In what can only be described as the most audacious and flawlessly executed troll in the history of New Zealand media, in 2020, TVNZ’s Breakfast fell victim to a jaw-dropping troll: celebrating the wedding anniversary of notorious British serial killers Fred and Rosemary West live on air.
As part of the show's daily “Today’s The Day” segment, meant to honour wholesome viewer-submitted milestones like birthdays and anniversaries, the hosts beamed with joy while praising “Francis and Violet Eastwood” on their 30th anniversary. Accompanied by a family photo and an uplifting soundtrack, the hosts gushed over the couple’s "honeymoon photo" and read a heartfelt message from their “adoring children.” The only problem? The photo was of two of the most reviled murderers in British history.
The prank, which slipped past the editorial cracks and aired just before 8 a.m., was immediately followed by a grim-faced apology from host Jenny-May Clarkson, pre moko kauae, who condemned the hoaxer for doing a "really awful thing." And just like that, the focus shifted away from the show's editorial failure and squarely onto the anonymous submitter.
But therein lies the brilliance of the troll.
Rather than sparking introspection within the media about how such a glaring mistake made it to air, how a national broadcaster could unwittingly glorify serial killers during a feel-good segment, the narrative instantly pivoted to vilifying the individual who exposed the system's vulnerability.
This wasn’t just a prank. It was performance art. A scalpel that cut through layers of complacency and routine within mainstream media. It wasn’t merely a mistake; it was a moment that revealed just how automated, superficial and uncritical some segments of broadcast news have become.
The true genius of the stunt was not in the shock value, but in how easily it succeeded. No checks, no research, just a smiling endorsement of two serial killers, delivered with some gay upbeat music and heartfelt commentary. In less than 60 seconds, Breakfast became a case study in media vulnerability and misplaced trust.
In a media environment where trust is currency, this incident was a bank heist. It showed how easily presentation can override substance, and how quickly image takes precedence over integrity.
It may have been pulled off with dark humour, but make no mistake, this was not just a prank.
Where the infamous "Please Walk On Me" New Zealand flag display at Nelson's Suter Gallery tried to provoke and failed to resonate as meaningful art, this prank was art - unintentional perhaps, but brilliant in execution and devastating in impact.
This was performance art of the highest order. It exposed the cracks in the polished veneer of mainstream media, held a mirror up to the institutions that shape public discourse, and forced a national broadcaster to smile through a tribute to murderers - before scrambling to cover its own tracks.
In a country not known for its grand artistic stunts, this stands as one of the greatest pieces of live performance art in New Zealand’s history.
To the anonymous troll - whoever you are, you've earned yourself a DB!
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