2022 to fund upgrades, workflow streamlining, and performance enhancements aimed at boosting user engagement and scalability. The company released a revised three-year strategy in November 2023 emphasizing across audio, , and (OneRoof) divisions, including investments in programmatic and for audio. These efforts yielded tangible growth: digital subscription revenues rose 10% to $22.6 million in 2024, while digital audio revenues surged 32% to $10.8 million, buoyed by expansion. Overall operating revenue increased 2% to $345.9 million in 2024, with digital channels offsetting print declines and enabling resilience, such as through homepage personalization via new automation tools. NZME also pursued diversification, including a strategic review of OneRoof for potential separation to unlock -focused growth, and maintained dividends at 9.0 cents per share totaling $16.8 million.

Publishing Operations

New Zealand Herald and National Titles

The Herald is NZME's primary national daily , founded on 13 November 1863 in and serving as a cornerstone of the company's publishing portfolio with broad national distribution. As the most widely read publication in , it covers news, business, sports, and lifestyle topics, maintaining a print edition alongside robust digital platforms. Owned by NZME since the company's formation through mergers in the , the Herald operates as the flagship title, integrating with NZME's ecosystem of radio and digital assets to reach an estimated 3.5 million across platforms. Its editorial operations emphasize independent journalism, though analyses have rated it as holding a right-center , particularly in critiquing left-leaning governments, distinguishing it from broader trends in media. Circulation figures for the print edition have declined from a peak of over 200,000 copies daily in 2006 to approximately 100,000 by 2021, reflecting industry-wide shifts to digital consumption. However, cross-platform readership remains dominant, with the NZ Herald brand achieving 2.39 million weekly audiences in mid-2025 and monthly digital visits exceeding 2 million. Associated national titles under the Herald umbrella include the Herald on Sunday, a weekly launched in 2004 that complements the daily with in-depth features and pieces, and the Weekend Herald supplement distributed with Friday editions. These titles collectively reinforce NZME's national presence, though the company has faced challenges like proposed closures of regional papers amid cost pressures, sparing core national operations. In recent years, the Herald has accelerated digital transformations, including app enhancements and video content like Herald Now, which garnered 2.4 million views in July 2025, signaling adaptation to declining print revenues while sustaining audience engagement.

Regional and Local Newspapers

Regional and local newspapers in focus on hyper-local coverage, including district council decisions, community events, sports, and business developments specific to provinces and towns, often serving audiences underserved by national media. These publications historically emerged in the mid-19th century alongside settler expansion, with early examples like the Taranaki Herald (founded 1851) and Wanganui Chronicle (1867) providing essential information in isolated regions where telegraph and rail infrastructure was limited. By the early , dozens of provincial dailies and weeklies operated independently, fostering regional identities but facing consolidation as chains formed post-World War II due to rising production costs and advertising competition. NZME, New Zealand's largest newspaper publisher, maintains a portfolio of regional dailies such as the Bay of Plenty Times (Tauranga, established 1872), Rotorua Daily Post (1914), Hawke's Bay Today (Hastings/Napier, 1999 merger of predecessors), and The Northern Advocate (Whangārei, 1875), which collectively reach audiences in the North Island's key provincial centers. These titles emphasize investigative reporting on local issues like infrastructure projects and agricultural economies, with digital editions integrated via nzherald.co.nz subdomains to offset print declines. Community weeklies under NZME, such as the Aucklander and Hamilton News, target suburban and rural readers with notices, classifieds, and human-interest stories, though their print runs have diminished amid a shift to online formats. Competing publishers like Stuff operate South Island regionals including The Press (Christchurch, 1861, circulation around 31,000 in recent audits) and Otago Daily Times (Dunedin, 24,904 in 2023), alongside North Island papers like the Manawatū Standard. Independent community titles persist, with over 70 still active nationwide as of 2025, often volunteer-run or family-owned, filling gaps in coverage for small towns. Financial pressures from digital disruption and ad revenue loss have led to widespread closures, exemplified by NZME's November proposal to shutter 14 community papers—such as long-running titles over 100 years old—affecting about 30 jobs and exacerbating " deserts" in rural areas where local accountability declines. Readership data indicates a : high demand for (e.g., 61.7% of adults accessing newspapers weekly via any format in late ) but reluctance to pay, driving publishers toward cost-cutting and digital pivots despite print's role in building trust through tangible community ties. This trend risks undermining democratic oversight, as empirical studies link local paper vitality to lower and higher in comparable markets.

Magazines, Supplements, and Collaborative Publications

NZME produces a range of lifestyle-oriented magazines and newspaper supplements that complement its core titles, focusing on , , , , and travel to engage readers beyond daily . These publications often appear as lift-outs or dedicated sections within the New Zealand Herald and regional papers, enhancing subscriber retention through specialized content. Viva, a flagship weekly magazine inserted in Wednesday editions of , covers , , , , and , positioning itself as a premium with a celebratory tone. Launched in , Viva marked its 25th anniversary in September 2023, featuring in-depth storytelling on local and international trends. In August 2023, NZME extended Viva's reach by introducing Viva Local Life, a localized version distributed across five regional newspapers to provide region-specific lifestyle content. A digital subscription tier, VIVA Premium, offers enriched access to this content via NZ Herald platforms. Canvas serves as the Saturday lift-out magazine in the Weekend Herald, blending feature articles, lifestyle advice, recipes from contributors like Annabel Langbein, restaurant reviews, wine recommendations, , and cultural insights to appeal to weekend readers seeking leisure-oriented reading. It emphasizes enriching content on living and entertainment, distributed nationally through NZME's print network. Other supplements include Driven Car Guide, which focuses on automotive reviews and motoring news, and , providing guides and features on domestic and international destinations integrated into NZME's publications for and reader engagement. In collaborative efforts, NZME partnered with , a New Zealand magazine publisher, in July 2023 to launch a digital subscription product under the established Listener brand, combining NZME's digital infrastructure with Are Media's content expertise to revive the title in a subscription model amid declining . This initiative reflects NZME's strategy to leverage partnerships for diversified revenue in lifestyle and opinion publishing.

Radio Broadcasting

Historical Evolution of Radio Assets

The consolidation of commercial radio in New Zealand accelerated after the Broadcasting Act 1989 enabled private ownership and frequency trading, leading to the formation of The Radio Network (TRN) in 1996 as the country's dominant commercial broadcaster. TRN aggregated a portfolio of established stations, including talk-oriented (with roots in independent ZB outlets from the 1930s), rock station (launched offshore as a pirate broadcaster in 1966 to challenge ), and contemporary hits network ZM (debuting in 1976), thereby achieving national reach through syndicated programming and local affiliates. This structure positioned TRN to capture over 40% of the commercial radio market by leveraging in content production and sales. TRN operated initially as a 50-50 between Australian-based APN News & Media and U.S. firm Clear Channel Communications, reflecting international capital's role in post-deregulation expansion. In February 2014, APN announced the acquisition of Clear Channel's stake in TRN (and its Australian counterpart ARN) for NZ$246.5 million, gaining full control and integrating radio operations more tightly with APN's New Zealand print assets like . The deal closed in early 2015, enabling streamlined management and cross-promotion amid rising digital competition. Later that year, NZME emerged from APN's of its New Zealand holdings, incorporating TRN's radio assets into a unified media entity focused on integrated , , and audience engagement across platforms. This evolution emphasized digital audio extensions, such as syndication launched in the mid-2010s, while maintaining terrestrial dominance with networks like The Hits (rebranded from older adult contemporary formats), , Flava, and . Recent expansions include the acquisition of community-focused Radio Wānaka, bolstering rural coverage and localism in response to regulatory pressures for diverse content. By , NZME's radio division held a 41.4% share in the market, with digital audio comprising 6% of income, underscoring adaptation from analog origins to hybrid models.

Major Commercial Networks

The commercial radio sector in New Zealand is dominated by two primary operators: New Zealand Media and Entertainment (NZME) and MediaWorks, which collectively manage the majority of nationwide network stations and reach millions of listeners weekly through a mix of talk, music, and entertainment formats. These networks compete for audience share in a market where advertising revenue funds operations, with NZME emphasizing news-talk integration and MediaWorks focusing on music-driven youth and adult contemporary audiences. NZME's portfolio includes , the country's largest commercial network, broadcasting current affairs, sports, and opinion programming across multiple frequencies from to regional areas. Complementary music networks under NZME encompass ZM (contemporary hit radio targeting younger listeners), The Hits (pop and recent ), Coast ( for mature audiences), ( and talk), Flava (urban contemporary), Gold (greatest and sports via Radio Sport integration), and Hokonui (full-service rural-focused content). These eight networks leverage synergies with NZME's print and digital assets for , maintaining a strong presence in both urban and provincial markets. MediaWorks operates approximately nine key networks, prioritizing music genres to capture diverse demographics. Prominent brands include (top 40 and youth-oriented hits), (adult contemporary), The Breeze (easy adult mixes), The Rock (active rock), (classic hits), George FM (dance and electronic), and Mai FM (urban and Pacific Island music). Additional platforms like rova provide on-demand audio extensions, enhancing accessibility via app-based streaming. MediaWorks' stations emphasize high-energy DJ-led shows and event tie-ins, with a nationwide footprint bolstered by centralized production. Both operators face regulatory oversight from the Radio Broadcasters Association, which advocates for commercial interests amid declining traditional listenership trends offset by digital growth. In April 2025, MediaWorks transitioned to full ownership by an Australian firm, potentially influencing future programming investments.

Community and Niche Radio Initiatives

Community access radio stations in New Zealand form a network of 12 independent, not-for-profit broadcasters under the Community Access Media Alliance (CAMA), established to provide airtime for underrepresented groups including ethnic communities, special interests, and local voices. These stations, funded primarily through NZ On Air grants and community support, operate on non-commercial frequencies and emphasize volunteer-driven programming in over 25 languages, with examples including Access Radio (founded 1981, broadcasting 80+ programs on 106.1 FM) and Planet FM in (launched 1987, focusing on diverse ethnic content). Access stations like Free FM in Hamilton and Radio Southland (96.4 FM) prioritize local news, discussions, and cultural expression, enabling groups facing media barriers to produce content without commercial pressures. Niche initiatives extend to iwi radio networks, which serve communities by promoting te reo Māori and cultural narratives through 21 stations as of 2020, blending indigenous language programming with English for broader reach. These stations, operational for over 30 years, have adapted to digital convergence by expanding into online streaming while maintaining FM broadcasts to preserve oral traditions and community storytelling. Ethnic niche radio complements this, with outlets like Radio Samoa and Apna 990 AM targeting Pacific and South Asian audiences, respectively, often integrated into access frameworks to foster multicultural dialogue amid New Zealand's growing immigrant populations. Student radio represents another key niche, with independent campus stations championing alternative music and youth perspectives since the late 1960s. Notable examples include 95bFM in (broadcasting since 1969 on a semi-commercial educational ) and the Student Radio Network (SRN), which unites stations like Radio One in , RDU 98.5 FM in (not-for-profit, focused on emerging talent), and Radio Active in (88.6 FM, operational since 1977). These outlets, often run by volunteers, have historically pushed boundaries by introducing and prioritizing independent artists, contributing to New Zealand's music discovery ecosystem without reliance on mainstream commercial models. Specialized community efforts, such as hospital radio (e.g., Hospital FM Timaru) and local outlets like Raglan Community Radio (98.1 FM), further niche programming by delivering patient entertainment, event coverage, and hyper-local news, reinforcing radio's role in isolated or specialized audiences. Despite challenges like funding volatility and digital shifts, these initiatives maintain a commitment to pluralism, with collective reach amplified through online podcasts and streams via platforms like accessradio.org.

Digital and Technological Initiatives

Online News and Digital Platforms

Stuff.co.nz, operated by Stuff Limited, dominates New Zealand's online news landscape as the country's largest digital news publisher, attracting millions of monthly users through its comprehensive coverage of , , and local stories. Launched in the early as part of Fairfax Media's digital expansion, it adopted a digital-first strategy over a decade ago, separating print and digital operations to prioritize online growth amid declining print readership. By 2025, Stuff's platforms emphasize integration, including video and interactive features, though it faces competition from global platforms fragmenting audience attention. The Herald's online presence, via nzherald.co.nz, underwent a major redesign in July 2025, introducing a faster, wider homepage layout optimized for desktop and mobile to enhance and content visibility. Complementing this, NZME launched Herald NOW in May 2025 as a dedicated digital live streaming platform, featuring video content like morning shows hosted by , which garnered 2.4 million views in July 2025 and reached 1 million unique monthly viewers across apps, websites, and —a 41% increase year-over-year. This initiative addresses rising demand for video , filling a market gap where traditional broadcasters lag in digital delivery. Radio New Zealand (RNZ), as the public broadcaster, maintains robust digital platforms including its website and released in July 2017, enabling live streaming, on-demand audio, podcasts, and news updates accessible to 80% of monthly as of 2024 research. RNZ's multi-platform approach—51% of users engage across devices—supports its transition from radio-centric to , with content emphasizing current affairs and documentaries, though a 2025 review led to closing its youth platform TAHI to refocus resources. Other notable platforms include 1News.co.nz from , focusing on breaking news and analysis with integrated video, and independent sites like for in-depth reporting and The Spinoff for and , which collectively contribute to a fragmented but vibrant . Digital news penetration stands at 27.63% in 2025, with stabilization in audience reach after post-2021 growth, driven by online video and apps amid broader media revenue projected at US$3.22 billion. These platforms increasingly incorporate paywalls and subscriptions to counter ad revenue pressures, reflecting a shift toward sustainable models in New Zealand's evolving media environment.

Integration of Artificial Intelligence

New Zealand media organizations have begun incorporating artificial intelligence primarily for operational efficiencies such as transcription, social media monitoring, and preliminary content drafting, while maintaining restrictions on its use in core journalistic outputs to preserve factual accuracy. Radio New Zealand (RNZ) established AI principles in August 2024, prohibiting generative AI for creating news stories, current affairs, or factual journalism, but permitting it for administrative tasks like audio transcription and harmful content detection on social platforms via tools from Sence. In June 2025, RNZ appointed Patrick Crewdson as its first director of AI strategy and implementation to oversee ethical integration and newsroom innovation. Similarly, TVNZ's policy allows AI-generated text or images in content but requires disclosure when significant elements are AI-produced. NZME, publisher of , has deployed AI tools in its newsrooms for generating articles and editorials, as disclosed in footers on article pages, though a 2024 incident involving an AI-assisted editorial lacking editorial rigour prompted internal review. Regional outlets like the Waikato Times are experimenting with AI to enhance productivity amid revenue pressures, reflecting broader industry efforts to adapt to digital disruptions. Journalists' union E tū issued a statement in August 2024 advocating for worker input on generative AI deployment to mitigate risks to journalistic standards. These developments align with New Zealand's national AI strategy launched in July 2025, which emphasizes adoption for productivity gains without foundational AI development. In the entertainment sector, particularly film and television, AI is accelerating tasks like and , reducing timelines from days to minutes and lowering costs, though adoption is tempered by concerns over creative displacement and . The (NZFC) released AI guiding principles in July 2025, prioritizing human oversight, transparency, and alignment with international standards to support innovation while protecting local talent. Industry stakeholders highlight AI's potential in but warn of exacerbated labor issues, including the creation of digital performer replicas from existing footage, prompting calls for regulatory protections. Despite these tensions, AI integration is projected to enhance efficiency and cost-effectiveness in New Zealand's screen sector over the next five years.

Emerging Formats like Streaming and Podcasts

In , subscription video-on-demand (SVOD) services emerged prominently from the mid-2010s, challenging traditional broadcast television by offering on-demand access to both local and international content. Key local platforms include , the free ad-supported streaming service operated by Television , which rebranded from TVNZ OnDemand in 2022 to emphasize Kiwi-produced programming alongside licensed titles. , launched by Sky Network Television in February 2015, focuses on premium films and series, including content, and merged with Spark's in 2020 to expand its library before price adjustments in subsequent years. International entrants like , available since 2017, and Disney+ have captured significant demand shares, with Apple TV+ originals accounting for 3.6% of overall show demand in Q2 2024. The pay-TV and streaming video market continues to expand, with forecasts indicating sustained adoption through 2030 driven by penetration and trends. These platforms have accelerated the decline of linear TV viewership, as evidenced by the Television Broadcasting industry's $1.1 billion market size in 2025, incorporating both broadcast and streaming revenues amid fragmentation. Local services prioritize content quotas, such as TVNZ+'s investment in original series, to comply with regulatory mandates under the Broadcasting Act, fostering cultural relevance while competing with global giants. However, challenges persist, including high licensing costs for international hits and variable speeds in rural areas, which limit accessibility for approximately 15% of households without reliable high-speed . Podcast adoption has surged in parallel, with revenue in the music, radio, and podcasts segment projected at $386.79 million in 2025, reflecting an annual growth trajectory fueled by ubiquity and platform algorithms. According to Edison Research's Infinite Dial 2025, podcast consumption remains robust, with 55% of the 16+ population engaging monthly and growth unabated among younger demographics, where 71% of 16-34-year-olds report listening. Weekly audio consumption reaches 94% across the population, surpassing video (92%) and (73%), underscoring podcasts' role in fragmented media diets. Public broadcaster RNZ leads in listenership, with programs like Morning Report and The Detail drawing from a weekly audience of 639,600 for RNZ National and Concert in early 2024, bolstered by investigative formats that peaked in new podcast launches around 2020. Commercial entities, including NZME's network, reach additional audiences via scalable channels, with interview-style shows comprising 41% of local output, mirroring global preferences for accessible, conversational content. Top charts feature both domestic titles like I Catch Killers and international imports such as The Joe Rogan Experience, highlighting podcasts' hybrid appeal in New Zealand's market. Despite this, monetization lags behind streaming video, relying on sponsorships and public funding amid a post-2020 stabilization in new series production.

Leadership and Governance

Executive Team Profiles

Michael Boggs has served as of NZME since March 2016, having previously held the role of within the company. Boggs oversees the organization's growth strategy, emphasizing digital subscriptions, video content expansion, and optimization of traditional media platforms such as print and radio. Prior to NZME, he was at Tower Limited and TelstraClear , and was recognized as of the Year in 2014 by the New Zealand Institute of Chartered Accountants. Renata Hayward was appointed Chief Commercial Officer - Direct in May 2025, succeeding from her prior position as Regional Head of Northern Commercial at NZME. In this role, she directs commercial strategies aimed at increasing market share and achieving revenue targets across direct sales channels. Hayward has a track record in media sales leadership, including building sales teams and driving performance in competitive markets. Greg Hornblow has led as Chief of OneRoof, NZME's property platform, since January 2023. With over 30 years of experience in , , and , Hornblow focuses on platform growth, enhancing value for real estate agent partners, and integrating data-driven insights to strengthen NZME's position in property media. Murray Kirkness serves as - Publishing and since June 2023, managing a team of approximately 270 editorial staff across digital, radio, and print outlets including . His career spans extensive leadership in and , with prior roles at and various NZME mastheads. David Mackrell has been since March 2019, responsible for finance, legal affairs, and corporate strategy functions. Mackrell joined from where he was , following 25 years at in senior finance positions; he was awarded of the Year in 2024. NZME announced on October 20, 2025, that Jo Hempstead will succeed Mackrell as effective January 27, 2026; Hempstead brings over 20 years of finance leadership from roles at , NZX, and media sectors. Katie Macdiarmid assumed the role of in September 2024, after serving as General Manager of Digital Products at NZME. With more than 25 years in technology across media, telecommunications, and in the UK and , she drives , AI integration, and digital ecosystem enhancements. Greg McCrea was promoted to Chief Commercial Officer - Agency in May 2025, building on his experience as Commercial Director - Agency. He manages revenue from advertising agencies and key strategic accounts, drawing from nine years at and broader sales expertise in media. Katie Mills has held the position of since December 2018, overseeing marketing, creative services, and communications. Mills possesses over 20 years in media, including 15 years at MediaWorks, and was a finalist for Marketer of the Year in 2024 by the Marketing Association of . joined as Chief People Officer in April 2024, leading human resources, organizational culture, and employee development initiatives. His background includes senior HR roles at , , and other large organizations, with a focus on diversity, , and wellness programs. Matt Wilson has been Chief Operations Officer since December 2016, handling print operations, distribution, and subscription fulfillment. With more than 30 years at NZME and its predecessors, Wilson also serves on the boards of Print NZ and the Newspaper Publishers Association. Jason Winstanley leads as Chief Audio Officer since 2021, directing radio broadcasting and digital audio strategies including and the NZME Network. With nearly 20 years at NZME, he has driven audience growth for stations like and The Hits.

Board Composition and Oversight

The NZME board consists of six directors as of October 2025, following changes approved at the annual shareholders' meeting on June 3, 2025. The board emphasizes a mix of media, , , and expertise to oversee the company's operations in , , and digital platforms. Five directors are classified as independent, while one holds a non-independent status due to significant shareholding interests.
Director NamePositionKey Expertise/BackgroundJoin Date
Independent ChairFormer Cabinet Minister (Finance, Infrastructure); founded RadioWorks NZ; current advisory roles in business and ventures.June 3, 2025
Carol CampbellIndependent Director (Audit & Risk Committee Chair), ex-EY partner; extensive financial and directorship experience across public companies.Pre-2025
Sussan TurnerIndependent Director25+ years in media leadership (e.g., CEO of MediaWorks, RadioWorks); current CEO of Aspire2 Group.Pre-2025
Guy HorrocksIndependent DirectorTech entrepreneur; co-founded app development firms; expertise in data and digital platforms serving media clients like NZ Herald.Pre-2025
Jim GrenonNon-Independent Director35+ years in executive roles; specializes in corporate turnarounds; founded TOM Capital; serves on multiple public boards.June 2025
Bowen PanIndependent DirectorTech innovator; founded Marketplace; experience at and Stripe; focuses on digital marketplaces.June 2025
The 2025 board refresh addressed shareholder nominations and proposals amid calls for enhanced strategic oversight during NZME's digital transition and cost challenges, averting a potential full overhaul while appointing new members to bolster commercial and tech acumen. Steven Joyce's appointment as chair, leveraging his media ownership history, signals a focus on operational efficiency and industry advocacy. Oversight mechanisms align with NZX and ASX listing rules, with the board responsible for approval, , executive , and compliance. Key structures include the Audit and Risk Committee, chaired by Carol Campbell, which reviews financial reporting, internal controls, and enterprise risks such as digital disruption and regulatory changes. The board mandates annual evaluations of director and , emphasizing diversity in skills over demographic quotas. policies, overseen by the board, tie executive pay to metrics like operating EBITDA and digital growth, with 2024 disclosures showing total director fees of approximately NZ$600,000. Independent directors form a majority to mitigate conflicts, particularly from major shareholders like Jim Grenon, ensuring decisions prioritize long-term shareholder value amid NZME's 2024 operating earnings of NZ$47.5 million.

Key Leadership Transitions (Including 2025 Changes)

In 2025, NZME experienced notable boardroom upheaval driven by activist shareholder Jim Grenon, who acquired a significant stake and pushed for governance reforms amid concerns over performance and editorial direction. On April 14, David Gibson resigned as a director for personal reasons, reducing the board size temporarily and occurring against the backdrop of Grenon's campaign to replace multiple members. The annual shareholders' meeting in June formalized a reshuffle, with incumbent chair Barbara Chapman stepping down to facilitate a compromise. , former National Party cabinet minister, was appointed as the new chair, while Grenon joined as a director; Sussan Turner was re-elected. This followed Grenon's initial nomination push and Chapman's reported intent to retire post-meeting, averting a proxy battle. Executively, May 2025 saw an expansion of the leadership team from eight to eleven roles, including the elevation of Murray Kirkness to a formalized position on the top table and the of James Butcher. Renata Hayward was appointed – Direct in the same month, overseeing direct revenue streams. Earlier, in March, Chief Digital and Publishing Officer Carolyn Luey departed for a role at , reflecting ongoing adjustments to digital strategy. Financial leadership transitioned later in the year, with David Mackrell resigning on July 7 and set to exit by December 31, following over five years in the role. NZME announced Jo Hempstead, previously general manager of finance at , as his successor on October 20, effective January 27, 2026, to support ongoing cost-saving and digital initiatives. Michael Boggs, in place since 2016, remained unchanged through these shifts.

Financial Performance

NZME's operating revenue exhibited stability in the early 2020s amid structural shifts in the media sector, with annual figures ranging from $340 million to $355 million. In , revenue reached $349.2 million, reflecting a 5% increase from excluding one-off subsidies. This rose to $355.4 million in 2022 before contracting to $340.8 million in 2023, influenced by weaker advertising markets, and recovering modestly to $345.9 million in 2024, a 2% gain driven by diversified segments. For the first half of 2025, revenue declined 3% year-over-year to $165.7 million, attributable to community closures and subdued digital advertising, particularly programmatic channels. Digital revenue streams demonstrated resilience and expansion, offsetting print declines and underscoring a pivot toward online models. Digital subscription revenue grew 10% to $22.6 million in 2024, supported by sustained uptake in premium content access. Digital audio revenue surged 32% to $10.8 million in the same year, with revenue increasing 67%, reflecting heightened listener engagement via platforms like and RNZ integrations. OneRoof, NZME's property platform, saw digital revenue rise 51% in 2024, comprising 61% of its , bolstered by a 32% increase in listings enquiries and top web audience rankings by late 2024. In the first half of 2025, digital growth persisted selectively: OneRoof digital revenue expanded 22%, outpacing market trends with 16% higher residential listings, while publishing subscriptions increased 5%. Audio division revenue edged up to $57.1 million, with digital components growing 6% and podcast revenue doubling from prior periods. These gains align with broader NZME strategies to prioritize high-margin digital products, though core digital advertising faced headwinds from deprioritized low-yield channels, resulting in a 2% dip overall. Monthly digital platform usage reached 2.5 million unique Kiwis by 2024, indicating scalable audience retention amid industry-wide fragmentation.
YearTotal Operating Revenue (NZ$ million)Key Digital Growth Notes
2021349.2Baseline for post-subsidy growth
2022355.4Digital up 16% across pillars
2023340.8Print advertising down 6%
2024345.9Subscriptions +10%, audio +32%, OneRoof +51%
2025 (H1)165.7 (down 3%)OneRoof +22%, podcasts doubled

Cost Management and Job Restructuring (2020s)

In the early 2020s, New Zealand's media sector faced acute financial pressures from the , declining advertising revenues, and the shift to digital platforms, prompting widespread cost-cutting measures including voluntary pay reductions and redundancies. NZME, publisher of the New Zealand Herald, implemented a 15% workforce reduction in April 2020 by eliminating over 200 positions, equivalent to 15% of its staff, while also requesting a 12-week 15% pay cut for employees earning above $50,000 annually to preserve liquidity amid halved advertising income. MediaWorks, operator of commercial radio stations, similarly sought 15% voluntary pay cuts from all staff in April 2020 before proceeding to 130 redundancies across radio and sales teams by May, reflecting a 20-25% staff cut to address projected revenue shortfalls. These initial responses contributed to an estimated 637 media job losses across the industry by late 2020, reshaping operations toward leaner digital-focused models. Subsequent restructurings intensified as structural challenges persisted, with broadcasters prioritizing operational efficiency over legacy programming. TVNZ, the state-owned entity, announced 68 redundancies in March 2024—comprising 9% of its workforce, with over half affecting journalists—to streamline news and current affairs amid falling linear TV viewership. By November 2024, TVNZ proposed disestablishing 50 roles (10% of staff) to achieve $30 million in annual savings, including not filling vacancies and reducing management layers, with final cuts of 48.5 full-time equivalents yielding projected $8.9 million in savings by March 2025. Warner Bros. Discovery's closure of Newshub in April 2024 eliminated approximately 350 positions across news operations, exacerbating industry contraction as free-to-air models struggled against streaming competitors. Print and digital publishers continued paring costs into 2025. NZME proposed cutting 38 newsroom roles in January 2025—impacting 14 reporters and production staff—to reorganize operations across the NZ Herald, BusinessDesk, and , with 30 positions ultimately eliminated by February through redundancies and attrition. MediaWorks disestablished multiple roles in October 2024, affecting dozens of employees in radio and support functions, as part of ongoing efforts to reduce overheads following earlier 90 redundancies in January 2023. Stuff faced internal pushback against proposed reductions to audio and visual teams in October 2024, signaling persistent fiscal tightening to align costs with digital subscription growth.
CompanyYearJobs ImpactedPurpose/Outcome
NZME2020200+15% workforce cut; pay reductions for liquidity
MediaWorks2020130Radio/sales restructure amid revenue drop
2024689% staff reduction, focused on news
(Newshub)2024~350Full closure of news operations
NZME202538 (30 cut)Newsroom reorganization
MediaWorks2023-202490+ dozensCost reductions in radio/support
These measures, while enabling short-term survival, have drawn union criticism for eroding journalistic capacity and access, though executives attribute them to inevitable adaptation in a market where digital ad shares lag global peers and government funding remains limited.

Recent Results (2024-2025)

In the fiscal year ended December 31, 2024, NZME reported operating revenue of NZ$345.9 million, reflecting a 2% increase from the prior year despite a challenging advertising market. This growth was driven by strength in digital and audio segments, though offset by declines in print circulation and community newspaper revenues. Operating EBITDA stood at NZ$52.1 million, while the company recorded a statutory net loss after tax of NZ$16.0 million, primarily due to a non-cash impairment charge on publishing assets amid ongoing digital transition pressures. For the half-year period ended June 30, 2025, NZME's revenue declined 2.8% to NZ$163.6 million, attributed to the closure of certain community newspapers, weaker digital advertising demand, and subdued print media performance. Operating EBITDA, however, rose 12% to NZ$23.9 million, bolstered by cost discipline including workforce reductions and operational efficiencies. The period resulted in a statutory net loss after tax of NZ$393,000, an improvement from prior comparatives, reflecting tighter amid revenue headwinds. These outcomes underscore NZME's strategic emphasis on cost control and digital diversification to navigate structural shifts in .

Controversies and Criticisms

Failed Acquisition Attempts (e.g., Stuff)

In May 2016, NZME announced plans to acquire (operator of Stuff.co.nz and numerous regional newspapers) for an undisclosed sum, with receiving a 41% stake in the combined entity, aiming to create New Zealand's largest media company by audience reach. The proposal faced immediate scrutiny from the Commerce Commission, which in May 2017 declined clearance, citing substantial lessening of competition in print and digital markets, as well as risks to media plurality and independent journalism from concentrating ownership of over 80% of daily newspapers. NZME and Fairfax appealed the decision, arguing a "failing firm" defense that Stuff's standalone viability was deteriorating amid digital disruption and ad declines, but the upheld the Commission's ruling in December 2017, emphasizing that merger remedies like divestitures could not sufficiently mitigate plurality risks without undermining commercial viability. Appeals to the Court of Appeal failed in September 2018, with judges affirming concerns over reduced editorial diversity and potential for coordinated pricing in , effectively ending the merger bid after over two years of litigation. A subsequent attempt arose in May 2020, when NZME proposed acquiring Stuff for a nominal $1 from its then-owner Nine Entertainment Australia, seeking urgent Commerce Commission approval amid COVID-19 economic pressures and Stuff's reported path to insolvency; however, the High Court declined NZME's application to compel a third-party sale process, leading NZME to abandon the bid days later. Nine ultimately sold Stuff to a New Zealand-based nonprofit consortium, Stuff Ltd, for an undisclosed amount in mid-2020, preserving its independence outside NZME's control. These failures highlighted regulatory prioritization of media diversity over consolidation arguments, though critics contended the decisions exacerbated financial strains on legacy outlets without addressing structural industry declines.

Employment Practices and Layoffs

In response to financial pressures from declining revenues and the shift to digital platforms, New Zealand Media and Entertainment (NZME) has pursued aggressive cost-reduction strategies, including multiple rounds of redundancies and temporary reductions, which have drawn from unions for eroding journalistic capacity. These measures reflect broader sector challenges, such as competition from global tech platforms capturing ad dollars, but NZME's actions have been particularly acute given its ownership of legacy print titles like the New Zealand Herald. During the crisis in 2020, NZME cut approximately 200 jobs across its operations and imposed 15% pay reductions for 12 weeks on all staff earning more than $50,000 annually, framing these as necessary to sustain operations amid a sharp drop in media spending. This followed earlier print contractions, including the closure of regional titles, which unions like E tū described as cumulatively devastating to local news coverage. In January 2025, NZME proposed eliminating 38 roles in a restructure targeting the NZ Herald, BusinessDesk, and , with 14 positions in reporting and content creation affected, alongside production staff reductions to streamline workflows. By February 2025, the company confirmed 30 net job losses—20 in sub-editing and , and 10 in reporting—with several high-profile journalists departing via , prompting staff concerns over further erosion of editorial depth. The E tū union highlighted these cuts as detrimental to the , arguing they impair the "news ecosystem" by reducing investigative resources at a time of economic uncertainty. Employment practices at NZME have emphasized flexibility through restructures, often prioritizing digital adaptation over , with critics noting a pattern of repeated consultations that lead to net staff reductions without proportional reinvestment in core roles. While NZME has created some new positions in data and audience engagement during these shifts, the overall trajectory shows a contraction from over 1,500 employees pre-2020 to around 1,000 by 2025, mirroring industry-wide losses exceeding 500 roles in 2024 alone from closures like . In 2017, the Commerce Commission declined to authorize the proposed merger between NZME and Fairfax New Zealand, determining it would substantially lessen competition in print and digital news markets while posing risks to media plurality and diversity of viewpoints. NZME and Fairfax appealed the decision to the , which upheld the Commission's assessment on December 18, 2017, emphasizing empirical evidence of reduced competition and the regulator's mandate to consider factors beyond pure . The parties further appealed to the Court of Appeal, which on September 27, 2018, confirmed the Commission's to evaluate non-economic detriments like viewpoint diversity, rejecting arguments that such considerations exceeded statutory bounds. NZME Advisory Limited, a handling sales via platforms like GrabOne, pleaded guilty in March 2023 to breaching sections 31(5) and 40(1) of the Fair Trading Act 1986 by supplying 213 sets of unsafe magnetic puzzle toys banned under an unsafe goods notice, after two children ingested magnets leading to medical intervention including surgery. The District Court imposed an initial fine of $87,750, but the Commerce Commission appealed, arguing it was manifestly inadequate given the product's risks and NZME's corporate scale. On November 29, 2023, the allowed the appeal and increased the penalty to $195,000, citing the need for deterrence proportional to the breach's potential harm and NZME's failure to verify supplier compliance despite prior alerts. In July 2020, NZME sought to publish details from the confidential Beattie Varley report investigating Event Limited's use of public funds, amid allegations of financial irregularities. and related entities obtained an interim injunction, which the upheld on August 10, 2020, protecting commercially sensitive information and finding insufficient public interest to override confidentiality, thus preventing disclosure. A 2025 settlement included apologies from NZME to over related coverage of whistleblower claims. NZME successfully defended against a rare super-injunction application in March 2023, when unidentified overseas entities—later linked to a institution—sought to suppress publication of their identities and related details in , claiming confidentiality. The ruled in NZME's favor, prioritizing open justice and freedom of expression under Act principles, dismissing the application as disproportionate absent compelling evidence of harm. The entities appealed to the Court of Appeal in September 2023, but the initial victory underscored tensions between privacy claims and press rights in cross-border disputes. The Broadcasting Standards Authority has adjudicated multiple complaints against NZME radio broadcasts, upholding some for accuracy breaches, such as the December 2020 finding against Hamish Kay and Sue Godinet's segment for misleading statements on without adequate context or correction. Other rulings, including 2024 and 2025 decisions on fairness and balance, have occasionally required NZME to uphold standards but rarely imposed fines, reflecting regulatory oversight of content rather than systemic .

Editorial Bias Allegations and Public Backlash

Allegations of editorial bias in media have centered on claims of systemic left-leaning tendencies, particularly in publicly funded outlets like (RNZ) and (TVNZ), contributing to declining public trust. A 2024 survey indicated that 37% of respondents viewed the media as biased towards the left, compared to 12% perceiving right-wing bias, amid broader concerns over plummeting trust levels. Critics, including political figures from , have called for royal commissions into and bias, citing instances of edited or false information in government-funded reporting. RNZ faced specific scrutiny in 2023 following an editorial standards audit that uncovered pro-Russian narratives embedded in news stories, attributed to differences between news teams but prompting an operational overhaul. The broadcaster also drew accusations of anti-Israel bias in coverage of the Israel-Hamas conflict, with the Broadcasting Standards Authority ruling in 2023 that RNZ violated standards by failing to present alternative perspectives on controversial issues. By August 2025, an independent review of RNZ National highlighted internal cultural issues, including "blame-shifting" and low ambition, alongside falling audience ratings, recommending hires aligned with public expectations to address perceived opinionated and politically skewed content. TVNZ encountered backlash in 2025 over a lawsuit from Talley's Group, which alleged emotive and biased presentation in reporting on labor disputes, with lawyers highlighting selective phrasing to imply corporate wrongdoing. Public complaints surged, exemplified by over 100 submissions to the Broadcasting Standards Authority regarding 's coverage of political polls in June 2024, accusing outlets of promoting skewed narratives. Commercial entities like NZME, publisher of , have faced counter-allegations of right-center bias, with rating it as such due to criticism of Labour governments, though public boycotts in 2025 targeted its perceived favoritism towards certain viewpoints. A notable flashpoint occurred in August 2024 when the Herald ran a front-page advertisement from the right-leaning group, sparking widespread backlash and calls for policy reviews, with critics arguing it amplified divisive rhetoric on issues. Stuff, another major outlet, publicly apologized in December 2020 for historical anti- bias in its coverage, admitting to racist framing over decades, but this self-critique has not quelled ongoing perceptions of progressive slant in contemporary reporting. These controversies have fueled public backlash, including subscription boycotts and high rates of selective news avoidance, with a 2024 study confirming elevated avoidance linked to in perceived biased sources. Declining trust metrics, such as those reflected in misleadingly presented graphs by outlets like the Herald on media credibility, have exacerbated divisions, prompting rare public criticisms from media organizations against standards bodies in October 2025.

Achievements and Innovations

Journalism Awards and Quality Contributions

The Voyager Media Awards, organized annually by the News Publishers' Association since 1973 and rebranded in 2018, serve as 's premier recognition for journalistic excellence across print, digital, broadcast, and multimedia platforms. Featuring over 30 categories including investigative reporting, feature writing, , and , the awards evaluate entries based on criteria such as depth, accuracy, and public impact, with judging panels comprising more than 60 experts from and internationally. Winners in recent years, such as the 2025 Newspaper of the Year awarded to the Herald on Sunday for its comprehensive weekend coverage, illustrate sustained efforts to maintain high standards amid industry challenges. Investigative journalism has been a standout category, with 2025 honors going to Steve Kilgallon of Stuff for his reporting on the Darleen Tana saga, which detailed alleged exploitation at a MP's bike import business and precipitated the politician's resignation from on May 21, 2024. Jonathan Milne of .co.nz also won for "Powder Keg," a series exposing unsubstantiated health claims and regulatory lapses in the AG1 supplement marketed by a New Zealand entrepreneur, spurring global consumer alerts and further probes. In 2024, 's "The Boy in the Water" podcast by and colleagues uncovered investigative shortcomings in the 2019 death of teenager Lachlan Jones, resulting in a police operational review and renewed coronial inquiry. The Gordon McLauchlan Journalism Award, recognizing career-long contributions to in-depth reporting, was presented in 2025 to Kim Knight of the NZ Herald for her persistent scrutiny of social issues and in 2024 to Mike White of Stuff for exposing governmental and institutional failures. Other quality markers include Michael Morrah's 2024 coverage of , which revealed delays in evacuation orders and prompted immediate governmental responses and policy reviews. Specialized accolades, such as the Science Media Centre's annual Science Journalism Awards, commend rigorous coverage of empirical topics, with past winners including RNZ's Anusha Bradley for 2025 Reporter of the Year, highlighting factual accountability in and environmental reporting. These recognitions underscore instances where New Zealand media has advanced causal understanding of events through evidence-based scrutiny, influencing inquiries and reforms despite broader sectoral pressures.

Diversity and Training Programs

New Zealand media organizations have implemented diversity initiatives primarily through government-supported programs and internal policies aimed at increasing representation of underrepresented groups in newsrooms. The Te Rito Journalism Project, launched in 2021 under the Public Interest Journalism Fund, allocated $2.4 million to train and support journalists from , Pasifika, and other diverse backgrounds, with the goal of enhancing cultural awareness and addressing shortages in these demographics across participating outlets including NZME and Stuff. NZME's Te Rito efforts, which earned a Diversity and Inclusion Award at the 2023 Deloitte Top 200, focus on amplifying voices from , Pasifika, ethnic, and LGBTQIA+ communities through targeted development and retention programs outlined in its 2023 Diversity and Inclusion Policy. Stuff's 2021 Diversity and Inclusion Report detailed commitments to inclusive recruitment training for hiring managers and voluntary te reo courses for staff to promote cultural competency and protect use in . In the entertainment sector, the established a Diversity and Inclusion Strategy in 2022 to support filmmakers and staff from varied backgrounds, providing resources and tools for equity in the screen industry, including connections to underrepresented creatives via its Talent Development Team. The New Zealand Cinematographers Society has operated a gender diversity internship program since 2019, targeting women and underrepresented groups such as , Pacific, Asian, disabled, and neurodivergent individuals, with ongoing pilots for camera trainee positions on feature films as of 2024. Training programs in emphasize practical skills alongside diversity goals, often through academic and industry partnerships rather than standalone corporate modules. Institutions like Wintec offer the Diploma in Journalism with paid internships, including funded placements in 2026 to build readiness, while Massey University's Bachelor of Communication in Journalism incorporates hands-on from working professionals. In entertainment, organizations like DEGANZ host specialized workshops such as the 2024 Directing Diversity series, focusing on techniques for directing from LGBTQIA+ backgrounds to foster authentic representation. These efforts reflect broader industry responses to demographic shifts, though empirical data on long-term impacts, such as retention rates or content quality improvements, remains limited in publicly available reports.

Technological and Market Adaptations

New Zealand's media and entertainment sectors have undergone significant technological adaptations in response to the decline of traditional linear and print media, with digital platforms and streaming services capturing growing audience shares. By 2024, subscription video-on-demand (SVOD) services reached 56% of , reflecting a stabilization after rapid growth, while daily music streaming stood at 49%, indicating sustained demand for on-demand content over scheduled formats. This shift has been accelerated by global platforms like and , prompting local entities to invest in scalable digital infrastructure to retain domestic audiences and diversify revenue through subscriptions, advertising, and data analytics. NZME, a major player encompassing publishing, audio, and digital services, released a revised three-year strategy in November 2023 emphasizing across its divisions, including enhanced audio distribution and publishing optimization. In July 2025, NZME launched an upgraded NZ Herald website, engineered with audience data and advanced technologies for faster load times, personalized recommendations, and improved visual engagement to boost user retention amid declining . Complementing this, a 2024 partnership with Triton Digital introduced tools for monetization, programmatic advertising, and cross-device analytics, enabling NZME to expand digital audio reach beyond traditional radio. These initiatives align with broader efforts to scale subscription models, with technology platforms designed to optimize conversion rates and content formats tailored to user behavior. Television New Zealand (TVNZ) has adapted by prioritizing its free ad-supported streaming service, , which aggregates live TV, on-demand series, and original content to compete with international SVOD giants. This platform facilitates seamless access across devices, supporting the transition from linear TV—where viewership has eroded due to —to hybrid models blending broadcast and streaming. Market pressures from global streamers have driven TVNZ to focus on localized programming, such as New Zealand-made documentaries and dramas, to leverage cultural affinity and regulatory support for public service obligations. In the entertainment subsector, particularly film and television production, adaptations include exploratory use of for tasks like and scripting efficiency, though adoption remains measured due to concerns over job displacement and creative control. Market strategies emphasize digital distribution via platforms like and international partnerships, with connected TV viewership surging as households integrate streaming into primary entertainment consumption. Overall, these adaptations reflect a pragmatic response to technological disruption, prioritizing data-driven and diversified revenue streams to mitigate reliance on amid fragmented audiences.

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