Outrageous Fortune is a comedy-drama series about the wrong sort of people trying to do the right thing when the rewards for going straight are neither immediate nor bountiful. It is a bold, fresh comedy-drama which is by turns bawdy, action-packed, satirical and trashy - but only ever a heartbeat away from reality.

A fast-paced serial drama in an urban setting, Shortland Street explores the lives and loves of the patients and staff of a modern metropolitan hospital and contains a heady mix of medical crisis, human drama, comedy, romance and suspense.

A comedy series about a fallen diplomatic Foreign Affairs high-flier who ends up baby-sitting the morally bankrupt (but for a good cause) staff of the embassy of The Most Royal Kingdom of Fe’ausi. His attempts to teach them right from wrong are more than countered by their attempts to get him to remove the stick from his butt and see the world in a more ‘relaxed’ fashion. Diplomatic Immunity a big, bold, brassy, sexy, politically incorrect comedy series about love and manipulation; about the battle of two men – father and suitor – for the heart and soul of one very smart young woman.
 

Rich. Famous. Married.
A drama/comedy series about love, friendship and (bottle) blonde ambition.
Amy, Britta and Cody have just made a vow that in one year they’ll fulfill their ambition to be... rich, famous and married. Their mate Kevin admires their pluck but, to be honest, since Amy, Britta and Cody are currently: Tragically Poor; Tragically Unknown; and Tragically Single, it’s going to be a bit of an ask. Go Girls is a sexy, funny, romantic series about three women, with very big dreams, all seen through the eyes of their other best mate, Kevin. Each of our gals is in search of what they think will make them happy.  (Though what you think will make you happy and what really does sometimes turn out to be very different things). However, these gals are nothing if not optimistic, determined and looking pretty hot.  (Even Cody, whose bum does look a bit big in that.) And sometimes, on the snakes and ladders of life, all it takes is a bit of luck; and with the help of a few vodka shooters, your very best friends, and a bloke called Kevin, you might just get there. In 365 days and counting
 

In a small New Zealand coastal village, Maori claim descent from Paikea, the Whale Rider. In every generation for over 1,000 years, a male heir born to the Chief succeeds to the title. The time is now. The Chief's eldest son, Porourangi, fathers twins - a boy and a girl. But the boy and his mother die in childbirth. The surviving girl is named Pai. Grief-stricken, her father leaves her to be raised by her grandparents. Koro, (the Chief) refuses to acknowledge Pai as the inheritor of the tradition and claims she is of no use to him. But her grandmother, Flowers, sees more than a broken line, she sees a child in desperate need of love.And Koro learns to love the child. When Pai's father, Porourangi, now a feted international artist, returns home after twelve years, Koro hopes everything is resolved and Porourangi will accept destiny and become his successor. But Porourangi has no intention of becoming Chief. He has moved away from his people both physically and emotionally. After a bitter argument with Koro he leaves, suggesting to Pai that she come with him. She starts the journey but quickly returns, claiming her grandfather needs her. Koro is blinded by prejudice and even Flowers cannot convince him that Pai is the natural heir. The old Chief is convinced that the tribe's misfortunes began at Pai's birth and calls for his people to bring their 12 year old boys to him for training. He is certain that through a gruelling process of teaching the ancient chants, tribal lore and warrior techniques, the future leader of their tribe will be revealed to him. Meanwhile, deep within the ocean, a massive herd of whales is responding, drawn towards Pai and their twin destinies. When the whales become stranded on the beach, Koro is sure this signals an apocalyptic end to his tribe. Until one person prepares to make the ultimate sacrifice to save the people. The Whale Rider.
 

They made one little promise... Not to spoil their boy’s big day.
Meet best friends Michael, Albert, Stanley and Sefa; the ladies’ man, the good boy, the weird one
and the party boy. They’re staring down the barrel of their thirtieth birthdays, but still act as if
they’re sixteen; they get drunk, they chase the wrong women and they have a remarkable
record of misbehaving and causing chaos at every wedding they attend.
But now Michael’s younger brother Sione is getting married, and everything is about to change.
Sione is their boy, the kid they used to look after, who grew up while they were still partying.
And to ensure his big day isn’t spoiled by his boys and their idiot antics, Sione has issued an
ultimatum; the guys all have to bring dates to the wedding. And not just any dates; real girlfriends,
someone they’ve made a commitment to. They have one month. So just how hard can
it be to get a date for your best boy’s wedding?
Michael doesn’t think it will be a problem. He’s a good looking cycle courier with a girl in every
suburb and dozens more on speed dial. Does he know how to have a relationship that lasts longer
than an afternoon?
Albert is the quiet one. His mother can’t understand why such a good boy hasn’t found the right
girl. And if he stopped longing for unobtainable women, Albert might discover that the perfect girl
is just an office partition away. Unless his true love is the Pacific Princess his mother has imported
from the islands for him.
Stanley is a hopeless romantic – in a weird way. As ‘Tyreeq’ he’s a legend on the 0900 phone
lines, but the girls he scores aren’t so dreamy when he meets them in the real world. There’s
one girl Stanley knows will be different, his honey-voiced fantasy ‘Latifah’…
Party boy Sefa thinks he has it made. He may be wild, but he actually has a girlfriend. And she’s
the bridesmaid. Leilani is obliged to be Sefa’s date for the wedding – isn’t she?
 

In February 1994, Christchurch businessman Dave Henderson walked into the Inland Revenue Department. He was not a happy man. His girlfriend had recently been there to collect a refund Dave’s company was owed. An IRD staff member made some suggestive comments to her. Dave told the IRD officer that if he ever talked to one of his employees like that again he would kick his “fat arse from one end of Cashel Street to the other”. And so began a saga of Kafkaesque and yet comedic proportions.But Dave refused to give in. He kept fighting. He also kept both his sense of humour and his records - of every surreal phone conversation; of every demand; of every piece of paper. He kept fighting until his battle reached the very highest levels of Government. And finally, four years after the comedy of errors began, Dave Henderson won. Dave got his life and his business back together. And in a final ironic two-fingered salute, he bought the building which houses the South Island head office of the IRD. And renamed it Henderson House. We’re Here to Help is a Kafkaesque comedy based on the true story of one man’s David-and-Goliath battle with the biggest bureaucracy of all – the tax department.
 

THE MAN WHO LOST HIS HEAD is a light-hearted contemporary telefeature focusing on Ian Bennet, a repressed British museum curator (played by well-known actor Martin Clunes), whose life is turned upside down when he is sent across the world to return an ancient Maori carving to the small fictional New Zealand town of Otakataka on the west coast of Northland.
Straitlaced Museum Curator Ian Jones (Clunes) is about to marry his boss's daughter, Fiona (Caroline Harker). Preparations are underway and Fiona is already drawing up seating plans. So when a repatriation claim comes into the museum for a Maori carving to be returned to a remote corner of New Zealand, Ian isn't keen to be given the job, particularly when he understands what a delicate case it is. The Ministry has told the museum to be sympathetic to the claim, and while the museum director has agreed to do this, he has no intention of letting the piece go back. Such a job needs an experienced pair of hands. The promotion that Ian has long worked for is dangled before him as reward, and he knows he can't say no. Meanwhile, out in New Zealand a very determined Maori community is waiting for him.
The carving in question is of an old Maori chief's son who went over to England in 1860 to buy arms. But the son was seduced and kept by a lady aristocrat and never allowed to return. In desperation, he carved a head of his own likeness and sent it back to watch over his father's people, but it was lost on the way. Since then, it's as if this remote Maori community has been cursed, and having at last traced the head to the museum in England, the people are intent on getting it back in place on their marae – the village sacred house - where it belongs. Only then will their luck return.
But then Ian arrives with his hidden agenda, and his bureaucratic reasons for rejecting their claim. The marae, he says, is an inadequate building to house such a precious artifact: no security, no access. Zac (Calvin Tuteao), the purist who first traced the head, is enraged: the head is sacred and must be housed in marae. He and the other elders manage to delay Ian's return while they prepare an appeal. It's just long enough for hard-hearted Ian to become seduced by his new surroundings. He teaches in the primary school; he drives the local bus; he becomes absorbed with the ancient myths; and all the while he knows he's falling for a Maori woman named Lollie (Nicola Kawana).
The Man Who Lost His Head is the story of a very pale fish, getting very much out of his depth. It follows Bennet from the dusty back-rooms of the British Imperial Museum to a small Kiwi town for whom the return of the likeness of Takataka is the single biggest event since the real thing left almost 200 years ago.

 

A vivid tale of magic, adventure and time-travel, from internationally-renowned children's author Margaret Mahy.
Set in a post-apocalyptic future, Maddigan's Quest follows a troupe of circus performers, known as Maddigan's Fantasia, as they traverse through shifting landscapes and isolated communities.
At the centre is 14-year-old Garland, reader, archer and tightrope walker. The Fantasia has made this trek many times, but this time they have a secret mission - to bring back the solar converter which powers their home city, Solis.
But as the Fantasia is attacked, two mysterious boys, Eden and Timon, appear with their baby sister Jewel. Garland learns they are from the future, journeying back in time to help the Fantasia. They bring magical powers and a Talisman that must be protected at all costs. But they also bring danger.
Featuring lead actors from New Zealand and Britain, Maddigan's Quest is both an epic tale and a visual feast. 
 

Eve observes. Eve philosophises. Eve tries not to get involved…but sometimes, Eve just can't help herself.
Something completely different and original, this comedy-drama is a fresh, up-beat look at early teen life seen through the eyes of 15-year-old Eve. Eve is the voice of this series – literally. Her thoughts are heard loud and clear as she muses – either directly to camera or in voiceover - on what it means to be a teenager in the new millennium and where she fits into all this. Eve is an anthropologist and a philosopher. She asks big questions, small questions, all questions.
Being Eve doesn't impose moral issues on its viewers. Nor does it patronize its target audience. It takes for granted that its audience want to be enlightened and they want to laugh. It poses philosophical questions that Eve attempts to make sense of ….that's if there's any to be found. For our target audience moving from childhood to adulthood, experiencing everything for the first time – there's an awful lot of anxiety. Being Eve provides them with the opportunity to laugh with the characters they identify with. Media savvy teenagers looking for something new are excited by the series' innovative style. Being Eve goes where no teen drama has gone before – flicking easily from drama to documentary style, where characters are talking directly to camera, to fantasy sequences, animation, stills, computer graphics, music video clips and whatever stylistic means best communicate Eve's thoughts and dilemmas