Skip to main content

The Daily Beast: "Downton Abbey Comes to Masterpiece"

In the U.K.'s smash hit Downton Abbey, coming to PBS Sunday, the period drama is reinvented for a new generation.

After all of the scrapes with The Daily Mail, the praise from yours truly, and huge ratings in the UK, Julian Fellowes' sumptuous costume drama Downton Abbey finally reaches American shores this weekend.

Over at The Daily Beast, I spoke with creator Lord Fellowes and stars Dan Stevens and Hugh Bonneville about Downton Abbey for my latest feature, entitled "Downton Abbey Comes to Masterpiece", in which I also look at the drama series as a condition-of-England piece and its relationship to another British import, the return of Upstairs, Downstairs.

Downton Abbey premieres Sunday evening at 9 pm ET/PT as part of PBS' Masterpiece Classic. Check your local listings for details.

Comments

Debbie said…
Thanks to your blog posts on Downton Abbey, I checked it out last evening. I was very impressed with the first installment and am certain to watch the others for this mini series as well.

Though I enjoy all of the Masterpiece entries on PBS, I think Masterpiece Classic is my favorite. This story, which seems just a small twist away from the Jane Austen series, has me glued to the TV.

It is much appreciated that you always give us a heads up on what is worth our time, and Downton certainly falls into that category!
Unknown said…
I'm happy to see that Downton Abbey will play again this season. I was enthralled by the series last time and was really disappointed when I didn't get to see the last chapter of the story. Thanks for bringing it back again, PBS! A Fan, Kathleen

Popular posts from this blog

Pilot Inspektor: CBS' "Smith"

I may just have to change my original "What I'll Be Watching This Fall" post, as I sat down and finally watched CBS' new crime drama Smith this weekend. (What? It's taken me a long time to make my way through the stack of pilot DVDs.) While it's on following Gilmore Girls and Veronica Mars on Tuesday nights (10 pm ET/PT, to be exact), I'm going to be sure to leave enough room on my TiVo to make sure that I catch this compelling, amoral drama. While one can't help but be impressed by what might just be the most marquee-friendly cast in primetime--Ray Liotta, Virginia Madsen, Jonny Lee Miller, Amy Smart, Simon Baker, and Franky G all star and Shohreh Aghdashloo has a recurring role--the pilot's premise alone earned major points in my book: it's a crime drama from the point of view of the criminals, who engage in high-stakes heists. But don't be alarmed; it's nothing like NBC's short-lived Heist . Instead, think of it as The Italian

The Daily Beast: "How The Killing Went Wrong"

While the uproar over the U.S. version of The Killing has quieted, the show is still a pale imitation of the Danish series on which it is based. Over at The Daily Beast, you can read my latest feature, "How The Killing Went Wrong," in which I look at how The Killing has handled itself during its second season, and compare it to the stunning and electrifying original Danish series, Forbrydelsen , on which it is based. (I recently watched all 20 episodes of Forbrydelsen over a few evenings.) The original is a mind-blowing and gut-wrenching work of genius. It’s not necessary to rehash the anger that followed in the wake of the conclusion last June of the first season of AMC’s mystery drama The Killing, based on Søren Sveistrup’s landmark Danish show Forbrydelsen, which follows the murder of a schoolgirl and its impact on the people whose lives the investigation touches upon. What followed were irate reviews, burnished with the “burning intensity of 10,000 white-hot suns

What's Done is Done: The Eternal Struggle Between Good and Evil on the Season Finale of "Lost"

Every story begins with thread. It's up to the storyteller to determine just how much they need to parcel out, what pattern they're making, and when to cut it short and tie it off. With last night's penultimate season finale of Lost ("The Incident, Parts One and Two"), written by Damon Lindelof and Carlton Cuse, we began to see the pattern that Lindelof and Cuse have been designing towards the last five seasons of this serpentine series. And it was only fitting that the two-hour finale, which pushes us on the road to the final season of Lost , should begin with thread, a loom, and a tapestry. Would Jack follow through on his plan to detonate the island and therefore reset their lives aboard Oceanic Flight 815 ? Why did Locke want to kill Jacob? What caused The Incident? What was in the box and just what lies in the shadow of the statue? We got the answers to these in a two-hour season finale that didn't quite pack the same emotional wallop of previous season