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Blackadder the Third
Blackadder the Third
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Blackadder the Third
Title screen of Blackadder the Third
Written by
Directed byMandie Fletcher
Starring
Theme music composerHoward Goodall
Country of originUnited Kingdom
No. of episodes6 (list of episodes)
Production
ProducerJohn Lloyd
Running time30 minutes
Original release
NetworkBBC1
Release17 September (1987-09-17) –
22 October 1987 (1987-10-22)
Related

Blackadder the Third [1] is the third series of the BBC sitcom Blackadder, written by Richard Curtis and Ben Elton, which aired on BBC1 from 17 September to 22 October 1987.[2] The series is set during the Georgian Era, and sees the principal character, Mr. E. Blackadder, serve as butler to the Prince Regent and have to contend with, or cash in on, the fads of the age embraced by his master.

The successor to Blackadder II, the series reduced the number of principal characters again compared with the previous series, but instead included a number of significant cameo roles by well-known comic actors.[3] The programme won a BAFTA award for Best Comedy Series in 1988 and received three further nominations.[4]

A fourth and final series, Blackadder Goes Forth, aired in 1989.

Plot

[edit]

Blackadder the Third is vaguely set in the late 18th and early 19th century period known as the Regency, although it is not possible to precisely date any episode as the historical events and persons depicted and referenced are (perhaps intentionally) anachronistic. For example, the formal Regency (during which King George III was incapacitated due to poor mental health and his son, George, Prince of Wales, served as regent) was in place between 1811 and 1820, and the series repeatedly refers to George as "Prince Regent". However, the second episode depicts Samuel Johnson (who died in 1784) working on his groundbreaking dictionary (which was published in 1755). Likewise, the final episode is set just before the Battle of Trafalgar (1805), but refers to George as Prince Regent, depicts George III as suffering from mental illness, and refers to Arthur Wellesley, who was not created "Viscount Wellington" until 1809, as "Wellington".

In the series, Mr. E. Blackadder Esquire (Rowan Atkinson) is the head butler to the Prince of Wales (Hugh Laurie), who is a spoiled, foppish idiot. Despite Edmund's respected intelligence and abilities, he has no personal fortune to speak of. On the other hand, given the ease with which he is able to manipulate the prince, he is generally financially comfortable. According to Edmund he has been serving the Prince Regent all of his life, ever since the prince was breastfed (when he had to show the prince which part of his mother was "serving the drinks").

Baldrick (Tony Robinson) remains similar to his Blackadder II predecessor, and although his "cunning plans" cease to be even remotely intelligent (except in the last episode), he is the most aware of political, religious and social events. As Blackadder himself is now a servant, Baldrick is labelled as Blackadder's "dogsbody". In this series, Baldrick often displays a more belligerent attitude towards his master, even referring to him once as a "lazy, big-nosed, rubber-faced bastard" or deliberately comparing his face to his Scottish cousin, MacAdder, who Blackadder openly believes to be ugly. Blackadder often affectionately calls him "Balders" (and Baldrick sometimes calls Blackadder "Mr. B.").

There are three main sets: the prince's quarters, which are opulently decorated; the below-stairs kitchen hangout of Blackadder and Baldrick, which is dark and squalid (though very large and with a very high ceiling); and finally Mrs. Miggins' coffeehouse. Mrs. Miggins' pie shop was a never-seen running gag in Blackadder II; a descendant of hers is now finally shown, played by Helen Atkinson-Wood.

The plots feature rotten boroughs, Dr. Samuel Johnson (played by Robbie Coltrane), the French Revolution (featuring Chris Barrie as a revolutionary) and the Scarlet Pimpernel, over-the-top theatrical actors, squirrel-hating female highwaymen, the practice of settling quarrels with a duel, and the discussion of tactics with the Duke of Wellington (played by Stephen Fry).

The last episode features Rowan Atkinson as Blackadder's Scottish cousin MacAdder, supposedly a fierce swordsman. This leads to a dialogue in which Atkinson is acting both parts. After this episode, Blackadder finds fortune and ends up permanently posing as the Prince Regent after the real prince, disguised as Blackadder, dies after being fatally shot in the chest by the Duke of Wellington.

Episodes

[edit]
See also: List of Blackadder episodes

The series aired for six episodes broadcast on Thursdays at 9:30 pm on BBC1.[2] The titles of the episodes are always a noun paired with another, derived from an adjective beginning with the same letters, in the manner of the Jane Austen novels, Sense and Sensibility and Pride and Prejudice. On the first broadcast, fifth episode "Amy and Amiability" was billed in the Radio Times under its working title of "Cape and Capability".[5]

No.
overall		No. in
series		TitleDirected byWritten byRecorded dateOriginal release date
131"Dish and Dishonesty"Mandie FletcherRichard Curtis & Ben Elton19 June 1987 (1987-06-19)[6]17 September 1987 (1987-09-17)

Blackadder attempts to win a by-election in the rotten borough of Dunny-on-the-Wold against the petulant teenage Prime Minister William Pitt the Younger (who plans to bankrupt Blackadder's master, the Prince Regent, by removing him from the Civil list), using Baldrick (later known as Mr. S Baldrick, the initial letter standing for "Sodoff") as the MP. Unfortunately, after Baldrick wins, he is manipulated into voting for Pitt, pushing Blackadder to meddle with politics even further.

Featuring Vincent Hanna as "his own great-great-great-grandfather".
142"Ink and Incapability"Mandie FletcherRichard Curtis & Ben Elton5 June 1987 (1987-06-05)[7]24 September 1987 (1987-09-24)

The Prince decides to become patron of Dr. Samuel Johnson and his new dictionary, until they become enemies after the prince offends Dr. Johnson. When Blackadder discovers that Baldrick has burnt the only copy of Dr. Johnson's dictionary, Blackadder must rewrite the dictionary.

Guest starring Robbie Coltrane as Dr. Johnson.
153"Nob and Nobility"Mandie FletcherRichard Curtis & Ben Elton10 July 1987 (1987-07-10)[8]1 October 1987 (1987-10-01)

Irritated by the new obsession with all things French, Blackadder makes a bet with Lords Topper and Smedley and goes out to rescue an aristocrat and claim his 1,000 guineas.

Guest starring Tim McInnerny, Nigel Planer and Chris Barrie.

Note: Despite this being the third episode in the series, this was actually the last one to be filmed.
164"Sense and Senility"Mandie FletcherRichard Curtis & Ben Elton12 June 1987 (1987-06-12)[9]8 October 1987 (1987-10-08)

When an assassination attempt is made on the Prince, Blackadder decides to help him with his image by writing a public speech. Against Blackadder's advice, the Prince employs two over-the-top actors, Enoch Mossop and David Keanrick, to coach him on how to give the speech.

Guest starring Hugh Paddick, Kenneth Connor and Ben Elton.
175"Amy and Amiability"Mandie FletcherRichard Curtis & Ben Elton26 June 1987 (1987-06-26)[10]15 October 1987 (1987-10-15)

When the Prince runs out of money, Edmund attempts to marry him off to the daughter of a rich industrialist, but is thwarted at every turn by the mysterious highwayman "The Shadow".

Guest appearances by Miranda Richardson as Amy Hardwood and Warren Clarke as Mr Hardwood.
186"Duel and Duality"Mandie FletcherRichard Curtis & Ben Elton3 July 1987 (1987-07-03)[11]22 October 1987 (1987-10-22)

The Duke of Wellington promises to kill the prince in a duel after the prince has an affair with two of the duke's nieces. Baldrick comes up with a plan involving Blackadder taking the prince's place in the duel, and Blackadder intends on using his mad Scottish cousin, MacAdder.

Guest starring Stephen Fry as the Duke of Wellington.

Cast

[edit]
Main article: List of Blackadder characters
The principal cast of Blackadder the Third in their Regency-styled costumes. Top (L-R): Rowan Atkinson, Hugh Laurie, Helen Atkinson-Wood. Bottom: Tony Robinson

Although this series reduced the size of the show's cast, the programme featured guest appearances in each episode. Tim McInnerny decided not to continue playing the character of Lord Percy for fear of being typecast, although he appeared in a guest role as Lord Topper in episode three.[citation needed] Stephen Fry and Miranda Richardson, who had played major parts in Blackadder II, also appeared in guest roles as the Duke of Wellington and a disguised highwayman, respectively. Fry and McInnerny would return as regular performers for the fourth series of Blackadder. Other notable guest stars included Denis Lill as Sir Talbot Buxomley MP, Robbie Coltrane as Dr. Samuel Johnson, and Hugh Paddick and Kenneth Connor as stage actors Keanrick and Mossop, respectively.

Music and titles

[edit]

The opening theme is this time a minuet played on a harpsichord, oboe and cello over close-ups of Blackadder searching a bookcase.[12] The credits and title appear on the books' spines, and each has a condition and script to match each character, for example Baldrick's is plain and in poor condition. Other amusing interspersed titles include From Black Death to Blackadder, The Blackobite Rebellion of 1745, The Encyclopædia Blackaddica and Landscape Gardening by Capability Brownadder.[citation needed] Hidden inside a hollow book, he finds a romance novel (complete with cover art) bearing the title of the particular episode. The closing credits are presented in the style of a theatre programme from a Regency-era play, and with an accordion closing theme that samples the melody of the original theme.

Awards

[edit]

The programme won a BAFTA award for Best Comedy Series in 1988.[4] It was also nominated for three more awards; Rowan Atkinson for "Best Light Entertainment Performance", Antony Thorpe for "Best Design" and Victoria Pocock for "Best Make Up".[4][citation needed] The four series of Blackadder were voted second in the BBC's Britain's Best Sitcom in 2004.[13]

Media releases

[edit]

Blackadder The Third is available on BBC Worldwide-distributed DVD and VHS video as an individual series or as part of a boxset with the other series of Blackadder. A BBC Radio Collection audio version created from the TV soundtrack is available on cassette and CD.[14] All four seasons and the Christmas special are available on iTunes.[15] The complete scripts of the four television series were released in 1998 as Blackadder: The Whole Damn Dynasty 1485–1917, and by Penguin Books in 2009.[16]

VHS releases

[edit]
  • In June 1988, November 1988, and February 1989, BBC Enterprises Ltd released all six episodes of Blackadder the Third on two videos. They were re-released on 7 September 1992 as a double VHS, and on 2 October 1995 as a single video.
VHS video title Year of release/BBFC rating Episodes
Blackadder The Third: Sense and Senility (BBCV 4143) 6 June 1988 (15) Sense and Senility, Amy and Amibility, Duel and Duality
Blackadder The Third- Dish and Dishonesty (BBCV 4175) 7 November 1988, and 6 February 1989 (PG) Dish and Dishonesty, Ink and Incapability, Nob and Nobility
Blackadder The Third- Sense and Senility (BBCV 4176) 7 November 1988, and 6 February 1989 (15) Sense and Senility, Amy and Amibility, Duel and Duality
The Complete Blackadder the Third (Double Pack) (BBCV 4786) 7 September 1992 (15) TAPE 1: Dish and Dishonesty, Ink and Incapability, Nob and Nobility,
TAPE 2: Sense and Senility, Amy and Amibility, Duel and Duality
Blackadder the Third- The Entire Historic Third Series (BBCV 5713) 2 October 1995 (15) Same as 'The Complete Blackadder the Third' but with all 6 episodes on a single video: Dish and Dishonesty, Ink and Incapability, Nob and Nobility, Sense and Senility, Amy and Amiability, Duel and Duality

DVD releases

[edit]
DVD title DVD Content Region 1 Region 2 Region 4
Blackadder 3
 Complete third series, no extras.
26 June 2001
5 February 2001
28 February 2002
The Complete Blackadder All four series, no extras.
N/A
12 November 2001
3 October 2002
Blackadder – The Complete Collection All four series and specials, no extras.
26 June 2001
3 October 2005
N/A
Blackadder Remastered – The Ultimate Edition All four series and specials remastered, plus Blackadder Rides Again documentary, audio commentaries on selected episodes and interviews with cast.
20 October 2009
15 June 2009
1 October 2009

LaserDisc release

[edit]

Blackadder The Third was released on a double LaserDisc set by Encore Entertainment in May 1997. The episodes were spread over three of the four sides.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Blackadder the Third

View on Grokipedia
from Grokipedia
Blackadder the Third is the third series of the British historical sitcom Blackadder, consisting of six episodes broadcast on BBC One from 17 September to 22 October 1987. Set in the Regency era during the reign of George III, the series follows Mr. E. Blackadder, a cunning butler (Rowan Atkinson), as he serves the dim-witted Prince Regent George (Hugh Laurie) while scheming to elevate his social status through various satirical misadventures. Accompanied by his dim-witted servant Baldrick (Tony Robinson) and the eccentric Mrs. Miggins (Helen Atkinson Wood), Blackadder's plots often involve historical figures and events, such as elections rigged against Prime Minister William Pitt the Younger and encounters with the Scarlet Pimpernel. The series was written by and , directed by , and produced by John Lloyd, building on the time-spanning format of previous seasons while shifting to a more confined domestic setting in . Notable guest stars include as the Duke of Wellington and as Dr. , contributing to the show's sharp wit and period authenticity through elaborate costumes and sets. Episodes such as "Dish and Dishonesty," "Ink and Incapability," and "Duel and Duality" parody Regency , , and dueling , respectively. Critically acclaimed for its intelligent humour and performances, Blackadder the Third won the BAFTA Television Award for Best Series in and a for Series, with nominations in categories like Performance and Make Up & Hair Design. It is often regarded as one of the strongest instalments in the franchise, praised for blending historical satire with timeless .

Overview

Premise

Blackadder the Third is set in the of late 18th- and early 19th-century , where the cunning Mr. E. Blackadder serves as butler to the foolish and extravagant , . Blackadder employs elaborate schemes and sharp wit to manipulate events and elevate his own social standing, often navigating the prince's incompetence and the era's political machinations. The series satirizes rigid class structures, political intrigue, and historical figures through anachronistic humor and intricate wordplay, exaggerating the Prince Regent's real-life flaws—such as his profligacy and intellectual limitations—for comedic effect. Blackadder's interactions with his dim-witted master highlight the absurdities of aristocratic privilege, while encounters with figures like the Duke of Wellington or Dr. Johnson parody Regency society's pretensions and power dynamics. Comprising six 30-minute episodes, the series aired on from 17 September to 22 October 1987 and was written by and . This installment continues the lineage, tracing the character's descent from nobility in earlier eras—such as Prince Edmund in the early and Lord Blackadder in the —to a mere servant, maintaining continuity through the enduring Blackadder-Baldrick partnership across time.

Historical Setting

Blackadder the Third is set in the 1810s during England's Regency era, a period when George, Prince of Wales, served as regent for his father, King George III, who was deemed mentally unfit to rule. This historical backdrop provides the foundation for the series' exploration of upper-class extravagance and political intrigue at the royal court, primarily within the opulent confines of Carlton House, the Prince Regent's lavish London residence. The show satirizes key aspects of the era, including the corrupt electoral system exemplified by rotten boroughs—small districts with disproportionate parliamentary influence that favored the aristocracy—and the prevalence of duels as a means of settling personal disputes among the elite. Literary circles are lampooned through encounters with figures like Dr. Samuel Johnson, whose lexicographical work is reimagined in a comedic context that highlights the pretensions of intellectual pursuits in high society. While drawing on authentic Regency themes, the series incorporates deliberate anachronisms to amplify its humor, such as modern slang, contemporary political jabs, and references to inventions or attitudes not yet existent in the early 19th century. For instance, characters employ 20th-century idioms and sarcastic wit that clash with the period's formality, underscoring the timeless follies of power and class. These elements allow the writers, Richard Curtis and Ben Elton, to critique ongoing social absurdities through a historical lens, blending sharp satire with exaggerated stereotypes of Regency excess. Visually, the production achieves thematic authenticity through meticulously researched period costumes and sets that evoke the grandeur of , featuring ornate furnishings, gilded decorations, and expansive interiors to mirror the era's architectural splendor. Costume designer crafted outfits true to Regency styles, with tailored coats, , and elaborate gowns that balance historical precision with the show's comedic exaggeration of aristocratic vanity. This grounds the anachronistic humor in a recognizable historical framework, enhancing the satirical impact without sacrificing visual fidelity to the period.

Production

Development and Writing

Blackadder the Third was commissioned by the in the wake of the critical and commercial success of , continuing the series' progression through British history into the . The writing duties were handled by and , who had assumed primary script responsibilities starting with the second series after the initial collaboration between Curtis and on . Elton's involvement, beginning with , introduced a more incisive satirical edge to the scripts, leveraging the Regency period's political and social intrigues for heightened commentary across the six episodes. The duo collaborated on the scripts, with each contributing to the dialogue and structure. Unlike the location-intensive production of the first series, which incurred high costs due to on-site filming challenges, Blackadder the Third maintained the cost-efficient studio-based format established in , allowing for greater emphasis on ensemble interactions among the core cast. This approach prioritized economical shooting while enhancing the comedic dynamics between characters like the cunning and his dim-witted associates. Scripts were completed in ahead of the series' broadcast on .

Casting

Rowan Atkinson reprised his leading role as the cunning butler Mr. E. , a continuation from the previous series where his signature delivery established the character's sly, world-weary demeanor. joined the main cast as the foolish George, a promotion from his guest spots in that provided a contrast to the prince's childlike idiocy through roles like the drunken Simon Partridge and cunning Prince Ludwig. Tony Robinson was recast in the supporting role of , the hapless dogsbody whose "cunning plans" provided essential ; according to Robinson, nine other actors had declined the part before it was offered to him. was chosen for the recurring part of Mrs. Miggins, the eccentric coffee shop owner, leveraging her proven comedic timing from radio sketches on programs like Radio Active. Tim McInnerny opted out of reprising his role as Lord Percy, the bumbling nobleman from the first two series, to avoid being typecast in similar characters, though he returned for a single guest appearance. Miranda Richardson, who had played Queen Elizabeth I in Blackadder II, made sporadic returns in guest capacities, including as the highwaywoman Amy Hardwood in the episode "Amy and Amiability." The casting process prioritized ensemble chemistry through group auditions and reads, ensuring seamless interplay among the principals, and proceeded without notable controversies, wrapping up by early 1987 ahead of summer filming.

Filming and Design

Blackadder the Third was filmed entirely in studio at BBC Television Centre in London during the summer of 1987. The production featured three primary interior sets—the butler's pantry, the drawing room, and the kitchen—crafted to capture the opulent Regency aesthetic with lavish furnishings and detailed period elements. Production designer Antony Thorpe's sets emphasized grandeur in the upper-class spaces while contrasting them with the more utilitarian below-stairs areas, earning a nomination for the BAFTA Television Craft Award for Best Production Design in 1988. Costumes, designed by Annie Hardinge, adhered to Regency-era accuracy while incorporating satirical exaggerations, such as oversized wigs and flamboyant aristocratic attire to heighten the comedic absurdity. Makeup designer Victoria Pocock managed transformations for character disguises and aging effects across episodes, contributing to the series' visual humor; her work received a BAFTA nomination for Best Makeup and Hair in 1988. Mandie Fletcher directed all six episodes, employing a multi-camera setup recorded before a live to capture the sitcom's fast-paced timing and audience reactions integral to its delivery.

Narrative Structure

Plot Overview

Blackadder the Third is set in the of late 18th- and early 19th-century , where the central character, Mr. E. Blackadder, serves as butler and advisor to the inept and foppish , George (later ). The series' general arc centers on Blackadder's cunning schemes to exploit the Prince's intellectual shortcomings and naivety for personal advancement and social elevation, often involving manipulations of political events or societal trends. These efforts are consistently undermined by the incompetence of his servant or by unexpected twists, highlighting Blackadder's frustration in a rigidly hierarchical world. Recurring themes throughout the series include social climbing amid class distinctions, , and the ridicule of intellectual pretensions, with much of the humor arising from the farcical interactions among the . 's relationship with the Prince is one of manipulative friendship, where he tolerates and guides George's childish decisions while plotting behind his back; in contrast, Blackadder shows open disdain for Baldrick's loyalty, which is marred by profound stupidity. Subtle romantic tensions emerge in Blackadder's occasional dealings with the coffee shop owner Mrs. Miggins, adding a layer of unfulfilled longing to his otherwise pragmatic pursuits. These dynamics drive the satirical commentary on historical figures and customs. The narrative employs an episodic structure with loose continuity across its six episodes, allowing each installment to explore standalone escapades while maintaining the core character tensions and overarching goal of Blackadder's upward mobility. The tone blends absurd with sharp verbal wit, satirizing the era's fads, political machinations, and absurdities through irreverent historical anachronisms. This format underscores the series' emphasis on ensemble-driven , where individual ambitions collide in increasingly chaotic scenarios.

Episode Guide

Blackadder the Third consists of six episodes, all directed by Mandie Fletcher and written by Richard Curtis and Ben Elton. The series aired weekly on BBC One from 17 September to 22 October 1987.

Dish and Dishonesty

Aired on 17 September 1987. The episode centers on the Prince Regent's financial crisis as Prime Minister William Pitt the Younger pushes a bill to remove him from the Civil List. Blackadder orchestrates an election scam in the rotten borough of Dunny-on-the-Wold, purchasing the seat for four shillings from the owner Lady Whiteadder and installing Baldrick as the candidate. To secure victory, Blackadder bribes supporters, rigs votes by having supporters vote multiple times, and even declares 12 non-existent children as voters. Twists include the unexpected return of the incumbent MP Sir Talbot Buxomly, whom Baldrick poisons to eliminate competition, and a chaotic parliamentary session where Baldrick is elected Speaker after Blackadder's manipulations backfire. The humor revolves around satirical takes on British electoral corruption and the absurdity of rotten boroughs. Notable guest stars include Simon Jones as William Pitt the Younger, Robert East as Charles Fox, and Vincent Hanna as the election reporter.

Ink and Incapability

Aired on 24 September 1987. The Prince Regent agrees to patronize Dr. Samuel Johnson's new , prompting to mock the endeavor while accidentally burns the manuscript in the fireplace, mistaking it for kindling. Desperate to recover it, visits Johnson, who is distraught and suicidal over , leading to a frantic search and 's coerced assistance in rewriting entries. Key events include Johnson's emotional outbursts, 's of words like "" itself, and a climactic dinner where the Prince's illiteracy is exposed, forcing to improvise praise. The resolution sees Johnson reclaiming his work after retrieves the ashes, highlighting themes of literary pretension and class folly through witty wordplay. Guest star portrays the tormented Dr. Johnson, whose performance drives the farce.

Nob and Nobility

Aired on 1 October 1987. Annoyed by the adulation for the Scarlet Pimpernel rescuing French aristocrats during the French Revolution, Blackadder accepts a wager from two lords to rescue an aristocrat himself and present him at the French ambassador's ball. He hires an actor to pose as the rescued aristocrat Le Comte de Frou-Frou, but their plan unravels when revolutionaries seize the embassy. Imprisoned and facing torture, Blackadder and Baldrick attempt escapes through deception, including poisoning the real Scarlet Pimpernel (one of the lords), leading to a chaotic resolution where Blackadder falsely claims credit for the rescue to win the bet. The episode satirizes revolutionary fervor, English snobbery toward the French, and heroic pretensions through bungled schemes and disguises. Guest stars include Tim McInnerny as Lord Topper and Le Comte de Frou-Frou, Nigel Planer as Lord Smedley and the Scarlet Pimpernel, and Chris Barrie as the fearsome revolutionary.

Sense and Senility

Aired on 8 October 1987. Following an assassination attempt on the Prince Regent by an anarchist, Blackadder hires two actors from the Keanrick Players, Keanrick and Mossop, to tutor the Prince in elocution for an upcoming speech to Parliament. The actors' melodramatic and superstitious methods clash with the Prince's stupidity, leading to disastrous rehearsals and Blackadder's tormenting them with references to the "Macbeth" curse. Blackadder later tricks the Prince into believing the actors are plotting his murder by staging a suspicious rehearsal, resulting in their arrest and Blackadder's profit from the scheme. The episode's comedy stems from theatrical satire, royal ignorance, and the actors' downfall. Notable guests include Hugh Paddick as Keanrick, Kenneth Connor as Mossop, and Ben Elton as the anarchist.

Amy and Amiability

Aired on 15 October 1987. To alleviate the Prince's gambling debts, arranges a to the wealthy , disguising himself to woo her while fending off her murderous fiancé, the . Their romance blossoms amid highway robberies, but complications arise when interferes, leading to a botched and a climactic confrontation at a . ultimately sacrifices the match to save , who accidentally kills the , resolving the through . Twists involve identity swaps and fatal misunderstandings, with humor from romantic and social climbing. Guest star plays the charming yet dangerous .

Duel and Duality

Aired on 22 October 1987. The offends the by flirting with his niece, prompting a challenge that terrifies the cowardly royal. switches places with his identical cousin, MacAdder, a Scottish soldier, to fight in his stead, but the plan unravels when the real suspects the ruse and demands a rematch. Key events include drunken revels, a fake death, and a final standoff where Baldrick's idiocy saves the day by misdirecting the combatants. The episode ends with 's survival and the 's obliviousness, poking fun at military bravado and Regency dueling codes. Guest stars include as the and in dual roles.

Cast and Characters

Main Cast

Rowan Atkinson portrays Mr. E. Blackadder, the scheming butler to the Prince Regent in the Regency era, whose character evolves from the more arrogant and less competent figure in previous series to a pragmatic survivor focused on navigating social hierarchies for personal advancement. Atkinson's performance emphasizes Blackadder's Machiavellian wit and self-serving tactics, delivered through a signature style of sharp, sardonic insults that underscore his intellectual superiority over those around him. This portrayal highlights Blackadder's cunning efforts to exploit the era's fads and his master's follies for gain, marking a refined development in the character's arc across the Blackadder series. Hugh Laurie plays Prince George, the bumbling and naive Prince Regent, whose dim-witted vanity provides a perfect foil to Blackadder's schemes and amplifies the series' satirical take on Regency aristocracy. Described as a "fat, flatulent git" and "as thick as a whale omelette," George's exaggerated idiocy allows Laurie to showcase his emerging comedic range through physical humor and absurdly naive dialogue. This role, often noted for its series-stealing energy, early demonstrated Laurie's talent for portraying hapless authority figures in contrast to sharper counterparts. Tony Robinson reprises his role as Baldrick, the dim-witted dogsbody servant to , whose infamous "cunning plans" invariably lead to comedic disaster and underscore the hierarchy of incompetence in the household. In this series, Baldrick's character receives an expanded focus on , leveraging Robinson's diminutive stature and high-pitched voice to infuse and into the otherwise verbally driven humor. His belligerent yet hapless demeanor heightens the dynamic with , turning everyday servitude into a source of escalating absurdity. Helen Atkinson-Wood appears as Mrs. Miggins, the proprietor of a local coffee shop who serves as Blackadder's occasional love interest and unlikely ally in his various escapades. Her jolly, middle-aged character injects recurring comic relief through interactions that blend flirtation with the era's social quirks, providing a grounded female presence amid the male-dominated palace setting.

Guest Appearances

Blackadder the Third incorporated a series of prominent guest stars across its episodes, each appearing in a single installment to amplify the show's satirical commentary on historical and social tropes of the Regency era. These performers were chosen for their established comedic talents and ability to embody exaggerated period archetypes, providing bursts of star power that complemented the core ensemble without introducing recurring elements beyond the principals. In "Nob and Nobility," guest-starred as the Ambassador, a fearsome French disguised as an aristocrat to hunt nobles, whose infiltration plot parodies legend and paranoia. Barrie's frenzied, accent-heavy performance delivers explosive threats and chaotic disguises, heightening the episode's on and foppish English society. In "Ink and Incapability," guest-starred as Dr. , the renowned lexicographer whose fanatical dedication to his drives the plot's chaos when accidentally destroys the manuscript, satirizing intellectual pomposity and the fragility of literary legacy. Coltrane's intense, verbose characterization heightened the humor through Johnson's explosive reactions to synonyms and definitions. In "Amy and Amiability," appeared as Amy Hardwood, the adventurous daughter of mill owner Josiah Hardwood and secret highwaywoman known as , whose romance with lampoons class-crossing love stories and myths. Richardson's versatile portrayal shifts from demure to bold robber, adding romantic and gender to the episode's themes of and . appeared as Josiah Hardwood, the gruff northern mill owner and father to the highwaywoman Amy, whose dowry prospects lure into a politically charged romance, lampooning class divides and industrial ambition. Clarke's bluff, no-nonsense demeanor as the self-made entrepreneur added layers of regional to the episode's exploration of and . In "Sense and Senility," actors and portrayed the theatrical tutors David Keanrick and Enoch Mossop, respectively, hired to refine the Prince's amid threats; Paddick's flamboyant elocutionist and Connor's pedantic rival injected absurd dramatic flair, parodying the era's obsession with and while clashing with 's cynicism. In "Duel and Duality," delivered a memorable as the of , depicting the historical military figure as an overbearing, pistol-wielding antagonist who forces the into a absurd duel, thereby mocking notions of aristocratic valor and personal rivalries. Fry's portrayal, marked by booming authority and physical menace, intensified the episode's farcical climax around themes of survival and deception.

Style and Presentation

Music Composition

The music for Blackadder the Third was composed by , who crafted a minuet-based theme in primarily for and strings, evoking Regency-era elegance while incorporating ironic modern twists to underscore the series' comedic . The theme features period-appropriate instrumentation, including performed by Helen Ireland, strings with by Lesley Shrigley-Jones, by Sandra Mackay, bass by Robbie Burns, by Gavin Povey, and percussion by Nigel Shipway and Richard Marcangelo, blended with contemporary elements such as for a wacky, anachronistic flair. Vocals were provided by Ritchie Pitts, Alison Limerick, and Lyn Kieran, adding to the theme's playful character. Goodall's score employs light orchestral pieces to accompany scenes, with exaggerated flourishes during farcical moments to amplify the humor and maintain the period feel without overpowering the dialogue. The supports the comedic tone subtly, avoiding additional gags and focusing on rhythmic and melodic cues that sync with the action, such as underscoring sequences. There is no prominent beyond subtle period-appropriate elements, preserving the Regency atmosphere. The composition process involved Goodall adapting the core theme from earlier series post-filming, with recordings featuring a BBC-contracted ensemble of musicians to ensure orchestral depth. The theme was reused in the end credits, providing continuity across episodes. Sound design integrated Foley effects for physical comedy, like metallic clashes in duel scenes, timed precisely with dialogue and visuals to enhance timing-based humor.

Title Sequence

The title sequence of Blackadder the Third features a live-action segment in which , portraying Mr. E. adder, searches through a shelf lined with specially designed books bearing humorous titles that incorporate the word "," such as The Blackadder's Progress and Rise and Fall. The spines of these volumes, blocked in gold foil, display the series title along with cast credits for principal actors including , , and . As Blackadder pulls out a selected , the interior reveals an illustrated bookmark that presents the title of the specific episode, such as "Dish and Dishonesty" or "Ink and Incapability," with each installment featuring a unique Regency-era subtitle updated accordingly. This structure integrates seamlessly into the narrative's satirical tone, emphasizing themes of and that recur in episodes centered on writing and historical figures. Compared to the location-shot sequences of earlier series like , which involved on-site filming of horseback scenes and battles, the third series' adopts a simpler studio-based approach to align with the production's shift toward interior sets during the Regency period. The consistent 30-second format overlays Howard Goodall's without variation across the six episodes, contributing to the series' efficient, stylized identity.

Reception

Critical Response

Upon its release in 1987, Blackadder the Third garnered positive critical reception for its sharp wit and clever writing, particularly the contributions of co-writer , alongside Rowan Atkinson's impeccable and performances from the ensemble cast. The series achieved an average critic score of 83% on , reflecting praise for its brainy humor and snappy dialogue. It was popular in the UK, underscoring its immediate success. Critics and retrospectives have often hailed Blackadder the Third as the pinnacle of the franchise, striking an ideal balance between and absurd while maintaining narrative consistency across its six episodes. In a 2014 AV Club retrospective, the episode "Ink and Incapability" was described as "the most consistent episode of the series so far," with acclaim for the enhanced interplay among the reduced core cast—Edmund , , and the Prince Regent—which amplified the cynical social commentary and laugh-out-loud dynamics. This acclaim extended to standout guest appearances and the show's ability to lampoon Regency-era figures and institutions without losing momentum. While overwhelmingly praised, some contemporary and later observers noted minor drawbacks, such as the absence of Lord (a from prior series, played by , who opted out to avoid ) and occasional predictability in plot resolutions that relied on familiar schemes. These critiques were generally overshadowed by the series' strengths in scripting and delivery. In modern assessments, Blackadder the Third continues to rank highly among British comedies; in the 2004 BBC poll "," the overall Blackadder franchise placed second. On , it holds an 8.6/10 rating from nearly 50,000 user votes as of 2025, affirming its enduring appeal for humor and character-driven .

Awards and Nominations

Blackadder the Third received significant recognition at the 1988 British Academy Television Awards (BAFTAs), held in London, where it won the award for Best Comedy Series, credited to producer John Lloyd and director Mandie Fletcher. This victory highlighted the series' sharp writing and period production values, contributing to the BBC's strong reputation in comedy programming during the late 1980s. The win underscored the show's success in blending historical satire with ensemble performances, elevating its status among contemporary British sitcoms. The series also earned three BAFTA nominations in 1988: for Best Light Entertainment Performance in recognition of his portrayal of the cunning ; Antony Thorpe for Best Design, praising the elaborate Regency-era sets; and Vicki Pocock for Best Make Up & Hair, noting the attention to historical accuracy in costumes and appearances. These nominations reflected the production team's excellence across multiple technical and performance aspects. Beyond the BAFTAs, Blackadder the Third secured a win at the 1989 CableACE Awards for Series, awarded to producer John Lloyd, affirming its international appeal on . It received four additional nominations at the CableACE Awards: for Directing a Series; and for Writing a Series; and for International Performer. These accolades, totaling three wins and six nominations across major ceremonies, cemented the series' critical and industry validation without any major losses detracting from its reputation.
Award CeremonyCategoryRecipientResultYear
BAFTA Television AwardsBest Comedy SeriesJohn Lloyd, Mandie FletcherWon1988
BAFTA Television AwardsBest Light Entertainment PerformanceNominated1988
BAFTA Television AwardsBest DesignAntony ThorpeNominated1988
BAFTA Television Craft AwardsBest Make Up & HairVicki PocockNominated1988
CableACE AwardsComedy SeriesJohn LloydWon1989
CableACE AwardsDirecting a Comedy SeriesNominated1989
CableACE AwardsWriting a Comedy SeriesBen Elton, Nominated1989
CableACE AwardsInternational PerformerNominated1989

Legacy

Cultural Impact

Blackadder the Third played a pivotal role in elevating the historical genre within British television, transforming it into a vehicle for sophisticated that blended factual with irreverent humor. By setting its episodes in the and featuring sharp commentary on , class, and human folly, the series set a new standard for period comedies, influencing the development of subsequent programs that used historical contexts to deliver biting social critique. The screenwriter and director discussed in a interview how changed the by making historical settings accessible and entertaining, thereby expanding the genre's appeal beyond traditional dramas. The show's approach to historical comedy has cast a lasting shadow, directly inspiring later works such as the BAFTA-winning children's series . Creators of acknowledged —alongside Monty Python—as a key influence in their irreverent treatment of the past, emphasizing gruesome and anarchic elements to engage audiences with history's absurdities. This legacy is evident in how popularized the use of anachronistic wit and character-driven , encouraging a wave of satirical historical programming in British media. Iconic elements from the series have permeated , with Baldrick's recurring declaration of a "cunning plan" becoming a staple phrase in British lexicon to denote comically flawed strategies. This , originating from the hapless servant's schemes in Blackadder the Third and other series, has been referenced in political commentary and everyday humor, underscoring the show's linguistic impact. Furthermore, Rowan Atkinson's portrayal of ranked third in Channel 4's 2001 poll of the 100 Greatest TV Characters, highlighting the character's enduring resonance as a cunning . The series' influence extends to legacy media adaptations and cross-references, including stage productions like the 2017 adaptation of Blackadder the Third, which captured the original's witty dialogue in a live format and drew enthusiastic student audiences. Nods to the series appear in various films and TV shows, such as parodies of its historical tropes in programs, reinforcing its role as a touchstone for British comedic . Its enduring popularity is affirmed by 2023 retrospectives, including the documentary Blackadder: A Cunning Story, which marked the franchise's 40th anniversary and celebrated it as a landmark of . Fan interest remains robust in 2025, as evidenced by ongoing discussions in media coverage of potential revivals and cast updates, including hinting at new plans in July 2025 and sparking excitement among fans in October 2025.

Media Releases

The initial home media release of Blackadder the Third occurred on in the through Video, with individual episode compilations such as Sense and Senility and Dish and Dishonesty issued in 1988, followed by a complete series titled The Complete Blackadder the Third - The Historic Third Series in 1992. These editions captured the series in its original broadcast format, making it accessible to fans shortly after its 1987-1988 television run. The series transitioned to DVD with a Region 2 release of the complete third series, Blackadder 3 - The Entire Historic Third Series, distributed by BBC Worldwide on 5 February 2001, featuring the six episodes in standard definition without additional extras. A Region 1 edition for North American markets followed in June 2001 as part of BBC Warner's Black Adder III single-disc release, also in standard definition. In 2009, BBC issued a remastered Black Adder Remastered: The Ultimate Edition set encompassing all four series, including Blackadder the Third, with enhanced picture quality, audio commentaries by cast and crew, outtakes, and deleted scenes to restore elements like a cut joke from episode three. Digital distribution began with availability on in the late 2000s, allowing episodic and seasonal purchases, while the series has rotated on since the platform's expansion for on-demand classic content. Since the 2017 launch of , Blackadder the Third has been a staple streaming option on the service in the US and UK, often bundled with the full Blackadder collection. The enduring popularity of the series, driven by its satirical historical humor, has prompted ongoing re-releases across formats. A high-definition Blu-ray edition arrived in December 2023 as part of ' 40th anniversary Blackadder: The Complete Collection seven-disc set, remastered from original negatives for improved clarity while preserving the 1980s production aesthetic, including all episodes of the third series alongside specials and a 2008 documentary marking the franchise's 25th anniversary. No significant controversies have arisen regarding these media releases, which have consistently emphasized archival fidelity over alteration.

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