1 / 8
1. Thriller
Oh, Boris Karloff. That's the name, isn't it? This anthology series, launched right at the turn of the decade, was something special. It wasn't just a spook show; it had genuine dread, often presented in stark black and white that really made the shadows dance. Karloff, always the gentleman host, introduced tales that kept you glued. Some episodes were pure gothic terror, others more psychological. A true gem from a time when television was finding its darker side, and not afraid to show it. It was real appointment viewing.
2 / 8
2. Route 66
Now, *Route 66* was something else entirely. Two young fellas, Tod and Buz, later Linc, in a sharp Corvette, just driving across America. It was more than a travelogue; each week they'd stumble into a new town, a new problem, and often, a new social issue. The location shooting was revolutionary, giving a real sense of place. It was about finding oneself on the road, with an almost poetic melancholy. A show that truly captured the restless spirit of a generation, long before color cameras took over.
3 / 8
3. The Defenders
*The Defenders* was appointment television for anyone who wanted to think. This wasn't your typical courtroom fluff. Lawrence Preston and his son, Kenneth, tackled tough legal and moral questions head-on, in black and white that made everything feel even more stark. They weren't afraid of controversial topics like abortion, euthanasia, or McCarthyism, pushing the envelope for prime time. It was intelligent, well-written, and acted with a seriousness you just don't see much anymore. A benchmark for mature drama.
4 / 8
4. East Side/West Side
Oh, *East Side/West Side*. That was a show that truly tried to make a difference, perhaps too much for its time. George C. Scott played a social worker in New York, and it was raw, uncompromising stuff. The series dove into poverty, discrimination, and urban decay with unflinching honesty, all captured in that stark black and white. It felt like a documentary sometimes, not a drama. Too real for some, I suppose, as it didn't last long, but it certainly left an impression. A bold experiment.
5 / 8
5. Peyton Place
Now, if you want to talk about changing the game, *Peyton Place* was it. This was television's first real prime-time serialized drama, airing twice a week! People tuned in nightly to see what scandalous secrets the good folk of this small town were hiding. It was like a movie unfolding, with cliffhangers and forbidden loves, all in glorious black and white before it switched to color. This show invented the long-form continuity that's so common now. It was utterly captivating, a real phenomenon.
6 / 8
6. The Name of the Game
*The Name of the Game* felt like a weekly movie. It was an ambitious undertaking, a 90-minute rotating anthology with three big stars—Robert Stack, Tony Franciosa, and Gene Barry—each heading their own segment as journalists at a major publishing empire. This show really experimented with long-form storytelling in color, giving it a grand, almost cinematic feel. It had style, glamour, and a kind of 'big studio' polish that was starting to define the late sixties. A truly impressive production for its day.
7 / 8
7. Harry O
David Janssen, after his run as *The Fugitive*, came back with *Harry O*. This was a different kind of detective show, much more subdued. Harry Orwell was a former cop, now a private investigator living by the beach, often nursing an injury. He wasn't chasing down villains with flashy car chases; it was more about the quiet observation, the weary character. Janssen brought a real gravitas to the role. It had a mood, a mellow melancholy you don't often find in the genre, even in color.
8 / 8
8. Manimal
And then there was *Manimal*. Oh, that was a wild one. A brilliant doctor who could transform into any animal to fight crime? It sounded like pure Saturday morning cartoon fare, but it was prime time. The transformation effects, for 1983, were pretty neat, often the highlight. It was a peculiar, almost surreal concept, full of ambition and a certain kind of outlandish charm. Didn't stick around long, but it's one of those shows you remember for trying something truly different, even if it was a bit daft.