Nautilus reimagines the legend of the brooding Captain Nemo and the secret story of how he gained possession of his wonderful submersible in a glossy, family-friendly retelling. Created by British showrunner James Dormer, this Australian-made show (now ready for broadcast on AMC) is high on production value and low on danger, filled with sweeping camera shots, over-orchestrated action sequences, and just enough drama to give it the illusion of depth.

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This is Wonderful World of Disney Sunday night comfort viewing where whales are rescued, violence is bloodless, and the crew is a charmingly diverse mix of archetypes with enough bloat to keep things buoyant. To keep going with the nostalgia, Nautilus feels like a sci-fi show from the 90s. Like Star Trek: Voyager. Where a plucky crew from all ends of the earth are thrown together in a life-and-death situation that propels them into the wild unknown where each-and-every week a wacky new adventure awaits. The format has been assembled before. And better. But Nautilus is just charming enough to be enjoyable.

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Shazad Latif (Star Trek: Discovery) plays the titular Nemo with an appropriate level of mystery and moral ambiguity. He’s a tall, dark, and glowering anti-hero. And in the name of Jules Verne, hopefully the writing will give him a chance to fully bite into the role. Pacharo Mzembe lends some gravitas as the steady helmsman, while Georgia Flood channels her inner Keira Knightley as a refreshingly non-damsel adventurer. Céline Menville, her cryptic companion, adds an extra layer of intrigue that never quite pays off but certainly looks good trying.

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What makes Nautilus meaty are its over-the-top villains. But even the black hats here show shades of gray. The pursuing Captain Youngblood (Jacob Collins-Levy) and crack-shot Captain Billy Millais (Luke Arnold) can hold swagger without going all mustache-twirling.

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The pilot episode plays like an extended cutscene: lots of exposition, lavish worldbuilding, and a few controller-mashing action sequences. Episode two kicks into gear with a classic treasure hunt and a vengeful pursuit — all plotted with the safe logic of a neutered theme park ride. Dormer is not setting the seas ablaze with originality, but he delivers a show that’s broadly appealing and easy to digest.

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The real challenge Nautilus faces is anchoring a proper tonal. It flirts with eco-conscious messaging, slapstick humor, pulpy thrills, and even throws in a loyal boy-and-his-dog for good measure but never decides what kind of story to ultimately present. It is safe and nostalgic and old school friendly. For all its polish and potential, Nautilus floats but never truly makes waves.