Cirrus@Austlit

'Enter the world of Medical Defence Australia, a medico-legal organisation that exists to defend doctors and where necessary compensate patients. All cases at MDA combine elements of law and medicine so each case is managed by a doctor and a lawyer who agree on how to proceed. It's a unique organisation that delves into morally complex and emotion filled relationships between doctors and patients.'

Source: Australian Television Information Archive (http://www.australiantelevision.net/mda/mda.html). (Sighted: 22/2/2013)

'Jane Halifax is called in to help track down a serial killer. The killer has left a plea for her help, and Jane is confronted by her worst nightmare - that this killer might be one of her own patients.'

Source: Screen Australia

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)

'When a series of rapes occur all fingers point to one of Jane Halifax's patients. This can't be as Jane is his alibi. But why are the rapes exact reenactments of this patient's past attacks?'

Source: Screen Australia

'When Robert Bartlett, a colleague of forensic psychiatrist, Jane Halifax, heads an assessment panel which releases a convicted murderer who murders within 24 hours of his release, the entire psychiatric assessment panel system comes under scrutiny.'

Source: Screen Australia

A character-based television drama series about the lives of police officers in the fictitious Australian country town of Mt Thomas, this series began with the arrival of Constable Maggie Doyle (Lisa McCune) to the Mt Thomas station in the episode 'A Woman's Place'. Doyle and avuncular station boss Senior Sergeant Tom Croydon (John Wood) were the core characters of the series until the departure of Lisa McCune.

Immensely popular for a decade, Blue Heelers was cancelled in 2006 after thirteen seasons. The announcement was front-page news in Australia's major newspapers including The Sydney Morning Herald, Sydney's Daily Telegraph, The Herald Sun and The Age in Melbourne, and Brisbane's Courier Mail.

On June 8, 2006 Ross Warneke wrote in The Age:

'It's over and, to be perfectly blunt, there's no use lamenting the demise of Blue Heelers any more. When the final movie-length episode aired on Channel Seven on Sunday night, 1.5 million Australians tuned in, a figure that was big enough to give the show a win in its timeslot but nowhere near big enough to pay the sort of tribute that this writer believes Heelers deserved after more than 500 episodes. It is unlikely there will be anything like it again. At almost $500,000 an hour, shows such as Blue Heelers are quickly becoming the dinosaurs of Australian TV.'

'The Logan family run a small hotel in the remote township of Cooma, a dusty yet peaceful place to call home. But the building of an enormous dam is about to turn Cooma into a wild new frontier. With the surge of hopeful immigrants, shady hustlers and colourful characters - life will never be quite the same for the Logan family - a dramatic existence seasoned with passion and danger, cultural intrigue and the inescapable bustle of change.'

Source: Publisher's blurb for the DVD release.

G.P. is an Australian television series that ran for eight seasons. Set in and around a fictional general medical practice in an inner-city suburb, the storylines explore the professional and personal lives of the doctors and staff who worked there.

A one-hour soap opera focusing on life in a gritty inner-city suburb.

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.

A comedic adventure series that follows two men (Abel Moore and Charles Willing) living and working on a houseboat on Sydney Harbour, particularly their attempts to keep up payments on the boat. Also living on the house boat are aspiring actress Angela and the young, streetwise Parramatta.

Moran notes, in his Guide to Australian TV Series, that while the series reprised the ABC's The Fast Lane, it was nowhere near as successful a production:

there was little difference between the principal characters, both looking for the main chance. In addition the playing-off of Shane Withington and Grant Dodwell against each other (mildly tolerable in A Country Practice where the two had become fictional bachelors and odd-couple house companions after the departure from the series of their fictional wives) was decidedly threadbare.

Moran notes that this was the first series that Lynn Bayonas produced after leaving A Country Practice, and she had brought with her to the production not only the two main actors but also a number of writers.

After the theft of an opal necklace intended for the visiting Queen Elizabeth II goes badly wrong, the two remaining thieves hide the loot in the luggage of a young nurse on her way to a job in central Australia. After co-opting the Birdsville mail-truck and dragging three hostages along with them, the two thieves fall out: at the Diamantina River, Johnny kills his partner, but is himself trapped in the truck's cabin and drowned, while hostages Barbara and Dave survive.

Moran, in his Guide to Australian TV Series, describes the program as 'a surprisingly touching, suspenseful mini-series', and suggests it 'had the drive, pace and nervous involvement of a good American feature film by a classic director such as Raoul Walsh or Nicholas Ray rather than the kind of meandering narratives so common in the Australian mini-series.'

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.'

Television program focusing on a working-class family living in the western suburbs of Sydney, centred around Ed Devereaux (formerly of Skippy) as panel beater George King.

The program aimed for social realism in the presentation of working-class life, but Moran notes (in his Guide to Australian Television) that it did not attract a good initial audience, leading to, firstly, a halt to production and, secondly, an unannounced return to the screen, which also failed to attract good viewing figures.

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.

'Not many crims hold out against Bluey's style of interrogation. Muley has. For three endless days. Bluey, and everybody else at Russell Street, counts it as one of his rare failures.

'Now there's a robbery planned in the district where Bluey was born and raised - his patch. And Bluey, needing very little provocation, gets his second chance to crack Muley. This time he's determined to succeed, no matter how many rules he has to break.

'Gary feels that Bluey's obsession with Muley may be affecting his judgement. He follows a different course to Bluey and comes up with a different conclusion. Who is right?'

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):

'"MULEY" (THOMAS JOHN PRICE): Drives. Late forties. Tough crim, came up the hard way. Some brains. Has a hidden weak streak.

'PORGY BEAUMONT: Early thirties. Smart, hard, handsome, ambitious crim.

'ALSIE THOMAS: Early twenties. Smart, hard, cheap-pretty, ambitious crim's girl.

'SAMMY PARSONS: Early fifties. Cunning little card dealer type, courteous and cowardly.

'BARBRA PRICE [sic]: Thirtyish. Nice looking, not real bright, needs loving.

'NIPPER REED: Fortyish. One of Muley's boys. Ex-jockey.

'REX HARRIS: Fortyish. Another of Muley's boys. Tall, tough, but not such a bad bloke for a crim.

'DAVE BROWN: Mid-thirties. Stolid. Inspires faith. The man closest to Muley.

'YOUNG BARMAN (ALBERT): Late twenties. Dark, silent type. Interesting to women.

'UNIFORMED SENIOR: Fortyish. Friendly natured, fatherly sort of bloke.

'NIGHT SISTER: Mid-twenties. Friendly. (Couple of lines.)

'MATRON: Fifty. Unfriendly. No lines.

'OLD WOMAN: No lines.

'OLD MAN DRINKING: No lines.

'MYSTERY GUNMAN: Stunt driver.

'MAN PEDESTRIAN: No lines.

'WOMAN PEDESTRIAN: No lines.

'UNIFORMED CONSTABLE:

'UNIFORMED CONSTABLE EXTRAS (4)

'BAR EXTRAS.'

The success of Cash and Company was such to warrant a continuation of the series, but Serge Lazaroff (Sam Cash), considering that his character had developed as far as it plausibly could, quit the series, and Homestead Productions decided instead on a quasi spin-off, Tandarra (named for character Jessica Johnson's homestead).

The tension in Tandarra was generated by the character of Ryler, a bounty hunter who entered Cash and Company in the final episode. Ryler was played by Gerard Kennedy, capitalising on his success in Crawford Production's Hunter and Division 4. According to Don Storey in Classic Australian Television,

Tough, resourceful and professional, Ryler poses a far greater threat to Cash and Company than the incompetent Keogh, to the extent that they must question their future together. As Ryler traces Sam and Joe to Jessica's homestead, the trio decide to split up and the final scene shows Sam and Joe parting company and riding away in different directions.

Tandarra picks up from this point, with Ryler tracking Brady to Jessica's homestead, Tandarra. However, when Ryler manages to cross Lieutenant Keogh (who makes his last appearance here), he becomes convinced of Brady's innocence, and remains at Tandarra. Thus, this program mirrors Cash and Company in its positioning of a central trio against the corrupt forces of law and order, but with Sam Cash negated not only in ongoing storylines but also in the occasional flashbacks to Brady's earlier adventures.

Albert Moran says of the series in his Guide to Australian TV Series that 'this Australian western had thieves, soldiers, gamblers and a medley of other familiar types. Its episodes were equally familiar but reaosnable viewing all the same.' Like its predecessor, the series also sold well overseas.

According to Moran, in his Guide to Australian Television Series, Bluey (and its Sydney-based rival, King's Men) 'constituted an attempt to revive the police genre after the cancellations of Homicide, Division 4 and Matlock Police'.

Don Storey, in his Classic Australian Television, summarises the program as follows:

Bluey is a maverick cop who breaks every stereotype image. He drinks, smokes and eats to excess, and therefore is rather large, but it is his unusual investigative methods that set him apart. He has bent or broken every rule in the book at some stage, to the point where no-one else wants to work with him. But he gets results, and is therefore too valuable to lose, so the powers-that-be banish him to the basement of Russell Street Police Headquarters where he is set up in his own department, a strategem that keeps him out of the way of other cops.

Moran adds that 'Grills, Diedrich and Nicholson turned in solid performances in the series and the different episodes were generally well paced, providing engaging and satisfying entertainment.'

The program sold well overseas, especially in the United Kingdom. But though it rated well domestically, it was not the success that the Seven Network had hoped for, and was cancelled after 39 episodes.

Bluey had an unexpected revival in the early 1990s when selections from the video footage (over-dubbed with a new vocal track) were presented during the second series of the ABC comedy The Late Show as the fictional police procedural Bargearse. (The Late Show had given ABC gold-rush drama Rush the same treatment in series one.)