Shogun: TV Review

Shōgun: TV Review

Disney+'s epic new series is the kind of show you either surrender to or take against.

Based on James Clavell's 1975 historical fiction, and a stark step away from the 1980s limited series which starred Richard Chamberlain, the 2024 version of Shōgun is a measured, considered affair, whose pace in the back half may completely frustrate those who've not given in.

Meshing the kind of sensibilities that made Game of Thrones such a hit (political posturing, love, war, conflict, a bit of violence), Shōgun follows the story of John Blackthorne (Lady MacBeth's Cosmo Jarvis, with a penchant for a lot of shouting throughout) as he washes up in the year 1600 with feudal Japan falling apart at the seams.

With his ship laden with cannon and weapons, Blackthorne could hold the key to the power vacuum that's emerged in the country - but viewed as a barbarian, he is sidelined, locked up and generally held at arm's distance.

Despite a council of regents being set up to deal with each other, Lord Yoshii Toranaga (producer Hiroyuki Sanada) has fallen out with the others, and faces the possibility of conflict and the threat of impeachment. 

Throw into that mix, Toranaga's translator Toda Mariko (Anna Sawai, masterful in a role that requires her to play all levels of the emotional gamut) and the political pot is ready to be stirred in ways that will pay dramatic heft.

Yet, Shōgun is less interested in a speedy resolution to events unfolding; its keys to success lie in its world-building, its investment in characters and its utterly gorgeous period visuals. It is a struggle for survival story for all three of the main characters, but when the threads come together, it works both compellingly and beautifully for viewers to behold.

But there is a lot that feels like it could be excised from the 8 episodes which were viewed; after the fifth episode, much begins to feel like padding more than plotting, and in truth, Jarvis' penchant for bellowing lines as the barbarian of proceedings really begins to grate the longer time spent with him.

Despite its failings, Shōgun reveals some rich rewards. Sanada is both venerable and imbued with gravitas as the story plays out, a calm force that shows much going on beneath the understated performance. Equally, Sawai's peaceful turn shows inner conflict with just a few brief passive flickers on her face.

Much needs to be applauded of the making of this series a multi-language affair. Rather than Anglicising all of it, with native Japanese speakers and subtitles splayed throughout, Shōgun feels like a testament to its world, rather than a hat tip. It looks cinematic as well, and the embracing of traditions makes much of the world-building incredibly successful and immersive.

While Shōgun falters on its central romance and some moments teeter dangerously close to narrative stereotyping, this is a series to enjoy, at times endure and at others, let it envelop you.

Shogun premieres on Disney+ from February 27 with two episodes, before shifting to weekly releases. 8 out of 10 episodes of the first series of the show were previewed here for review.