Hello, everyone, and welcome to the recaps for the original swords-and-sandals epic. First, let’s get the dragon in the room out of the way. Although people are going to make comparisons with Game of Thrones, I feel that the two dramas have little in common beyond a shared willingness to unveil flesh and hints of blood and gore to come. The world of Game of Thrones is essentially a Machiavellian one in which no one can be trusted and everyone lies. Writer David Farr’s Troy seems to be aiming for something very different: a reimagining of an old and oft-told story that speaks as much to the tragedies of Shakespeare (he is also associate director of the Royal Shakespeare Company) as to Homer’s Iliad in which, crucially, we’re asked to take characters’ emotions and actions at face value. If you’re in the mood for a stirring story of vanished wives, military might, the destructive power of love and the cruelty of the gods, then this could be an entertaining eight weeks. And it just might banish for ever memories of the 2004 film.





The Trojans

First episodes always have a certain amount of scene-setting and so it proves with Black Blood, which uses Paris/Alexander (Louis Hunter) as our way in. It’s a smart move: most versions of this story tend to cast Paris as something of a useless pretty boy, but here he’s a rough-around-the-edges outsider with a chip on his shoulder. That not only helps us understand why he might take the risk of seducing Helen, but also explains why she would leave everything behind for him. This Paris is a free-spirited herdsman who realises that he’s the long-lost son of King Priam (David Threlfall) and Queen Hecuba (Frances O’Connor) of Troy after a series of unlikely but well-handled coincidences. These fortunate run-ins begin with the tricky head judge’s position at the Golden Apple Beauty Stakes (goddesses only need apply) and end in brutal hand-to-hand combat with his older brother Hector (Tom Weston-Jones).

Not everyone in the family is quite so accepting of their new brother. And once the initial heady thrill has petered out, will he find being a prince quite as exciting as he expected? This episode captures the dangers of being granted what you have wished for. Luckily, his father has faith in his abilities and sends him off on a solo diplomatic mission to the Greek state of Sparta, under the somewhat misguided belief that this will help rub those rough edges away. Instead, Paris, who has spent the days since the beauty contest waiting for the “most beautiful woman in the world” promised by victor Aphrodite, meets with Spartan queen Helen (Bella Dayne) and convinces her to elope with him in a conveniently sized piece of antique furniture while her snippy husband Menelaus (Jonas Armstrong) is at his father’s funeral. As every student from classical times onwards could tell you, this will not end well.

Troy: Fall of a City. Photograph: Graham Bartholomew/BBC/Wild Mercury Productions

The Greeks

We don’t spend too much time with the Greeks this week – although I rather liked the fact that this was an episode in which an untrustworthy Trojan arrived bearing gifts – but we do meet Helen, Menelaus and their entertainingly stroppy daughter Hermione. We also learn that Helen dislikes being seen as a possession – her kingdom of Sparta is the prize in a wider game of marriage – and that Menelaus didn’t win her hand so much as get his brother Agamemnon to do it for him. While this sets up an interesting dynamic between the two brothers, with Agamemnon constantly bailing out his spoilt younger sibling, I would argue that the original Greek myth’s interpretation might have worked better. In that version, Odysseus convinces Helen’s many suitors to draw straws for her and in doing so makes her chafe at her position in life. This more clearly explains why she might see in Paris the chance for a freedom she has never had.

The Gods

The Gods of Greek myth are implacable, cruel, terrifying and awe-inspiring in the most literal way – and I felt that this opening episode did a good job of establishing that. Human beings are little more than pawns in their wider game and they can – and do – destroy lives on a whim. Thus, it was a good touch to show that Zeus raised the storm that kept Paris from sailing home and nice to see Paris glimpse Aphrodite among the revellers before he meets Helen.

Additional offerings

Skins alum Aimee-Ffion Edwards did a nice job of capturing poor vision-haunted Cassandra’ s nervous tension.

Jonas Armstrong was similarly strong as Menelaus, managing to make him both reasonable and deeply dislikable.

I’m not yet quite so convinced by Bella Dayne’s Helen. There were flashes of something interesting there but she appeared a little bland.

Priam’s advisor Pandarus wears the long-suffering look of a man who might be rather smarter than those he serves.

Minor niggle but it did irritate me that Helen referred to Artemis, Goddess of the Hunt, by her Roman name of Diana in her telling of the story of Actaeon.

Worrying omen of the week

I’m not sure about you but if my child’s birth was accompanied by visions of cities in flame and black blood pouring down the steps, then I’d consider abandoning him on a lonely hillside too.

Epic declaration of the week

“Grant me the apple and I’ll give you the most beautiful woman in the world” - Oh Paris, did no one tell you that all gifts from the Gods are poisoned in their way?

So what did you think? As always all speculation welcome below.