“Gallery” Grows In Stature (Press, 30 October 1971)

Critics have noted that the television programme “Gallery” suffered from a loss of impact following Brian Edwards' departure. However, a recent episode focusing on transvestites and transsexuals has prompted some to reconsider this viewpoint. The New Zealand Broadcasting Corporation's (N.Z.B.C.) production has transitioned from merely reflecting public opinion to actively tackling challenging subjects. The episode about transvestites unveiled the previously hidden aspects of their lives, effectively dispelling many misconceptions. Presenter Daime Shanahan employed a rigorous line of questioning, drawing insightful responses, particularly from two prostitutes featured. The programme provided viewers with a better understanding of urban subcultures, including terms like "butch" and "drag,” through candid revelations. While the episode's content was provocative, it faced censorship early on, leading to a brief audio and visual cut soon after a transvestite spoke about his experiences on Queen Street. Fortunately, the production team, led by producer Des Monaghan, regained momentum, showcasing interviews from Mojo’s Night Club and employing skillful camera work. This episode is viewed as a significant step towards the programme’s maturation. In a separate review, the debut of a new western series, “Lancer,” in Christchurch has drawn mixed reactions. Critics found the first episode, titled “Blind Man’s Bluff,” underwhelming and lacking creativity. The characters of Murdoch Lancer and his brothers, reminiscent of classic American western heroes, did little to excite viewers. The plot featured a tedious narrative with predictable elements that concluded in a notably awkward manner. Additionally, the series “The Psychiatrist,” featuring Roy Thinnes, concluded without fanfare, offering a low note for its final episode. The storyline involved a dying golf pro, but Thinnes' performance was described as lacklustre, largely consisting of minimal dialogue and expressions. Viewers were left wondering about the series' quality, as it had failed to engage meaningfully from the outset. A programme entitled “On Camera,” produced mainly for an Auckland audience, also aired and focused on Christchurch, but it failed to provide a comprehensive portrayal of the city. While some segments on the Christchurch Cathedral and educational institutions were commendable, the overall presentation lacked depth and critical context, missing key aspects of the city's identity, such as its university architecture and involvement in the Commonwealth Games. The programme's narrow focus and stilted narration did not meet viewers' expectations, highlighting the challenges in capturing a city’s essence effectively. The collective critiques highlight a demand for higher-quality programming and a more nuanced approach to presenting diverse perspectives in New Zealand media during this period.

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