Going Live! was a Saturday morning magazine show, broadcast on BBC1 between 1987 and 1993. It was presented by Phillip Schofield and Sarah Greene. Other presenters included Trevor and Simon, Peter Simon, Emma Forbes, and puppet Gordon the Gopher. The show was broadcast during the autumn to spring seasons, with other shows such as the 8:15 from Manchester and Parallel 9 taking over during the summer months. It was preceded by Saturday Superstore, and succeeded by Live & Kicking. In 1988, when the second series started, Greene was hurt in a helicopter crash with her then boyfriend, Mike Smith. Guest presenters stood in for her including T'Pau's Carol Decker. Similarly, in 1992-93 during the final series, Schofield was starring in Joseph and the Amazing Technicolor Dreamcoat and was unable to present the show. A third presenter took his place. Originally, Neighbours actor Kristian Schmid took the role but soon left after problems with his work permit. Various other celebrities to stand in included Shane Richie and Robbie Williams during his Take That days.

In the very near future, a team of eight astronauts embarking on a six-year journey to explore Venus and other planets in the solar system, find their lives and destinies intertwined and carefully directed, not only by Mission Control officials on Earth, but also by an unseen force which is much closer and far more powerful.

Bread is a British television sitcom, written by Carla Lane, produced by the BBC and screened on BBC1 from 1 May 1986 to 3 November 1991. The series focused on the devoutly-Catholic and extended Boswell family of Liverpool, in the district of Dingle, led by its matriarch Nellie through a number of ups and downs as they tried to make their way through life in Thatcher's Britain with no visible means of support. The street shown at the start of each programme is Elswick Street. A family called Boswell had also featured in Lane's earlier sitcom The Liver Birds and Lane admitted in interviews that the two families were probably related. Nellie's feckless and estranged husband, Freddie, left her for another woman known as 'Lilo Lill'. Her children Joey, Jack, Adrian, Aveline and Billy continued to live in the family home in Kelsall Street and contributed money to the central family fund, largely through benefit fraud and the sale of stolen goods.

How We Used to Live is a British educational historical television drama written by Freda Kelsall and sometimes narrated by Redvers Kyle and John Crosse, both employed as continuity announcers at Yorkshire Television at the time of production. Production began in 1968 at the YTV studios in Leeds. The series traced the lives and fortunes of various fictional Yorkshire families from the Victorian era until the 1960s, in and around the fictional town of Bradley, using self-contained short dramas interspersed with archive footage.

On the Waterfront was a BBC Saturday morning children's programme, filmed at Brunswick Dock, Liverpool. It was hosted by Andrew O'Connor, Kate Copstick, Bernadette Nolan and Terry Randall. The programme ran for two seasons in 1988 and 1989, and consisted of comedy sketches interspersed with cartoons, competitions and music. The writer Russell T Davies, later a BAFTA Award-winner for his work on programmes such as Queer as Folk and Doctor Who, worked on the series, writing the script for a comedy dubbed version of the children's drama series The Flashing Blade.

The lives and missions of the crew of a Welsh rescue boat.

Former soldiers in Britain's elite Parachute Regiment struggle to come to terms with civilian life after leaving the army.

Wogan is a British television chat show

Duncan MacLeod cannot die -- he is a 400-year-old immortal, who has seen his share of humanity's history. Still, he risks his life in battle against other immortals and tries to save people from harm.

A story of middle-class professional couples who employ full-time live-in nannies to look after their children. The nannies meet up as a collective group, and often discuss their employers' habits in sordid detail. As the plot develops, it becomes clear that most of the nannies are usually stuck in the middle of domestic unsettlement, affairs, neurotic partners, and manipulation.