The Gilded Age Returns” makes its return in a second season, and it seems even more reminiscent of “Downton Abbey Lite.” But this isn’t a bad thing. The show continues to captivate as a finely crafted, lavishly decorated soap opera, with the added bonus of delving into 19th-century history, including the early labor movement struggles and the construction of the Brooklyn Bridge.
Just like in Season 1, the drama unfolds both upstairs and downstairs in the opulent world of 1880s Manhattan. However, in this eight-episode installment, some of the storytelling feels a bit rushed and less elegant.
The central conflict remains the clash between the nouveau riche Russells and the imperious matriarch Bertha (once again brilliantly portrayed by Carrie Coon) and the old-money society heavyweight Mrs. Astor (Donna Murphy). Their feud is personified through dueling opera houses, forcing the city’s elite to uncomfortably take sides. In a nod to the Marx brothers, it’s essentially a “fight at the opera.”
Elsewhere, Bertha’s husband George (played by Morgan Spector) grapples with the early labor movement and the conflicting demands of the old-school robber barons. These magnates, including George, are faced with calls for enhanced safety measures and shorter workdays as workers strike. The timing is uncanny, echoing the labor woes that have plagued Hollywood, even if the modern struggle takes a less brutal form.
As with “Downton Abbey,” the class struggle often takes a back seat to matters of the heart. This season explores potential love interests for Marian (Louisa Jacobson), Peggy (Denée Benton’s character facing personal and professional challenges after her father’s betrayal), closeted Oscar (played by Blake Ritson) on the hunt for a wealthy wife, and the Russell children’s quests for love.
Series creator Julian Fellowes once again treats the show as a spiritual companion to “Downton Abbey,” weaving real historical events, like the construction of the Brooklyn Bridge, and fleeting appearances by historical figures such as Oscar Wilde and Booker T. Washington into the narrative.
Marian’s journey is overseen by her aunt Agnes (Christine Baranski), whose acerbic wit and frustration with changing societal norms and “the new people” make her the closest thing to “Downton’s” Dowager Countess currently on TV. Her presence alone is worth the price of admission.
Fellowes juggles many storylines, perhaps too many to wrap up neatly, but there is enough closure that it might suffice should “The Gilded Age” conclude after this season. While the series boasts numerous charms and an impressive cast, it hasn’t achieved the commercial, awards, or critical success that HBO typically seeks, which could influence the network’s decision on whether to continue.
Despite the show’s frothy and, at most, PG-rated escapades within the upper-crust circles of New York, “The Gilded Age” remains something of an outlier for HBO. Nevertheless, it’s a thoroughly enjoyable one. If it doesn’t elicit a standing ovation, it’s certainly deserving of an “opera clap” in keeping with the spirit of the season
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