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Charlie Brown doesn't take the news well. You've chosen a period of history that involves a lot of exciting fight scenes and explosions so your audience won't fall asleep and now you need some main characters. But there's a problem: How are you going to make sure that your audience knows who the hero is?

Well, all you have to do is to pick someone who was on your side. If you're American, all you have to do is choose a heroic American. And if you're English, you'll want to support that brave and heroic King William the Conqueror against those treacherous English bas Hey— wait a second Your new hero doesn't quite fit our modern standards of goodness.

Maybe he was a slave trader. Or an openly admitted racial bigot. What are you going to do now? Well, all you have to do is give your newfound hero a few Pet-the-Dog moments, adjust his looks for modern tastes and cut out or ignore anything of his life that doesn't fit your artistic vision.

Note that just because this trope happens to a person does NOT mean that he was evil in real life; he is simply being portrayed more positively in the work of fiction than he was in real life. Also note that this is not necessarily a bad thing , as it is often done to make for a better story. Note that this trope isn't always played seriously; sometimes, a character will be retroactively turned into something on par with a Memetic Badass purely due to Rule of Cool , upgraded in ways that are obviously intended to go far beyond any real-world heroism.

The most extreme examples of this, of course, often overlap with Beethoven Was an Alien Spy. This trope is the opposite of a Historical Villain Upgrade , although many figures often get one of those as well in works with a different viewpoint.

They may also appear alongside each other when applied to different people, to make the Black and White Morality contrast even more obvious. When it's done with original characters in an adaptation of the source work, it's Adaptational Heroism. Examples using real people. One example prolific enough to have its own Wikipedia article: Basically the very common perception that most crimes committed by the Third Reich were done by the Waffen SS or Gestapo, and that the average German soldier was basically a Punch-Clock Villain fighting for his home like any other soldier.

In reality, the Wehrmacht were responsible for the deaths of millions of people and cooperated closely with the SS to exterminate Slavs and Jews, and the average German soldier was a hardcore genocidal racist who genuinely believed in the Nazi cause. The soldiers were heavily indoctrinated with Nazi ideology prior to and during the war.

Even those who came to oppose Hitler such as the July 22 plotters did not always do from motives we would regard as "noble. Most accepted the standard antisemitic, anti-Slavic, German nationalist view, although not always to the genocidal degree of the Nazis. Some honorable exceptions existed , of course. The Waffen-SS has been given similar upgrades to the Wehrmacht, albeit to a lesser extent.

Some have depicted it as an apolitical fighting force that was not involved in Nazi war crimes. It has even been idealized as an "Army of Europe", a multinational force where people from all over Europe volunteered for a heroic fight to defend against communist depravity. Without getting into too much detail, let's just say there were good reasons the Waffen-SS was judged to be a criminal organization at the Nuremburg Trials.

Nevertheless, there are people who continue to depict it as far cleaner than it was in real life. This has been combined with Historical Badass Upgrade at times, making them out to be considerably more elite than they actually were.

Erwin Rommel probably has the best reputation among Those Wacky Nazis , and the myth surrounding him also has its own Wikipedia article. During the war, Rommel was renowned by the Nazis for his abilities in battle and by the Allies for being a man of honor who did not commit the war crimes that were endemic in the German military.

He was also allegedly involved in the July 20 plot to assassinate Hitler and killed by the regime as a result. The popular image of Rommel as a Worthy Opponent in the West and "good German" in reformed Germany endured after the war. The truth was a lot more complicated. Rommel was arrogant, ambitious, and something of a glory hound, and he took advantage of the regime's favor to cultivate a larger-than-life reputation.

While he resisted illegal decrees and possibly participated in the July 20 plot, he likely had selfish motivations for doing both. He did openly resent the SA stormtroopers and later the SS that supplanted them, but this wasn't for entirely pure-hearted reasons either.

He did disapprove of their brutality, seeing them as thugs that were unworthy of Germany, but he also felt that the resources and budget that went to them rightfully belong to the Wehrmacht. He wasn't bloodthirsty like the average Nazi or a complete paragon of virtue, but somewhere in the middle. Hitler's chief architect and later Minister of Armaments Albert Speer tends to be cast in a relatively favorable light as a Punch-Clock Villain by many movies that take his logically biased memoirs at face value.

It also helps that he is one of the only Nazis who declared himself The Atoner at the Nuremberg Trials, as well not being particularly obsessed with the whole racial purity thing. But they often tend to overlook his eager use of slave labor, disposession of Jewish tenants for his architectural plans, and his sheer efficiency at managing the German economy prolonging the war unnecessarily.

To what extent he knew about the Holocaust is also up for debate. It's also debated how sincere his desire for atonement was, and whether he simply realized that for the Nuremberg Trials to be seen as legitimate the Allies needed a repentant Nazi who would confess his crimes and give an insider account of the crimes of the Nazi regime as a whole, making him simply a war criminal who got the equivalent of a plea bargain in exchange for testifying against his accomplices. While not as horrible as someone like Himmler, filmmakers are too easy with swinging the pendulum in the other direction, when in real life he was a very morally ambiguous man.

The German docudrama Speer Und Er at least got this right by never downplaying his personal failings. The very few portrayals of Boudica and historical writings tend to paint her as a native freedom-fighter opposing Always Chaotic Evil Romans, and in Britain some see her as a National Hero she ranked 35 in Greatest Britons , while feminists see her as a victim of abuse reacting against the patriarchy.

The fact that she systematically mass murdered tens of thousands by killing every man, woman, and child in the cities of Colchester, London, and St. There is even a statue of Boudica outside Colchester built specifically to honor the revolt, despite the fact that there is a layer of ash and rubble underneath it from all the buildings she and her forces burnt.

These gruesome atrocities are often downplayed or even treated as justified on the basis that Roman soldiers raped her daughters - despite the fact that those civilians had nothing to do with it. Also ignored is the fact that her defeat at the Battle of Watling Street is extremely impressive from the Roman perspective 20, Romans held off , Bretons using nothing but discipline and determination [at least according to the Roman authors who recorded the rebellion].

Even more modern takes like Tombstone still can't uncouple themselves entirely from this image. Earp's legend likely in part derives from the fact that he acted as an "adviser" on a number of early Western movies - he was good at branding himself. The reality is somewhat more complicated. As a US Marshal, Earp had authority to deputize others and serve arrest warrants, but on the other hand, the Earp Vendetta Ride which took place after the attempted assassination and actual assassination of two of his brothers was a clear example of frontier justice, with Wyatt Earp, Doc Holliday, and their deputized companions hunting down several outlaw Cowboys who they believed were responsible for the assassination and attempted assassination of his family members - a very clear conflict of interest.

In the end, the Earp party arrested one, killed four men, and fled Arizona to escape murder charges. However, it was widely believed in Tombstone that the local authorities were corrupt and would never bring the outlaw Cowboys to justice, even if they committed murder. Many regarded the Earps as heroes who were standing up to cattle-rustling, murderous outlaws, and in the end authorities outside of Tombstone decided not to extradite the Earp party back there to face murder charges.

The real Richard was a deeply complex individual: Terry Jones even claims that after he died records were calling him grasping and portraying him in a negative light, but John becoming the bad King means Richard changed back to being a good King. He did have a good sense of humor, being one of the few medieval kings of whom amusing quips are recorded.

Not a cardboard villain, but not the cardboard angel of Ivanhoe and The Adventures of Robin Hood either. General Charles George Gordon, also known as "Chinese" Gordon or Gordon Pasha, was lionized as a hero in the late Victorian era, so much so, an entire expedition, The River War was launched to "avenge" him after his death at the Siege of Khartoum in Gordon did possess important virtues as an officer he was incorruptible, generally tried to ensure that his soldiers were well paid and had proper equipment but he was also erratic and eccentric, prone to sudden and unexpected rages, harsh punishments and summary executions, and privately a religious fanatic.

In contrast to his reputation as a British officer, Gordon built his fame and earned most of his honours as a mercenary for foreign governments, whether it's the Imperial Chinese government where he led the Ever Victorious Army to suppress the Taiping Rebellion, or the Khedivate of Egypt for whom he campaigned against the North African Slave Trade, albeit for the profit-driven motive of farming cheap albeit free labour for the lucrative Ivory trade.

Before he was called up to relieve Khartoum and oversee the retreat of the Egyptian forces in Khartoum, Gordon had accepted a contract to serve King Leopold's government in the Congo, and it was largely on account of self-promotion and his media reputation, that the British government sent him to Khartoum.

At Khartoum, Gordon greatly exceeded his command and as biographers and later writers noted, he seemed to have become Death Seeker hoping to drive the British to conquer Sudan which the British govenrment did not want to do , repeatedly turning down requests to retreat from his impossible positions and refusing offers to leave by the leader of the Mahdist revolt with whom he exchanged letters. As a result of Gordon's actions, neither surrendering to The Siege or withdrawing from his position as per his original commands, he, his fellows soldiers and the entire garrison at Khartoum were murdered.

Plutarch wrote in his book of historical biographies, Parallel Lives , that Brutus was the last great republican. William Shakespeare saw him as a man who died for the Republic's interests. For a long time the prevailing opinion among liberal-minded intellectuals that Brutus was a shining paragon of republicanism and Caesar a grasping tyrant. Much of this portrayal derives in large part from The Roman Republic getting a hero upgrade courtesy of the Good Republic, Evil Empire dichotomy that existed during the struggle of Europe against the monarchy.

This naturally led to some facts being elided. Namely that Brutus was in fact an optimate , a member and defender of the aristocratic senate.

Cicero's letters note that Brutus was a vicious moneylender who charged poor supplicants exorbitant interest, far more than other optimates. The idea of Brutus as a defender of conservative order against a popular reformer which was how Caesar started out underpinned John Wilkes Booth's citation of Brutus as an inspiration for killing Lincoln, but it rarely colors the discourse of most adaptations. Michael Parenti's book The Assassination of Julius Caesar goes into detail about this including that Cicero apparently was the equivalent of a cruel slum lord and Caesar was more in line with modern leftist values regarding how he treated the poor proposing land reforms, for instance which drew the ire of the optimate faction.

Archaeological discoveries have found coins with Brutus' name and likeness commemorating Caesar's assassination with the word Libertas on it. Putting the face and name of a living Roman on coinage was in the Republican era, a mark of autocracy, as was more or less glorifying the death of a fellow Roman which is what the conspirators accused Caesar of doing in a triumph where he celebrated Cato's death.

It was moroever illegal and the fact that Pompey the Great started doing it, followed later by Caesar himself, and now Brutus, complicates the traditional view of Brutus as a principled statesman and preserver of norms. If nothing else, the existence of these coins does mean that the reluctant vacillating figure in Shakespeare's play was not true and that Brutus did have some amount of ambition and saw himself as the Leader of the conspirators, and was certainly acknowledged as such.

Ultimately, he might have died a Republican before living long enough to be a Dictator or Emperor. Works about the French Revolution will often tend to cast Georges Danton as a moderate liberal revolutionary killed by the revolutionary excesses of the Reign of Terror.

Danton was less enthusiastic about the Terror than many of the Jacobins, but unlike them he commanded huge respect and loyalty from the militant Parisian crowd, which was often even more extreme than the Jacobins. He was also quite corrupt, accepting bribes from foreign diplomats and lived a lavish lifestyle during a time of wartime deprivation and wide starvation.

He was also quite willing to use violence to get what he wanted and it was him, not Maximilien Robespierre , who built the instruments of the Terror: Cartoons in her lifetime depicted her as an airhead who does not realize that cakes and bread are made of the same grain, to a decadent noble who spends all her time and state money on partying and dresses while callously ignoring the suffering of the people, or someone willing to expend money on a Diamond Necklace.

Yet after she died, she became a sentimental favorite for French Restoration Royalists and through them, British and American pop culture , where many saw her as a Tragic Hero who was Innocently Insensitive and became a scapegoat for a misogynist barbarian mob, which has infected most depictions of her since then: Now, it is a fact that all of the above caricatures and rumors were false.

They were deliberately so since Pre-Revolutionary satirists were prevented from making direct criticisms of the state, but indirectly they could attack it by discrediting it and Antoinette proved ideal for it, since her genuine clueless nature and clumsiness made her an easy mark.

She was kind to her servants and favorites, and would dole out charity, and not cruel at all. She was a young woman who was unprepared at becoming a queen she was the youngest of several daughters, but her older sisters died of smallpox with one exception, who ended up with facial scars and tried to cope with things the best she could. She wasn't as excessive as other French aristocrats and there was more than a little xenophobia in mocking the Austrian Woman and her trial was misogynistic even by the standards of her time.

Having said all that, recent films and books about her go so far to the other direction that they can only be called hagiographic, with some even claiming her as a fashion icon and feminist symbol.


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