This collection celebrates Kiwi comedy on TV: the caricatures, piss-takes, and sitcoms that have cracked us up, and pulled the wool over our eyes for over five decades. From turkeys in gumboots and Fred Dagg, to Billy T, bro'Town and Jaquie Brown. As Diana Wichtel reflects, watching the evolution of native telly laughs is, "a rich and ridiculous, if often painful, pleasure."
In the first episode of The Candles Wasters’ multimedia web series, Hannah Moore (Nova Moala-Knox) struggles to deal with the sudden departure of her dad, and her art teacher romancing her mum — who happens to be the school principal. It’s downhill from there. Helped by best friend Isla, Hannah finds solace in the comic book she is creating, which in real life can be read online at Radio New Zealand. The comic involves a brave knight who must overthrow a usurper, after the King vanishes. Featuring a dark sense of humour, the series deals with mental illness and loss.
This collection is a celebration of the eccentric, exuberant career of NZ screen industry frontrunner Tony Williams. As well as being at the helm of many iconic ads (Crunchie, Bugger, Spot, Dear John) Williams made inventive, award-winning indie TV documentaries, and shot or directed pioneering feature films, including Solo and cult horror Next of Kin.
In this two-part Lookout documentary from 1983, critic Hamish Keith explores how New Zealanders have housed themselves over the 20th Century. This first part builds to 1935: it begins in Auckland War Memorial Museum, with Keith asking how Kiwis would represent themselves if they were curators in the future. He presents the state house as the paramount Kiwi icon, and examines the journey from Victorian slums and Queen Street sewers to villas, bungalows and suburbia; plus the impact on housing of cars, consumerism, influenza, war, depression, and new ideas in town planning.
Set in a Rogernomics-era 'New Auckland' world of property deals and horse racing, the second part of this 1989 mini-series sees the brassy odd couple Tammy (Annie Whittle) and Joanna (Miranda Harcourt) in deep water. The working class battler and the art consultant have done up their inherited greasy spoon, but they're the "only fly in the ointment" of the 'Vision 2000' scheme of a nefarious developer (Brit import James Faulkner). Girl power meets utopian unitary planning as the duo find bones in the basement, and get too close to the secrets of Huntercorp HQ.
This two-part mini-series is set in an 80s 'New Auckland' world of mirror glass and murderous corporate conspiracy. British actor James Faulkner (latterly Bridget Jones' Uncle Geoffrey) plays a shady developer with a smash and burn approach to urban planning. Blocking his utopian waterfront scheme is a cafe. The inheritors of the greasy spoon — and a racehorse — are a duo of feisty femmes: working class Tammy (Annie Whittle), and art consultant Joanna (Miranda Harcourt). The Shadow Trader marked an early producing credit for Finola Dwyer (An Education).
This is the first of a two-part "money and greed" morality tale set in a Rogernomics-era 'New Auckland' of property deals and horse racing. Working class lass Tammy (Annie Whittle) and art consultant Joanna (Miranda Harcourt, fresh from Gloss) are an unlikely duo who inherit a racehorse and a greasy spoon cafe (instant coffee rather than cappuccino). Brit import James Faulkner plays a shady developer whose scheme is blocked by the duo. Murder, underhand unitary plans, yuppie love and old gambling debts complicate life for Tammy and Joanna.
Mareko, Savage and Alphrisk from Dawn Raid act Deceptikonz offer a rhyme filled hip hop primer in this episode from a series for secondary school music students. Their vision of hip hop has little use for American-style guns and gangster rappers, but fighting with words is another matter and there are tips on the art of writing a battle verse (along with unlikely endorsements for The Discovery Channel and English classes). They also stress the importance of understanding an industry where artists arrive as musicians but need to leave as businessmen.
"I always wanted to make videos that turn sound into form". So says musician Nigel Stanford about the video for this track, from 2014 album Solar Echoes. In the Shahir Daud-directed video, science meets art and music meets image, as sound waves create an array of visual patterns in water, fire and sand. The mad professors’ physics class employs the Tesla Coil, Chladni Plate and Ruben’s Tube to vivid effect. It took two days to shoot, eight months to complete, won Best Music Video at the 2015 Vodafone NZ Music Awards, and has been watched over 14 million times on YouTube.
Being Chinese: A New Zealander’s Story author Helene Wong grew up in 1950s Aotearoa, and has worked in the arts as a performer, writer, and film critic. She discusses her varied career in this Funny As interview, including: Growing up with radio comedy, being the class clown at school, and realising that you could make people laugh with voices and accents The university capping review being a revelation and a liberation — how it presented an opportunity to deal with issues and was more than just "prancing about on the stage" How the introduction of television meant being able to see politicians — "their physicality, their flaws and their body language" — which provided wonderful source material for satirists Working with Roger Hall, John Clarke, Dave Smith and Catherine Downes on university revue One in Five, and mimicking three-screen promotional film This is New Zealand to open the show Working for Prime Minister Robert Muldoon in the 70s as a social policy advisor — despite spending “the previous few years having a lot of fun satirising him” — and feeling that he had a "kind of dark force field around him" Reaching a turning point in comedy about Asians in New Zealand; Asians have started to "take back the power" and "as opposed to encouraging audiences to laugh at us, we’re now getting them to laugh with us"