Things Writers can Learn from Belgravia
I caught the tail end of Downton Abbey so it was not going to be a great lure that Julian Fellowes wrote this drama. But the costumes lured me so I gave it a chance. The entire plot rests on the son of Sophia Trenchard, a daughter of a nouveau riche developer and Edmund Brockenhurst, the son of an Earl. The parents of Sophia, Mrs Trenchard and Mr Trenchard believe that the son born to the pair after Waterloo was illegitimate, which would cast a shadow on their daughter's honour. They have the boy, Charles raised by a reverend Mr Pope. Mrs. Trenchard decides to tell Countess Brockenhurst, Charles's paternal grandmother about Charles. Countess Brockenhurst delights at the news for finally there is a better heir to the Earldom, over her ghastly nephew. Thus begins the ensuing battle between the grandmothers over whether or not acknowledge him. Confusion ensues. Here are the lessons we can learn from Belgravia.
One character is literally a device
Charles Pope is not a character in this drama. We get vague details about him. He runs a cotton mill, he has been raised by a reverend, he was educated, he likes Maria Grey, he wants to trade in India but mostly, that is the extent of him. In six episodes, he has no arc or development. He is an actual device of plot, pushed from pillar to post, there for characters to bounce off of. The audience gets sick of his name being said over and over and so do the characters. It becomes an actual running joke. Characters should not be sentient. They should be people, act and feel like people. They should not be devices but a catalyst.
No Conflict
There are so many points in the story where there should be conflict... but there isn't. Mrs Oliver has been a bitch throughout the episodes, shagging the antagonist John. She gets pregnant and tells John that she's willing to help him cover up the revelation about Charles and marry him to boot. John laughs at her and we get a little treat to watch her evil plans crumple. She goes running back to the Trenchards who accept her without even a raised voice. She even accepts her de facto exile to the country without much of a fight. Would it not have been more interesting to have the Trenchards first reject her and then accept her? Charles just accepts his new family and role. He never asks why his grandparents sent him away. He never has any questions or conflict about who he feels he is and who he has to be now. Would it not have been more interesting if they threw in doubt for Charles or have him reject his new future? Lady Brockenhurst doesn't even question Lady Trenchard. I mean a stranger comes to your home and says that your dead son banged their daughter and got her preggers? I would throw hands or at least ask her if she had proof. But Lady Brockenhurst never says a word against it. Would there not have been more interesting if she did throw hands? You have to provide characters with bumps in the road. They can't just sail smooth. You have to put bumps in the road.
Happy Endings all around
Everyone gets a happy ending in the story. John Bellasis escapes to France, alive and with the last of his parents's wealth. The Brockenhursts get an heir. Maria and Charles get married. High Society accepts the Trenchards. Mrs Oliver provides the Trenchards with a grandchild and finally gets accepted into their family fold. Maria even says how unbelievable it is that everyone has gotten a happy ending. Forking out happy endings for everybody in the audience just seems like a cheat. Almost nobody gets their just deserts nor does anybody earn anything. It doesn't exactly ring realistic nor justifiable for the audience for spending so much time with it.
Oh well... That's that
One thing that got me about the whole series is how quickly people just get to conclusions. Were revelations arise, they just accept it without a fight. Lady Brockenhurst just believes that her son fathered a child and never questions it. Lord Brockenhurst just accepts it without even asking for evidence. Maria Grey just falls in love with this guy she met. Mrs Bellasis just shrugs her shoulders at the fact her son has stolen her silver, her last means of wealth. John Bellasis just escapes after trying to kill somebody. Lady Templemore doesn't even ask to see the proof of Charles's legitimacy before allowing him to wed her daughter. Everyone just acts passively.
