AustLit

One of Australia's highest rating dramas, All Saints is a Logie Award-winning Australian medical drama set in the fictional All Saints Western General Hospital in suburban Sydney. The stories originally focused on the nursing staff of Ward 17 run by Nursing Unit Manager Terri Sullivan. It was sometimes referred to as the 'garbage ward' because it took the overflow of patients.

In 2004 Network Seven producers overhauled the series in an effort to increase the show's gradually dwindling audience. They achieved this by closing down Ward 17 and transferring some of the staff to the Emergency Department managed by Frank Campion. Several other new lead characters were also introduced. The changes also saw the storylines begin to focus more on the lives of the doctors and nurses.

Another significant change to the series came in early 2009 when the producers introduced the Medical Response Unit. Central to this development was the helicopter which took doctors to rescue situations outside the hopsital and which in turn brought patients to the All Saints Emergency Department. The show's name was also changed at this time to All Saints: Medical Response Unit. The increased production costs created by having scenes shot on location played a part, however, in the series being cancelled mid-year. The series ended with the Emergency Department and Medical Response Unit teams having a dinner to farewell the last remaining original character, Von Ryan on her final day at All Saints.

All Saints was popular in many countries including the United Kingdom, Ireland, Belgium and Iran.

'Inspired by true events, Stingers reveals the shadowy and ambiguous world of undercover cops — people with covert lives and constantly changing identities. They are police who defeat crime from within the criminal world — always without a badge and frequently without protection. The series follows the lives of the operatives as they befriend and betray those on the other side of the law. For these select few, it is a deadly way of life.The undercover cops of Stingers are a unique breed. They must juggle their own lives — love, laughter, family and humanity — with the tension of the criminal personas they adopt in their passion for justice.'

Source: Australian Television Information Archive. (Sighted: 7/6/2013)

'Murder is the ultimate crime. It touches the lives of ordinary people, casting its long shadow over the glossy cityscape and glamorous haunts of the sprawling metropolis. For homicide detectives Steve Hayden and Tessa Vance, solving a murder is a journey from darkness into light. An urgent, vicious confrontation with evil, a walk through the devil's own world.

'Tessa and Steve are the elite new face of homicide. She is young and brilliant, he is logical. She is instinctive, he goes by the book. She's complicated, he's down to earth. Together this powerful partnership must confront and overcome the intrigue, fear and shattered lives which murder leaves in its wake.'

Source: McElroy All Media (http://www.mcelroyallmedia.com.au/index.php?page=murder-call). (Sighted: 19/4/2013)

The authors above are those credited as script-writers for the series. A number of other authors were also credited with 'story': Jennifer Rowe is the most frequently credited, but other authors credited with 'story' are Leanne Williams, Duncan Ball, Kel Richards, Jenny Pausacker, Kerry Greenwood, Richard Hall, Peter Gawler, John Banas, Jean Bedford, Karen Petersen, and Helen Robinson.

Water Rats is an Australian police television series which was broadcast on the Nine Network between 1996 and 2001. The series was based around the men and women of the Sydney Water Police who fight crime across Sydney Harbour and surrounding locales. The show was set on and around Goat Island in Sydney Harbour.

'Staff in an emergency department of a large Australian hospital have become addicted to the adrenalin rush they experience while dealing with life and death emergencies.'

Source: Screen Australia.

Inspired by A. B. Paterson's classic poem and set in a fictional Snowy Mountains township called Paterson's Ridge, this turn-of-the-nineteenth-century adventure concerns wealthy cattle-station owner and widower Matt McGregor and his three children, Colin (the town preacher), Rob (played by Guy Pearce), and Danni (the tomboyish youngest daughter). Unresolved sexual tension comes in the shape of Matt's independent, free-spirited childhood friend, the recently widowed Kathleen O'Neil, who returns to Paterson's Ridge with her son after having spent many years in England.

'A hard-edged, gritty drama about the tense and claustrophobic world of a Major Crime Task Force set up to solve an urban terrorist bombing, a Task Force which brings together a crew of idiosyncratic, competitive characters over a knife edged maximum stressed two months. PHOENIX is no traditional cop shop or crime story. Its characters are not clean, super hero cops, just real police whose attitudes can be shocking and whose humour is grim and black.'

Source: Screen Australia. (Sighted: 3/5/2013)

The first television program from prolific children's television producer Jonathan M. Shiff, Kelly follows the adventures of a police dog who, after being injured at work, is sent to recuperate in the country; here, Kelly becomes the constant companion of Jo Patterson and her friend Danny Foster, and manages to ferret out some criminals even in the country.

'Drama series set in and around an Australian embassy in the fictional Islamic country of Ragaan, where day to day diplomacy is the stuff of danger and news headlines rather than privilege and cocktails.'

Source: Screen Australia. (Sighted: 10/4/2014)

'The story of a Melbourne house-wife who becomes a member of parliament.'

Source: Screen Australia.

Home and Away is a television serial created by Alan Bateman and produced by the Seven Network. The idea for the series came to Bateman (then head of drama at Seven) after he stopped to buy ice-creams in a small country town in southern NSW. While chatting to some locals, he learned that the town was unhappy about plans to build a home for foster kids from the city. At that time, Channel Seven was still smarting from its decision to let Neighbours go to the Ten Network, where it had become hugely popular, and was looking to create another series to rival its success. Bateman saw in the idea that became Home and Away the potential for plenty of storylines and conflict by having streetwise city kids being relocated to a small regional environment,

In the beginning, the series focused on Pippa and Tom Fletcher, who, being unable to have children of their own, decide to become foster parents. When Tom is retrenched from his city job, the couple buy the rundown Summer Bay Caravan Park and move there with their five foster children. Soon after arriving, they also take in troublesome Bobby Simpson.

The series debuted in January 1988 with an hour-long telemovie. Although this rated well, the series itself took some while to develop an audience. Having learned their lesson from the Neighbours debacle, Network Seven gave its new show time, and its ratings gradually increased. As with Neighbours, the Home and Away series and performers became very popular in the United Kingdom.

Frequently described as an 'Australian western', Five Mile Creek was based on Louis L'Amour's 1982 novel The Cherokee Trail, with the action moved wholesale to Australia.

A co-production between the Seven Network and the Disney Channel, the program, according to Moran in his Guide to Australian TV Series, 'revolved around two women, Kate Wallace and the American Maggie Scott, who ran a stage way station at Five Mile Creek in New South Wales.' Moran also notes that it 'was the most expensive series ever filmed in Australia up to that time, costing Disney $12 million for the first two series, although this was still thought to be about half of what it would have cost in Hollywood.'

The series did poorly on Australian television but extremely well on the Disney Channel in the United States. According to Moran,

Five Mile Creek was a kind of stunning confirmation that Lew Grade was right all those years earlier in thinking that the Australian outback could be adapted to the genre demands of the western. Indeed in Five Mile Creek the reciprocal parallels and symmetries between America and Australia are pushed in a deliberate and warmly calculating way. The Australian bush is, as it were, transfigured so that it seems intrisically like part of the Old West.

In contrast to this Australian/American fusion that Moran notes in the program's sensibility, he also notes that it had the Disney Channel's 'cultural/commercial values written all over it.'

Another Grundy soap opera, Possession was, like the ill-fated Taurus Rising, designed to challenge the American soaps Dynasty and Dallas, in that it was (to use Moran's description from his Guide to Australian TV series) 'nicely set to gravitate betweem motifs of material wealth and unbalanced, emotionally wrought behaviour'.

Like Taurus Rising, the program was unsuccessful, and was pulled from its 7:30pm slot early in its run, to run out the rest of its episodes in a late-night slot. Moran notes that the program was 'one of a long series of misses' for Channel Nine, as they struggled to find a replacement for The Sullivans and The Young Doctors.

Moran also notes, 'For industry watchers--the serial was producer Eric Taylor's first dip in the waters of commercial television after many years' flotation in ABC TV Drama'.

At the end of World War II, Sister Langtry is in charge of a ward of mentally unbalanced patients. When she falls in love with a new patient, tensions arise and a patient is murdered.

Designed as an antipodean counterpart to glossy American soap operas Dallas and Dynasty, Taurus Rising (which traced the rivalry of two affluent families, the Drysdales and the Brents) cost $4.5 million to produce, but did so poorly on air that it was rapidly shifted to a weekend timeslot (according to Moran, in his Guide to Australian TV Series) and ultimately ran to only nineteen episodes. It did, however, later sell to overseas markets, where it was marketed as an extended mini-series.

Set in a small, fictional, New South Wales country town called Wandin Valley, A Country Practice focused on the staffs of the town's medical practice and local hospital and on the families of the doctors, nurses, and patients. Many of the episodes also featured guest characters (frequently patients served by the practice) through whom various social and medical problems were explored. Although often considered a soap opera, the series was not built around an open-ended narrative; instead, the two one-hour episodes screened per week formed a self-contained narrative block, though many of the storylines were developed as sub-plots for several episodes before becoming the focus of a particular week's storyline. While the focus was on topical issues such as youth unemployment, suicide, drug addiction, HIV/AIDS, and terminal illness, the program did sometimes explore culturally sensitive issues, including, for example, the Aboriginal community and their place in modern Australian society.

Among the show's principal characters were Dr Terence Elliott, local policeman Sergeant Frank Gilroy, Esme Watson, Shirley Dean Gilroy, Bob Hatfield, Vernon 'Cookie' Locke, and Matron Margaret 'Maggie' Sloan. In addition to its regularly rotating cast of characters, A Country Practice also had a cast of semi-regulars who would make appearances as the storylines permitted. Interestingly, while the series initially targeted the adult and older youth demographic, it became increasingly popular with children over the years.

Chopper Squad follows the adventures of a helicopter surf rescue team based on Sydney's northern beaches, as they deal with various difficult rescues and occasionally come into close contact with desperate criminals.

The program suffered from long hiatuses between the pilot and series one, and between series one and series two. Furthermore, Don Storey notes, in his Classic Australian Television, that

Unfortunately, the quality of the scripts varied immensely. Some episodes had excellent dramatic narratives, and the viewers would be on the edge of their seats watching the rescue process. Other plots were contrived merely to justify the use of a helicopter, or to show off some other facet of the surf rescue operation, or were just corny. This variation in quality occurred not only from episode to episode, but quite often within an episode.

However, Storey concludes that

If the scripts left a lot to be desired, the same could not be said for the other aspects of the programme. The actors all gave good performances, and the technical quality is excellent by any standards. Extensive external location work was used, with internal sets being kept to a minimum. The camerawork is second to none, highlighting the magnificent scenery of the Sydney coastline to great effect.

Albert Moran, in his Guide to Australian TV Series, notes that 'World distribution rights to the series were bought by Paramount Pictures, which sold the production to Malaysia, Hong Kong, Singapore, Thailand, the Philippines and Britain'.

Young Ramsay follows the adventures of a Sydney-based vet who becomes disillusioned with his work on the racecourse circuit, and moves to the small, fictional town of Jindarra, where he starts work with the veterinary practice of Jack Lambert (who is semi-retired on the grounds of ill health). It was conceived as family entertainment: neither violent nor explicit, but sufficiently exciting to keep the attention of both children and adults. Ramsay is supported by Julie Lambert (Jack's daughter, nurse, and receptionist) and Ray Turner (local park ranger).

The program begins in media res, with Ramsay already established in Jindarra, and unfolds his background and past experiences slowly, over a number of episodes. According to Don Storey, in Classic Australian Television, Ramsay is 'Not a super-cool type who never puts a foot wrong, but rather a well-rounded personality with successes and failings. He is a very competent vet; sometimes he makes a fool of himself or confuses names but he always makes good under pressure or in an emergency'.

Series one was followed by a two-year hiatus, and significant changes were made to the program for series two, including the re-casting of Ramsay's receptionist (Julie Lambert having been said to have left Jindarra after her father's death) and a stronger focus on happy endings.

According to Moran, in his Guide to Australian Television Series, 'Young Ramsay had a heavy stress on good ecological practices and was actively supported by the Victorian Ministry for Wildlife and Conservation'.

'A person dies, but the memory lingers on. Unfortunately, in some cases, the memory does more harm than good. This is the case of Steven Berry.

'A father's reputation in crime 15 years ago is brought to light at his death and the son must learn to cope with the malicious and doubting attitudes of a world quick to judge a man, not for himself alone, but for the stigma attached to his father.

'Rejected by the parents of the girl he is to marry, Steven goes through an emotional upheaval which leads him to the brink of suicide. However, outside influences take a hand and he finds himself embroiled in a one-way situation - a seige [sic] with hostages.

'Bluey finds it difficult to deal with such an explosive problem especially with other members of the police force hindering his every move. His unorthodox approach places him at the other end of a gun - as a hostage.

'An enforced wedding ceremony, and events take a turn for the worst; a long day ending in tragedy.'

Source: Synopsis held in the Crawford Collection in the AFI Research Collection (RMIT).

The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'STEVE BERRY 23. A good looking young man. Totally sympathetic. He is completely in love with Sue and his world is shattered when their wedding is called off. A set of circumstances gradually wear him down from a frightened man to one who sees his only salvation being at the right end of a gun.

'SUE GOLDING 20. Attractive. A slightly weak person because she is torn between two loves. That of Steve's and that of her parents. As Steve's character weakens, hers gets stronger. She does love and care for Steve.

'BERT GOLDING 45. The ruler of the family. His word goes. He and his wife, Tina, have over the years, lost a certain amount of closeness. To Bert, position in a community is very important. He refuses to believe Sue knows what she is doing. A protector.

'TINA GOLDING 40. She cares for Sue much more than she cares for Bert. A woman prone to hysteria - but nothing like this has ever happened to her before and her safe world is threatened.

'IDA BERRY 45. A woman who has seen a lot of life. Has no trouble with reality. She loved her husband and equally loves her son. Kind and warm.

'INSPECTOR BILL DERMOT 40 ish. Duty Officer. Operates by the book. Generalises his cases. His whole experience in siege situations is aimed at protecting the innocent - the man with the gun is the enemy - a person not to know.

'PRIEST Catholic.

'MOURNERS (3) Men of about 45/50.

'P/C #1

'P/C #2 Young and efficient cops.

'P/C #3

'P/C #4 Dermot's sharpshooters.'