Season Analysis

The Last Kingdom

Season 1 Analysis

Season Woke Score

out of 10

Season Overview

In Season 1, young Saxon noble Uhtred transforms into a warrior and seeks to regain the lands annexed by his cunning uncle.

Season Review

The Last Kingdom Season 1 is a gritty historical drama that prioritizes historical atmosphere and character-driven conflict over modern social engineering. It explores the tension between two cultures—the burgeoning Christian Saxon kingdom and the invading Pagan Danes—through the eyes of a protagonist caught between them. The series focuses on land, loyalty, and the birth of a nation, maintaining a strong sense of historical groundedness without lecturing the audience on contemporary identity politics. While it takes a cynical view of the organized church, it remains a rare example of a modern show that respects the foundational history and martial virtues of the West.

Categorical Breakdown

Identity Politics1/10

Casting remains historically authentic to 9th-century Britain. Characters earn their status through martial prowess and tactical skill. The plot avoids modern intersectional hierarchies in favor of tribal and national loyalties.

Oikophobia2/10

The series honors the birth of England and the sacrifices required to build a nation. While the Viking lifestyle is depicted as more adventurous, the Saxon mission to establish a unified law-bound civilization is treated with respect and historical weight.

Feminism2/10

Men and women occupy distinct roles shaped by their era. Women like Brida are fierce but grounded in Viking tradition, while Saxon women exert influence through family and courtly status. The narrative emphasizes the importance of land inheritance and bloodlines.

LGBTQ+1/10

Relationships are exclusively heterosexual and center on marriage, procreation, and dynastic survival. The show contains no references to modern sexual identities or gender ideology.

Anti-Theism5/10

The narrative often pits Alfred’s rigid Christian piety against Uhtred’s pagan pragmatism. Priests are frequently shown as manipulative or dogmatic, though characters like Father Beocca represent a more virtuous, supportive side of the faith.