1. The Fugitive
Now, *The Fugitive*? That was something. A real serialized drama, before we even knew what to call it. David Janssen, always running, always just missing the truth. You tuned in every week, hoping he’d clear his name, catching glimpses of the one-armed man. The black and white really added to the grit, made the stakes feel higher, almost like a newsreel. It was a proper cliffhanger, week after week, keeping you glued to that set.
2. Route 66
Before everyone was jet-setting, there was *Route 66*. Two young fellows, Buzz and Tod, driving that Corvette, seeing America. Every week, a new town, new characters, new problems. It was an anthology show in a way, but with these two constant drifters. You got a real sense of the country, the different people, the issues they faced. And those performances, especially from the guest stars, were often quite memorable. Good storytelling, with a changing backdrop.
3. Naked City
*Naked City*, now that was gritty. Not some studio backlot, but out there on the streets of New York. You could feel the city breathing. Each episode was a self-contained drama, often focusing on the victims or the criminals as much as the police. "There are eight million stories in the Naked City," they’d say, and they tried to tell a new one every time. It felt real, raw, for its time. Not quite a documentary, but close enough to make you think.
4. East Side/West Side
George C. Scott, playing a social worker in New York City. That was *East Side/West Side*. It tackled some heavy stuff for its day – poverty, racism, bureaucratic red tape. No easy answers, just people trying to make a difference in a tough world. It was a serious drama, meant for thinking folks, and maybe a bit too much for the general audience back then, as it didn't last long. But the acting, especially Scott's, was top-notch, really made you feel it.
5. The Courtship of Eddie's Father
Ah, *The Courtship of Eddie's Father*. A kinder, gentler sort of sitcom. Bill Bixby, a single dad, trying to navigate dating while raising his wise-beyond-his-years son, Eddie. It wasn't about big laughs or slapstick, but the quiet moments, the warmth between them. And the attempts to find a new mother for Eddie, always a bit bittersweet. It was wholesome, comfortable viewing, a nice break from some of the heavier stuff, and always left you with a good feeling.
6. Kolchak: The Night Stalker
Carl Kolchak, that rumpled reporter, always chasing the impossible. *Kolchak: The Night Stalker* was a clever one. Every week, some new creature, some unexplainable phenomenon, and Kolchak, with his camera and his trench coat, trying to expose it. Of course, nobody ever believed him. It had a neat blend of mystery and horror, even if the monsters sometimes looked a bit… well, like they were from a TV studio. A real precursor to later shows, you know.
7. The Outer Limits
"There is nothing wrong with your television set." That opening, it still gives me a chill. *The Outer Limits* wasn't just science fiction; it was often science-horror, or just plain weird. Every week, a new story, a new monster or dilemma, always with a twist or a moral. The creatures, the ideas, they really pushed the boundaries of what you could do on a black and white screen. It made you think, sometimes made you a little uncomfortable, but always kept you watching.
