The British Influence in The Gilded Age

HBO's iconic series is back with its third season, a whimsical period drama set in the New York of the 1880s, teeming with tycoons and the elite. Here, the story unfolds with a servant who unexpectedly acquires substantial wealth. Despite the freedom he could now afford, he opts to keep his newfound fortune under wraps and continues his work in the household. It's as though he cannot detach himself from the familial bonds formed with the staff.

Even within a tale renowned for its absurdity, this particular narrative might seem far-fetched—no sane person would willingly engage in the grueling duties of a 19th-century servant for leisure. This scenario, however, reflects the show's portrayal of the lower class as content in their stations and manifests resistance to abrupt social ascension. Originated by Julian Fellowes, a British aristocrat and Conservative political figure, the series endeavors to evolve into more than just a lavish historical soap opera. Whether it succeeds or falters, it holds a mirror to the American ethos of self-made success and equal chances, a theme Fellowes seems to question, especially in its latest season.

The Rise and Challenges of the Russells

This season gravitates towards reality for characters George and Bertha Russell, depicted by Morgan Spector. Rising from humble origins, this overly ambitious pair climbed to prominence, with George becoming an influential industrial giant. Their journey in Season 1 involved moving into an extravagant estate among New York’s established elite on 61st Street and Bertha’s pursuit of social dominance paralleling George's corporate success. As Europe’s norms lure them, their daughter Gladys is pushed towards an unwanted union with a duke, meanwhile George takes a financial gamble with an ambitious railway project amidst economic downturns, threatening their empire.

Conservative Values Amidst Change

Across the street, the resilient Van Rhijn sisters uphold their standing amidst changing times. Agnes Van Rhijn, a witty and aristocratic widow, along with Ada, her sibling, strive persistently. While Ada inherits wealth following her husband's brief spell with cancer, an internal struggle over household control ensues. Nonetheless, in Fellowes' portrayal, traditionalism and stability reign as cherished virtues.

Agnes, traditional yet kind-hearted, employs Peggy Scott, a young Black author, as her assistant—a gesture marking subtle progress. However, when Peggy falls ill, a prejudiced family physician refuses service, stirring a clash that engenders unexpected alliances unraveling societal and racial themes deftly. The storyline introduces romance between Peggy and Dr. Kirkland, unveiling a deeper engagement with social controversies contrary to the rigid conventions that often characterize Fellowes’ narratives.

Critique of Aristocratic and Servant Dynamics

Fellowes is seen to critique the aristocracy, with the Russells as morally ambiguous protagonists. Yet, it is evident he levies sharper criticisms towards those in service who lack gratitude. A member of the staff feeding information to journalists is portrayed as a villain, with investigations into her motivations notably absent. This dichotomy reflects a preference for exploring the affluent battling to maintain unearned wealth over scrutinizing working-class struggles—a comparison that questions the authenticity of the American ideal.

Through Fellowes' lenses, an ideal upper society is compassionate and adaptable but perpetuates old hierarchies. The show subtly suggests an inherent virtue in preserving such societal frameworks, as encapsulated by Ada's reflection that society must embrace the new without destabilizing established order.