In Popular Culture
- In Get Smart episode "Run, Robot, Run" (1968), evil British agents "Snead" and "Mrs Neal" are spoofs of Steed and Mrs Peel.
- In an episode of Married... with Children, Al Bundy tries to buy an Avengers video featuring Mrs Peel, but receives a Tara King episode instead.
- In Frasier episode "Radio Wars" Frasier's father says his sons were picked on as children for emulating Steed by wearing bowler hats. Daphne says she once dressed as Mrs. Peel in a skintight black leather catsuit for Halloween.
- In an episode of Leverage Sophie and Hardison use the pseudonyms Emily Peel and Jonathan Steed.
- In the comic book series X-Men Emma Frost and the Hellfire Club were inspired by an episode of The Avengers. The X-Men spin-off Excalibur introduced a villain named Emma Steed, a thinly veiled combination Emma Peel and John Steed.
- In the graphic novel The League of Extraordinary Gentlemen: Black Dossier, Mother appears as Director of British Intelligence, Robert Cherry, and is referred to as "M". A young Emma Peel appears and the recent death of her father Sir John is a subplot. An older Emma Peel appears in the graphic novel The League of Extraordinary Gentlemen, Volume III: Century; in the story she has replaced Mother as "M" and is leader of MI5. Her character is drawn to resemble Judi Dench's "M" character from the James Bond film series.
- Catherine Gale (played by Laura Putney) was the name of a CIA agent featured in the CBS series JAG in five episodes during seasons eight and nine (2002–2003): "Critical Condition" (8.01), "Need to Know" (8.07), "Pas de Deux" (8.23), "Shifting Sands" (9.02), and "Back In The Saddle" (9.06).
Read more about this topic: The Avengers (TV series)
Famous quotes containing the words popular and/or culture:
“Fifty million Frenchmen can’t be wrong.”
—Anonymous. Popular saying.
Dating from World War I—when it was used by U.S. soldiers—or before, the saying was associated with nightclub hostess Texas Quinan in the 1920s. It was the title of a song recorded by Sophie Tucker in 1927, and of a Cole Porter musical in 1929.
“We do not need to minimize the poverty of the ghetto or the suffering inflicted by whites on blacks in order to see that the increasingly dangerous and unpredictable conditions of middle- class life have given rise to similar strategies for survival. Indeed the attraction of black culture for disaffected whites suggests that black culture now speaks to a general condition.”
—Christopher Lasch (b. 1932)