Television series
Petrocelli
A defense attorney in a trailer in Arizona takes cases others won't touch, mixing courtroom drama with a refreshing lack of big-city pretension. Petrocelli is smart, scrappy, and genuinely invested in the underdog. It's 1970s network television with real bite—legal proceedings that feel lived-in, not performed. For people who want their procedurals grounded and their heroes unglamorous.
If you liked this
Perry Mason1957
The gold standard of legal drama, with Raymond Burr as a defense attorney who solves cases as brilliantly as he argues them. Sharp writing and genuine detective work, not just courtroom theatrics.
But Black-and-white and deliberately paced; if you want constant action rather than methodical puzzle-solving, it moves slow.
The Defenders1961
A father-and-son legal team take on cases that challenge morality and the law itself. Sophisticated writing about real dilemmas, with excellent supporting characters anchoring each episode.
But It's earnest and can feel heavy-handed about its social messaging; some episodes hit you over the head with their point.
The Lawyer1970
A young defense attorney investigates a murder case that spirals into paranoia and conspiracy. Tense, grounded, and genuinely smart about how the system can chew up the innocent.
But Low-budget 70s filmmaking means it can feel creaky; the pacing is deliberate and some stretches drag.
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The wildcard
Something you would not have found on your own.
In the Heat of the Night1967
Both are built on the principle that the legal system fails the defenseless, and both use that injustice as fuel for character-driven narrative rather than sentiment.
A Black detective and a white sheriff solve a murder in the Deep South. Sidney Poitier and Rod Steiger are electric together, and the film burns with moral urgency without preaching—it just lets you feel the injustice.
But The violence is shocking by the standards of Petrocelli's era, and the racial content is heavy. It's not comfortable viewing.
More like this (6)
Arrest and Trial1963
Defense attorney Ben Guthrie works cases that mix crime investigation with courtroom strategy. Solid ensemble cast and stories that balance legal intrigue with character depth.
But Lesser-known even among 60s legal shows, and the writing is uneven—some episodes shine, others are forgettable.
Mannix1967
A private investigator working cases that blend action with genuine mystery. Mannix is likeable and resourceful, the show has solid production values, and the mysteries actually hold up.
But It's a different animal—more action-adventure than legal drama, and the tone can shift unevenly between comedy and danger.
The Young Lawyers1969
Junior attorneys at a legal aid society take on cases others won't, with real consequences for real people. Idealistic without being naïve, and the ensemble cast has good chemistry.
But More interested in social issues than legal mechanics; the courtroom scenes sometimes feel secondary to the message.
Owen Marshall, Counselor at Law1971
A country lawyer handles small-town cases with wisdom and integrity. Arthur Kennedy is excellent, and there's something genuinely American about a lawyer who knows everyone and cares deeply.
But Very earnest and can feel sentimental; if you find sincerity without irony exhausting, this will wear you down.
Columbo1968
Like Petrocelli, Columbo is about an unglamorous professional who outsmarts opponents by understanding people better than they understand themselves. Both value intelligence over swagger.
A rumpled detective solves murders by outthinking guilty people who assume he's harmless. Peter Falk is hypnotic, and the show inverts the procedural—you know who did it, now watch him prove it.
But The format can feel repetitive if you watch too many back-to-back; also, Columbo sometimes feels implausibly lucky in his deductions.
Le Samouraï1967
Both Petrocelli and Le Samouraï are about professionals bound by codes they cannot break—Petrocelli by ethics, the hitman by honor. Both show the weight of that constraint.
A hitman is hired to kill a nightclub singer he cannot kill, and the film becomes a meditation on professionalism, honor, and the cost of silence. Alain Delon is ice, the cinematography is hypnotic, and it's pure cinema.
But Almost nothing is explained. It's a mood and a riddle, not a narrative; if you need plot clarity and dialogue to guide you, this will frustrate you terribly.
People
Cast
Writing
- E. Jack NeumanCreator
- Harold BuchmanCreator
- Sidney J. FurieCreator
Recommended by
Rumpole of the Bailey, The Littlest Hobo, Crown Court, Tenafly