The new Netflix series, House of Guinness, crafted by Peaky Blinders creator Steven Knight, explores the legacy of the Guinness brewing dynasty following the death of Sir Benjamin Lee Guinness in May 1868. The narrative centers on the efforts of his eldest son, Sir Arthur Guinness, as he aspires to become a Conservative MP for Dublin City in 1870. While the show incorporates several real-life figures, it also introduces fictional characters, such as the hard-nosed family fixer Sean Rafferty, played by James Norton. The overarching themes, particularly the family’s attempts to control Ireland’s drinking culture and penetrate the American market, are rooted in historical events, though the series takes creative liberties for dramatic effect.
The depiction of Sir Benjamin’s funeral on May 27, 1868, stands out as a notable deviation from reality. The show portrays chaos and public disorder, attributing the unrest to Sir Benjamin’s advocacy for British rule in Ireland and his family’s Protestant faith, which antagonized the Catholic Irish Republican Brotherhood. In contrast, a report from the Times on May 29, 1868, described the funeral as “one of the most impressive demonstrations of public feeling ever seen in this city,” emphasizing the orderly procession of mourning workmen and the community’s expressions of regret.
The series also features a “reading of the will” scene, revealing Sir Benjamin’s decision to bequeath his fortune primarily to Sir Arthur and his youngest son, Edward. The rationale for excluding his second son, Benjamin, is depicted as due to his reckless lifestyle. While the core elements of this inheritance are accurate, the show inaccurately suggests that Benjamin was left destitute and compelled to seek military service in London. Historical records indicate he received £20,000 to invest in a business or estate, rather than being cut off entirely.
The marriage between Sir Arthur and Lady Olivia Hedges-White, portrayed in the drama, is similarly embellished. The series hints at Sir Arthur’s homosexuality and an arrangement allowing both spouses sexual freedom. Although such arrangements were not unheard of in elite circles, there is no substantial evidence to support claims of Sir Arthur’s sexuality, especially given the severe legal repercussions for homosexuality in 19th-century Ireland.
The character of Edward Guinness is more accurately depicted as a key figure behind the brand’s success. However, the show misattributes the invention of the iconic harp logo to Edward. This symbol had been in use long before his involvement, with the first appearance on a Guinness bottle in 1862, six years prior to Sir Benjamin’s death.
Another narrative thread involves the family’s philanthropic efforts in Dublin. While the show attributes these initiatives to Edward in 1868, the timeline is misaligned. The Guinness Trust for the Housing of the Poor was established in 1890, significantly later than the events portrayed. Despite this, the Guinness Partnership continues to develop housing projects today.
The series also introduces a fictitious cousin, Byron Hedges, who purportedly plays a pivotal role in exporting Guinness to the United States. Historically, Guinness was first imported to the U.S. in 1817, well before the events depicted in the show. The first brewery was established in Queens in 1948 but closed shortly thereafter.
The drama culminates in a tense moment with a potential assassination attempt on Sir Arthur by a member of the Irish Republican Brotherhood. This intense scene is crafted for suspense, but historical records confirm that Sir Arthur lived until 1915 and was never subject to such an attack, although his nephew, Walter Guinness, was murdered in 1944.
As the series unfolds, it skillfully weaves together elements of fact and fiction, prompting viewers to consider the balance between historical accuracy and engaging storytelling. The Telegraph has noted that House of Guinness is currently streaming on Netflix, inviting audiences to explore the world of the Guinness family while navigating the murky waters of historical representation.
