AustLit

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'.

Sons and Daughters explores the dramatic incidents in the lives of the wealthy Hamilton family and the working-class Palmer family. The premise that underpinned the show's early years concerned the character John Palmer, on the run from the Melbourne police, who suspect him of murder. He travels to Sydney and falls in love with the wealthy Angela Hamilton, but they are later revealed to be twins who were separated at birth and raised separately: John raised by the wise former prostitute Fiona Thompson before returning to live with his father and Angela raised by her mother, who subsequently married into money. More wealth later arrives through the introduction of the Morrell clan, who have managed to marry their way into the Hamilton family.

Set in the fictional Riverside Police Station, Cop Shop combined self-contained stories focusing on specific police investigations with the type of open-ended serial storylines familiar from soap operas. This allowed Crawford Productions to make use of the expertise gained from their highly successful police procedurals (all recently cancelled) and serials such as The Sullivans (then still airing).

According to Moran, in his Guide to Australian Television Series,

Although the format may sound predictable and routine, in fact it was pioneering. In putting women police on the screen, Crawford's were moving Australian crime drama away from being an all-male domain. In addition, by choosing a suburban police station populated both by uniformed police and plainclothes detectives, Cop Shop introduced an upstairs and a downstairs world. The latter, in particular, began to exert its own attractions with handsome young men and women in the roles of the new constables.

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'.