
Crime, chaos, and Christmas: the 20 moments that defined Outrageous Fortune
Note: This article contains plot spoilers for a series that ended over a decade ago. You have been warned.
I was 10 years old when Outrageous Fortune debuted on our screens, but my bed time was strictly when Shortland Street finished. I caught glimpses of the West family's escapades here and there, but it wasn't until over a decade later that I got to watch the series properly. At the time, my ex-girlfriend and I were staying in a state house in Mount Roskill, both young, broke, and bored, and we found solace in the relatable comedy-drama. The first couple of episodes were equal parts entertaining, funny, and ridiculous. We were hooked, finishing the entire series in just a couple of weeks.
There were many reasons why I appreciated watching the show so much in my 20s: the offensive humour, the west Auckland setting (I lived in west Auckland for five years as a teenager) and the multiple subplots – Ted's history as an expert safecracker, Loretta's cunning entrepreneurial skills, and Munter and Van's bromance. The show so aptly captures the culture of New Zealand and the era it was made, from the cars, to the music, to the boganism and the multiculturalism. As the iconic show celebrates turning 20 years old this week, here are 20 outrageous moments that defined the series.
1. Wolf's four-year sentence (S01, E01)
Wolf's arrest is the inciting incident for the entire series, forcing Cheryl to take control and the rest of the family to reevaluate their lives. As the archetypal criminal patriarch, Wolf's removal from the West household sets off a domino effect. It is both a plot device and a thematic statement: what happens when the kingpin is dethroned?
2. 'It all stops. From now on, we play it straight.' (S01, E01)
The entire premise of Outrageous Fortune hinges on this one bold decision. When Wolf is sent to prison, Cheryl declares that the family will abandon their criminal ways and live life on the straight and narrow. It's a turning point that sets the tone for the entire series: a chaotic, blackly comic journey of a crime family trying (and frequently failing) to reform. The irony is that going straight often proves more difficult than a life of crime, creating endless narrative tension and character growth.
3. Judd gives Cheryl the Hoochie Mama money (S01, E10)
Detective Wayne Judd plays an unusual role in the Wests' lives – a symbol of the law, but also someone drawn into their chaos. When he calls Cheryl honest, it's a surprising moment of tenderness and validation. His funding of Hoochie Mama with dirty money from a bust isn't just a romantic gesture; it's a vote of confidence in Cheryl's legitimacy and integrity.
4. Judd and Cheryl hook up (S01, E11)
When Cheryl finally sleeps with Judd after his persistent advances, it's a massive shift in the narrative. It marks her departure from the loyal wife and blurs the line between law and lawlessness. Judd becomes emotionally and professionally compromised, declaring his love for Cheryl, who finds herself in an even murkier moral territory. This moment reshapes both characters, deepening the emotional stakes of the show.
5. Van and Aurora's relationship (S02, E06-S03, E04)
Van West is often portrayed as the dumb twin and village idiot but his relationship with Aurora shows Van's emotional depth. Their romance is passionate, tumultuous, and ultimately doomed. Aurora challenges Van to grow but also reminds us that tragedy is never far from the Wests. Her sudden death – struck by a bus while trying to hide Tyson's drugs – is among the most devastating moments in the series. It's the kind of jarring tragedy that Outrageous Fortune does so well, reminding viewers that actions have consequences. For Van, it's a descent into grief that reshapes his outlook forever.
6. Loretta's erotic film debut and hookup with Hayden (S02, E11)
After running a series of semi-successful illegal business ventures, Loretta seemingly finds her true calling. Hayden demands Loretta film a porn video he has scripted, which Loretta trashes and rewrites. She ends up enjoying the director role and her and Hayden end up sleeping together. It's one of the show's most shocking yet surprisingly authentic relationships – a pairing is as twisted as it is fascinating. It shows us that Loretta does indeed have feelings and sets off a series of morally ambiguous decisions – parenthood, arson, revenge. Their dynamic mirrors the show's recurring tension between intellect and impulse, control and chaos. It showcases her defiance, intelligence, and refusal to conform to societal expectations. This subplot underlines the show's unapologetic embrace of sexuality and questions of autonomy.
7. The Wests visit Tutaekuri Bay (S02, E17/Christmas Special)
It's Christmas, and the Wests are gearing up for their annual chaos at Tutaekuri Bay – despite Cheryl's emotional spiral over Judd's imprisonment, a surprise visit from her estranged sister Jeanette, and Pascalle's dilemma over staying with Bruce. While Jethro opts out, the rest of the clan – including a rejuvenated Ted, lovestruck Van, and Loretta (abandoned by Hayden) – pile into Eric's bus and crash the DOC campsite under a fake name, ignoring yet another ban. However, their usual spot has been claimed by the rival Doslic family, sparking a classic West-style turf war.
8. Pascalle's porn disaster (S03, E05)
Pascalle's quest for glamour and validation often led her down misguided paths, but none more painfully than her involvement in Loretta's adult film. Hoping to raise money for hymen reconstruction surgery before marrying Bruce, Pascalle agreed to appear on camera – only for Bruce to discover the footage and end their engagement. For all her bravado and beauty queen dreams, this moment lays bare Pascalle's vulnerability, exposing the emotional cost of chasing perfection. It's a turning point that peels back the glossy exterior and reveals a far more complex, broken-hearted young woman beneath.
9. The launch of The Tool Guys (S03, E16)
When Van and Munter decide to 'go straight' by launching The Tool Guys – a 24/7 handyman service – it's a hilarious and oddly heartfelt milestone. Their earnest attempt at legitimacy, complete with homemade flyers, T-shirts, and vague branding, leads to them being mistaken for male sex workers. While this could've been a one-off gag, the storyline grows into a genuine business venture, complete with clients, staff (including The Gooch and Aaron Spiller), management drama (cue Loretta), and even romantic chaos. The Tool Guys becomes a recurring symbol of the Wests' tug-of-war between crime and respectability. It also deepens the bond between Van and Munter, offering some of the series' most endearing and comedic moments – including a disastrous bathroom hookup that somehow ends in a marriage proposal. Ultimately, The Tool Guys captures the show's core: well-meaning Westies trying to better themselves while being gloriously incapable of leaving the chaos behind.
10. Milt's sudden death (S04, E2)
Pascalle's whirlwind romance with the ultra-rich Milt ends abruptly when he dies of a heart attack. The death transforms Pascalle into a wealthy widow and disrupts the family dynamic. Suddenly, she holds the financial power – but it comes at a personal cost. The show balances absurdity with grief in a way that only Outrageous Fortune can.
11. Cheryl says goodbye (S05, E17)
In one of the series' most heartbreaking episodes, Cheryl loses her baby with Judd and retreats to Tutaekuri Bay – the place where she and Wolf scattered the ashes of their first child. Consumed by guilt and grief, Cheryl struggles to carry the weight of another devastating loss. But, driven by her deep sense of duty to her family, she summons the strength to return home and say a final goodbye, marking a moment of raw vulnerability and quiet resilience.
12. Drug container drama and Jethro on the run (S04, E03)
Jethro steals a container full of illegal steroids from Wolf on behalf of his mother. Van and Munter accidentally destroy the steroids and Wolf finds out, forcing Jethro into hiding. The botched job is symbolic of his arrogance and marks a turning point in his downward spiral. It's one of the show's tensest arcs, combining crime drama with family fallout.
13. Jethro's return (S04, E18)
Whenever Jethro resurfaces after one of his morally bankrupt absences, it creates an immediate shakeup. His slick, ambitious persona is the perfect foil to Van's sincerity. His returns usually mean trouble, but they also provide some of the show's sharpest insights into family loyalty, greed, and redemption. One of Jethro's most outrageous moments is when he returns dressed as Van to orchestrate a bank robbery, successfully framing Wolf. He also gets Sheree pregnant while impersonating Van and later returns with Wolf to disrupt Ted and Ngaire's wedding, leading to a complex series of events involving Nicky and Pascalle.
14. Sheree and Nicky conspire (S05, E11)
This unlikely and toxic alliance nearly destroys the Wests from the inside. Sheree, manipulative and cunning, aligns with the even more dangerous Nicky Greegan. Their schemes push the West family into chaos, sparking betrayal, paranoia, and violence. It's one of the show's darkest and most suspenseful chapters.
15. Loretta chooses Jane (S05, E19)
After the stillborn death of Cheryl and Judd's son, Hayden and Loretta get back together. They want more control over their daughter Jane from Cheryl, who agrees to allow them full custody of Jane if they get married. Loretta's arc from cynical teen to reluctant mother culminates in her choosing to keep her daughter Jane. It's a moment of surprising softness that reveals the depth beneath her icy exterior. Cheryl's support during this time also rebuilds their fractured relationship, underscoring the central theme of maternal love.
16. Cheryl stabs Zane Gerard and Pascalle is shot (S5, E19)
A raid led by detective Gerard erupts into violence and ends with Cheryl stabbing him in self-defence. It's a moment of high-stakes drama that pushes Cheryl into a legal and emotional crisis. Gerard's corruption is finally exposed, but Cheryl's hands aren't clean either. Pascalle is caught in the crossfire and shot. The chaos of the Wests' lives reaches a literal breaking point, and the near-death of one of their own brings a rare moment of vulnerability. It's a reminder of how their actions endanger everyone around them. Gerard succumbs to the injuries from Cheryl's stabbing, setting off a murder investigation that implicates the entire family. The fallout is massive – testing loyalties, reshaping relationships, and forcing the Wests into hiding or exile. It's one of the show's most suspenseful and morally complex plotlines.
17. Cheryl pleads guilty to murder – and the family spirals (S06, E1)
The final season opens with a shockwave: Pascalle is recovering in hospital, Cheryl is facing a murder charge after stabbing Detective Gerard, and Van steals and vandalises a police car in a fit of rage. But the real gut punch comes in court when Cheryl, wracked with guilt, unexpectedly pleads guilty to murder. Her stunned family can't make sense of it, and Loretta is left to clean up Van's mess by torching the evidence. It's a chaotic, emotionally loaded opening that rips the safety net from under the Wests and sets the stakes for the show's final run – what happens when Cheryl is no longer there to hold them together?
18. Judd and Pascalle have an affair (S06, E10)
One of the show's most outrageous moments comes not from a criminal act, but from yet another unlikely romance: when Judd, Cheryl's partner and the family's unlikely moral compass, begins an affair with Pascalle. It's a bombshell twist that fractures the Wests from within, derails Cheryl and Judd's already strained relationship, and upends Pascalle's arc entirely. For a show built on blurred moral lines, this moment pushes things into treacherous new territory. It's not just betrayal – it's taboo. And yet, true to form, Outrageous Fortune doesn't play it for shock value alone. The fallout is raw and devastating, particularly for Cheryl, who is left reeling in prison. It's a moment that redefines loyalties, relationships, and what the show is willing to risk in the name of character drama. Simply put, this is the point where no one is safe anymore – from each other.
19. Jethro redeems himself (S06, E17)
After years of scheming and selfishness, Jethro finally steps up for his family in the penultimate episode of the series. In a rare moment of moral clarity, Jethro plays peacemaker, persuading Cheryl to reconcile with Pascalle and redirect blame toward Judd to protect the family's legal case. When Judd later brings him the damning police report on Detective Gerard, Jethro discovers that Bailey had withheld it for her own gain. Disgusted, he forms a temporary alliance with his longtime rival Judd to ensure the report is used strategically. Leveraging this new power, Jethro forces Bailey to follow his lead in court, ultimately helping to clear Cheryl of her charges and restoring her at the heart of the West family.
20. The final farewell (S06, E18)
The series ends with emotional goodbyes and new beginnings. Cheryl remains the heart of the family, Van finds love and stability, Pascalle leaves with Judd with one last piss off the deck from Ted. Loretta, Hayden and Jane settle into their own messy version of family. It's an ending that's imperfect – like the Wests themselves – but deeply satisfying.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

1News
2 days ago
- 1News
Menopause, sex and the joy of being 60: Robyn Malcolm doesn't hold back
As her long career climbs to new exciting peaks, one of New Zealand's favourite actors remains politically fierce, sexually outspoken and determined not to be overlooked by her famously sexist industry. By Gill Higgins It might be a strange comparison, but I think of Robyn Malcolm like a tornado. Wherever she lands, she kicks up what's in her path and somehow leaves you feeling more alive than before. And so it was that on a mini break from filming in Perth, she swept me into a whirlwind 24 hours: a dash to Tauranga to speak at a women's business event, then straight to Wellington for dinner with old friends, then on to see her son Pete's band, American Muscle, that same night. ADVERTISEMENT And while she's at it, she's across her social media. She's the face of a new anti-ageing cream for the vagina (yes, really), she's promoting her latest Netflix series, pushing the relaunch of Outrageous Fortune for its 20th anniversary, and gearing up for the October release of the long-awaited Pike River film. Somewhere in there, the dogs get walked too. And she's just turned 60. Robyn Malcom, then and now. (Source: Supplied) For those of us racing toward that milestone, Malcolm's not just weathering it – she's changing the forecast. 'The ticking over into 60 that I was nervous of because of what it represents – I am so in love with. I love it!' So naturally, I wanted to know how she's so positive about a period of life that many dread. Once back in Auckland, exhausted, we head to the home she's had for over a decade. It's an old villa, painted a striking pink to brighten up her street. It's loud, it's a statement, it says 'I'm proud of who I am', just like its owner. Malcolm's sense of purpose has always been clear. From a young age, acting was everything. At 15, after a clash with a senior staff member at school (she told them to f*** off), she turned to her father, Pete – who happened to be the school principal. His response? It was time to leave and chase her dreams. ADVERTISEMENT A young robyn Malcolm and her dad, Pete. (Source: Supplied) It was her dad who told me that story and I could tell he was quietly proud of his stubborn, determined daughter. She moved to Wellington to live with her grandmother and never looked back. A Kiwi star was born. Malcolm in her first show (that's Michael Hurst). (Source: Supplied) That determination has never left her. Malcolm has never been afraid to stand up – for herself and for others. She recently marched against the government's Fast-track Approvals Bill. She's protested the atrocities in Palestine. And in 2010, she famously took on the Warner Bros, during the filming of The Hobbit, speaking out for better pay and conditions for local actors. 'I went through hell with that, it was awful. I had death threats and loss of work.' Young Malcolm was equally outspoken. (Source: Supplied) So always feisty, but she'd say never more so than now. ADVERTISEMENT 'Since menopause my feminism – which has always had a really healthy spring in its step – is so f***ing rabid now!' Much of her ire is directed at her own industry. The ageism, the sexism – she says it's relentless and she's felt it especially keenly since going through menopause. 'When I first went through it, I was just sobbing my heart out going, I don't know what's happening.' Her doctor prescribed HRT and antidepressants. But as she looks back now, she wonders 'how much of my feeling shit was about my place in the world and the messages I was being given'? Malcolm says menopause was a hard time. (Source: Supplied) She shares the stories with humour, but the undertow is serious. Like the time in her late 40s that she was asked to sign a nudity clause – something she was happy to do - only to be told they'd prefer her to keep her clothes on. Or the roles she lost to women 10 to 15 years younger, despite the fact she was the one who was the same age as the character. She quotes Amy Schumer 'when you're no longer f***able, suddenly there's less tolerance'. 'It wasn't crushing,' she says, 'but it made me furious.' ADVERTISEMENT An industry's obsession with youth She's also frustrated by the effect the industry's obsession with youth has on women. She knows many actors who've spent thousands of dollars chasing it. 'To me, it's almost like an illness, this dissatisfaction with how we look, how we try to be something we're not.' She feels women waste far too much time and money betraying the very things we should be grateful for. 'Why are we so critical, so mean, so judgemental, so downright vile to our bodies'? She's been there. But she's done with it. Malcolm, in the Shortland St era. (Source: Supplied) These days, she's found a new appreciation for her body, likening it to a car – a solid one, that's carried her for 60 years and is still going strong. 'I'm learning how to handle a slightly older vehicle now. I love that metaphor. Like I've got to go in for a Warrant of Fitness a bit more than I used to.' ADVERTISEMENT She 'buggered her knee' while filming the 2024 TV series After the Party and her back plays up. 'Because I'll still bend from the hips and lift 30 kg bags of compost out in the garden, you know?' But she celebrates that her vehicle is still on the road. Still doing its job. It's OK to be a woman and angry And it's not just an appreciation of her physical self, but her emotional self too'. 'It's fine to be an older, angry, belligerent, passionate, furious woman. It's really fine'. It was all of this, all these experiences, that inspired her and co-creator (and head writer) Dianne Taylor to create After the Party. They knew it was a risk. A drama with a lead who was flawed rather than having flawless skin. Who wore trackie bottoms rather than flowing dresses. Who created a mess in the kitchen rather than a perfect pavlova. 'We really dug our heels in; there was a bit of pushback – 'she's not a nice character. People might not like her'.' ADVERTISEMENT With her partner, Scottish actor Peter Mullan, in After the Party. (Source: Supplied) Some didn't. Funding was hard to find. It took three years. But the payoff was worth it. Rave reviews, rewards and nominations rolled in – from France, New Zealand, Scotland and even at the Baftas which are like the British Oscars. It was up against well-funded giants like Shogun and Jodie Foster's True Detective. Shogun won, but it was a wild ride, a little Kiwi show creating quite a storm. And now? Robyn Malcom and Peter Mullan at the Baftas. 'We're getting serious offers from overseas, we're making something new with people in the UK.' That's all she'd reveal, but she couldn't hide her excitement. If filming moves to the UK, that would be a bonus – because it's home to Malcolm's long-distance partner, Scottish actor Peter Mullan. They've been together, albeit frequently oceans apart, for 15 years. 'You go, well, I love you, so we'll make it work. It doesn't have to be conventional, and we make sure we put the kids first.' (Malcolm has two, Mullan has four, all of them aged in their late teens and older.) 'I remember my mum saying, 'I like this man he puts his kids ahead of you. And that's what he should do'.' ADVERTISEMENT Mullan has also been her acting partner, twice. First in Top of the Lake, then in After the Party, where she accuses him of paedophilia on screen. Off-screen, she's far more generous. 'He's a great human being, a phenomenal father. Fierce and politically connected. And one of the greatest actors in the world.' We can't say enough about sex So, for Malcolm, unconventional works. Which means it makes perfect sense that while many actors push creams to smooth wrinkles on the face, Malcolm promotes products to revitalise the vagina. She's not shy about it, in fact, quite the opposite. 'Nobody wants to talk about sex, I've never understood why, it's like we just don't want to talk about sex. I figure we can't say enough.' She dives straight in. Explaining that 84% of women experience vaginal atrophy as they age. It's due to cellular death and it can lead to painful sex, burning sensations and infections. Malcolm says Myregyna cream and pills can revitalise cells – and she swears they work. Maybe the New Zealand-made product contributes to Malcolm feeling more comfortable in her own skin than ever before. She has a partner she loves, two sons she's proud of, and a career catching its second wind. And she believes there's more to come. ADVERTISEMENT She calls this stage the final act of her play. One she wants to make the best yet. She's named it: Oh my God, I am mortal. 'I haven't quite worked out how to articulate it but I think as your body gets older, the catch up that your mind has to do… it's to have a really visceral relationship with mortality.' Standing up for what matters At her sons' age (19 and 17), she says death was barely a concept. Now, it's a constant consideration. 'Like, maybe be grateful for every day more than you were. Maybe take a few more risks. I'm always thinking, how would I feel on my deathbed?' Malcolm, protesting for Palestine. (Source: Supplied) It's vital to her to stand up for what she believes in. One of the issues weighing heavily on her mind is the war in Gaza – she calls it 'one of the great moral catastrophes of the 21st century' –she says she'd be on the very first boat if an international group of artists were heading there to help. 'And I really mean that.' Because more than anything, she wants her life to count. 'To be able to say I did and said all the right things, that I showed up and that I was honest. And maybe that's what the last stage of life is about – finding your own way to your own sense of the authentic.'


The Spinoff
11-07-2025
- The Spinoff
The Weekend: I can't stop thinking about this ad
Madeleine Chapman reflects on the week that was. It's either a sign I'm scraping the bottom of the vibes barrel or a sign that I'm choosing to find joy in unexpected places but last weekend I found myself utterly captivated, impressed and moved(?!) by a billboard. To be clear, I have high standards for creative consumerism. I hate that we all just have to accept we'll be surrounded by ads all the time, and therefore feel personally insulted when it feels like that privilege – the privilege corporations have in demanding our attention – is taken for granted. When I see a grotesque and lazy Grimace ad, I will complain about it. Yesterday I saw someone opt, at the last minute, to wait for another bus because their one had the garish police wrap on it. I applauded that stranger. Nothing signals a recession like advertising agencies phoning it in or pitching (likely out of necessity) the most low-effort campaigns imaginable. Digital billboards mean I see six meh ads at the traffic lights instead of one. My expectations for some creative flair on a sign are nil. And then last week, as I waited at the Newton Road offramp lights, I saw this: That's it. Just an ad for a medicinal cannabis clinic. I have no need for medicinal cannabis and won't be buying any now but I laughed out loud when I saw this and then yelled 'good ad!' in the car like a child. It's a grabby billboard that takes a quietly understood visual and makes a point with it. And it looks cool. Technically the campaign is about destigmatising cannabis use for medicinal purposes but ultimately it's an ad and an effective one at that. But what moved me was the real-life presence of it. It's tangible and has to have been man-made. If I have to look at a big ad, it's mildly comforting to know that someone actually put it there. People all over the world still talk about the New Zealand ads for Kill Bill from 20 years ago. AI is unavoidable at this point, and so many creative outputs (read: ads but also art, music, literature) feel either written by AI, designed with AI or at least deployed with little human touch. Giant screens that can be edited with the push of a button are cost-effective but never make me think about real people – even though there are very real people putting ads out in the world. I looked at those giant Chucks and wondered how they were made, what they were made of, how they were transported and how they were installed. For the first time in years I saw an ad and immediately thought fondly of the real human effort behind it. Is that inspiring or depressing? I'm still not sure. The stories Spinoff readers spent the most time with this week Outrageous Week's wonderful opener, The birth of the Wests: How Outrageous Fortune came to be by Tara Ward Hayden Donnell's open letter to Jacinda Ardern on open letters to Jacinda Ardern Local Liam Rātana returns to the far north to visit the country's new supreme cafe and sees a half-frozen pie It's once again time to ignore our crumbling infrastructure and pass the rates bills on to the next generation. Hayden Donnell on things that make people mad Auckland councillor Julie Fairey has always advocated for improved road safety – then she got hit by a car Feedback of the week 'Could we all please collectively take a moment to pause and appreciate the guy rocking the marijuana shirt in the back row of the fourth/bottom photo?' On What it's like to go blind at 25 'Bloody wonderful article, Oscar. My dads blind- started in his 30's, like his mum. It's always been far away future for me until it wasn't – on the cusp on 30 and suddenly I can't see shit. Weird, lonely experience – thanks for making it less so.'


The Spinoff
11-07-2025
- The Spinoff
‘Even after all these years': Siobhan Marshall on forever being called Pascalle West
As we wrap up Outrageous Week, actor Siobhan Marshall takes us through her life in television. It's been 20 years since Outrageous Fortune first stormed onto New Zealand television screens, but Siobhan Marshall still meets a 'terrifying' number of people who think she's Pascalle West. Whether they're from overseas viewers who have only recently discovered the iconic New Zealand series, or locals who have loved it for decades, Marshall still gets messages about Pascalle almost every day. 'It's such a funny one, because it just hasn't gone anywhere after all these years,' she says. 'It's so nice to see.' The role of Pascalle, the wide-eyed amateur model hellbent on being the next Rachel Hunter, was only Marshall's third acting role since drama school, having previously played Chris Warner's nanny in a brief stint on Shortland Street, and a centaur on the The Lion, The Witch and The Wardrobe. The 21-year-old got a lucky spray tan ahead of her audition, and remembers another auspicious sign that the role was hers. 'When I walked out of the audition, this girl walked in wearing a jacket with 'Siobhan' written in diamantes on the back',' she says. 'I got in my friend's car and said, 'I got that'.' Marshall had nerves about working alongside experienced actors like Robyn Malcolm and Grant Bowler, but she was fully committed to the role of the West's eldest daughter. Her boyfriend at the time was from West Auckland, and she remembers his advice on how to swear like a Westie ('just let it out: fuck!'). Swears aside, Pascalle was always a joy to play. 'She was the comic relief for ages, but then she got into some more gritty stuff,' she says. 'Seeing what she got up to was always fun. It was like, 'what's in the next script? What happens in this one?'' While Pascalle's legacy remains, Marshall does have one regret: 'I would have loved to have kept the Pascalle necklace, but I didn't.' And as for where she thinks the character would have ended up? 'I reckon she's probably still with Judd somewhere, and she's probably got some kids.' Since Outrageous, Marshall has starred in everything from The Blue Rose to Find Me a Māori Bride, and dipped her toes into reality series Celebrity Treasure Island. As we continue to celebrate all things Outrageous Week, we asked her to take us through her life in television. My earliest TV memory is… My sister and I watched a lot of TV growing up. A lot of Play School, and all sorts of cartoons, I loved Friends and Fresh Prince of Bel Air, too. All the greats. My earliest TV crush was… Martin Henderson from Shortland Street. I auditioned for Shortland Street when I was about 11, and I went out to do the audition and saw him in the flesh. It was very exciting. It was a real moment for me. I didn't get cast, but it was my first audition ever. I don't even know how I got that audition – I didn't have an agent. The TV ad I can't stop thinking about is… That Cadbury ad with the gorilla. That's still one of the best ones. So good, so simple, and it's chocolate. My first time on screen was… Shortland Street, straight after drama school. I played Chris Warner's child's nanny turned love interest. The role was a bit racy for Shortland Street and there were bed scenes with Chris Warner. I remember people were like 'oh, you played that slut on Shorty Street'. That's how it started, and then it continued [on Outrageous]. My TV guilty pleasure is… My current obsession is Peaky Blinders, and before that I rewatched Taboo with Tom Hardy. I also just finished Weak Hero on Netflix, which is a Korean series. It's about a bunch of teenage boys who basically fight all the time. It doesn't sound good, but you can't stop watching it. Even though it's a bit silly, I like it. The on-screen moment that haunts me to this day is… The Blair Witch Project. I watched it at the movies with my friend, and she was sitting on my right side. Something happened on screen and I got scared. I went to hug her, but I went the wrong way, and I hugged this random guy. My favourite TV character of all time is… Can't go past Chandler Bing and all the Friends characters. My favourite TV project is… Outrageous Fortune. I got to do so many different things, and work with such great actors. I didn't know at the time, because I was so fresh, but they really just let us go as actors. You just made up whatever you wanted to do and they filmed it, whereas normally, it's very 'stand here, do this, stand there'. Quite often you'd do the scene and then you'd just keep going until they called cut. The TV show I wish I was involved with is… It changes depending on what I'm watching, but I'd love to go way back in time in some sort of period piece. Watching shows set in the 1800s and 1900s and seeing how they lived just fascinates me. My controversial TV opinion is… I didn't get through Adolescence. It was great, I enjoyed it, and then I just didn't want to watch anymore. I also didn't like Breaking Bad. I had to watch it because I was doing this course in New York, and part of it was I had to watch Breaking Bad. I don't know if I watched the last season, because I think I had enough. The last thing I watched on television was… After the Party. I feel so bad that it's taken me this long. I've been meaning to watch it. I wanted to see Robbie [Marshall's Outrageous co-star Robyn Malcolm], and it's amazing. They did such a good job.