Trigger warning: This post discusses sexual assault. If you are affected by any of the issues raised, contact 1800 737 732 or visit the 1800 RESPECT website here.
For over a decade, Married At First Sight has been one of Australia’s biggest shows. It has survived scandals, public outrage, and endless criticism. But what it’s facing right now is different – and it’s all happening at once.
As allegations surrounding the franchise continue to mount – from welfare concerns and police investigations to former contestants speaking out about what really happens behind the scenes – some insiders believe the show has crossed a line.
2025 contestant Katie Johnston told Woman’s Day that none of it surprises her. She argued the show is structured to create exactly the kind of damage now being alleged – with the show knowingly pairing certain personalities together because conflict and emotional volatility drive ratings.
She also rejected the idea that contestants should simply have known what they were signing up for.
“Consenting to reality TV is not consenting to psychological manipulation, emotional coercion or harmful dynamics for entertainment,” she told us.
Most chillingly, Katie said many cast members don’t even realise the extent of what happened to them until long after filming wraps – because the environment makes you doubt yourself while you’re still inside it.
“At some point, it stops being a social experiment and starts becoming an arena where emotional harm is normalised as entertainment.”
And now, the backlash surrounding the franchise is escalating in a way the show may not be able to outrun.
THE UK FALLOUT THAT CHANGED EVERYTHING
The tipping point came from overseas. British broadcaster Channel 4 pulled every season of MAFS UK from its platforms after a BBC investigation, The Dark Side of Married at First Sight, revealed two women alleged they were raped during filming, with a third describing a separate assault. All three said the show failed to protect them.
Channel 4 launched a welfare review, and the production company said its duty of care was “gold standard.” Former Australian contestants had been paying attention – and they had things to say.
“There are a lot of women in Australia who have been through very similar experiences. It’s all documented,” 2025 contestant Jacqui Burfoot shared, posting a video this week responding to the UK allegations.
She claimed men with criminal records and domestic violence histories were previously cast – and that much of what happened off-camera never aired. She said some women were given damaging edits that discredited them before they could speak out.
“You’re not just a victim of sexual assault – you’re then also the victim of a bad edit.”
Her husband and fellow former contestant Clint Rice also took to social media to add that the long-term harm to cast members was “horrendous,” and that nobody signs up to have their mental health used as a ratings tool.
WATCHDOGS ARE ALREADY AT THE DOOR
Closer to home, the pressure has been building for a while. In Australia, SafeWork NSW is actively investigating the Australian show over what it calls “psychosocial concerns” – triggered in part by the death of Lachlan “Lachie” Rofe, a contestant from the very first season, who died by suicide last year.
NSW politician Mark Latham, who knew Lachie personally, raised the issue in parliament and accused producers of deliberately targeting vulnerable people for entertainment and “feeding them to the wolves.”
“We don’t want to see another tragedy like him,” Mark said in parliament. “MAFS is the most extreme of the reality TV shows that seek to break people down and gain ratings from sort of unhinged personalities.”
He added, “I think they’re cast that way.”
SafeWork NSW had reportedly already issued three formal improvement notices to production company Endemol Shine Australia off the back of four separate complaints in 2025. The notices covered incident reporting, psychological safety, and staff training.
There was also a police investigation after contestant Paul Antoine admitted on camera to punching a hole in a bedroom wall mid-argument. He later apologised, calling his behaviour “unacceptable” and “disgusting.” Nine Entertainment maintains it takes participant welfare “extremely seriously.”
CONTESTANTS SPEAKING OUT – AND STRUGGLING TO BE HEARD
2026 cast member Gia Fleur was candid about the reality behind the scenes. She said she did not feel comfortable speaking with the show’s in-house psychologists.
“Everything you say may then be relayed to the show. You don’t really want to say too much,” she shared.
Gia said she tried to leave multiple times but was persuaded to stay because she was good for ratings. When her worst episodes aired, the online abuse got so bad she had to go dark on social media for weeks.
She’s not naive about it – she knows contestants sign up knowing the risks. But she’s clear that there’s a difference between reality TV and a show that’s actively working against the people in it.
THE CULTURAL MOMENT HAS PASSED
Setting aside the serious allegations, the shine and lucrative career opportunities once awarded to past participants is seemingly gone. This year’s cast hasn’t been able to turn their screen time into anything profitable, with some slashing their Cameo – a platform where people can purchase personalised video messages from celebrities – prices from $126 to $28 per video.
The brand deals and follower spikes that old seasons delivered also aren’t happening anymore. At Australian Fashion Week this year, the MAFS contingent was noticeably sparse, with brands appearing to be quietly cutting reality stars from guest lists.
A MAFS appearance used to be a launchpad, but now it might be a liability.
WHAT HAPPENS NEXT?
The show isn’t over yet. Nine Entertainment has seen so much success from MAFS that it makes pulling the plug difficult.
But when you add up the watchdog pressure, the UK scandal, the former cast speaking out, and a new cohort that can’t even sell a $28 personalised video – this is the most precarious the show has ever looked.
Woman’s Day has reached out to Nine for comment.
