Later retitled Arts Review, series Review debuted on New Zealand's only television channel in the early 70s. Among those who presented or reported for the arts based series were Max Cryer (Town Cryer) and onetime Town and Around reporter Barbara Magner.
With five series and close to 100 episodes, Frontseat, produced by The Gibson Group, was the longest-running arts programme of its time. Billed by TVNZ publicity as a "topical and provocative weekly arts series investigating the issues facing local arts and culture", and hosted by actor Oliver Driver, it (sometimes controversially) took a broad current affairs approach to the arts of the day, covering "all the big events, reporting the stories, and interviewing the personalities."
Backch@t was a magazine-style arts and culture show that appealed, from the opening acid-jazz theme tune, to a literate late-90s arts audience. Fronted by media personality Bill Ralston, the show included reporters Mark Crysell and Jodi Ihaka, and Chris Knox appears as the weekly film reviewer. In keeping with Ralston’s journalistic background, Backch@t took a ‘news’ approach to the arts, debating topics in the studio and interviewing the personalities, as well as covering the sector stories.
Good Day was launched in March 1978 to succeed Today at One with producer Tony Hiles promising "an entertaining magazine programme with the magazine aspect spread over the whole week". The Avalon based show, which ran for two years, aired at 1pm on weekdays and featured regular reports and human interest stories from around the regions, studio interviews, book and film reviews, and consumer, arts and gardening segments. Political journalist Simon Walker was an early staffer while Dylan Taite contributed reports from Auckland.
This series from the early 1980s profiles prominent painters and sculptors (including Neil Dawson, Greer Twiss, Jeffrey Harris and Richard Killeen). It was made for TVNZ (in association with the Queen Elizabeth II Arts Council) by Bruce Morrison and used art critic and historian Hamish Keith as a technical advisor. Morrison’s camera captures the artists at work and reviewing their careers and notable works, and he allows them to tell their stories entirely in their own words without the presence of onscreen interviewer or voiceover commentary.
After showing she could definitely generate a headline from an interview (when she quizzed Bachelor winner Art Green on matters sexual, in a 2015 NZ Herald web series) Anika Moa got her own chat show on Māori Television in 2016. The couch interview format saw Moa interview guests and review media in her trademark candid style, from actors Cliff Curtis and Lucy Lawless to politician Chloe Swarbrick. Eleven 30-minute episodes were made for series one; a second series began in 2017. The series won praise for its fresh (non white male) perspective.
C’mon brought the hits of the day into New Zealand living rooms for three years in a tightly scripted, black and white frenzy of special effects, pop art sets, go-go girls and choreographed musicians while host Pete Sinclair kept the pace cracking with breathless hipster charm. Most of the stars of the day appeared at one time or another but sadly only two episodes have survived. As the 60s finished C’mon fell victim to the fragmenting of the music world and the arrival of darker music that the show could no longer turn into family friendly viewing.
Gloss was a popular Kiwi television drama series made by TVNZ that screened in the late 80s; it combined a wealthy family, the Redferns, with a lucrative high-fashion magazine business. Yuppies, shoulder-pads and méthode champenoise abound in this cult "glamour soap". New Zealanders wanted to see themselves as less bottom of the world and more "here we come and we are sailing" (as the infamous Cup campaign song warbled), and Gloss was just what the era demanded.
A magazine show with an edge, The Living Room did for arts television production what Radio With Pictures did for New Zealand music — it ripped open the venetian blinds, rearranged the plastic-covered cushions, and shone the light on Aotearoa’s homegrown creative culture. Often letting the subjects film and present their own stories, it was produced for three series by Wellington’s Sticky Pictures, who would go on to make another arts showcase, The Gravy. Amidst the calvacade of Kiwi talent, Flight of the Conchords and musician Ladi6 made early screen appearances.
Asia Downunder was a weekly magazine programme for and about the Asian population in New Zealand. The long-running series featured a range of stories from news and issues to profiles, arts, sport, business and travel. Asia Downunder was produced and presented by Korean-born Melissa Lee (later a National Party MP) and a small team of reporters. Asia Downunder began screening on TV ONE in 1994 and ran for 19 seasons, until 2011. Later producers included Chris Wright and Kadambari Gladding.