1964 marked the debut of the show that became one of the most fondly remembered TV series ever: The Man From U.N.C.L.E. With weapons in hand (and tongues in cheek),agents Napolean Solo (Robert Vaughn) and Illya Kuryakin (David McCallum) carry out the bidding of U.N.C.L.E. chief Alexander Waverly (Leo G. Carroll).

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Between heroic spells as the Saint and James Bond, Roger Moore was teamed with Tony Curtis in The Persuaders, a derivative but fun series about a couple of millionaire dilettante adventurers who swan around the world competing for the attention of beautiful women and getting involved in perplexing mysteries. Moore is Lord Brett Sinclair, an upper crust Brit of impeccable breeding, while Curtis is Danny Wilde, an up-from-the-streets self-made man whose trademark is a pair of brown gloves. The allegedly tasteful Brett and the crasser Danny both model a succession of garish early 70s fashions while their pursuits of duplicitous crumpet usually wind up with the women getting away and the heroes stuck with each other.

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Part action series, part psychedelic fantasy, part allegory, Patrick McGoohan's masterpiece, The Prisoner, was initially touted as a sequel to his earlier spy series, Danger Man. But when it was first broadcast in 1967 TV audiences were puzzled; when the show was cancelled 17 episodes later due to declining viewing figures, no one was any the wiser. Shot in the picturesque surroundings of Portmeirion in North Wales, whose architectural fantasies provided an ideal backdrop for the show's surrealism, The Prisoner has subsequently been recognised as one of the most innovative and thought-provoking series ever to be broadcast. Despite the primary-coloured flower-power look, the show's bold ideas haven't dated at all, proving that The Prisoner was simply years ahead of its time.

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The twist of private-eye show Randall & Hopkirk Deceased is that in the first episode, gumshoe Marty Hopkirk (Kenneth Cope) is killed off by the villains, only to pop up in an immaculate white suit as a ghost visible only to his hardboiled partner Jeff Randall (Mike Pratt). A persistent subplot has the living Jeff getting cosy with the dead Marty's widow Jean (Annette Andre) to the discomfort of her late husband. The elementary effects and the nice underplaying of the leads have a certain period charm, and the show could afford a high calibre of special guest villains and dolly birds. A 1990s remake with Vic Reeves and Bob Mortimer hasn't obliterated memories of the original.

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Long before assuming the mantle of 007, Roger Moore made his name as suave, ultra-sophisticated amateur sleuth Simon Templar in The Saint. First broadcast in 1962--coincidentally the year Dr No appeared in cinemas--the show ran until 1969, by which time Moore was internationally famous and poised to make the move to big-screen Bond. Simon Templar suits Moore's personality well: he plays Leslie Charteris's creation with the merest raised eyebrow reaction to imminent danger and the unflappable demeanour of a man whose first concern is to prevent any creases in his Saville Row suit.
Templar's dialogue is sprinkled with trendy Americanisms and the show is filled with American supporting actors in a blatant attempt to sell it to a transatlantic audience (the attempt failed, which is why Moore took on The Persuaders in 1967). A bevy of exotic women and even more exotic foreign locations establish it as a product of the Jet Set era.

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Colonel Steve Austin (Lee Majors), astronaut and test pilot, is badly injured when he crashes while testing an experimental aircraft. A covert government agency (OSI) is willing to pay for special prosthetics to replace the eye, arm and both legs he lost in the crash. Highly advanced technology (Bionics) built into them will make him faster, stronger and better than normal ("we have the technology to rebuild this man"). In return they want him to become a covert agent for the OSI. It will cost $6,000,000 to rebuild Steve Austin.
Everyone's favourite 70s crash accident victim turned baddie-fighting hero.

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One of the most influential TV shows of the 1990s, the first series of Twin Peaks has lost none of its quirky and queasy power to get under your skin and haunt your dreams. Without its groundbreaking mix of convoluted plotting, complex character interactions, surreal fantasy sequences and a continuous story arc, we would probably not have had The X-Files, The Sopranos, Six Feet Under or even The League of Gentlemen. Lose yourself in David Lynch and Mark Frost's murder mystery-soap opera, which unfolds, in one character's words, "like a beautiful dream and terrible nightmare all at once".
Twin Peaks was a pop culture phenomenon, for the first series at least, until the increasingly bizarre twists and maddening teases so confounded audiences that they lost interest in just who killed Laura Palmer (Sheryl Lee). This series was also a career peak for most of its eclectic ensemble cast, including Kyle MacLachlan as straight-arrow FBI Special Agent Dale Cooper, Michael Ontkean as local Sheriff Harry S Truman, Sherilyn Fenn as bad girl Audrey Horne, Peggy Lipton as waitress Norma Jennings and Catherine Coulson as the Log Lady.

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