Beth is fictional but inspired by chess grandmasters like Bobby Fischer (career trajectory, US vs. USSR rivalry) and potentially Lisa Lane (glamour). Her addiction issues stem from author Walter Tevis's own experiences with medication. She also represents a "tribute to brainy women."

While fictional, Mr. Shaibel represents the possibility of an unexpected mentor figure. His role in teaching Beth chess in an orphanage basement is a narrative device, but mentors can come from unlikely places.

Alma embodies some mid-century suburban women who felt unfulfilled and struggled with alcohol and prescription drug dependency, a common issue of the era. Her supportive role in Beth's chess career, however, is crucial to the plot.

Jolene represents a peer in the orphanage system. Her later appearance as a successful, politically aware Black woman in the 1960s touches upon the Civil Rights era and the different paths individuals from such backgrounds might take.

Beltik represents the established, more conventional chess players Beth encounters and surpasses. His approach to chess (study and discipline) contrasts with Beth's more intuitive style, reflecting different types of players in the chess world.

Benny, a U.S. Champion and rival-turned-ally, seems to draw some inspiration from flamboyant and confident chess personalities. His style and role as a mentor/rival are common archetypes in competitive narratives.

The main story following Beth Harmon's rise to chess world champion is completely fictional.

The fictional "Xanzolam" pills are based on real benzodiazepines like chlordiazepoxide (Librium), which were sometimes administered to children in orphanages and institutions in the 1950s and 60s to manage behavior.

Chess grandmaster Garry Kasparov and chess coach Bruce Pandolfini consulted on the show, ensuring the games played are realistic, often based on or inspired by historical matches. The on-screen moves are generally accurate.

While an exaggerated visual for television, the concept of strong chess players visualizing games in their minds, sometimes many moves deep, is a real skill. The ceiling visualization is a metaphor for deep mental calculation.

The general structure, atmosphere, and progression of tournaments from local to national to international levels are portrayed with reasonable accuracy, reflecting how a player might advance in the competitive chess world.

A common critique from chess experts is that Beth rarely, if ever, has a draw in her depicted games, winning or losing decisively. In high-level chess, draws are very common. This was likely a narrative choice for dramatic impact.

The series shows Beth and Alma needing prize money to survive and travel to tournaments. In that era, chess was not as lucrative as it can be today, and financial backing was often a significant concern for players without state support.

The show depicts game adjournments where a player seals their next move. While adjournments were common, some details, like who seals the move if the opponent proposed the adjournment, are slightly altered for narrative flow.

While camaraderie exists in chess, the consistent and largely selfless support Beth receives from her male rivals, especially in preparing for Borgov, is seen by some as idealistic. Real-world female players often faced more isolation and direct opposition.

The series accurately portrays the intense US-Soviet chess rivalry, which was a significant element of Cold War cultural competition. Soviet players and the Soviet system were dominant in chess during this period.

The series depicts instances of surprise and underestimation Beth faces as a female player. While some real female players from the era felt the sexism was even more severe than portrayed, the show acknowledges the male dominance of the sport.

The orphanage is fictional. While the series shows an integrated orphanage, the reality in Kentucky in the mid-1950s was complex due to segregation laws; such integration was unlikely in some specific areas but not impossible depending on the institution's nature.

The portrayal of Alma Wheatley's suburban home, lifestyle, and societal expectations for women in the late 1950s and early 1960s is generally well-realized in terms of aesthetics and social atmosphere.

The series is widely praised for its meticulous and accurate costume design, set decoration, and overall production design, effectively capturing the distinct aesthetics of the late 1950s and 1960s.

The undercurrent of the Cold War, particularly the US-Soviet rivalry manifesting in chess tournaments and the pressure on Beth as an American playing in Moscow, is effectively portrayed and historically relevant.

These cities were indeed prominent locations for international chess tournaments during the era. The series uses these settings to showcase Beth's rising international status and the global nature of high-level chess.

The depiction of hotel rooms, air travel, and general travel experiences reflects the style and conditions of the 1960s, contributing to the period authenticity.

Smoking was widespread in the 1950s and 1960s, and its frequent depiction indoors, in public places, and by many characters is accurate for the period.

The series reflects the prevailing societal attitudes of the 1950s and 60s, where women's ambitions, especially in male-dominated fields like chess, were often met with surprise, skepticism, or dismissal.

Chess Review' was a real and influential American chess magazine during the period depicted. Its inclusion adds a layer of authenticity to the chess world portrayed.

The series reflects a historical reality where tranquilizers (like Miltown, "Mother's Little Helper") and alcohol were sometimes used by women to cope with anxiety, stress, or dissatisfaction, often over-prescribed or socially accepted.