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The Avengers (TV series)

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The Avengers
IndustryTelevision
FoundedJanuary 7, 1961; 65 years ago (1961-01-07)
DefunctMay 17, 1969 (1969-05-17)
FateEnded
Area served
United Kingdom, United States, international syndication (over 90 countries)
ProductsTelevision series
ParentABC Weekend TV (until 1968), Thames Television (from 1968)

The Avengers is a British spy drama television series that was broadcast from 7 January 1961 until 21 April 1969. The show originally centered on David Keel (Ian Hendry), who worked alongside John Steed (Patrick Macnee). Following Hendry's departure after the first season, Steed assumed the leading role and was joined by a sequence of partners, most notably the intelligent and fashionable female characters: Cathy Gale (Honor Blackman), Emma Peel (Diana Rigg), and Tara King (Linda Thorson). The wardrobe was crafted by designer Pierre Cardin.

Throughout its entire run, the series maintained one-hour episodes, beginning with "Hot Snow" on 7 January 1961 and concluding with "Bizarre" on 21 April 1969 in the United States and on 17 May 1969 in the United Kingdom.

Originally produced by ABC Weekend TV, part of the ITV network, production transitioned to Thames Television after ABC merged with Rediffusion London in July 1968. Thames outsourced production to ABC Television Films. By 1969, The Avengers was screened in more than 90 countries worldwide. ITV later developed a follow-up series, The New Avengers (1976–1977), which saw Patrick Macnee return as John Steed alongside two new companions. In both 2004 and 2007, The Avengers was placed at No. 17 and No. 20 respectively on TV Guide’s list of Top Cult Shows Ever.

Premise

The Avengers underwent various phases marked by changing co-stars, while John Steed, portrayed by Patrick Macnee, remained the central figure throughout.

Series 1 (1961)

In late 1960, ABC Weekend TV produced a single season of Police Surgeon, starring Ian Hendry as Geoffrey Brent, a police surgeon. Despite its brief run, Hendry’s performance led ABC to cast him in The Avengers, which debuted in January 1961 as its replacement.

The inaugural episode "Hot Snow" introduced Dr. David H. Keel (Hendry), who investigates his fiancée’s murder linked to a drug syndicate with the help of John Steed. Steed then invites Keel to collaborate on future investigations. Initially, Hendry received top billing over Macnee, and Steed was absent from two episodes.

As the season advanced, Steed’s prominence grew until he led the final episode alone. The interplay between Keel’s idealistic nature and Steed’s pragmatic approach created dramatic tension. Steed also employed informants reminiscent of Sherlock Holmes’ "Baker Street Irregulars," as depicted in surviving episodes like "The Frighteners".

Carol Wilson (Ingrid Hafner), serving as a nurse and receptionist who replaced the murdered Peggy, regularly supported Keel and Steed but was not considered part of Steed’s close circle. Hafner had previously acted alongside Hendry in Police Surgeon. The role was initially offered to Jan Watson, who declined.

Filmed using a multicamera setup on 405-line videotape, the series featured limited editing and almost no location shoots. Early videotapes were reused, resulting in only three complete Series 1 episodes surviving as 16-mm telerecordings: "Girl on the Trapeze" (which does not feature Steed), "The Frighteners," and "Tunnel of Fear". Additionally, only the first fifteen minutes of "Hot Snow" remain intact.

Lost episodes were subsequently adapted into 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 faced an early end due to a strike. By the time the second series commenced, Ian Hendry had departed to focus on film roles, resulting in Patrick Macnee stepping up as the lead, with Steed becoming the central figure, initially partnered with a rotating cast of associates. Dr. Martin King (Jon Rollason) appeared in only three episodes, adapted from scripts originally intended for the first series, acting as a transitional presence before being quietly phased out.

Venus Smith (Julie Stevens), a nightclub singer, appeared in six episodes portraying an amateur without investigative skills, contributing live musical numbers. Her character gradually shifted towards a more youthful persona and displayed subtle romantic interest in Steed, a dynamic that foreshadowed later interactions with Tara King.

The second series marked the introduction of Honor Blackman as Mrs. Cathy Gale, an assertive anthropologist proficient in judo and recognized for her distinctive leather wardrobe. Having been widowed during the Mau Mau uprising in Kenya, Gale was depicted as a "talented amateur" who assisted Steed on his missions. In her early to mid-thirties, she stood apart from the typically younger female leads of that period and swiftly became a defining figure for the show. Early episodes repurposed dialogue originally crafted for Hendry’s character, which contributed to Gale’s commanding presence.

Venus Smith did not return for Series 3, leaving Cathy Gale as Steed’s sole companion. Their relationship incorporated progressive elements of sexual tension for the time, characterized by playful banter and innuendo without overt romance. Significantly, Gale temporarily resided in Steed’s apartment, suggesting a modern domestic arrangement that was unconventional for 1960s television.

In Series 2, Steed’s role within British Intelligence was expanded; he initially reported to various superiors such as "Charles" and "One-Ten" (Douglas Muir). By Series 3, his chain of command was less explicitly portrayed. The secret organization is featured in "The Nutshell," which also marks Gale’s inaugural visit to headquarters.

Occasional hints about Steed’s background emerged: he served with I Corps during World War II and attended RAF reunions, implying a refined education through his choice of neckties.

Plans were made for a feature film following Series 3, envisioning a collaboration between Steed and Gale alongside American agents to appeal to U.S. audiences. However, this project was halted when Honor Blackman left to star opposite Sean Connery in Goldfinger.

Series transformation

Throughout the Gale period, Steed transitioned from a rugged agent clad in trench coats into the embodiment of the English gentleman—dressed in Savile Row suits complemented by a bowler hat and umbrella—later designed by Pierre Cardin. These accessories concealed various gadgets, including a sword hidden within the umbrella and a steel plate embedded in the hat. These iconic elements inspired international adaptations such as the French Chapeau melon et bottes de cuir and German Mit Schirm, Charme und Melone. Steed’s sophisticated manner and classic automobile epitomized traditional English elegance.

In contrast, Steed's partners were youthful trendsetters. Catherine Gale’s leather attire matched her athletic combat sequences, while Honor Blackman became renowned for her black leather costumes and judo expertise. Blackman and Patrick Macnee even collaborated on the novelty track "Kinky Boots". Some costumes were designed by John Sutcliffe, noted for his work in fetish fashion.

Series writer Dennis Spooner observed that Steed was frequently depicted alone in public settings to highlight his distinctive character, deliberately avoiding typical environments where he might appear out of place.

Series 4–5 (1965–1967)

In 1965, The Avengers was acquired by the American Broadcasting Company (ABC), marking it as one of the earliest British shows to be broadcast during US prime-time hours. ABC invested $2 million for a batch of 26 episodes—a record-breaking amount—allowing for an increased production budget of approximately £56,000 per episode. The fourth series was broadcast in the United States from March through September 1966, maintaining the ABC Weekend TV branding.

This American distribution deal facilitated a transition in production techniques, moving from videotape at Teddington Studios to shooting on 35mm film at Elstree's Associated British Studios. This change was crucial to ensure compatibility with the US NTSC television standard. Utilizing 35mm film and a single-camera setup enhanced picture quality and permitted more intricate camera movements and outdoor shoots. Studio-recorded dialogue was combined with silent location footage, which was later dubbed during post-production.

Diana Rigg made her first appearance as Mrs. Emma Peel in October 1965. The character's name evolved from the writers’ intention to create a figure with strong "man appeal," progressing through iterations such as "Samantha Peel," "Mantha Peel," and "M. Appeal" before settling on Emma Peel.

Initially, Elizabeth Shepherd was cast for the role but was replaced after filming one and a half episodes due to insufficient chemistry when compared to Honor Blackman's portrayal of Catherine Gale. Following an extensive casting search, casting director Dodo Watts suggested Diana Rigg, whose screen test alongside Patrick Macnee revealed compelling on-screen dynamics.

For the American audience, an introductory prologue was added to clarify the characters and their mission: Steed and Mrs. Peel investigate a murder staged on a human-sized chessboard, accompanied by a voice-over that presents them as agents tackling extraordinary crimes.

In contrast to the more serious tone of the Gale episodes, the interactions between Steed and Emma Peel featured lighter, witty exchanges with reduced conflict. Their chemistry was subtly intimate yet ambiguous, implying a close partnership without overt romantic involvement.

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

In "Death at Bargain Prices," Mrs. Peel’s undercover persona wore an elaborate leather catsuit adorned with silver accessories—an iconic costume used in fight sequences and opening titles. Several episodes explored fetishistic motifs; notably, "A Touch of Brimstone" featured Mrs. Peel dressed as a dominatrix, titled "Queen of Sin."

Emma Peel’s cutting-edge wardrobe underscored her contemporary image with bold geometric designs. Designer John Bates crafted striking black-and-white mini-coats along with a silver bra bodice ensemble for the 1965 season. She represented 1960s modern England, providing a sharp contrast to Steed’s Edwardian-inspired style.

According to Patrick Macnee’s memoir The Avengers and Me, Diana Rigg disliked wearing leather, prompting a wardrobe evolution in Series 5 toward softer, athletic-inspired attire designed by Alun Hughes. Meanwhile, Pierre Cardin revamped Macnee’s costumes. The US TV Guide featured a photo spread highlighting Rigg’s new "Emmapeeler" outfits—eight vibrant crimplene jumpsuits introduced in 1967.

Transition to colour filming

Following a 26-episode run in black and white, The Avengers shifted to colour production for its fifth series in 1966, predating the full adoption of colour broadcasts by Britain's ITV network by three years. The initial 16 colour episodes were broadcast concurrently in the United States (in colour) and the United Kingdom (in black and white) between January and May 1967. An additional eight episodes premiered in the UK from late September onwards but were held back in the US until early 1968, immediately preceding episodes starring Diana Rigg’s successor, Linda Thorson. To comply with ABC’s requirements in the US, the fourth series’ prologue was altered for the colour episodes, opening with the caption The Avengers in Color, followed by a scene where Steed pops a champagne cork which Emma Peel shoots away. This replaced the earlier "chessboard" intro and was also included in UK airings. The closing credits for series five and six showcased an animation clarifying that "ABC" stood for "Associated British Corporation," distinguishing this export brand from the American ABC network.

The first set of 16 colour episodes began with Emma Peel receiving a call-to-action from Steed—"Mrs. Peel, we’re needed"—usually delivered through a calling card or gift, triggering Steed’s prompt arrival. Episode titles featured playful taglines formatted as "Steed [does this], Emma [does that]," such as "Steed trumps an ace, Emma plays a lone hand" for "The Joker," which was primarily a reimagining of a black-and-white episode originally starring Cathy Gale. Three other Emma Peel stories were similarly adapted from Cathy Gale narratives.

Financial limitations led to the discontinuation of both the "Mrs Peel, we’re needed" sequences and the comedic taglines after these initial 16 episodes. UK broadcasters deemed these elements nonessential should The Avengers return to ITV. Storylines increasingly adopted futuristic and science-fiction themes involving eccentric scientists and their inventions: examples include miniaturisation to doll size ("Mission... Highly Improbable"), electric pet cats ("The Hidden Tiger"), deadly robots ("Return of The Cybernauts"), consciousness transfer devices ("Who’s Who???"), and invisible adversaries ("The See-Through Man").

The show lampooned contemporary American series with episodes such as "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. While maintaining its fundamental structure, Steed and his partner resolved cases within tightly paced 50-minute episodes, upholding a sense of 1960s British stability.

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

At times self-referential, the series nearly broke the fourth wall; for instance, in "Something Nasty in the Nursery," Emma Peel remarks on the recurring plot device where helpful informants are eliminated before she or Steed arrive—a narrative twist that then unfolds. The episode’s closing scene subtly encouraged viewers to watch the following week.

Diana Rigg’s stunt sequences were supported by stuntwoman Cyd Child, with stuntman Peter Elliot doubling for Rigg during a diving scene in "The Bird Who Knew Too Much."

Diana Rigg's Exit

At the start of the initial series, Diana Rigg challenged the pay disparity when she discovered her salary was lower than the cameraman's. She insisted on a salary increase to match her co-star's earnings, threatening to quit otherwise. Due to the show's strong reception in the United States, producers agreed to her demands. Rigg ultimately left after the fifth series concluded in 1967, seeking new opportunities including a prominent role as Tracy Bond in the James Bond movie On Her Majesty's Secret Service.

To commemorate 50 years since Emma Peel’s debut, the BFI presented an episode on 25 October 2015, followed by an interview with Rigg. During this event, she shared insights about her departure and Patrick Macnee’s response. The two maintained a close friendship throughout their lives.

Series 6 (1968–1969)

With Rigg’s exit, British executives opted to steer the show back towards a more realistic tone for its sixth series (1968–69). John Bryce replaced Brian Clemens and Albert Fennell as producer; Bryce had previously overseen much of the Cathy Gale period.

Bryce encountered difficulties casting a new lead and managing production of the first seven episodes aimed at the American audience alongside the final Emma Peel colour episodes. He brought in newcomer Linda Thorson to portray Tara King, a younger, fully trained operative who introduced a subtle romantic dynamic with Steed—contrasting with earlier “talented amateur” partners. Bryce’s creative decision involved bleaching Thorson’s hair blonde, which caused damage necessitating wigs for early episodes; her natural brown hair is visible in "All Done with Mirrors."

Only three episodes were completed under Bryce—"Invitation to a Killing," "The Great, Great Britain Crime," and "Invasion of the Earthmen"—before financial troubles and internal conflicts led to his removal. Clemens and Fennell returned to overhaul scripts and continue production, including renaming "The Murderous Connection" to "The Curious Case of the Countless Clues," filming remaining scripts like "Split!," and producing new episodes such as "Get-A-Way" and "Look (Stop Me If You've Heard This One) But There Were These Two Fellers."

Dennis Spooner described this turbulent period as chaotic, requiring last-minute rewrites on already shot footage, reflecting the show’s eccentric style.

Clemens and Fennell crafted "The Forget-Me-Knot" to formally introduce Tara King while bidding farewell to Emma Peel. Rigg returned for this episode, explaining Emma’s departure due to her husband’s rescue. The episode concludes with Emma passing on knowledge about Steed’s tea preferences to Tara, symbolizing the transition.

Bryce’s initial Tara introduction was reworked into "Have Guns Will Haggle." These episodes, along with the final eight colour episodes featuring Emma Peel, were sent to the US market in February 1968.

This series marked the debut of "Mother," Steed’s government contact portrayed by Patrick Newell—a wheelchair user whose mobile command centre changed location—and his silent assistant Rhonda. Another official known as "Father" appeared once during this time. Notably, in "Killer," Steed teams up with Lady Diana Forbes Blakeney while Tara is away on holiday.

Spooner noted that this concluding series embraced absurdity as it neared its end: pushing creative limits through exaggerated storylines and self-referential humor. This approach attracted cinephiles with its numerous genre parodies but lacked sustainable appeal.

Although Tara King’s episodes achieved strong ratings across the UK and Europe, ABC scheduled them opposite the highly rated Rowan and Martin's Laugh-In in the United States, resulting in cancellation there. Without American support, production in Britain ended in May 1969. The final episode ("Bizarre") closes with Steed and Tara inadvertently launching into space while Mother breaks the fourth wall promising their return—an ironic finale to the series’ commercial journey.

Cast

Music

The initial 1961 season showcased a jazz-inspired theme composed by John Dankworth, with minimal reliance on library tracks. This theme was revised for the third series and subsequently issued commercially on Columbia and Fontana records. A faithful rendition was also recorded by bandleader Johnny Gregory.

With Diana Rigg joining the cast in 1965, the opening titles were revamped, introducing a new theme crafted by Laurie Johnson. This piece drew inspiration from the LP track "The Shake," tapping into the popular dance trends of the 1960s. For the color episodes released in 1967, additional percussion was integrated into the teaser sequence. Upon Linda Thorson's arrival, Johnson re-arranged the theme to include a trumpet counterpoint reflecting Tara King's motif from "The Forget-Me-Knot." This energetic variation premiered during that episode’s end credits, featuring intensified percussion elements.

Johnson also composed customized scores for individual episodes, including a brief musical cue accompanying Steed’s signature phrase and a dedicated theme for Emma Peel. During Thorson's tenure, he developed a unique composition for the tag scene concluding each episode. Numerous musical cues from the periods featuring Rigg and Thorson were made available commercially on CD in 2009.

Because of his commitments scoring Hot Millions, Johnson enlisted keyboardist Howard Blake, who contributed additional compositions for the final season that closely mirrored Johnson’s style. In 2011, these nearly complete scores—including Johnson’s principal themes—were released as a double-CD collection. Several cover versions of Johnson’s original theme have been produced on vinyl and CD; its opening motif was preserved for use in The New Avengers.

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

Cars

The vehicles featured throughout the series became as emblematic as its stars. From Series 4 onwards, Steed's hallmark automobiles were six vintage green Bentleys dating from 1926 to 1928, including both Blower Bentleys and Bentley Speed Six models—except in "The Thirteenth Hole," where he drove a Vauxhall 30-98. In the final series, Steed switched to two yellow Rolls-Royces: a 1923 Rolls-Royce Silver Ghost and a 1927 Rolls-Royce New Phantom.

Emma Peel was often seen driving white (1964) and powder blue (1966) Lotus Elan convertibles, symbolizing her independence and energy. Episodes in Series 4 frequently concluded with Steed and Peel departing in unusual vehicles. The character Mother sometimes 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

Sydney Newman, who later played a crucial role in the creation of Doctor Who, was never officially acknowledged as the creator of The Avengers. In his memoir The Avengers and Me, Patrick Macnee revealed that Newman did not pursue credit because of the customary practices at CBC during his time there.

The creative team underwent significant changes between the third and fourth seasons, with Brian Clemens emerging as a dominant scriptwriter after contributing the second episode. After producers Leonard White and John Bryce, Julian Wintle took over as producer for the fourth series, with Clemens acting as associate producer and Albert Fennell overseeing production responsibilities. For the fifth series, produced by A.B.C. Television Films following ABC Weekend TV's integration into Thames TV, Clemens and Fennell shared co-producer duties, while Wintle assumed the role of executive producer. During the sixth series, after Bryce left, Clemens and Fennell returned as co-producers; early episodes credited Wintle as a consultant and Philip Levene as story consultant.

Ray Austin was responsible for fight choreography in series four and five, incorporating kung fu elements from Feng Shou kung fu and tai chi. He trained alongside Diana Rigg and Chee Soo, together setting a Guinness world record for being the first to present kung fu on television. Austin later became a well-known television director. Joe Dunne took over his role for series six.

Episodes

Between 1961 and 1969, six seasons of The Avengers were produced. Near the conclusion of the fifth season, production and broadcast were interrupted due to financial difficulties. Television historian Andrew Pixley, along with authors Paul Cornell, Martin Day, and Keith Topping, classify the final eight episodes following this interruption as a brief sixth season, resulting in a total of seven seasons overall. Nonetheless, internally these episodes were regarded as part of season 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

Although telerecordings of the second and third seasons were broadcast in Canada starting in 1963, the initial two series of The Avengers were never shown in the United States. In 1965, ABC secured the rights to seasons four and five, which led to a transition from the British 405-line multi-camera format to a single-camera 35mm film production style.

Stunt coordinator Ray Austin observed that the show's violent content hindered its success in the U.S., relegating it to late-night slots: "CBS scheduled us at 11:30 pm because it was considered too violent." He noted that American television prioritizes the Midwest market for prime-time viewership, a demographic The Avengers did not target due to its commitment to British production conventions. Early episodes featuring Emma Peel generally aired at 10:00 pm on ABC, while later installments with Peel and Linda Thorson shifted to a 7:30 pm time slot.

U.S. censors rejected episodes such as "A Touch of Brimstone," which contained suggestive imagery and themes, preventing their broadcast stateside. Initially, ABC withheld five episodes from the first Emma Peel series, but these eventually appeared in syndication: "A Surfeit of H2O," "Silent Dust," "Quick-Quick Slow Death," "A Touch of Brimstone," and "Honey for the Prince."

Episodes featuring Cathy Gale and Venus Smith were shown in Canada prior to Mrs. Peel's debut. American viewers did not see these 1962–1964 episodes until the early 1990s when A&E Network aired them. None of the Keel episodes were rebroadcast outside the UK, contributing to the loss of most first-series episodes; only one surviving episode with Keel, "The Frighteners," was re-aired in the UK during a Channel 4 classic series run in 1993.

Home media

Only three full episodes from the inaugural series, along with a fragment of another, exist as 16mm telerecordings: "The Frighteners" (a clip of which appeared in the film Quadrophenia), "Girl on the Trapeze" (discovered through UCLA Film and Television Archive), and "Tunnel of Fear" (unearthed in 2016). Additionally, approximately 21 minutes from the first episode have been found in the United States.

Complete 16mm telerecordings survive for all episodes from series two and three, and these have been issued on DVD alongside every Emma Peel and Tara King episode, originally filmed on celluloid. The earlier extant Keel episodes and the partial first episode have also been released in both UK and US markets, though they are currently unavailable in America. No original videotape recordings from series one through three are known to exist.

Between the late 1990s and early 2000s, A&E TV Home Entertainment, licensed by Canal+ Image International, released remastered Region 1 DVDs across North America. Subsequently, Studio Canal remastered and distributed series four, five, and six on Blu-ray.

The New Avengers

Due to the considerable popularity of Tara King’s episodes in France, a 1975 commercial for Laurent-Perrier champagne featured Thorson and Macnee reprising their characters. This enthusiasm helped secure French funding for new productions.

The subsequent show, The New Avengers, starred Patrick Macnee returning as Steed with new partners Mike Gambit (Gareth Hunt) and Purdey (Joanna Lumley). It was broadcast on ITV in the UK (1976–77), CTV in Canada, CBS in the United States (1978–79), and TF1 in France. The last four episodes were primarily produced and filmed in Canada and were sometimes promoted as The New Avengers in Canada.

Macnee was the only original cast member to reprise his role regularly; however, archival footage allowed Emma Peel to appear briefly in season two’s episode "K is for Kill: The Tiger Awakes." Ian Hendry also appeared as a guest star portraying a different character in "To Catch a Rat."

Novels

During the 1960s, a number of original novels inspired by the series were released. The earliest, authored by Douglas Enefer and published by Consul Books, was the sole novel from that decade to feature Cathy Gale. In 1967, Panther Books issued four Emma Peel novels written by John Garforth in the UK; these titles were subsequently reprinted in the United States by Berkley Medallion Books. When Panther discontinued UK publications, Berkley Medallion took over production of original novels for the American audience: one starring Peel and four focusing on Tara King, along with three works by Keith Laumer (1968) and two by Norman Daniels (1968/69). Later, Berkley republished all nine novels with updated covers displaying both Diana Rigg and Linda Thorson, regardless of which character was highlighted.

In 1965 and 1966, Hodder and Stoughton released two novels co-authored by Patrick Macnee, making him one of the earliest actors to contribute to officially licensed spin-off literature. These works, titled Deadline and Dead Duck, were reissued by Titan Books in 1994 and later published in the US by TV Books in 1998. Titan also re-released them as trade paperbacks to coincide with the 1998 film adaptation.

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

Notable titles include:

  • The Avengers, Douglas Enefer, 1963
  • Deadline, Patrick Macnee and Peter Leslie, 1965
  • Dead Duck, Macnee and Leslie, 1966
  • Four novels by John Garforth (1967)
  • Three novels by Keith Laumer (1968)
  • Two novels by Norman A. Daniels (1968/69)
  • John Steed: An Authorized Biography Vol. 1: Jealous in Honour, Tim Heald, 1977 (UK exclusive)
  • A four-volume authorized Australian fan fiction series (1989–1994) by Dave Rogers and Barlow
  • Too Many Targets, John Peel and Rogers, 1990
  • The Avengers, Julie Kaewert, 1998 (film novelisation)

Peter Leslie contributed a short story entitled "What's a Ghoul Like You Doing in a Place Like This?" to The Television Crimebusters Omnibus (1994). The Macnee/Leslie UK paperback editions were translated into Portuguese in 1967, while Garforth’s Panther novels found translations in French, German, Dutch, and Chilean markets during the late 1960s and were reissued subsequently.

Comics

The earliest UK comic strips featuring Steed alongside Cathy Gale appeared in regional television listings magazines such as Look Westward and The Viewer from September 1963 through May 1964, comprising four serialized stories.

Starting with issue #720 of Polystyle Publications' TV Comic in October 1965, Steed and Mrs Peel comic strips were published until issue #771 (September 1966), including ten serials plus a standalone story in the June 1966 TV Comic Holiday Special. The rights then transferred to D.C. Thomson & Co. Ltd, where the strip appeared in Diana magazine from December 1966 to June 1967, featuring eight serialized stories illustrated by Emilio Frejo and Juan Gonzalez Alacrojo.

Prior to this, an eleven-part series titled The Growing Up of Emma Peel ran from January to April 1966 in June and Schoolfriend, portraying the youthful adventures of Emma Knight alongside the concurrent TV Comic strip.

Following Tara King's television debut in October 1968, The Avengers returned to TV Comic, continuing through August 1972 with twenty-eight serials plus an additional story in the 1972 Holiday Special. In 1966, Thorpe & Porter issued a 68-page Avengers comic starring Steed & Peel featuring original artwork by Mick Anglo and Mick Austin, composed of four separate sixteen-page stories.

Due to licensing restrictions imposed by Marvel Comics, the "The Avengers" title could not be used for US publications. Instead, Gold Key Comics released a single issue titled John Steed Emma Peel in 1968 that contained recolored strips originally from TV Comic. Between 1990 and 1992, Acme Press/Eclipse Comics published a limited series called Steed and Mrs. Peel, written by Grant Morrison and Anne Caulfield with illustrations by Ian Gibson. This series was reprinted by Boom! Studios in 2012, who also launched a new ongoing series penned by Mark Waid and Caleb Monroe running for twelve issues. A six-issue follow-up entitled Steed and Mrs. Peel: We're Needed was announced for summer 2014 but only three issues were completed.

In the United Kingdom, hardcover annuals featuring The Avengers began appearing from 1962 onward. Among these were three annuals published by Atlas Publications between 1967 and 1969 containing original comic strips starring Steed, Emma Peel, and Tara King alongside prose stories.

Multiple Avengers comics and annual strips have been translated for audiences in Germany, the Netherlands, France, and Chile.

The Avengers have also made brief appearances across various comic titles:

Stage play

In 1971, a British theatrical adaptation was created by television veterans Brian Clemens and Terence Feely, under the direction of Leslie Phillips. The production featured Simon Oates portraying Steed, Sue Lloyd as his partner Hannah Wild, and Kate O'Mara in the role of antagonist Madame Gerda, all reprising their characters from the original television series.

Within series five’s episode "The Superlative Seven," a character named Hana Wilde, played by Charlotte Rampling, served as Steed’s companion, with Emma Peel making a brief return. John Peel mentioned that Rampling was rumored to be considered as Diana Rigg’s successor, although 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 Sonovision Studios in Johannesburg, these episodes were adaptations of original television scripts directed initially by Tony Jay for six months, then by Dennis Folbigge. It is notable that South Africa did not have national television until 1976.

The radio stories were based on adventures featuring Emma Peel and Tara King, though Tara’s role was substituted with Emma Peel. British expatriates Donald Monat and Diane Appleby provided the voices for Steed and Mrs. Peel respectively, while Hugh Rouse served as narrator. The narratives were serialized into arcs of five to seven episodes, each approximately 15 minutes long, airing Monday through Friday.

Only 19 complete serials have survived, preserved from reel-to-reel off-air recordings made in 1972 by John Wright. Additionally, three episodes of a remake of Escape in Time exist from original tapes and off-air sources; the remainder are lost. These broadcasts were also aired on New York’s WBAI (99.5 FM) from 1977 through the early 1990s and continue to be broadcast on Miami’s WRGP.

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

Approximately 83 serials were produced during its two-year tenure, though most have not survived.

Film

From the 1960s through the 1990s, there were ongoing plans for a feature film adaptation, with Mel Gibson once considered for the role of Steed. The 1998 movie starred Uma Thurman as Emma Peel, Ralph Fiennes as John Steed, and Sean Connery portraying the villain. The film was met with overwhelmingly negative critiques and is widely regarded as a commercial failure.

Audio

In June 2013, Big Finish Productions secured rights from StudioCanal to develop full-cast audio dramatizations of twelve lost episodes from the first season. Julian Wadham took on the role of Steed, Anthony Howell portrayed Dr. David Keel, and Lucy Briggs-Owen played Carol Wilson; John Dorney adapted the scripts.

Volume One, comprising four stories, was released in January 2014; Volume Two followed in July 2014; and Volume Three arrived in January 2015. By March 2014, Big Finish expanded their efforts to cover all twenty-six episodes from season one through seven boxed sets.

Proposed reboots

In 2023, Charlie Higson disclosed that he and Paul Whitehouse declined an opportunity to lead a new series revival. Later, on 18 January 2024, Mickey Down and Konrad Kay were announced as developers of 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 by Dave Rogers (Boxtree Ltd./St. Martin's Press, 1989)
  • The Ultimate Avengers written 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 authored by Michael Scott Phillips (GR|OWL Books, 2018)

External links

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