The season 3 of The Last Kingdom has definitely struck some major cords there is no doubt about that and that is why it should not go unrecommended.
The Last Kingdom contemporaneously traverses two sagas: a personal saga follow the exploits of Uthrid, a fearless warrior who by virtue of circumstance is sworn to serve and protect King Alfred of Wessex. However his loyalty remains wavering due to having both a Saxon parentage and a Danish upbringing, and the historical saga explores the courtroom intrigue of the kingdom of Wessex amidst foreign invasions and internal squabbles prior to the culmination of England as a unified kingdom in the tenth century.
The show’s greatest triumph lies in the conjunction of these two disparate narratives in such a seamless fashion which propelled through a right mix of creative choices makes headway for some compelling small screen drama, and the show’s prowess in storytelling is perhaps most evident in its Season 3 of The Last Kingdom.
Laden adequately with the grit, the gore and other familiar medieval drama tropes from the start. The show packed enough muscle in its maiden season to cement itself as a worthy addition to historical fiction genre but still lacked the refinement offered by other notable (and expensive) shows of similar genre. The second season in comparison to the season 3 of The Last Kingdom, exhibited an appetite for nuance and complexity but felt slightly shy of the hallmark which would transcend it from the shadows of other titular giants, such as ‘Game of Thrones ‘and ‘Vikings’ to an entity unto itself.
One can without any ambiguity add that The Last Kingdom in its Season 3 comes into full bloom and excels at almost every aspect of production and storytelling, proving once and for all that it no longer belongs in the footnote of hallmark television and is a resplendent series able to fend its weight on its own merit.
A riveting storyline, spectacular battle sequences, evocative characters, scenic locales and a harrowing background score stuffed with enough action, drama, tragedy, and suspense make it an absolute treat for audiences craving for quality television.
The writing is top notch in this recently released season 3 of The Last Kingdom that it craftily utilizes the tract of the ten-episode format to weave together a layered and immersive storyline which meanders from time to time to engage the audiences but never loses sight of the main plot.
The story is undoubtedly the steed here and one can be forgiven for thinking from some shots of the first episode that it too had fallen into the trap of theatrical absurdity but it soon steadies itself and gallops forward without being sacrificed on the altar of spectacle. The intricate chemistry between Uthred and King Alfred streaked by both admiration and suspicion lit the screen in every frame in which they appear, thanks to stellar performances by both actors (Alexander Dreymon and David Dawson). However, the other supporting cast is no less impressive as they get to bring to life full-bodied characters may that be the upright Beocca (Ian Hart) or the duplicitous Aethelwold (Harry McEntire).
Finally, the show delivers a pertinent blow to the flawed notion of nativism by reminding us that history is a shared experience and not a hegemony of any one group of identity and perceiving it otherwise would be a recipe of discord and conflict, the best part being it to be conveyed in an organic manner without sounding sermonic or forced.