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The Gilded Age: Why HBO’s Prestige Drama Sides With Aristocrats Over the American Dream

BBG News

In the third series of HBO’s period drama, The Gilded Age, we find ourselves in the opulent world of 1880s New York’s robber barons and high society. A servant, unexpectedly rich beyond his wildest dreams, no longer needs to work. However, he chooses to hide his fortune and continues his service below stairs. He finds it hard to abandon a staff that has grown into his extended family for him.

For a series known for its humor and absurdity, this storyline strays into the realm of the implausible. It’s hard to imagine anyone finding enjoyment in reenacting a 19th-century servant’s duties as a pastime. Yet, it’s not surprising that The Gilded Age, crafted by Julian Fellowes, who is both the mind behind Downton Abbey and a British aristocrat and conservative politician, portrays this attitude towards the lower classes or fears of sudden social advancement. The series aims to be more than just a high-end soap opera; it aspires to be a prestigious dramatization of history. Regardless of its success, it serves as a commentary on the American Dream and the self-made individuals who pursued it during that time. Particularly in Season 3, Fellowes seems to express reservations about this dream.

As a movie reviewer, I find myself captivated by the evolving journey of the ambitious duo, George and Bertha Russell, portrayed brilliantly by Morgan Spector and Carrie Coon respectively. Hailing from unremarkable backgrounds, their relentless pursuit of success has catapulted George to the pinnacle of industry. Their opulent move into a mansion on 61st St in the first season was just the beginning, as Bertha aimed to conquer high society with the same tenacity that George dominated business. The family’s acceptance into the elite was sealed by Bertha’s triumph in securing the new Metropolitan Opera.

However, the new episodes delve into a significant rift within the Russell family. Bertha’s obsessive desire to marry off her daughter Gladys, against her will, to a British duke (Ben Lamb), has caused a deep divide. Meanwhile, George’s ambitious endeavor to construct a cross-country railroad during an economic slump mirrors Bertha’s actions, potentially leading to their downfall just as quickly as they rose. The series subtly suggests that the Russells are precariously poised on the edge of greatness and ruin.

Across the street, maintaining a consistent, old-fashioned elegance, are the show’s main characters: sharp-tongued widow Agnes Van Rhijn (Christine Baranski) and her compassionate sister Ada Forte (Cynthia Nixon), who had accepted a life of spinsterhood until she met a gentle reverend (Robert Sean Leonard) in Season 2. Unfortunately, their marriage was brief; he succumbed to cancer soon after, leaving Ada with all the inheritance. This plot twist proved convenient since Agnes’ troubled son, Oscar (Blake Ritson), had recently lost their family fortune through deceit. The primary conflict this season revolves around Ada trying to take control of the household from Agnes, now that she’s shouldering the financial burden. However, the storyline remains largely unchanged, reflecting Fellowes’ preference for tradition and stability.

In a somewhat snobbish manner, Agnes, similar to the stern Violet Crawley from Downton Abbey, possesses a kind heart. Despite her disdain for the “new people,” she demonstrates open-mindedness by hiring a young African American writer, Peggy Scott (Denée Benton), as her secretary. This season, Peggy becomes ill at the sisters’ home, and they are shocked to see their family doctor refuse to treat her. When Peggy’s parents (Audra McDonald and John Douglas Thompson) arrive with their own physician, Dr. Kirkland (Jordan Donica), Agnes and Ada politely welcome them at the door. (A budding romance develops between the doctor and patient, one of the season’s most captivating storylines, creating tension for McDonald’s character as she clashes with his snooty mother, played by Phylicia Rashad.) The show is home to many powerful female characters and advocates for the feminist movements of its era, such as women’s suffrage. It empathizes with the struggles of divorced women, who were considered too scandalous to be accepted in polite society at that time.

In simpler terms, the show ‘The Gilded Age’ often portrays characters from high society, such as the Russells, as morally complex figures, while one of its antagonists seems to be a servant who betrays the family to the media. This character, labeled as villainous, justifies their actions by saying that money is just money. The show doesn’t delve into whether Bertha, the employer, pays her staff fairly or provide insights into the servant’s background that might explain their actions. After three seasons, the show has not focused much on its large cast of servant characters, similar to ‘Downton Abbey’, which seems to have more compassion for wealthy families struggling to maintain their wealth than it does for employees striving for happiness, a fundamental American value.

In Downton Abbey, Fellowes portrays his preference for a more empathetic and diverse upper class. However, the issue of whether the exclusive practices and wealth disparities that sustain this system could potentially be harmful social issues isn’t addressed. For instance, would Agnes and Ada treat the Scotts with the same regard if they weren’t part of the Black elite? Instead, the social environment is seen as fundamentally positive and something to preserve. As Ada notes: “Society has changed, Agnes. The key is to adapt without causing a stir.

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2025-06-20 16:06

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