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It can feel as if history has been hacked by an admonitory Twitter feed from our age.
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On The Durrells, set in 1930s Corfu, local blokes who wolf-whistle women are immediately “called out” on their comments by a strong independent woman. In ITV’s Grantchester, the ecclesiastical hierarchy in rural Cambridgeshire in the 1950s includes Archdeacon Gabriel Atubo (Gary Beadle), appointed three decades before Wilfred Wood became the first real black cleric to reach the rank below bishop in the Church of England. The medical staff in BBC1’s Call the Midwife proved precociously alert, in 1960s Poplar, to the scandal of female genital mutilation.
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This desire to shape the past to suit the present is common in mainstream TV drama. Photograph: _/BBC/Neal Street Productions The midwives of 1960s Poplar – preciously alert to the scandal of female genital mutation.
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Jamestown is produced by Carnival, the company that made Downton Abbey, a show that shocked many students of English class history with its presentation of an early 20th-century Earl who agonised about the working conditions and personal lives of his servants and would obviously have voted Liberal Democrat if the option had existed. The problem is that their views and attitudes feel so redolent of 21st-century feminism: you keep expecting Jocelyn (Naomi Battrick), Alice (Sophie Rundle) and Verity (Niamh Walsh) to form a girl-power singing group. In the second episode, their recalcitrance results in witchcraft trials, based on those at Salem.Ĭlearly, Gallagher would have struggled to find actors or viewers interested in a story of women willingly accepting sexual and social submission, and he cleverly finds ways to give the three women some advantage (whether power, love or male impotency) that allows them to stay in the relationships with dignity. The Jamestown scripts by Bill Gallagher – who also wrote strong period women’s roles in Lark Rise to Candleford – do acknowledge the dangers of the situation, in an early rape scene and an ominous shot of the noose that hangs ready in the community. It’s true that female agency and achievements have frequently been airbrushed by male historians, and that drama can redress this, as TV adaptations of Sarah Waters novels, such as Tipping the Velvet and Affinity, have done for sexuality.
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And the real forced brides of the tobacco plantations presumably either didn’t realise they could rise up against the men, or were too frightened of the consequences to do so.įeisty, cheeky and rebellious … the women of Jamestown. The soldiers at the Somme didn’t know there’d be a second world war Henry VIII probably expected each wife to be for life. This may be how most 21st-century parents would want their daughters and sons to be, but was it really like this 400 years ago? Let’s never forget the legend of the movie, set in 1914, in which a character declares, “The first world war has just broken out!” – a vital reminder to writers of fiction set in the past that the people living through history are unaware of what comes next. They slap men’s faces, joke about their sexual failures, campaign for tougher sentencing for sex criminals (“A man will hang for raping a woman!”) and encourage greater male emotional literacy: “Put your arm around your brother – comfort him!” You wonder, though, if the real 17th-century spouses were as feisty, cheeky and rebellious as Jocelyn, Alice and Verity, the main characters here. Sky1’s eight-part drama is based on the historical fact that young women were dispatched to become wives to the bachelor builders of the new world of America, meeting their husbands for the first time at the dockside. No sane person would reject the sentiment, but viewers of Jamestown may balk at the fact that the “time” in question is 1619 in colonial Virginia. “The time will come when we have to stand and refuse – and that time is now!,” the anti-rape campaigner declares. W hen a young woman confides in a friend that a man has forced her to have sex, the victim is reassured that such actions are not acceptable in this day and age.