Why I don't care that it's a sad week for Downton Abbey and Poirot

Let's hope that that ITV grasps just how bad a writer Julian Fellowes is soon, and locks him in a room for a month with only Chris Morris and some classic Coronation Street on DVD for company.

Flogging a dead horse: the cast of Downton Abbey

Downton Abbey;
Agatha Christie’s Poirot: Curtain
ITV

A sad week, should your tastes extend to dotty costume dramas. (If they don’t, you’ll want to crack open the prosecco and pork scratchings.) At Downton Abbey, the big house of ridiculousness and anachronisms where this column begins, Julian Fellowes’s cheap little rape plot line reached a feeble denouement in the final episode of the series (10 November, 9pm) when Bates (Brendan Coyle) pushed the valet who’d attacked Mrs Bates in front of a bus and killed him – an excellent use of his precious day off, one has to admit.

Meanwhile, Violet, the dowager duchess (Maggie Smith), having somehow intuited that her unwed grand-daughter Lady Edith (Laura Carmichael) is up the duff by her bounder of a newspaper editor boyfriend, decided that the best solution all round –pass the smelling salts! –would be an all-expensespaid, five-month-long trip to Switzerland. At least there, she’ll be able to blame her swollen belly on too much Toblerone.

Most unexcitingly of all, Lady Mary (Michelle Dockery) now has two hot-ish chaps dancing her attendance: Lord Gillingham and Charles Blake, both of whom must first have appeared in an episode I missed (that is, all of them) and both of whom look like Thunderbirds puppets, only with fob watches instead of strings. Dullards, the pair of them; Lord “Tony” Gillingham’s only claim to fame is that it was his valet whom Bates so swiftly despatched.

Some viewers will perhaps be hoping for a threesome in series five, though how Dockery’s acting skills would cope with such a scenario, one can only imagine. Would a sex troika in the king-size she once shared with the ineffably boring Matthew Crawley render her any the less plank-like? I fear not. I’ve seen walnut commodes more animated than Lady Mary.

What is to be done about Downton Abbey? I don’t know! ITV will, I fear, keep flogging this particular dead horse – “I’m sorry to have to tell you, Lord Grantham, but your favourite hunter was knocked down early this morning by Tom Branson, who was in a particular rush to get to a political meeting where he hoped to meet Miss Bunting, who had promised to show him her red bloomers; yes, I’m afraid these socialist girls are terribly easy, m’lord” – until such a time as the Academy of Television Arts and Sciences (one of the groups that hand out the Emmys) begins to ignore it.

So let us hope that is soon. Or that ITV grasps just how bad a writer Julian Fellowes is and locks him in a room for a month with only Chris Morris and some classic Coronation Street on DVD for company. Or that Maggie Smith storms off (I don’t believe the show could survive without her). Or that Fellowes is made the new presenter of Daybreak, which would leave him too knackered to worry about butlers at a Time of Great Social Upheaval.

As for all of you people who still watch it, what is wrong with you? Seriously. Are you gripped in an ironic, postmodern, sneery, let’s-count-the-extras-at-Lady-Cora’svillage- bazaar, tee-hee kind of a way? (On this point, I spotted two: one in a sack race, the other manning the test-your-strength attraction.) Or are you simply waiting to see if Lady Mary’s expression is ever going to change?

In other news, ITV also screened – after 25 years and 70 such films – Poirot’s last case: Curtain (13 November, 8pm). It started off well enough. David Suchet’s turn as the Belgian detective is, I have to admit, a remarkable thing: his beady brown eyes, his yellow, egg-shaped head and his slug-like ’tache combining to make him resemble a caricature by Max Beerbohm.

When he yelped, “Eet’s not a wheelbarrow!” at poor old Captain Hastings (Hugh Fraser), who was loyally pushing his wheelchair around the grounds of the castle-cumboarding house where they were unaccountably marooned with the usual cast of jealous, thieving, poison-hoarding social climbers, a weirdly Proustian feeling washed over me. I must have been a student when the first Poirotwas screened. Ah, those were the days.

But after this, it was downhill all the way. So very boring. In Agatha Christie Land, one knot of vipers is much like another. The bully. The hen-pecked husband. The cad. The invalid. The adulterers. By way of atmosphere, ITV gives us little cardigans and wide-legged trousers, rustling trees and arguments heard from the other side of a closed door. Scratchy strings signify the approach of the murderer, the click of Poirot’s pince-nez as he removes it from his sallow beak that the mystery is about to be solved.

The murderer inevitably suffers from a very English kind of madness: thwarted but mild mannered, his or her malady is most commonly born of covetousness. It’s comforting to watch, if you have flu, or your boyfriend’s left you. Yet even its greatest fans must know that it’s possible to go off to make tea and a cheese toastie – chutney on the side and maybe a salad, too – and not miss any vital piece of “evidence”.

Still, never mind. This is it now, for Poirot. No one can follow Suchet, who accomplished the detective’s penguin-like waddle by imagining he had to carry a coin between his buttocks. Au revoir, mon amis – at least until the repeats.