The name Steven Knight has become synonymous with historical dramas over the years. From arguably the most well-known of these in Peaky Blinders to more recent efforts like SAS: Rogue Heroes and A Thousand Blows, the screenwriter and director has seemingly found his niche on the small screen — exploring different pockets of history and mining the ironically timeless drama that can result from that cultivation. While there are probably plenty of TV viewers who are still waiting patiently for the release of the Peaky Blinders movie continuation titled The Immortal Man, set to drop on Netflix on a date yet to be announced, Knight has somehow found the time to release another series that may tide fans over until then. House of Guinness, premiering on the streamer today, is full of all the recognizable hallmarks of Knight’s approach to the historical drama genre — and by that, I mean it takes itself precisely as seriously as it needs to, while also infusing an indisputable sense of punk rock into 19th-century storytelling. Although comparisons to Peaky Blinders might be unavoidable, especially as Knight’s new series makes a point to tackle class tensions and political dissent, House of Guinness also bears shades of Succession with its focus on a quartet of at-odds siblings who are forced to work together, as well as fight for the future of the company that bears their name.
What Is ‘House of Guinness’ About?

The year is 1868, and family patriarch Benjamin Guinness has unexpectedly died. At the time of his passing, the brewery that has become a significant part of the Guinnesses’ legacy is already thriving, with the company’s trademark dark beer flowing through Europe. Benjamin leaves four children behind to mourn him, but also to grow the empire that he built — and to say this group is ill-prepared to step into his shoes in some form or another would be a major understatement. Arthur Guinness (Anthony Boyle), the eldest son, is determined to cut ties with the family company at the earliest possible opportunity; he’s been thriving in London, living on his own terms, and has begrudgingly returned to Ireland for the reading of Benjamin’s will. Edward Guinness (Louis Partridge), the third eldest, has essentially become the brewery’s heir apparent, but he’s also something of an idealist, and seeks to use his new authority to implement what some might describe as radical change within the company’s workforce. Their sister, Anne Guinness (Emily Fairn), is a soft-spoken, mild-mannered woman trapped in a marriage to someone she does not truly care for, and has been inwardly yearning to be entrusted with more responsibility like her brothers. Second son Benjamin Guinness (Fionn O’Shea), on the other hand, rarely goes a day without drinking, and can barely stay propped upright during his father’s funeral. When Benjamin Sr.’s will is read, no one is happy about its contents. Arthur and Edward are each given half of the brewery and tasked with running it together, but neither of them is permitted to leave the company without forfeiting their entire share. Anne and her husband are essentially left to what fortune they’ve managed to achieve independent of her family name. As for Benjamin, he’s restricted to a monthly allowance, given his late father’s concerns about his poor impulse control and recreational habits. On top of that upheaval, there are also threats brewing against the company (no pun intended) from outside its ranks; a secret political group known as the Fenians, who are devoted to the cause of an independent Ireland, is stoking dissent against the Guinnesses in the wake of the company’s European expansion, specifically its trade with the British. Two of the Fenians’ most vocal protestors are actually a family unit themselves — Patrick Cochrane (Seamus O’Hara) and his sister, Ellen (Niamh McCormack), who is quickly revealed to be the true brains of the operation. All of a sudden, the four surviving heirs of the Guinness empire have a lot of spinning plates to balance, but the real question is whether a house divided can still survive.
‘House of Guinness’ Is a Great Historical Drama, but Still Has Its Faults

It would be a mistake to summarize House of Guinness with an easy shorthand comparison to any of Knight’s preceding shows, particularly after watching all eight episodes provided for review. Yet it does boast all the best traits that the screenwriter has become known for, and does so with an unmistakably Irish identity. From its unexpected punk-rock needle drops to steampunk-esque subtitle splashes when characters slip into their native language, Ireland is baked into the very bones of this show. As much as the story is built around the titular family who come from a fair amount of wealth and privilege, it also depicts the have-nots who struggle every day to put food on the table, the revolutionaries who are fighting for true independence, and the immigrants who face discrimination, and worse, after traveling across the pond to set down new roots in New York. While the show does make use of a “this fiction is inspired by true events” disclaimer before every episode, there’s no absence of history from this particular historical drama. Much of the cast is made up of familiar faces, several of whom get the welcome opportunity to perform in their actual Irish accents. Those who have long memories of Game of Thrones may not be surprised to see King Joffrey himself, Jack Gleeson, playing a slippery, sharp-tongued negotiator for the Guinnesses, but it’s a delight to watch him charm his way out of tricky situations. Similarly, Anthony Boyle, who rose to mainstream awareness through roles in Masters of the Air, Manhunt, and Say Nothing, also seems to relish inhabiting an Irish playboy whose smarmy exterior disguises much more complicated depths. By the time he’s paired opposite Shadow and Bone’s Danielle Galligan as Lady Olivia Hedges, the woman Arthur enters into something of an arranged marriage with to improve his political and social perception, the two of them become impossible to look away from, matching each other’s energy in moments that call for naked honesty or private vulnerability. Michael McElhatton elevates any scene he’s in as the Guinnesses’ long-suffering butler, while former Grantchester Hot Priest himself, James Norton, strikes a compelling balance between hypnotic roguishness and chilling intimidation as the family’s loyal foreman, Sean Rafferty. With only eight episodes in this first season — based on how things end up by the finale, the plan for more seems quite obvious — the place where House of Guinness mostly struggles is in successfully giving every part of its ensemble equal screentime. Some of the show’s most intriguing elements, like a forbidden romance between two of the last people you’d expect, are introduced in the very first episode, only to be discarded in favor of more urgent plotlines. Characters like Anne and Benjamin are also afforded less and less to do as the season progresses, especially as Arthur makes a run at a Parliament seat and Edward gets tangled up with the one person he shouldn’t. In those specific cases, it’s particularly unfortunate because Fairn’s performance as Anne leads to some of the show’s best and most emotional scenes, while O’Shea could have benefited from having more runway to evolve his character beyond what some could consider an unfortunate stereotype. When the show also pairs that narrative swerve with a series of unannounced time jumps that rely on the viewer’s undivided attention to make sense, their increased absence from the back half of the season feels even more egregious. The hope is that, provided House of Guinness is renewed for a second season, their storylines will be revisited more substantially. For all the heavy subjects that it tackles, Netflix’s House of Guinness is a pretty fun romp at the end of the day. It’s bolstered by a terrific cast giving performances that range from compelling to surprising, a keen sense of identity, and a bold approach to its soundtrack and subtitling that frankly feels like a breath of fresh air in what can so often be a rather stuffy genre. It’s only as disruptive as it needs to be, though, and overall, still goes down smooth — just like the nice, tall stout you’ll be tempted to pour for yourself after watching.

Release Date

September 25, 2025

Network

Netflix

Pros & Cons

The cast, including Anthony Boyle, Emily Fairn, James Norton, Danielle Galligan, and Michael McElhatton, is full of standouts from the top down.
The show’s punk-rock sensibilities and in-your-face, stylized subtitles are a breath of fresh air in the genre.
The series is indisputably Irish in its identity, from its soundtrack to its embrace of the language.

The show seems to set certain characters aside, like Anne, as the story progresses.
The series’ frequent timejumps may be tough to spot for those who aren’t paying perfect attention.