Knightfall: Myth vs. History of the Knights Templar

People and Characters

Knightfall mixes real figures with invented ones. The protagonist, Landry de Lauzon, himself is entirely fictional (no historical Templar by that name is recorded). Many of his companions, Gawain, Tancrede, Parsifal, etc., are likewise made-up knights (indeed, “Gawain” is an Arthurian name, not a 14th-century figure). By contrast, Philip IV of France (The Fair) and his advisor Guillaume de Nogaret are real. Philip really did turn on the Templars to seize their wealth, and Nogaret was indeed his attorney-general. The show’s portrayal of Philip as jealous of the Templars’ power has some basis: Philip was in debt to them and wanted their lands. However, details like a secret affair between Landry and Queen Joan of Navarre are pure invention. In reality, Philip’s wife Joan had children only by Philip himself, notably a daughter Isabella (1295–1358) who married England’s Edward II, and there is no evidence she bore a Templar’s child. Similarly, the character Pope Boniface VIII (played by Jim Carter) is mis‐dated. Boniface died in 1303, yet the series has him alive around 1307, giving Landry orders, a chronological anachronism. (Historically, it was Pope Clement V who dealt with the Templar trials after 1307.) Notably, historian Dan Jones observes that by the early 14th century, most French Templars were living quietly on estates rather than crusading; Knightfall tends to dramatise them as warriors and adventurers, which reflects modern storytelling more than the medieval reality.

Beliefs and Religion

Knightfall leans into myths. The Grail quest is a fantasy element; no contemporary source links the medieval Templars to the Holy Grail. The series also shows pagan or heretical cult practices (e.g. idol worship, secret cults) inside the Order, echoing the historical accusations. The historical Templars were accused of heresy, under torture, some confessed to devil-worship and spitting on the cross, but most historians dismiss those confessions as forced lies. The show treats the Templars’ vows seriously: for example, Templars are sworn to poverty and chastity. In reality, they did take strict vows (poverty, chastity and obedience) as a monastic order. The plot has Landry repeatedly break his vow of chastity (via a secret affair with the queen), which would have been a scandal in medieval eyes. Thus, the show’s romantic plotlines are largely fictional and clash with what is known of Templar discipline.

Material Culture & Warfare

The visuals generally nod toward period detail. The knights wear the classic white mantle with red cross (accurate heraldry for Templars) and wield swords, spears and crossbows that are plausible for 14th-century Europe. Their chainmail armour and great helms match the transitional military gear of the era. However, some anachronisms appear. For example, the series often shows horses with elaborate full armour (shaffrons, crinets) even off-battle; historically, a horseman would only don barding in actual combat due to its weight. Likewise, while the costumes (noble robes, surcoats, church vestments) look convincingly medieval, dialogues are entirely modern English (this is a common fictional shortcut). The settings (French castles, cityscapes) are believable reconstructions, though filmed in Prague and Dubrovnik. One example: a medieval village set at Barrandov Studios was even designed down to the roots, but a 2016 fire destroyed much of it. Overall, the props and sets are high-quality, but the show takes creative license with tactical details and omnipresent armour that would not have been practical in day-to-day life.

Events & Timelines

The broad strokes of history are present, but the timeline is compressed. It correctly anchors the Templar crisis around 1307. King Philip did indeed order the simultaneous arrest of all French Templars on October 13, 1307. In the series, Philip’s hatred of the Order is plausible; in reality, Philip was heavily indebted to them and saw a political gain in seizing their assets. The subsequent trials were long and complex: in fact, by 1310, only a few dozen confessed knights were executed in Paris, and most survivors retracted their confessions. Knightfall simplifies these events into villainous plots and instant betrayals. It does not depict the 1311 Council of Vienne or the papal Bull that officially dissolved the Order in 1312, nor the final execution of Grand Master Jacques de Molay in 1314 (though Philip’s pressure on Pope Clement V is shown in spirit). The sequence of historical events is therefore altered: for example, the show’s inclusion of Pope Boniface in the main storyline is off by a few years (Boniface died in 1303). Battles such as the Siege of Acre (1291) are shown as a prologue, and later skirmishes in Europe are fictional. In short, Knightfall uses real dates (1307) and figures (Philip, Nogaret) as anchors, but reshuffles and adds events (Holy Grail quest, secret ceremonies) that are invented or heavily dramatised.

Production & Aesthetics

Knightfall’s costume and set design vividly evoke the medieval Templar image. Knights in the series wear the iconic white mantle with a red cross over chainmail, exactly as historical sources describe. The armour (mail coif, great helm, long sword, shield) corresponds broadly to 13–14th century crusader gear. The special effects and cinematography are lavish: for example, the medieval village and castle sets (built in Prague) look realistic, and firing thousands of archers or building siege engines is convincingly staged. Aerial shots of army camps and churches feel authentic. Of course, no show is perfect: viewers note that every horse seems clad in battle gear even on routine rides, which in reality would only have happened in actual combat scenes. But for the most part, Knightfall leans into the grand, romantic version of medieval visuals. (Notably, the production invested heavily – a fire in 2016 burned a full-scale 14th-century village set at Barrandov, estimated at $4 million in damages.) The dialogue is modern English, but characters use French and Latin names (Landry, de Nogaret, Pope Boniface, etc.) that generally fit the period’s culture. Overall, the series’s art direction and cinematography are among its strengths.

Cultural Reception & Impact

Knightfall received mixed reviews. On Rotten Tomatoes, Season 1 holds a moderate 57% (critics) score. Reviewers praised its action and atmosphere, but often warned that history buffs would be frustrated by liberties taken. For example, a viewer review observed that “if you want historical accuracy, then this sort of series is not for you, but it is gripping enough for a lay audience”. In the popular press, the show was viewed as a spectacle rather than a lesson: Variety called it “derivative” with little depth, while Collider and others found charm in the side-plots. Among medieval enthusiasts, discussion has centred on what the series changed: many note that Castle Dauphin in the plot is fictional and that real Templars would never act as some characters do on screen. The series did spark renewed interest in Templar history; as Dan Jones hoped, many viewers may indeed “head to the library” after watching to learn the real story. Academics generally agree that Knightfall should not be treated as factual, but it has helped popularise the era. Its cultural impact is thus more in entertainment and tourist interest (boosting curiosity about Paris’s Temple Church or medieval Malta, etc.) than in scholarship.