THE HOUSE OF GUINNESS. A Legacy Sealed in a Pint of Stout

The idea for a series about the famous family of Irish brewers came from Ivana Lowell, granddaughter of Maureen Blackwood, one of the three sisters known as the “Guinness Golden Girls.” She grew up among wealthy yet unhappy aristocrats who turned water, hops, and barley into a golden business, strengthening its position over generations and making the Guinness brand a lasting symbol of quality and tradition. The next step in maintaining that renown is a series about the Guinness family, set during the most turbulent period in Irish history – the second half of the 19th century – after the Great Famine, when social tensions and economic changes grew increasingly visible.

At the helm of the production is Steven Knight, co-creator of Who Wants to Be a Millionaire and showrunner of Peaky Blinders. Interestingly – and importantly in the context of this project – Knight, who received an Oscar nomination for his screenplay for Stephen Frears’ Dirty Pretty Things (2002), founded a brewery in 2005 called Freedom Beer Company, which he ran with his family. This personal adventure in brewing lends his perspective on the Guinness saga an additional, almost autobiographical layer. For the viewer, however, the key is that his expertise and sense of realism go hand in hand with a gripping, tension-filled story.

The series begins with the funeral of Sir Benjamin Lee Guinness in 1868, setting a dark tone for the narrative. A world of wealth and opulence suddenly becomes an arena of conflict and manipulation, trials and temptations, secrets and intrigue. When big money is at stake and the company’s reputation is threatened, violence erupts. At times, the brewer’s family resembles a mafia clan – with an enforcer on their payroll, ready to intimidate, knock out teeth, and do whatever needs to be done, ruthlessly. All in the name of protecting the business and preserving the golden Guinness legend.

Family disputes and secrets intertwine with Ireland’s historical backdrop, creating a saga that doubles as a period drama about influential aristocrats and philanthropists, while also depicting revolutionary movements seeking to free Ireland from British rule (a hegemony that lasted nearly 750 years). At the same time, it reflects on the price paid to maintain prestige and power in a world where wealth and influence outweigh personal comfort.

These were times when marriage was a strategic transaction – social status, fortune, and reputation took precedence over feelings, while personal passions led to affairs, betrayals, and hidden relationships. Meanwhile, homosexuality was treated as a crime and severely punished, further complicating the private lives of individuals and their families.

Knight, together with two directors – Tom Shankland (episodes 1–5) and Mounia Akl (episodes 6–8) – spares the audience no intense dramatic moments. They build tension not only through family conflicts but also through clashes with the IRB, the Irish Republican Brotherhood (commonly known as the Fenians), who were campaigning for an independent Ireland.

The creators do not shy away from homosexuality either – one of the brothers running the business hides his orientation to avoid social condemnation. In contrast, another brother’s love story provides a different kind of tension: though he falls for “the right” gender, he too cannot find happiness – thwarted by social conventions and his lover’s political ties to the independence movement.

The eighth and so far final episode of The House of Guinness ends on a cliffhanger, suggesting that a continuation is inevitable – unless Netflix cancels the series (a risk even for popular hits, as the case of Kaos shows). The show has solid pacing and charismatic characters, and the Irish atmosphere works well, though the use of music and at times music-video-style editing is debatable. Alongside traditional Irish songs (such as Phil the Fluter’s Ball and The Ode to Charlie Mops featured in the finale), hip-hop and punk rock are also used, which can feel jarring in the 19th-century setting. Some melodramatic subplots and resulting sentimentality, as well as poorly directed, unconvincing sex scenes, also detract from the overall effect.

Among the greatest strengths of the series is the acting. Leads Louis Partridge (Edward) and Anthony Boyle (Arthur) dominate the screen, while James Norton also delivers a commanding performance as Rafferty. Jack Gleeson injects extraordinary energy into the series – his character, Byron Hedges, is flawed, but unlike his infamous role in Game of Thrones, here he elicits sympathy, blending youthful vigor with drama and ambiguity.

To sum it up, it’s hard to resist beer-related metaphors when describing this production, so here it goes: The House of Guinness is a story brewed slowly, with the right bitter aftertaste, dense and strong like a pint of stout. And with every sip, viewers may find themselves hooked.