Well-known Kiwi chef Jo Seagar trained as a cordon bleu chef in London and France, before returning home to promote a culinary style involving “maximum effect, minimum effort.” Her 1997 best-selling book You Shouldn't Have Gone To So Much Trouble, Darling caught TVNZ’s attention and Real Food marked her TV debut. The two series covered recipes from sushi to pecan pie. In a 2012 interview with Avenue, Seagar mentioned that the show rated highly, despite Television New Zealand initially telling her that a food show would never screen in primetime.
When television began broadcasting in Auckland in 1960, the news consisted of a days old bulletin from the BBC in London. A locally-compiled bulletin began before the end of the year, with occasional locally-filmed items. From 1962 to 1969 a five minute news summary screened at 7pm, with the longer NZBC Newsreel following at 8. TV news expanded rapidly through the 60s, with the NZBC setting up a network of newsrooms in the main centres. November 1969 marked the first time a shared news broadcast played nationwide, with the launch of the NZBC Network News.
London-born Graham Kerr’s first appearance on NZ telly was in 1960 as an Air Force catering adviser. The RNZAF omelette demonstration was the beginning of a career that would see Kerr become an internationally pioneering TV chef, liberally mixing personality — a patient, slightly naughty uncle, always ready with a risqué quip — and butter, cream or wine-soaked recipes. The Graham Kerr Show was the last series he made in NZ before galloping off overseas, and his worldly sophistication introduced Kiwis to horizons beyond the confines of their own insular cuisine.
This vehicle for self-styled “failed teenage rappers” Mark Williams and Otis Frizzell (previously MC OJ & The Rhythm Slave) took its name from their initials. A TV extension of their long running radio show, it was inspired by hip-hop rather than being about it. The premise was simple: the pair were let loose with digital cameras — Frizzell learnt to operate his reading the manual during their first flight — to find exotic locations, Kiwi expats and international stars (at London's Pinewood Studios Lee Tamahori introduced them to Halle Berry and Pierce Brosnan).
Inspired by the "very uncomfortable" dating experiences of actor Holly Shervey, Auckward Love follows the love lives of four female friends in Auckland. Shervey created the series; her partner, fellow actor Emmett Skilton (The Almighty Johnsons) directs and produces. Series one cost only $5,000. It was quickly picked up by TVNZ OnDemand and screened at several film festivals, including the London International Film Festival and Los Angeles CineFest. Two more series have since been produced. The friends are played by Shervey, Lucinda Hare, Jess Holly Bates and Jess Sayer.
Shazam! rode the 1980s music video boom created by the advent of MTV and the renaissance in NZ music. Aimed at a younger audience than Radio with Pictures, it played in a late afternoon, weekday time slot, and featured artist interviews and live concerts as well as sponsoring a Battle of the Bands and a music video competition. Presenters were Phillip Schofield (later a presenter with the BBC and ITV), Phillipa Dann (who moved to London with husband and future head of MTV Europe Brent Hansen) and, finally, Michelle Bracey (who became a documentary director).
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.
A flagbearer for Māori storytelling on primetime television, E Tipu e Rea (Grow up tender young shoot) was a series of 30 minute dramas touching on a range of Māori experiences of the Pākehā world — from rural horse-back riding and eeling, to urban hostility and cultural estrangement. It marked the first anthology of Māori television plays, and the first TV production to use predominantly Māori personnel. E Tipu e Rea's mandate and achievement was to tell Māori stories in a Māori way.
This classic kids’ adventure tale follows a 13-year-old boy on a quest to find his father, missing amidst the 1860s Otago gold rush. When it launched in September 1976, the 13 part series was the most expensive local TV drama yet made. Under the reins of director Tom Parkinson, the series brandished unprecedented production values, and panned the Central Otago vistas for all their worth. Its huge local popularity was matched abroad (BBC screened it multiple times); it showed that NZ-made kids’ drama could be exported, and helped establish the new second television channel.
Five-part series The New Zealand Wars took a new look at the history of Māori vs Pākehā armed conflict. It was presented by historian James Belich, who with his arm-waving zeal proved a persuasive on-screen presence: "we don't need to look overseas for our Robin Hood, our Genghis Khan, Joan of Arc, or Gandhi". The popular series reframed NZ history, and its stories of Hōne Heke, Governor Grey, Tītokowaru, Te Whiti, Von Tempsky and Te Kooti, easily affirmed Belich's conviction. The New Zealand Wars was judged Best Documentary at the 1998 Qantas Media Awards.