The Legacy of Downton Abbey
Over the course of six years, Downton Abbey saw great success on television. With 69 Emmy nominations (including five for Outstanding Drama Series) and 15 wins (including one for Outstanding Miniseries or Movie), Downton is one of the most recognized drama series of all time. Alongside consistent critical praise and incredible ratings success, both here and in Europe, Downton Abbey finds itself amongst the most elite of television series. Where Downton appears to separate itself from the others is the success it found with its films after the series ended. The 2019 film saw solid critical success and grossed nearly 200 million worldwide, which led to a second film released this year that is seeing similar critical success. Downton is a crossover hit unlike most series and its continued appeal speaks to a longevity that matches. In what is now spanning nearly a decade, Downton continues to be relevant and attract an audience. It’s been able to do so by being a sneaky hybrid of escapist entertainment and complex themes.
On its face, Downton seems like a typical British drama. Full of pageantry, extravagant sets and costumes, and plenty of talk of the aristocracy. All of that is good fun. The beauty and grandeur of Downton are great to see and easy to escape into. As a viewer, if this is all you want from Downton then this is more than enough to entertain you for six seasons. Also, Downton offers something a bit deeper if you’d like as well. It’s not a revolutionary series that deeply explores tough topics with each of its episodes, but it is much deeper than it would be initially thought of. In the case of a series like Downton, simply subverting the expectations by providing even a little bit of depth. This is what the key is to the success of Downton Abbey. You can either dive deep into the complex themes of the time, enjoy the witty banter and beautiful sets, or both.
I was a latecomer to Downton, missing the show entirely and finally coming to it shortly before the premier of the film. It was a hard show to escape, because it was a cultural touchpoint, being referenced throughout pop culture. The reason for my delay is simply because I thought I knew what the show was about. What I found was the complete opposite. Downton uses the British aristocracy as a way to deliver the plot and subvert expectations, both of which are beautifully done. Creator, and writer of every episode, Julian Fellows has a strong grasp of the world he wants to build. More importantly, he displays a strong ability to turn that world on its head in ways you wouldn’t expect.
Being a period drama inspired by true events, Downton does have to follow the guidelines of the time. What the series does, that is so special, is commentates on that time by subverting the cultural expectations. It balances that with a holistic perspective of the cultural themes it explores. The end product is a surprisingly deep series. The wide berth of topics that Downton delves into is long, and while not all exploration is a deep excavation, it is enough to stir up further thought. Which is ultimately what you want from any form of art; the opportunity to think deeper.
Downton Abbey finds itself at its most successful when playing with the obvious dynamics of the time, class, and gender. The show does attempt a glimpse into the European race dynamics of the time, but without any prominent black characters there is only so much they could do. In terms of gender and class, Downton expertly plays with these themes. Placing the women at the forefront of the series alone is enough to subvert the time. But it goes further in giving each of the Crawley women an area in which they can shine and excel. Mary takes over the estate and appears to run it better than any of the men before her. Edith becomes a successful editor of a magazine. Before her untimely death, Cybil becomes a wartime nurse. She also marries Tom Branson, the family’s chauffeur, who’s political beliefs oppose that of the family. The Countess of Grantham is not merely the financial lifeblood of the family but also successfully ran the Wartime hospital at Downton. Lastly and surely not least, is the Dowager Countess of Grantham, who is the smartest character in the show. The puppeteer of many major moves and a general badass.
Continually, Downton Abbey placed its women forward and told their stories. From Ethel's struggles with her baby, to the work dynamics of the downstairs staff and most effectively the power dynamics. The constant uphill struggle for the women of this time is taken seriously and not ignored. On the contrary, it is often the point of a plotline. This is also true for the class dynamics in the show. Being as it is presented as two separate worlds crossing paths, it's no real surprise that we get a full understanding of the staff. Downton, however it goes much further. Not merely sharing stories of the downstairs staff but oftentimes placing their stories in the forefront, and more importantly acknowledging and commentating on the class dynamics.
It would be easy to avoid the complexities of the class dynamics of the time. Many period dramas have done it. Instead, Julian Fellows goes headfirst, and does so from as many perspectives as possible. Barrow and Mrs. Hughes are on the more skeptical or even cynical side of understanding this dynamic. Acknowledging the real fact that they are employees, not friends or family members. On the other side is Mr. Carson and Anna, who while understanding their place, function as necessary confidants and even friends to the Crawley family. Time and time again throughout the series, the Crawley family goes out of their way to upset this dynamic. Proving that this isn’t merely an employee and employer relationship, by going out of their way to help a member of staff. While that seems like the right thing to do, in that time it wasn’t the norm, which the show also cleverly displays. This ability to understand the world in which the show operates, embrace it and then make larger relevant points is a beautiful addition to a show that would still be great without it.
Thoughtfulness and the subversion of expectations isn’t enough to make a show as popular as Downton Abbey. What is also needed is pure escapist entertainment, thankfully Downton has this in buckets. European aristocracy isn’t appealing to everyone. Big houses, fancy dinners and grandeur are, however, quite appealing. Downton has plenty of that, and is very aware of its appeal. The balance of this helps with the complexities of the world, because you have to love both the family and the staff. If that dynamic is explored and disarmed then that can never happen. Since it does, quite often, it becomes much easier to enjoy the world that Downton is in. It’s relatively simple, absolutely beautiful and utterly delightful. It’s pleasant there and each sweeping shot of the Abbey is as exciting as the first.
While beauty on the periphery is nice, it’s the characters that drive its delightfulness. Every major character (in which there are a shocking amount) have enjoyable moments. Each has something special, unique and wonderful about them. We struggle with the downfall of Molesley and it’s devastating to see him paving roads in Season Four, because we love him and his “aww shucks” sensibilities. Anna and Bates steal our hearts early in Season One, so we hang on every twist and turn in their relationship. We mourn with Mary, laugh at Robert and admire The Dowager Countess. All of the characters in the series are fully fleshed out, warts and all. Because of that we accept them, empathize with them and ultimately love them. This fills Downton with love and makes it feel like home. So each time the camera sweeps up to reveal it, the rush of excitement hits because we are in a comfortable place again, with people that we love.
