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Emmy Watch: The Decline and Fall of 'Downton Abbey'

Photo of Matt Brennan By Matt Brennan | Thompson on Hollywood! August 5, 2014 at 12:24PM

As hulking and lavish as the Titanic, "Downton Abbey" appears unsinkable -- especially when it comes to Emmy voters and fans. But the series, whose first episode began with news of that famous ship's North Atlantic disaster, is not immune to rough seas. Does the disappointing fourth season of "Downton" foretell a coming crash?
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Michelle Dockery
Michelle Dockery

As hulking and lavish as the Titanic, "Downton Abbey" appears unsinkable -- especially when it comes to Emmy voters and fans. But the series, whose first episode began with news of that famous ship's North Atlantic disaster, is not immune to rough seas. Does the disappointing fourth season of "Downton" foretell a coming crash?

At the outset, creator Julian Fellowes' progressive twist on "Upstairs, Downstairs" fleetly commanded a sprawling cast of masters and servants through the domestic melodramas of pre-World War I Britain. Though never as diamond-sharp as Fellowes' own "Gosford Park" (2001), directed to perfection by Robert Altman, "Downton" enjoyed the same lively energy. The title sequence, a fluid montage of sunny grounds and open shutters, gas lamps and chandeliers, distilled the series to its bright essence: "Downton" suffused even its bitterest developments (drowned heirs, miscarriages, dead Turkish paramours) with the warm glow of intimacy between upper crust and lower class. Sure, m'lady, I'll help you move this foreign envoy's corpse! No, valet, of course I don't care about your mysterious, possibly criminal past!

Sadly, this sprightly idealism is now largely absent from "Downton," which earned a dismaying 12 Emmy nominations last month. The series might have been forgiven its clumsy handling of actor Dan Stevens' sudden departure, whipping up the death of Matthew Crawley in a last-second car accident, but the latest season doubles down on the somber atmospherics.

The action resumes in February 1922, six months after Matthew's death, with Lady Mary (Lead Actress nominee Michelle Dockery) mourning her late husband and mostly ignoring their infant son. Though it wouldn't do to have a widow gallivanting about as if nothing had happened, Dockery -- always fun to watch when playing Mary as a prickly, entitled beauty -- is ill served by the heavy-handed writing and production design. In one emblematic moment, as Mary literally talks down to her mousy sister, Edith (Laura Carmichael), on the grand staircase, the camera frames her ghostly face and jet-black hair from below. The effect, imperious and forbidding, does not suggest a woman working through grief so much as a building monument to it, crushing the character's spirit entirely.

It's not only in Mary's case that the spark seems to have gone out of "Downton," as the themes of loss and absence bleed into nearly every aspect of season four.  O'Brien steals off in the night and Alfred (Matt Milne) departs for the Ritz; Isobel Crawley (Penelope Wilton) and Tom Branson (Allen Leech) grieve the untimely ends of Matthew and Lady Sybil, respectively; Edith's intended, Michael Gregson (Charles Edwards), disappears in Germany, apparently victim to a gang of Brownshirts, and as a result she gives up their child to a local farmer. The high dudgeon with which "Downton" approaches these developments sends the series into after-school special territory, hectoring and humorless, and as a consequence the remaining strands of gauzy sentimentalism seem out of place. As cousin Rose (Lily James) capers with Jack Ross (Gary Carr), an African American band leader, or the butler, Carson (Supporting Actor nominee Jim Carter), patches things up with an old friend from the stage, it's hard not to feel that such subplots lack the necessary backbone to support the grueling passages that surround them.

This article is related to: Downton Abbey, TV Reviews, VOD/Streaming, Emmys, Drama, Maggie Smith, Hugh Bonneville, TV, TV News, TV Features, Television, Television, Awards, Awards


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.