Marian Price, a former ‘volunteer’ (terrorist in other words) with the Provisional Irish Republican Army (IRA), has taken initial steps to sue Disney over her portrayal in the FX limited series Say Nothing. The series, based on Patrick Radden Keefe’s 2019 book, controversially depicts Price’s alleged role in the 1972 murder of Belfast mother Jean McConville, one of the “Disappeared” victims of Northern Ireland’s violent “Troubles.” In the show’s finale, Price is portrayed by actress Hazel Doupe, and McConville is portrayed by Judith Roddy, with Price allegedly shown as the one who fired the fatal shot that killed McConville.
Price’s lawyer, Peter Corrigan, issued a statement asserting that his client had been “forced” to take legal action against Disney in Ireland due to what he called the “egregious” nature of the allegations against her. He pointed out that the claim is “not based on a single iota of evidence” and that such an accusation, widely broadcast, was damaging and “odious,” intended only to increase the show’s popularity. Corrigan further stressed that his client’s reputation – such as it was – was being harmed to secure a boost for the series’ commercial success.
Price’s legal action is directed against the portrayal of her in Say Nothing, which follows the events and individuals involved in McConville’s abduction and murder. The book, written by Radden Keefe, suggested Price’s involvement in the killing, a conclusion that has been vehemently denied by her. Radden Keefe’s work, while heavily researched, lacked a statement from Price, and she has long rejected the accusations. After the book’s publication, she asserted that she was innocent and had not been involved in McConville’s death.
Despite Price’s denial, the show’s showrunner, Josh Zetumer, defended the series’ depiction, stating that the portrayal of McConville’s murder in the series was “definitive” and that Radden Keefe’s findings had been rigorously fact-checked. Zetumer emphasized that the book’s conclusions and the show’s narrative were not speculative but presented as factual, based on extensive investigation.
The portrayal of McConville’s murder in Say Nothing has stirred significant controversy, particularly among those affected by the events of the Troubles. McConville, who was accused of spying for the British army—a claim later dismissed as unsubstantiated—was abducted and killed by Republican militants in 1972, leaving her 10 children orphaned. The remains of McConville were discovered in a beach in County Mouth in 2003. The official investigation into McConville’s death found no evidence that she had passed information to the British forces but rather her death sentence was due to her aiding an injured British soldier.
The series’ release has sparked divided reactions. While it has garnered critical acclaim and made several top “best of” lists, it has also deeply upset individuals close to the victims and those who lived through the Troubles. In November, Michael McConville, the son of the murdered woman, expressed his disgust at the depiction of his mother’s death, stating that the portrayal was “horrendous” and incomprehensible to those who did not live through the trauma.
In response to Price’s legal move, Geraldine Ferguson, whose son was killed in a 2009 Real IRA attack, voiced her disapproval in a letter to the Belfast Telegraph. Ferguson, who understands “immeasurable harm” from personal tragedy, questioned Price’s motivations, suggesting that Price’s lawsuit reeked of hypocrisy. She noted that, regardless of the validity of Price’s claims, the harm caused to those affected by violence during the Troubles is far too real for such legal posturing to be taken lightly.
Price’s attempt to hold Disney accountable for what she believes to be a defamatory portrayal has intensified debates about the ethical boundaries of dramatic representations of historical events. While some may see her actions as a necessary defense of her reputation, others view it as a dismissive response to the very real suffering that such portrayals evoke.
The collision of personal history with the entertainment industry highlights the complex and often painful legacy of the Troubles, a legacy that continues to haunt both victims and perpetrators alike.
