“We want a Downton Abbey set in America.” It is not necessary to have been in the offices of Universal and HBO to understand that this phrase had to be uttered at some point during the meetings to produce The Golden Age. Julian Fellowes, the creator of the British series, was interested in how he could replicate this success, in the same way that period stories are his specialty and what he decides to invest his talents in.
It is seen in the dynamics of Upstairs and Downstairs in Manhattan mansions, the majestic interiors and the costumes designed by Kasia Walicka-Maimone that often cause Stendhal syndrome, and especially the drawing room conversations where the main concern is finding a solvent husband for young women from a good family or criticize those wealthy people who, according to the old guard, do not have the class that their social status requires.
This time, the Russell couple (Carrie Coon and Morgan Spector), the nouveau riche with a fortune linked to the railroad, are already integrated into high society but have an obstacle that prevents them from being full members of high society: they do not have a box of the Academy of Music, the city's opera temple. But, far from resigning, they are committed to promoting the Metropolitan Opera House, under construction, and thus shake the foundations of an institution of historical families.
In front of the Russells, at the Van Rhijn house, Oscar (Blake Ritson) intends to abandon his double homosexual life to conquer the teenage daughter of the Russells (Taissa Farmiga) and Marian (Louisa Jacobson), against the wishes of his Aunt Agnes (Christine Baranski) accepts a job teaching painting at a school.
In its second season released this Monday, The Golden Age maintains a clamorous lack of pretensions due to its inability to dress situations with drama and go further, whether in the social aspect or in the treatment of the characters. Where is that melodramatic spirit that elevated Downton Abbey beyond its elegant production design? Where is that desire to delve deeper into conflicts with potential?
You just have to see how plots such as those related to Oscar's homosexuality, Peggy's (Denée Benton) wasted family drama or the lack of time and charisma of the housekeepers are addressed. They seem to be on the payroll to replicate the Downton model and above all so that Fellowes is not accused of ignoring the existence of the working class.
Consequently, what remains is a kind of luxurious version of a harmless after-dinner series. It is inevitable to enjoy it. The scriptwriter has a sharp pen, who understands rhythm and, above all, moves with agility among the high society of the past, and the production design is impeccable, even with direction without a single risky idea or decision. But it is also impossible not to realize that The Golden Age is a minor work.
