The Cold War has often been considered a generative force for television espionage programs. The genre of spy fiction, which arguably began its 1960s cinematic history with Dr. No, made its way to television in 1964 with The Man From U.N.C.L.E. Many imitators followed, but / Spy was a departure from the style established in earlier shows. In this series, Robinson and Scott did not battle against shadowy organizations of global evil, such as THRUSH from The Man from U.N.C.L.E. or SPECTRE from the James Bond films. Rather, the show recognized the political tensions of the day. I Spy unashamedly acknowledged the role of the United States in the arena of world espionage.

     Virtually the entire first season was filmed on location in Hong Kong and other Asian locales. Leonard, as well as producers David Friedkin and Morton Fine, had no qualms about spending money to avoid a "back-lot" look to the show. Associate producer Ron Jacobs and location manager Fuad Said worked with both their own "Cinemobile" and film crews from NBC News Asian bureaus to get much of the location footage used in that first season. The second season was filmed almost exclusively in Greece, Spain, and other Mediterranean locations, using similar techniques.

     However, the series did not depend exclusively on exotic locations and "realism" for its narratives. It also looked at the personal side of espionage and the toll it could take on those who practiced it. The characters would often admit and lament the fact that they had to fight the forces of evil on their opponents' level. Unlike many shows of the genre, / Spy dealt with agents dying cruel deaths, burning out on the spy game, and often even doubting the nature of orders from superiors. This questioning of authority was more typically found in programming based on the "counterculture" and pitched toward the youth of the times. Cosby and Culp, however, more often than not straddled the fence between rebellion and allegiance, despite the fact that after the premiere of ISpy, New York Times television critic Jack Gould called it a show "looking for a style and attitude." Culp, however, more often than not straddled the fence between rebellion and allegiance, despite the fact that after the premiere of I Spy, New York Times television critic Jack Gould called it a show "looking for a style and attitude."

     I Spy was one of the first dramatic shows to feature an African-American male as a leading character. Producer Leonard was certain of Cosby's talents, but the network had grave doubts about casting an untested stand-up comedian in a dramatic lead. The network's concerns were quickly dispelled by Cosby's deft and multifaceted talent-a talent that garnered him three consecutive Emmys as Best Male Actor in a Dramatic Television Series between 1965 and 1968. Originally, the role of Alexander Scott was to have been that of a bodyguard for Kelly Robinson. Both Cosby and Culp conferred with the three producers (Leonard, Friedkin, and Fine), and the decision was made to portray Robinson and Scott as equals. Cosby also stated that racial issues would not be dealt with on I Spy. This "color-blind" approach freed the show from having to impart a message each week and instead allowed it to succeed by emulating the conventions of the genre of espionage adventure. I Spy also showcased the talents of other African-American actors of the time, including Godfrey Cambridge, Ivan Dixon, and Eartha Kitt. As a result of its ostensible neutrality on race relations, African Americans could be portrayed as heroes or villains with a minimum of political overtones.

     Though never a top-20 show, I Spy enjoyed three successful years on NBC. Cosby in particular enjoyed very high Q ratings (audience-appreciation ratings) for the run of the show. In 1994 an I Spy reunion movie was broadcast.