The End of Downton

On Friday it was announced that the sixth series of Downton Abbey will be the last. It'll wrap up with a final episode on Christmas Day, meaning that we've got nine episodes of the award-winning drama left.

I suspect I'm not the only person who's relieved by the news. I love Downton, don't get me wrong, but I think ending on a high is the way to go. If you start losing the core cast of Maggie Smith, Hugh Bonneville, Michelle Dockery etc then the show will change beyond recognition. The departure of Dan Stevens left a gap that, really, hasn't been filled, and finding a suitable mate for Mary is one of those tricky things the final series will have to contend with.

There are numerous little story-lines that fans need resolved and numerous little things they'd like to see. We all have our favourite characters and the problem is that giving them all a suitable send-off is going to be difficult.

Whatever happens, Christmas Day 2015 is going to be memorable for Downton fans.

Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey

Before Christmas I received my copy of Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey edited by James Leggott and Julie Anne Taddeo. True to form, I haven't yet managed to dip into the rest of the collection, though expect a review of some sort when I eventually get time to enjoy it. My essay is in the third section, entitled "Homosexual Lives: Representation and Reinterpretation in Upstairs, Downstairs and Downton Abbey" which examines the characters of Alfred Harris in Upstairs, Downstairs and Downton's Thomas Barrow.

Part I: Approaches to the Costume Drama

1. Pageantry and Populism, Democratization and Dissent: The Forgotten 1970s — Claire Monk

2. History’s Drama: Narrative Space in “Golden Age” British Television Drama — Tom Bragg

3. “It’s not clever, it’s not funny, and it’s not period!”: Costume Comedy and British Television — James Leggott

4. “It is but a glimpse of the world of fashion”: British Costume Drama, Dickens, and Serialization — Marc Napolitano

5. Never-Ending Stories?: The Paradise and the Period Drama Series — Benjamin Poore

6. Epistolarity and Masculinity in Andrew Davies’s Trollope Adaptations — Ellen Moody

7. “What Are We Going to Do with Uncle Arthur?”: Music in the British Serialized Period Drama — Karen Beth Strovas and Scott M Strovas

Part II: The Costume Drama, History, and Heritage

8. British Historical Drama and the Middle Ages — Andrew B. R. Elliott

9. Desacralizing the Icon: Elizabeth I on Television — Sabrina Alcorn Baron

10. “It’s not the navy-we don’t stand back to stand upwards”: The Onedin Line and the Changing Waters of British Maritime Identity — Mark Fryers

11. Good-Bye to All That: Piece of Cake, Danger UXB, and the Second World War — A. Bowdoin Van Riper

12. Upstairs, Downstairs (2010-2012) and Narratives of Domestic and Foreign Appeasement — Giselle Bastin

13. New Developments in Heritage: The Recent Dark Side of Downton “Downer” Abbey — Katherine Byrne

14. Experimentation and Postheritage in Contemporary TV Drama: Parade’s End — Stella Hockenhull

Part III: The Costume Drama, Sexual Politics, and Fandom

15. “Why don’t you take her?”: Rape in the Poldark Narrative — Julie Anne Taddeo

16. The Imaginative Power of Downton Abbey Fan Fiction — Andrea Schmidt

17. This Wonderful Commercial Machine: Gender, Class, and the Pleasures and Spectacle of Shopping in The Paradise and Mr. Selfridge — Andrea Wright

18. Taking a Pregnant Pause: Interrogating the Feminist Potential of Call the Midwife — Louise FitzGerald

19. Homosexual Lives: Representation and Reinterpretation in Upstairs, Downstairs and Downton Abbey — Lucy Brown

20. Troubled by Violence: Transnational Complexity and the Critique of Masculinity in Ripper Street — Elke Weissmann

A Note About the Downton Deaths (Spoilers)

In the middle of series three of Downton Abbey I was one of many shocked by the sudden death of Lady Sybil following childbirth. I'll admit I was in floods of tears, then and the following twice I watched the episode. But, following the Christmas special that saw Matthew Crawley crash his car and die on the road, I was left a bit...cold actually. Luckily, I can easily ascertain why.

Sybil's death was sudden, yes, but it was as foreshadowed during the episode as Matthew's was. We saw her loving conversations with Tom, Mary and Cora; we knew the pompous doctor was going to lead to a dead end - possibly quite literally. But this foreshadowing didn't ruin the surprise because there was always a chance she'd pull through. After all, they'd be pretty stupid or brave to kill off such a popular character so swiftly. Whereas, with Matthew, the rumours about Dan Stevens's departure had been circulating for months. It was so damn obvious that he was going to bow out - if not in the Christmas special then in the early part of series four - that the emotion was sapped from the moment. It became all about the actor while Sybil's death was all about the character. I don't seriously believe that the cast and crew couldn't have kept silent if they'd really been induced.

Perhaps the most important aspect of any character death is emotional resonance. During Sybil's actual death scene I was invested, yes, but I didn't cry. What actually set off the tears were the reactions of the staff. Once Thomas started blubbing I did too. The difficulty with Matthew's death is that we had the 'event' but no emotional resonance afterwards. Okay, we saw Mary with her baby conflicting with the harsh images of her husband lying dead but there was no moment of revelation. There may be in the opening scenes of series four and, if there is, that will make it better but the actual death will have lost much of its emotional resonance by then. I can't help feeling that the audience has been let down a bit. There is, of course, the credible chance I'm in a minority on this one.

I Like Bonnets

I was listening to a little debate on the Radio 2 Jeremy Vine show yesterday. It basically asked whether people were fed up of 'bonnet dramas' and suggested that we need to stop living in the past. Some of the discussion was sensible but some of it was hostile in a way that rather infuriated me. People just wanted to ditch Downton Abbey and things of that ilk, never mind the fact that almost 10 million people tuned in to watch the opening episode of series two on Sunday. Those viewing figures, in today's television climate, are astronomical. If something is that popular why would you get rid of it just because it's a 'bonnet drama'?

Some of the criticisms were pretty spot-on. They ran a spoof of clichés usually encountered in period dramas; they questioned the sentimentalisation of history that prompts more sympathetic characterisation in situations which otherwise would reflect badly on them by modern standards. A Downton Abbey example of this would be Mrs Patmore's failing eyesight which is benevolently rectified by the Earl of Grantham in the first series. There is a danger that we're imposing our values on a society that wouldn't recognise them because we feel uncomfortable with the reality of our past. Nevertheless, I think the inaccuracies are overwhelmed by the sheer quality of the drama.

I wrote a piece last year about why Downton Abbey is a master-class in story-telling. I stick by that wholeheartedly. It doesn't matter what period a television series is set in: what matters is how the story is told and who the characters are. Downton Abbey had excellent scripts, an exceptional production team and a cast perfectly suited to their roles. Critics may sneer at the success but isn't it all a matter of taste?

Some commentators in the discussion yesterday claimed that there is too much of the 'bonnet drama' on television. Well, I'm sorry but that irritates me. There is plenty on television for people who don't enjoy drama: reality television viewers, soap addicts, chat show devotees are all catered for. Drama, if anything, is woeful in this country at the moment.We commission small runs of things, therefore leaving huge gaps in the schedules which is - in my own personal opinion - filled with dross. Saturday nights have become the home of reality television. I'm sorry but what about the rest of us who would only watch it if you tied us up and nailed our eyelids open? I'm forever frustrated by the pandering to reality television that channels do. The BBC is considering taking an axe to sections of their best channel BBC4 but are happy to shell out millions on a new reality import about choirs. What am I missing?

People who complain about the abundance of 'bonnet dramas' are within their rights to complain, of course. However, their criticism that we should focus more on modern society misses the richness of our heritage. I am happy to watch modern drama, I thoroughly enjoy some of it. But I don't appreciate the implication that just because a drama is about something old it's nothing to be interested in. That kind of mentality has thrown us into a fame-solves-all mentality where much of the youth in this country believes that if they get famous then they can live comfortably without having to do much. Watch some period drama; have your interest in a historical time or event piqued and go research it for yourself. We have precious few ways of connecting ourselves with our past but period dramas can become that connection.

But, most of all, I would ask people not to criticise something that is obviously filling a vacuum in British society. We like 'bonnet dramas'. So what? Your nectar may be my poison but I have to suffer. If you don't like it, don't watch. It's simple. 

The Mileage of Longing

As anyone who follows me on Twitter will be aware of, I'm currently going through one of my periodic binges on excellent television. This time, it's American sitcom, Frasier, which I hope many people still remember fondly. It told the story of radio shrink, Frasier Crane, as he returned to Seattle to start a new job. His father, Martin, moved in with him, along with English physical therapist, Daphne Moon. And, quite often, his brother, Niles, dropped in to visit. From their very first encounter, it was clear Niles was entranced by Daphne, something which later developed into a strong love.

The comedic value of that attraction was massive. There were some notable episodes which played on it: the series one episode, 'A Midwinter Night's Dream', in which Niles and Daphne are trapped by a storm at his house:

Another favourite of mine is the series three episode, 'Moon Dance'. Daphne helps Niles learn how to dance and eventually ends up accompanying him to the event after his partner cancels. Martin has warned Niles that he'll say something he'll regret in the heat of the moment. Niles duly does this, only for Daphne to surprise everyone by declaring her love as well. For a blissful few seconds both Niles and the audience are ecstatic, only for Daphne to joke that they had everyone fooled:

By series six producers had decided to end the audience's agony. During this series there were several hints Niles and Daphne would get together, despite Daphne accepting a proposal from someone else. Series seven saw Niles start a relationship with someone else, only for Daphne to finally learn how he felt about her for six years. As will occasionally happen, she finds herself suddenly attracted to him too. We get the happy ending, despite Niles marrying someone else and Daphne preparing to walk down the aisle with her fiancée. They start series eight as a couple, in a move which altered the dynamic of the show considerably.

I'm probably not the only one who thinks the most magical aspects of the Daphne/Niles relationship occurred while they were apart. Aside from the merits of the earlier years, when Niles pined silently after her, I'm extremely attached to series seven. From the very next episode after Daphne has discovered how Niles feels about her, she begins to alter her perception of him and starts to look at him in a different way. In a half-an-hour comedy where the spotlight is on another character there isn't much space devoted to the on-going trials of the ensemble cast. That said, the writers and Jane Leeves (playing Daphne) pulled it off magnificently. With little moments scattered throughout series seven, the audience were as involved in Daphne's realisation as they had been in Niles's adoration over the previous six years.

The Frasier producers seemed to have realised they'd pushed the unrequited love boat as far as it could go. It was a key ingredient of the show and I know people who think it suffered for losing the will-they-won't-they strand. But it had to happen. They had to get together. You can't build the expectations of your audience up for years then betray them. This sense of longing can offer immense mileage to a writer, whether you're writing fiction, scripts or anything else, but you have to be careful to resolve the tension before interest diminishes. Soaps are one medium where you can milk this kind of thing too much. For every wonderful Olivia/Natalia storyline (from American soap, Guiding Light, now sadly defunct) there is an Ashley/Bernice (Emmerdale, quite a few years ago now). The beauty of the former was that it switched from longing to fulfilment at just the right time. The viewer had been able to follow both Olivia and Natalia's emotional journey's and jumped when they jumped. However, the problem with the Emmerdale storyline was that the couple couldn't last. They were too different. Once they were together the producers didn't know what to do with them and so the character of Bernice eventually left.

I love my will-they-won't-they dramas. Currently I'm hoping for Rita and Norris to settle into happy retirement strangling each other in Coronation Street. Or what about Sean and Vicky in American import The Event? The tension there is beyond belief! As a fan of Downton Abbey I was screaming at the screen for Bates to admit how he felt about Anna all through the first series and it's one of my motivating factors for watching series two later this year.

Let's face it, if love makes the world go round, longing from a distance certainly makes it a more interesting ride. Anybody else have some excellent will-they-won't-they shows for me to get hooked on?

Farewell 2010...

I must admit, at first I had some difficulty in establishing what had changed in my life this year. After all, I'm still living in the same place with my father and I'm still in the same relationship I was twelve months ago. Yes, I'm doing a PhD but I was reading so many books before that I really can't tell the difference...

The truth is, though, I've accomplished more than I thought I could, at least on a personal level. I've left two jobs of my own accord and devoted myself entirely to a subject whose depth astonishes me on a daily basis. I now have two full-length manuscripts vying to get themselves revised and published. I've also come on leaps and bounds with my confidence in the creative sense. Generally, I feel better about that aspect of my life.

I owe thanks to a lot of Twitter people for helping me out this year, whether by posting links to massively informative and inspirational blog posts or just responding to my own ramblings. And, of course, a special shout-out must go to the (old) stalwarts: Claire, Laura, Nicola and Sal who have all egged me on this year to the point where I want to strangle them. Thanks!

Since I started this blog back in April I've made 71 posts. These have been on subjects from politics to coincidence, but mainly concentrating on the world of writing and entertainment.

2010 saw the triumph of Downton Abbey, for instance. I was reluctant to watch it at first and allowed four episodes to build up before I started. Of course, then I sped through it. It's escapism, I think that's why it's so popular. Plus, it's well-written, it's coherent - both exceptional things in the world of modern television. Read my series review here.

As for the rest of the television world this year, I haven't really been into much. I've taken to watching American import, The Event, which I'm hooked on. It could be said that I've watched Glee religiously but there are gaps in the plot and characterisation on there that the Titantic could squeeze through. Coronation Street hit 50 and I tuned in for the special tram crash week. Aspects of the soap really make me want to keep watching as another form of escapism but I may put my fist through Kate Ford's face. We'll have to see what 2011 brings on that score.

I haven't read many books this year, many that aren't directly related to my degree anyway. I'm swimming in Sensation Fiction which is fine because I seem to have developed an adoration for it. However, several of the new books I've read this year I've managed to review: The Good Doctor, Tell It To The Bees, Nights At The Circus and The Haunted Hotel.

All in all, it hasn't been a terrible year. I've learned more than I thought and lost less than I should have.

I went to places I would never have considered going twelve months ago. I've met new people, reconnected with the old, and tried to be a decent human being. That's not a bad sum total for a year.

Downton Abbey S1: A Master-Class In Storytelling

Perhaps my review of this exquisite series of television drama could be summed up by the title alone. Many people have already expressed quite articulately why Downton Abbey is the best thing to happen to British drama in years. I'd just like to add a few points from a writer's perspective.

I deliberately waited until I'd watched the DVD through before I wrote this. I wanted to see if I caught anything I missed the first time around and I wanted to see how well it flowed as seven episodes placed one after the other. A lot has been made of the time frame and how irritating it seems for the series to begin with the sinking of the Titanic and end with the advent of WWI. I admit that on first viewing I found it jarred a little, but when I watched again and realised that several months pass within the first episode alone, it doesn't seem quite so terrible. If anything, it demonstrates the monotony of life, especially for the servants. It also allows for development of relationships so they can reach the point they need to before the close of the series.

One of those is, of course, Lady Mary and Matthew Crawley, the cousins whose marriage would be the answer to the family prayers but who aren't eager to be pushed into a match of convenience. Their relationship development is curious but almost inevitable, although writer, Julian Fellowes, is adamant it shouldn't be an easy ride. Throw in potential dalliances with Mary's sisters and Mary's own disastrous fling with a Turk who proceeds to die in her bed and you've got a very Edwardian soap opera. However, the sparks between Mary and Matthew are evident from their first encounter when Matthew despairs of having one of the Earl's daughters thrown at him. Their ending, while not happy, leaves potential and seems to suit the characters. After all, following their tumultuous ride through the series a conventional happy ending would've been rather bizarre.

Fellowes is careful to offer a good balance of relatively 'happy' endings along with the more open ones. Gwen, for instance, lands her dream job as a secretary, after a lengthy bid to escape service. There also seems to be hope for Daisy and William who appear set on a sweet little romance after a series of maybes. Troublemaker, Thomas, escapes service and the perils of dying on the battlefield by applying to join the doctors while Mrs Patmore regains her sight and is back to her formidable self.

Then there are the questions left unanswered. Lady Edith has hardly been a model of purity throughout the series. However, far from being a motiveless harridan, the forces that have made her the jealous woman she is are demonstrated directly to the audience. All thoughts have always been on Mary's marriage and Sybil has the sweetness to shine as the younger daughter. As Robert and Cora discuss in one episode, Edith is probably the one to look after them in their old age. Treated as such her entire life is it any wonder Mary inspires such jealousy in her sister? Her acts against Mary aren't completely justified but they are at least explained. It is also unhelpful that Edith was in love with the man Mary was reluctantly set to marry. Throughout, the sisters torture each other whenever opportunity arises and their antipathy towards each other is always simmering underneath. However badly Edith has treated Mary, though, I still felt sympathy for her when Mary took her revenge and scuppered her hopes of marriage with Sir Anthony.

The love story between Anna and Mr Bates is perhaps my favourite aspect of the entire series. Very shrewdly painted at first, it soon developed into something that was evidently mutual and beautiful to watch. Joanne Froggatt has been in the habit of scene-stealing in everything I've seen her in and this was no different. Such a straightforward character who holds the knowledge that there are some things she can't influence. Two of my favourite scenes had to be the dual scenes that, in effect, book-ended their opening flirtations. When Anna takes a tray up to Mr Bates in the first episode she hears him crying and deftly avoids showing she has heard while asking him to keep in touch when he leaves. A few episodes later Bates reciprocates the gesture, taking a tray up to a sick Anna even though it's strictly forbidden for her to open the door to him. The symbolism of that gesture is just one of the many light touches that Fellowes left for examination but, beside that point, it's a beautiful scene that demonstrates their relationship growth sweetly.

I can't possibly cover everything in this review so I'll wrap up with just a few more points. Sybil is a remarkable advocate for the coming independence of women, intelligent and self-assured even within a constrained environment. Mrs Hughes and Carson are exceptionally understated characters whose complexity I can't even begin to justify with limited space. Not one character was left out in gaining some sort of development, even if they only appeared in a few episodes, as was the case with Molesley and Branson. Also, the precision of the plots are evident on second viewing. The deliberate viewing of the snuff boxes in episode one sets up the theft in a later episode, for instance. There are recurring themes - Mrs Patmore's indignation at not being able to manage her own stores and Robert's irritation with O'Brien as his wife's maid. Nothing is really forgotten from episode to episode.

I am delighted there will be a second series but I won't speculate on the changes that Downton will have to undergo as the war takes hold. I'd just like to finish the review by pointing out that Maggie Smith's portrayal of the Dowager Countess was the most inspired and yet obvious piece of casting I've encountered in a long time. Her line delivery inevitably stole every episode and I won't be forgetting her interaction with a swivel chair at any time in the near future.

Yes, there were historical inaccuracies. But truth sacrificed briefly in the name of excellent drama is something I'm happy to compromise on. What Downton Abbey portrayed to perfection was a group of people and their interaction with the difficult world around them. What else is good drama about if not that?