Ken, Dave and Sandy are three hip private detectives living on and working out of a houseboat in Miami, Florida. A yacht, belonging to socialite Daphne, is anchored next to their houseboat.... See full summary »
Don Corey and Jed Sills operate Checkmate, Inc., a very high priced detective agency in San Francisco. Helping them protect the lives of their clients is British criminologist (once an Oxford professor) Carl Hyatt.
Lawman is the story of Marshal Dan Troop of Laramie, Wyoming and his deputy Johnny McKay, an orphan Troop took under his wing. In the second season Lily Merrill opens The Birdcage Saloon ... See full summary »
Western stories and legends based, and filmed, in and around Death Valley, CA. One of the longest-running Western series, originating on radio in the 1930s. The continuing sponsor was "20 Mule Team" Borax, a product mined in Death Valley.
Correspondence-school law graduate Tom Brewster travels west to seek his fortune. Unfortunately, his "cowboy" abilities leave a lot to be desired and earn him the nickname "Sugarfoot" which... See full summary »
Don 'Red' Barry
One hundred eleven episodes of this syndicated show were produced between 1956 and 1959, debuting in the US in January 1957. Chuck and P.T. own a helicopter company that is hired to perform... See full summary »
Professional salvage divers Larry and Drake (later replaced by Mike) made their livings braving the dangers of the deep recovering sunken wrecks off the Southern California coast. ... See full summary »
Operating their skydiving service company "Ripcord", Jim Buckley and Ted McKeever are able to get to places that others can't and get there much faster. This leads them on many exciting ... See full summary »
Ken, Dave and Sandy are three hip private detectives living on and working out of a houseboat in Miami, Florida. A yacht, belonging to socialite Daphne, is anchored next to their houseboat. While not pursuing criminals, they spend time at the Fontainebleau Hotel chasing Cha Cha who works as an entertainer in the Boom Boom Room. Written by
J.E. McKillop <firstname.lastname@example.org>
This was one of four detective shows from Warner Brothers, four of a couple dozen series they did for ABC, (that MADE that network), from the mid 50's to the early 60's under the stewardship of William Orr and with the creative genius of Roy Huggins, (who later came up with the best show of all time, "The Fugitive"). Huggins had fancied himself a detective writer in the 40's and came up with Stuart Bailey, an Ivy Leaguer with a background in World War II intelligence who set up his own detective agency in Los Angeles. When Huggins became a story editor for Warners, it was decided to create a show around the Bailey character, 77 Sunset Strip, which debut in 1958. They gave Bailey a partner, Jeff Spencer and created the character of Kookie, the parking lot attendant, for comic relief. It set the stage for the other three, similar shows, each with a pair, (or three) handsome detectives operating in glamorous or exotic locations. Warner's learned you needed a pretty girl involved and the comic relief. they also learned from "Peter Gunn" that a musical interlude would occasionally be welcome.
"Bourbon Street Beat", set in New Orleans, debuted in 1959. So did "Hawaiian Eye", from Honolulu and in 1960 came "Surfside Six" from Miami Beach. Each had a catchy theme tune from Mack David and Jerry Livingstone. The plots were not very inspired but serviceable, (they serviced many episodes, being frequently reused). Sometimes, Warner's would do versions of novels they owned the rights to or TV remakes of some of their classic movies of the past, such as "Strangers on a Train" or "Dial M for Murder", in the guise of episodes of these shows. Characters from one show would show up on another, either in crossover episodes or full scale transfers of characters to be new members of the casts. This was easy because the shows were not shot on location: it was all done in LA.
The real difference in the shows were the cast members themselves. "77 Sunset Strip" had the charming and talented Ephram Zimbalist Jr. and Roger Smith. It also had the "Fonzie" of the 50's, Edd Byrnes. But it lacked a significant female regular or the musical interludes. "Bourbon Street Beat" had the charming and talented Richard Long, who took his charm and talent to Sunset Strip after BSB folded in 1960. It also had craggy character actor Andrew Duggan, young pretty boy Van Williams and Arlene Howell, a slightly ditzy southern belle. No one here was musically inclined but a jazz combo did a turn from time to time. "Hawaiian Eye" had it all. Anthony Eisley was a competent but slightly boring lead. Young Robert Konrad had the most charisma of any of them. Connie Stevens was a cute songbird who belted out the classic tin pan alley and show tunes. Poncie Ponce was a ukulele strumming cab driver who knew every place and every one or had a cousin who did. "Surfside Six" was maybe the weakest entry. Lee Patterson had some presence and acting ability but Van Williams, (over from BSB) and Troy Donahue were attractive but talent challenged. Marguerite Sierra was a cliched Latin Spitfire songstress, (who unfortunately died young of a heart ailment). Diane McBain was attractive window dressing.
The other main difference was the setting. "77 Sunset Strip" was about glamorous people up to no good or international intrigue, (and Stu Bailey traveled a lot more than these other guys did). "Hawaiian Eye" was exotic- perhaps a little too much so with an occasional embarrassing story about witch doctors and voodoo type curses and such. Natives were played by guys from Jersey and Chicago in the grand tradition. Surfside Six had a beachboy look to it. Bourbon Street beat was darker and more mysterious. New Orleans at that time was not a tourist trap but a relic of the old south in which Miss Havisham's cake might have seemed at home.
But they were all pretty solid entertainment. If you liked one, I'm sure you'd like them all- if you could find them. They are all in black and white, so cable stations are loathe to show them It seems that the moment a younger audience sees those monotones, they turn the stations. It's too bad. They don't know what they're missing.
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