Article
Culture
Film & TV
4 min read

Shardlake: the Disneyfication of the Monasteries

What works, and doesn’t, translating from page to screen.

James is a writer of sit coms for TV and radio.

Two men in Tudor clothing converse in a street
Shardlake, left, played by Arthur Hughes.

Have you ever had that sense of dread on discovering your favourite novel is going to be a movie or a TV series? Fans of CJ Sansom’s books have been divided on the adaptation of their favourite historical novels about a hunchbacked lawyer during the Dissolution of the Monasteries. Some have been delighted by what they’ve seen, and felt the four episodes of Shardlake on Disney+ were true to the original books. Others were appalled. 

The originals books are greatly loved. On The Rest is Entertainment podcast, Richard Osman read out comments from his own mother about how and why she loved CJ Sansom’s book so much. I was not so captivated. I read the first book, Dissolution, some years ago and liked it. But I didn’t like it enough to read more. 

So when the TV adaptation landed on Disney+ I was curious. My own reaction was relief that CJ Sansom had passed away only days before his first novel arrived in our living rooms. Sansom was committed to historical accuracy and authenticity. The TV Series? Not so much. 

But Shardlake is entertainment for the masses, not the bookish. Why shouldn’t sixteenth century monks have incredible teeth? Why shouldn’t they burn candles by the dozen in every room of the monastery, day and night, despite the fact that candles were eye-wateringly expensive back then? And yes, these monks should be going to church at least nine times a day, and spend hours in prayer and private study. But who really wants to watch that? This isn’t Wolf Hall on BBC2. This is mainstream global streaming TV: the Disneyfication of the Monasteries.

Given the differences in the media, why are both versions of Shardlake so successful? The secret sauce is the hunchback himself, Shardlake. 

As a screenwriter myself, I know all too well that the dynamics of twenty-first century television – aka ‘content’ – and novels are very different. (My failed novels have reinforced this lesson for me). Shardlake has to appeal to an international audience who have not read, and will never read, CJ Sansom’s books. They won’t even listen to Tom Holland and Dominic Sandbrook talk about the Dissolution of the Monasteries on The Rest is History podcast. 

Novels are fairly cheap to print. TV is expensive, burning money faster than the monks of St Donatus can burn candles. Shardlake is international TV, financed internationally and filmed internationally. Consequently, you are not looking at the Kent countryside. You are looking at Hungary, Austria and Romania for a mixture of reasons. Mostly these would be tax breaks, cheaper crews and financial incentives. 

St Donatus’s monastery is a mash up of the medieval Kreuzenstein Castle near Vienna and the gothic Hunedoara Castle in Transylvania. It looks brilliant. It just does not in any way resemble a medieval monastery – which were surprisingly uniform through Europe. The chapel at the monastery is comically small, whereas there would, in real life, be a hilariously large abbey. 

The New Stateman said, “This is not Merrye Englande. It is the Grand Anywhere we’ve come to know all too well in the age of streaming, and it bores me to death, my eyes unable to stick to it,” which seems a little over dramatic. Most of the reviewers were unconcerned by this lack of historical accuracy. The Guardian called it ‘magnificent’, others ambivalent. It scored about 80% on Rotten Tomatoes with both the critics and the audience. Overall, Shardlake has been a hit. 

Given the differences in the media, why are both versions of Shardlake so successful? The secret sauce is the hunchback himself, Shardlake. He is the sleuth, trying to solve the murder of a fellow commissioner in the service of the King’s ruthless right-hand man, Thomas Cromwell. The recipe for the Shardlake sauce is made up of two key ingredients. 

Shardlake bears his cross with fortitude, not bitterness. 

The first is his goodness. It seems like a bland attribute, but it’s rather refreshing, especially in a world divided both then and now. Shardlake is not complex character with inner demons. (At least that’s not how he’s presented in the first book or this adaptation.) When I read the book, my abiding memory is that Shardlake was one of the good guys. This was surprising at the time as normally Protestants were seen Philistines and cultural vandals who cynically changed their theology to strip the church of its wealth, before passing the churches on to their descendants who smashed the statues, whitewashed the walls and, eventually, cancelled Christmas. Shardlake may be in the service of Thomas Cromwell, but he knows in his heart of hearts that Anne Bolyen was innocent of the crimes for which she was beheaded. And in some small way, he makes amends for this. 

But Shardlake’s goodness is only half of the recipe. The other half is his hunched back. In the sixteenth century, this makes him an object of ridicule and shame. It is not flipped around to become a strength. It is an affliction with which he has to cope. Given Shardlake’s world steeped in religion, we are reminded of the ministry of Jesus, who attracted the sick, the crippled, the lepers and the blind. They were, of course, healed and Shardlake is not so fortunate. 

Shardlake bears his cross with fortitude, not bitterness. Likewise, Jesus Christ himself bore his cross as a victim of injustice on trumped up charges, beaten and executed as one cursed alongside criminals, saying ‘Father forgive’. Shardlake, like Christ in the gospels, is a suffering servant. And now Disney may see the Gospel According to Shardlake spreading all over the world.

Article
AI - Artificial Intelligence
Community
Culture
Education
5 min read

Artificial Intelligence needs these school lessons to avoid a Frankenstein fail

To learn and to learn to care are inseparable

Joel Pierce is the administrator of Christ's College, University of Aberdeen. He has recently published his first book.

A cyborg like figure opens the door to a classroom.
AI in the classroom.
Nick Jones/Midjourney.ai.

Recent worries expressed by Anthropic CEO, Dario Amodei, over the welfare of his chatbot bounced around my brain as I dropped my girls off for their first days at a new primary school last month. Maybe I felt an unconscious parallel. Maybe setting my daughters adrift in the swirling energy of a schoolyard containing ten times as many pupils as their previous one gave me a twinge of sympathy for a mogul launching his billion-dollar creation into the id-infused wilds of the internet. But perhaps it was more the feeling of disjuncture, the intuition that whatever information this bot would glean from trawling the web,it was fundamentally different from what my daughters would receive from that school, an education.  

We often struggle to remember what it is to be educated, mistaking what can be assessed in a written or oral exam for knowledge. However, as Hannah Arendt observed over a half century ago, education is not primarily about accumulating a grab bag of information and skills, but rather about being nurtured into a love for the world, to have one’s desire to learn about, appreciate, and care for that world cultivated by people whom one respects and admires. As I was reminded, watching the hundreds of pupils and parents waiting for the morning bell, that sort of education only happens in places, be it at school or in the home, where children themselves feel loved and valued.  

Our attachments are inextricably linked to learning. That’s why most of us can rattle off a list of our favourite teachers and describe moments when a subject took life as we suddenly saw it through their eyes. It’s why we can call to mind the gratitude we felt when a tutor coached us through a maths problem, lab project, or piano piece which we thought we would never master. Rather than being the pouring of facts into the empty bucket of our minds, our educations are each a unique story of connection, care, failure, and growth.  

I cannot add 8+5 without recalling my first-grade teacher, the impossibly ancient Mrs Coleman, gazing benevolently over her half-moon glasses, correcting me that it was 13, not 12. When I stride across the stage of my village pantomime this December, I know memories of a pint-sized me hamming it up in my third-grade teacher’s self-penned play will flit in and out of mind. I cannot write an essay without the voice of Professor Coburn, my exacting university metaphysics instructor, asking me if I am really saying what is truthful, or am resorting to fuzzy language to paper over my lack of understanding. I have been shaped by my teachers. I find myself repaying the debts accrued to them in the way I care for students now. To learn and to learn to care are inseparable. 

But what if they weren’t? AI seems to open the vista where intelligences can simply appear, trained not by humans, but by recursive algorithms, churning through billions of calculations on rows of servers located in isolated data centres. Yes, those calculations are mostly still done on human produced data, though the insatiable need for more has eaten through most everything freely available on the web and in whatever pirated databases of books and media these companies have been able to locate, but learning from human products is not the same as learning from human beings. The situation seems wholly original, wholly unimaginable. 

Except it was imagined in a book written over two hundred years ago which, as Guillermo del Toro’s recent attempt to capture that vision reminds us, remains incredibly relevant today. Filmmakers, and from trailers I suspect Del Toro is no different here, tend to treat the story of Frankenstein as one of glamorous transgression: Dr Frankenstein as Faust, heroically testing the limits of human knowledge and human decency. But Mary Shelley’s protagonist is an altogether more pathetic character, one who creates in an extended bout of obsessive experimentation and then spends the rest of the book running from any obligation to care for the creature he has made.  

It is the creature who is the true hero of the novel and he is a tragic one precisely because his intelligence, skills, and abilities are acquired outside the realm of human connection. When happenstance allows him to furtively observe lessons given within a loving, but impoverished family, he imagines himself into that circle of growing love and knowledge. It is when he is disabused of this notion, when the family discovers him and is disgusted, when he learns that he is doomed to know, but not be known, that he turns into a monster bent on revenge. As the Milton-quoting monster reminds Frankenstein, even Adam, though born fully grown, was nurtured by his maker. Since even this was denied creature, what choice does he have but to take the role of Satan and tear down the world that birthed him? 

Are our modern maestros of AI Dr Frankensteins? Not yet. For all the talk of sentient-like responses by LLMs, avoiding talking about distressing topics for example, the best explanation of such behaviour is that they simply are mimicking their training sets which are full of humans expressing discomfort about those same topics. However, if these companies are really as serious about developing a fully sentient AGI, about achieving the so-called singularity, as much of the buzz around them suggests, then the chief difference between them and Frankenstein is one of ability rather than ambition. If eventually they are able to realise their goals and intelligences emerge, full of information, but unnurtured and unloved, how will they behave? Is there any reason to think that they will be more Adam than Satan when we are their creators? 

At the end of Shelley’s novel, an unreconstructed Frankenstein tells his tale to a polar explorer in a ship just coming free from the pack ice. The explorer is facing the choice of plunging onward in the pursuit of knowledge, glory, and, possibly, death, or heeding the call of human connections, his sister’s love, his crew’s desire to see their families. Frankenstein urges him on, appeals to all his ambitions, hoping to drown out the call of home. He fails. The ship turns homeward. Knowledge shorn of attachment, ambition that ignores obligation, these, Shelley tells us, are not worth pursuing. Will we listen to her warning? 

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