Frederick Hayden Hughs Coe (December 23, 1914 – April 29, 1979) was an American television producer and director most famous for The Goodyear Television Playhouse/The Philco Television Playhouse in 1948-1955 and Playhouse 90 from 1957 to 1959. Among the live TV dramas he produced were Marty and The Trip to Bountiful for Goodyear/Philco, Peter Pan for Producers' Showcase, and Days of Wine and Roses for Playhouse 90. Early life Frederick Hayden Hughs Coe was born on December 23, 1914, in Alligator, Mississippi. His father, F. H. H. Coe, was an attorney; his mother, Annette Harrell Coe, was a nurse. Coe grew up in Buckhorn, Kentucky, and Nashville, Tennessee. He attended Peabody Demonstration School in Nashville and Peabody College, before studying at the Yale Drama School. While he lived in Nashville he was active with the Nashville Community Playhouse and founded the Hillsboro Players. Career Coe went to Columbia, South Carolina, in 1940 after his graduate work at Yale. There he was director and manager of the Town Theater, which he developed into a venue for new plays. He started as a production manager at NBC in 1945. Coe made his mark in the early years of network television when Lights Out moved from radio to TV on July 3, 1946. Variety reviewed: Credit for the show's all-around excellence belongs jointly to scripter Wyllis Cooper and producer Fred Coe. Cooper was the last writer of the radio version with an eight-week series on the NBC net last summer. (Show returns for eight weeks Sat. (6) as replacement for Judy Canova). He followed Arch Oboler at the task and has made the switch from radio to tele without a single letdown in the program's eerie quality. Coe, whose light on NBC television has been partly hidden in the past by Ed Sobol and Ernie Colling, both of whom won ATS awards this last year, has come into his own with this show and should now rank right at the top of the heap. Story, titled First Person Singular, concerned a psychopathic killer whose wife's constant nagging, extreme sloppiness, etc., led him to strangle her in their apartment on one of those blistering summer evenings. Killer was never seen, with the camera following the action and taking in just what the eyes of the murderer would see. Thoughts in the killer's subconscious, meanwhile, told what might go on in the mind of such