matthew macfadyen

This article contains some spoilers for the Netflix miniseries “Death by Lightning.”

If politics today make your head spin, wait until you see Netflix’s “Death by Lightning.” The four-part miniseries, premiering Thursday, chronicles one of the more jaw-dropping stretches of post-Civil War American history, when corruption ran rampant, a presidential nominee was drafted at the 11th hour, only to be assassinated early in his term by one of his biggest fans — becoming perhaps the greatest head of state we never really got to have.

And the show answers the burning expletive-laced question posed by its first line: Who is Charles Guiteau?

“I’ve been in a James Garfield rabbit hole for seven years of my life at this point,” says showrunner Mike Makowsky, who adapted Candice Millard’s 2011 chronicle of Garfield and Guiteau, “Destiny of the Republic.” Those who paid attention in history class probably remember that Garfield served briefly as our 20th president in 1881 before being shot and killed. Those who remember more than that are few and far between.

“My own agent half the time refers to him as Andrew Garfield,” says Makowsky. “And I have to confess, I knew very little about Garfield, like most Americans, until I picked up Candice Millard’s remarkable book.”

Realizing he knew little about one of the four American presidents to be assassinated, Makowsky thought, “Since I would desperately like to be on ‘Jeopardy!’ someday, I was like, ‘Let me educate myself.’ I wound up reading the entire book in one sitting.”

“Death by Lightning,” directed by “Captain Fantastic” auteur Matt Ross, boasts a remarkable cast: Betty Gilpin as First Lady Lucretia Garfield; Nick Offerman as Garfield’s successor, a hard-drinking, hard-partying Chester A. Arthur; Michael Shannon as James Garfield, the polymath president, crusader against corruption and noble to a fault; and Matthew Macfadyen as Charles Guiteau, the frustrated office-seeker who shot him.

“I wanted to cast people who were somewhat counterintuitive,” says Ross. “If you read the cast list for this, you might assume Michael Shannon was playing Guiteau because he has played a lot of complicated, for lack of a better word, villains — tough guys, bad guys. And Matthew Macfadyen has played more heroic characters.”

Guiteau is definitely no Darcy from “Pride and Prejudice,” or Tom Wambsgans from “Succession,” for that matter. In the series’ conception of him, he shares more DNA with Martin Scorsese’s unhinged protagonists than he does with Darcy — or, certainly, with Garfield.

The proto-incel with a gun

As portrayed in “Death by Lightning,” Guiteau is a rotten-toothed, scheming, big-dreaming, delusional charlatan and possible sociopath. He’s the proto-incel, and the diametrical opposite to Garfield, whom Makowsky defines as “lawful good,” to borrow the Dungeons & Dragons classification.

“I think the most reductive view of Guiteau is ‘chaotic evil,’ right? But that’s the least interesting rendering of this person,” he says. “What are the societal factors that alienate a man like Guiteau from his fellow human beings? The show is meant to probe into his psyche.”

He was a member of the Oneida community, a religious sect based in New York that practiced communalism, free love and mutual criticism, which is depicted in the series (and yes, they founded the flatware company). But Guiteau couldn’t partake in what Makowsky delicately called the “benefits” of such a society, largely because his delusions of grandeur alienated him from others there. The women reportedly nicknamed him “Charles Gitout.”

“Everyone who encountered him described him as being disagreeable, odd, rude, selfish,” Ross says, explaining the need for an actor who had the opposite qualities. “He’s an extreme example of someone who had no work to be seen for, but was so desperately looking for affirmation and love.”

Charles Guiteau (Matthew Macfadyen) was part of the Oneida community, which practiced communalism and free love, but he wasn’t accepted by its members.

(Larry Horricks/Netflix)

Ross describes Macfadyen as someone who’s empathetic, warm and funny. “I wanted that humanity because the real Guiteau was a deeply disturbed man who was psychologically brutalized by his father to the point he was a non-functioning person.”

Makowsky says as he was reading Millard’s book, he thought of Rupert Pupkin, Robert De Niro’s deranged-fan protagonist in Scorsese’s “King of Comedy.” “This guy showing up, day in and day out, hoping for an audience with his hero [Garfield], being continually rebuffed to the point where something in his brain breaks,” he says of Guiteau. “He felt like a direct historical antecedent to the Rupert Pupkins and Travis Bickles of the world. He fell through the cracks and we lost potentially one of our greatest presidents because of it.”

Makowsky recalls shooting the only dialogue scene between Garfield and Guiteau, when the “greatest fan” finally gets to meet his idol. To Makowsky’s surprise, Macfadyen’s Guiteau “just burst into tears. That wasn’t scripted. It was so overwhelming to him. I think in that moment, more than any other in the series, you feel something for this man.”

Party (hearty) over country

Garfield was succeeded in office by Chester A. Arthur, whom Makowsky calls one of the least likely persons to ever become president. “The man had never held elected office,” he says. “His one political appointment prior to his nomination for vice president was as chief crony of the spoils system of [New York Sen.] Roscoe Conkling’s political machine. The level of corruption was so audacious and insane.”

He’s played with oft-drunken brio by Nick Offerman, whose voice Makowsky says he heard in his head as soon as he started writing the role: “I was like, it has to be Nick Offerman.” He took some liberties with the character and events, including a memorable sequence where Arthur and Guiteau go on a bender. Makowsky says they “probably never had a wild night out in New York, but it was an indelible proposition and I couldn’t resist.”

Nick Offerman plays eventual President Chester A. Arthur, who was closely aligned with New York Sen. Roscoe Conkling (Shea Whigham).

Betty Gilpin portrays First Lady Lucretia Garfield as her husband’s intellectual equal. (Larry Horricks / Netflix)

As to the first lady, “Lucretia Garfield was every bit her husband’s intellectual equal. But she couldn’t vote. There was a ceiling to what a woman in her day could accomplish,” Makowsky says, wistfully musing on what she might have achieved, given the chance. “And Betty [Gilpin] radiates that strength and that acute intelligence.”

Having recently given birth, Gilpin took her family along to Budapest for filming, voraciously researching Lucretia and reading her entire correspondence with her husband. The role gets meatier as the series progresses until she initiates an unforgettable, blistering encounter with Guiteau to button the story.

“Betty jokingly said to me, ‘If you cut that scene, I will kill you.’ I was like, ‘There’s no way that scene is being cut. It’s one of my favorite scenes in the entire show,’” Ross recalls. “Everyone who read it was like, ‘Oh my God, this scene.’ And Betty just knocked it out of the park, take after take after take.”

The forgotten president

Ross says when he first read Makowsky’s scripts, he thought they were “fantastically relevant” and offered a fresh look at American history. “As an American, I’m always trying to figure out what it means to be American,” he says. “The story of Garfield, you couldn’t make it up. He was a hero of working people and the promise of American democracy — having a representational democracy where those in power and the wealthy are not controlling the laws of the land, which could not be more relevant today.”

Makowsky calls Garfield “a poster boy for the American dream,” rising from poverty to the nation’s top office.

“He was a war hero and a Renaissance man that did math theorems while he was in Congress and who could recite Homer from memory,” he says. “This remarkable individual, fiercely intelligent and a brilliant, powerful orator, was far ahead of his time on certain political questions of the day. He was an outspoken proponent for civil rights and universal education and civil service reform.”

In real life, and as depicted in the series, Garfield worked with notable Black leaders like Frederick Douglass and Blanche Bruce, the first Black register of the Treasury, whom he appointed.

“The great tragedy is we were robbed of a potentially generational leader in Garfield,” Makowsky says.

“Death by Lightning” showrunner Mike Makowsky says Americans were robbed of a “potentially generational leader” in James Garfield.

(Larry Horricks / Netflix)

Garfield wasn’t even seeking the nomination when he spoke on behalf of another candidate at the Republican National Convention of 1880, but his speech so moved the delegates that they eventually persuaded him to accept the nomination after more than 30 votes failed to produce another winner. It reminded Makowsky of then-Sen. Barack Obama’s 2004 speech at the Democratic National Convention, where he presented “a strong and confident, optimistic vision for the future of our country.”

Nowadays, such a rise seems less likely. “I don’t know if that would happen today, obviously because of money in politics; no one can run if they don’t have phenomenal backing,” Ross says.

Ross emphasizes the show is “not a history lesson,” drawing a distinction between drama and documentary. At times, “Death by Lightning” plays like a black comedy. Makowsky’s dialogue, while usually honoring what we think of as the formality and vocabulary of the 1880s’ idiom, occasionally veers into hilariously cathartic invective that bracingly reminds us these were living, breathing people with fire in their bellies.

“Ken Burns could make a 10-hour documentary to encapsulate all the nuances of this incredible story,” says Ross. What Makowsky did, Ross says, was contextualize the history through the prism of two very different people, Garfield and Guiteau.

“One is this incredibly admirable American figure I think everyone should know about, the greatest president we never really had. And then the other is a charlatan, a deeply broken, deeply mentally ill man who just kind of wanted to be Instagram-famous, just wanted to be known. You see this moment in history through their eyes, and I thought that was delicious.”

“Death By Lightning,” premiering Thursday on Netflix, introduces itself as “a story about two men the world forgot,” and while it is undoubtedly true that few in 2025 will recognize the name Charles Guiteau, many will know James A. Garfield, given that he was one of only four assassinated American presidents. There are less well remembered presidents, for sure — does the name John Tyler ring a bell? — and assassins better known than Guiteau, but if you’re going to make a docudrama, it does help to choose a story that might be more surprising to viewers and comes with a murder built in. It is also, I would guess intentionally, a tale made for our times, with its themes of civil rights, income inequality, cronyism and corruption.

Indeed, most everything about the Garfield story is dramatic — a tragedy, not merely for the family, but for the nation. For the sense one gets from “Death by Lightning” and from the historical record it fairly represents, is that Garfield, killed after only 200 days in office, might have made a very good chief executive. (The stated source for the series is Candice Millard’s 2011 book “Destiny of the Republic: A Tale of Madness, Medicine and the Murder of a President”; Millard is also a voice in the more briefly titled, illuminating “American Experience” documentary “Murder of a President.”)

That the longtime Ohio congressman did not seek but was drafted for the job — a compromise chosen, against his protests, on the 36th ballot at the 1880 Republican National Convention, where he’d given a stirring speech to nominate a fellow Ohioan, Treasury Secretary John Sherman — made him, one might say, especially qualified for the job; unlike some politicians one might name, he was self-effacing and humble and not out for personal gain. But he saw, finally, that he had a chance to “fix all the things that terrify me about this republic,” most especially the ongoing oppression of Black citizens, a major theme of his inauguration speech (with remarks transferred here to a campaign address delivered to a crowd of 50,000 from a balcony overlooking New York’s Madison Square Park). “I would rather be with you and defeated than against you and victorious,” he tells a group of Black veterans gathered on his front porch, from which he conducted his campaign. (Some 20,000 people were said to have visited there during its course.)

Political machinations and complications aside, the narrative, which stretches two years across four episodes, is really fairly simple, even schematic, cutting back and forth between Garfield (Michael Shannon, between tours covering early R.E.M. albums) and Guiteau (Matthew Macfadyen), a drifter with delusions of grandeur, as they approach their historically sealed date with destiny. Garfield is goodness personified; we meet him on his farm, cooking breakfast for the family, planing wood to make a picnic table. (A table we will meet again.) Guiteau goes from one failed project to another, living it up on money stolen from his sister, running out on restaurant checks and rooming house bills, telling lies about himself he might well have thought were true, until he decides that politics is the place to make his mark. Under the impression that he was responsible for Garfield’s election, he believed the new president owed him a job — ambassador to France would be nice — and when none was coming, turned sour. A message from God, and the belief that he would save the republic, set him on a path to murder.

Matthew Macfadyen plays Garfield’s assassin, Charles Guiteau, in the miniseries.

(Larry Horricks / Netflix)

The series largely belongs to them — both actors are terrific, Shannon imbuing Garfield with a gravity leavened with kindness and humor, Macfadyen’s Guiteau, optimistically dedicated to his delusions yet always about to pop. But it’s a loaded cast. The ever-invaluable Betty Gilpin, in her fourth big series this year after “American Primeval,” “The Terminal List: Dark Wolf” and “Hal & Harper,” plays Garfield’s wife, Crete, fully up on the political scene and free with her opinions. Shea Whigham is New York senator and power broker Roscoe Conkling, Garfield’s moral opposite, and the series’ villain, if you excuse Guiteau as mentally ill. (The jury didn’t.). As wise Maine Sen. James Blaine, Bradley Whitford exudes a convincing, quiet authority, honed over those years working in the pretend White House on “The West Wing.” All the men have been whiskered to resemble their historical models.

Where most of them, even Guiteau, remain consistent from beginning to end, it’s Nick Offerman’s Chester A. Arthur who goes on a journey. Conkling’s right hand, in charge of the New York Customs House — which generated a third of the country’s revenues through import fees — he’s offered the position of vice president to appease Conkling, New York being key to winning the election. Arthur begins as a thuggish, cigar-smoking, sausage-eating, drunken clown, until he’s forced, by events, and the possibility of inheriting the presidency, to reckon with himself.

When First Lady Crete Garfield wonders whether there should be a little extra security (or, really, any security at all) around her husband, he responds, “Assassination can no more be guarded against than death by lightning — it’s best not to worry too much about either one,” giving the series its title and clearing up any confusion you may have had about its meaning. Indeed, Guiteau moves in and out of what today would be well guarded rooms with surprising ease, managing encounters (some certainly invented) with Crete, Blaine, a drunken Arthur and Garfield, whom he implores, “Tell me how I can be great, too.”

Created by Mike Makowsky, it isn’t free from theatrical effects, dramatic overreach or obvious statements, but as period pieces go, it’s unusually persuasive, in big and little ways. Only occasionally does one feel taken out of a 19th century reality into a 21st century television series. The effects budget has been spent where it matters, with some detailed evocations of late 19th century Chicago and Washington that don’t scream CGI. The first episode, which recreates the 1880 convention, held at the Interstate Exposition Building in Chicago, aligns perfectly with engravings of the scene and brings it to life, supporting the wheeling and dealing and speechifying in a way that one imagines is close to being there.

Because we know what’s coming, the series can be emotionally taxing, especially as a wounded Garfield lingers through much of the final episode, while being mistreated by his doctor, Willard Bliss (Zeljko Ivanek), who ignores the advice of the younger, better informed Dr. Charles Purvis (Shaun Parkes), the first Black physician to attend to a sitting president; many, including Millard, believe it was the doctor who killed him through a lack of sanitary precautions, and that Garfield might have recovered if he’d just been left alone, an idea the series supports.

But you can’t change history, as much as “Death By Lightning” makes you wish you could.

The BBC will be dropping the acclaimed movie soon

The BBC is set to deliver a Regency drama that’s certain to leave viewers weak at the knees, reports Surrey Live.

Audiences have lavished praise on the period piece, with one eager fan sharing their Rotten Tomatoes review: “Seen this in a movie theater elevates it to another level.

“The top of the top in the romance/drama/comedy genre, and one of the best movies of all times [sic].”

Another elated watcher wrote a glowing second review: “I would have to say, personally, this is the greatest movie I have ever watched.

“The story was so compelling, the characters like no other.”

Further praise came from a third delighted viewer who admitted: “I love every single minute of this movie.”

Joe Wright’s cinematically gorgeous 2005 version of Pride and Prejudice is slated for arrival on BBC iPlayer this month, just in time for its 20th anniversary celebrations and synchronising with what would have been Jane Austen’s 250th birthday.

This cinematic rendition sparked debate among die-hard Pride and Prejudice aficionados, especially as it followed a decade after the BBC’s much-cherished 1995 series featuring Colin Firth and Jennifer Ehle as the definitive Mr Darcy and Elizabeth Bennet.

Firth’s embodiment of Mr Darcy transcended the pages when he later mirrored the iconic role in Bridget Jones’s Diary, amassing an even wider fanbase and solidifying his portrayal as the ultimate Mr Darcy for many.

However, Matthew Macfadyen stepping into the prestigious shoes of Austen’s beloved hero for the 2005 film did stir some dissent among admirers, especially as the actor was known then for his work on Spooks.

However, his performance alongside Pirates of the Caribbean and Bend It Like Beckham star Keira Knightley, who played Elizabeth Bennet, managed to win over even the most doubtful critics.

Wright’s Hollywood rendition boasted stunning cinematography, featuring expansive shots of the English countryside, including a memorable scene of Lizzy perched on a cliff in the Peak District.

Complementing the striking visuals was the enchanting score by Italian composer Dario Marianelli.

For those unfamiliar with Austen’s classic, Pride and Prejudice follows the spirited Lizzy and her sisters as they navigate societal expectations to secure their futures through marriage.

Despite their mother Mrs Bennet’s, portrayed by Brenda Blethyn of Vera fame, frantic attempts at matchmaking, several of the Bennet sisters do find a match.

Amidst all this, Lizzy defies convention by seeking a marriage based on love rather than wealth.

Her initial awkward interaction with Mr Darcy sets them both on a transformative journey that challenges their preconceived notions and changes them irrevocably.

Pride and Prejudice boasted an impressive cast including Rosamund Pike, the late Donald Sutherland, Carey Mulligan, Talulah Riley, Jena Malone, Tom Hollander and Rupert Friend.

The film is certainly worth revisiting before Netflix’s upcoming adaptation of Pride and Prejudice, which will feature Emma Corrin as Elizabeth Bennet, Jack Lowden as Mr Darcy and Olivia Colman as Mrs Bennet.

Netflix has assured that the upcoming series will be a true-to-source, classic adaptation of the novel, with Dolly Alderton, author of Everything I Know About Love, handling the scriptwriting.

Filming for Netflix’s Pride and Prejudice is set to take place in the UK this year.

Pride and Prejudice (2005) will be streaming on the BBC iPlayer from May 26