AustLit

Fourteen-year-old Ben discovers that his seemingly staid country town of Werrinup, Western Australia, is actually the gateway to a number of parallel dimensions--where things are almost but not quite like his own world. Once he becomes aware of the parallel worlds, he also becomes aware that they are under threat, and he has to help protect them.

Parallax was created and produced by Paul D. Barron, who is also responsible for such programs as Wormwood, Stormworld, and Ship to Shore.

Children's adventure television series about children who live on fictional Circe Island, a fishing community and communications base off the coast of Western Australia. The first series featured episodes in which the children outwitted adults, particularly the character Hermes Endakis. The series later emphasised environmental issues, particularly in the second series, where the children try to stop a big corporation from destroying their island.

When two families move together to the country, they're not entirely suprised to find hostile townsfolk and crooked development deals. They are, however, surprised to find that their new house is a portal to the afterlife.

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.

Set in the Melbourne suburb of Camberwell during World War Two, The Sullivans follows the lives of Dave and Grace Sullivan and their children John, Tom, Dave, and Kitty. However, the storylines reach beyond the immediate Sullivan family, allowing viewers to see their extended family, friends, and neighbours also struggle through everyday war-time life.

The series also featured war-action sequences involving various characters. Arguably the most dramatic moment, and the event that effectively became a turning point in the series, was the death of Grace Sullivan in a London air raid. The series finished after a seven-year run, by which point most of the original cast had left the series and the remaining characters had settled into a new life in the post-war era.

Another Crawford Productions soap opera, The Box was set in a Melbourne television-production studio. According to Moran, in his Guide to Australian Television Series:

The setting for the continuous drama was a television station populated by a series of familiar types. These included Sir Henry Usher, chairman of the company; Max Knight, the harrassed station manager; Tony Wild, the egotistical star of the station's on-air detective series; the inevitable tea lady; Paul Donovan, a harrassed station executive, and many others. Most memorable of all was a wonderful bitch-figure in the person of reporter Vicki Stafford.

Like Number 96, The Box was designed for a late-night timeslot, and so focused on 'adult themes', including adultery and bisexuality.

Moran also suggests that The Box was 'very important to Crawford's in generating a cash flow at a time when they were losing the contracts on their police dramas' and that writers used the character of television police officer Tony Wild as 'an opportunity to settle the books against the egotism of some of the actors in Crawford's police series'.