Ten Reasons why Downton Abbey is a Hard Show to Stay Mad At

I can't lie. Being an Anglophilic enough American, I have already watched all of season 3 of Downton Abbey. Through extraordinary means, I found a way to see the show last fall when it aired in Great Britain.  

But have no fear, there are no spoilers in this post. I have no intention of giving away any details of the current season other than to say that throughout the season I grew unhappy with the show. Particular things became bothersome and I began to feel that the show had drifted from its most excellent roots. I was even planning to write a post giving vent to my frustrations.

And was NOT going to watch tonight's American premiere.

But, then I turned on the TV because there's been so much hype here about the show that even my husband wanted to watch. I thought I'd just sit with him for a few minutes to explain any backstory he might need and then wander off to do my own thing.

But now, he sits sleeping in front of the TV and I have been watching, rapt, for the last hour.

I see that even though I'm mad at the show, I'm still addicted. The addiction is fed by the following:

1. the clothes

2. the cars

3. Maggie Smith

4. the snappy one-liners

5. the fascinating insight into class distinctions

6. exposure to the details and social intricacies of living in high society

7. exposure to the details and intricacies of living in the servant class

8. the rich period details of wallpapers, decor, and kitchen implements

9. an insane hope that, at some point, Mrs. Hughes and Mr. Carson will discover they have the hots for one another

10. the incredibly beautiful and colorful English countryside, exquisitely filmed

With all these things working against me, I don't stand a chance, really.

Downton Abbey Finale: "If you're turning American on me, I'll go downstairs."

Exceeding all my wildest hopes and expectations, the final episode of Downton Abbey came ripping across my television screen.  With a powerful finish to the season that was sexy, dramatic, touching, and surprising, and which cast class gulfs into very sharp relief, it was as if the producers of this series set out to make my Downton dreams come true. (Not surprisingly, we also learn this week in the news that there will be a third series, so I am revving up for more Downton dreams already).

SPOILERS WARNING -- for Series (Season) 2 of Downton Abbey, Final Episode. Please beware and stop reading now if you don't want to know how things end.

Of the myriad aspects of the world of Granthams, perhaps the best and most continually interesting is the interplay of class on class. In this last episode, several story lines dealt head on with the shattering of social barriers after WWI.

And none did it better than the storyline of maid Ethel's "bastard" baby. Would she give her fatherless baby to the dead man's parents to raise in the upper reaches of society? This could be a hard story to sell to a modern audience which would understandably be thinking: "of course that baby should stay with its mother." But Downton Abbey does a great job of making this seem like the dilemma it would most certainly have been. The benefits to that child of being raised with money, position and name -- versus living in poverty with an unwed mother in 1919 or 1920 are substantial beyond our ability to really imagine. It appears by the end of this episode that Ethel will keep her child, citing the shocking idea that a child is best off with its mother.

Also dancing around class divisions, Sybil's continuing attachment to the chauffeur and desire to marry him is a show stopper early on.  The scene where Sybil declares to her family that she will marry Branson was extraordinarily done, full of wonderful acting. Even though by modern standards, this may not be earth-shattering stuff, Lord and Lady Grantham sell it as such. You can really feel the level of abomination that is felt by both the Granthams and by the people below stairs by this attachment. Mr. Carson's vehement: "have you no shame?" to Branson is tremendous. Neither side of the divide feels it easy or desirable to jump across that gulf.

I also really appreciate that here, Lord Grantham finally draws a line to his liberality. He is a character that continually surprises with his ability to be big and forgiving, respectful of subordinates, and open in his views, almost to the point that he doesn't feel real. He needed to take strong exception to Sybil's plans in order to be believable as an aristocrat. I'm glad he did. And when, for once, it is his American-born wife, Lady Grantham, who expresses a softer, more understanding sentiment toward her daughter, he has the great line: "If you're turning American on me, I'll go downstairs."

Speaking of great one-liners, the Dowager Countess Violet (Maggie Smith) can't be outdone and has a very nice one to Lady Edith who is moping about her sister's good luck in love and her own forlorn state. Says Violet: "Don't be defeatist dear; its very middle class."

Meanwhile, two of the most popular couples on the show: Mary & Matthew and Anna & Bates both have excitingly sexy moments.

Mary and Matthew share a dance, a declaration of feelings and even a kiss in a very romantic moment in a darkened downstairs hall. I'd forgotten how much I like the two of them together. It is all wonderful until Matthew's lovely fiance Lavinia spoils it by showing up and then later being noble about it all, and then later still, dying. (I knew someone would have to die of the Spanish flu and I am glad it wasn't Cora). It was right and proper for Lavinia to remove herself in this way, though this will not appear to make things any better for Matthew at present as he is now torn up by grief and guilt. We'll have to wait till next season to see if he can overcome those feelings before Mary marries the icky Richard.

Even better than Mary and Matthew kissing, has to be Bates and Anna getting married! This is almost too much; I couldn't have hoped for seeing that -- let alone seeing them together in a bed. Oh yeah. What? Bates being hauled away on a murder charge related to his ex-wife's suicide at the end. I'm OK with that. We certainly saw it coming and at least he got to have one night with Anna first....

This is the episode that just kept on giving. As if Mary & Matthew and Anna & Bates weren't enough, we get Lord Grantham and new maid Jane in some serious embraces -- are you kidding me! Can't believe they almost got down and dirty. They somehow make this cliche idea unbelievably touching. It doesn't feel like a cliche when it comes to Lord Grantham because he is so "not like that". Their scenes are hot and also very sad. Especially later as she tells him goodbye:

"Will you be happy?"
"I have no right to be unhappy. Which is almost the same."

So glad she left and they didn't get caught together. It can just be a slightly evil, but meaningful and tender relationship -- a moment of romantic excitement but not more. And am even more glad that all seems to be well again between he and Cora because they really are a great pair. LG deserves a bit of excitement; he's been such a great character this season, almost unseating Bates for the title of the unexpectedly appealing and surprisingly sexy heartthrob.

And to just bring everything round we have Thomas being helpful and obliging, and O'Brien being penitent -- though neither without ulterior motives I expect.

And by the end, Lord Grantham gives his blessing to Sybil and Branson, while Violet's words still ring in my ears:

"The aristocracy has not survived by its intransigence."

Thank Heavens for Downton Abbey, My Second Love

It is important to have two loves. That way, when one disappoints you, you can turn to the other. A girl can only take so much and tonight I am very thankful for Downton Abbey. Great show.

So on that note . . . SPOILERS for Episode 6, Season 2 of Downton Abbey : )
And if you want to see how it all ends, here's my post on the final episode

I don't like or trust this "Patrick" guy. First of all, Canadian? Far too convenient for any opportunist to come up with this one. "...um... I really didn't die on the Titanic ... I really have just lost my memory. Oh, yeah, and burned beyond recognition. Oh, and of course, having lived awhile in Canada, means I don't sound familiar. ... but trust me, I really am heir to Downton Abbey and I can't believe you don't remember me." No way. I'm glad that Lord Grantham is at least properly skeptical.

And, come on, Anna and Bates, enough barriers for them; this is getting rediculous. It's time to be together. Just run away and live together. She's already offered herself to you as a mistress, Bates. Get out there and enjoy life.

Seriously, time for some middle-aged fun for Mrs. Hughes and Mr. Carson. They have such a sweet chemistry.

And any time Maggie Smith is speaking is a moment I am in heaven. Especially loved this short exchange with her and Isobel Crawley:

"Cousin Violet is in part to blame. . . "
"-yes, I usually am."


Can't help but notice more and more of the upstairs/downstairs barriers breaking away. And along those lines, the previews look suspiciously suggestive that Lord Grantham is more interested than propriety would strictly allow in the new maid who looks like a younger version of Sandra Bullock. I say, go for it. I need something passionate to cheer for.

. . . by the way, believe it or not, I think I've found the down side to British television. Not enough passion. So if anyone wants to rescue me and suggest some British programs that are typically wonderful in all the ways British programs are . . . but also allows our main characters to consummate their relationships with a bit of passion, let me know. That would be nice for a change.

Why Can't Americans Watch British TV While it is Happening?

I've never been in this position before. There are two television shows that I love that are both premiering new seasons in a couple of days, but that I will simply be unable to watch. Period.... or at least for some unknown and protracted amount of time. I can't dvr them, tape them, see them on youtube, view them online, or think of any other possible way to "get to" them.

They're just out of reach and it's killing me.

I haven't been in this position before, because in the past, I've always discovered my shows after they had run their course and were available on dvd. But with Downton Abbey and Spooks (MI-5), new episodes are coming out now on British TV. But not here in the states. Why!?

Trying to figure out the intricacies of trans-Atlantic cooperation with respect to TV copyrights would be challenging to much smarter people than I, and it is taking nearly all my brain cells to simply summarize it thus:

Downton Abbey airs on the British network  iTV1, which graciously makes programs available online to those in the UK. Same with BBC One, the network that broadcasts Spooks and which has a lovely website full of wonderful content if you are in the UK. You can't view video from these sites if you're in America because, as I understand it, international agreements aren't in place. I get that. Someone wants  money in order to secure distribution rights. That would be fine with me, if they'd just get on with it and distribute them.

I've looked into other ways of getting these shows. A nice little iPhone app called "FilmOn TV" offers live streaming of TV from a hodgepodge of stations in various world markets. I got excited when someone told me that iTV and BBC are on it, so I got the app which is free, easy to use, and works well for the roughly 60 channels I get (ranging from Dubai to Pentagon TV), but does not come loaded with BBC or  iTV. People in Europe say it works so I'm guessing that the channels must vary based on where you are and what distribution rights have been secured in that place.

Another alternative seems to be to trick the internet into thinking you are in the UK when you are in fact not. There are a few websites that promise services that mask your true location and make it appear that you are accessing the British network from a UK IP address. I have several problems with these ranging from (1) some charge too much (2) some don't work with Macs (3) most are too hard for techno-morons like me to understand and feel comfortable with and (4) I kind of doubt they are actually legal.

Another thought: sometimes people post bits of television shows on YouTube. But I've noticed that when people do this for whole episodes they seem to get removed. (The, ah, episodes, not the people), or they create "fake" posts that just link you over to other sites that fill your computer with viruses and such. So while I'm hopeful that some real person in the UK will take pity on the rest of us and post some episodes of Downton and Spooks -- and that I'll be lucky enough to find them. I'm not counting on it.


So its a waiting and wondering game.

Yes, I know, I'll get there someday. Downton Abbey is on Netflix. But I have no idea when the new episodes will show up. The rights to air the program in America are with Masterpiece Theater which doesn't have plans to do so until January. Seriously.

It's even worse with MI-5 which is also on Netflix -- with the same unknown lag time -- but for which I have truly no idea who has broadcast rights to show the new season in America, if anyone. (BBC America and A&E both show it sometimes, but not the more recent seasons.) Until MI-5 comes out on dvd, I may be out of luck. Season 9 didn't come out till this past June. Yikes! I better not have to wait until June 2012 to find out what happens with Harry and Ruth. (And the corollary to this problem: how on earth am I going to avoid hearing about what happens with Harry and Ruth if I have to wait a year?)

OK, I think I've done my venting.

I wish all you lucky UK viewers joy as you plunge into an amazing fall TV season! (Don't mind me, I'll just be sobbing quietly in the corner watching the Duchess of Duke Street.)

Downton Abbey's Anna & Bates and the Theory of Reality Fantasy

I have a new theory of fantasy. There are so many extraordinarily attractive people to be found in movies and on TV. These extraordinary people usually get to have exciting adventures, wear great clothes and hang out with other sexy people. For viewers, us regular folk, being attracted to purely fantasy people makes sense. They are perfect and gorgeous and fun to watch. They have lives we don't know or have and will never know or have and, honestly, don't even want to know or have. This is fantasy fantasy and it's nice, too.

But give me a choice between Brad Pitt and Brendan Coyle (Mr. Bates in the amazing television drama Downton Abbey), there is simply no contest. The winner is Mr. Bates. I know a lot of other people agree with me. Why is Mr. Bates and his touching relationship with Anna so deeply attractive?

Because of reality fantasy. Bates is someone we know -- or could know. He is flawed, interesting and compelling. He is both ordinary and extraordinary. His beauty is found partly on his face and partly in his character.  His face might not leap off the screen at you. It would be forgivable to not notice it at all and take him for just a regular person - a character actor. But blink, look again, and you'll see that he's fantasy normal. He is sort of every man, but he is so much better. Once you see it, it takes fire.

It radiates from the intelligent sparkle in his gaze. The depth of history and experience that lurks just below the surface. Oh, and maybe this only applies for Americans, but it resides in his to-die-for accent. It is found in his mischievousness mouth. The slight smile and beautiful curl to the lip line. He can talk. You can see that he can and will talk and say exactly what we want to hear - sometime. It resides in his broad, magnetic style. Once we stop to really see him, we know, instinctively, we want to get to know him better.  He works for a living. He walks with a limp. He is middle aged. He has a past. I don't know if I like him in spite of or because of these things.


Anna. Here is a woman who is beautiful on the surface and underneath. She is blond and young and pretty. But she is in a station in life where she might as well be anything else for all the good her charms will do her. She is past the first flower of youth. She works hard and is happy enough with her place but emptiness and longing are there as well. There is no real excitement in her life as she lives to work and serve. Yes, she is good -- through-and-through -- but she is not a simpery do-gooder. She is someone we like and would want to be friends with. She is someone we are, or have been.

But better.

Anna has spirit and consults her internal compass in deciding what is right or wrong. That internal compass allows her to: (1) drag a dead body from one part of the house to another in order to protect her mistress, (2) work to re-plant false evidence of theft in the room of Mr. Bates' foe after he tried to frame Bates, (3) open the corridor door between the male and female servants' halls when she was forbidden to do so, (4) seek out and conference with Bates' mother behind his back to try and clear his name, (5) cover up for her roommate when said roommate sneaks off for the day. Anna is forthright and unapologetic.

So, here is this lovely, grownup, lonely woman serving others in the house where she will likely live for a long time. The only men in her world are the completely out of reach aristocratic visitors and the servants like Thomas (the gay rogue), William (the shy, green, boy) and Carson (the much older butler). Almost from the moment she smiles a friendly welcome to Bates, we can see that this man, even though damaged goods in many ways, is the best opportunity for her in a long time. Opportunity, that is, for real friendship, shared exasperation with the goings on, and intelligent and thoughtful conversation.

By the time we learn that he is smart, kind, thoughtful, proud and sweet, Anna is already head over heels for Bates. When he walks into the kitchens where she sits alone and says tongue in cheek: "alone at last", we see the effect on her face.

For his part, when Bates comes to Downton Abbey, he is a slightly beaten man. He is deeply thankful for his chance to work. This situation must work out and he has his eye on nothing else. He is not thinking of love or even friendship - just living. Getting through. Making this work. Anna is kind to him and he's glad enough of it, but he isn't thinking about her. He has stopped seeing himself as a man. His disability, his age, and his past which includes war and taking the rap for a crime he didn't do, have put him where many of us are - in a course to the finish with blinders on. Plodding through as best as we can with the challenges life puts in front of us.

However, it doesn't take long for her presence to work on him at a deeper level. Seeing Anna and talking to her, he cannot help but notice how pretty she is. Deep inside he remembers women -- what it meant to be with a woman and it feels good to remember. But his crippled leg puts him in his place. He knows he is an old broken man. Almost against his will Bates begins to want to be young and whole again. I think this is why he looks for the limp-corrector and goes through the ordeal of trying to fix himself. He wants to be complete and even attractive. (He doesn't know, like we do, how very attractive he already is). Although the limp-corrector episode concludes with the idea that Bates must be content with who he is, we're not sure that lesson fully hits home. Instead it is his main cross and carrying it is the thing keeping him from Anna. He believes he doesn't deserve her.

How many of us regular people have lived this story from one side or the other? How many have been trapped in something small longing for something big? Or, have been changed by something big so much to think we don't deserve something small?

Anna and Bates are sexy, compelling and beautiful together because they are the story of life.

Check out Downton Abbey on Masterpiece


Downton Abbey's Anna & Bates and the Theory of Reality Fantasy. LostinBritishTV