Limited budgets and oddball writing hampered many early superhero series. The 1950s Adventures of Superman series starring George Reeves - an extension of the popular movie serials - featured very limited and unconvincing special effects but was hugely popular.
The live action Batman series of the late 1960s, starring Adam West and Burt Ward, made playful use of many of the conventions of superhero comics, including colorful costumes, visual sound effects, implausible escapes, and heavily expository dialog. The series helped sell color televisions and introduced the characters to millions of viewers. It reflected and reinforced the popular perception of superheroes as childish entertainment and made Batman a household name.
Batman led to imitators like Captain Nice and Mr. Terrific but only The Green Hornet starring Van Williams as the Hornet and a young Bruce Lee as his sidekick Kato approached the popularity of Batman.
By the late 1970s, superhero-like series, such as The Six Million Dollar Man and its spin-off, The Bionic Woman, found success. This led to series which were explicitly superhero shows, predominantly on CBS, such as Wonder Woman starring Lynda Carter, which, like the previous decade's Batman was a huge hit and continues to be a cult classic despite campiness.
There were also abortive attempts at live action adaptations of Spider-Man, Captain America, and Doctor Strange which fans complained failed to adequately emulate the character's stories' action and spirit. In the end, all of these adaptations would fall victim to CBS's desire to avoid being identified as "the superhero network."
The other major superhero series of this era, The Incredible Hulk starring Bill Bixby as David Banner and Lou Ferrigno as the Hulk, took a more thoughtful and dramatic approach. The show focused on Banner’s nomadic lifestyle and the curse that the Hulk had placed upon him, as typified by the classic closing image of Banner hitchhiking alone to the music of a quiet piano piece, "The Lonely Man." The series was a ratings success, survived the TV superhero purge of the time and has proven to be the most durable of this period.
Meanwhile, superhero shows aimed at children, such as The Shazam!/Isis Hour and Electra Woman and Dyna Girl prospered. In addition, the PBS educational series, The Electric Company, also prominently featured Spider-Man stories, as well as its own creation, Letterman, in its premise while Sesame Street occasionally uses the character, Grover, as Super Grover, both examples of educational superheroes.
The 1980s saw the launch of various live-action superhero series that did not have their origins in comic book lore, but only The Greatest American Hero, a series with a humorous yet respectful tone about a superhero who could barely control his powers, lasted for more than a few episodes. In 1985, Misfits of Science, a Series with comedic overtones also appeared but only lasted 15 episodes.
Superboy ran from 1988-1992 in syndication. It was a half-hour live-action television series based on the fictional DC Comics comic book character Kal-El early years as Superboy. It was renamed The Adventures of Superboy at the start of the third season.
The 1990s saw a resurgence in superhero series, beginning with the short lived live adaptation of The Flash which had the misfortune of being scheduled against the television powerhouses, The Simpsons and The Cosby Show. In 1993, the ABC Network had a success with Lois and Clark: The New Adventures of Superman, which reformatted the Superman mythos as a romantic/action drama. This led to several non-traditional approaches to superheroes in live action shows aimed at older audiences. The most successful were Buffy the Vampire Slayer, featuring a dyed-in-the-wool idealist superhero who exists within a consciously humorous take on the horror genre, and Smallville, another Superman reincarnation, which portrayed the hero’s early years in a teen drama format which enjoyed a lengthy ten season run. Other recent TV superhero or superhero-like series enjoying varying degrees of success include: Angel, Alias, Arrow, Agents of S.H.I.E.L.D., Dark Angel, Mutant X, Heroes, Misfits, and No Ordinary Family.
Starting in 2012, DC Comics became much more predominant on television with the success of the Green Arrow TV series adaptation, Arrow. This was followed up in the fall of 2014 with three further adaptations on separate TV networks: Gotham (on the backstory of Gotham City in Bruce Wayne's youth and Det. James Gordon's early police career before Batman began operations), The Flash, which is set in the same universe as Arrow and includes principle cast members of the 1990s version as recurring characters, and Constantine which adapts the John Constantine franchise.
Marvel Comics on the other hand approached the highly successful video streaming website, Netflix to produce several original content series adaptations of various properties for release in 2015. These include Daredevil, A.K.A. Jessica Jones, and series based on Iron Fist and Luke Cage, all of which would be combined together in a team up series based on The Defenders.