Aimed at children, anthology series Freaky showcased tales of horror and the fantastic. Each episode was generally broken up into three stories, from aliens controlling humans like rats in a maze, to a terrifying water slide that transports riders to a prehistoric world. The tweenage Twilight Zone tales spawned a cult following, plus a wiki page detailing each story. Freaky creator Thomas Robins would refine the three stories in one approach with his 2006 anthology series The Killian Curse. He also co-created pioneering web series Reservoir Hill.
This mid '70s ad campaign, made by the National Film Unit for the Tourist and Publicity Department, was aimed at the domestic market and offers nostalgic delights aplenty. 'Nightlife' focused on city bars and clubs, and 'Oldies' showcased options for retirees (scenic bus tours). Another version urged families to ditch the car (amidst the oil crisis) and take public transport to see the country; and in a classic of the genre pop star Craig Scott was a beach pied piper for adoring young Kiwis: "We're in God's own country, we gotta take the tiiiime ...".
Nice One has become a legend in New Zealand children's TV: with the show's signature theme tune ('Nice one Stu!') and Stu's thumbs-up salute, totemic for kids of the era. On the show, host Stu Dennison played a cheeky pony-tailed schoolboy who delighted children and infuriated adults with his irreverent antics. Dennison developed the persona in live segments on Ready to Roll, before transporting him to his own after-school programme, filmed at Avalon Studios for TV One. Nice One also featured cooking (with Alison Holst), craft, singing and plenty of humour.
Debuting in 2003, this Touchdown series followed 2001's Pioneer House, a similar show from the same company. The new show transported an Otago family (policeman Ross, music teacher Dorothy, and their four kids) back to 1852 to recreate the challenges of life as English immigrants to New Zealand — including the clothing, housing and toiletries of settler life. It was executive produced by Julie Christie, who in a 2006 Listener interview mentioned the experience of pitching the show to NZ On Air as a key driver in deciding to make television that wasn’t reliant on public funding.
Iwi Ngāi Tahu turns filmmaker in this web series about mahinga kai (food gathering) in Te Waipounamu (the South Island). The 12 short episodes feature tangata whenua talking about all aspects of traditional food gathering practises, from storage (pōhā), transport (mōkihi) and making traditional medicine (rongoā), to the actual kai — such as īnaka (whitebait), kōura (crayfish), pāua and pātiki (flounder). Ngāi Tahu Mahinga Kai travels far and wide from the bush in Kaikōura to rivers in Murihiku (Southland), and moana on the east and west coasts.
In this fascinating social experiment, a 21st century Kiwi family is transported back in time to live as a typical family would have — 100 years ago. Their house and garden is restored to its 1900 state with electrical fittings, modern plumbing and all traces of modern living removed. The family have to deal with the challenges of turn of the last century manners, dress, morals, work and a lack of conveniences (including a regular outside trip to the long drop toilet). Based on a UK format, the series was followed in New Zealand by Colonial House (2003).
Landmarks was a major 10-part series that traced the history of New Zealand through its landscape, particularly the impact of human settlement and technology. The concept was modelled on the epic BBC series America. Here a bespectacled, Swannie-wearing geography professor, Kenneth B Cumberland, stands in for Alistair Cooke, interweaving science, history and sweeping imagery to tell the stories of the landscape's "complete transformation". It received a 1982 Feltex Award for Best Documentary and the donnish but game Cumberland became a household name.
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.