The BarrometerA Barrometer rating of 3

Third-episode verdict: Atlantis (BBC1/BBC America)

In the UK: Saturdays, 8.25pm, BBC1. Available on the iPlayer
In the US: Saturdays, BBC America. Starts November 23
In Canada: Saturdays, 8pm/5pm PT, Space

Time to look back at the latest iteration of Merlin and Hercules: The Legendary Journeys, known as Atlantis. A hotchpotch of Greek myth, Greek history and Minoan culture combined with whatever else the writers feel like nicking from two thousand years of pre-BC Mediterranean cultures, it’s essentially a boy’s own tale – girls are barely welcome here and those that get a look in are either passive (Ariadne) or evil/soon-to-be-evil (Pasiphaë, Medusa) – in which Jason (maybe of the Argonauts) travels back from the modern day to have have exciting adventures on the not-yet-flooded island of Atlantis with Pythagoras (yes, that one) and Hercules (not the hero he was made out to be).

After a first episode that was as flabby in the middle as Hercules but still reasonably good fun, things have slowly declined. Promises of an ongoing storyline have pretty much disappeared in favour of ‘guest myth of the week’, given the baddies v goodies make-over you’d expect of the creators of Merlin. Episode two saw our heroes facing off against Dionysos’ now-evil witch-like Maenads – and you could write epic essays on the gender politics that particular twist evokes – while episode three took the bull-leaping of Minoan frescoes and then gave it all a somewhat daft twist involving sacrifices and Pasiphaë revealed as being an evil witch, too (again, another, briefer essay in the making there).

Trouble is, none of this is very well handled. With no truth depth or gods and with everything effectively squelched through Merlin‘s medieval Christian view of the world, the stories feel bereft of all the qualities that make Greek literature interesting. Jason’s may be buff and able to fight, but he’s a dull cipher, particularly now no one seems particularly interested in finding out where his dad is any more. Jemima Rooper’s Medusa, reduced from a mythic priestess to a volunteer maid in Atlantis, has little to do but be a friend to the heroes. Hercules and Pythagoras are there for laughs and provide obstacles for Jason to overcome. Potential love interest Ariadne is just that and nothing else.

Atlantis is an action show that’s good at action, filmed in some lovely parts of Morocco that look nothing like anything Greek or Cretan. But it has a largely limp young cast and nothing to make it anything more than Merlin in some pop culture version of Greece. I dare say towards the end of the series they’ll amp up the revelations and tie back into the series arc, but at the moment, it’s a pretty thankless, episodic show that drags and offers no one truly to engage the viewer.

Barrometer rating: 3 (trending downwards)
Rob’s prediction: Will probably run and run but doesn’t deserve to

Fox goes to Ancient Egypt, the US loves Mammon, and yet more Franklin and Bash

Film casting

Trailers

  • Trailer for Wes Anderson’s Grand Budapest Hotel with Ralph Fiennes

UK TV

US TV

US TV casting

New US TV shows

New US TV show casting

Babylon Fields resurrected, CBS’s crime-fighting nun and Fox ventures to Atlantis

Film casting

  • Blake Lively and Ellen Burstyn to star in The Age of Adaline

Trailers

  • Trailer for Non-Stop with Liam Neeson

UK TV

New UK TV shows

US TV

US TV casting

New US TV shows

The Wednesday Play: Playhouse 90 – The Comedian (1957)

One US anthology series that really did think it was doing a form of theatre was, as its name suggested, was Playhouse 90. Running from 1956 to 1960, these 133 90-minute productions featured some of the best actors of the day in stories of various genres adapted and written by the likes of F Scott Fitzgerald, Rod Serling, Aaron Spelling, Tad Mosel and Frank Gilroy. It was also the source of numerous movies, including Requiem for a Heavyweight, The St Valentine Day’s Massacre, Days of Wine and Roses and Judgement At Nuremberg, which saw Maximilian Schell originating the role he would play in the movie.

One of the show’s most prolific directors was John Frankenheimer, who was responsible for one of the show’s most famous plays: The Comedians. Written by Rod Serling from a novella by Ernest Lehman, the live production starred Mickey Rooney as an egomaniacal television comedian venting his hysterical wrath on his brother (Mel Tormé), with Edmond O’Brien as a writer driven to the brink of insanity by the mayhem. Kim Hunter played Rooney’s wife. And it’s this week’s play – enjoy!