Music appropriate for pondering.
Point of ponderment: Modern political sensibilities and Robin Hood adaptations. Not long ago, some of us will remember a rather clever adaptation of Robin Hood released by the BBC, starring Cutey McCuteness and his nearly acting talents:
While I thought this through I realized it indicated exactly what annoyed me about the rest of the show. The Sheriff's character was all right. I squared with that. However, the writers of the show did this weird thing with all the rest of the characters: the political savvy of all the other characters had been updated to match the Sheriff's, or a modern audience, or something. What that meant is no one was surprised by back stabbing, not in the old sense of horror that we'd associate with twelfth century England. Everyone wheeled and dealed, even the fair Maid Marien, who would not, we hope, be that nefarious. Everyone in the show could calculate the angles, as if they were long-time conmen, trained politicians. I could never quite buy the modern powers of diplomacy displayed by every freaking character in the show. It seemed improbable at best.
That's my little treatise. It got me thinking about inserting anachronistic sensibilities into stories, and how internal consistency of your world extends further than artifacts and language. Whole sensibilities must be considered. A pre-scientific method (look up Decartes and radical doubt)England is less likely to be as cynical and suspicious as the show depicted, that's what I think. Characters like the Sheriff called into question a statement like that so that you wondered what it would take to educate other people inside a different paradigm of how people are expected to operate. However, having every single character at the same scheming level right out of the gate is secretly boring, if you think too hard about it. One must be careful with such things.