Tag Archives: Sons of Liberty

Why the dramatic license in ‘Sons of Liberty’ is a problem

Most people realize, when they’re watching a dramatic work based on some historical event, that they’re not getting a history lesson.  And by this point, I think it’s dawned on most viewers of The History Channel that their chances of seeing historically edifying programming on that network are comparable to their chances of seeing a beluga whale while vacationing in Montana.  Why, then, is the total disregard for accuracy in Sons of Liberty such a big deal?

It’s a big deal because a heck of a lot of people who watched Sons of Liberty while under the impression that they were having an educational experience.  This is not my assumption.  This is a fact.  I know this is the case because I was scrolling along on Twitter while I watched the miniseries, looking at tweets with the #SonsOfLiberty hashtag.  I saw a lot of tweets decrying the show’s misrepresentations, but I saw as many if not more tweets from people who were totally psyched about how much they were “learning,” about how they wished schools would screen the whole thing for students, about how they were getting more information out of the miniseries than they ever did in their history classes, and so on.

Actually, when I first wrote this post, I’d embedded a few dozen of these tweets to prove how pervasive this sense of the series as an educational experience really was.  Since it occurred to me that your average Twitter user probably doesn’t want some blogger to cite him as an example of somebody who mistakes entertainment for edification, however, I decided to leave them out.  So if you want to get a sense of what I’m talking about, just search Twitter for #SonsOfLiberty and the word “learning” or “school” and you’ll find plenty of examples.

It’s worth taking another look at the disclaimer on the series website:

SONS OF LIBERTY is a dramatic interpretation of events that sparked a revolution. It is historical fiction, not a documentary. The goal of our miniseries is to capture the spirit of the time, convey the personalities of the main characters, and focus on real events that have shaped our past. For historical information about the Sons of Liberty and the dawning of the American Revolution, please read the Historian’s View section on history.com/sons.

I’m glad for the statement the series is “historical fiction,” but the rest of the disclaimer’s language obscures more than it clarifies.  The series doesn’t “capture the spirit of the time” when it fundamentally misrepresents the nature of British authority in the period leading up to the war.  It doesn’t “convey the personalities of the main characters” when it depicts Hancock as a reluctant dweeb, Gage as a sadistic tyrant, and Sam Adams as a brooding young heartthrob.  And it certainly doesn’t “focus on real events that have shaped our past” when the sequences portraying these iconic events—the destruction of Hutchinson’s house, the Boston Tea Party, Revere’s ride, the firefight at Concord, and the Battle of Bunker Hill—bear little relation to what actually happened.

In fact, of all the iconic “high points” that figure in the series, I can’t think of a single one depicted accurately enough to be suitable for use even as a visual aid in a classroom.  Some historical films take liberties with chronology and characters, but at least have the virtue of providing a compelling and reasonably useful enactment of particular events.  I’m thinking of the siege of Ft. William Henry in Last of the Mohicans, the O.K. Corral shootout in Kasdan’s Wyatt Earp, and the final attack sequence in Glory.  But what point would there be in showing your students Sons of Liberty‘s take on Lexington Green when the whole thing seemingly takes place in a field in the middle of nowhere, with British officers torturing and executing wounded minutemen?  Or screening Paul Revere’s capture when he takes on a whole group of redcoats who have him at gunpoint, like Chuck Norris in a tricorn hat?  Or the Boston Tea Party scene, with Whigs decked out in Lord-of-the-Rings-style orc war paint?

If anything, the short notices aired during commercial breaks, in which The History Channel reminded viewers to log on to the show’s website for the facts behind the story, might have made the whole thing worse.  Viewers who visited the site might have gotten some useful information, but for the many who didn’t, the mini-commercials for the website only lent the whole thing an air of credibility it didn’t have.  Hey, if there’s a companion website with commentary from historical pundits, the show must be pretty legit, right?

Perhaps the liberties taken with the material wouldn’t trouble me so much if the show ran with a disclaimer at the top of every hour, reminding viewers that what they were seeing was fictionalized and only loosely based on real events and people.

In any case, the fact that so many Twitter users took the show as a learning experience indicates that The History Channel still carries an air of authority and authenticity, whether the network’s brass want it or not.  Since that’s the case, they really need to approach their (increasingly rare) historical programming more seriously.  If you want to be nothing but another TV network, fine.  But don’t pretend to be anything else.


Filed under American Revolution, History and Memory

‘Sons of Liberty’: Not much of the Sons, but plenty of liberties

Here’s how The History Channel describes their new miniseries: “SONS OF LIBERTY is a dramatic interpretation of events that sparked a revolution. It is historical fiction, not a documentary.”  That’s quite an understatement.  It’s like calling Godzilla a reptile of above-average stature.

I knew I was in for a doozy from the very start of last night’s first installment, when Samuel Adams escaped from a party of redcoats by bounding parkour-style across Boston’s rooftops.  No wonder they made him twenty years younger and thirty pounds lighter than his historical counterpart.  Can’t have the main character keeling over from cardiac arrest during a big chase sequence.  Hey, if video games have taught us anything, it’s that the eighteenth century was all about aerial stunts.

The History Channel claims that one of the show’s aims is to “convey the personalities of the main characters.”  If that’s true, they might want to head back to the drawing board.  The two main protagonists, Sam Adams and John Hancock, share little in common with the historical figures other than their names.

J.L. Bell has weighed in on the problems with Adams’ depiction at his blog.  As for Hancock, the miniseries portrays him as a dandy who’s quite uncomfortable walking into a tavern full of toughs.  The real Hancock was indeed a stupendously wealthy man, certainly no stranger to fine clothes, lavish parties, and good wine.  But he was also a man who, when informed that British regulars were en route to Lexington, brandished his gun and sword and swore up and down that he “would never turn my back on these troops.”  It took the entreaties of Sam Adams and Paul Revere to convince him to escape.

It was instructive—and a little depressing—to follow the Twitter hashtag #SonsOfLiberty during the premiere.  Most of the tweets I saw were pretty positive about the show.  There were plenty of remarks about how modern politicians could learn a thing or two by watching real ‘Murican patriots on TV.  I found these sentiments highly ironic, since the larger political issues surrounding the onset of the Revolution were actually absent from the first episode.

Instead, the miniseries emphasizes the personal aspects of the Whigs’ involvement.  Adams and Hancock aren’t motivated by abstract notions of rights and liberties.  They’ve got a beef with Hutchinson (promoted to governor in the first episode) over his meddling in their financial activities.  When the mob attacks Hutchinson’s house, they do so because he’s persecuting Adams, not because of the Stamp Act.  The premiere basically has the whole Revolution boiling down to a bunch of personal grudges.  Personal conflicts certainly played a role in the Revolution, but the show de-emphasizes principles to such an extent that I can’t fathom why so many back-to-the-founding folks tweeted enthusiastically about it.

Many tweets ran something like this: “Psyched about #SonsOfLiberty bc I’m such a total history nerd LOL!!!1!11!”  I hate to break it to you, kiddo, but if you were a “total history nerd,” you wouldn’t be so psyched about two hours of pure fiction.  You’d be reading Pauline Maier.

You could fill pages on the show’s historical discrepancies, both major and minor.  The chronology is hopelessly mangled.  John Adams’ house looks nothing like the real thing, nor does it bear any resemblance to any intact eighteenth-century home I’ve ever seen.  There’s far too much facial hair for the late 1700s.  Gen. Gage was already in America during the events depicted in the series.  You get the idea.  For a detailed breakdown, check out Thomas Verenna’s episode-by-episode critique.

I think the only thing the first installment really got right was the sense of tension and volatility in Revolutionary-era Boston, a place where the streets roiled with passion and violence, where officials were sitting on top of a volcano that could erupt in revolt at any minute.

If I disliked the first episode so much, I’ll be skipping the other two, right?  Yeah, I would…except I’ve always wanted to see Lexington and Concord on film.  It’s the prospect of a few well-executed battle sequences that will bring me back to the TV, in spite of my better judgment.  No doubt I’ll be disappointed, but not as disappointed as all those gals who watched the premiere will be when they do a Google Image search for Samuel Adams.

“Lllllllladies.” Wikimedia Commons


Filed under American Revolution, History and Memory

An American Revolution miniseries is coming

Titled Sons of Liberty, it’s about the movers and shakers of the colonial protest movement and will evidently cover the period from about 1773 to 1776.  The executive producer has done some documentary miniseries for The History Channel, but I assume this will be a dramatic work along the lines of Hatfields & McCoys.

Focusing on the Adamses and other well-known Whigs will mean inevitable comparisons with HBO’s John Adams miniseries, and HBO set the bar very high indeed.  We’ll see how SoL measures up.

I’m looking forward to seeing what they do with the subject matter, but as I said back in April, what I’d really love to see is a Southern Campaign miniseries.

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Filed under American Revolution