The Governor was a television epic that examined the life of Governor George Grey in six thematic parts. Grey's "Good Governor" persona was undercut with laudanum, lechery and land confiscation. NZ TV's first (and only) historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. It won a 1978 Feltex Award for Best Drama. Auckland Star reviewer Barry Shaw trumpeted: "It has made Māori matter. If Pākehā now have a better understanding of the Māori point of view [...] it stems from The Governor.
The odd couple is a longtime comic staple. In the 1970s Yorkshire emigre Craig Harrison turned the tale of a Māori and a Yorkshireman into novel Ground Level, a radio play, and this ground-breaking TV series. Joe (Stephen Gledhill) is the nervy, university-educated librarian; his flatmate is Koro (Rawiri Paratene) who works in a fish and chip shop. Running for two series, the popular chalk’n’cheese sitcom was a rare comedy amongst a flowering of bicultural TV stories (The Governor, Epidemic). Harrison’s novel The Quiet Earth later inspired a classic film.
This ambitious reality show saw Kiwis living 1850s style for six weeks — "three families from two very different cultures sharing one land". The first Māori family communicates in te reo; two other families, one Māori and one Pākehā, don't. The One Land team researched and recreated a hilltop pā and a colonial house for the participants to live in. Executive producer Bailey Mackey praised TVNZ for playing a te reo-heavy reality show in prime time. Named Best Constructed Reality Series at the 2010 Qantas TV Awards, One Land was made by Mackey's Black Inc Media and Eyeworks.
Inspired by an epiphany at the Waitangi Treaty grounds in 2000, and after learning New Zealand’s founding document was actually several pieces of paper, comedian Mike King went on a quest to learn the stories behind Te Tiriti O Waitangi. King traces the 1840 path of the nine sheets as it accrued its 540 signatures, meets Māori and Pākehā descendants of those involved, and connects with his Māori heritage. The 10-part series screened on Māori Television. Dominion Post critic Linda Burgess acclaimed it as “dignified, conciliatory, informative ...”
This comedy series followed the daily life of an 1800s Māori chief (Pio Terei) and his interactions with other Māori and newly-arrived Pākehā settlers. Nothing was sacred as a subject for satire, from disease to English gold lust. Created by Ray Lillis (Pio!), the series features Rachel House (Whale Rider), Jason Hoyte (Late Night Big Breakfast), William Davis (Belief) and Jonathan Brugh (What We Do in the Shadows). Guests included Dalvanius and Charles Mesure. It was produced by Terei’s Pipi Productions for TVNZ over two seasons; Terei had shifted from TV3 after his series Pio! in 1999.
This miniseries was made for the centenary of New Zealand’s involvement in the Gallipoli campaign. Created by Gavin Strawhan and Briar Grace-Smith, the six one hour episodes explored the impact of World War l on characters connected to a Pākehā family. Each episode was framed around a letter written home. The characters include a nurse and doctor caring for wounded in Egypt, a lawyer turned officer in Gallipoli and his wayward brother, and a Māori preacher turned soldier and his sister. Directed for TVNZ by Peter Burger, the series was produced by Robin Scholes.
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.
English-born broadcaster Ian Johnstone had been living in New Zealand for 17 years when TVNZ gave him the opportunity to take the pulse of his adoptive country, in a series of six half-hour documentaries. With a brief to provide his personal perspective on "what's changing, what's worth keeping", Johnstone's Journey saw him touring the country and talking to everyday people (rather than the expected experts) as he examined the Kiwi DIY ethic, Māori and Pākehā attitudes to the land, the family, rural community, the spread of the cities, and the New Zealand identity.
Following campaigns in the 1970s for more Māori and Polynesian broadcasting, Pacific Viewpoint marked one of New Zealand television's earliest forays into ongoing Pacific programming. It was made largely by Pākehā, although the presenting and reporting team included John Rangihau, Pere Maitai and Katerina Mataira. The title of the weekly series signalled a focus on Pacific stories, but the show struck a balance between both Māori and Pacific topics. Screening on Sunday afternoons on South Pacific Television, the series was initially produced in Hamilton.
This 13 part Māori Television series looks at Māori architecture, exploring its unique buildings, history and its relationship to the communities it inhabits. Similar to the work that The Elegant Shed did in articulating a distinctly Pākehā architecture, Whare Māori broke ground for Māori design. Here architect Rau Hoskins takes on the David Mitchell interpreter role. Diana Wichtel in The Listener applauded: "beautifully shot local cultural history through architecture". 'The Village' episode won Best Information Programme at the 2011 Aotearoa Film and TV Awards.