Robin Hood (2025) Series Grows Up: Less Wink, More Sword
- Dan Brooks
- 51 minutes ago
- 3 min read
Rob, a Saxon outlaw, and Marian, a Norman noblewoman, unite to fight injustice after the Norman conquest. He leads a rebel band while she infiltrates the corrupt court, both striving for justice and peace
Set in the brutal aftermath of the Norman conquest, Robin Hood reframes the legend as a grounded, serious historical drama. Rob, a Saxon outlaw pushed to the margins, and Marian, a Norman noblewoman navigating the treacherous politics of court life, form an unlikely alliance. While Robin leads a growing rebel movement from the shadows, Marian works from within the system, both aiming to confront corruption and restore a measure of justice. Think rebellion by daylight robbery and candlelit conspiracy by night.
What I Liked
First off - thank you for taking this story seriously. No ironic eyebrow raises, no “Isn’t this silly?” tone, no medieval Marvel quips. This Robin Hood actually believes in its own world, and that alone earns it a seat at the grown-ups’ table.
Second, Sean Bean. The man could read a cereal box and make it feel like Shakespeare plotting a coup. His villains are never cartoonish - they’re deliciously awful. The kind of evil that doesn’t twirl a mustache, but calmly explains why he’s right while doing something unforgivable. I don’t care how many arrows are fired in this show - Bean is still the sharpest weapon in the rack.
Third, the enduring power of the Robin Hood myth. Yes, it’s been remade more times than “A Christmas Carol,” but it still works because it taps into something timeless: injustice, resistance, and the fantasy that the little guy might actually win one. When done right, this story doesn’t feel old - it feels necessary.
Fourth, production values. The settings feel lived-in, the costuming avoids cosplay vibes, and the performances carry real weight. Dirt looks like dirt. Armor looks heavy. Politics feel dangerous. That’s a big win in an era where some “historical” shows feel like Ren Fairs shot on iPhones.
So far, this version feels like it might - just might - be a fresh perspective instead of another reheated legend with modern garnish slapped on top.
What Didn’t Work (Buyer Beware Section)
Now, not every arrow hits the bullseye.
Pacing can drag, especially if you’re tuning in for action and ambushes. This show sometimes prefers long conversations over fast blades, which is fine - unless you’re itching for movement and momentum. This is a slow burn, not a bonfire.
Second, overt sex scenes. They’re here, they’re not subtle, and they’re not brief. Whether they serve the story or just serve the algorithm is up for debate, but consider this your warning label before hitting “play” with the family in the room.
Now we get to the thorny part: historical rewriting.
The show suggests Christianity arrived in England with the Normans in 1066. That’s… historically incorrect by about a thousand years. Christianity reached Britain in the 1st century AD, was formalized with St. Augustine’s mission in 597, and was widely practiced by the 7th century. This isn’t a nitpick - it’s a foundational misunderstanding.
Worse, portraying Saxons under Henry II as pagans isn’t just creative license; it’s historical malpractice. Even within the mythic elasticity of Robin Hood lore, this is a stretch that snaps the bowstring. You can bend history for drama - but this bends it into a pretzel.
And yes, there’s the DEI casting debate, particularly around Little John. Historically, it doesn’t track. I try - earnestly - to look past that if the acting is strong and the character earns their place. Sometimes it works. Sometimes it pulls you out of the world. Your mileage may vary, but it’s impossible not to notice the modern fingerprints on what’s supposed to be a medieval tapestry.
Interesting Facts & Context
This version leans far more toward political intrigue than folk-hero fantasy.
It frames Marian as an active strategist, not a background prize
Sean Bean continues his proud tradition of portraying men you wouldn’t want to meet in a dark corridor - or daylight, for that matter.
The show clearly aims to compete with prestige historical dramas rather than adventure romps. The broad interpretive brush it paints with, doesn't always paint a pretty picture.
Final Verdict
This Robin Hood aims high - and mostly lands. It’s serious, handsomely produced, well-acted, and refreshingly unashamed of being earnest. Its biggest sins are pacing issues and a few historically baffling choices that didn’t need to happen. Still, for viewers tired of jokey reboots and craving something with weight, this one’s worth the ride into Sherwood.
Ranking: 7.1 / 10
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