After countless romances, breakups and revelations — plus the odd psycho and crashing helicopter — Shortland Street turned 25 in May 2017. Made on the run, sold round the globe, the Kiwi soap opera juggernaut has provided a launchpad for dozens of actors and behind the scenes talents. Alongside best of clips, the very first episode, musical moments and favourite memories from the cast, Shortland star turned director Angela Bloomfield writes about how the show has changed here, while Mihi Murray backgrounds how it began — and how it reflects New Zealand.

This NFU production covers the Shah of Iran’s first tour downunder, and uses the occasion to showcase New Zealand to international viewers: from scenery to topdressing, dental clinics and Wellington Girls’ College. The four day visit could be seen as a symbol of globalisation: NZ had been cut adrift by Britain and was looking for markets for its lamb, cheese and wool, and to secure oil supplies. The Shah needed food for his modernising petroleum exporting country. (The booming trade was to be curtailed by the 1979 Iranian Revolution, when the Shah was exiled.)

This 1970 documentary surveys New Zealand’s dairy industry — “probably the most advanced in the world” — from pasture to export. Dairying then produced a quarter of NZ’s income, but with Britain due to join the EEC, NZ was forced to seek new markets. This film proclaims the industry’s readiness, thanks to an artificial breeding centre (with ‘calf-eteria’), room-sized computers, and cheeses designed for the Asian market. The country's 25,000 dairy farms were each owner-operated, and averaged 90 cows. The Dairy Industry won top prize at an agricultural film competition in Berlin. 

Made for the Post Office, this 1971 National Film Unit documentary offers a potted history of New Zealand, using postage stamps as the frame. Director David Sims ranges from Māori rock drawings, to Tasman and Cook. Once Pākehā settlers arrive, the film offers a narrative of progress (aside from two world wars) leading to nationhood and industry. Archive photographs, paintings, Edwardian-era scenes and reenactments add to the subjects illustrated on the stamps. The stamps include New Zealand’s first: a full-face portrait of Queen Victoria by Alfred Edward Chalon.

This film outlines the efforts to transform the “barren” pumice lands of the North Island’s Central Plateau into arable farmland. Once scientists discover the magic missing ingredient that will make the soil more fertile (cobalt chloride), the serious job of burning scrub, ploughing and sowing begins. The film uses a traditional 'triumph over nature' narrative, but director John Feeney makes elegant use of montage and composition. Author Maurice Shadbolt, who spent time working at the National Film Unit, regarded it as "without doubt the best film to come from the Unit".

This post-war film was made to showcase New Zealand to UK audiences. Directed by Michael Forlong, the NFU film is a booster’s catalogue of contemporary NZ life. The message is that NZ is a modern pastoral paradise: open for business but welfare aware. Nature is conquered via egalitarian effort; air and sea links overcome the tyranny of distance; and science informs primary industry. Māori are depicted assimilating into the Pākehā world. Sport, suburbia and scenic wonder are touted, and an NZSO performance shows that the soil can grow culture as well as clover. 

Sponsored by the Crusader Shipping Company, this 1966 National Film Unit production joins one of the firm's ships as it transports NZ products from Auckland to Asia — home to “one quarter of the human race, 900 million customers”. As milk powder, wool, mutton, apples, cheese and deer antlers are delivered to ports in the Philippines, China, Japan, and Hong Kong, director Ron Bowie observes cultural difference and economic opportunity; and a “westernising” Orient is beautifully captured by Kell Fowler. The NFU crew were rare foreign observers in Chairman Mao’s China.  

This special 1999 edition of the youth show travels to downunder's summer music festival du jour: The Big Day Out. Mikey Havoc and Jeremy 'Newsboy' Wells slip, slop, slap and survey the "punters, munters, sights and sounds" at Mt Smart Stadium. They meet musical acts of the era, including Korn, Marilyn Manson and Fatboy Slim, and local heroes Shihad. Newsboy interviews "Nelson College old girl, grunge super bride and Big Day Out recidivist" Courtney Love, who gives him the glad eye (apparently) and he reads her a viewer question from "Doug Myers of Remuera".

After Governor Hobson’s stroke, Willoughby Shortland stepped in and sent the Treaty south in the hope of more signatories. This fourth episode of comedian Mike King’s Treaty discovery series searches for where the sheet was signed on the Manukau Harbour. King learns of an (unfulfilled) ancient prophecy, and why Ngāti Whātua chief Apihai Te Kawau agreed to sign. King then heads across the harbour and uses his mission as an excuse to visit the Kāwhia Kai Festival, where he learns about the influence of the incoming “great white wave” on signatories.

The concept behind this game show is that contenders can't hide their nerves. They're wired up to a heart-rate monitor and given a "redline rate" that is 70% above their resting heart rate. If their heartrate goes over the line the contestant starts losing money and can't answer questions until their heart slows down again. Hosted by ex-rugby and league player Matthew Ridge, The Chair was a big-budget, big-event format that was made first in New Zealand and proved a significant export success for Touchdown (now Warner Bros.) selling to 29 territories.