The Avengers

Don’t Look Behind You is Brian Clemens’s second script for this series of The Avengers, and his fourth to date. And it’s a cheeky lift of the Old Dark House story. Put another way, there is no typical Avengers setup of a corpse before the episode title has come up, and little in the way of bantering exposition while Steed and/or Gale fiddle with something, drink something or parade around the flat they seem increasingly to share. Instead it’s a story about characters gathered together in “an old dark house”, where forces known or unknown set about their malevolent business. Here things have a modern resonance, because before Steed drives Mrs Gale in … Read more

After the camp fun of the previous week’s episode, The Grandeur That Was Rome, a bit of a bump as we touch back down on planet Earth for a much more realistic Avengers episode – The Golden Fleece. Warren Mitchell gets the first word, only three years from starring in the series that would make his name, Till Death Us Do Part, and looking a generation younger, he’s one of a bunch of soldiers at an army camp in Aldershot discussing the unusual financial situation of a small amateur club, The Golden Fleece, which seems to have riches out of all proportion to its activities. We cut to a Chinese restaurant, where hostesses welcome … Read more

As prescient as a hot button shop, The Grandeur That Was Rome is also proper Avengers stuff – arcane, bonkers, camp, with implausible undercover work and mad hair. Even before the opening credits have flipped into view (and no pre-credits murder this time, thankfully) we’ve been treated to Roman senators, gladiators, toasts uttered in Latin and drunk in wine, plus a vague threat to destroy Western civilisation – just like the Romans, er, didn’t. After the credits we’re in a different milieu, another dreadful British company captained by a glib posh chap (Ian Shand) which is not doing quite as well as he says, and run by an ineffectual number two (Kenneth Kealing). … Read more

The Medicine Men first went out on 23 November 1963, the day after the assassination of President Kennedy in the USA, and on the same night as the first episode of Doctor Who (also created by Avengers creator Sydney Newman). Of course none of this is reflected in the episode, which was made a couple of weeks earlier. Instead it’s a periodic obsession of The Avengers that gets an airing: the state of British industry. In a plot that’s been chopped up a bit because, I suspect, it was a bit on the boring side, Steed and Gale investigate the murder of a woman in a steam room, a murder which leads them … Read more

Shown on 9 November 1963, just one day after five thieves had almost nabbed a king’s ransom of jewels and gold on the streets of Manhattan –they were thwarted because the getaway driver couldn’t work the manual gears of the heisted station wagon – The Gilded Cage is all about vast amounts of gold, which, it appears, Steed and Gale are trying to steal. With a passing mention of Bretton Woods – the post-War economic order which pegged international currencies to the dollar, itself pegged to gold (hence the US Bullion Depository at Fort Knox as a common trope in this era) – it’s made clear that this isn’t just about the loot, … Read more

Classic ass-backwards Avengers plotting is the hallmark of November Five, the sixth episode of the third series, which was first broadcast on Saturday 2 November 1963, three days before the Fifth of November (as it’s always called in the UK, in the same way that the Fourth of July is never July Four in the US). This is the day when Brits celebrate the thwarting of a plot to blow up the Houses of Parliament in 1605 by Guy Fawkes and his cabal (or, depending on your political outlook, a celebration of the plot itself) by burning effigies of a “guy” on a fire. This fact has plot relevance because, as we see … Read more

Shown the same day that RA (“Rab”) Butler made his big pitch to be the new leader of the Conservative party after Macmillan’s shock resignation (Butler’s big speech was a total fail), Man with Two Shadows also plays with the idea of the wrong man – the double being so fruitful a concept that The Avengers would return to it often, as did a lot of 1960s TV. Perhaps the widely prevalent notion of “false consciousness” – there is a right way of seeing things and a wrong way – has something to do with it. Another well worn path is that of someone being killed before the opening credits have rolled. In … Read more