This late 80s game show features couples attempting to build time credits by answering a series of questions. The prices include household appliances and a holiday to “exotic Tahiti”. Hosted by Paul Henry — in his TV debut — Every Second's’ gentle pace is decades removed from the accelerating insistency of Who Wants to be a Millionaire or Weakest Link. Henry fronts with more groaning Granddad jokes than the PC-baiting cheek he’d later become famous for, but early warning signs are there, disguised in a formidable 80s suit and white loafers.
To mark its first 25 years, TVNZ commissioned independent producer Ian Mackersey to chronicle a day in its life as the national broadcaster. Coverage is split between the often extreme lengths (and heights) gone to by technicians maintaining coverage, and the work of programme makers — including the casts and crews of McPhail and Gadsby and Country GP. The real drama is in the news studio during the 6.30 bulletin (with light relief from the switchboard) in this intriguing glance back at a pre-digital, two channel TV age during the infancy of computers.
Yuppies, shoulder-pads, sports cars and méthode champenoise abound in this cult 'glamour soap'. Gloss was NZ's answer to US soap Dynasty, with the Carrington oil scions replaced by the wealthy Redferns and their Auckland magazine empire. The series epitomised 80s excess, and became something of a guilty viewing pleasure. In this Rosemary McLeod-penned pilot, a 'Remuera Revisited' plot unfolds as Brad Redfern's plans to have a quiet wedding get waylaid by ex-wife Maxine. Schoolgirl Chelsea wags, listens to her Sony Walkman and gets an unorthodox haircut.
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.
This episode of current affairs show Close Up offers a fascinating portrait of the early days of New Zealand's foreign exchange market. Reporter Ted Sheehan heads into "the pit" (trading room), and chronicles the working life of a senior forex dealer, 25-year-old accountancy graduate John Key. The "smiling assassin" (and future Prime Minister) is a calm and earnest presence amongst the young cowboys playing for fortunes and Porsches, months before the 1987 sharemarket crash. As Sheehan says, "they're like addicts who eat, breathe and sleep foreign exchange dealing".
Anthropologist Max Scarry goes missing in Fiordland, while searching for a fabled Māori tribe. The local policeman believes Max broke local tapu. Max's partner Ruth sets off with his twin brother, murder suspect Edward, to try to unravel the mystery. John Laing's second feature attempts an ambitious Hitchcockian plot, and the cast — especially John Bach's terse doppelganger performance — testifies to the talent on hand in the early days of the Kiwi film renaissance. Atmospheric camerawork makes the most of damp Wellington, and remote bush settings.
This teleplay from writer Greg McGee is a satire of prejudice and the market economy set in the grey, divisive atmosphere of early 80s NZ. Kate Harcourt plays the proprietor of Dot's Terminal Cafe, a cantankerous spinster who rails against 'bludgers' and 'foreigners'. One rain-soaked Wellington night, her lumpen clientele decide to stage a small but telling uprising — with the help of a dead mouse. It screened in early 1982, following the breakout success of McGee’s confrontational take on Kiwi conformity: rugby player losing-his-religion play Foreskin’s Lament.
This is the final episode of the pioneering Kiwi soap. TV One’s Hearte family saga achieved enormous popularity during its eight year run, and provided a training ground for a generation of screen talent. But by 1982 Close to Home’s characters were aging, and the show faced competition from US youth-focused fare (eg. Fame, The Six Million Dollar Man). With this 818th episode it was time for moving house, nostalgic re-caps, for The Seekers’ ‘Carnival is Over’ to score the opening credits, and for Tom (John Bach) to stub out his last ciggie and write the ending.
80s show Close Up had a similar brief to earlier current affairs show Compass: to present mini-documentaries on topical local issues. Stories in the primetime hour-long slot were wide-ranging, from hard news to human interest pieces, including a profile of 25-year-old foreign exchange dealer, future-Prime Minister, John Key. The show won Feltex Awards for most of the years that it was on air. Close Up is not related to the post-nightly news show of the same name, which was hosted by Mark Sainsbury until 2012.
The Haunting of Barney Palmer is a fantasy film for children about a young boy who is haunted by his great uncle. Young Barney fears that he has inherited the Scholar family curse; a suite of 80s-era effects ramp up the supernatural suspense. The film was a co-production between PBS (United States) and Wellington's Gibson Group, which resulted in Ned Beatty (Deliverance, Network) being cast. It was written by Margaret Mahy, based on her Carnegie Award-winning novel The Haunting, and an early fruitful collaboration between her and director Yvonne Mackay.