Play all audios:
Jeremy Clarkson, star of Clarkson's Farm, has voiced his frustration over the BBC's decision to produce yet another drama centred around a "dreary Victorian woman from some
god-awful Jane Austen book that I was forced to study at school" rather than adapting his friend Brian Klein's novel The Spider Covenant. He lamented the broadcaster's
penchant for churning out period dramas with predictable narratives, expressing his boredom with the genre in his column for The Sun. This follows Jeremy's endorsement of his friend and
former colleague's book as "a good read" and his suggestion that it would make "an excellent mini series on TV". The novel spins a tale of sinister businessmen
utilising Nazi funds hidden post-World War Two to finance an advanced AI project aimed at installing Hitler sympathisers in power globally. Brian Klein collaborated with Jeremy on Top Gear,
directing all the studio segments. When Jeremy's stint on the show concluded, Klein joined him on The Grand Tour. Jeremy continued his tirade against the BBC, criticising the
inconsistencies in their historical productions. He pointed out their meticulous attention to detail in ensuring the accuracy of costumes and props, while the overall content often lacks
substance. However, the individual expressed disapproval of casting choices that included "people in wheelchairs and people with Mexican accents" in 17th-century narratives,
reports the Express. He also vented frustration over the inclusion of global warming themes in period dramas. Despite his broader distaste for the genre, he did commend one particular film—a
non-BBC title. Singling out Heath Ledger's 'A Knight's Tale', he noted it as the rare example that successfully bypassed the typical issues he finds with BBC historical
features. Set in the 14th century, A Knight's Tale deliberately blends anachronistic elements with a contemporary soundtrack from the 1970s. Setting aside its playful approach, he
acknowledged that 'A Knight's Tale' transcended the usual pitfalls of historical storytelling on screen. "It was brilliant. Mainly because behind all the period
cleverness, there was a good story. Which you're unlikely to get from a book that sends most readers into a deep sleep by page four," he commented.