Harry, It does not make me feel any better that you increased the size of your TV by only 9% over your previous version to arrive at one that is 60" with 3D capability while I increased mine by 25% only to arrive at 40" with pedestrian 2D! But, I most likely sit closer (since I watch alone) and enjoy the need for an active imagination. Some of my favorite movies are in Black and White, among them, The Best Years of Our Lives, To Kill a Mockingbird and Twelve O'Clock High. It's tough to think that they could be improved, and easy to make the case that they would have been ruined, by the use of color. Having said that, some time after color was introduced, Hollywood stated to use muted color, in effect, maintaining color but removing all sorts of brightness and range of hue. I can't think of the very first movie where I noticed this, but the trend seems to have stuck for a long time now, curiously, a lot longer than 3D stuck! It's just that it is not as dramatic as 3D, so that while some people out there have favorite movies (and TV shows) that are shot with less than complete color and the most brightness, they have no idea that less is really more. And, they would hardly go around proudly saying they attended a movie with less brightness and range of color than others! Consider color movies from the 50's and 60's -- perhaps covering most if not all of the 70's as well. They fully embraced full color -- just lit everything up and introduced color all over the place, even if the movie was "dark" in story tone. As a result, movies that were darker in story tone did not work as well throughout that entire era! The one exception of that era that comes to mind is The Godfather movies. They seemed, to me at least, to be purposefully dark, even though they were in color. But nowadays, it seems like convention to shoot certain kinds of movies by giving less brightness, range of color and even clarity to the audience. The post where you actually included a still of Mannix in black and white was made on November 13, 2012 and it concerns "The Lost Art of Dying" from season 4. (It makes no sense to include the post number, since those numbers all changed when the HTF was ported anyway...). That episode was actually directed by Fernando Lamas, in what I might refer to as a style that was a kind of Sutton Roley wanna be, but which missed the mark -- not one of my favorite Mannix episodes. But, two points are well taken. First, that episode has Joe as more of a Sam Sade kind of character, more of a traditional PI, more off to the side than as the heroic centerpiece of the story. For that reason, I hardly care to revisit that episode. Second, Mannix, like a lot of TV (and movies) that were shot in fully bright color, does not look good in black and white. The reason seems to be because of the brightness. Fully bright color was more fully lit, right on the sets, with all of that brightness making it through to the film, and something seems wrong about all of that brightness translated to black and white. This is yet another reason Mannix was -- and is -- so special. It appeared on the scene right at the beginning of that fully bright color era in TV, right when a show like Mannix could have easily failed for inability to translate the PI of old -- film noir -- to the modern-day energy and bright color of the era. So, what they did was make the hero the bright centerpiece of the stories! He was the bright spot in the darkness of story that surrounded him -- and so they managed to combine dark stories of human nature (greed and other kinds of weakness) with the bright story of the heroic counterpart. For my money, they did so in a way that was never done before -- and never equaled since. Film noir did not do this. James Bond (who was all action and energy) did not do this. Mannix did this -- for eight solid years. And, Mannix did it without turning it into some sort of juvenile wise-guy character, where everything is just made fun of, underneath it all, turning life into a big game, so child-like color works well. A lot of people can't get past the bullets and car chases in Mannix and thus do not give it much credit. Too bad. If you understand why they are there in the first place, to bring a kind of vibrant base to fuel the story -- and the color, the brightness of the setting -- then you can also see how the brightness of the heroic central character serves as a beautiful counterbalance to all of that, serves as its equal, as its very match, all the way from the physical engagement, even the body movements, to the brightly lit and exposed face. Pick out an actor of today that can serve that role -- week after week for eight years! There aren't many. Are there any?