What could easily have been another “run-of-the-mill” murder mystery, loosely inspired by real events, has real anger and contemporary resonance, making it a thought-provoking experience that resonates across generations.
This truly is a golden age for crime dramas. A historically over-saturated genre, it seems like producers are finally realising the appetite for innovative and interesting takes on familiar material. This is absolutely the case with the recent BBC show Sherwood. It’s got the usual crime comforts: a killer on the loose, a complex police investigation and shocking revelations on people’s personal lives that keep us coming back for more. But what makes Sherwood really stand out is a historical, cultural and political identity baked into the show.
Sherwood tells the story of a post-industrial community in rural Nottinghamshire, which is rocked by the death of one of its residents via a crossbow. As the case develops, old rivalries dating back to Thatcher and the mining strikes rise to the surface, provoked by the presence of the Met, who are there to aid (or cover up) the investigation of a larger conspiracy.
This political focus definitely comes from the series writer, James Graham, having made a name for himself in the political thriller sphere with dramas like Brexit: The Uncivil War. In that drama, he dissected the 2016 referendum, wading through the mire of misinformation to present entertaining but urgent television.
He takes a similar approach with Sherwood, this time with the fallout of the Thatcher premiership in post-mining communities. During the 1984/5 strikes, the breakaway Union of Democratic Mineworkers in Nottinghamshire is generally agreed as breaking the monopoly of the National Union of Mineworkers and the reason the strikes failed. Graham, a Nottingham native, shows how the communities have never quite got over this blow, with debates still going on whether their actions were justified or not, propped up by name-calling and random acts of violence. Indeed, this is the suspected reasoning for the murder, positioning a larger conspiracy about how much control the workers really had in this situation, with sinister governmental hands at work.
The presence of the Met in the story plays into this, as well as addressing the cultural “North/South divide,” showing the concentration of power around Westminster, and contemporary issues such as the protection of “the thin blue line”. Graham uses this setting to present generational trauma, the damage that the past can cause and how we have to find a way forward. Not forget, not not hold those responsible accountable, but move forward, or risk anger begetting greater anger.
“Ultimately, this is a drama with complex feelings about this country’s past, present and future, presented in a way that never forgets to be a story about people, rather than a lecture.”
Somehow, and it baffles how he manages to do all this while still creating a relatable and intimate story. A crime drama only really works if we care about the victims of said crime, which is where Graham’s skills as a character writer shine through. There are moments where the dialogue undercuts this as it is a plot-focused show, but quickly he pulls it back with a witticism or personal moment that reengages us with the people on display. The detailed exposition is a necessary evil in a story of this complex political and historical nature, but despite this Graham manages to capture the real people at the heart of the drama. Of course, this is aided by the incredible cast – with a revolving door of recognisable British talent on display, David Morrissey and Leslie Manville being the standouts.
This isn’t a show really with a main character, instead being a well-balanced ensemble piece about the interconnectedness of community, and the devastating impact a tragedy can have. Graham’s defining thesis with this show is that people are inherently political. We can’t help it – be that where we’re from, how we speak or look, or our opinions – it’s politics with a lowercase ‘p’. The large important political ideals are communicated in this show by what people do not what they say, which makes us engage with the ideology on a much deeper and personal level. Ultimately, this is a drama with complex feelings about this country’s past, present and future, presented in a way that never forgets to be a story about people, rather than a lecture.
My only gripe about this show, honestly, is the recent announcement that the BBC has commissioned a Sherwood series 2. While on the one hand, it’s exciting that such a talented writer gets the opportunity to continue to develop the ideas on display, it does run the risk of undercutting such a tight and well-crafted story. The ending, despite some hanging threads, does feel like it said all it had to say about this topic, and there is something to be commended about effectively making a point across eight hour-long episodes. This isn’t really a knock on the show as a whole, however, as what is here is an urgent, engaging and powerful political crime drama.
Words by Ed Foster
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