13 June '11

“It’s soft porn basically, a romp. Morgan Does Camelot. Like The Tudors, only a few hundred years earlier. Just as silly, just as fun. And this time the historians can’t get all upset because it’s not history.”
Sam Wollaston, The Guardian

“Camelot obeys several of the basic rules of the genre in its modern form. There must be sex, for one thing, and not just discreet sinking-out-of-the-frame-type sex, but the nipple-flashing, buttock-revealing kind.”
Tom Sutcliffe, The Independent

“The acting is hammy at times (thankfully Sean Pertwee has met his maker early on) and the script can border on cheesy, but Camelot is going to make Saturday night viewing a lot more fun.”
Mike Mulvihill, The Times

“It’s a clever sponge-cake of a the epic and everyday sandwiched together with some swooping scenery and a fair bit of nudity too.”
Matt Baylis, The Express

“He’s trying again. In order to make it slightly different from the last one, he’s added a  new element: competition, again Germans. You can take the man out of Top Gear … etc.”
Sam Wollaston, The Guardian

“To be honest, the charm of the thing ran out long before the trains made it to their final destination, despite an attempt to dress up minor hiccups along the way as moments of nailbiting tension. But it did have real charm to begin with.”
Tom Sutcliffe, The Independent

“Here was an extraordinary modern feat of engineering – the Japanese bullet train – explained with Boy’s Own enthusiasm. I was particularly interested in “hunting oscillation”, the side-to-side rocking of a train caused by the cone shape of the wheels, and presumably the reason they always insist on giving you a lid for your hot drink in the buffet car.”
Sam Wollaston, The Guardian

“A woman doing her job badly with the occasional flash of redeeming genius is a sight rare then hen’s teeth in standard TV drama and another reason why this show is treading new ground.”
Matt Baylis, The Express