Blood Soaked Through: Downton and the lie of British Nostalgia

Okay, hold your loved ones tight Wee Readers, it’s time for anecdote. When my grandmother was a little girl she went to a posh girl’s school, because of her high IQ. But it’s important to note that though she was not posh, at all back then, many of her classmates were. In fact, they were the posh of the posh, they were the upper-class. The kind of people that take their children on fox hunts.

Now sometimes when these posh of the posh girls would come back from their summer holidays, it would be noticed that they had dried blood behind their ears, or sometimes still smeared across their faces. My god, I hear you saying, what had happened to these poor children during their summer holidays? Aha, say I – but I’ve already given you the answer already. You see, when a young person – and we are talking young here, these were children – participates in their first fox hunt, when the fox is caught its blood is smeared over the child’s face and worst of all, if you can belive it, they’re not allowed to wash it off. It has to be left to dry and flake off by itself.

A disgusting, foul smelling thing that no longer feels like it should belong in our modern world – speaking of which….

Let’s talk about Downton Abbey.

For those lucky few not in the know, Downtown Abbey was a historical drama set just after the sinking of the titanic, written by Julian Fellows, that ran from 2010 to 2015, and later received a follow up film in 2019, with a sequel planned for 2022. The series started off with a strong first season, with good dialogue and intriguing plot twists ripped right from real stories of the time, but gradually declined in quality. Season two while not the worst the series would ever produce, was mainly pulled along by the natural intrigue of WWI, and seasons three-six coasted on soap-opera like shockers, when they weren’t just repeating their own stories over and over again. I think even fans of the show would agree, that this was not a well written series.

But what I find sad is that it didn’t really have to be, as I said before the first season was actually decent up to a point, and even the later seasons had glimmers of something. Story threads that could have gone somewhere, characters that were occasionally likable. The setting at least should have provided it with many interesting turns for the story. But nothing ever came of it; and I always wondered why, and then I watched the film and suddenly everything was so bright and clear. Oh, not because it was a good film, or in the least entertaining, it’s not, it’s trash from start to finish – in fact in some ways it’s actually much worse than the tv show; because as a film the expectations for it are automatically much higher. You were given a film to play with Julian Fellows, kindly please do something with it other than meander around for two hours. I mean the closest thing we got to a main story, was the servant subplot where they kidnapped the visiting royal staff so they could serve the King and Queen instead. This is not what I wanted from the writer of Lady Sybil’s death scene.

No what made everything so much clearer to me is because the writing was so bad, any form of subtlety with the underlying message of Downton, in a sense the reason the whole phenomena was started, had been dropped. And what is that message you might ask, well my dear wee reader, it’s the warm feeling of nostalgia you might have looking back on a happy time in your childhood, or in fact any time before this whole Covid mess began. But Downton doesn’t want you feeling that way about things that actually matter to your life; no Downton has its priorities right – it wants you feeling that way about the past, sure, but the distant past. The past where the upper class ruled benignly over counties, that really needed them to survive. Where Masters and servants coexisted in a wonderful symbiotic relationship, and were basically family.

Of course, such a time never existed but that won’t stop Downton from spinning its enchanted tale of the place. Weren’t things just so much better? The poor happier and more content – the decent ones anyway – and the rich finally allowed to show just how regal and elegant they could be?

Don’t you wish you could live back then? That today’s world could be more like that?

And now we’ve found the trap.

Everything in Downton, every plot thread, every character you may love or hate is used for this purpose. Don’t belive me, let’s take a look.

Lady Mary

I think even fans of Lady Mary can admit that she was a bit of a b word, she was intentionally written that way so that when she met the middle-class heir, and her ice queen tendencies would begin to unthaw, we could see the real, feeling person hidden underneath. Or at least I assume that was the intention, honestly to me the happier Mary grew with her situation the less her actress seemed to care about her performance. But regardless I’m getting off track.

The point of Mary as a character is to highlight how the rich suffer, nothing less and nothing more. That is not to say that as a woman in the early 20^th century Mary does not suffer – indeed the main plot of the show is kicked off by the fact that due to a specific law in Britain at the time, Mary as a woman cannot inherit either her father’s estate or her mother’s inheritance. But when we look at her life through the lens of the time in which she lived, rather than are own, we might discover that Mary’s troubles are not in fact the great hardships, or soap opera-esc drama the narrative encourages us to see them as.

Yes, in comparison with some women today, Mary has significantly less rights and power in her situation – but she is still the eldest (and favored) daughter of the earl of Grantham. She lives a luxurious life waited on by an entire army of servants. I know all this by fact, and yet when I re-watched season one I felt genuine pity for Lady Mary, nay a genuine desire to see her succeed and obtain Downton Abbey for her own. And then I had to stop and think… why? What actually made Mary more deserving of Downton and all its wealth, than Mathew or any other inbred twit that came to claim it?

Because she’s an Earl’s daughter?

Because she’s a woman?

That can’t be it, if real feminism has taught us anything it’s that a person’s worth, or their abilities cannot truly be judged by their gender. And yet through the cunning manipulation of the basic form of feminism – i.e., woman is kept from something that she would have automatically received had she been born with a Y chromosome – Fellows manages to make the audience root for a character who is at their very core, a terrible human being.

Which is the point, the Crawleys shouldn’t have to change to win the plebian audience’s approval, the audience must change their mind.

But then again, she’s not by far the most manipulatively written character of this kind on the show. For instance, I can legitimately say that she’s a terrible person and probably not get much push back down in the comments. Which is in slight contrast to our next piece on the board.

Lady Edith

Like her sister before her Lady Edith is the embodiment of the plight of the wealthy, or at least the wealthy young woman. While there are some ‘feminist’ leanings to her character, like her running a magazine, and her journalist carrier – for the most part Fellows gains the audience sympathy, not by leaning into any outer social justice cause, but just by shitting on her. From the first moment she appears on screen, in actual mourning for her dead cousin – Lady Edith is treated like garbage by almost every member of her family, with only Lady Sybil showing any sympathy. Which is its own problem, but I’ll get into that later.

She’s left at the alter by her elderly fiancé, conceives a child out of wedlock and is forced to hide it, and has her long awaited happily ever after yanked away not one episode from the final by her spiteful sister, Mary. Who then goes onto have her own literal fairy-tale wedding in the very next episode – I know, I know I shouldn’t be getting hung up on that, but it’s just so annoying.

The trick here is that unlike Mary, her suffering is not merely seen by the audience’s modern perspective – Edith is suffering no matter what value system you subscribe to. It sucks that she can’t come right out and say this is my daughter, it sucks that she’s left at the altar, it sucks that her family talks about her like she’s a hideously deformed beast, despite the fact that by most people’s standards she’s still very pretty.

So, it’s very easy and very understandable to feel pity for Edith Crawley, and yet we mustn’t forget as the show clearly wants us to, that Edith’s troubles are not the height of tragedy the post WWI world had to offer. Indeed, that’s true even on the show itself. Yes, it sucks that she had to hide her daughter but unlike say someone like Housemaid Ethel, she gets to keep her child – after some chicanery with the Drewe farm.

And speaking of the Drewe Family, can we just stop for a second, and speak about how absolutely terribly they were treated by the Crawleys and Edith in particular. They take in this child, raise it like their own for the first – I don’t know how time works on Downton, people don’t age normally, but let’s say – year of their life, with the wife completely ignorant of any connection the child might have to the Crawleys of Downton Abbey. All the while Lady Edith seems to have taken a random liking to the girl, and keeps popping in, gradually eroding more and more of the Drewe Family’s privacy. Eventually it all comes out, and the little orphan girl turns out to be Lady Edith’s love child; so, when she’s snatched away by her birth mother, not only do the Drew’s have no legal claim to this child that they have loved and cared for her entire life, but after an unfortunate incident where Mrs. Drewe tries to take the baby back, now they’ve even lost their farm, and their livelihood.

I suppose it just goes to show, that just because Lady Edith’s own suffering is genuine, doesn’t mean she’s not capable of inflicting it on others.

It’s so bad that even Robert Crawley, high lord of all of the Downton world, has to comment on how badly the poor Drewes have been treated. I mean he does nothing to fix it, but he gets to mention it, thus making him seem somewhat more reasonable than the women in his family. Speaking of which…

Robert

When you think of Downtown Abbey and Creator’s pets – that is a character who the writer clearly adores, but the audience (or at least the majority of them) cannot stand – you may think casually of Lady Mary. Who is allowed to continue being a bitch throughout the majority of the show. But I would like to draw your eye to an individual even more deserving of such a title…one, Robert Crawley, Earl of Grantham.

Robert is a spoilt autocrat, content in his power and his place in the world as it was – this is how season 1, with its superior writing, tricks us into liking him. Of course, Robert seems more reasonable than his stuck-up daughters, his thoughtless wife, and his (wonderfully) bitchy mother, he’s getting his way. And it is only in season three and four, when his mistakes, and character flaws become more relevant to the main story, in which the audience is finally allowed to see Robert for who he has always been. A spoilt little boy, playing at being the great lord of the castle. He is the kind of man so focused on showering his new heir and surrogate son with praise that he doesn’t even realise that he’s reduced his daughter to tears. He’s the kind of lord who will kiss his widowed maid, in a sense forcing her to resign and loose her position. He’s the kind of creature so focused on being right, and looking like the great lord, that he will ignore the advice of a trusted physician just because he’s not fashionable.

But wait I hear you say, Wee Lassie, in season three and four he’s punished for his mistakes. He loses his daughter; he loses half the power to run his own estate. And to that I say look closer, yes, on the surface he does seem to be punished for his mistakes, and his crimes, but when you really think about it, he suffers much less than he really should. He lost his wife’s fortune in bad, nay stupid investments, and when he’s saved by Mathew’s inheritance; he expects things to go back to the way they were before. So, when Mathew proposes making Downton self-sustaining, this comes as a shock and he throws a fit, several fits in fact. Still, Mathew and later Tom and Mary are persistent and Downton is saved. If we were in the realm of reality, Downton would not have been saved, there would be no last-minute inheritance from Mathew’s dead fiancé’s dead father (yes, it’s as melodramatic and daft as it sounds), and Robert would have to live with the consequences of his action.

But we’re not in reality anymore, we’ve stepped through the door to the Downton Zone, where everything and everyone bends just a little to accommodate Robert Crawley’s wishes. Still don’t belive me? Think back to Lady Sybil’s death; caused undeniably by Robert and that fancy Doctor ignoring the signs of pre-eclampsia in Sybil. A fact that he’s called out on by his wife in the end of the episode, and it almost ruins their marriage. Until of course Maggie Smith steps in and forces the local doctor – who had caught the signs but had been ignored – to lie and tell Robert and Cora there really was no hope. The world bends around him, so that Robert doesn’t have to bear that guilt anymore. But my point is, if Robert’s actions are to actually mean something, then he has to bear the guilt of them. He has to bear, until his own dying day; the fact that he killed his daughter.

But that would never happen, not to Robert Crawley, Earl of Grantham.

Not to Julien Fellows’ aristocratic hero of the upper-class.

Please, consequences are for the poor.

Which leads us to…

Tom

Tom Branson, oh poor Tom Branson. It’s clear when he first appeared on our screens all the way back in 2010 that he was always intended as the love interest for Lady Sybil. Which is why when Fellows came back with season two, the lack of focus on the relationship, or at least the pre relationship between the socialist chauffer and the spirited youngest daughter of the earl of Grantham, seemed so strange. But looking back on it now, with the film fresh in my mind, it no longer does.

An actual in-depth romance would have to actually acknowledge the class discrepancies between the pair. Perhaps even confront Sybil’s unchallenged assumptions and prejudices; a process that would last longer than a single scene, and effect the rest of both the characters’ lives. But fuck that, clearly, it’s much more important to give that screen time over to the imprisoned Bates, despite the fact that he is doing absolutely nothing interesting at all. And I am thoroughly convinced that Bates got that screen time because, unlike early Branson, not only upholds the status quo that keeps the Crawley’s on top, he revels in it.

The fact that this clearly already planned Romance was shoved into the end of season two reveals Tom Branson’s second role in the narrative, and one that Fellows clearly finds way more important than his brief stint as Lady Sybil’s husband. That is, Tome Branson the reformed Marxist. That is much more than he is a love interest, Tom Branson is the character set to have his political beliefs proven misguided, torn down, and rebuilt in a way that the writer finds much more agreeable. If this were a more leftist – or at the very least neutrally written – show this role would probably have been filled by one of the Crawley Sisters, but then again that’s not Downton. Now I’m not saying that Marxism and socialism don’t have their flaws, they do, just like every other political belief system on earth. But when you have your socialist character go off to America sometime in season five, I think – and come back claiming that the fair treatment of the American Worker has left him with a better feeling towards Capitalism as a whole, it’s clear that you’re not going to get a nuanced critique of socialism in this show.

And speaking of non-nuanced characters…

Lady Sybil

I’m going to say something controversial here – so I’d just like to remind the reader that I don’t actually hate lady Sybil, there’s nothing there to hate, and that’s the problem. Because lady Sybil, or at least how she is presented in the show, is insidious

Okay put down those pitchforks, let me explain myself. What do you think of when you picture Lady Sybil as a character? No, not her death or the fact that she ran away with the chauffer – those are things she did. I’m talking about her innate character, who she was as a person – that’s right, she was nice and cared for the less fortunate. Certainly not bad traits to have as a character by any account, but it’s interesting to note that unlike her sisters – who began the story as Bitch one and Bitch two – Sybil doesn’t have anywhere to go from there. She remains nice and concerned for the less fortunate right up until the day she died, but those two attributes were never expanded upon.

And what’s strange is if they had been, then Sybil could have been one of the most interesting characters on the show. In fact, the beginning of season two even looks like it’s going that way – with Sybil unfulfilled in her life and deciding to train to be a nurse. But the fact is, we never see that training – she just goes off one day to her nurse school, and the next time we see her, boom she’s a nurse and working with Doctor Clarkson. Imagine for a moment a version of Downton Abbey that let us see that transition, that showed us Lady Sybil’s struggles with the hard manual labor that was now required of her, or her difficulties relating to the other nursing students because of the differences in their class. Imation a Lady Sybil that grows from this, that realises that her privileged upbringing has not only left her unfulfilled, but woefully ignorant of the suffering others.

I don’t know, maybe it’s just the socialist in me, but wouldn’t that be a much more interesting story line, then oh no she ran away with the Chauffer.

And speaking of the Chauffer, as I mentioned in Branson’s own segment wouldn’t it have been much more interesting to show actual romance blooming between them – rather than just the claims of love from Branson’s side, and then suddenly after the war is over, they decide to elope. That’s not a story that’s an afterthought. But then again, falling in love and conducting a secret romance with a man who was not only of a lower social standing than her, but her actual servant, would require Sybil to show that she needed growth as a character. Closest we come to is a brief scene when Sybil shows how ignorant she is to what the British Government have put the Irish through, with the truly atrocious line of:

‘I know we weren’t our best in Ireland.’

Which could have been interesting, but again we never follow up on it so nothing really happens. And Sybil can remain just good, no need of a noticeable change in her demeaner, no need to face hard truths of her world. Just nice Sybil, who was a good person, who everybody loved and wasn’t it so sad that she died.

Now I know what you’re thinking, sure Wee Lassie, that sounds like a kind of dull character but where does the insidious part come in? Well, think of it, Wee Reader, think of a character who wasn’t just been born into wealth but the kind of upper-class near royalty elite that derived their power from the continuous degradation of the lower classes. Now think of that character, true they are innately kind, but even an innately kind person raised in that world would take on some uncomfortable beliefs. And yet we’re never really shown that in Lady Sybil, she’s not even mildly unpleasant, which is really kind of weird, especially when you consider how her sisters first started.

But then again as with most creative decisions we can trace this back to the underlining message that governs all of Downton Abbey. That is, that the system of the elites ruling and lording over all is not inherently broken and based on a warped sense of superiority. No, the system itself isn’t broken, it’s just that the good elites are no longer in charge. Perhaps Lady Sybil herself would find this idea abominable, but that’s the story her character helps to preserve. The fair elite, the kind Millionaire, the good king – all fictions, all completely unable to be true in the system in which they were created.

Well, I hear you say, that was certainly an impassioned argument against the dangers of inborn power structures, and British nostalgia for them – but that little story at the beginning about the girls with their faces painted with blood…what was that? And how did it have anything to do with the rest of the post? And I say – why thank you, I was hoping someone would bring that back up again. That story was to help with a little trick I use when watching these kinds of shows. Because Downton is certainly not alone in its nostalgia for this kind of world, it’s just one of the most obvious because it’s so badly written. Particularly by the time the film came out.

But other shows with a similar thesis can often sneak under the radar, with deceptive tricks like better writing, deeper characters, and actual plot. Think of shows like The Crown: which on the surface is showing some of the darker more messier elements of the royal family – my favourite episode is the one when old Uncle David is shown to be a Nazi sympathiser – but at its deepest core, it’s arguing that the Royal Family are not only still relevant, but needed, in British society.

Which in 2021, is not true – they don’t even really rule us anymore, not officially anyway, which to my mind is kind of the only point to royalty. I mean they’re a mode of Governance, if they no longer Govern then why are they still here?

But regardless, it would be the height of hypocrisy for me to tell people to just not watch shows like the Crown – I even get the appeal of Downton Abbey, Maggie Smith is a blast, and the soap opera storylines do pull you in. But the fact still remains that they have terrible messages about the way the world should be run – and thus I recommend that the next time you find yourself watching one of these shows, for whatever reason, remember that odds are likely these people have gone fox hunting some time in their life. Which if you will recall means that they’ve not only had their faces painted in blood, but left it on long enough for it to dry and flake off.

I’m not saying do it all of the time, just some – and you’ll find suddenly they don’t seem so regal anymore.

It’s just a thought.

If you’ve enjoyed this long-winded rant on the deeply broken basis for Western society masquerading as a rant about a terrible period drama, why not follow the wee blog if you haven’t already. Also check me out on Twitter, Instagram, Tumblr, Pinterest, Facebook, and Goodreads. Also don’t forget to click the button down below to support this blog on Kofi. And remember to sign up for the Wee Mailing list before November 12th to find out the 12 video essays I found the most fascinating/distracting during this terrible time on earth. I usually try to have the mailing list posts have something connecting them to the main blog post they’re advertised on, but I was just so sick of Downton Abbey by the time I finished this article, that I just couldn’t anymore. So enjoy this list instead. Until next time Wee Readers stay safe, stay vigilant and have a very bonny day.

The Wee Lassie’s Top Eleven Elderly Badasses from Fiction

What ho Wee Readers, well those last two posts had some contentious stuff in them, didn’t they? I had to delete at least one troll argument. And I bet you’re thinking after that I probably want to take it down a notch with my irritation at the current situation – maybe you even hoped that’s exactly what I did with this post, after all it’s just a top eleven list, nothing contentious in that surely. Well…psyche! Because we’re gonna talk about elder abuse.

11.Abe Simpson

Well if we’re going to talk about the uncomfortable subject of Elder Abuse around a top eleven list of the most badass elderly characters in fiction, than there’s literally no better character to start with then Abe “Grandpa” Simpson. Born to parents Orville and Yuma Simpson sometime before WWI, Abe spent his adult years during WII basically fighting in as many military units as he clearly possibly could. He was part of the Army, the Navy, the Air Force, and the Marine corps. There is some evidence this might be exaggeration on his part, but since he is a cartoon, I’m just going to treat this as accurate until it’s outright proven false.

Unfortunately, due to his advanced age, and rapid decline in mental capably – Grandpa Simpson is not given the respect you’d think he should be by either his family or wider society. If he’s not being ignored, or mocked by most of the cast – except maybe Bart in more recent years – then he’s being used by the writers to tell some quite frankly very uncomfortable jokes. Like remember when Homer fantasized about smothering his father to death, so he wouldn’t have to take care of him anymore? Yeah, that was a joke. Look the Simpsons is a great show, I’d even argue it’s very underrated in its later seasons – but elder abuse is a very serious topic, and sometimes jokes like that can help normalise it to the wider viewing public. Something we have a very high tolerance for in our society anyway – for instance in a recent poll of 2,500 people in the UK, 34% of them didn’t see acts of violence towards older people as abuse at all. And nearly half of them fully believed that not attending an older person’s needs didn’t constitute abuse. So yeah Homer, bit not good there.

10. Yoda

Now some people might claim that it’s cheating to use an alien from a science fiction movie in my elderly bad-ass list, but to them I reply with the words of the great man himself. “When 900 years old you reach, look as good, you will not.”

After spending roughly eight-hundred years training Jedi, this little green alien retired into exile at the rise of the Empire, whereupon he stayed hidden on his not-home planet of Dagobah until being discovered by the wanna-be Jedi Luke Skywalker. He is a master of the force, a CGI puppet with a light-saber, and in our modern-day pop culture he is the epitome of judging not by the size, or as chance would have it…the age. For 900 years old he may be, but right to the day he dies and becomes one with the force, Yoda is a dangerous force to be reckoned with and even powerful force users like Obi-Wan Kenobi know not to underestimate or discard him as disposable simply for his age or his erratic behaviour. Something that would be nice to see in today’s society. Oh? Don’t know what I’m talking about, well sit back because the next paragraph is gonna be pure rant.

Earlier in the year, an opinion piece published in the Telegraph noted that the 1918 pandemic of Spanish flu left such a large impact on the economy because it mainly affected what he referred to as ‘primary-breadwinners’. Which apparently the Coronavirus does not. In fact, he would go on to say, the 2020 pandemic could have a positive impact on the economy because and I quote…

‘Not to put too fine a point on it, from an entirely disinterested economic perspective, the COVID-19 might even prove mildly beneficial in the long term by disproportionately culling elderly dependents.’

This would be despicable in itself, but it adds a new layer of sinister when it turns out that a large amount of the governments around the world seem to have accepted a view like this one, as their actual policy when dealing with the pandemic.

9. Baby Jane Hudson

The antagonist of Henry Farrell’s 1960 book “What Ever Happened to Baby Jane?” and its various on-screen adaptions – the most famous being 1962 adaption starring Bette Davis – Baby Jane Hudson is a former child star aged out of her marketability. She’s trapped in the delusion of reviving her old act, along with a severe case of alcoholism. What makes this character more terrifying – or at least as far as any fictional villain is terrifying in today’s world – than sad is the fact that she has complete control over her wheelchair bound sister. By the end of the story Jane has practically locked her sister in the house, and prevented any contact between her and the outside world. Gee you must be wondering, I wonder what the Wee Lassie is using this to segue into now…well, I’m not one to keep an audience waiting, so I’ll show you.

The Lockdown – no matter what you may think of how needed it is – often disproportionally affects older people in a negative manner. Not only because of the usual rates of loneliness, isolation and sometimes starvation [but more on that later] that comes from being essentially cut off from the rest of the world. But also, because lockdown restrictions are often much harsher on those over the age of 65 – for instance in Bosnia and Herzegovina anyone over 65 wasn’t allowed to go outside. And there were no exceptions from this rule – you weren’t allowed to go the shop to buy food, or the pharmacy to pick up your medication. You weren’t even allowed to take out your rubbish and if you were caught, you were fined. This may seem shocking, but the truth is this sort of thing is happening all over the world – and even less drastic seeming measures (such as shielding) can have a terrible impact both physically and psychologically on anyone.

8. Olenna Tyrell

When we think of house Tyrell, if we’re not thinking about Margery or her brother, then it’s likely that we’re thinking about Olenna. Like Tyrion, she represents what many of us liked best in Game of Thrones – that is the clever writing and the focus on people, that often don’t get given the respect they should in high fantasy stories. However, unlike Tyrion, Olenna gets given that kind of respect in story as well as out. Olenna Tyrell’s son might be the lord of Highgarden but who are we kidding, it’s Olenna that rules the roost. Her words, like many of the best GoT characters, are the most powerful weapon she has and hers are some of the sharpest, easily putting even main players like Cersei Lannister in her place. However, after her family is murdered and she is left alone, it’s notable that she no longer uses this strength of words to build someone up in a positive way, but rather tear them down. We can see this most definitively in her last act before she dies. She tells Jamie Lannister that she killed Joffrey, and asks that he tells Cersei that it was her (meaning Olenna) that did it. A last act of symbolic revenge, before the Game of Thrones takes her down.

Hmm, a noble woman in a fictional fantasy land, how am I possibly going to connect this one to elder abuse within the current coronavirus pandemic? Well, I suppose that like many elderly people today, Olenna’s society, and the rules she has played so closely to, have failed her when she most needed that support. She is left alone in her grief, almost…isolated you could say. After all many older people, suddenly alone and without control over their circumstances – whether those circumstances involve being separated forcefully from your own family for ‘the greater good’, or having them blown up by one of your political enemies really doesn’t matter – can suffer from severe psychical and mental health conditions, not limited to cognitive decline and even depression. BINGO! We have a winner!

7. Hector Salamanca

Hector Salamanca is not a good man. He’s a former drug runner and enforcer to Don Eladio of the Mexican Cartel. He murdered the partner and possible lover of Gustavo Fring, to send the young entrepreneur a message. And he was instrumental into indoctrinating his own three nephews into that world, once holding one of their heads underwater and trying to drown him to teach his brother a lesson. So, yeah bad man – however through the course of both Breaking Bad and its prequel Better Call Saul, we watch Hector lose more and more of what made him who he was. In Better Call Saul after he’s poisoned, he suffers from a stroke and loses his ability to both walk and speak. By extension he also loses his business and much of his old power within the Cartel – not all of it, but a lot. But whatever, he passes his business onto his nephew Tuco and he goes on with his new life. It might be difficult, but at least he has his family – and family, as he mentioned while he was trying drown his nephew, is everything.

However, starting with the death of Tuco in Breaking Bad, Hector’s family slowly but effectively begins to get picked off. One of his twin nephews is killed when he tries to assassinate Hank, while the other is quietly taken out later in the hospital by Mike. His cousins, his friends, his old boss Don Eladio, even his own Grandson – all taken out by Gustavo Fring. He is left alone and forgotten in a nursing home with his only means of communication, the bell on his wheelchair. This is illustrated by the fact that the care home staff will often leave Hector in a corner, or alone in his room staring out his window – not from any malice per say but because it is so easy to forget about him now. So, to a man like Héctor Salamanca, the idea of turning himself into a living bomb to destroy his enemy – Gustavo Fring – and therefore escape his lot, seems the only logical course of action.

While the solution is different from many other people’s reaction, I’d assume, the notion of being neglected or forgotten in a nursing home when you’re no longer able to see your family, really isn’t – especially now. During the Covid19 Pandemic there has been a rise of elder death within long-term care facilities, however studies show that many of these deaths were not caused by Covid19 itself. Rather people died of hypovolemic shock, or if you would rather fluid loss. That is, shut in their rooms during lockdown, with 40% of staff just not showing up, old people like Hector Salamanca were left to die of thirst. When you look at things that way, I’d almost prefer to go out with a bang.

6. Abbé Faria

In real life Abbé Faria was a Luso-Goan Catholic monk and one of the pioneers of the study of hypnosis – however in Alexander Dumas’ the Count of Montre Cristo he takes the role of the prisoner in the next cell over from the future Count. He’s a genius in almost absolutely everything from language, history, politics, to tunnelling out of a sheer stone prison. He buries into the county’s cell where they become friends and plan to make a proper escape. However before they can, the Abbé dies, the count pretends to be his corpse to escape and the rest is literary history.

Speaking of death, let’s turn our eyes from the still body of the Abbé dressed in the Count’s prison uniform – and to a more contemporary time, where you’d think we’d know better. You’d be wrong, but you would think that. The Abbé Faria’s corpse is mishandled, however as it was done to help his best friend escape their shared prison, it’s most likely he wouldn’t have minded very much. The same cannot be said for elderly people unlucky enough to die in nursing homes during this pandemic. With staff – due to fears of infection – encouraged to stay away, bodies were just left in the beds they had died in. Respect for the newly dead…what’s that?

5. Lady Violet Crawley

Alright I’ll be honest Wee Readers, I didn’t watch the Downton Abbey movie, it’s just the series got so boring by the end. Ghee it’s almost fetishizing the overly wealthy at a time of austerity and global pandemic is kind of sick.

Anyway, back on topic, my current distaste for the show and its content speaks deeply to why Violet is so high on this list. You have to be one of the funniest things on tv to keep even the socialists coming back to your boring show about how hard rich people’s lives are. That’s about all I’ve got to say about her, she makes me laugh. Her class on the other hand…

Statistically speaking in any kind of health crisis – but most notably in the covid19 pandemic – it’s the poor who suffer. We see this particularly in countries without some kind of universal healthcare, like America. Where many people can’t even afford to go to a hospital let alone receive prolonged treatment from one.

However stepping back into the actual topic of the blog post, while many old people were dying from isolation and lack of care, to protect them from potentially contracting the virus, what was the geriatric heir to the throne doing? A man who I will remind you had actually tested positive for the virus. That’s right, moving himself and his potentially infected staff all the way up to Balmoral Castle. Without so much as a whack on the wrist.

Well, clearly the governments of the world have made their opinion clear. If you’re going to recklessly decide to be old during a pandemic, you better be rich while you’re doing it.

3. Ruby Johnson

My favourite character in the series Blackish, Ruby Johnson, is the mother of lead character Andre Johnson, ex-wife of the, producer played, Earl Johnson, and thorn in the side / mother-in-law of manic doctor Rainbow Johnson. On a scale of one to ten Ruby considers herself a twelve, which should tell you all you need to know about her self-confidence. Let’s see what else, she once burned down her husband’s boat, but in my opinion the bastard had it coming. Look I’m not saying I’d damage property if I was cheated on like that but…I think for legal reasons it’s best I not go on.

However, what I love most about Ruby is how much she loves her family and how much they love her. I mean she’s awesome and everything, but Rainbow’s still kind of a saint for putting up with a mother in law like Ruby, living in her house. One big loving, if slightly difunctional, family that are allowed to help each other. Not everyone’s lucky enough to have that.

During lockdown many elders who live alone, and thus who rely on the help of neighbours or – if they have them – adult children, to go to the shops and get the things that they need, have been unable to get that help. Gee I wonder why? Thus, terrifyingly, many of them have been admitted into hospital with admission diagnoses of “starvation”.

2. Mike Ehrmantraunt

When you think elderly fictional bad-asses – if you ever think of something so specific – odds are you’re thinking of him. It speaks to Mike’s bad-ass nature or at least the popularity of his character that he went from being a bit part at the end of season 2, to one of the main protagonists on Better Call Saul. A show that I stopped watching partway through season four because it is like watching sand do nothing. So, let’s instead turn away from that show, to the far more fascinating tale of Breaking Bad. In particular the power trio he forms with Jesse and Walt in season 5, particularly the ending of it. Namely the fates of the three characters: Mike and Walt die, while it is Jesse the youngest of the trio that is able to get away and – as we see in the Breaking Bad Movie El Camiono – make a fresh start. As with many stories, the old must make way for the young.

Now I’m not saying that it was the intention of the Breaking Bad Writers to kill off Mike and Walt because they were getting too old – Walt himself is more middle aged and his death is clearly the result of his own actions, literally it’s his own gun that shoots him in the side. As for Mike it’s strongly implied that he dies in the plot to signal how far Walt has fallen; Mike is going to die in season five because Walter is so out of control. So, while the author’s intent might not be to cull the elderly, it does follow the interesting trend when it comes to characters at that particular point in life. Look back on this list in particular, how many characters died, or were hinted to be on the way out by the end of their book and or film / tv show? Over half of them. The old mentor, or parent figure, dying so that their young prodigy can go on to either avenge or surpass them is a tried and tested plot thread for a reason after all. Heck in Star Wars they’ve done it so often they’ve almost made a joke out of it. However, watching the rapid rise of Star Wars’ elderly death count changes from funny to actually kind of insidious, when we live in a society that leaves their elderly to die of thirst. Or prohibits them from even leaving their houses.

Look I love Breaking Bad, but stories even great ones do not exist in a vacuum of their own creating. In many ways the media we consume not only reflects but dictates much of our world view. And trends in media that make us write off that old mentor character as dead before the end of act two, is much more troubling and apathetic in a world where the government is actually doing that in real life.

2. Sophia Petrillo

Picture it, Sicily, possibly 1905, Sophia Pertrillo is born and the start of an amazing story begins. Moving to Brooklyn after breaking off her engagement at the ripe old age of fourteen, Sophia would later – much later I assume – marry Salvador Petrillo and have three children with him. However, in Golden Girls we first me Sophia long after her husband has died and she is freshly escaped from Shady Pine retirement home. A place that is so terrible in her stories that it’s practically a prison.

It’s worth noting that although she’s prone to exaggeration – Sophia is genuinely afraid of going back to Shady Pines, so there must be some truth in her story. Gee…a retirement home so neglectful that it’s basically a prison, wow…sure wish that wasn’t as relevant as it is. No, no I’m being silly retirement homes aren’t like regular old prison, no… they’re much closer to be death row at this point.

During the 2020 Covid Panic to free up space in hospital beds many nursing home residents were put back into their communities either without being tested for the virus or, even worse, testing positive for it. Two weeks after lockdown – a time in which infection should have been lessening – 1800 nursing homes in England were continuing to have outbreaks. They’ve locked these people off from their families, and restricted their care in theory to stop the infection from spreading. But if that was really the case, then why are you putting infected patients back in their communities? Why not keep them at the basically empty hospitals?

I’d say this was all a mistake, just the product of extreme incompetence… except I don’t think it entirely is, anymore.

For instance, in Scotland and England, they’ve been pressuring residents to sign ‘do not resuscitate’ orders. A crappy thing to do all by itself but turned absolutely terrifying with what these nursing homes do after the forms are signed…they stop caring for the human being that signed the DNR. No medication, no food, no water, it’s sick. Granted it isn’t every nursing home, just the ones that have had new management thrust upon them, but it’s worrying that it’s any of them.

1. Socorro “Coco” Rivera

When I first began this post – all those many eons ago – I found it very hard to decide who would take the final spot on my list. There were so many good candidates, each more deserving than the last. Ultimately, I settled on Coco Riviera not because she was the most badass – although as head of her family she certainly is that as well – but because more than any other character on this list, her dying prematurely would affect her story.

Think about it. If Grandpa Simpson died before the final episode, the worst that would happen is the Simpsons might stop making so many ageist jokes. Yoda dies, for seemingly no reason in his film and it doesn’t even slow down the conflict. Olenna, Hector, Faria and Mike all die as well and as for Violet well how long can they realistically keep her alive? Really the only ones that would leave any an emotional fallout are Ruby and Sophia.

But Coco? If she’s murdered before the end of her film, or even before it starts, it makes a difference to the rest of the story…people would literally fade from existence. She’s so integral to the film having any kind of a happy ending, that they named the whole goddamn thing after her.

However, there’s one scene in particular that I think sums up exactly why Coco reached this spot. Now before you watch the clip remember, Coco sufferers from an advanced form of dementia, unable to even remember her own daughter’s name.

The climax of the film lies in sitting round and actually listening to what a person with dementia has to say, rather than say bunning them away in a corner and sedating them when they get too distressed. Gee, thank god none of these people live in Scotland

Do you know what the sea witch running my country is doing to people like mama Coco? Yes, that’s right, murdering them. Specifically, over-medicating them – or at least the ones in nursing homes – when they inevitably become agitated from being separated from their families so long. Which has a terrible effect on an already frail body and is suspected of being the reason for the rise in dementia deaths during the current crises. The Scottish government’s idea of help to these vulnerable people seems to be, sedate until the body gives out and then repeat to decrease the surplus population. Sometimes when I think about it for too long, it makes me feel ashamed to be Scottish.

If this post has stirred your righteous anger, check out some of the articles that inspired it.

Elder abuse set to increase as UK enforces coronavirus lockdown measures, charity warns

Telegraph journalist says coronavirus ‘cull’ of elderly could benefit economy

Dying of neglect: the other Covid Care Home scandal

Nicola Sturgeon’s care homes catastrophe

Sedation ‘linked’ to dementia deaths surge in Scotland

Rights Risks to Older People in COVID-19 Response

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