Media Inspiration - Camelot

Morgan – the beautiful and ruthlessly ambitious daughter of King Uther. She wishes to claim her right to her father's throne, but she does not count on Merlin's plans or the existence of Arthur, her newly revealed half-brother. In her pursuit of power, Morgan gives herself over to dark forces that allow her to threaten the court of Camelot from within. She functions as the main antagonist of the series.

Guinevere – an ambitious and strong willed woman, making her a source of great support and strength to Arthur as he grows into his role as king. Although she is married to Leontes, one of Arthur's most loyal knights, she cannot deny the attraction she and Arthur feel for each other.

Igraine – Arthur's biological mother and second wife of King Uther. She is estranged from her son and despised by her step-daughter Morgan. She has lived a life of deep pain and agony, but has never lost her faith or her heart. Igraine quickly becomes an ally and figure of strength for Arthur and the entire court of Camelot.





Sybil – a nun who has raised Morgan and comes to live with her. She is a motherly figure for Morgan, acting as her advisor in matters both political and supernatural. She takes the blame for Morgan's treason, and is beheaded by Gawain.

By Luke Bonanno "Camelot" seems to have been Starz's attempt to do for Arthurian legend what its "Spartacus" series have done for ancient Roman gladiators, to tell the true story with violence and language beyond what network and basic cable could allow. If you're wondering whether they were able to repeat the success of "Spartacus", know that though branded The Complete First Season, this week's DVD and Blu-ray releases of "Camelot" in fact represent the complete series. There is no denying the impact and appeal of the source lore. So much of King Arthur's story has seeped into the cultural conscience that even almost a thousand years removed from the legend's popularization, the names Merlin, Guinevere, and Lancelot and phrases like Excalibur and the Knights of the Round Table are used without explanation or any need for it. The believed fictional British king of the 5th and 6th centuries A.D. warrants little in the way of synopsis. But whether you've gleaned your information from family films, Lerner and Loewe, Geoffrey of Monmouth, Jerry Bruckheimer, or Monty Python, "Camelot" is sure not to simply retell the story as you remember it. After all, could you fill ten 50-minute episodes with what you know about the subject? Besides, it's not like one definitive version of the tale exists. "Camelot" is much less bawdy than the first two "Spartacus" shows, but it still features more violence, more nudity, and more uses of the f-word and the c-word than the vast majority of American television ever has. This isn't actually an American series and though you'd suspect an English production from the cast and subject matter, Wikipedia and the end credits classify it Irish/Canadian (to which IMDb adds US and UK designation). Certainly, the series was made with a global audience in mind, the only way such a relatively high-budgeted show can succeed on a subscription movie channel. Unfortunately, "Camelot" is lacking. Though its story would seem to rank as one of the most compelling ever told, the way we get it in soapy, serialized episodes drains it of power and the execution leaves much to be desired. Acting, dialogue, and characterization all fail to do this dramatic, fantastic royal adventure any justice. No one aspect is glaringly problematic, but neither are any of them competent enough to satisfy. Any joy the series provides emerges mainly from reacquainting yourself with the legend and seeing how elements of it are interpreted. The more familiar you are with the lore, the more likely you are to be disappointed. Of chief interest to "Camelot" in its first and only season is the succession of power. The show opens with the fatal poisoning of King Uther by his banished daughter Morgan Pendragon (Casino Royale Bond girl Eva Green). Bad girl Morgan expects to inherit the throne, but instead the bald, ageless sorcerer Merlin (Shakespeare in Love's Joseph Fiennes) tracks down the illegitimate son of Uther and Queen Igraine (Claire Forlani, back in action), a young man who has been living as a peasant. Merlin's claim that stringy-haired, lightly goateed Arthur Pendragon (Sweeney Todd's Jamie Campbell Bower) is the true heir to the throne is contested by Morgan, resulting in stern words, sword-clanging, and the murder of a foster mother. Arthur's entirely unexpected rise to power requires repeated show of might. Even when Morgan silences her army and concedes to Arthur, her campaign for the crown presses on, merely moving from physical to psychological tactics, with help from her shady advisor nun Sybil (Sinéad Cusack). Arthur's feelings for Guinevere (Tamsin Egerton) linger after she marries his loyal champion soldier Leontes (Philip Winchester) and become the target of Morgan's insatiable ambitions, which she serves with magical powers that take a toll on her as the mostly abstinent Merlin's do on him. Speaking of Merlin, one thing that especially does not work about "Camelot" is Joseph Fiennes. I long thought it curious that Fiennes could hold the title role in a Best Picture Oscar winner and then essentially disappear while his older brother Ralph remained respected and in demand. Then I finally saw Joseph in something else, playing the lead role in ABC's initially promising, soon disappointing single season casualty "FlashForward." He was a weak spot there, unable to draw sympathy in the easiest of opportunities. His shortcomings in "Camelot" are far more pronounced. Given the opportunity to reinvent one of the richest parts in history, Fiennes never emotes in an identifiable way and never stops annoying with his hammy, exaggerated mannerisms. Did he overthink it? Did he underthink it? Did he proudly boast at last Christmas' Fiennes family gathering, "Now, I'm a bald wizard too"? Almost every second he's onscreen serves to take you out of this world. Perhaps someone should have a talk with the younger Fiennes, because as his professional freefall strongly suggests, he might not have chosen the right career for himself. With top billing going to Fiennes, that sets the bar pretty low and none of his cast mates is determined to raise it. They are commonly hindered by the material and the standard historical drama tone and speech patterns, but must accept some blame for the frequent nonsensicality. A touch of intrigue still emerges in spite of the failings, but they are a lot to overlook in order to reach enjoyment. Though much less raunchy and gory than the two "Spartacus" series, Starz's "Camelot" still takes a graphic approach to its material that will inspire some blushing. The lurid approach makes sense for barbaric ancient Rome and those shows at least have strong storylines and well-utilized casts to fall back on. "Camelot" does less with a more celebrated tradition, determined to draw out the material with inessential detours and rarely imaginative twists. Had the show's makers known they would have just ten episodes, the series would have wound up considerably better. As is, there's not much to take from this. Those who always welcome a new interpretation of King Arthur folklore will want to check "Camelot" out, but I doubt they'll be really pleased by it. Everyone else not sold on scattered swordplay and sex can take a pass. Anchor Bay's DVD is adequate. Though it might partially be me getting used to Blu-ray, the feature presentation feel a little lacking. The extras are no doubt more lightweight than fans would like. In short, disappointment surrounds "Camelot."