A while back, fellow tumblr celluloidbroomcloset started a really good conversation about wardrobe coordination between Steed and Emma. In the exchange that followed, Cell asked about changes in Emma’s own wardrobe across “Return of the Cybernauts,” in reply to my post abouthow sartorial details were linked to the plot and the characters of Steed and Beresford.
I did a quick examination of the three episodes that precede “Return of the Cybernauts” (leaving out “Who’s Who” because of the body-switching thing) and found something very interesting.
When Emma is in sync with Steed, their wardrobes complement one another across the episode, as celluloidbroomcloset has noted. I found that when Emma is in sync with herself, her wardrobe complements itself across the episode. When she is out of sync with herself, synchrony in her wardrobe diminishes or vanishes entirely.
This lack of synchrony is at its height in “Return of the Cybernauts,” because she is out of sync both with Steed and with herself. Her interest in Beresford puts her at a distance from Steed and she herself is not sure how she feels about that relationship and undecided over what she wants from it.
One of the threads that runs through the Season 4 episode “The Danger Makers” is a set of references to Classical mythology. The Danger Makers all take code names based in Greco-Roman myth, and they refer to their dangerous stunts as “the Labors of Hercules.” The names that are taken by each Danger Maker and the references to Hercules’ Twelve Labors are not made at random. Each of them reveal something about character and about the ethos of the Danger Makers as a whole. Although only one Classical figure is named directly in relation to these characters, they actually exhibit characteristics of others as well. This also applies to Steed and especially to Mrs Peel.
The first extended blog series that I attempted when I started writing about The Avengers had to do with my perceptions of the arc of Steed and Mrs Peel’s relationship over the course of the entirety of Season 4. I’m republishing it here, since bits of it connect with new stuff I’m doing, and other bits of it might do so in future. As with the Medieval Maunderings series, I’m reposting here with some light edits that will remain unacknowledged.
There originally were nine parts to this (all of which have titles and subtitles taken from fencing terminology, in honor of the way Mrs Peel is introduced to the audience), to which I tacked on some addenda, and you can get to all of those by following the links below, by scrolling through the posts on my homepage, or by clicking on “Exclusivity Arc” under “Themed Blog Series” in the “Categories” menu.
» The command sequence that begins a fencing match: on guard, ready, go!
Steed and Mrs Peel face off with foil and umbrella
When we first meet Mrs Emma Peel (“Town of No Return”), she is in her apartment, practicing her fencing moves. She invites Steed in, and they begin a conversation that is a mixture of an invitation to take coffee, a challenge to a duel, and double entendre. We learn a lot about Mrs. Peel as an individual in her opening scene with Steed. She’s athletic and a skilled fencer who can give Steed a run for his money; she’s intelligent, has scientific training, and is sufficiently active and respected in her field to have publications in journals; she stands up for herself when challenged; and she has a sharp, wry sense of humor.
» ”No touch” and “touch” respectively. The first means that no point has been scored; the second indicates a scoring attack.
“Too Many Christmas Trees” is is the first episode to deal directly with the question of infidelity vs exclusivity in the relationship between Emma and Steed. It contains several scenes that hint towards Steed’s relationships with other women, and Emma’s first direct expressions of jealousy and mate guarding. As fellow tumblr celluloidbroomcloset has stated elsewhere, “Trees” is a watershed episode in the arc of the relationship between these two characters.
NOTE: As with Part II, this section has also received some substantial revision based on the change in my understanding of what actually happens with the blonde and why in TMCT. If you want to read the original version, please start here and follow the links to the end.
» Eng. change of engagement: often a kind of jockeying for position in which one fencer will attempt to place their blade on the side of the opponent’s that they think will give them the most advantage.
If the first half of Season 4 is the arc that brings Steed and Mrs. Peel from what might be an initially non-exclusive relationship to one with an expectation of mutual fidelity, then the second half of the season shows the growth in that relationship as well as sparring back and forth over fidelity—or at least what seems on the surface to be expressions of jealousy. In the first eight episodes of that part of the season, Steed’s apparent interest in other women will get Emma’s dander up, and Emma will wave her apparent interest in other men at Steed to get back at him for what happened at Storey’s house. Therefore, throughout the second half of Season 4, we have a metaphorical fencing match over sexual matters that is a varied reprise of the literal one in “Town of No Return,” except that the stakes now are whether Steed and Emma will be able to trust one other, not the outcome of friendly swordplay and a cup of coffee with cream.
I hadn’t really dealt with “Small Game for Big Hunters” in the original arc, but at fellow tumblr celluloidbroomcloset’s request I took another look at it. Herewith the results of those ruminations.
Part the First
The opening scenes of the episode suggest a certain amount of distance between Steed and Emma. They don’t arrive on the case together. We know Steed is already there, since his Bentley is parked outside. Emma arrives later, presumably after having been summoned by Steed. Her expression is neutral as she parks the car. She seems neither particularly pleased nor particularly displeased to be there.