Miningman
The show had a nice pace to it and good comedy. There must be something? No?
When I first went out to LA in the '90s one of the first things I did was join the Museum of Broadcasting to get full access to their library, which has a great many archives of television. That was where I was first made aware of the awful downside of the Ampex videotape revolution.
There are a few kinescopes of parts of the show, some of them shot 'off air' with the various artifacts you'd expect from NTSC broadcast quality. That is all that remains, with the likelihood that any 'hidden tapes' will be retrieved dwindling with every additional year of self-magnetizing (and presumably acetate deterioration). Nitrate film issues are bad enough, but there are techniques to recover and reconstruct frame-by-frame even severely deteriorated material. That's not really practical with most types of degraded magnetic tape.
Here's a bit of the flavor, although this is from a much later era (you won't be shocked at how old the Captrain's become if you didn't remember him from the early '60s):
Of course, production was repeatedly shot with the same magazines of tape -- you'd be surprised at how heavy an hour's worth of 2" run at broadcast speed is, and how much that cost.
I think this was right at the beginning of interest in syndication of kid's shows, which at the very least would produce 16mm frame-transfer versions. But it was also right on the cusp of widespread color programming, which was noted of a paradigm shift in broadcasting than I think many people appreciate.
One of the great earthquake 'singularities' in life changes was something I hadn't been expecting, but should have. The thing that made Walter Annenberg rich was that Google of the Fifties, TV Guide magazine. In its listings a color broadcast was indicated by a little C icon in a TV-screen-shaped outline, and in the mid-Sixties that meant a real big-budget production. One day I picked up a copy and found the convention had been switched to "BW" ... and I knew the world of my childhood was ended forever.
There was a parallel shift in filmmaking. Many early-Sixties films were famously, and elegantly, shot in black-and-white; the whole genre of 'film noir' hinges on it. By the Seventies even the cheapest B-pictures could be processed and distributed in color ... perhaps as has been said to compete with the perceived threat of color TV on larger and larger (this is a very ironic interpretation of 'larger' by jaded modern standards!) ... and B&W became a nostalgia medium nearly immediately.
This was true of commercials and graphic design, too. Quite a bit of very great ingenuity and talent was used in design and production of material with 'punch' in black and white. This became particularly notable in the 'modern' Sixties, after about 1963, but very little survived even in the early '70s, and while the 'French ad' boom brought back some of the idea, there is comparatively little ingenious spare design since ... which is a shame.