In this interview publicising 1996 comedy The Birdcage, Robin Williams turns his humour settings to a surprisingly low level. Quizzed on matters political by Holmes reporter Ewart Barnsley, Williams argues that politically correct people can display the “same kind of repressive tendencies” as others, and admits that the portrait of homosexual parents in the Mike Nichols-directed comedy could be offensive to both gays and straights. But, he adds, the majority of viewers "go and laugh their ass off and find some common ground and humanity in it”. 

This episode of the turn of the century youth show trips out in the mud, at The Gathering dance party in Takaka. Havoc then talks to Manchester DJs at Piha, and interviews legendary comedian Robin Williams, who ranges from getting bitten by a dolphin to being scared by Paul Holmes. When this episode aired in January 2000, the hosts were at the peak of their infamy, having baited the BSA earlier in the series with a student stapling his genitals to a cross and setting it alight, and a woman on the street being asked whether she’d consider a sexual act for four dollars.

“It’s hard to imagine our way of life before the box turned up in our living rooms.” Newsreader Dougal Stevenson presents this condensed history of New Zealand television’s first 15 years: from 60s current affairs and commercials, to music shows and early attempts at drama. The first part of a two-part special, this charts the single channel days of the New Zealand Broadcasting Corporation from its birth in 1960 until puberty in 1975, when it was split into two separate channels. Includes recollections from many of NZ TV’s formative reporters and presenters.

This 2003 TVNZ documentary looks at the life of New Zealand’s most celebrated sailor, Sir Peter Blake. The film ranges from Blake's Waitematā sailing childhood to Round the World racing; from leading Team New Zealand to double America’s Cup victory, to the setting up of Blakexpeditions. The documentary uses archive footage and interviews with crew, mates and family to eulogise the adventurer with the windswept blonde mane and moustache. It was made in the wake of Blake’s 2001 death, while on an Amazon expedition to raise environmental awareness.

This four-part series explores New Zealand social history through rugby, from the first rugby club in 1870 to the 1995 World Cup. In this episode commentators muse on the roots of rugby in a settler society, in "a man's country". Rugby's unique connection with Māori, from Tom Ellison and the Natives’ tour to a Te Aute College haka, is explored; as well as the national identity-defining 1905 Originals’ tour, and the relationship between footy and the battlefield. As the Finlay Macdonald-penned narration reflects: “Maybe it's just a game, but it's the game of our lives”.

This 1977 film looks at the meeting of the 'two rivers' (Māori and Pākehā, oral and written) of the Aotearoa literary tradition. Rowley Habib is a guide as hui take place and readings of contemporary Māori poetry are set to images of Māori life, from Parihaka and land march photos to Bastion Point, urban scenes and a Black Power hangi. Poets include Mana Cracknell, Peter Croucher, Robin Kora, (a young) Keri Hulme, Brian King, Apirana Taylor, Katarina Mataira, Don Selwyn, Henare Dewes, Rangi Faith, Dinah Rawiri, Haare Williams, Hone Tuwhare, and Arapera Blank.

Made on a wind-up Bolex camera, The Sound of Seeing announced the arrival of 21-year-old filmmaker Tony Williams. Based around a painter and a composer wandering the city (and beyond), the film meshes music and imagery to show the duo taking inspiration from their surroundings. The Sound of Seeing served early notice on Williams' editing talents, his love of music, and his dislike of narration. It was also one of the first independently-made titles screened on Kiwi television. Composer/author Robin Maconie later wrote pioneering electronic music.