Sunday was one of a number of magazine-style shows to screen on TVNZ, in a weekend morning slot. It was hosted by Radio New Zealand presenter Kathryn Asare, who the previous year had been drafted in to present a similar show, 10AM. Liz Gunn (Breakfast) later took over the reins. Many of the items on Sunday had an arts bent, including pieces on designer/producer Logan Brewer, and La Sagrada Família architect Mark Burry. Sunday is not to be confused with the long-running TVNZ current affairs show of the same name.
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.
Over nearly two decades and almost 9000 hours of TV time, Good Morning was a TVNZ light entertainment mainstay, airing on weekdays from 9am on TV One. Filmed at Wellington’s Avalon Studios for most of its run, the magazine show ranged from advertorials for recipes and home appliances to news, film reviews, aerobics, interviews, and … hypnotism. Presenters included inaugural host Liz Gunn, Mary Lambie (with her cat Lou), Sarah Bradley, Brendon Pongia, Steve Gray, Hadyn Jones, Lisa Manning, Rod Cheeseman, Jeanette Thomas, Matai Smith, and Astar.
New Zealand Mirror was a National Film Unit 'magazine-film' series aimed at a British theatrical audience. Mostly re-packaging Weekly Review and later, Pictorial Parade content for receptive UK eyes, it also generated a small amount of original content. The series covered items showcasing NZ to a British market and as such has some interest as a post-war representation of New Zealand's burgeoning sense of national identity, from peg-legged Kiwis and children feeding eels, to the discovery of moa bones, to pianist Richard Farrell.
Government filmmakers the National Film Unit launched Pictorial Parade two years after the demise of Weekly Review. It was another 10-minute magazine programme, but this time monthly, rather than weekly. It was the NFU’s major product for the next 20 years. In 1950 the NFU had been moved from under the wing of the Prime Minister’s Department, to be controlled by the Tourist and Publicity Department. The Pictorial Parade was seen as a move away from the political in government filmmaking, and a return to the promotional role of the early scenic films.
Takatāpui was the world's first indigenous gay, lesbian and transgender series. Produced by Front of the Box Productions and screening on Māori Television for six series, the show was magazine-styled with a Māori queer focus (it was replaced by the Wero series). It was light entertainment but not afraid to delve into some hard-hitting issues affecting the takatāpui communities all over New Zealand. Presenters included transgender singer Ramon Te Wake, Taurewa Biddle (with his distinctive moko) and Tania Simon.
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.
The Edge was an early edition in a series of magazine style arts shows made by the Gibson Group. Later shows included Sunday, Bookenz, Bill Ralston-hosted Backch@t, and Frontseat. Diverging from then-standard Kaleidoscope model (sometimes lengthy documentaries, often on single subjects) The Edge took a faster-paced approach, with multiple pieces in a half hour show. Subjects ranged from the birth of special effects company Weta to early landscape painter Alfred Sharpe. Fronted by writer Mary McCallum, two series and over 60 episodes of the show were produced.
Town and Around was a nightly magazine show, covering everything from current affairs and studio interviews to slapstick to stunts; including a notorious spoof on a farmer who shod his turkeys in gumboots. A popular and wide-ranging regional series, it ran for five years from 1965, and was the training ground for a generation of industry professionals (Brian Edwards, David McPhail, and Des Monaghan amongst many others). Town and Around was made prior to a national network link, and editions came out of Auckland, Wellington, Christchurch and Dunedin.
Mai Time was an influential magazine show for Māori youth, exploring te ao Māori and pop culture (it was one of the first shows to show local hip-hop), with presenters speaking in te reo and English. Running for 12 years, it began as a slot on Marae, then screened on Saturday mornings on TV2. Mai Time was a breeding ground for Māori television talent: launching the careers of Stacey Morrison (nee Daniels), Quinton Hita, Teremoana Rapley and others. It was the brainchild of Tainui Stephens, and was produced by Greg Mayor, then from 2004 by Anahera Higgins.