A female Arthur, a fanatical religious warrior, and a pious politician who murders men with
her bare hands; the women of "The Last Kingdom" are badass even without fire-breathing dragons.
When HBO's "Game of Thrones" debuted in 2011, it rekindled interest in medieval
and medieval-inspired stories in much the same way "The Lord of the Rings" films reignited interest
in epic fantasy. Since both relied on fantasy and European medieval history, it was no surprise when
a crop of new series incorporating those elements began to appear on the network streaming scene.
But, as popular as these new series have proven to be with modern audiences, they've all failed in a
very particular way. While seeming to promote strong female characters, most don't provide
the women in their stories with the emotional complexity of the male characters. There is,
however, one medieval drama that rejects that trend: Netflix's "The Last Kingdom."
While shows based on history or the literary traditions of the medieval period cannot escape
the influence of the early Church, many don't even try to avoid the trope trap,
offering only a one-dimensional view of women. "The Last Kingdom" is an exception,
evading these pitfalls by constructing fully-developed,
powerful female characters while staying true to the historical realities of the period.
Because of its dependence on nonfiction sources,
"The Last Kingdom" might seem even more confined by the era's restrictions on women than most,
but the series' female characters exhibit genuine humanity and portray a range of
emotions and strength that assumes women of the past were just as complex as they are today.
Unfortunately, the same approach to female characters is not taken in other popular
medieval or medieval-inspired series. "Game of Thrones," for instance, fails when it comes to
giving its so-called "strong female characters" the complexity and realism of its male characters.
While Tyrion Lannister and Petyr Baelish are cut from the same cunning cloth, they possess vastly
different motivations and viewpoints. Contrast this with Sansa Stark, the typical "virgin"
archetype, who then transforms into the equally stock "political warrior" only after she suffers
serious abuse at the hands of men. A similar path is followed by Daenerys Targaryen and
Cersei Lannister as they each descend into their versions of the role of a standard "evil queen."
In what seems to be a nod to more progressive women, the series offers Brienne of Tarth and
Melisandre, Sadly, this turns out to be just more of the same in a new pair of archetypes;
the Arthurian "Lady of the Lake" Melisandre and the "Saint Joan-like" Brienne of Tarth.
"All my life, men like you have sneered at me, and all my life,
I've been knocking men like you into the dust."
In fact, except for the archetypes of Brienne and Melisandre, and possibly Arya Stark,
an embodiment of the "tomboy/child" archetype, the women of "Game of Thrones" are defined and
driven by the actions of men. The problem with the series isn't so much that it mistreats its
female characters; it simply never allows them to rise above their tired tropes.
This trend pops up again in "Vikings," with its stock "vengeance warrior" Lagertha locked in
conflict with its stock "seductress/witch" Queen Aslaug. The sequel series "Vikings:
Valhalla" kicked off with a supposedly strong female lead character, only to
reveal that these qualities had developed as a response to victimization by men. Finally,
in the short-lived series "Knightfall," Isabella and Joan are little more than reincarnations of
Queen Guinevere, the "good woman" trope who's driven to sin by sexual desire.
Although it has roots in early medieval history, "The Last Kingdom" is far from a docu-drama for
history nerds. Providing some significant female characters, the women of "The Last
Kingdom" are messy, relatable, dynamic people. The nun, Hild, for example, draws strength from
her anger but refuses to let hate disillusion her. In contrast, Brida, the Viking, is driven
by a complex combination of faith, grief, betrayal, and loneliness.
Only in her final confrontation with her former friend and lover, Uhtred,
can Brida finally resolve her inner conflicts and find the strength to forgive him. In the end,
it's authenticity like this that makes the women in "The Last Kingdom" more
relatable and powerful than women who rely on destroying cities with fire-breathing dragons.
Brida's character is contrasted with Aethelflaed, the Lady of Mercia. Based on an actual historical
figure, Aethelflaed provides another depiction of power and strength, far more subtle than an
action-figure shield maiden or evil queen. Not only does she give up the love of her life,
but she also faces her own mortality with the grace and humility of a tragic female Arthur. In
other series, women may be allowed to make a noble sacrifice to prove their strength, but typically
it's made out of love for a man or a child and not out of her desire to protect her kingdom.
In Stiorra and Eadith, "The Last Kingdom" even manages to put a fresh twist on the age-old
warrior/virgin and sorceress/whore archetypes. Uhtred's Viking daughter Stiorra loses her husband
due to her father's loyalties, but decides not to let the unjust actions of men define
her. Though she does take her revenge on Brida, it's an act she considers necessary to achieve
peace. Refusing to follow Uhtred's orders and come home, she takes command of her husband's Vikings,
proving to be a forward-thinking leader capable of strategic thought. And yet,
when the most unlikely person begs for her help, Stiorra has the humanity and strength to forgive,
a decision that has a major impact on the series' portrayal of English history.
As for Eadith, while initially presented as a seductress, the character takes a
different arc. Leaving England to study, she becomes a doctor and returns to the island,
not as a romantic interest for Uhtred but as a sought-after healer.
While all the women of "The Last Kingdom'' are complex flesh and blood characters,
Queen Aelswith is perhaps the best example of the series' commitment to presenting women as
human beings. In the show's first two seasons, Aelswith's aggressive piety and hatred of Uhtred
sets her up as a series villain. Over time, however, she draws on surprising reserves
of inner strength, becoming the force behind much of the series' action while maneuvering
around the restrictions of her gender. What's more, this growth is managed on
her own terms and not as a reaction to the trauma suffered at the hands of men.
After the death of her daughter, Aethelflaed, Aelswith's vulnerability allows her to find
the strength to trust her longtime foe. That vulnerability, along with the realistic pace
of her evolution, transforms Aelswith from a woman motivated by blind faith and fear into
one of the series' strongest characters. She even develops a wry sense of humor,
describing how she once killed a man with just her bare hands:
"I drove a knife through his neck. I was not wearing gloves."
Ultimately, what sets "The Last Kingdom" apart as a series is that its women are
not defined solely by the actions of men. They are not forced to conform to the same
dreary stereotypes but are portrayed as real people with complexity and courage.
"It has been an eventful time."