Shogun

When Honor Becomes Prostitution: The Ugly Truth Behind Shōgun’s Admiration for Japan

The Colonial Fantasy Beneath Shōgun’s Mask of Cross-Cultural Admiration
James Clavell’s Shōgun is often praised as a respectful bridge between East and West — a tale of cultural discovery, mutual respect, and political intrigue. But beneath its polished surface lies a deeper, more insidious narrative: a colonial fantasy dressed as admiration.

1. The Illusion of Cross-Cultural Respect
On the surface, Shōgun seems to celebrate Japanese discipline, ritual, and loyalty. Yet the admiration is never equal. The story’s lens is Western — the audience is meant to view Japan through the eyes of the foreigner, Blackthorne. Japan is exotic, beautiful, and mysterious, but it’s also backward, cruel, and spiritually incomplete — until the white man arrives to “understand” it better than the Japanese themselves. What looks like cultural exchange is really validation of Western superiority: the idea that understanding, morality, and passion only achieve their “true form” when filtered through a European perspective.

2. Mariko’s “Spiritual Awakening” as Submission
Mariko, one of the most complex figures in the story, embodies this colonial subtext perfectly. Her supposed “spiritual awakening” through her relationship with Blackthorne is not liberation — it’s assimilation. Her devotion, her intellect, and her honor are all reframed as qualities that find meaning only when she connects with a Western man. Her affair, which by her own cultural and moral code is adultery, is romanticized as enlightenment. The narrative quietly teaches that Western love redeems her — as if fidelity, duty, and her Japanese identity are mere shackles keeping her from “true” humanity.

3. Toranaga’s Politics: Honor as a Mask for Moral Prostitution
Toranaga, the cunning lord, represents another layer of colonial accommodation. His actions are praised as brilliant strategy — but his politics often boil down to appeasement and manipulation in pursuit of survival. He uses Mariko’s loyalty, her marriage, even her body, as tools to gain leverage with foreigners. His “wisdom” lies not in preserving cultural dignity, but in packaging it for trade. The very code of “honor” he claims to defend collapses when faced with the promise of Western advantage. In essence, Toranaga becomes a symbol of moral prostitution — a man who sells the sanctity of his people’s values while pretending to protect them.

4. The Hollow Honor of Shōgun
When Shōgun glorifies ritual suicide, blind obedience, or emotional suppression as noble, it’s not showing depth — it’s showing how easily a society can mistake servitude for honor. And when that same society bows before Western approval, the illusion shatters. What the Rajputs of India would call maryada — honor rooted in self-respect and spiritual integrity — is, in Shōgun, replaced with an obedience so hollow it justifies humiliation.

Conclusion
Shōgun is not a story of mutual understanding between cultures — it’s a tale of colonial desire wrapped in silk. Its admiration for Japan is conditional: beautiful, but only when humbled; noble, but only when submissive; honorable, but only when redefined by the West. Mariko’s love, Toranaga’s strategy, and Japan’s “honor” all serve the same purpose — to glorify the myth of Western awakening.

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FINAL WORTHY, BUT DULL...

The last episode was out of sync with the others, it was a dull, slow episode with no great depth to the story. I think episodes 9 and 10 could have been combined, the makeup of the old and bedridden Anjin made me laugh, which is a shame because it was the only technical slip-up in this remarkable drama, and it didn't even impact the logical experience of the drama, but I thought it was worth mentioning.

The story, development, and pace were well done and detailed, we had competent art direction that accurately studied Japanese culture at the time. As for the story, I was a little frustrated because I thought we would have the war in the last episode, but instead, we had an excessive amount of dialogue and the closure of some character arcs. I still want to reflect on whether we had an open or semi-open ending because we now know that he managed to return to England and took memories with him, but Toranaga said he would never leave Japan, yet as we observed, he did leave.

The highlight of the acting and deserving of award nominations for best actress goes to Anna Sawai, who played the unforgettable and masterful Mariko.

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Individualism ⛩️ Collectivism & The 8-Fold Fence °9° °Outstanding°

“A man has 3 hearts.

One in his mouth for the world to know. Another in his chest just for his friends.

And a secret heart buried deep where no one can find it. That is a heart a man must keep hidden if he wants to survive.“

§hogun is a brilliant depiction of two cultures clashing. Each of these countries believes their own superiority is such that they are entitled to invade and control any and all other peoples. Their viewpoints are opposite (sort of) but their entitled sense of superiority is EXACTLY the same.

The emperor (the §hogun) is dead. The leaders of the 5 fiefs will fight it out to be the next §hogun. Perhaps not Toranaga. “Shogun - a beautiful relic from a bygone era.” Yoshii Toranaga doesn't want it, he claims.

This is a top-tier production. It's a great drama with multilayered character development, and humorous banter that gives way to elevated dialogue. Based on the 1975 novel by James Clavell, § is a 2024 release that is rated 99/84 on RT & 8.6 on IMDB. It is 1 season consisting of 10 60-minute episodes. The original network was ABC, but FX released it along with Hulu. It's technically a US production but it is more than half in the Japanese language and utilizes Japanese actors and technical staff. It was already made into a miniseries in the 80's, and while I haven't seen the original, I would expect the two features to be like 80's Dune and 20's Dune. This has been confirmed for a S2 though they are out of the original source material. The story will pick up 10 years later. They are set to start production in January, 2026


The §hogun is dead, and the Europeans have mounted a soft invasion. The Catholics already have several missions set up and many fiefs work with them directly. The Protestants just showed up, though. Their theological differences escape the Japanese, but each side is willing to die for them. We meet John Blackthorne first (Cosmo Jarvis from Annihilation-7). He and his crew are in rough shape off the coast of Japan when the warriors invade their ship. They decide to take the pale strangers into custody, rather than “off” their heads on the spot. Blackthorne vows to recover his ship and his men to continue his Protestant mission.


Hiroyuki Sanada (Shin Hanshichi Torimonocho) is brilliant as his captor, Yoshii Toranaga, one of the fief leaders and an old sly fox. He's the one who worries the other fiefs the most. He has his own mind and he is not a go-along-to-get-along kinda guy. Born in New Zealand. Anna Sawai, (Pachinko), just may steal the show as Toda Mariko. In a show about men pursuing power and destiny, a woman is the fulcrum. Tadanobu Asano (Keiji Yugami, Mortal Combat) is Toranaga's #1 guy, Kashigi Yabushige. Tommy Bastow (Agatha Raisin) portrays the compartmentalized Father Martin Alvito.
§ tells a sweeping story in a beautiful manner. It's the §engoku Period, around 1600. Japan is in a state of civil war. The Tokugawa §hogunate is about to be born. Europe is at war, particularly Protestants V Catholics, and it's spilled over into Asia. While Europeans come bearing technologically advanced weaponry, they do not behave in a more refined manner. Each side refers to the other as savages, and they are each 💯% dead-on accurate.

The artistry of the show is magnificent. It all looks authentic with layers of texture. The opening is a 6-minute short CGI film by Elastic. Did they make the ships for the show? Per AI: “Yes, multiple wooden boats and partial wooden ships were constructed for the FX series, with a strong emphasis on historical accuracy. An American boatbuilding expert was brought in to ensure the designs were authentic to 17th-century Japan.” The ep5 earthquake and mudslide are magnificently portrayed; I stopped breathing for a few moments. There's a boat race! An unofficial / unintended one. It's very exciting.

The show is based on history and historical figures. Per AI “The English navigator William Adams, also known as Anjin, became a key advisor to Tokugawa Ieyasu, who later became the Shogun. Adams' expertise in shipbuilding, along with his knowledge of Western technology and trade, proved invaluable to Ieyasu.. Ieyasu enlisted Adams to help improve Japan's naval capabilities by constructing Western-style ships.. These ships played a role in enhancing Japan's naval capacity and fostering trade relations with European powers during the early 17th century.” I dunno. Seems like cultural appropriation is one thing, but a look of love and admiration from the outside in is another. People will never stop imitating eachother. We're sheep.

What's life without alittle romance? Mariko might be married, but her husband is never around. When he is, he's awful to her. (“I will give my husband nothing. Not even hatred. Because that is what he merits.”) Mariko is Blackthorne's interpreter. She's the only person he can speak to, and they end up spending all their time together. He falls hard for her, and while she's more difficult to read, she seems to reciprocate. It's long gazes, surreptitious touches, double-speak and countless metaphors. She's gorgeous. He is NOT. Yet it sizzles. In the hot spring one night she asks him where he'd take her in London? They basically have a virtual date, just talking about it. The scene is tremendous.

In the magnificent ep7, Toranaga gifts Blackthorne a night in a brothel as a reward + compensation for not allowing him to leave with his ship. Mariko must accompany him “to interpret”. By now, Toranaga and Mariko‘s husband are suspicious, and their suspicions are justified. It smells of a setup, and Mariko is no dummy. As they enter, she warns him that their #every#gesture# is being watched. The courtesan is considered the best in the country, as is the brothel. She discusses the services they offer. Physical pleasure is only one of the goals, while escape from life's afflictions is the ultimate goal. Mariko is interpreting every word spoken by this Lady of the Night, but in 3rd person. She suddenly switches from 3rd person to 1st person at the height of the courtesan's verbal seduction. Instead of “she will,” Mariko opts rather for ”I will.” It's more sensual than most aex scenes.

The jokes write themselves in any clash of cultures. Blackthorne wants to try what they're eating. It's natto, or fermented soy beans. Sure, it's a great source of protein, but it's treated much the way Limburger cheese is, and Blackthorne even comments that it's much like spoiled cheese. Limburger certainly has its devotees, but most people can't get beyond the smell. Same for natto, and though it's considered an “acquired taste,” the Japanese love it. Even more, they love joking about it and treating it as a dare. Just can't put that fork in the mouth? Nattokinase capsules are also a popular health supplement. There's several funny cultures-colliding moments.

What really makes § worth it is the elevated writing. When Blackthorne admits to Mariko that he's never met his daughter, he talks about how the sea beckons him. He's been out /there/; he hasn't been home. She says, “You serve your masters well.” He turns to her and affirms that he has no masters. There's the disconnect between East and West: The constant tension between individualism and collectivism is on display. Neither side does it completely right. Neither side has all the answers. In Asia, they see themselves as part of a whole, while in the West, we see ourselves as individuals. There's problems both ways and a blend of the two is what perfection is.

But perfection isn't human. In the East, the individual is stifled and crushed - the people are slaves to the group. Insane sacrifice is expected in a collectivist society. A warrior stands up for Toranaga's honor in ep1 and to mollify the offended parties, Toranaga puts him and his newborn infant to death. The widow is expected to accept this and continue on. Then Toranaga gifts the widow to Blackthorne! In the West, we're overloaded with narcissistic monsters. “If freedom is all you live for, then you will never be free of yourself,” we hear. The answer is a balancing act. There will be times that the group is more important than one's own life, but most of the time, individuals should be free to pursue life, liberty, and happiness. At the same time, the person who believes s/he is the center of the universe cannot have healthy loving relationships with others. Intimacy is what we've lost; it requires give AND take.

They put quite a frame around ancient Japan: Earthquakes. Tsunamis. Fires. They build their houses to “go up as quickly as they come down”. “Death is in our air. It can come for us at any moment.” ‘Life has no value to the Japanese,’ John opines. Only their “meaningless rituals, which have trapped them, have any significance”. He's astounded at the inefficiency, the sheer unworkability of it. Yet, the people suffer it all with straight faces. Commenting on their stoicism, Mariko tells Blackthorne about the 8-fold fence. The young are taught to build it themselves: It's an ❇impenetrable❇ wall behind which they can retreat. “Listen, without hearing, to the sound of the rocks growing Do not be fooled by our politeness, our maze of rituals. We could be a great distance away, safe and alone.” Everything outward is form - PHONY FORM. The real person is in “a secret heart buried deep where no one can find it. That is a heart a man must keep hidden if he wants to survive.“

As §1 winds down, we have a heartbreaker. I'm upset. “War is inevitable,“ we hear. Perhaps, but it's rarely /necessary/. Sure, going to war in defense against oppressors is sometimes necessary, but wars of aggression, borne from the worst darkness of the human heart, never are. “If you win, anything is possible,” says Toranaga.


QUOTES🗣

Enemies are everywhere and friends nowhere. To show your true heart is to be killed.

Let us choose to look away from what we cannot control.

Thank you for this novel distraction.

Once loyalty begins it does not have an end. Otherwise, it is not loyalty.

Not your god, or my god… just God.


IMHO〰🖍

📣9 📝9 🎭9 💓7 🦋5 🎨8.5 🎵/🔊8 🔚8 🤗6.8 ▪ 🌞4⚡7 😅3 😭6 😱4 😯2.8 🤢9 🤔7.5 💤0


Age 15+ nudity, sexual content 4/10; R-rated Language; Gore: the usual battles are depicted, but we see men on horses turned into exploding guts by cannon balls. It's on an extreme level. Rated TV-MA: Mature Audience Only.


Re-📺? Yup

In order of ~lite&trite~ to ~heavy&serious~

The Dragon Prince-8.7,
Samurai Champloo-8.6,
The Dragon Prince-8.7,
My Happy Marriage-8.3,
Moribito Guardian of the Spirit-8.6,
Vinland Saga-10,
Attack On Titan-8.9


🎎 -
C🇨🇳: Overlord 8.4,
Under the Power 8.6,
Story of Yanxi Palace-10
The Rebel Princess 9.1,
The Sword and the Brocade 8.6 (in ancient Chinese opera style),
The Rise of Phoenixes 9
K🇰🇷:
My Only Love Song 8.7 excellent comedy;
Mr. Queen 8.5;
My Sassy Girl 8.5;
The King's Affection 8.3;
Mr. Sunshine 9

🔮🐉-
C🇨🇳: Love Between Fairy & Devil 8.9;
Douluo Continent 9.4;
Handsome Siblings 8.7;
Ancient Love Poetry 8.6;
Love and Redemption 10

⚡/😱/🚀 -
C🇨🇳: Heavenly Sword and Dragon Slaying Saber 9-Kung-fu!;

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Good, but the old TV series were better

Yea, that muted ending and furniture of a protagonist didn't do it for me. Never once was he shown to be actually needed by Toranaga and he wasn't even funny to be his pet clown, because they communicated too seldom here. And many important scenes about the protagonist were cut to make time for a parade of side characters.
And too many times it seemed that Toranaga was just plain lucky and adapting, not megaminding everything ten steps ahead. Yea, he was a ruthless liar who surrounded himself by people he could easily manipulate, but he wasn't omniscient to predict all random things. Like, what happened to his son, or his brother betraying him, or what happened to Mariko.
And speaking of Mariko, she was more of a protagonist in this show than ML or Toranaga combined. MVP, but disappointingly way too suicidal.
My favorite character in this drama is not her though, but Yabushige - the most human and entertaining one to watch. He was squirming on the frying pan for the whole series trying to get the most profit, but failed expectedly :).

Anyway, it's still a good drama. Production quality, especially the costumes were great. Too bad they didn't show the epic battle of Sekigahara, but it wasn't in the book, so ok. I'd give it an 8. But old TV series in terms of the plot and characters were still better, imho.

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The new miniseries about war and samurai is a future classic.

Shôgun is the proof that it can actually be okay to make a remake of something that has already been praised and won great prizes, but then it always has to be done this amazingly well.

Shôgun s a mini-series set in 17th-century feudal Japan - And begins with the English pilot John Blackthorne (Cosmo Jarvis) suddenly running aground with his ship on the Japanese coast. There he quickly becomes a pawn in a power game between above all 2 feudal lords. Both with the ambition to lead the entire country until the young emperor comes of age and can take over.

Civil war, honor, power play and multitudes of samurai account for most of the action. But the cultural clashes for Blackthorne, who quickly tries to learn Japanese through the interpreter Lady Mariko (Anna Sawai), also take up a lot of space. During this time, Portugal had already found Japan and sent Catholic priests there who began to convert parts of the Japanese elite to Catholic Christianity, while Blackthrone now comes from a country at war with Portugal and claims to have lied about everything. It simply stirs the already infected pot.

Next year marks the 50th anniversary of the release of James Clavell's book Shôgun, which is partly inspired by real events. Already 5 years later, we got one of the best and most ambitious mini-series ever in television history, when Richard Chamberlain took on the lead role of Blackthorne and Orson Welles acted as narrator for the English-speaking viewers who did not understand Japanese. This time too, most of the dialogue takes place in Japanese, but now without an explanatory voice of course.

The old miniseries was then one of the first series of its kind to show both a naked woman and beheadings (not at the same time, fortunately) on television, which then shocked many viewers in 1980. More than 30 years before Game of Thrones turned that kind of of scenes to an almost absurd level (which gave that series the nickname Tits and Dragons). But it was, of course, the exciting and very complicated story itself, which made Shôgun win the finest television award at the Emmys, for the year's best miniseries.

So, why on earth should we go in and tinker with already acclaimed TV classics? Why not adapt something completely new or come up with a really awesome original story instead? These are questions that are most often muttered when different film studios seem to be trying to grab as much money as possible, by betting on already "given" successes. Sometimes, for example, when we get a really bad film adaptation, like The Last Airbender (2010), fans can still buy that a new and more ambitious attempt is made, like the live action series Avatar: The Last Airbender (which we can now watch on Netflix).

But this thing about remaking something that was already considered near perfect to the same format again... Why? The answer to that question will from now on always be: Shôgun. This is a miniseries that proves both why and how to update something already celebrated and let a new generation share the same story, while giving those of us who have seen the original an adaptation that can realize the story in an even more impressive way.

I read the book myself, which is really the only reason why I gave the already old mini-series a chance. When it comes to movie classics from the 70s or 80s, few frown when titles like Star Wars (1977), Apocalypse Now (1979) or The Godfather (1972) come up. Catching up on the old film classics is part of it. Considerably fewer spend 10 hours on a miniseries from 1980, however, no matter how acclaimed it happened to be at the time.

The fact that filmmaking has developed somewhat enormously in the last 40 years also means that the new adaptation of Shôgun has been able to learn from other war series and films. Just like Game of Thrones could do. And this new adaptation of Shôgun looks absolutely stunning. The photography is magical and so are the actors Hiroyuko Sanada (in the role of the feudal lord Toranaga), Anna Sawai and Cosmo Jarvis.

The book and the old miniseries have long since proven that the story itself is really exciting - And luckily the adaptation of the screenplay has stayed true to its source where needed, but also made minor updates to improve it elsewhere.

I had really high hopes, but was pleasantly surprised that they even managed to exceed them. The new Shôgun miniseries is a future classic, hopefully one of those few (like Band of Brothers) that everyone from now on will look to give a chance - No matter how many years have passed the premiere.

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A new (and good) adaptation for a book I read 50 years ago :) :)

Season 1 adapted from the James Clavell novel, a US-Japan collaboration (we can feel the Hollywood touch :)

PLOT: The ML, an English sailor/explorer, reaches the shores of Japan (the only foreigners tolerated being the Portuguese and their catholic missionaries), with his ship in distress and the remainder of his crew. The first meeting is terrible. He eventually meets, with the help of a translator named Mariko, the local lord and one of the five regents, Yoshii Toranaga. Toranaga is in a deadly conflict with Ishido (the highly ambitious regent) and the mother of the heir to the throne, holding the other three regents and their families hostage. Everyone is preparing for war.

+++ Superb cast: Cosmo Jarvis, Sanada Hiroyuki, and Anna Sawai are absolutely remarkable.
+++ High-budget production: sets, action scenes, effects, etc. Perfect!
+++ The tone is violent and bloody (like life of that era :) and the series provides a good overview of Japanese history, culture, and society [without resorting to clichés].
+++ Great, epic OSTs.

### The violence is sublimated in this series, with scenes that are not for the faint of heart. The director lingers with undisguised pleasure on scenes of seppuku, decapitation, torture, etc.
### The series probably follows James Clavell's novel well, but isn't necessarily close to historical reality (especially concerning Tokugawa).

=> I'm eagerly awaiting season 2!

*****************************************************
Saison 1 adaptée du livre de James Clavell, dans 1 collabor° US-Japan (on sent la "patte" Hollywood)

PLOT: Le ML, marin anglais / explorateur, aborde les côtes du Japon (seuls étrangers tolérés, les portugais et leurs missionnaires), avec son bateau en perdition et le reste de son équipage. L'accueil est terrible. Il rencontre finalement, assisté d'1 traductrice Mariko, le seigneur local et 1 des 5 régents, Yoshii Toranaga. Celui-ci est en conflit (mortel) avec Ishido (régent, super ambitieux) et la mère de l'héritier du trône, détenant en otages les 3 autres régents avec leurs familles. Tout le monde se prépare à la guerre.

+++ Super cast : Cosmo Jarvis, Sanada Hiroyuki et Anna Sawai, absolument remarquables.
+++ Product° high-budget : décors, scènes d'action, effets, etc. Parfait !
+++ Le ton est violent, sanglant (comme la vie à l'époque :) et la série donne un bon aperçu de l'histoire, la culture, la société japonaises [sans pour autant tomber dans les clichés].
+++ Great OSTs, épiques.

### La violence est sublimée dans cette série, avec des scènes à éviter pour les âmes sensibles. Le réalisateur s'attarde avec un plaisir non dissimulé sur les scènes de seppuku, de décapitation, etc.
### La série suit probablement bien le roman de James Clavell, mais n'est pas forcément proche de la réalité historique (notamment concernant Tokugawa).

=> J'attends avec impatience la saison 2 !

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Shogun was... alright

Shogun was a decent watch, though not one that left me eagerly anticipating a second season. The show’s portrayal of feudal Japan was interesting, with an obvious dedication to capturing the cultural and historical essence of the time, which I appreciated. The production value was high, and visually, it was quite immersive, with detailed sets and costumes that effectively transported viewers to a different era.

However, despite these strengths, the pacing often felt sluggish, and it sometimes struggled to maintain momentum. Some characters, while well-acted, lacked the depth needed to truly connect with viewers, making it harder to stay fully invested in their journeys. The story had moments of intrigue but didn’t consistently deliver, and there were points where I found myself waiting for it to pick up or offer something unexpected.

Overall, while Shogun had its strong points, it didn’t capture my interest in a way that would bring me back for another season. It’s worth a watch if you’re interested in historical dramas, but it ultimately left me wanting a bit more in terms of both narrative depth and engagement.

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Visually flashy, but obsessed with death

I don't remember much from the first American TV production of Shogun (1980), so I'm only able to re-watch scenes on YouTube for comparison. Interestingly one scene, Blackthorne explaining his understanding of the world map to Toranaga, is recreated almost word for word in the latest production by Disney+.

The remake gives a very different feel as there is unexpected weight given to the Japanese characters, especially that of struggling feudal Lord Toranaga. Much of the dialogue is in Japanese and even the episode titles are bilingual. This is perhaps an attempt to give the show an authentic Asian drama presentation, but there's something that's still very American in its tone. So much attention was paid to authentic visual detail, but I think the forest ended up getting lost in the trees.

I grew up watching North American TV, but spending the last 3 years watching Asian (C/K/J) productions has given me a new view of cinematic storytelling. There are stark differences but it took me a while to figure out exactly how to describe it in one word, but I thought of it: gratuitous. North American audiences are so obsessed with gore that they need to see the heads flying for the sake of seeing heads flying. Not to mention sex without love; there's no meaning attached. How does that flying head affect the person making or watching it happen? (Compare the execution of Ned Stark in Game of Thrones for an emotional beheading). The show thus became an endless parade of suicide & killing in the most gruesome manner, every single episode. Death is something each character is resigned to on daily basis & sex is just something you do like going to the gym; it's no wonder everyone is miserably hopeless. Was is truly the zeitgeist of Japanese feudal society?

The setting is stunning considering how every structure is a replica. Unfortunately I felt a lot of the beauty was lost in the very dark lighting of so many scenes, all in shades of grey & blue. This is made worse with a lower res tv. Why film in the dark, other than to emphasize the very dreary atmosphere with the constant threat of death under every stone. Mud, mist, & rain are prominent. Every scene is cold, wet, muddy & bloody.

Equally monotone are the personalities of all the characters. A very narrow range of emotion makes the show seem to present a stereotypical portrait of Japanese people as serious, stoic, humourless, and inscrutable. Any expression of joy is muted against the background of rain & darkness. I realized I couldn't sympathize with any of the characters. Where's the base human emotion that connects us all? One episode is titled "Eight Fold Fence", describing the wall behind which a person hides their inner selves for protection from a chaotic outer world. This just means everyone is so withdrawn that even viewers can't connect. How can one sypmathize & be drawn into any character's story in this way? The only thing left to be interested in was the political intrigue, which is simply a history lesson.

With the politics being a final note, this series ends on a cliff hanger, ready for a season 2, as this first season was basically a huge build up for a war that has yet to happen. Making the characters more human would be a big improvement for the next season. Otherwise I'd have to say this show was a not an elevation from a typical flashy American show. Rated 7.5 for the production.

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the best show I've seen in a long time

I have not read the book, so now that I am I might change my opinion on the series ... but I found this show just incredible. From casting, to acting, to story, to sets, to music. I want to watch it again after I finish the book. The one thing that really threw me off was the contacts that they put on Cosmo Jarvis as John Blackthorn. I noticed them as soon as the show started and I thought that maybe they looked that way because he had scurvy. Lol! Why not find a blue-eyed actor? Jarvis was very good as Blackthorn ... but those contacts were always obvious. I really wanted to binge the whole show at once, but I made myself watch two episodes a night to make it last. I love a story that doesn't flinch from the dark, uncomfortable, heartbreaking, the horrifying, and the mistakes made by characters followed by true consequences. Blackthorn's discovery of Japan and its people, next to their discovery of Blackthorn, was fascinating and I wonder what it really was like back then.

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Pleasantly surprised at how authentic it is

Being an American production, I was worried about a repeat of Memoir of a geisha, where geishas speak English and are played by Chinese actresses. Not here. Everything from costumes to language was Sengoku era Japan. If anything, I really didn't think the Pacific Northwest (filming location) resembled Japan at all lol but given the circumstances, I understand why it's done.

Out of all the characters, I didn't care for Blackthorne. I do appreciate an outsider's perspective, but without him the story wouldn't have been drastically different. Really enjoyed the portrayal of Mariko (Hosokawa Gracia in history) and Toranaga (Tokugawa Ieyasu in history). Toranaga is EXACTLY what I imagine Ieyasu to look like and I'm not sure if we'll ever get another Ieyasu that close to my imagination (I regularly watch taiga - Japanese 50-episode long historical dramas).

People lament the lack of a "final" battle, but IMO it would have been very ordinary for that to happen (though pleasant to watch I'm sure). I remember watching GoT final battle and that was just a borefest, I was wondering when the killing would end. That battle did nothing for me emotionally. The plot deciding for no final battle was the correct decision IMO, a lot of the times battles are not won on the field but behind the scene, within political intrigues and people manipulation, and Shogun got all of that right.

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