This is Hart to Hart, an American-made TV smash hit. It’s quite a show. By the way, my name is Craggus. I watched it when I was younger which was easy, ’cause when Robert Wagner and Stephanie Powers met, it was magical.

It’s not every day you’re introduced to a self-made millionaire and his glamorous journalist wife solving murders between social and business engagements, but Jonathan and Jennifer Hart made it look like the most natural thing in the world. Hart to Hart, which first aired forty-five years ago today on 26 January 1980 in the UK (having already delighted American audiences months earlier), invited viewers into the jet-setting, crime-solving lives of the titular couple, wrapped in romance, wit, and just the right amount of weekly peril. Created by Sidney Sheldon and brought to life by the charismatic duo of Robert Wagner and Stefanie Powers, the series remains a beloved gem of turn of the decade 1980s TV. A real “inheritance show” for me, I watched it avidly lying on the floor in front of my gran’s telly, drinking in the amiable glamour of it all. So, yeah, when the whole thing was recently repeated on GREAT TV!, you’d better believe I watched them all over again.

The origins of Hart to Hart trace back to Sidney Sheldon’s concept for a series called Double Twist, about a married couple moonlighting as spies. While the espionage element gave way to murder mysteries, the beating heart of the idea – a married couple whose love and chemistry drove the action – remained intact. With Leonard Goldberg and Aaron Spelling overseeing the production, and Tom Mankiewicz as showrunner, the series was set up for greatness from the get go.

Central to its success was the casting of Wagner and Powers. Wagner, already a household name from shows like Switch and It Takes a Thief, embodied Jonathan Hart’s suave sophistication and razor-sharp wit. Powers, also an established star in her own right after The Girl from U.N.C.L.E., brought warmth, elegance, and intelligence to Jennifer Hart, effortlessly matching Wagner’s charm. Together, they redefined the idea of a “power couple” for the small screen, presenting a married duo who solved crimes with as much ease as they expressed their love for one another. Their relationship was aspirational but accessible, grounded in mutual respect, humour, and partnership – qualities that would elevate them to television royalty.

Completing the trio was Lionel Stander as Max, the Harts’ loyal, gruff-voiced assistant and de facto family member. Alongside Freeway, the couple’s scrappy dog, Max was the down-to-earth counterpoint to the Harts’ high-flying escapades, anchoring their glamorous world with his dry humour and devotion and delivering the iconic introductory monologue (retooled after season one to give Mrs Hart a bit more agency and adjective introduction than “what a terrific lady”). After all, it was Max who told us that “when they met – it was moidah”.

From its debut, Hart to Hart immediately stood out for its perfect cocktail of murder mystery, romance, and escapism. Each episode dropped the Harts into a new high-stakes adventure, whether it was a jewel heist at a masquerade ball, a murder at a ski resort, or a deadly encounter on a train. The show’s mix of opulent settings and playful intrigue captured the imagination of audiences both sides of the Atlantic, providing a glamorous window into a world of wealth and danger.

As the series progressed through its five-year run, subtle changes reflected both creative evolution and the shifting TV landscape. The first couple of seasons kept the mysteries slightly grounded and in and around the Hart’s Californian home. It’s from season three that the series becomes much more globetrotting and their adversaries’ schemes become much more fantastical, bordering on the level of villainy once faced by Adam West’s Batman (West himself would guest star in a season five episode, Love Game. This tonal shift added a touch of campy fun without losing the series’ charm.

Production changes included tweaks to the iconic theme tune (composed by Mark “The X-Files” Snow, no less) and a heightened focus on the couple’s relationship. By the fifth season, the Harts’ chemistry had grown even stronger, cementing their status as the ultimate TV duo. The series finale Meanwhile, Back at the Ranch, though, ended things where it began with a chaotic, adventurous send-off that encapsulated the show’s essence, based entirely in the Hart’s plush Bel Air mansion.

A key ingredient in the show’s enduring appeal was its roster of high-profile guest stars. Viewers were treated to appearances by Hollywood legends like Tippi Hedren, who played a villain in “Hunted Harts,” and Patrick Macnee, who appeared in the series finale. David McCallum, a favourite from The Man from U.N.C.L.E., also popped up as an antagonist, adding to the show’s star-studded allure. The parade of famous faces didn’t stop there. The series featured an eclectic mix of actors, from Carroll O’Connor, Julie Newmar and Roddy McDowall to Julie Newmar, Jeremy Brett, Rene Auberjonois, Jill St John, David Warner, a young Jonathan Frakes and even Martina Navratilova. Each brought a unique flair to the show’s colourful array of villains, victims, and suspects, ensuring no two episodes felt the same and the series’ cast list reads like a who’s who of Hollywood and beyond.

By the time Hart to Hart concluded, it had solidified its place as a cultural touchstone. Its mix of glamour, mystery, and romance captured the zeitgeist of early-1980s television, offering escapism with heart. While rising production costs and declining ratings meant the series ended after five seasons, the Harts weren’t finished yet. Between 1993 and 1996, Wagner and Powers reprised their roles for eight made-for-TV movies, ensuring their legacy endured.

What makes Hart to Hart so special, even decades later, is its balance of style and substance. Beneath the glittering facade was a story about a couple whose love and trust made them unstoppable, whether they were cracking a case or navigating life’s challenges together. It wasn’t just a show about solving murders—it was a celebration of partnership, adventure, and the enduring power of love. Even their wealth was precisely judged to keep them relatable. Jonathan Hart’s enormous fortune and position as head of a vast multinational conglomerate is carefully curated, his business ethics impeccable and his success earned through good business sense. He wasn’t born to his fortune nor did he inherit it (there’s an entire character, Max, dedicated to underscoring that Jonathan Hart is self-made man and hasn’t always been rich). In today’s climate it seems inconceivable that a billionaire corporate oligarch and his wife could be likeable and relatable characters but that’s the power of Robert Wagner and Stephanie Powers’ chemistry and Sydney Sheldon’s skillful characterisation. The American Dream before it became a dystopian nightmare.

For fans who tuned in on that January evening in 1980, Hart to Hart became more than just a TV show – it was an opportunity to dream of a life where love conquers all and danger is just a fleeting encounter en route to adventure. And for that, Jonathan and Jennifer Hart will always hold a special place in television history, and my personal TV times.