For most of the early to mid-seventies, Brian Clemens was busy writing and producing an incredibly curious anthology series for ATV called Thriller. It’s a weird format of 65-minute episodes. Some of them – not very many, but some – are tremendously good, with twists that rival anything else from The Twilight Zone to a cracking Alan Moore Future Shock, but they are all hampered a little bit by the weird running time. The show was made for quick, cheap sales to ABC, who’d give each episode very, very long “movie of the week” credits and, with twenty minutes of ads, run them in a ninety-minute late-night slot.
What happens in a typical episode of Thriller is that the plot starts immediately, before we really spend any time getting to know the characters. And then the main character, frequently a woman, frequently the lone American in the cast, is stuck in a plot that usually has them kept in the dark by some villain for freaking ever until a darn-near-the-last-minute revelation. With good enough actors, I’m willing to sit still to see the bad guy’s plan through its conclusion and, often, its backfiring. The first episode of Thriller actually stars Linda Thorson, alongside Doomwatch‘s Robert Powell and Get Smart‘s Barbara Feldon. I’d probably watch the three of them read the phone book. Once.
But Thriller doesn’t have a lot of repeat pleasure, and neither does “Pandora,” the next-to-last Avengers episode from the original run, which is practically a pilot for Thriller. I found myself thinking that this could have been so much better with a wild fantasy element. There’s a glimmer of a chance that the criminals in this story have time-traveled to the present day from 1915 to kidnap Tara, but no, it’s far more mundane than that. Also, it requires that Tara be drugged into a stupor so that she’s a completely passive player in the bad guys’ story.
Our son absolutely loathed these villains, one of whom is played by Julian Glover in his umpteenth and final Avengers appearance. “I hope she punches them in the face!” he yelled. Bizarrely, she doesn’t get the chance. Steed arrives at the end, but he doesn’t quite get to make the rescue. It’s the villains’ story, and their greed ensures their destruction.
Robert Fuest makes it look terrific and he lines up his usual fun shots with mirrors and hidden characters, but it’s a very difficult story to watch without wanting to skip to the end. Several Thriller stories are like that, too.