The (Permenent)Avengers Shrine

A huge thanks to David K. Smith For all his pics and info (His site is great,mine pretty good)
Streaming RealAudio
Brief Episode Guide
David Keel
CathyGale
TaraKing

The Avengers is pure magic. As light as a feather yet quite unforgettable. A timeless classic that shall live forever in the hearts of hopeless romantics of all ages, cultures and eras. For the uninitiated, The Avengers is a stylish blend of espionage, fantasy and quasi-science fiction that appeals to Anglophiles who enjoy witty, sentimental, slightly off-beat television, and don't mind terribly dated storyline material. While this British production acquired quite a following in the United States back in the late sixties, it has until recently been largely forgotten, kept alive as a cult favorite by the baby-boomers who grew up with it. Airing in Great Britain from January 1961 through September 1969, and comprising 161 episodes, The Avengers was one of the most popular television series of all time, eventually reaching audiences in 120 countries, a record that still stands today. Much of the show's popularity was due to the eventual pairing of Patrick Macnee and Diana Rigg as super-spies John Steed and Emma Peel. The Steed/Peel episodes have a formula as familiar and comfortable to fans as their favorite bathrobe. Curious events take place (usually involving murder), Steed and Emma investigate, there is a big fight, and at the end our heroes ride off into the sunset, each time via a different mode of transport. Tongue is always firmly implanted in cheek--goofy mad scientists and fiendish enemy spies abound, and their frequent plots to take over the country/world are often downright silly. . The Avengers followed the golden rule of role-playing: Men want to be Steed and want Emma; and, remarkably, women want to be Emma and want Steed. Yet it is doubtful that all of this was planned--some of it just happened, which is all part of the magic. What makes all of the absurdity so endearing is the wonderful chemistry between Steed and Emma, and their droll observations on their circumstances, no matter how dire. Interestingly, some of their clever banter was written by Macnee and Rigg, who virtually invented their characters themselves. (One of Macnee's favorite recollections is of an early script that said, "Steed stands there." But the director demanded he do something more than that...) John Steed is the common thread of the series, during the course of which he had six different partners (eight, counting The New Avengers, and nine counting one particular Tara King episode). When the series premiered, his partner was police surgeon Dr. David Keel (Ian Hendry). Then came two seasons of anthropologist Dr. Catherine Gale, played by Honor Blackman (perhaps best known by Americans as Pussy Galore of 007 fame). She was not always Steed's partner during the show's second season; occasionally he was accompanied by physician Dr. Martin King (Jon Rollason) or jazz singer Venus Smith (Julie Stevens). The Cathy Gale episodes were not seen in the U.S. until 1991 when A&E ran them on cable, and so very few Americans are familiar with them. They contrast markedly with the Rigg/Thorson series--Steed was quite a different fellow, and he came across as much more "raw." So, too, did the shows themselves, as they were shot on videotape and almost entirely on studio sets. While sprinkled with wry humor, the stories were generally more serious as compared with the purely fanciful shows to come later. It wasn't until his third full-time partner, the brilliant Mrs. Emma Peel, that Steed became the highly sophisticated, ultra-British gentleman spy for which he is best known. And while some regard Steed as something of a James Bond knock-off, The Avengers in fact predated the 007 films. (Macnee says he hated Ian Fleming's stories, in particular the way James Bond treated women.) The Avengers broke the mold not once but twice, with two successive female leads who were strong, intelligent and independent. That it predated the feminist movement makes it all the more extraordinary. Add to this a male lead who treated his female partner as his equal, and we can see that celebrating anti-stereotypes created part of the magic. . Of course, there is no question that (Dame) Diana Rigg was a strong draw, especially for male viewers, but there's much more to appreciate than the eye candy she provides. Mrs. Peel is highly intelligent, strong, capable, cool and sophisticated, all of which makes her intensely interesting and an ideal role model for like-minded women. And considering the era of the show, she was way ahead of her time. Curiously, after leaving the show both Honor Blackman and Diana Rigg went on to appear in Bond films. Following Emma was the less-memorable Tara King. Unfortunately, Linda Thorson did not have the experience required for the part at the time, nor did the producers create a satisfying character. Although there are plenty of Tara fans, particularly in France, there weren't enough of them to keep the show from slipping into oblivion after one last season. One of several attempts to resurrect the program resulted in 26 episodes of The New Avengers (1976), a show muddled by stylistic disagreements between the French and Canadian backers and the British producers. Macnee's misgivings about the show are perhaps well-founded--heavy on action and violence, it has virtually none of the original's wit and whimsy. However, it is not without its merits, and the episodes are enjoyable if one does not view them with great expectations. . Can The Avengers magic ever be re-captured? Doubtful, as a part of it was created by a special pair of actors, and part of it by a special place in time. We have, at least, the videos to enjoy over and over, and therein lies proof of the magic: it is not diminished with repetition.

IMHO, the fourth season was the series' best, demonstrating that the show might have been better off without ever having reached the U.S.--a purely personal and academic viewpoint to be sure. The show's loss of focus beginning with the color season not only betrays the influence of the show's principal financial backer (the U.S.), but also illustrates what happens to a program with no single creator at the helm. Compare The Avengers with Star Trek or Babylon 5, shows that, despite also having rocky histories, possess an unwavering style. The Avengers belonged to no one but an internationally funded studio, regrettably making it art by committee. Anyway, on with our story... . Riding high on the show's international success, the studio approached the as-yet untapped American market. NBC and CBS turned them down. While ABC expressed interest (they had no espionage program of their own), they were reluctant to buy a monochrome program as the U.S. had already been enjoying color television for some time. So the studio said, buy the monochrome series, and the following season would be delivered in color. ABC ordered 21 of the 26 monochromes as a mid-season replacement--enough to get the ball rolling. . Thus began the British invasion, Avengers style--the first British TV series ever to air in the U.S. But since Americans had no idea what the show was all about, a short introductory segment was tacked onto the beginning, the now-famous "chessboard intro" narrated with the text that follows. (This, by the way, is why the intro does not appear on A&E's videos--they were made from the British film masters, which did not have the intros.) . Extraordinary crimes against the people and the state have to be avenged by agents extraordinary. Two such people are John Steed, top professional, and his partner, Emma Peel, talented amateur. Otherwise known as The Avengers. . After a false start, the show finally caught on, and by the time the color episodes hit, it needed no introduction. But the opening sequence, along with the tag scene, had become trademarks, and despite pressure from the studio to abandon them, Brian Clemens fought for their continuation, even adding a third element, the "Mrs. Peel, we're needed" teasers. However, these were finally dropped (along with the famous "two-liners") after 16 episodes to make room for the Americans' more numerous advertisements. . With its transition to color, the show received some additional tweaking, much of it to satisfy the American market, which was somewhat put off by Emma Peel's "strong" personality traits. While Cathy Gale used brute-force Judo--considered far too violent for American tastes--Emma employed high-tech Karate in the monochromes. Still considered too "unladylike" by Amercians, the fighting mode of choice for the color series became graceful Kung Fu. In the fashion department, Diana Rigg suggested moving away from the leather gear, maintaining that it was "Cathy's thing," not hers. This paved the way for a parade of those delightful "Emmapeelers." John Steed's flat received yet another facelift, and Emma moved from her penthouse to a rather bland studio nearby (pity, as I preferred the former). But a color Emma Peel series almost didn't come about. Exhausted by a six- to seven-day a week, 12-hour a day production schedule, not to mention the pressure that publicity brought to bear, Diana Rigg felt as though the producers were treating her like a piece of meat, and decided that £150 per episode wasn't enough. (The cameraman made more than she did! And the media accused her of being greedy!) Although the producers agreed to triple her salary, she made it clear that this would be her last season, staying on more out of loyalty to Patrick Macnee than anything else. Another vexing issue had to do with money on a larger scale: The show was very costly to produce, and without the continuous support of the Americans, production could grind to a halt at any moment. As it happened, ABC was rather irregular in placing orders for episodes, as they were still using the shows as mid-season replacements. The studio was forced to suspend production partway through the fifth season for about a month as they waited with bated breath for further orders, hastily drawing contracts with actors for X-number of episodes at a time. As a result, the color Rigg episodes in the listing are split into seasons 5A and 5B (although there is no ideal way to do this). In spite of increasingly erratic production and broadcasting schedules, The Avengers became a world-wide phenomenon, airing in over one hundred countries. Diana Rigg was nominated for an Emmy (Barbara Bain of Mission: Impossible won), and was voted Actress of the Year by sixteen European countries. When asked whether or not Steed and Emma slept together, Patrick Macnee answered, "Definitely. I should say at least three or four times a week..." whereas Diana Rigg replied, "I don't think they did... It was one of those glorious, deeply intimate flirtations that spin off into infinity." (Patrick Macnee speaking to Ted Johnson, and Diana Rigg speaking to Vince Cosgrove, of TV Guide Magazine.) Me? I'm squarely between the two extremes. I imagine them getting down to business only on very special occasions, such as holidays ("Too Many Christmas Trees"), or birthdays ("Who's Who???"), or after particularly stressful events ("The House That Jack Built" or "The Joker"). As for writer/producer Brian Clemens, although he claims that nothing was planned, he personally considers the two to have had a hot, wild affair that was over just prior to their filmed adventures together, and while they were still close, they were each free to explore other relationships.

CORPSE The Avengers Are Back! (Good show!) "It'll be a crime if we don't find a body," laments Emma. "It'll be a crime if we do!" corrects Steed. So begins "The Strange Case of the Missing Corpse." Emma enters in her fighting gear and begins a mock battle. "Attacked, I fight. Back and forth." Steed chimes in, "Forth and back!" Emma continues, "A leg trip..." Steed adds, "A prodigious throw," and Emma watches an imaginary body fly overhead. Steed: "Downed him with a single blow." Emma: "I burst in shooting..." Steed: "The secret of the double-barrelled atomic sock knitter is safe." Emma finishes, "The nation (dramatic pause) is secure." Raise the flag. Relaxing on a sofa, Emma queries, "Steed, have you ever heard of finding a body under a bear skin..." The corner of the rug is raised, revealing two very shapely legs. Emma remarks, "Bare skin... It is a body." Steed murmurs, "A woman's body." Emma exclaims, "But it's alive!" Steed smiles, "I don't mind. I'll handle this personally." And he accompanies the body out of the room. IMHO Of course, it's not an episode, just an advertisement that plays like one. But it is fun to think of it as a "lost episode." I even remember seeing the darned thing! And watching it once again after all these years sure brings back some memories. The description above comprises the whole of it. Only loses a bowler owing to its brevity. Trivia Shot on the set of "Honey for the Prince," the ad appeared only on U.S. networks to promote the color series. According to Dave Rogers, it was originally a twenty-minute color mini-episode used to promote the series internally to broadcasters and network affiliates, although a news release announcing its recent discovery in the UK indicates it's only five minutes. ABC in America took bits of the promo piece to make a one-minute advertisement. Although it is supposed to be in color, the screen grabs here are monochrome due to the fact that the source tape was so over-dubbed that the color signal was lost. My informants from across the pond report that, after Steed departs with the "body," Emma is seen on the sofa knitting a sock, hence the reference to the "double-barrelled atomic sock knitter." Also, the "body," Valerie Van Ost (who appeared in "Dead Man's Treasure"), was one of several actresses screen-tested to replace Diana Rigg.

Mind you, it was not easy creating this "Top Ten" list. Nearly all of the Emma Peel monochrome and many of the color episodes could be considered favorites! See how my picks compare to the visitor choices. Too Many Christmas Trees More than any other episode, this one is imbued with that "warm and fuzzy" feeling between Steed and Emma of which I simply cannot get enough. I live for the tag scene! The Gravediggers The train theme and the nutty Sir Horace Winslip make this one a winner for me--especially the goofy sequence as Steed rescues Emma from the rails of doom. A Touch of Brimstone Yes, there's no better Emma-watching to be found, but it's also a great episode all around. Steed removing the pea before the fall of the axe is but one of many winning scenes. A Surfeit of H2O Features a bumper crop of the most memorable oddball characters--and scenes--ever created. Steed's soliloquy on Buttercup Wine is worth it alone. Dial a Deadly Number Chock full of the sharpest dialog of the series. Look for some experimental editing. And revel in a duel to end all duels. The Hidden Tiger Charming is an understatement. Some unforgettable lines and a bevy of double-entendres. "Pussies galore" indeed! Who's Who??? Not only do we see Steed and Emma kissing (never mind that they were out of their minds) but their alter-persona make some wonderful comments about one another. The Joker A more disturbingly diabolical mastermind than Max Predergast there never was. Steed limping to the rescue is terminally romantic. Murdersville This one is filled to overflowing with priceless moments, especially, of course, the infamous phone call to Steed. "And how's my little Johnsy-wonsy?" Epic Fans either love it or hate it--although some have admitted to switching camps. For me, no diabolical mastermind is more entertainingly over-the-top than Z.Z. von Schnerk. Ten--just ten? But what about The Town of No Return, The Cybernauts, What the Butler Saw, The Hour That Never Was, Death at Bargain Prices, The Master Minds, Castle De'ath, Honey for the Prince, Death's Door, and Mission....Highly Improbable? I simply can't leave these out--I need to make this my "top 20" list! .FROM VENUS WITH LİVE Steed is Shot Full of Holes Emma Sees Stars! Produced: October/November 1966 UK Transmission: 13 January 1967 US Transmission: 20 January 1967 Amateur astronomers are falling prey to an odd affliction: They apparently die of sudden advanced age. All of them have been observing Venus, and according to a member of the British Venusian Society, Earth is being invaded by Venusians! But the clues point to something a little more down-to-earth. Considering the era and genre of the program, the premiere color episode features some surprisingly good special effects, such as the laser buring its way through eye charts toward Emma's head--although there are some pretty lame effects as well, such as the "spray snow" used to suggest bleaching. Favorite guest Philip Locke as Dr. Primble, the nearly-blind eye doctor, makes a memorable oddball, and his threat on Emma near the end is spine-tingling. The lasers also make a wild sound (part of which is actually a bullet ricochet played in reverse). Don't tell anyone, but lasers don't do anything shown in the episode--least of all make a loud sound. But then, it's just a silly TV show. If we can accept telepathic man-eating plants from outer space, I suppose we can live with noisy lasers. READ WHAT OTHERS THINK OF THIS EPISODE. WRITE YOUR OWN REVIEW FOR THIS EPISODE! The color series marks the beginning of a new-style tag, usually comprised of some witty exchange in Emma's apartment. Personally, I preferred the "riding off into the sunset" tags. It also marks the start of the "Mrs. Peel, We're Needed" teasers. Recognize the abstract painting in the time-lock vault? The sharp eye (in this case, Alix Sensale's) will notice it also appears in "Epic." And Tony McKay also spotted it in "Wish You Were Here." Tony also reports that the abstract painting, both pre- and post-laser blast, has appeared in several ITC productions, including The Saint, "The Power Artist." By the way, does some of the music in this episode sound vaguely familiar? Use your imagination, and you might recognize a mutated form of "Venus" from Holst's "The Planets." Contributed by Benjamin Adams. Jeremy Lloyd (Bertram Smith) played Agent Carruthers in the short-lived stage play of The Avengers. According to Scott Stansbury, he made his way to this side of the Atlantic where he was a regular on Rowan and Martin's Laugh-In (early 70's). In one sketch a woman asks him, "Jeremy, does England have a blood bank?", to which he responds, "No, but we do have a Liverpool." (ta-bump-bump) Note that the "o" in "Love" in the title is rendered as a heart on screen. If your computer does not have the standard Windows Symbol font, then the title at the top of the page may look a little funky. A&E's tape box credits Roy Baker as director instead of Robert Day. Acronym Alert: BVS is the British Venusian Society. French title: "Bons baisers de Vénus" German title: "Einmal Venus, hin und zurück" Italian title: "Da Venere con amore" or "De Venus, Con Amore" Stanmore City Hall was the exterior for Brigadier Whitehead's stately home. (It was also used in "The Winged Avenger.") Being There provides a better and more recent view. Richard Price notes that when Brigadier Whitehead "sees the light," he is not holding a record, but he is when Steed finds him. Doug Semon of Denver, CO, suggests watching the sequence with Venus in her office carefully. The camera cuts between closeups of her and a long shot of her with Steed in the foreground. During one shot she is waving her arms, but in the very next shot, she has them folded. Also, Liz Green of Ontario wonders if anyone noticed the sign outside Dr. Primble's surgery... "Ophthomologist" is spelled wrong! Steed's eye exam (see above) is one of the best little scenes of the season. Emma (from the tag): "You know your claret doesn't travel." Emma is practicing fencing lunges at a dummy hanging on her apartment door, and Steed enters with an invitation card skewered on the tip of his brolly bearing the slogan, "Mrs. Peel--We're Needed!" Back at Emma's flat, Steed informs her that they're having dinner "on Venus." The first Avengers episode that I ever watched all those years ago (1995, I think it was), still has those mysterious qualities which kept luring me back week after week of the colour season, so that I could watch Steed and Emma again. The plot is totally bizarre, and full of wonderful science fiction. There is a large number of eccentrics, some superb music, a fair amount of Steed/Emma interplay and that blue Lotus. It is a shame that I had to knock this one out of my best of colour series slot.