These days, when they make a new season of Will & Grace or Murphy Brown, they don’t need to stick “The New” in front of it. But in the 1970s, there was this expectation that TV viewers were stupid and didn’t know a repeat from an original program, so you had Return of the Saint or Halloween with the New Addams Family or, instead of just another series of The Avengers after a seven year break, it needed to be called “The New.”
It’s 1976, and joining Patrick Macnee for two more seasons of diabolical masterminds and bizarre science, it’s Gareth Hunt as Mike Gambit and Joanna Lumley as the deliciously weird Purdey. She takes that TV standard of women doing the action stuff in inappropriate heels and clothes and ramps it up to eleven. She goes out to a remote island in a wetsuit, and underneath, well, there are no words to explain what she’s wearing:
Gambit’s a more traditional meat-n-potatoes action hero, sort of the superspy version of Willie Caine in The Sandbaggers. He mentions in Brian Clemens’ opening installment of this series that he had taken three bullets getting over the Berlin Wall the previous year, which isn’t the sort of thing you could imagine happening in the Avengers of the sixties. The shift in the world around the Avengers is what’s caused this show to always have a detractor or two. The original Avengers was set in a fantasy neverland that looked like England in the sixties. The New Avengers is set in 1976. The plots are as outrageous as ever (Remember how I mentioned cryogenics the other night? Well, the frozen corpse in this one is Adolf Hitler.) but this looks, feels, and practically smells like the year it was made.
And for a long, stupid time, I held that against The New Avengers. When I was a teen, I thought that the sixties were some idealized dream time (I read Rolling Stone magazine then, and it certainly didn’t dissuade me), but the mid-seventies were just the rotten days of grime and gas shortages and inflation and ugly cars. Weirdly, all sorts of fans and critics have echoed that nebulous feeling, that this show has too much of an anchor in a real world that they’d rather not remember. For a long time, I was missing out. I only had three (edited) episodes of the show on VHS for a very long time, and they were not at all the best three episodes, but as I picked up more installments into the mid-nineties, this show’s considerable charms became more and more apparent.
There’s lots and lots more to say about the series’ background, and the underwhelming copies released in North America by A&E from which these underwhelming screencaps come, in later installments, but before this runs too long, I’ll just say that this episode was written by Brian Clemens, features guest stars Peter Cushing – not playing a villain! – and Frank Gatliff, and entertained the almighty heck out of our son. He loved the fights and the surprises and the mystery, and was very pleased to see that Steed now carries a two-way radio in his bowler hat. And see, that’s the sort of dopey Roger Moore Bond gadget that I’d have once found cringeworthy, but I just checked, and our son absolutely wants a hat with a radio in it now.