This post-war Weekly Review boards a RNZAF Dakota flying “the longest air route in the world”: a weekly 17,000 mile ‘hop’ taking mail to Jayforce, the Kiwi occupation force in Japan. Auckland to Iwakuni via Norfolk Island, Australia (including a pub pit-stop in the outback), Indonesia, the slums of Singapore, Saigon, Hong Kong; then Okinawa, Manilla and home. Director Cecil Holmes’ pithy comments on postcolonial friction and rich and poor avoided censorship, but won a warning not to rock the boat. The next year he was controversially sacked from the National Film Unit.

This 1991 story from magazine show Sunday profiles Logan Brewer: production designer on Kiwi TV classics (C’Mon, Hunter’s Gold), and producer of Terry and the Gunrunners and live ‘spectaculars’ like the 1990 Commonwealth Games opening ceremony. He talks through his career: learning about performing at England's National Theatre, and selling Aotearoa as “the last paradise” for Expo '92 in Seville — for which he is shown wrangling an extended shot of Kiri Te Kanawa and the NZ Symphony Orchestra, promoting fibreglass pohutukawa, and working with designer Grant Major.

As of 2012, 130,000 Māori – aka 'Mozzies' – were living in Australia. This reality series follows young Māori chasing "money, sex and fame" on the Gold Coast: partying and pursuing careers (from modelling and music stardom, to owning a gym). This first episode sees scaffolder/ property investor Tame Noema introduce the crew, ahead of a housewarming party. The kōrero ranges from scoring 'aunties' to pride in tā moko. Created by Bailey Mackey (Sidewalk Karaoke), The GC was a ratings success for TV3, and made headlines for its depiction of a modern Māori subculture.  

The 60s and 70s saw an influx of Pacific Island migrants to New Zealand. This 2015 Tagata Pasifika special looks at the children and grandchildren of those adventurers, who are part of a “second migration” — from Aotearoa to Australia. Reporter Sandra Kailahi talks to families about the reasons why they made “the jump” (education, jobs, opportunity, “a better life than what I had in South Auckland”); the challenges they faced (contract work, floods, racism); the trade-offs (lack of community and culture) — and why some chose to come back ‘home’ to New Zealand. 

In the era before 24 hour transmission, packages like these opened the day on TV1 and TV2. United by patriotic zeal, they focused on Kiwi people at work and play, and on scenery, and could have doubled as tourism promos. (The 1976 edition — second clip — borrows more than just the soundtrack from short film This is New Zealand). The party piece is the first clip: an epic tag-team version of the national anthem, sung by Annie Crummer, Peter Morgan, the Patea Māori Club and Dalvanius, backed by the NZ Youth Jazz Orchestra. It was originally recorded for Expo 88 in Brisbane.

Born "in a spirit of abandon" from late night jamming sessions by Neil Finn and his wife Sharon, Pajama Club released their debut album in 2011 (their only one to date). The couple were inspired by the idea of creating danceable music from instruments they were relatively new to: drums for Neil, and bass guitar for Sharon. Later co-producer SJD (Sean James Donnelly) added keyboard textures, while Alana Skyring (from Brisbane band The Grates) did time as a drummer when the group played live. Reviews for the Pajama Club album crossed the gamut, with a number praising its eclectic, experimental sound.

Something of an antipodean Seven Up! (a series of life-chronicling British documentaries) this documentary picks up on the stories of four young Māori — now middle-aged — 24 years after they moved to the Wellington as part of a Māori Affairs Department redeployment program. It makes liberal use of the original film to contrast the cowshed to cubicle journeys; and revisits Ripeka (now in Hamilton), Moana (Guam via Japan), Grace (Wellington), and Phillip (Brisbane), who reflect on the paths their lives have followed, and on their Māori culture and where 'home' is.

This documentary follows the build-up by the Auckland Warriors to their first match in Australia’s National Rugby League competition (against the Brisbane Broncos). They are the first offshore club to compete in the NRL. The excitement and routines of a burgeoning pro sport franchise — from training to brand development — are captured alongside player profiles: Dean Bell is captain, coach is John Monie, and future Kiwi league legend Stacey Jones is an 18-year-old rising star. Presented by Temuera Morrison, the score is hard rock, and the jersey sponsor is DB Bitter.

Country singer Marina Devcich was working as an apprentice hairdresser when she was discovered at a Waikato talent contest in 1964. Viking Records’ chief Ron Dalton changed her name to Maria Dallas and in 1966 her single 'Tumblin’ Down' was a pop hit and won the Loxene Golden Disc Award. She recorded in Nashville and shifted to Australia where she released successful singles, ran a Brisbane club, and won Queensland Country Singer of the Year six times. In 1970 she topped the NZ charts with ‘Pinocchio’.