“Guilded Age” Finale: Why Season 1 of the HBO Show was a hit

Monday night is one of 2022’s most extravagant joys, bringing an end to what reminds us of television 10 years ago. HBO’s “The Gilded Age” had a strong discussion about the effectiveness of the series creator Julian Fellowes’ method. As a delivery person of the joy of the story.

All episodes are an hour of fantasia, and you can roam freely without suffering from conspiracies that appear to be decorative at best. Synapse Ignition or Nuance Development In this series, Carrie Coon and Morgan Spector struggle to stand up in a hardened class-obsessed society, playing the beginners of an arriving society whose ambitions match only by dedication to each other. is about. For them to succeed, their candid self-belief is our own time rather than ourselves, and their continued appearance is more of a performance that can be watched over by Kuhn’s big, bold and endless. Because it develops a lot.

Coon and Spector’s Bertha and George Russell’s opponents are mostly paper tigers. It’s a classic Fellowes trick to make sure his character is facing the opposite and easily roll over the opposite to satisfy him almost instantly. Bertha’s occasional real decline — the moment she faces an uncorrectable social obstacle — brings a new tone to Kuhn’s wild performance. She was escorted from Newport’s mansion through the back door, Matron of the house acted like a horror movie, and Kuhn endured the pain of humiliation as a scream queen.

Many other things are happening in The Gilded Age. The story of two young female twins, played by Louisa Jacobson and Denée Benton, seeks to find their foothold. Maggie Smith starred in Fellow “Downton Abbey”. This is a show where people as prominent as Cynthia Nixon are happy to play a relatively minor support role. Many plates are spinning. However, the soul of “The Gilded Age” lies to Russells. Russells’ continued quest drives the show, giving it an uncomplicated, easy-to-root charm.

This is not Fellowes’ first win. In 2011, Downton Abbey became the side of the state that was a hit almost instantly, thanks to its powerful combination. Virtues are rewarded and cheating is punished. Virtues can certainly take the form of “getting ahead of the times” — Michelle Dockery’s Lady Mary could resemble the values ​​of many viewers in the 21st century. She continued to be our heroine, with full respect and balance for tradition. Today, Bertha Russell incorporates a little more virtue and need into the equation, but Fellowes’s basic beat remains the same.

“Downton” has removed the irony and skepticism that Robert Altman brought to the script for Gosford Park’s Fellows. That great emotion arose in the context of respect for wealth and power, and the equation eventually became unbalanced. The progress at an early stage was remarkable.

In short, “The Gilded Age” is a show that is less interested in dismantling power than being close enough to see everything. Versa Russell wants to be part of society to see and celebrate her intrinsic value. She goes to parties and wears nice clothes because she enjoys others. Kuhn wisely plays Versa as a series of emotions. Complexity, willingness to leave things as they are.

It may sound like a faint praise, but it’s a fact. When “The Gilded Age” isn’t airing, it takes time for this viewer’s TV diet to fill up a particular spot. Watching “The Gilded Age” is not difficult. But that’s not nothing. The character wants and feels primarily recognizable. Julian Fellowes deserves praise for once again finding a way to an artistic and addictive viewable television. Viewers deserve the opportunity to watch a lot of television. More seasons.

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