It’s difficult to deny Downton Abbey’s increasing move toward world phenomenon territory as it approaches its fourth series. It has made that rare leap for a British TV Show, taking the States by storm, though really with its reliance upon a charming Edwardian setting, family-orientation and Maggie Smith’s formidable one-liners it’s not that surprising. It is however annoying, because Downton really isn’t the best British television has to offer.
For a start it’s an unashamed money making machine. Julian Fellowes recently confirmed when interviewed that the brief was to deliver Gosford Park 2.0: a period drama designed to break the States and make money. It’s basically the drama equivalent of Simon Cowell’s reality shows minus One Direction. Save for Lady Edith developing a drug problem, Downton Abbey ticks almost every soapy cliché, with shock deaths, single mothers and doomed romances all frequent fare.
It’s a real shame Downton has won out over the rest of British TV. It perpetuates a long gone era, when merry old England was populated old ladies drinking tea, everything was done in the proper way and people used words like ‘boffing’ instead of causing a diplomatic incident by mentioning ‘sex’. The period drama explosion sparked by Downton Abbey has served only to unfairly overshadow all other genres. The UK can and indeed does produce better.
Though there are a plethora of American procedurals, the likes of CSI or Criminal Minds are fairly anonymous – they boil down to a team of people splitting up and looking for clues for an hour. There’s no real individuality. British crime and mystery dramas are a lot more varied and showcase the whole of the UK, and truly deserve the kind of exposure Downton is afforded. Scott & Bailey takes full advantage of its Manchester setting, riddling the show with references to the city and surrounding area, and showcasing some fine acting talent from the region. Recent hit Broadchurch too made the most of its West Country setting, and despite lacking perhaps as much authenticity as Scott & Bailey, could, in its impending broadcast in the States offer insight into a region rarely seen on US TV.
British sitcoms too are crying out for an international launch. BBC Hits Twenty Twelve, Mrs Brown’s Boys and Miranda have delivered resoundingly hilarious comedy that is accessible to everyone. Channel 4’s The IT Crowd won critical acclaim and though smaller sit-coms may have struggled to win larger ratings,, comedies like 2009’s Beautiful People and Moving Wallpaper won critical approval. The quality of writing on such shows cries out for exposure because it is intelligent and bursting with passion, where Downton’s often feels like a tick-box tour of soap opera storylines.
That a soap opera is Britain’s current biggest television export is embarrassing. It’s trashy, lazily written and poor representation of the quality television British broadcasters produce. Quality dramas like Sherlock or Luther deserve far more exposure than ITV’s bloated, indulgent attempt at competition. Unfortunately Downton is an all-consuming television titan and offers little room for encroachment on its top-dog position. At least if British television success overseas has to reply upon soap opera, it’s Downton Abbey over ridiculous Waterloo Road.