1. Dark Shadows
Ah, "Dark Shadows." Started in black-and-white, too, a real gothic melodrama that brought vampires to daytime. You watched it unfold, day after day, a serial that kept you hooked with its wild, unfolding story. Barnabas Collins, a true breakthrough. And it wasn't afraid to get spooky, not for kids, mind you. That continuity, that was something new for a lot of folks.
2. Route 66
"Route 66," now that was a show. Two young fellas, Tod and Buz, driving across America in a Corvette, finding adventure and trouble in every new town. It was filmed on location, you know, not just some backlot. That gave it a real sense of place, a feeling of the open road. Each week, a new story, a new set of characters, a slice of life.
3. Naked City
"Naked City," they said, "There are eight million stories in the naked city. This has been one of them." And it was. A real gritty, black-and-white look at crime in New York, filmed right on the streets. Not your usual studio affair. Every episode felt like a self-contained film, focusing on the people, the victims, the perpetrators. Real drama, not always a happy ending.
4. The Fugitive
"The Fugitive," Dr. Richard Kimble, wrongly accused, always on the run from Lieutenant Gerard. Week after week, he’d find a new town, a new identity, a new problem, all while searching for the one-armed man. That chase, that long, drawn-out continuity, it was gripping. You just had to tune in to see if he'd finally be caught, or find his proof.
5. The Defenders
"The Defenders," now that was a thinking person's show. A father-and-son legal team, not always taking the easy cases. It tackled some pretty heavy social issues for its time, in stark black and white. Each week, a new legal conundrum, a new moral dilemma. It really made you think, and didn't shy away from controversy. A smart, well-acted drama.
6. Thriller
"Thriller," Boris Karloff himself introducing tales of the macabre and suspense. In black and white, mind you, which only added to the eerie atmosphere. Some episodes were truly chilling, not just ghosts, but psychological frights. It was a proper fright-fest for grown-ups, showing what you could do with shadows and suggestion, rather than gore. A real classic anthology.
7. The Outer Limits
"The Outer Limits." "There is nothing wrong with your television set." Oh, but there was, if you watched this. Black-and-white science fiction, often with a monster of the week, but always with big ideas. It messed with your head, presented dilemmas, and those creature designs were something else. A darker, more philosophical cousin to other anthologies, really.
8. The Saint
"The Saint." Roger Moore, before he was 007, as Simon Templar. A dashing, debonair adventurer who always seemed to outwit the bad guys. It started in black and white, then went to color, but that suave charm was always there. He traveled the world, solved mysteries, and always had a clever quip. A real sophisticated caper, week in, week out.
9. The Wild Wild West
"The Wild Wild West," now this was something else. A secret agent in the Old West, with all sorts of gadgets and disguises. It was a mash-up of western, spy, and even a bit of science fiction. James West and Artemus Gordon, always stopping some mad inventor. A bit campy, sure, but the sets, the costumes, the sheer inventiveness, made it a wild ride.
10. Harry O
"Harry O." David Janssen again, this time as a private investigator in San Diego. He lived in a beach house, drove a beat-up car, and was always trying to scrape by. It was a more laid-back kind of detective show, a bit introspective. Not all car chases and shootouts, but good, solid mystery and character work. A different pace, but still engaging.
