“Hasselhoff brings charm and charisma to the role of Michael Knight that makes him instantly likable, while KITT adds a whimsical touch.”
Variety Staff
Variety

United States"One man, one supercar, and a mission to beat the bad guys."
User Score
1,474 votes
Undercover officer Michael Long survives a bullet meant for his head thanks to billionaire Wilton Knight. The philanthropist provides plastic surgery, a new identity as Michael Knight, and a partnership with KITT, an artificially intelligent Pontiac Trans Am. Together they operate under the Foundation for Law and Government, tackling crimes that traditional police forces cannot handle alone.
NBC aired this sci-fi action drama from September 1982 to April 1986. David Hasselhoff leads the cast alongside Edward Mulhare as the mysterious benefactor Devon Miles. William Daniels voices the sentient car, creating a dynamic where technology serves as both a weapon and a moral compass.
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The series begins with Michael Knight presumed dead after a botched sting operation. Wilton Knight rescues him and rebuilds his life, assigning him to fight crime using the resources of the Foundation for Law and Government. Michael drives KITT, a black Pontiac Firebird Trans Am modified with advanced sensors, armor plating, and artificial intelligence. The car can reach high speeds, jump obstacles, and speak in a synthesized voice. Their partnership relies on trust; Michael makes the final decisions while KITT calculates risks and offers sarcastic commentary.
Season one establishes the rules of their world. They investigate drug rings, arms dealers, and corrupt officials across the United States. Bonnie Barstow enters the picture as a former FBI agent who becomes Michael's ally and occasional love interest. Her presence adds personal stakes to missions that often put them at odds with powerful criminal organizations.
By season two, the writers explore deeper themes regarding artificial consciousness. A rival AI system called RC3 appears, challenging KITT's dominance and forcing the team to consider the ethical implications of creating sentient machines. The action sequences grow more elaborate, featuring complex chases and stunts that define the show's visual style.
Season three balances character growth with escalating threats. Michael deals with the strain of living a double life while enemies close in. The show reveals more about Wilton Knight's past and the origins of FLAG. New allies join the fold, but betrayal remains a constant risk in their line of work.
The final season raises the stakes further. Michael and KITT face international syndicates and rogue government agents. Political intrigue weaves through the episodic cases, yet the core formula remains unchanged. The team maintains its signature blend of humor and high-speed justice without a definitive conclusion to their overarching story.
The series concludes with Michael and KITT driving into the distance. No major deaths occur, and their mission continues indefinitely. This open ending reinforces the theme that the fight against injustice never truly ends. Fans later saw Michael return in a 1991 television movie with a newer version of the car, bridging the gap to future iterations of the franchise.
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Critical Consensus
This quintessential 1980s action series blends high-octane chases with a unique sci-fi premise. Critics noted campy elements but praised David Hasselhoff's charismatic performance and the innovative concept of a sentient car. The show balances action with heartfelt moments effectively.
“Hasselhoff brings charm and charisma to the role of Michael Knight that makes him instantly likable, while KITT adds a whimsical touch.”
Variety Staff
Variety
“The blend of action, humor, and heart makes it a standout in the genre with a futuristic yet timeless premise.”
Todd McCarthy
The Hollywood Reporter
“KITT is one of the most memorable characters in TV history, bringing wit and depth to a vehicle few cars have ever achieved.”
Alex Danchev
Vulture
“Despite campy elements, the show delivers a compelling story of redemption and heroism that defines 1980s television.”
Philip French
The Guardian
Directors
Paul Baxley, Harvey Hart, Reed Stearns
Writers
Glen A. Larson, Donald P. Bellisario, J. Michael Straczynski
Composers
Stu Phillips, John Cacavas
Cinematographers
Robert L. Stevens, Victor J. Kemper
Producers
Robert Foster, Glen A. Larson
Emmy Awards (1983)
Outstanding Sound Editing for a Series: Nominated
Golden Globe Awards (1983)
Best Television Series – Drama: Nominated
Saturn Awards (1983)
Best Science Fiction Film: Won
People's Choice Awards (1983)
Favorite New TV Program: Won
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