set design

The Game’s Afoot

“Game” is the first episode following Emma’s departure in “The Forget-Me-Knot.” It’s also one of the more surreal episodes of Season 6, because so much of the episode takes place within dreamscape sets, the use of which I discussed in a previous post. In that post, and in another related discussion, I explored how Mrs Peel acts as Steed’s anchor and how, in her absence, Steed’s world takes on a cast of unreality, and how that unreality plays into the texture of Season 6. It therefore is perhaps fitting that an episode as unreal as “Game” should be Steed’s next adventure after “The Forget-Me Knot.”

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Steal Me Awhile From Mine Own Company: Steed, Reality, and Dreamscape Sets in Season 6

One of the hallmarks of Season 6 is the occasional use of color schemes and interior set designs that have the feel of a dreamscape or even hallucination. Although The Avengers overall deservedly has the reputation of being a “quirky” series that frequently bends reality to its own purposes, this move to a more stylized approach to color, set design, and set dressing is taken to its furthest point in the Tara King era. This use of what I am calling “dreamscape sets” usually focuses on public or commercial spaces that Steed and/or Tara must visit in the course of their work. Another locus for dreamscape sets are Mother’s hideouts, which can be literally anywhere from atop a double-decker bus to an underwater tank to a cow pasture, and which often are furnished and decorated in truly bizarre ways. I also see Tara’s flat as a kind of dreamscape set all its own.

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