Putting Happy Valley’s James Norton and Game of Thrones’ Nikolaj Coster-Waldau in a battle-heavy period drama is, forgive the pun, a bit of a double-edged sword. A Battle of Hastings tale with two notable scene-stealers on opposite sides? I was signed up to King and Conqueror before even seeing the trailer.
But period dramas are tricky: one has to tread carefully with artistic license around history, knowing armchair scholars will be picking it apart; you need to understand political chess moves to give mundane elements some flair; and, in such a specific genre, you need to stand out from your many, many counterparts.
Surprisingly, the 1066 Battle of Hastings – a clash that redefined the British monarchy with the Norman conquest of England (sorry, spoilers) – has rarely appeared in British drama, and with its opening episode, King and Conqueror lays the groundwork for what could be the biggest BBC drama of the year.
As the series kicks off, we meet Harold Godwinson of Wessex (Norton) and William, Duke of Normandy (Coster-Waldau), years before their deadly face-off on England’s south coast.
Emily Beecham as Edith and James Norton as Harold Godwinson (Photo: Lilja Jons/BBC/CBS Studios)When William is called to England for the inauguration of his cousin, Edward (Eddie Marsan), he has no interest, his life’s work being one of battle. Similarly, nobleman Harold – whose father is the Earl of Wessex – is hanging on to a tentative peace treaty with other counties after decades of war, waiting for it to break. He, too, makes his way to Edward’s crowning.
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King Edward, by the way, is a big ol’ snivelling mummy’s boy – with his power-hungry mother Lady Emma (the incomparable Juliet Stevenson) proving to be the puppet master spoon-feeding words into his mouth. With her own personal, powerful ventriloquist dummy, Lady Emma uses the coronation to kick-start her fight for control, as across the sea her brother Robert sends his troops to take Normandy. Her mission is to ensure “history won’t even remember William’s name”.
King and Conqueror starts slow, but lays important groundwork for what lies ahead. With neither William nor Harold seeming to have designs on becoming king, history dictates that by the end of the series, both will wear the crown – and only one will survive.
From the outset, Norton and Coster-Waldau portray their characters’ strengths and faults in small and smart character choices that would disappear in less capable hands. William is ruthless and righteous, which serves him well in battle, though he is stubborn and too laser-focused. Harold has good instincts, but is impulsive, and struggles to be taken seriously. When they cross paths, they establish a kinship at speed, though neither completely trusts the other.
Juliet Stevenson as Lady Emma (Photo: Lilja Jons/BBC/CBS Studios)In both cases, these traits bite them on their armour-clad bums when they’re outmanoeuvred, and they return to find their respective homes in ruin. The episode ends with their worlds ablaze – and both men on personal missions to destroy the other.
King and Conqueror isn’t without fault, stumbling into some historical recreation faux pas: some dodgy wig choices for smaller characters, the “dark” tone indicated by such a lack of colour that you’ll wonder if it’s in black and white, and lighting so dim you’ll need to squint to see what’s going on.
However, with a cast this strong – all acting powerhouses – these foibles are quickly forgotten. Stevenson and Marsan provide the most captivating dynamic as a king and the person who is truly in charge. And Clémence Poésy as William’s wife, Matilda of Flanders, is intriguing with her own hot-cold ruthlessness that makes her a strong match for her on-screen husband.
But it’s Norton and Coster-Waldau’s shoulders with whom the drama’s success truly lies, and with them leading the charge, it’s clear the BBC is heading towards a true victory.
‘King and Conqueror’ continues tomorrow at 9.30pm on BBC One. All episodes are streaming on BBC iPlayer now
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