As the nation settles into 2026, one topic dominates the cultural conversation, uniting tabloids and broadsheets alike: the latest dramatic twist in the BBC's smash-hit reality show, The Traitors. Yet, beneath the surface of this beloved 'garlic bread' of television, a troubling pattern has emerged, prompting urgent questions about race and representation on screen.
A Pattern of Early Exits for Contestants of Colour
The evidence is mounting from both the celebrity and civilian editions of the show. In the celebrity series, the first two stars banished were both people of colour. Niko Omilana, the 27-year-old YouTuber famed for his charismatic London mayoral campaign, was ostracised and banished despite his undeniable charm. He speculated his 'outsider' status in the showbiz circle may have been a factor.
He was swiftly followed by Tameka Empson, the 48-year-old EastEnders actor and comedian. While her exit may also speak to biases against middle-aged women, her banishment continued a clear trend.
This pattern has not remained confined to the celebrity version. With a fresh cast now in play, the spotlight has fallen on Ross, a 37-year-old personal trainer. He found himself under relentless and often contradictory suspicion—criticised for both reacting and not reacting, for knowing too much and not knowing enough. His experience suggests that not being white on The Traitors remains a perilous position from the very first round table.
Unconscious Bias or Unfortunate Coincidence?
Early banishments in The Traitors are notoriously arbitrary, based on gut feeling rather than evidence. However, the consistency with which contestants of colour find themselves in the crosshairs is striking. The show's format, which thrives on paranoia and snap judgments, may inadvertently amplify societal unconscious biases.
As columnist Zoe Williams posits, if the BBC revealed in a decade that the show was "actually a social-experiment documentary about unconscious bias," the results would be compelling. The pressure faced by Judy, a 60-year-old child liaison officer whose professional 'manner' made her a target, further illustrates how preconceived notions influence gameplay.
The Nation's Favourite Show Faces a Necessary Reckoning
To critique The Traitors feels almost heretical. It is the rare cultural unifier in a divided age, a show universally enjoyed without political baggage. Its brilliance and entertainment value are not in doubt. The conversation is not about accusing individuals of conscious prejudice, but about examining the structures of a game that holds a mirror to social dynamics.
The data, though anecdotal, is clear across the series' iterations. The question now is whether this pattern will be acknowledged. For a programme that dissects deception and motive with such razor-sharp precision, applying that same scrutiny to its own outcomes is not just fair—it's essential. The show's legacy may depend on it.
