'Shardlake' review: Where buddy comedy meets Tudor murder mystery (and it works)
With modern-day whodunnit shows like Only Murders in the Building and A Murder at the End of the World embracing the mystery-solving power of technology, sometimes it's nice to see a show go back to basics. And when I say "go back," I mean "travel back in time to Tudor England," which is where Hulu's Shardlake takes place.
Based on the novels by C.J. Sansom, Shardlake is a (literally) old-school whodunnit. There's nary a phone or a mention of DNA samples in sight, but there is still hardboiled case-cracking — with plenty of atmosphere and historical intrigue to boot. And while its conspiracies and perils can sometimes run overlong, the show truly excels when it embraces the unconventional pair of detectives at its center: Matthew Shardlake (Arthur Hughes) and Jack Barak (Anthony Boyle).
What is Shardlake about?
Shardlake embroils us in the religious reforms taking place in England in 1536. King Henry VIII has rejected the Roman Catholic Church and wishes to shutter the monasteries who continue to resist him. So when his emissary Robin Singleton turns up beheaded at the monastery of Saint Donatus, there can only be one explanation: An act of treason against the king.
Still, the law must carry out a thorough investigation of Singleton's death, complete with evidence against any murderers, before the crown can shut Saint Donatus down for good. Enter barrister Matthew Shardlake, Thomas Cromwell's (Sean Bean) detective of choice. Clever, and with a nose for the truth, Shardlake is ready to confront the supposedly corrupt monks of Saint Donatus. But once he arrives at the monastery (and once more bodies start piling up), he'll uncover a mystery-within-a-mystery — one that may just shake the foundations of his faith in crown and country.
As Shardlake gets to sleuthing, the series offers some wonderfully moody visuals. Saint Donatus becomes a foreboding maze of religious iconography, its surrounding marshes as perilous as the potential murderer lurking within its walls. Religion, too, remains a driving factor throughout, as Shardlake observes the different ways in which the monks engage with their faith and weather the disdain of members of the Church of England. But it's Shardlake's contentious relationship with Cromwell's rogue of a henchman Jack Barak that really makes Shardlake tick.
Arthur Hughes and Anthony Boyle make Shardlake a surprising buddy comedy.
From the moment Barak walks onto the scene, it's clear Shardlake wants nothing to do with him. Barak is everything he's not: a conventionally attractive womanizer who's always wearing the most distracting codpieces. Shardlake, meanwhile, has a physical disability that is mocked, making him an outsider in Tudor society.
The two also butt heads on how to solve Singleton's murder. Barak views all papists as degenerates and would love to tear Saint Donatus down as soon as possible, but Shardlake follows the letter of the law. If he were to find out the monks were not responsible for Singleton's death, he would not twist the truth.
Thanks to Hughes' cool-headed, analytical performance and Boyle's hot-headed turn, Shardlake and Barak become the unlikeliest of collaborators — and the most fun. It's delightful to watch them poke fun at each other, or to get excited about a break in the case. Other aspects of their relationship fare less well, such as an underwritten love triangle with monastery maid Alice (Ruby Ashbourne Serkis), or most segments when they're separated. But that just speaks to the power of their dynamic.
At four episodes long, Shardlake never really drags — but it's certainly a more dynamic, more propulsive whodunnit when Shardlake and Barak share the screen.