Popco slotted in after Movin’ and before Norman, as part of a long tradition of Christchurch music shows which first began with Let’s Go in the early 60s. It featured a studio band, the Maggie Burke Dancers and vocalists including Bunny Walters, Annie Whittle, Tom Sharplin and Rob Guest, who performed the hits of the day. There were appearances from local acts including Ticket and Chapta, and overseas performers like Lindisfarne and Gary Glitter (who was overcome with vertigo and had to be rescued from a high diving board at QE2 pool, after miming one of his hits).
Moana Maniapoto and Toby Mills' documentary series recorded interviews with end-of millennium Māori elders (including Maniapoto's nan Kaa Rakaupai) in four hour-long episodes, revisiting a time when tribal traditions, beliefs and customs were still strong, but when Māori children had their mouths washed with soap for speaking te reo at school. The series, filmed in te reo, was co-funded by Te Mangai Paho and screened on TVNZ and at French and Finnish film festivals. Episode tahi won Best Māori Programme at the 2000 NZ TV Awards.
Column Comment in the 60s and News Stand in the 70s established a tradition of print media scrutiny by TV. Fourth Estate succeeded them with a brief expanded to include radio, TV and magazines. For 12 minutes on Friday nights, no media outlet (and especially not broadcaster TVNZ) was safe from the ruminations of journalism lecturer Brian Priestley, along with John Kennedy, editor of the Catholic weekly The Tablet, and guest presenters. Only brief programme excerpts and graphics of the newspaper articles under discussion provide visual relief.
Keith Aberdein devised Epidemic after being given the brief to write a drama about “disease coming into New Zealand”. Set in a small North Island town where race relations are strained to breaking point, this four part virus outbreak thriller revolves around Māori tāpū and an archaeological dig which locals are worried will disturb the graves of their ancestors. An accomplished cast (Martyn Sanderson, Don Selwyn, Cathy Downes) helped the series break bicultural-themed TV drama ground as European education and culture, and Māori tradition and spirituality collide.
Introduced by a pilot called High Country, Jocko was an early 80s attempt by TVNZ to build a series around a travelling swagman character. Jocko (Bruce Allpress) is a maverick musterer and rural jack-of-all-trades in the tradition of the Australian swagman and the American cowboy. But the setting is a contemporary one: in the South Island high country where old and new methods of farming are coming into conflict. Two series were made, written by Julian Dickon (Pukemanu), and co-starring Desmond Kelly as Jocko’s off-sider and travelling companion, China.
Set in a high flying PR firm, Spin Doctors was a topical, fast turnaround satire — in the tradition of John Clarke’s The Games. No client is too grasping, no issue too unsavoury for Giles Peterson and Associates, and a team including a ruthless Australian (Mark Ferguson), a boozy trout (Elizabeth Hawthorne) and the office liberal unsuccessfully battling his conscience (John Leigh). Each episode was written and produced in just five days — allowing the writers (including James Griffin, Roger Hall and Tom Scott) full license with the week’s issues.
Tangata Whenua was a groundbreaking six-part documentary series that screened (remarkably in primetime) in 1974. Each episode chronicled a different iwi and included interviews by historian Michael King with kaumātua. These remain a priceless historical record. The Feltex Award-winning script was by King and director Barry Barclay. The NZBC said the series had "possibly done more towards helping the European understand the Māori people, their traditions and way of life, than anything else previously shown on television". Paul Diamond writes about Tangata Whenua here.
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.
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.