Jump to content

Steed and Mrs. Peel

From Alfawiki
The Avengers
Company typeTelevision series
IndustryTelevision
PredecessorPolice Surgeon (related series)
FoundedJanuary 7, 1961; 65 years ago (1961-01-07)
DefunctApril 21, 1969 (1969-04-21)
FateEnded
Headquarters
United Kingdom
Area served
Worldwide (over 90 countries by 1969)
OwnerABC Weekend TV (initial), Thames Television (later)

The Avengers is a British spy television series that was broadcast from 7 January 1961 until 21 April 1969. Initially, the storyline centered on David Keel (Ian Hendry), with John Steed (Patrick Macnee) in a supporting role. After Hendry departed following the first season, Steed became the primary protagonist, collaborating with various partners. Among these, the most distinguished were sophisticated and intelligent female characters: Cathy Gale (Honor Blackman), Emma Peel (Diana Rigg), and Tara King (Linda Thorson). The wardrobe was created by Pierre Cardin.

Throughout its duration, the series consistently presented hour-long episodes. The debut installment, titled "Hot Snow", premiered on 7 January 1961. The concluding episode, "Bizarre", aired on 21 April 1969 in the United States and subsequently on 17 May 1969 in the United Kingdom.

Originally produced by ABC Weekend TV, part of the ITV consortium, production responsibilities transitioned after ABC merged with Rediffusion London in July 1968 to establish Thames Television. Thames Television continued the series via ABC Television Films. By the year 1969, The Avengers had reached audiences in more than ninety countries worldwide. ITV later developed a follow-up series, The New Avengers (1976–1977), which saw Patrick Macnee return as Steed alongside two new associates. In both 2004 and 2007, The Avengers achieved rankings of No. 17 and No. 20 respectively on TV Guide’s lists of Top Cult Shows Ever.

Premise

While The Avengers underwent several transformations featuring different co-stars, John Steed, portrayed by Patrick Macnee, remained the central figure throughout.

Series 1 (1961)

Prior to The Avengers, ABC Weekend TV produced a single series of Police Surgeon in 1960 starring Ian Hendry as Geoffrey Brent, a police surgeon. Despite its brief run, Hendry’s performance garnered acclaim and led to his casting as the lead in The Avengers, which premiered in January 1961.

The first episode, "Hot Snow," introduces Dr. David H. Keel (Hendry) investigating his fiancée’s murder connected to narcotics trafficking. John Steed, who is conducting his own inquiry, teams up with Keel to unravel criminal cases. Initially, Hendry received top billing over Macnee, with Steed absent from two episodes.

As the first season advanced, Steed's presence expanded significantly, culminating in him starring alone in the final episode. The narrative juxtaposed Dr. Keel's idealistic nature against Steed’s pragmatic professionalism, with Steed employing a network of informants reminiscent of Sherlock Holmes' Baker Street Irregulars.

Carol Wilson (Ingrid Hafner), serving as a nurse and receptionist following the death of Peggy, frequently assisted but was not integrated into Steed’s primary team. Hafner had previously worked with Hendry on Police Surgeon. The role was initially offered to Jan Watson, who declined.

Filmed using a multicamera setup on 405-line videotape, the series featured minimal post-production editing and limited location shooting. Early videotapes were reused by the broadcaster, resulting in only three complete episodes from Series 1—"Girl on the Trapeze," "The Frighteners," and "Tunnel of Fear"—being preserved as 16-mm telerecordings. Additionally, approximately fifteen minutes of "Hot Snow" remain intact up to Steed’s first appearance.

Lost episodes have been reimagined as audio dramas by Big Finish Productions under the title The Avengers – The Lost Episodes, starring Julian Wadham as Steed and Anthony Howell as Dr. Keel.

Series 2–3 (1962–1964)

The initial series' production was interrupted by a strike. By the time the second series commenced, Ian Hendry had departed to focus on a film career, resulting in Patrick Macnee stepping up as the lead role of Steed. In this phase, Steed collaborated with three distinct partners. Dr Martin King (Jon Rollason) appeared in just three episodes, which were adapted from scripts originally intended for the first series. His character was designed as a bridge between leads but was quickly phased out due to episodes being broadcast out of sequence.

Venus Smith (Julie Stevens), a nightclub vocalist, featured in six episodes portraying an amateur without formal detective skills. She worked alongside Steed, with their interactions including a subtle romantic undertone reminiscent of later dynamics. These episodes incorporated live musical numbers, and her character gradually adopted a more youthful persona.

The defining partner emerged in the second series with Mrs. Cathy Gale (portrayed by Honor Blackman), a self-assured anthropologist proficient in judo and distinguished by her signature leather wardrobe.[1] A widow due to the Mau Mau uprising in Kenya, she supported Steed as a "talented amateur." Born in 1930 and raised in Africa, Gale represented an older and more mature female character than was typical on television at that time.

Catherine Gale became widely recognized for embodying a strong and progressive female figure on British television. Early scripts recycled dialogue initially written for Hendry’s character, with her leather-clad image partly explained as a budgetary decision.[2] In the episode "Conspiracy of Silence," she confidently engages Steed in tactical discussions.

Venus Smith did not continue into Series 3, leaving Cathy Gale as Steed’s primary partner. This series subtly explored sexual tension between them through flirtatious exchanges and suggestive dialogue, which was progressive for early 1960s television. In "The Golden Eggs," it is revealed that Gale temporarily resided in Steed’s flat under an arrangement where she was responsible for maintaining the household.

Steed’s connection to British Intelligence became more explicit during Series 2, with him receiving directives from figures such as "Charles" and "One-Ten" (Douglas Muir). By Series 3, these elements were less overtly portrayed. Cathy Gale makes her inaugural visit to their headquarters in the episode "The Nutshell."

Hints about Steed’s background include his military service with I Corps during World War II and education at prestigious public schools, subtly indicated through uniform details and reunion scenes featured in later installments.

By late 1963, plans were underway for a feature film pairing Steed and Gale with American agents to appeal to U.S. viewers. However, Honor Blackman’s casting opposite Sean Connery in Goldfinger resulted in her departure before filming commenced.

Series transformation

Throughout the Gale period, Steed’s persona shifted from a rugged agent clad in a trench coat to the epitome of an English gentleman. His attire included tailored suits from Savile Row, a bowler hat, and an umbrella—later crafted by designer Pierre Cardin. The bowler hat and umbrella concealed various gadgets like a sword and steel plate, a detail reflected in the show’s French, German, and Polish titles. Steed’s polished demeanor and vintage automobile epitomized classic English elegance.

In contrast to Steed’s traditional style, his partners were youthful and fashion-conscious. Catherine Gale’s leather outfits complemented her dynamic fight sequences, while Honor Blackman gained acclaim for her black leather costumes paired with judo skills. Blackman also wielded a firearm in "Killer Whale" and collaborated with Macnee on the novelty track "Kinky Boots." Some wardrobe pieces were created by John Sutcliffe, noted for his contributions to fetish fashion design.

Dennis Spooner, one of the series’ scriptwriters, observed that Steed was frequently shown alone in public settings to highlight his distinctiveness and prevent him from blending into ordinary environments.

Series 4–5 (1965–1967)

In 1965, The Avengers secured a landmark deal with the American Broadcasting Company (ABC), marking it as one of the earliest British television shows to be broadcast during prime time in the United States. ABC invested an unprecedented $2 million for a batch of 26 episodes, with each installment averaging a production cost of £56,000—a notably high figure for British television at that time. The fourth series was broadcast in the US from March through September 1966, still featuring the ABC Weekend TV branding.

This American partnership facilitated a shift in production techniques, transitioning from videotape to 35mm film and relocating filming from Teddington Studios to Associated British Studios in Elstree. This change enabled compatibility with the US NTSC broadcast standard and introduced single-camera shooting methods, which allowed greater visual complexity through diverse camera angles and increased use of outdoor settings. Series 4 was still produced in black-and-white.

Diana Rigg made her first appearance as Mrs. Emma Peel in October 1965. The character's name was derived from a writer-driven concept focused on "man appeal," evolving through early versions such as "Mantha Peel" and "M. Appeal." After more than sixty auditions and replacing Elizabeth Shepherd—whose interpretation failed to capture the desired dynamic—Rigg was cast following a successful screen test alongside Patrick Macnee.

For American audiences, an introductory prologue was added to present Steed and Peel as exceptional agents engaged in crime-fighting. This opening sequence established their partnership characterized by signature style and sharp wit.

In contrast to the serious tone prevalent during the Gale era, interactions between Steed and Peel incorporated lighter, comedic elements, showcasing mutual cleverness and chemistry that hinted at intimacy without overt depiction. The previous sexual tension evident with Gale gave way to playful repartee.

The series embraced emerging Spy-Fi motifs including killer robots ("The Cybernauts"), telepathic abilities ("Too Many Christmas Trees"), and extraterrestrial flora ("The Man-Eater of Surrey Green").

In "Death at Bargain Prices," Peel’s undercover persona featured her trademark leather catsuit, which became iconic during action sequences and opening credits. Certain episodes suggested fetishistic undertones; notably, "A Touch of Brimstone" presented Peel in a dominatrix costume as the "Queen of Sin."

Peel’s avant-garde attire underscored her contemporary flair through bold geometric designs. Designer John Bates crafted distinctive pieces such as black-and-white Op art mini-coats and shimmering silver outfits for the 1965 season. She represented the Swinging Sixties spirit of England, providing a stark contrast to Steed’s Edwardian nostalgia. According to Patrick Macnee's The Avengers and Me, Rigg disliked leather garments and influenced the introduction of softer, athletic-inspired clothing in series five. Designer Alun Hughes developed this updated wardrobe for Peel, while Pierre Cardin refreshed Macnee’s costumes. In the United States, TV Guide featured a photo spread highlighting Peel’s new "Emmapeeler" outfits—eight vibrant crimplene jumpsuits reflecting contemporary fashion trends.

Transition to colour

Following one black-and-white series, The Avengers commenced filming in colour for its fifth series in 1966, preceding full colour adoption by Britain's ITV network by three years. The initial 16 episodes were broadcast concurrently in the US (in colour) and the UK (still black and white) from January to May 1967. An additional eight episodes aired in the UK starting September but were held back from US release until early 1968, directly preceding episodes featuring Diana Rigg's successor, Linda Thorson. The American prologue was modified for colour episodes, opening with "The Avengers in Color"—a stipulation by ABC—depicting Steed peeling back champagne foil followed by Emma Peel popping the cork. Unlike the earlier "chessboard" introduction, this prologue omitted voice-over narration and was also included in UK broadcasts. Series five and six closing credits replaced the ABC Weekend TV logo with an animation revealing "ABC" as standing for "Associated British Corporation," a fictional name devised for exports to avoid confusion with the American ABC network.

The first 16 episodes began with Emma Peel receiving a call-to-action message from Steed: "Mrs. Peel, we're needed." Typically engaged in everyday activities, Peel would unexpectedly receive a message via calling card or gift that prompted Steed’s sudden arrival. Episodes adopted humorous taglines formatted as "Steed [does this], Emma [does that]"—for example, "The Joker" opened with "Steed trumps an ace, Emma plays a lone hand." Several colour episodes featuring Emma Peel were remakes of earlier stories originally starring Cathy Gale.

Budgetary limitations led to dropping the "Mrs Peel, we're needed" sequences and alternate taglines after the first 16 episodes. UK broadcasters viewed these elements as dispensable should The Avengers return to ITV.

Storylines increasingly embraced futuristic science-fiction themes involving eccentric scientists and their inventions: shrinking to doll size ("Mission... Highly Improbable"), electrically enhanced cats transformed into deadly miniature tigers ("The Hidden Tiger"), killer automatons ("Return of The Cybernauts"), mind-transference devices ("Who's Who???"), and invisible adversaries ("The See-Through Man").

The show also satirized American contemporaries with episodes like "The Girl From AUNTIE," "Mission... Highly Improbable," and "The Winged Avenger," parodying The Man from U.N.C.L.E., Mission: Impossible, and Batman respectively. The fundamental format remained consistent: Steed and his partner resolved cases within approximately 50 minutes while preserving safety across 1960s Britain.

Humour appeared through organisation names and acronyms—for example, rival factions FOG (Friends of Ghosts) and SMOG (Scientific Measurement of Ghosts) in "The Living Dead," alongside PURRR (Philanthropic Union for Rescue, Relief and Recuperation of Cats), led by characters named Cheshire, Manx, and Angora in "The Hidden Tiger."

Occasionally adopting metafictional elements, the series nearly broke the fourth wall. In Series 5's "Something Nasty in the Nursery," Emma Peel comments on the recurring narrative device where helpful informants are eliminated before she or Steed arrive—a plot twist that soon unfolds. The episode’s closing scene features Steed and Peel subtly encouraging viewers to watch upcoming episodes.

Diana Rigg’s stunt double was Cyd Child; stuntman Peter Elliot performed Rigg’s stunt dive in "The Bird Who Knew Too Much."

Diana Rigg's Exit

During the initial series, Diana Rigg became aware that her salary was lower than that of the cameraman, prompting her to demand a pay increase to equal that of her co-star or threaten to leave the production. Capitalizing on the show's success in the United States, producers agreed to her terms. Rigg ultimately left after the fifth series in 1967 to explore other opportunities, notably securing a leading role as Tracy Bond in the James Bond film On Her Majesty's Secret Service.

To commemorate 50 years since Emma Peel's debut, the BFI presented an episode of The Avengers on 25 October 2015, followed by an interview with Rigg where she reflected on her departure and Patrick Macnee's response. Macnee and Rigg maintained a lifelong friendship.

Series 6 (1968–1969)

After Rigg’s departure, British broadcasters opted to move away from the established formula for Series 6, aiming instead for a "return to realism." This shift led to Brian Clemens and Albert Fennell being replaced by John Bryce, who had produced many episodes during the Cathy Gale period.

Bryce encountered difficulties filling Rigg’s role and producing seven new episodes planned for American audiences alongside the final color episodes featuring Emma Peel. He introduced 20-year-old newcomer Linda Thorson as Tara King, portraying a fully trained yet inexperienced agent—a contrast to previous "talented amateur" partners. The writers incorporated subtle romantic undertones between Steed and King. To align with Bryce’s vision, Thorson's hair was bleached blonde, which caused damage and required wigs during early filming until her natural brown color was restored in "All Done with Mirrors."

Although production commenced, financial constraints and internal conflicts limited Bryce’s output to three episodes: "Invitation to a Killing" (a 90-minute introduction for Tara King), "The Great, Great Britain Crime" (with footage later reused), and "Invasion of the Earthmen." Following a rough cut screening, Bryce was dismissed; Clemens and Fennell returned to manage production.

Upon their reinstatement, a fourth episode was reworked and retitled "The Curious Case of the Countless Clues." Production continued with "Split!" (an unused Emma Peel script) alongside two new episodes: "Get-A-Way" and "Look (Stop Me If You've Heard This One) But There Were These Two Fellers."

Dennis Spooner recalled:

Clemens and Fennell produced "The Forget-Me-Knot" as Series 6’s third episode to formally introduce Tara King while providing a farewell to Emma Peel. This episode aired first in the series. It featured Peel’s return for a farewell scene explaining that she left because her husband had been found alive. She passes Tara on the stairs with advice about Steed’s tea preference, symbolically passing on her partnership.

Bryce’s original introduction for Tara King was adapted into "Have Guns Will Haggle." These episodes, along with "Invasion of the Earthmen" and the concluding eight Emma Peel color episodes, were sent to the US in February 1968.

Series 6 also introduced an on-screen government official known as Mother—a wheelchair-bound man played by Patrick Newell—who issued Steed’s assignments. Mother’s headquarters changed locations frequently, including an episode set aboard a double-decker bus. A silent Amazonian assistant named Rhonda (portrayed uncredited by Rhonda Parker) became a recurring character. Additionally, an agency figure codenamed "Father," played by Iris Russell, appeared once.

In one installment, Steed teams up with Lady Diana Forbes Blakeney (Jennifer Croxton) while Tara is away on holiday.

Scriptwriter Dennis Spooner observed that this final series pushed creative boundaries with increasingly surreal storylines, recognizing it as self-parody due to its impending cancellation.

Despite strong ratings across the UK and Europe for episodes starring Linda Thorson as Tara King, ABC scheduled The Avengers opposite the highly rated Rowan and Martin's Laugh-In, resulting in poor American viewership and subsequent cancellation. Without American commercial backing, production in Britain ended in May 1969.

The concluding episode ("Bizarre") finishes with Steed and Tara unintentionally launching into space aboard a rocket as Mother breaks the fourth wall declaring "They'll be back!" before expressing surprise at their lack of supervision.

Cast

Music

The original 1961 series showcased a jazz-inspired theme composed by John Dankworth, which was revised for the third series. Dankworth’s composition was commercially available through Columbia and Fontana, with a notable rendition by bandleader Johnny Gregory.

When Diana Rigg joined the cast in 1965, a fresh theme created by Laurie Johnson replaced the original. This new piece was adapted from Johnson’s LP track "The Shake," drawing on the popular dance trends of the 1960s. For the transition to colour episodes in 1967, Johnson enhanced the opening sequence by adding percussion elements. Upon Linda Thorson’s introduction, he incorporated a trumpet counter-melody linked to her character Tara King, first heard in "The Forget-Me-Knot." Johnson also crafted unique musical scores for individual episodes, including distinct themes for Emma Peel and specific tag scenes during Thorson’s tenure. Numerous tracks from these periods were released on CD in 2009.

In the final season, due to Johnson’s commitments to film projects, composer Howard Blake provided additional music closely aligned with Johnson’s style. In celebration of the show’s 50th anniversary in 2011, these nearly complete scores—including Johnson’s primary themes—were issued as a double-CD collection. The theme by Johnson inspired several cover versions and continued as the musical identity for The New Avengers.

Laurie Johnson later partnered with Brian Clemens on various projects, including composing the theme for The New Avengers.

Cars

The vehicles featured in the series became iconic alongside its cast. Starting from Series 4, Steed’s signature cars were a collection of six green vintage Bentleys dating from 1926 to 1928, including several Blower Bentleys and Bentley Speed Six models. The series also showcased a unique appearance by a Vauxhall 30-98 in "The Thirteenth Hole." In the final series, Steed drove two yellow Rolls-Royces: a 1923 Rolls-Royce Silver Ghost and a 1927 Rolls-Royce New Phantom. Emma Peel was often seen driving white and powder blue Lotus Elan convertibles from 1964 and 1966 respectively, symbolizing her spirited and independent nature. Episodes in Series 4 frequently concluded with Steed and Peel departing in unconventional vehicles. The character Mother occasionally appeared driving a silver Rolls-Royce. Tara King was associated with an AC 428 and a Lotus Europa, while Lady Diana Forbes Blakeney drove an MGC Roadster.

Production team

Although instrumental in the series' conception, Sydney Newman, who later played a key role in developing Doctor Who, was never officially credited as the creator of The Avengers. According to Patrick Macnee’s memoir The Avengers and Me, Newman chose not to seek on-screen credit due to his previous experience at the Canadian Broadcasting Corporation, where such acknowledgments were uncommon.

Significant changes occurred within the production team between Series 3 and 4, with Brian Clemens emerging as the most influential scriptwriter. Following producers Leonard White and John Bryce, Julian Wintle assumed production duties for Series 4, supported by Clemens as associate producer and Albert Fennell overseeing production management. During Series 5, produced by A.B.C. Television Films amid Thames TV's establishment, Clemens and Fennell advanced to co-producer roles while Wintle acted as executive producer. For Series 6, after John Bryce's exit, Clemens and Fennell resumed co-producer responsibilities; early episodes also credited Wintle as consultant and Philip Levene as story consultant.

Ray Austin, serving as fight arranger for Series 4 and 5, introduced kung fu elements into the show by incorporating techniques from both Feng Shou kung fu and tai chi, disciplines he studied under Chee Soo. Austin, along with Diana Rigg and Chee Soo, earned a Guinness world record recognizing them as pioneers of televised kung fu. Austin went on to become a prolific television director. His successor for fight choreography in Series 6 was Joe Dunne.

Episodes

Between 1961 and 1969, The Avengers produced six series, with a production pause occurring near the conclusion of the fifth series due to financial difficulties. Scholars Andrew Pixley, Paul Cornell, Martin Day, and Keith Topping regard the final eight episodes following this interruption as a brief sixth series, resulting in a total of seven series overall. However, within the production team, these episodes were still considered part of series five.

UK US Principal characters Production format
& company
Series / episodes First broadcast Season / episodes Air dates
1 26 Jan–Dec 1961 — Keel and Steed black and white video
ABC Television (UK)
2 26 Sep 1962 – Mar 1963 — Steed, Smith and Gale
3 26 Sep 1963 – Mar 1964 — Steed and Gale
4 26 Sep 1965 – Mar 1966 1 26 Mar–Sep 1966 Steed and Peel black and white film
Associated British Productions
5 24 16 Jan–May 1967 2 16 Jan–May 1967 colour film
ABC Television Films (UK)
8 Sep–Nov 1967 3 15 Jan–May 1968
6 33 Sep 1968 – May 1969 Steed and King
4 26 Sep 1968 – Apr 1969


In Canada and the United States

In Canada, telerecordings from the second and third series were broadcast as early as 1963; however, the initial two series did not air in the United States. The American network ABC secured broadcasting rights for the fourth and fifth seasons in 1965, which led to a transition from the British multi-camera system using a 405-line format to filming on single-camera setups with 35mm film.

Stunt coordinator Ray Austin observed that the program's level of violence hindered its popularity in the U.S., resulting in late-night scheduling: "CBS placed us at 11:30 pm because it was considered too violent." He further explained that American television required adherence to Midwestern viewer standards for prime-time success, standards that the show's producers declined to fully accommodate. The first two Emma Peel seasons predominantly aired at 10:00 pm on ABC, whereas subsequent episodes featuring Diana Rigg and Linda Thorson were typically shown at earlier times around 7:30 pm.

Certain episodes faced censorship in the U.S., most notably "A Touch of Brimstone," which included Emma Peel wearing a revealing corset costume as the Queen of Sin; this episode was never broadcast by American networks. Overall, ABC initially withheld five episodes from the first Peel season but these later appeared through syndication: "A Surfeit of H₂O," "Silent Dust," "Quick-Quick Slow Death," "A Touch of Brimstone," and "Honey for the Prince."

Episodes starring Cathy Gale and Venus Smith aired in Canada prior to Mrs. Peel's introduction. In contrast, U.S. viewers did not see Gale and Smith episodes from the 1962–1964 period until the early 1990s when they were shown on the A&E Network. No episodes featuring Ian Hendry's character Keel were rebroadcast outside the UK, contributing to most first-series episodes becoming lost; only "The Frighteners" was re-aired in Britain during a Channel 4 classic season in 1993.

Home media

Only three full episodes from the initial series, along with a fragment of another, remain preserved as 16mm film telerecordings: "The Frighteners" (a clip is featured in Quadrophenia), "Girl on the Trapeze" (held at the UCLA Film and Television Archive), and "Tunnel of Fear" (unearthed in 2016). Furthermore, 21 minutes from the premiere episode were discovered in the United States.

Complete 16mm telerecordings exist for all episodes from series 2 and 3, which have been issued on DVD, including every episode featuring Emma Peel and Tara King, as these were originally filmed. The extant Keel episodes and the partial first episode have also been released in both the UK and US markets, although they are currently out of print in the US. No original videotape recordings from series 1 through 3 have survived.

Between the late 1990s and early 2000s, A&E TV Home Entertainment, under license from Canal+ Image International, issued remastered Region 1 DVDs for North American audiences. Studio Canal later remastered and distributed series 4, 5, and 6 on Blu-ray format.

The New Avengers

The enduring appeal of the Tara King episodes in France inspired a 1975 French television commercial for Laurent-Perrier champagne, featuring Thorson and Macnee reprising their characters. This popularity helped secure French funding for a new installment.

This led to the creation of The New Avengers, starring Patrick Macnee reprising his role as Steed alongside new partners Mike Gambit (Gareth Hunt) and Purdey (Joanna Lumley). The show aired on ITV in the UK from 1976 to 1977, on CTV in Canada, on CBS in the US between 1978 and 1979, and on TF1 in France (series one during 1976–77; series two in 1979). The last four episodes were primarily produced and filmed in Canada, sometimes promoted under the title The New Avengers in Canada.

Patrick Macnee was the sole original cast member to appear regularly; however, archival footage allowed Emma Peel a cameo role in season two's "K is for Kill: The Tiger Awakes," and Ian Hendry guest-starred as a different character in "To Catch a Rat."

Novels

During the 1960s, multiple original novels inspired by the series were published. Douglas Enefer authored the first novel released by Consul Books, which was unique among '60s novels for featuring Cathy Gale. In 1967, Panther Books published four John Garforth novels centered on Emma Peel in the UK; these were reissued by Berkley Medallion in the US. After Panther ceased its UK publications, Berkley Medallion produced original novels tailored for the American market: one featuring Peel and four with Tara King—three written by Keith Laumer (1968) and two by Norman Daniels (1968/69). Berkley later reprinted all nine titles with refreshed covers displaying both Diana Rigg and Linda Thorson regardless of which character was featured.

Hodder and Stoughton issued two novels co-authored by Patrick Macnee during 1965/66, making him among the earliest actors to create licensed spin-off fiction. These works—Deadline and Dead Duck—were reprinted by Titan Books in the UK in 1994, by Huitieme Art in France (1995 & 1996), and subsequently published in the US by TV Books (1998). Titan reissued these as trade paperbacks to coincide with the release of the 1998 film.

John Peel's 1990 novel Too Many Targets included all of Steed’s partners except Venus Smith and Dr Martin King.

  • The Avengers, Douglas Enefer, 1963
  • Deadline, Patrick Macnee and Peter Leslie, 1965
  • Dead Duck, Macnee and Leslie, 1966
  • Four Emma Peel novels by John Garforth, Panther Books, 1967
  • Three Keith Laumer novels, 1968
  • Two Norman A. Daniels novels, 1968–69
  • John Steed: An Authorized Biography Vol. 1: Jealous in Honour, Tim Heald, 1977 (UK only)
  • Authorized Australian fan fiction collection (1989–94) including works by Dave Rogers and Barlow
  • Too Many Targets, John Peel and Rogers, 1990
  • Film novelisation The Avengers, Julie Kaewert, 1998

A short story by Peter Leslie appeared in The Television Crimebusters Omnibus (1994). The Macnee/Leslie novels were translated into several languages and published internationally: Portugal (1967), France (1967), Germany (1967/68), the Netherlands (1967), and Chile (1968). Multiple Garforth titles also received European translations.

Comics

The earliest Avengers comic strips in the UK, starring Steed and Cathy Gale, were published in regional television listings magazines Look Westward and The Viewer between September 1963 and May 1964, comprising four serialized stories.

Following Emma Peel’s debut on television, Steed and Mrs Peel comic strips appeared in Polystyle Publications’ TV Comic beginning with issue #720 (October 1965) and continued through to issue #771 (September 1966). This run included ten serials along with a standalone four-page story featured in the TV Comic Holiday Special (June 1966). Subsequently, the rights moved to D.C. Thomson & Co. Ltd, where the strip was published in Diana from issue #199 (December 1966) until #224 (June 1967), illustrated by Emilio Frejo and Juan Gonzalez Alacrojo over eight serials.

Prior to this, The Growing Up of Emma Peel was serialized in June and Schoolfriend (#52–63, January–April 1966), portraying the youthful escapades of Emma Knight over eleven episodes, running concurrently with the TV Comic strip.

After Tara King’s introduction on television, The Avengers returned to TV Comic starting with issue #877 (October 1968). The Tara and Steed storyline ran until issue #1077 (August 1972), encompassing twenty-eight serials plus a four-page special in the TV Comic Holiday Special 1972. In 1966, Thorpe & Porter released a 68-page Avengers comic featuring Steed and Peel, containing four separate 16-page stories with original artwork by Mick Anglo and Mick Austin.

In the United States, trademark restrictions by Marvel Comics prevented use of "The Avengers" title due to their superhero team’s claim. As a result, Gold Key Comics issued a single edition titled John Steed Emma Peel (1968), which included two recolored and reformatted strips originally from TV Comic. Between 1990 and 1992, Acme Press/Eclipse Comics produced a three-issue limited series called Steed and Mrs. Peel, featuring narratives by Grant Morrison and Anne Caulfield with artwork by Ian Gibson. This series was later reprinted by Boom! Studios across six issues in 2012. Boom! also launched a new ongoing series penned by Mark Waid and Caleb Monroe that lasted for twelve issues. Additionally, Boom! announced a six-issue sequel titled Steed and Mrs. Peel: We're Needed, which debuted in summer 2014 but only three issues were ultimately released.

In the British market, The Avengers were regularly featured in hardcover annuals typically sold during the Christmas season. Their initial appearance was in the TV Crimebusters Annual (1962) with a seven-page story called The Drug Pedlar. Atlas Publications produced three annuals from 1967 to 1969 containing original adventures starring Steed, Emma Peel, and Tara King alongside prose stories.

Several of the TV Comic strips, the 1966 Avengers comic, and select annuals were translated for publication in countries including Germany, the Netherlands, France, and Chile.

The Avengers have also made brief appearances within other comic series:

Stage play

In 1971, a British theatrical adaptation was created, penned by television veterans Brian Clemens and Terence Feely and directed by Leslie Phillips. The production featured Simon Oates portraying Steed, with Sue Lloyd as his new partner Hannah Wild, and Kate O'Mara as the antagonist Madame Gerda. Each of these actors had previously appeared in guest roles within the original television series.

Within the fifth series episode "The Superlative Seven," a character named Hana Wilde (portrayed by Charlotte Rampling) served as Steed's partner, while Emma Peel made a brief appearance. John Peel remarked that Rampling was rumored to be a potential successor to Diana Rigg, though this casting never came to fruition.

Radio series

Between 6 December 1971 and 28 December 1973, a radio adaptation was broadcast on Springbok Radio, the English-language channel of the South African Broadcasting Corporation (SABC). Produced by Dave Gooden and recorded at Johannesburg’s Sonovision Studios, the series utilized adapted scripts from the original TV episodes. Direction initially was handled by Tony Jay, later succeeded by Dennis Folbigge. Notably, South Africa did not have national television until 1976.

Episodes originally featuring Tara King were modified to include Emma Peel instead. British expatriates Donald Monat and Diane Appleby provided the voices for Steed and Mrs. Peel respectively, with Hugh Rouse acting as the narrator. The stories were serialized into five-episode arcs under Jay’s direction and six- to seven-episode arcs under Folbigge’s guidance; each episode ran approximately 15 minutes including advertisements and aired Monday through Friday.

Only nineteen complete serials remain today, preserved through reel-to-reel off-air recordings from 1972, alongside three episodes of a remake titled Escape in Time. These broadcasts also reached audiences in New York on WBAI (99.5 FM) from 1977 through the early 1990s and currently air on Miami's WRGP during early Monday mornings.

Restored versions can be accessed via Alan and Alys Hayes’s websites "The Avengers Declassified" and "Avengers on the Radio."

It is estimated that around 83 serials were produced during this two-year period; however, most are now lost.

Film

Throughout the 1960s, 1980s, and 1990s, multiple attempts were made to develop a feature film adaptation of the series, with Mel Gibson once rumored to be considered for Steed’s role. The eventual 1998 film starred Uma Thurman as Emma Peel, Ralph Fiennes as John Steed, and Sean Connery as the villain. The movie was critically panned and suffered significant commercial failure.

Audio

In June 2013, Big Finish Productions acquired rights from StudioCanal to create full-cast audio dramatizations of twelve lost episodes from the first season. The cast featured Julian Wadham as Steed, Anthony Howell as Dr. David Keel, and Lucy Briggs-Owen as Carol Wilson, with adaptations crafted by John Dorney.

The initial release, Volume One containing four stories, debuted in January 2014; Volume Two followed in July 2014; and Volume Three arrived in January 2015. By March 2014, Big Finish expanded their project to encompass all twenty-six first-season episodes across seven boxed sets.

Proposed reboots

In 2023, Charlie Higson disclosed that he and Paul Whitehouse turned down an opportunity to lead a new series revival. Subsequently, on 18 January 2024, it was announced that Mickey Down and Konrad Kay are developing a reboot under StudioCanal’s banner.

See also

Bibliography

  • The Avengers authored by Dave Rogers (ITV Books/Michael Joseph Ltd., 1983)
  • The Avengers Anew by Dave Rogers (Michael Joseph Ltd., 1985)
  • The Complete Avengers written by Dave Rogers (Boxtree Ltd./St. Martin's Press, 1989)
  • The Ultimate Avengers by Dave Rogers (Boxtree Ltd., 1995)
  • The Avengers and Me, co-written by Patrick Macnee and Dave Rogers (TV Books, 1997)
  • The Avengers Companion by Alain Carrazé, Jean-Luc Putheaud, Alex J. Gearns (Bay Books, 1998)
  • The Avengers Dossier: The Definitive Unauthorised Guide by Paul Cornell, Martin Day, Keith Topping (Virgin Books, 1998)
  • The Avengers: A Celebration: 50 Years of a Television Classic by Marcus Hearn (Titan Books, 2010)
  • Bowler Hats and Kinky Boots: The Unofficial and Unauthorised Guide to the Avengers by Michael Richardson (Telos Publishing Ltd, 2014)
  • Two Against the Underworld: The Collected Unauthorised Guide to The Avengers Series 1 by Alan Hayes, Richard McGinlay, Alys Hayes (Hidden Tiger, 2017)
  • Quite, Quite Fantastic! The Avengers for Modern Viewers by Michael Scott Phillips (GR|OWL Books, 2018)

External links

  1. ↑ TV Times issue 412, 20 September 1963
  2. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named PeelJohnEmmaLastYearp46
Retrieved from "https://www.alfawiki.org/index.php?title=Steed_and_Mrs._Peel&oldid=41015"