Shōgun is a Great Historical Drama

FX’s Shōgun made history recently by winning 25 Emmy nominations. The historical drama, which is an adaptation of James Clavell’s 1975 bestselling novel, has been compared to HBO’s Succession — i.e., the three-time winner of the Primetime Emmy Award for Outstanding Drama Series. As Shōgun’s creators Justin Marks and Rachel Kondo have announced the eventual release of two new seasons, some are anticipating a similar kind of success from the FX series.

Shōgun takes place in Japan during the feudal Sengoku period in the early 1600s, when Portuguese Catholic missionaries of the Jesuit order — along with traders — had established a prominent presence in the region. The plot is centered around the story of a shipwrecked English navigator who is forced to immerse himself in Japanese politics and adopts the title of Anjin; Lady Mariko, a married woman with a dishonorable family history and a mysterious past who serves as the Anjin’s translator; and Lord Toranaga, a cunning daimyo struggling for political power and the unification of Japan.

The series’ popularity and positive reception may be due, at least in part, to the accuracy and quality of its historical portrayals. For instance, Lady Mariko’s walking has drawn the attention of viewers for its accurate representation of the way Japanese women walked at the time. Many other such customs and traditions are likewise captured. Most notably, the practice of seppuku is depicted in a contextualized setting that allows viewers to further understand the significance of honor in Japanese society.

Additionally, a great portion of the dialogue is in Japanese, which allows the audience to identify more deeply with John Blackthorne, the Anjin, who is navigating his new life as an outsider and foreigner. The costume design has also received much praise, particularly for its authenticity, being described as an “ode to Japan’s Sengoku period.”

Perhaps most importantly, Shōgun accomplished what few other historical dramas have in recent years — it succeeded in providing a non-revisionist representation of history. Specifically, in its portrayal of European and Japanese interactions, the series does not adopt the typical oppressor–oppressed narrative. Rather, it highlights the complexities and nuances of feudalism, exploration, trade, and religion. For example, there is an emphasis on the animosity between the English and the Portuguese, especially as it pertains to matters of religion and political influence in Japan.

Furthermore, the role of religion permeates the entire series. As a Japanese Catholic convert, Lady Mariko exemplifies the blend of Christianity and Japanese custom. She prays the rosary regularly and takes Communion when possible, but she also adheres, quite strictly, to the norms and traditions of her society. At times, her duties as a Catholic are in tension with her role as an honorable lady in Sengoku Japan. This is especially evident in the last two episodes, when she struggles to reconcile her decision to commit seppuku with her desire (ignited by her faith) to avoid damnation.

Lady Mariko also harbors a deep sense of loyalty toward the Portuguese, especially her priest, Father Martin Alvito, who is both her mentor and teacher. It was through him that she learned how to speak Portuguese, and thereby serve as a translator for John. Paradoxically, however, her partiality toward the Portuguese, and to Catholicism more broadly, is a cause of tension between herself and John throughout the series. John, whose status as a Protestant and therefore a “heretic” carries with it a series of disadvantages in Japan, is deeply distrustful of Father Alvito, and of Portuguese Jesuits generally.

These conflicts are what make the series dynamic, nuanced, and, of course, historically accurate. Compelling stories are seldom defined by the oppressor–oppressed dichotomy, perhaps because history itself can rarely be understood (accurately, at least) through such a dull and shallow lens. Put simply, Shōgun’s success is truly warranted, and we should celebrate it. One can only hope that, without Clavell’s novel to guide them, the series’ creators remain rooted in the original story as they work on the next two seasons.

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