Domesticating desire: Fantasy and social change in Downton Abbey and Upstairs, Downstairs

Abstract

This article argues that Todd McGowan’s revision to classic psychoanalytic film theory (2007) gives us a means of better understanding the ideologic commitments of Downton Abbey (2010–15). Instead of addressing this question through examination of the politics of the series’ representations or through examination of the genre of the period drama, I use McGowan’s film theory to consider how the series constructs its viewer through ideological operations. Downton Abbey, this article demonstrates, answers the viewer’s desire with fantasy and thus assures viewers of the omnipotence and rightness of the ideological structures under which we live. A comparative examination of Upstairs, Downstairs () reveals that the earlier series – despite thematic and generic similarities – resists solving the viewer’s desire and thus has the radical potential to construct a viewer who is more likely to question ideology. A final comparison of the last minutes of each series demonstrates Downton Abbey’s investment in the fantasy of tradition as well as a current cultural reluctance to productively confront significant social change.