Yes, I too would like to get back to discussing the merits of the series. Season 1, as I've said, is my favorite because in that year, Lewis Erskine was allowed to be more three-dimensional. We learned more about his personal life, and he also had more humanized touches that basically disappeared in short order. Part of this was because Efrem Zimbalist didn't want to be portrayed as having a grown daughter, hence the disappearance of Lynn Loring as Barbara Erskine (who in one episode is established as engaged to his partner, Jim Rhodes) halfway through S1, but also because J. Edgar Hoover who did have a controlling influence over the direction of the show didn't want to see the agents depicted as anything less than stoic professionals doing their jobs. Thus, the show rather quickly became at least for the leads more in the "Dragnet" mold in showing them approach their work with strict professionalism and no hints as to their private lives at all. OTOH, unlike "Dragnet" the stories of the criminals at least would be presented in more three-dimensional fashion, perhaps not on the same quality level of "Naked City" but more in that direction IMO which made for a good blending of the formats ("Naked City" IMO seldom showed us any of the police process in action which was its one weakness). I also like the fact that S1 is the one year that does not have the extraneous and IMO unnecessary narration of Marvin Miller at the open and close of each show. To me, Miller's narrator function really served no purpose and just seemed like a case of Quinn Martin copying a gimmick from "The Fugitive" (and which would then get used on "The Invaders" which debuted the same season "The FBI" switched to that format). Bronislau Kaper's theme is also a classic, just as terrific as Rugolo's for "The Fugitive". And because "The FBI" had a higher budget, that meant there was a greater level of original music used and not the reliance on stock cues for "The Fugitive" and "The Invaders."