In The Critic, Sebastian Milbank discusses the BBC’s latest attempt to recast British history in a way more pleasing to, as the Critical Drinker would say, “modern audiences”:
If you care about truth, beauty or goodness, I have bad news for you: the BBC has just created a historical drama set in the Middle Ages. Yes, this is the arrival of King and Conqueror, which depicts the events leading up to the Battle of Hastings and the Norman Conquest. The raw matter of the historical record is incredibly promising: ferocious royal intrigues, hagiographical piety, civil and not so civil war, and all the strange poetics and ceremony of French and Anglo-Saxon courtly life. The culture that gave us Lincoln Cathedral and the culture that gave us Sutton Hoo, should be reason alone for the most spectacular of costumes, battles and speeches.
But anyone hoping for a moving epic or a gripping thriller would be equally disappointed, as the brainless BBC tramples cheerfully into a sordid pastiche even more gormless than Game of Thrones (which at least had a decent budget). Future King of England Harold Godwinson (played by James Norton) is introduced to audiences uttering the admittedly pretty Anglo-Saxon phrase “it’s a fucking massacre”, in the manner of someone commenting on an especially brutal 3-nil football match.
I could induce miserable groaning from readers at this point by listing every meta-level historical inaccuracy from the almost entirely fictitious events of the coronation, to the succession of geographical and biographical distortions that rain down on viewers like so many 11th century arrows, to the inexplicable but inevitable (it’s the BBC) presence of black Anglo-Saxons. But none of these departures from the historical record are inherently unforgivable and might in theory be justified in the name of telling a compelling story.
What is truly egregious is not the fictionalisation of details, but the outright misrepresentation of the morals, manners and minds of medieval man. If the past really was a foreign country, then the BBC would be rightly besieged by those outraged at the bigoted, hate-filled and slanderous portrayal of that alien nation in this drama. Edward the Confessor, a man who has been quite literally beatified, is depicted beating his own mother to death. Duke William of Normandy, is shown murdering a man in broad daylight for setting a captured enemy free. Later on, when the enemy — rebellious vassal Guy of Burgundy — is recaptured, he is personally tortured by William’s wife Matilda.
The modern imagination has rendered these figures, and the times they lived in, as more brutal than they truly were. Even the famously ruthless William, who grew up dodging assassins and facing down rebellious barons, is not the thuggish hard man the series would present. The historical accounts suggest that he was a strict adherent to chivalric custom and a deeply pious man. In the real world, William banishes Guy then declares the “peace of God” in Normandy, bringing an end to violence and retribution for the crimes of the past decades. King Edward, who is presented as a snivelling, cowardly mother’s boy, was by every contemporary account a heroic, forceful and gregarious ruler, one who had his mother exiled, and certainly not murdered.
