Married at First Sight Australia's biggest secrets, from fake homes and fights to sham weddings

MARRIED At First Sight Australia has had Brits hooked – but not all is as it seems on the small screen.

There are many secrets about the E4 show – which was originally filmed and broadcast down under in 2018 – including fake homes and orchestrated fights.

With not much else to do in lockdown, many Brits have found themselves hooked binge-watching season six of the Aussie TV experiment.

While there's been plenty of drama – from a cheating scandal to horror brides and stars receiving death threats – there's a lot more that goes on than meets the eye.

Contestants have been speaking out about the secrets of the show – including the 500-question long match-making process.

Here we spoil some of the juiciest mysteries behind the filming of Married At First Sight Australia.

The weddings aren't real

Producers of the show have revealed that the weddings you see on screen are not legally binding – so the couple's don't have to get a divorce.

The wedding ceremony is purely for TV purposes, and instead the pairings undergo a "commitment ceremony" to one another.

A spokesperson for the Australian broadcaster Channel Nine told online publication Now To Love: "In order to comply with the Australian Marriage Act, which requires one month and one day notification, a marriage in law was not conducted.

"Each participant embarked on a commitment ceremony with a wedding celebrant with all due intention to commit fully to this union for the duration of the experiment."

You can't talk without the cameras

Series six favourite Michael Brunelli took to TikTok to reveal that couples are asked to put everything on hold when the crew leave.

This includes talking with one another – and fighting or arguing is off the cards until producers and cameras arrive to film it.

"One of the weirdest things when we were on MAFS was that they didn't film all day," he explained. "But when they left, the camera crew told us: 'Don't learn anything about each other, don't really talk to each other because it needs to be on camera.'

"If you have a fight, you need to stop mid-fight and call the producer so they can bring the camera and start recording, then you've got to keep going with the fight."

The match-making takes a long time

Singletons are put through a rigorous entry process in order to be matched with their potential husband or wife.

One previous contestant of the UK show told Cosmopolitan that individuals are asked hundreds of questions before the show.

"It was a 500 question questionnaire that goes through your likes, your dislikes, all the intricate pieces of information about you," they explained.

"Your religious views, your political views, what you find attractive, your sexual history, whether you are sexually active."

Their homes are often Air BnBs

While parts of the show see the couple's visiting their respective partner's homes or families, often these properties have been rented.

While producers haven't explained why, it's thought to be common for the show to pick properties for the sake of the cameras.

In series six, enemy brides Jessika Power and Tamara Joy's homes were rented just for the show.

The dinner parties are orchestrated by producers

Other previous contestants have told how couples are forced to separate before the dinner party scenes where drama always ensures.

Series five star Tracey Jewel told Who Online: "They want the dinner parties to be as explosive as possible.

"You have to rock up at noon and sit in a tent until like 4pm on your own and you have all these emotions bubbling to the surface and seething before you walk in."

Contestants are head-hunted

While some of the contestants apply after seeing the advertisement, some are asked to take part by producers who find them on social media.

As with other reality shows, bosses are on the look-out for contestants and often pick them based on their personality.

However, whether they're in it for love or for the fame – it makes great TV for us at home either way.

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