Ian Thomas Malone

downton abbey Archive

Friday

20

May 2022

0

COMMENTS

Downton Abbey: A New Era is too stuck in the past to enjoy itself

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Ensemble television shows are not particularly well-suited for film as a medium. Television narratives are open-ended, with plenty of space to breathe over the course of a season. Feature-length runtimes don’t have a ton of wiggle room to balance dozens of characters on top of a movie’s usual plot mechanics. The original Downton Abbey film largely succeeded because it structured itself as an extended version of the show, allowing most of the characters to essentially perform as they might on an episode of the series, particularly its annual Christmas specials.

As its title suggests, Downton Abbey: A New Era charts a bit of a different course. The narrative mostly splits itself in half, with Lady Mary (Michelle Dockery) opening the great house to a film crew led by Jack Barber (Hugh Dancy), and Lord Grantham (Hugh Bonneville) leading most of the family on an expedition to the south of France to examine a villa gifted in mystery to the Dowager Countess (Maggie Smith), herself too ill to travel. Lady Mary and company have their fun with the crew, the lead actors Guy Dexter (Dominic West) and Myrna (Laura Haddock) making quite the impression on the servants, most of whom are looking to lives beyond service.

Series creator and writer Julian Fellowes bit off far more than he could chew with the screenplay. The film’s pacing is perpetually rushed, scenes awkwardly written to accommodate characters with nothing else to do, the supporting bench overstuffed with far too many returnees. It makes obvious sense that characters introduced in the first film such as Lucy Smith (Tuppence Middleton), now married to Tom Branson (Allen Leech), and Lady Bagshaw (Imelda Staunton) would come back for the sequel, but Fellowes also makes time for a few recurring characters from the show that missed the previous feature.

It’s unclear how many fans were desperate for the return of Lady Rosamund (Samantha Bond) or Mr. Mason (Paul Copley), two characters who have no business sucking up air in a film that’s already far too bloated to accommodate the series regulars. Much time is also made for a character who isn’t even in the film, Henry Talbot (Matthew Goode), whose consistent unavailability makes you wonder why he was selected to be Mary’s second husband in the first place. One can’t help but wonder if it might have been a good idea to write out several of the characters rather than let their awkward presences in the narrative distract from the fun.

Fellowes recycles a few tired plotlines from the show, namely the question of infidelity and mysterious poorly defined life-threatening maladies that appear out of nowhere. Director Simon Curtis is so awkward with the camera work that he transforms one of the film’s more dramatic twists into unintended comedy. The film is far too preoccupied with subplots that don’t receive enough attention to land with any sense of meaning.

The film’s biggest crime lies with the third act’s bizarre need to serve as a kind of second finale for the TV show. The first Downton Abbey film largely succeeded through its function as a light-hearted epilogue to the show, which already spent much of its fifth and sixth seasons tying loose ends together. For whatever reason, Fellowes decided to tie many of them up again.

The constant meandering, unfortunately, hinders the film’s strong core, namely the production at Downton, a not-so-subtle nod at Highclere Castle’s own history. The film’s newcomers are an absolute joy, meshing wonderfully with the characters who aren’t fooling around in France. Mr. Molesley (Kevin Doyle) predictably supplies much of the film’s humor, easily the best character arc among the supporting cast. A New Era finds its best moments when it actually lives up to its title and focuses on the narratives present.

The strong showing of the fresh faces creates much frustration toward the film’s preoccupation with the past. The narrative was never going to be everything to everyone, but Fellowes sure tried to set up that dynamic. Downton Abbey was a series about change. Old-guard characters were frequently reminded that change is supposed to be a good thing.

As a film, A New Era doesn’t really believe in change. Instead, the narrative tries to function as a film season of television jam-packed into one feature. It’s rather astonishing to see how much Fellowes messed up the screenplay after pulling together such a delightful film the first time around. With our current climate of remakes and reboots, it’s hard to imagine this is the last we’ve seen of Downton. Lighthearted fun should have been so easily dragged down by an unnecessary attempt at closure that will make even less sense by the time the next film inevitably rolls around.

Friday

20

September 2019

1

COMMENTS

Downton Abbey Is a Welcome Return Bound to Satisfy Long-time Fans

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The series finale of Downton Abbey perfectly wrapped up the show in a way that left plenty of room for a return visit to the great country estate. For some, the film might seem superfluous, an unnecessary epilogue to a series that already saw a proper ending. The familiar sounds of Downton’s theme song coupled with the first shot of the beloved castle are bound to warm the hearts of dedicated fans eager for a few more hours spent with these characters.

To creator & screenwriter Julian Fellowes’ credit, he knows when to not tinker with a formula that already works. As a movie, Downton Abbey closely resembles the Christmas specials that capped off each series, a bit more of a cinematic feel than the average episode, but not much more. The extensive helicopter shots of Highclere Castle are just about the only aspect that set the film apart from its source material.

The film makes quick work of reassembling the pre-finale status quo of the series. Mr. Carson (Jim Carter) enjoys his retirement for all of five minutes before being summoned back to Downton. The post-service lives of Mr. Molesley (Kevin Doyle) and Mrs. Patmore (Lesley Nicol) are practically whisked out of memory. There are even kitchen maids present for the first time since the end of series five.

With the King and Queen set to visit Downton, the film finds itself a suitable plot to serve as the backdrop for all the side plots that make the series so beloved. As a show, Downton has always pulled off the big moments quite well, but the show has always been about the little moments. The film possesses all the trimmings of a feature while never losing sight of the smaller-scale magic between the characters that made Downton come alive.

As expected, there’s a fair amount of over-the-top melodrama that seemingly comes out of left field. Fellowes finds a way to include subplots for seemingly every single character, some that work better than others. Even the new characters, particularly the King’s attaché, find themselves with thoroughly fleshed out storylines.

There are a couple of plots that feel a bit stuffed in, clearly designed in service to the characters rather than the narrative. The Dowager Countess (Maggie Smith) is never short on one-liners, though, like series six’s overly-drawn out hospital plotline, her talents might have been better spent on a nobler cause. The absence of Henry Talbot (Matthew Goode) from the bulk of the narrative left Lady Mary (Michelle Dockery) to focus primarily on the visit, bound to disappoint those who wanted to see a bit more from the show’s leading actress. Lady Edith (Laura Carmichael), the often put-upon middle child of the Crawley family, supplies much of the emotional drama.

Like Lady Mary, Mr. Barrow (Rob James-Collier) finds himself looking like a bit of an odd-man-out despite being a central figure in the show’s narrative. Much of this is a product of the film’s desire to integrate his butler predecessor Carson back into the heart of Downton. Longtime fans of Mr. Barrow will undoubtedly find themselves smiling at the story carved out for the closeted servant.

Much of the narrative is totally over-the-top in a way that only seems fitting for a film designed solely to give longtime fans two more hours with the characters they love. There’s absolutely no learning curve present for newcomers to Downton, or even casual fans who might not remember where Daisy (Sophie McShera) left things off with Andy (Michael C. Fox) or the fate of Lord Grantham’s (Hugh Bonneville) valet Mr. Bates (Brendan Coyle) who spent much of the series accused of various murders.

The viewers who found the very idea of a Downton Abbey movie unnecessary will certainly remain unconvinced. For a show about change, the film seeks to uphold the status-quo as much as possible, only throwing a cursory glance toward the themes that drove the show. This story already has an ending.

For those of us who long for the Sunday evenings spent with the Crawley family and their servants, Downton Abbey hits practically every note. The narrative isn’t perfect, but Fellowes and director Michael Engler know how to give fans exactly what they want. Revivals often tinker with the formula just to switch things up. Downton Abbey plays the tunes everyone wants to hear, an immensely satisfying follow-up to one of the great television programs of the twenty-first century.

Sunday

13

September 2015

5

COMMENTS

I Hate Mr. Bates

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I recently rewatched most of Downton Abbey in preparation for season six, which starts a week from today. Being known for its soap operatic value, one shouldn’t step into Highclere Castle expecting plots that make sense or robust character development. Julian Fellowes doesn’t hit his mark every time, but there’s certainly a reason why the recent trailer tugs at many people’s heartstrings and it’s not just because of the music. It’s because we’ve grown to love these characters.

There’s one man I used to love (as one loves a fictional character) once upon a time, but that affection has vanished. Like many, I started to feel it in season four and that continued as questions regarding his morality surfaced yet again. As you probably gathered from the title of this article, I am, of course, referring to Mr. Bates.

At first glance, he’s a tough guy to hate. Misery seems to follow him everywhere, tracking him by the sound of his cane thumping on Downton’s creaky floors and yet, he’s a pretty decent guy. He gave Molesley some money and saved Barrow from ruin at the hands of O’Brien/Jimmy. So why hate his Lordship’s valet?

The Mr. Green plotline has been almost universally panned. Many articles have been penned about how Fellowes has no idea as to what to do with either Bates. I’ve found that the problem goes even beyond Mr. Green. To put it simply, Mr. Bates is terrible.

I’ve gotten into several arguments regarding the Bates/Barrow feud. People say I’m horrible or contrarian for taking Thomas’ side, usually because they forget what’s important. It’s not about who’s the most morally altruistic person. It’s about who’s fun to watch.

There’s a scene in season five where Barrow acknowledges the simple fact that the two do not like each other. This gave me a bit of an “aha” moment as I realized that I don’t like Mr. Bates either. In season three, I was firmly on team #freeBates. Now when I watch season three, I usually skip his scenes (along with Edith’s, which makes it easier for me to keep watching the same show over and over).

Think about how many episodes of the show feature a happy Mr. Bates. He’s sad when he first gets there because no one likes him. He spends the rest of season one feuding with the O’Brien/Barrow dream team and sad about his leg. We also find out he was in trouble for being a thief, which was the first red flag.

Season two brings even more bad news. We find out he has a wife who he doesn’t like. He has a brief moment of happiness when he marries Anna, but then he goes to jail, where he spends most of season three.

He’s happy for a little bit at the end of season three and the beginning of season four, though we find out that he’s also a forger in addition to being a thief. What a standup guy! He’s also always moody. Sure, he’s had rotten luck, but so has Molesley. Downton’s cricket champion never lets the world get him down.

The reason for this sadness is simple. He has nothing else to do. Fellowes never tried to give him any storyline that didn’t involve horrible things happening to him. It got boring. I left the #freeBates team in favor of #killBates. At least then, Molesley could take his place as valet.

Downton Abbey is a drama. We expect characters to endure hardships. It’s generally considered reasonable to expect to be given a reason to like the character as well.

Bates and Barrow contrast well in this regard. Both are generally pretty moody and we know why. Bates is a crippled creep and Barrow is gay at a time when that was not only completely unacceptable, it was criminal.

Their unpleasantness manifests itself in different ways. Barrow takes his anger out on others while Bates is just a grump. We can probably assume that Bates is the better person (unless he actually killed Mr. Green or more gruesome details about his past turn up), but what does that really matter?

As a character, Bates lacks depth. Even his romance with Anna seemed a bit rushed. More importantly, he doesn’t make for good television.

Reports for season six suggest that not everyone will have a happy ending. It’s hard to tell where Bates will fit into this. One would think Fellowes would throw a curveball and let him limp off into the sunset with Anna on his arm. Problem is, I don’t care.

Tuesday

7

April 2015

7

COMMENTS

Character Study: Sir Richard Carlisle

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It’s not particularly hard to see why season two of Downton Abbey is often considered the best. The World War One plotline was perfectly executed and gave the show a feeling of being more than just a soap opera about rich people’s problems (not that there’s anything wrong with that). It wouldn’t be fair to solely credit the plotline for this delightfulness as the new characters played an important role in the success of the season.

At first glance, it’s easy to write off Sir Richard Carlisle as purely villainous. He certainly ended his season long arc as the bad guy. When you look at the newspaper mogul’s tenure as a whole, you see that there was more to him than just his perpetual rudeness.

Iain Glen was tasked with a difficult job in portraying Sir Richard. Julian Fellowes never tried very hard to convince the viewers that Sir Richard actually stood a shot at taking Mary away from Downton. His proposal to Lady Mary ranks among the least romantic courtships in the history of television and most of the characters expressed doubt that Mary would actually go through with marrying him.

Sir Richard was a necessary evil. It was important to prolong the inevitable marriage of Mary and Matthew. This is how television works. With that in mind, it could’ve been easy to not care about Sir Richard as it was always clear that he wasn’t going to be around for very long.

It seems kind of surprising that Sir Richard proposed in episode two, his first appearance, and managed to hang around for the whole season in a completely loveless engagement (though Sir Richard was absent for episodes three and four). Early on, he proved his use by tracking down Vera Bates and saving Mary from public embarrassment had the first Mrs. Bates revealed her transgressions with the Turkish gentleman.

The difficulty with Sir Richard was that he needed to not be sympathetic to prevent the audience side from siding with him over Mary or from too closely resembling Lavinia Swire, who was conveniently killed, off allowing Matthew to save face with the viewers. Mary herself isn’t particularly likable. Sir Richard needed to be more despicable than her, but not excessively tedious to the point that he wouldn’t be able to hang around for the duration of the season. This balance was no easy task.

When you think about it, Sir Richard’s crimes weren’t really all that bad. He had some shady business with the Swire’s early on and his attempt at spying on Lady Mary was foolish, but neither act should really condemn him as a character. It was pretty clear that Mary did not love him and we weren’t really given an alternative motive for his failed efforts to recruit Anna for some espionage other than a genuine desire to please his fiancé.

It was perfectly reasonable of Sir Richard to be concerned about Mary’s proximity to Matthew. She once loved Matthew but she never loved Sir Richard. If you were in Sir Richard’s shoes, wouldn’t you be a tad concerned about your fiancé hanging around her ex?

Carlisle’s big crimes were that he was rude and that nobody liked him. Other than that, he was perfectly respectable and a great fit for Lady Mary. Sir Richard’s status as a self-made man likely made him respectable to many viewers, which is a testament to Fellowes’ writing. It would have been easy to create a villainous character for Mary to fool around with for a season before finally giving in to her love of Matthew, but the more challenging route paid off.

Instead, Sir Richard was given depth. Iain Glen has a knack for playing sketchy knights (he also plays Ser Jorah on Game of Thrones, another man who lusts after a girl he can’t have) and with Sir Richard, he portrayed a character who had a clear and finite purpose, but was surprisingly entertaining to watch.

I suspect that Fellowes had Sir Richard in mind when he created the character of Miss Sarah Bunting. Like Sir Richard, Miss Bunting was an odious character who clearly wasn’t going to be around for very long, but that didn’t mean that she wasn’t given depth and a couple redeeming qualities. Perhaps they would’ve been perfect for each other.

Sir Richard came and played his part on a show he was never going to be part of for very long. To some, he might be a character that you love to hate or just plain hate without any love at all (like his relationship with Mary). As for me, I liked him. He was perfect for Mary, but that’s not what was best for the show.

Next on Character Study, we’ll look at Ally McBeal’s Ling Woo 

Sunday

8

March 2015

0

COMMENTS

Downton Abbey Should Call It Quits After Season Six

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I’ve been re-watching old Downton Abbey episodes quite a bit lately. This is partially because I’ve been in a bit of a rut with new shows, but also because DA is one of my all time favorites (surprise, surprise). With all the talk of Maggie Smith leaving after next season, I thought it would be a good time to chime in with my own thoughts.

People have been quick to challenge the legitimacy of the sources, but I’d be pretty shocked if it wasn’t true. The Dowager Countess is quite old. Maggie Smith makes comments about this all the time. It would be comical to keep her character around for another two season, especially when you consider that DA typically jumps ahead a few years with each season.

While the Dowager plays more of a secondary role, she’s easily the show’s signature character. Lady Violet’s witticisms and facials reactions to the threats on the status quo for the aristocracy are a major reason why the show stands above all the other period dramas in terms of popularity. The cast has seen a significant overhaul in its five seasons, but to lose a core character this late in the show’s run would be hard to stomach. Which is why it should not outlive her.

Downton Abbey is frequently referred to as a soap opera, mostly because of its often melodramatic storylines. It’s important to note that while many of the plots are silly, DA plot progression is the polar opposite of a typical soap opera. DA is all about change whereas soap operas fight to preserve the status quo.

It’s no secret that DA has been on a downward slide for some time. The death of Matthew is often blamed for this, which I’ve explored in previous articles. From a critical perspective, one could argue that season one was the high point (Metacritic supports this, though its hardly unanimous elsewhere). I’d personally go with season two, though that’s not really a knock on season three. World War One was just more interesting than guilt, death, and prison.

It would be unfair to criticize season four for the inevitable scrambling that came as a result of Matthew’s death, but there have been three plotlines that have dragged on for the two seasons with shoddy resolutions: Mary’s courtship, Tom’s departure (if you subscribe to the belief that he’s not actually leaving the show), and Mr. Green’s death. I wasn’t in love with the Edith pregnancy storyline, but at least it wrapped itself up.

The common strands that tied seasons four and five closer together than any other two seasons presents an interesting question for the future. What now? With most of the servants preparing for their retirements, it feels like the end is nigh.

Most shows aren’t designed to go on forever, especially British ones which are often known for their brevity. Six seasons isn’t necessarily the standard run, but it’s not uncommon either. When shows go on longer, it’s often at the insistence of the network and almost always decline further in quality.

This has already happened with Downton. Season five might have been better than season four, but it doesn’t come close to the first three. That doesn’t mean that a final season can’t be spectacular.

Final seasons often give shows a resurgence, as they allow the creators the ability to wrap things up rather than string them along. Downton’s relatively short seasons give Fellowes the chance to accomplish this along with a few new plots.

Think about what a season seven would look like. Rose is already gone, though we can probably expect her in an episode or two. If this is it for the Dowager, then who’s supposed to make their dinners interesting? With Carson’s advanced aged, who’s going to serve them?

Furthermore, two more seasons brings them dangerously close to World War Two. Fellowes has said repeatedly that the show would not cover it and it isn’t exactly equipped to handle it with no males eligible to serve except for possibly George Crawley, who we don’t even really know, assuming Robert, Thomas, Carson, and Molesley are all too old to enlist.

Downton Abbey set out to tell a story about post Edwardian life for the aristocrats who desperately tried to cling on to their old traditions. It’s accomplished that and in doing so, has become a worldwide phenomenon. That doesn’t change the fact that the story has been told.

I for one, want Downton to go out with a bang. I don’t think it can do that in two seasons. That might have worked if Fellowes hadn’t started preparing for the end halfway through season five, but he didn’t. Just because it could be dragged out for another two seasons doesn’t mean that it should.

Monday

16

February 2015

0

COMMENTS

The Ramifications of Jimmy’s Departure from Downton Abbey

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Note: I have seen all of series five of Downton Abbey, which has two more episodes to go in America. This article does not contain spoilers for those episodes. I recommend reading my article on the implications of Matthew’s death as there’s some overlap in subject matter.

At its core, Downton Abbey has always been about change. Lord Grantham, Lady Violet, and Mr. Carson fight this at nearly every corner, while many of the show’s other characters welcome it. As we’ve seen from five series that cover a twelve year time span, even the British aristocracy cannot escape change. For the most part, that’s a good thing.

The natural progression of this change is a shrinking servant staff as Earls learn to dress themselves and pour their own tea. Nearly every servant, young and old have explored this change in mentality as they ponder their places in the ever changing dynamic. Despite this, we saw the cast expand in series three with the arrivals of Alfred, Jimmy, and Ivy.

Seeing fresh faces at Downton coupled with the new aged business practices of Matthew and Tom breathed new life into the dynamic and suggested that Downton might be able to survive without sacrificing too much of the old world. Downton was hiring, not cutting back. Lord Grantham even created a new position for Thomas Barrow, creating the underbutler position to ensure that he could continue to be the man everyone loves to hate.

The youth movement was short lived. By the end of episode one of series five, Alfred, Ivy, and Jimmy were all gone. No new footmen were hired as Molesley was left to endure the wrath of Carson alone. The kitchen features the occasional character helping out, but Ivy was certainly not replaced from a storyline perspective.

This kind of makes sense. Alfred left to become a chef, aware that there wasn’t much of a future in the service industry for a footman. Seeing Molesley struggle to find work despite having experience as both a butler and a valet must have reinforced that. Ivy similarly jumped ship for a new adventure, traveling to America to serve Cora’s brother Harold. Jimmy was the only one whose departure wasn’t linked to the changing times, having been dismissed after being caught in bed with Lady Anstruther.

Alfred’s departure can be easily explained. He needed to go in order to make room for Molesley, who was without a position at Downton. Linking his leaving to the changing times was an added bonus. Ivy wasn’t exactly in a position where she needed to go, but it’s pretty clear that her character was expendable and likely a waste of screen time. She was boring.

The only departure that didn’t really have an obvious motive belongs to Jimmy. That’s not to say that there wasn’t one. Ivy and Alfred were the two characters he interacted with the most, but there was still Barrow, Daisy, and to a lesser extent Rose. Problem is, there isn’t a lot that could have been done with them from a storyline perspective.

I suppose Jimmy could have had a relationship with Daisy, but that wouldn’t have made much sense. A relationship with Rose would’ve been too similar to Sybil/Tom (not that Fellowes is against repetitive storylines). There are limitations for how much Jimmy could do with Barrow as well. It’s not really hard to see why he was viewed as expendable.

The implications of their departures seem to matter more than the loss of them as characters. Not hiring a new second footman means that Downton has cast aside formality for practicality. They didn’t need two footmen, but does that mean there shouldn’t be two footmen?

A side effect of their departure was that it removed Downton as a future centerpiece of prosperity. The young people moved on and the old people need to make arrangements for retirement. Daisy’s storyline has been all about this, undoubtedly provoked by the departures of her peers.

This is where I think getting rid of Jimmy was a mistake. Even if there wasn’t a clear storyline for him, he was still worth keeping around for the sake of appearances. He made Downton look like less of a retirement community.

Fellowes has had no trouble going long periods of time without giving characters like Patmore and the Bates anything to do. Instead of doing that with Ivy and Jimmy, he sent them away. In doing so, he cast a rather premature spotlight on the inevitable direction Downton is headed toward. We know what’s coming. We just didn’t need to see it this early.

Series 6 is widely considered to be the last for Downton Abbey. My next DA themed article will talk about why that’s a good idea, but it’s important to understand why losing Alfred, Ivy, and Jimmy made series 7 such an improbability. Killing the youth movement sped everything else up, a problem that will be further exacerbated by Rose’s presumed departure as the actress is filming Cinderella. There isn’t much else left to do but wrap things up. I’m not convinced that had to be the case all along.

Saturday

10

January 2015

3

COMMENTS

Analyzing the Impact of Matthew’s Death on Downton Abbey

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 Note, while I dislike spoiler notes immensely, as Downton Abbey is currently airing in America, I thought it was polite to note that this article contains minor spoilers through season five as it’s completed its run in England already.

It’s hard to believe it’s been two years since the abrupt car accident took Matthew Crawley away from Downton Abbey at the tail end of the season three Christmas Special. Perhaps it feels longer because of the drop in quality since the heir to Downton left the show. The excellent season five Christmas special shows that DA does have some life left, making now an appropriate time to take a look at how Matthew’s death changed the show.

Downton Abbey, being an ensemble drama, means that it’s hard to argue that Matthew’s death changed the storylines for every single character on the show, even though he was a main character. Matthew didn’t frequently interact with everybody on the show, making it hard to really say that his death impacted everyone equally. You could argue that he might have played a part in Mrs. Patmore’s dead nephew storyline, but you wouldn’t really say that his death altered her arc in any substantial way.

I’ve organized the impact of Matthews’s death on the cast by five tiers. I’m going to exclude Lord Gillingham, Charles Blake, and the rest of Mary’s suitors who were introduced post season three as it’s unlikely they would have been even introduced had Matthew stayed on the show.

Tier 1 (Major): Mary, Molesley

Tier 2 (Secondary): Lord Grantham, Isobel Crawley

Tier 3 (Unknown): Lady Rose, Tom Branson, John Bates, Anna Bates

Tier 4: Everyone else.

Tier 1 is fairly straightforward. Mary’s entire storyline was completely altered because of her husband’s death. No Matthew means no suitors. It’s possible that either Lord Gillingham or Charles Blake could have been introduced in a similar fashion to Simon Bricker, but most of her storylines would be in conjunction with Matthew’s. Maybe she would be a better mother.

Molesley is the other one whose entire storyline was impacted by Matthew’s absence. Matthew’s death caused Molesley’s complete fall from grace, going from valet to second footman. This might have been for the best from a screen time perspective, but he was already comic relief. He might have been in a better positon to court Miss Baxter, but Fellowes has always found ways to screw Molesley. Matthew’s death took much of his dignity, but perhaps it made him more endearing to the audience.

Tier 2 might be a point of debate for some, especially considering that Isobel is Matthew’s mother. But his move to Downton set up Isobel’s relationship with Violet quite nicely and I think that would have happened regardless of whether or not Matthew died. Obviously there were grief moments that wouldn’t have happened, but I don’t think her storyline took the drastic turn that Mary and Molesley experienced.

Lord Grantham fits largely under the same category. Aside from the will stuff, Robert’s storylines would have happened anyway. Matthew would have been involved with the business matters, but you can mostly swap Mary out with him to see what would have happened there. I don’t think Matthew’s death necessarily precluded him from any particular storyline.

We can split up the Tier 3 Unknowns into two categories. Lady Rose and Tom likely experienced slightly larger roles due to Matthew’s death. But I don’t think it’s fair to say that Matthew’s presence would lead to any major changes for either one. Rose could have still come to Downton to represent the younger side of the aristocracy. There was the role of Sybil to be replaced as well, though she was hardly a major character in season three.

Tom is a bit trickier. There’s no denying that he filled some of Matthew’s role, both in Lord Grantham’s eyes and the viewer’s. But would Matthew’s presence prevent his relationship with Miss Bunting or interfere with his desire to move to America? I don’t think so. Matthew meant a great deal to Tom, but his path wasn’t blocked by having a friend and similar (relative) outsider.

As for the Mr. and Mrs. Bates, they seem like an interesting choice to put in the mix considering neither shared much screen time with Matthew. But Matthew’s death lead to Lord Gillingham, which led to Mr. Greene and Anna’s subsequent rape. If Greene hadn’t done it, there’s certainly the possibility that someone else could have. But Matthew’s presence and the need to give him something to do might have cancelled that one out entirely. We don’t know. Hence the unknown.

Which is sort of the same for the rest of the cast. You could say that Matthew might have developed a rapport with Carson, but that’s pure speculation that isn’t really rooted in anything. He could have gotten caught up in a Barrow plot or maybe not.

One element worth speculating on is whether or not Alfred, Ivy, and Jimmy would have left if Matthew hadn’t died. While Matthew didn’t really have anything to do with those three, he was at the forefront of Downton’s “youth movement” in season three, as he and Tom worked with Lord Grantham to modernize things from a business perspective. Entering season six, that youth moment is largely gone, though there’s a new footman in Andy who could bring down the servant’s average age by quite a bit.

One could point to Matthew’s death as indirectly causing Alfred’s departure as Molesley took his place as footman. I wouldn’t say that necessarily needed to be the case and the subsequent departures of Ivy and Jimmy suggest that if that hadn’t have happened, something else might have. Unless you want to make the argument that Matthew’s death elevated the importance of Molesley as a character, rendering some of the servants redundant since there’s only so much screen time to go around.

Which isn’t an unfair point. Matthew’s death took much of the “let’s bring Downton into the modern times” away and instead created a sort of holding pattern that did the show no favors in its lackluster forth season. It’s fair to suggest that the show would have been more business related if for any other reason than it would’ve needed something to take the place of all the grieving over Matthew’s death.

Matthew’s death may not have created much of a visible “void” considering Downton’s large cast, but it had a tremendous impact. Shows like DA tend not to get better with age, but much of the complaints over the past two years fall on Mary’s storylines and the stunting of the plot that was forced by his death. That was avoidable, but it still happened because Dan Stevens wanted off the show before Fellowes could figure out how to adjust properly.

Tuesday

11

November 2014

0

COMMENTS

Season 5 of Downton Abbey Bides Its Time While Waiting for the End

Written by , Posted in Blog, Downton Abbey, Pop Culture

Change has always had a consistent presence on Downton Abbey. Being a period drama, we have a fairly good idea of where the show is going to go as it creeps closer to its inevitable finale. Despite this, the show has done a remarkable job in breathing new life into the old house and decaying aristocratic society.

We saw this particularly in season three with the arrivals of Alfred, Jimmy, and Ivy, which gave the show’s dynamic a breath of fresh air. The youth movement did wonders to negate the feeling that from here on out, life at Downton would veer from the extravagant to the simplistic. With Alfred’s departure in series four, Ivy’s after the Christmas Special, and Jimmy’s after the first episode of series five, that youthful energy is all but gone, leaving Daisy in a similar holding pattern she was in at the start of the show.

The absence of the three of these characters isn’t a big loss from a story perspective. Eight episodes is hardly enough time to adequately address the show’s ensemble cast anyway. Their departures address something that we’d all rather avoid. Things are winding down and now it’s starting to show.

The future was a predominant theme is season five. Carson, Hughes, Patmore, and the Bates all made arrangements for their retirements while Tom continued to grapple with his desire to leave for America while taking Sybbie’s best interests into consideration. Lord Grantham continued to weigh the interests of the village against his obligation to preserve the way of life that can be threatened by those whose interest lie solely in monetary game. Mrs. Crawley debates a marriage proposal to the disdain of Lady Violet, who fears losing her treasured companion as selfish as that may be.

Problem is, this is all familiar territory. Edith and Tom’s storylines are merely continuations of plots from last season that could, and probably should have been wrapped up. Lady Rose’s late-season courtship with Atticus is just about the only fresh plotline to be had other than Mrs. Crawley, who unexpectedly found herself in possession of one of the show’s better stories.

The Bates remain the biggest thorn in Julian Fellows’ paw. He has never really known what to do with them. Sadly, this has resulted in yet another murder plotline that’s even droller and tedious as the first. It’s hard to imagine that #freebates was ever a legitimate fan rally as the couple hasn’t had a positive moment in years.

Fan sentiment also provides a roadblock for Lady Edith and her illegitimate child. It’s sad story. It isn’t a particularly interesting one and Edith’s years of being an annoying/whiney character didn’t do the plot any favors. After five seasons of watching her mope around, it’s hard to care.

This season had a few shining moments worth remembering. Miss Bunting quickly became of the most hated characters in the show’s history and Fellow’s timed her depature perfectly as to not allow her to overstay her welcome (or rather unwelcome). Thomas received redemption of sorts from Dr. Clarkson in one of the season’s most touching moments. Molesley was Molesley and as such, got his own article.

I watched an old season two episode in between episodes to see the contrast between then and now. It’s to be expected that shows drop off a bit as they get older. Even a worldwide phenomenon like Downton.

The problem is that Downton has an identity crisis, a problem that’s existed since the World War I storyline ended but was exacerbated by Matthew’s death. The show knows where it’s going, but it doesn’t know what to do with itself in the meantime. It seems to be a fairly safe assumption that next season will be the final one, which may not be such a bad idea.

Downton Abbey is certainly more entertaining the most of what’s on TV, but it’s also clear that the show is well past its prime. Fellows overindulged in repetitive storylines and drew out others unnecessarily. It’s hard to call season five bad, but when the bar was raised so high from previous years, the drop in quality is a tad unfortunate. The Dowager would certainly not be impressed.

Friday

7

November 2014

0

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Mr. Molesley: The Man, The Myth, The Legend

Written by , Posted in Blog, Downton Abbey, Pop Culture

From his first appearance in episode two, it would be hard to tell that Joseph Molesley would become one of Downton Abbey’s most endearing characters. From butler to valet to laborer to footman, Molesley has a list of occupations rivaled only by Thomas. The backwards progression of these jobs naturally lead to a consistent suffering matched only by Lady Edith. Yet as season five comes to a close, Molesley goes on, earning both the adoration and respect of his fellow workers and viewers alike.

Molesley begins his time on Downton as the butler to Mrs. Crawley, a job that appears to have been organized by either Robert or Violet as Molesley was away from the area at the start of the show. He continued to be a minor character and occasional comic relief throughout the first season. His standout moment was perhaps when Matthew struggled to embrace his services, creating a unique moment where the lavish excess of the upper class is countered by the pride that a person like Molesley takes in his duties.

We see this evolve in season two as Molesley finds himself with little to do in Mrs. Crawley’s absence. Rather than sit around twiddling his thumbs, Molesley makes himself useful at the big house. This is overshadowed by his accidental drunkenness brought on by wine tasting and his failed romantic overtures directed at Anna. Season two establishes Molesley as the good-natured Mr. Bean like klutz destined to be Julian Fellows’ whipping boy.

This “Molesley must suffer” mentality continues in season three. With Matthew engaged to Lady Mary, it makes sense that Molesley would be destined for the big house as the valet to the heir of Downton. Problem is that Matthew doesn’t want a valet. But then he gets one for some strange reason, only it’s not Molesley. It’s Alfred. Without the interference by a jealous Thomas, who insisted that Alfred was not ready for such duties, Molesley might still be in the service of Mrs. Crawley.

Molesley’s high status as Matthew’s valet was short lived. While Mary and Mrs. Crawley could recover their statuses following Matthew’s death, there was no one for Molesley to valet for. Season four showed Fellows’ love of making Molesley suffer as convenient landing destinations for his services were foiled using spotty logic. Mrs. Crawley could’ve easily taken him back as butler and Spratt could have been kicked to the curb following his sabotage of Molesley’s audition. So poor Joesph had to settle for the lowly job of second footman.

The problem is that the positive outcomes would’ve taken him away from the big house, which at this point is where he belongs. The staff has taken quite a beating over the past two years, seeing O’Brien, Alfred, Jimmy, and Ivy all leave. The latter three weren’t exactly replaced by new characters, making Molesley even more important.

There are two distinct versions of Molesley that the viewer gets to see. There’s the drunken bumblehead who loses at cricket and can’t seem to catch a break. But then there’s the man who shows a genuine desire to help others like Baxter and Daisy and of course, the strong man victory in the season three Christmas special.

Mrs. Patmore’s scolding of Daisy for her treatment of Molesley was what prompted me to write this article. In telling Daisy to be nice to people who are kind, Patmore reminds us why people like Molesley are special. They’re rare.

Molesley has had his fair shares of ups and downs, but besides his reluctance to accept the footman position, which received a rather rude response from Carson, he takes his fortunes in stride (even his strong man carnival victory). How many of us can say the same?

Through five seasons, Molesley has grown from a background comic relief figure to the heart and soul of Downton Abbey. He’s an older worker facing uncertain times without the capital of Carson, Hughes, Patmore, and the Bates, who can all invest in retirement options. But you wouldn’t know that just by looking at him. He’s neither the best looking nor the most interesting person on the show, but his consistent good nature sets him apart from the rest of the cast and earns him a place in the viewer’s hearts.