Could ITV's Titanic sink the period drama ship?

http://www.guardian.co.uk/tv-and-radio/tvandradioblog/2012/mar/26/itv-titanic-period-drama-series

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It has already been dubbed Downton-on-Sea. And this weekend Julian Fellowes' four-part take on the Titanic disaster hit ITV with hype and expectations running high. But reviews suggest that the show may not repeat the success of Fellowes' land-based Sunday night drama, with the dialogue deemed cheesy and the storylines messy.

However the main problem for Titanic might be costume drama fatigue – as evidenced by the viewing figures for BBC1's Upstairs Downstairs, which were disappointing by Downton's standards. More people watched Antiques Roadshow than the penultimate instalment of goings on at 165 Eaton Place, with overnight ratings slumping to 4.77 million. Despite Upstairs Downstairs having its passionate fans – many of them found hanging out on the Guardian's series blog, discussing the most recent episode – these numbers might not be enough to secure another series.

The success of Downton Abbey and Call the Midwife is a millstone for any new costume drama. Both shows expect to pull in 10 million viewers, and both shows have established an easily identifiable brand and have a mixed following: they can be watched by a broad demographic, some of whom take them literally and others who watch them with a knowing, camp wink. It's much more difficult for a "classic" costume drama like Upstairs Downstairs to inject the knowing humour that underpins Downton.

Titanic is another fish entirely, a bold experiment using all the signifiers we've come to recognise from the period. Its early frames were Lord this and Lady that, with servants brushing shoes, posh types being arrested at suffragette marches and some saucy Italian waiters. (Definitely don't want them to drown. Boo.) But Titanic's great strength is that its plot is pre-determined. Indeed we know within the first few minutes that the number of lifeboats has been cut. "I will not have the promenade deck ruined or the ladies terrified out of their wits." That's that settled, then.

This leaves Julian Fellowes free to concentrate on what he's good at: intricate class study. On board a ship this is a wonderfully literal business, with the servants of the first-class passengers a cringingly superb example of upward mobility. We also get an interesting interplay between nationalities: no one wants to be dubbed Irish, the Americans feel superior but are aggrieved that they're looked down on, and the English and Scots want to stick together.

As a phenomenon, it's very watchable. Not least for the costumes which are stunning. And the hats ... The hats! Perhaps less reassuringly fun is the existence of no less than 82 characters. I'm not sure EastEnders has had that many in its 27-year existence – and this is a four-part drama. At least whatever happens there can't be a second series. As Fellowes has quipped: "It would have to be directed by Jacques Cousteau."

The glossy feel of Titanic – it cost £11m and has already pre-sold in 86 countries – is its chief selling point and sets it apart from other costume dramas. It also means that regardless of viewing figures and critical reception, it's logically impossible for it to fail. Although, er, didn't they say that about the original Titanic?

But what it could do is kill off our appetite for costume drama and, perhaps, its allure for co-producers and broadcasters. Fans of the genre will be hoping it doesn't turn out to be a very costly mistake. A last, overpriced hurrah for costume drama? Or a sign that this Downton-fuelled genre is only just moving into its heyday? Place your bets.