This ‘Game of Thrones’ Star’s Brutal Historical Miniseries Is the Perfect Weekend Binge

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Bonfire night, as it is known here in the UK, is the night of November 5th, when an effigy of a man known as Guy Fawkes is burned to celebrate his capture and the foiling of what is known as the Gunpowder Plot, which sought to blow up the Houses of Parliament in response to the Catholic persecution undertaken by the Protestant king, James I. It is truly an odd night and has waned in popularity as its historical context has been better understood, and people have realized how barbaric it appears. In schools, the Gunpowder Plot has been taught as a symbol of the dangers of anarchy, while more modern interpretations, such as V for Vendetta, have reframed Fawkes as a symbol of rebellion and liberty. However, perhaps no piece of media has been as accurate in depicting the event as the BBC drama Gunpowder was in 2017.

This three-part miniseries explored the true instigator behind the Gunpowder Plot, Robert Catesby (Kit Harington), as well as the context of the time that pushed people to such extreme acts. If you’re missing Harington or the dark politicking that Game of Thrones provided, then Gunpowder is the perfect weekend binge for you. With Harington’s far more sinister portrayal of a man seeking not honorable defence of his people like Jon Snow, but revenge for the injustices his people have faced, as well as a fascinating bit of trivia around his own relationship to his character, there is a new, more personal side to Harington unveiled in his performance. Couple that with the fast pacing and classic BBC production value, and you have a miniseries that can easily be binged in one day.

Gunpowder’ Explores the Horrific Religious Persecution Undertaken in the Early 17th Century

As previously mentioned, the heart of the conflict in Gunpowder is the formation and execution of the Gunpowder Plot. However, Gunpowder excels at framing this plot within the context of its time, highlighting the disturbing acts that provoked extremists on both sides of the religious divide. The opening sequence is the perfect example of how to establish the world in which your characters operate. During an illegal holding of mass, the house of Robert Catesby’s sister, Lady Dorothy Dibdale (Sian Webber), is raided by William Wade (Shaun Dooley) under the King’s authority. The slow tension as Wade gradually discovers where the Catesbys are hiding their priest, knocking on the walls to find a hollow spot, is as excruciating as the brilliant opening scene from Inglourious Basterds. It emphasizes the fear Catholics experienced during this period, with Robert and Lady Dorothy exchanging anxious glances, and the audience shares their sense of dread, aware that there is truly something to conceal.

The following execution scene is one of the most brutal scenes put on screen, as one person is laid on top of a small stone while giant weights crush their spine, and another is hanged, drawn, and quartered before a bloodthirsty crowd. We see how religion can allow people not only to endure great pain, but deliver it, too. With Robert watching on as his fellow Catholics are horrifically murdered, the audience is immediately aware of why he would then embark on a crusade against this force. However, once the audience is shown how King James I (Derek Riddell) actually views the Catholics, the insanity of the persecution is put on full display. In his first scene, King James refers to the Catholics as “loyal and quiet, if left alone”, and only really desires a truce with Catholic Spain, whom he has been at war with. In fact, it is his spymaster, Robert Cecil (Mark Gatiss), who is desperate for harsher oppression of the Catholics. With this immediate contrast between the horrific acts being carried out and the apathy of the one giving his authority for said acts, it conjures a rage in the viewer that allows them to sympathize with Catesby’s desire for vengeance while also finding both sides to be amoral and using their religion as an excuse to gain power, while innocents are caught in the middle.

Kit Harington Brings a Previously Unseen Rage to His Ancestral Character in ‘Gunpowder’

Kit Harington in the role of Robert Catesby in 'Gunpowder' — Kit Harington in the role of Robert Catesby in ‘Gunpowder’

Obviously, seeing Harington in this time period, sword at his side and dressed in appropriate attire, inevitably creates parallels with Jon Snow. Wade even comments on his “skills with a sword” in the opening raid, which feels like a nod to his time as Snow as much as a character trait in Gunpowder. However, Harington’s portrayal is arguably more complex than his role as the Lord Commander in Game of Thrones. From the first raid to being called to court for not being at his parish, to how he speaks to his son, there is a rage that fills Catesby, and Harington uses his eyes to convey this in a way he does not in Game of Thrones. Rather than a sadness behind his brooding stare, there is a hardened glare that intimidates those around him and emphasizes the character’s resolution. This creates a very personal inner conflict for Catesby, where his religion preaches peace, such as Father Garnet (Peter Mullan), who repeats one of the most sacred of the Ten Commandments, “Thou shalt commit no murder,” though Catesby admits that he has “no room for love” in his heart.

There is also a personal aspect to Harington’s performance that seems to elevate the complexities of it, which Harington was keen to impress on viewers in the build-up to the show’s release. Turns out, Harington is related to Catesby on his mother’s side, but, in an even more ironic twist, his father’s side has an ancestor, Lord Harington, who was actually in the Houses of Parliament on the day the Gunpowder Plot was discovered. In an interview with the BBC, Kit Harington revealed how his ancestor is “quoted as saying, ‘[Catesby’s] an ugly fellow, isn’t he?’ and I thought that is brilliant that my dad’s side was slagging off mum’s side way back in 1605.” Not only does it allow some of Harington’s rage to feel more natural, but it further highlights the preposterous nature of the entire conflict.

‘Gunpowder’s Structure and Scale Make It an Easy Binge

When it comes to BBC dramas, especially period pieces, the design and attention to detail have come to be one of their defining aspects as they showcase prestige television, and Gunpowder is no different. From golden halls to filthy and gloomy streets, Gunpowder immerses the viewer in the world it creates. This contrast not only separates the rich and the poor, highlighting a sense of injustice and how the people are manipulated by higher powers.

With three 1-hour episodes, Gunpowder feels more like a cinematic epic than a drawn-out series of television, with no filler or padding for time, just brutal violence and exceptional character development. With a clear and pointed depiction of history that explores the nuances of religious conflict, as well as an intense performance from all actors, especially Harington, there are few better ways you could spend your weekend than watching Gunpowder.