Downton Abbey Series 3, Part 7

Downton Abbey's third season ended with a time jump, a shocking loss, and a whole lotta controversy in the fan-dom...so par for the course, right? *wink* Personally I think this third season finale is one of the season's strongest episodes, a pretty wholly satisfying end to the season and a great set-up for the drama to come.

A year has passed since the previous episode -- a year in which, if relations between the various major players are any indication, a lot has happened (in particular I'm thinking of Edith's continued work for Gregson's newspaper, and her corresponding rise in spunk and independence vis-a-vis her relationship with Mary, which appears to be veering into the testy territory that made them such fun in season one). The episode opens with the house in tumult as the family is preparing to leave Downton for their "annual" vacation in Scotland (much like the previous installment's "annual" cricket match, I find the introduction of these regular, never-before-mentioned events somewhat humorous). This trip at long last introduces us to an extended branch of the Crawley family -- Violet's (Maggie Smith) niece Susan (Phoebe Nicholls) and her husband "Shrimpie" (a.k.a. Hugh, a.k.a. the Marquess of Flintshire, played by Peter Egan), parents of the firebrand that is Lady Rose (Lily James). While I'm unfamiliar with Egan's work, Nicholls is a most familiar face, having appeared in Persuasion, Shackleton, Foyle's War, and Inspector Lewis.

Hi, my name is Shrimpie and I hate myself BECAUSE MY NAME IS SHRIMPIE.

Even though, given the confines of a two-hour special episode, the introduction to the MacClare clan is rushed, I loved the glimpse this episode provided into another great house -- albeit with a few cultural quirks (waking every day to the sound of bagpipes) and hobbies (deer stalking and the gillies' ball) refreshing different from Downton's norm. It becomes quickly apparent that Robert (Hugh Bonneville) in particular views this annual jaunt to Scotland as an idyllic retreat to be savored -- but this year especially things are far from peaceful in the MacClare family, as near-constant bickering between Shrimpie, Susan, and Rose repeatedly threaten to cast a dour mood over the otherwise determinedly festive gathering. I rather think this trip is Fellowes' way of addressing the old adage "the grass is always greener on the other side of the fence;" as events unfold, Robert comes to the realization that the change he spent most of season three fighting has actually preserved and strengthened what matters most -- his family and home -- while Shrimpie, who had no Matthew to push him into the 20th century, is in a thoroughly unhappy marriage and stands to lose his home.

Back at Downton, romance and scandal of all stripes threaten to bloom in the absence of the Crawley family, as Branson (Allen Leech) and most of the servants were left at home to tend to the running of the household and estate. Branson's storyline in this episode is particularly strong, as his general demeanor and the fact that he's the de-facto head of the household in the absence of Robert and Matthew signals the preceding year has  given birth to a deeper trust between him and the rest of the family. Indeed, this is the closest he's come yet to acclimating to his new role as one of "them," i.e. a member of the very upper class he spent most of his tenure at Downton railing against. Oh the irony. :)

That said, while Branson has been accepted at Downton he's still not quite considered a part of the family by the world at large, which has to sting a bit when one is left behind to "hold down" the proverbial fort. This leaves him ripe for manipulation by the new maid, Edna (MyAnna Buring), who seeks to take advantage of Branson's change in fortune by ingratiating herself into his life during the family's conspicuous absence. I thought this was handled SO WELL, in no small part because there is nothing romantic in Branson's response to Edna's overtures of "friendship," it's all about loneliness and GUILT. It is only natural considering Branson's origins and history with the household that he would feel more comfortable with the servants than his "new" family and their attendant social rules. Edna's attempts to guilt Branson into compromising his position as manager and family member may very well have succeeded if not for the ever-watchful eye of Mrs. Hughes (Phyllis Logan). Her "mother/son" talk with Branson at the end of the episode stands as one of my favorite scenes in the series to date -- the empathy and understanding and, most importantly, guidance she offers him absolutely priceless in its value and friendship.

Love is also in the air at Downton, as new grocer Mr. Tufton (John Henshaw) shows more than a passing interest in Mrs. Patmore (Lesley Nicol), and Dr. Clarkson (David Robb) is revealed to apparently harbor romantic inclinations toward Isobel (Penelope Wilton), of all people!!! I absolutely loved Mrs. Patmore's storyline, as she is consistently one of my favorite characters with her sense of humor and her sharply-honed sarcastic edge. *wink* Daisy (Sophie McShera) and the rest of the downstairs staff get a lot of mileage out of the idea of Mrs. Patmore having a "fancy man" -- and I was quite on board with the idea, until at the local fair Tufton is revealed to be an inveterate FLIRT. I had a brief worried moment when I thought the cook's heart might actually be broken -- but I should've known better, as her good humor and pragmatism quickly won out and made short work of Tufton's desire to court her for her mad cooking skills. :)

this really happened

The Isobel/Clarkson storyline...that on the other hand was hilarious from start to finish -- though it certainly answers the question of what Fellowes might have in store for Isobel next season. I mean c'mon, WHAT HAS HAPPENED in the year between part six and part seven that has Dr. Clarkson thinking he and Isobel have made some sort of LUV CONNECTION??? Inquiring minds want to know. NOW. :P I don't know why I continue to let myself be surprised by Isobel's stupidity, but I really cannot believe that she had no clue Clarkson was into her. Here's hoping they revisit this awkwardness next season! Speaking of love connections, seeing Carson (Jim Carter) with baby Sybil, and then Mrs. Hughes joining the party -- why oh why oh WHY can't we have something happen between those two? That would rock my Downton-loving heart.

Thomas, trying REALLY HARD to be a team player...

Wrapping up the Downton-set action, Jimmy (Ed Speleers) is still acting like the whole awkward episode with Thomas (Rob James-Collier) happened yesterday instead of a year ago. (Thomas was rocking the hat in this ep, wasn't he?) I mean even Alfred (Matt Milne) is willing to give Thomas some credit for keeping things appropriate. Anyways...at the fair, Jimmy acts like an idiot, gets threatened, Thomas tries to help him and gets beat up (like, REALLY beat up), and then they're both like CAN'T WE JUST BE FRIENDS?? And good grief but I hope so. I mean if they could actually be FRIENDS, that would rather be a refreshing change of pace for the show...not to mention go a long way towards Thomas's continued humanization. We really don't need him put back in the "villain" box (unless an opportunity comes up to give O'Brien an EPIC comeuppance, then I'd be okay with that).

Okay, back to Scotland and all of THAT drama. :) Mary (Michelle Dockery) is finally pregnant, yay for that, and at eight months no less -- yet she still insists on joining the family on their vacation. She is also apparently (and quite understandably, I might add) suffering from what appears to be a surfeit of pregnancy hormones, as she and Edith are sniping at each other in a manner I don't think we've seen since season one (good times, people, GOOD TIMES). Mary apparently smells a rat where Michael Gregson (Charles Edwards) is concerned, as Edith's (Laura Carmichael) love-struck editor is conveniently in Scotland at the same time as the Crawleys, so he wrangles an invitation to join their party. Since Gregson's insane wife is apparently the best-kept secret EVER (never mind HOW??), as at the beginning of the episode only Edith knows of her, I'm not really sure WHY she objects to Gregson's presence but whatevs. Mary and Edith sniping at each other is just one of life's comforting constants. And lest we forget and cast Edith as a victim here, she's been guilty of more than one offence towards Mary in the past (i.e., dishing on the true circumstances behind Pamuk's death).

So Gregson has apparently CAN'T LIVE WITHOUT HIS COLUMNIST and thinks he can actually make this work if he explains his situation to Edith's father. What father in their right mind would be okay with that? I mean C'MON. *rollseyes* He's actually SHOCKED when he runs the scheme by  Matthew (Dan Stevens); clearly being married to a lunatic has addled his brain. Now, if not for the whole Rochester-esque life he's leading (which, incidentally, I think is great dramatic fun for the show), I think Gregson is pretty dang perfect for Edith. I mean he liked her BEFORE HE MET HER. But the road to happiness on this show never did run smoothly, so here's my prediction: Edith starts an affair with Gregson, she gets pregnant, he tries to have his wife killed, there is a great scandalous trial resulting in a prison sentence, Edith promises to be faithful, has his kid, crazy wife dies whilst he's rotting behind bars, and then because it was "only" attempted murder he gets out by the season finale and he and Edith marry under a cloud of scandal. Fellowes, you can have that for FREE. *wink*

no words

Meanwhile O'Brien (Siobhan Finneran) meets her long-lost twin in the form of Susan's maid Wilkins (Simone Lahib). They appear to be on the road to becoming BFF's until Susan reveals a preference for O'Brien's mad hairdressing skills, which leads the permanently sour-faced Wilkins to hatch a plot to embarrass her "rival" at the gillies' ball. This turns just all kinds of hilarious as the spiked drink meant for O'Brien is downed by the hapless Molesley (Kevin Doyle), who proceeds to royally embarrass himself on the dance floor. Personally I think Susan should hire O'Brien, but then we'd never deal with the SOAP issue, would we? Decisions, decisions...I guess I just like the idea of O'Brien sweltering in the Indian sun at some remote outpost.

Interestingly enough, the Rose we meet here is like 500 times less annoying than the Rose we met a year ago. I honestly feel like those storylines were reversed or something. The mother/daughter relational issues while not breaking new ground at least felt genuine -- particularly given the testy relationship between Rose's parents exacerbating the normal pangs attendant with growing up. Cora (Elizabeth McGovern) really clicks with Rose here, obviously remembering her own struggles to relate to Sybil's atypical ways, and by the end of the episode arrangements are in place for Rose to move to Downton while her parents work out their issues overseas. If she continues in something resembling this vein, I shan't mind her addition to the cast at all -- but I'm not holding my breath on that score given her wild introduction. Balance, Fellowes, BALANCE. :P

Bates (Brendan Coyle) and Anna (Joanne Froggatt) get some nice moments in this episode, even though this is decidedly a working vacation for the pair. I was happy to see that Bates appears to have mellowed in the year he's been out of prison -- or at the very least set the simmering anger issues I feared in the last episode momentarily aside for the trip to Scotland. I thought Anna's "surprise" of learning to dance a reel, because Mama Bates was apparently Scottish or something, was a bit weird, since she couldn't dance WITH HER HUSBAND...but whatever. The look of unabashed adoration Bates was giving Anna while watching her was all worth it in my book. :) Also, side note: I loved the fact that during the first Downton meets Scottish servants meal, Fellowes threw in the tidbit that valets and ladies' maids when visiting other households would've been referred to by their employer's name belowstairs -- a tidbit he included in Gosford Park.

At the gillies' ball Mary decides to DANCE, which is a great idea when you're eight months pregnant I'm sure. She decides it would probably be smart to return to Downton, so she sets off with Anna (Matthew & company to follow) and goes into labor THE SECOND SHE STEPS OFF THE TRAIN. But being a LADY she really holds it together until she reaches the hospital (yay for Isobel being sorta useful, i.e. present). She delivers a healthy baby boy, the succession assured and she and Matthew deliriously happy. I loved this...honestly from the second half of this season on, Mary and Matthew have been pretty consistently awesome.

Now, unless you live in the UK I'm not sure how you managed to avoid spoilers for what follows, but props to you if you did. Here's where I feel like I'm in the minority...I'm not upset at all that Matthew is no longer on the show. Dan Stevens was making no secret of his desire to leave Downton Abbey before the third season even started filming. Character-wise, Matthew and Mary clicked so well -- she turning him into a commanding heir, he transforming her through his love for her, softening her hard edges -- the only viable option for his character was to die. There's no way Matthew would take some sort of indefinite "leave of absence" -- he's too crazy in love with his wife and child. And the whole "two major characters dying so close together" thing doesn't wash with me either. Remember this "season" covers something like two years in the lives of the characters -- and Sybil falling victim to eclampsyia  and Matthew getting in a tragic car wreck following his son's successful delivery is hardly apples to apples IMO. Is it tragic? Absolutely. But the possibilities it opens for Mary's character are so promising -- grief-stricken, alone, a single mother? LOTS OF DRAMA, people.

So after the lovely hospital scene, which I watched with a growing sense of IMPENDING DOOM, waiting for the other shoe to drop and all, a crying Matthew drives off to give the family the happy news that he's a dad. While all this is happening Matthew is, in effect, getting eulogized as the entire assembled family starts talking about how awesome and perfect he is and how grateful they are to him for saving the estate -- this is called HEAVY FORESHADOWING. They practically canonize the man in the seconds leading to his death. Not only will that leave the family reeling, but think about this -- who on EARTH will they allow within that circle of trust, into the gaping space left by Matthew's sad end? Personally I cannot wait to find out -- because I suspect the road for Mary to find love for a second time will be even rockier than the first, as everyone is going to be compared to the man who first saw beyond her hurt, brittle facade and loved her anyway.

As hard as Sybil and Matthew's deaths were to watch, as sad as I am to see two of the characters I've grown to love over the last three years say their goodbyes, I'm looking forward to seeing where the show takes Downton and its residents next. Because these deaths brought undeniable change to the family, change that cannot be ignored or glossed over in the passing of an episode -- change that desperately needed to happen in order to keep the show vibrant and growing.

This season has been a wild ride, but I've enjoyed it -- and I cannot wait to see where the characters go from here. See you next year Downton...and to Fellowes, I say bring it on. :)

• Read my recap/review of Series 3, Part 6
• Read my recap/review of Series 3, Part 5
• Read my recap/review of Series 3, Part 4
• Read my recap/review of Series 3, Part 3
• Read my recap/review of Series 3, Part 2
• Read my recap/review of Series 3, Part 1

Downton Abbey Series 3, Part 6

FINALLY

Editorial note: I've been trying to get this post written all week, people. Stupid sinus/throat issues getting in the way, but I will PERSEVERE!

I don't know about you people, but when Masterpiece airs two hour installments of Downton Abbey I'm left EXHAUSTED. *wink* This week's episode is the season three finale, preceding next week's American season three finale (which is, in actuality, last year's Christmas special). Taken as a season conclusion I actually think it is perhaps one of the show's strongest to date, packed with the requisite drama and enough resolution to various on-going storylines and character issues that you think "I can live with this"...(until the Christmas special hits, at any rate).

This episode opens with Bates's (Brendan Coyle) release from prison, about six episodes after he SHOULD have gotten released. Seriously that storyline lasted for years, if not decades. Yeesh. Anna (Joanne Froggatt) is, of course, incandescently happy, which I like, but methinks she is SO happy she's deluded herself into thinking that everything is going to be sunshine and roses from here on out for her and the mister. Hold up, Anna...because as much as Downton needs Bates as the earl's valet so he can sort of run things behind the scenes (let's face it, a leader of men Thomas most assuredly is not), I suspect that season four is going to see Bates's latent anger issues come to the fore. We all know they are there, right? I'm pretty sure prison has (understandably) seeded bitterness and barely suppressed rage that he barely managed to keep in check this episode. Look on the bright side, Bates, you and Anna have your own fixer-upper now!

A big chunk of this installment involves O'Brien's (Siobhan Finneran) determination to ruin and humiliate Thomas (Rob James-Collier) by encouraging the mistaken belief that Jimmy (Ed Speleers) returns his affections. The level of cruelty here is quite frankly astounding to me (by this show's standards at any rate). I know O'Brien was irritated when Thomas (VERY SLIGHTLY, all things considered) undermined her nephew's acclimation to the household, but nothing he did this season warranted this kind of payback in the least. O'Brien's latest power trip is her most out of control and seems especially cruel, considering her thoughtless manipulation of others' deepest, most personal feelings and desires.

In that day and age, Thomas's sexual orientation was a crime -- so when he makes a horribly awkward overture to Jimmy, which is interrupted by Alfred (Matt Milne), the latter two are horrified -- not only by the moral and legal implications, but in Jimmy's case because he feels that his masculinity is "tainted" by association (O'Brien takes FULL advantage of this, blech). While previously I was kind of intrigued by the possibility of a Jimmy/Daisy (Sophie McShera) romance, Jimmy kind of turned into a jerk under pressure here and goodness knows Daisy doesn't need THAT. And I'm thinking that now Ivy (Cara Theobold) is going to be thinking Alfred looks pretty nice now that Jimmy is in the middle of all this whacked-out drama, which means she might actually TRY to be Daisy's rival for the gangy footman's affections. *headdesk*

 At any rate, the resulting, barely-contained scandal is just heartbreaking to watch unfold -- considering O'Brien whipped the whole thing into a frenzy, seeing the finger-pointing and accusations fly between the male members of the downstairs staff is just...sad. And it results in some of James-Collier's best acting of the series -- love him or loathe him, I feel one cannot deny that he has given Thomas much-needed layers of the depth and humanity this season. He's finally become something more than *just* a cardboard villain. Side note: As sad as this whole mess is to watch unfold, I'm not gonna hide it, watching Carson (Jim Carter) try to repress his urge to have a stroke when dealing with the "scandal" of Thomas's sexuality (is it a scandal when EVERYBODY KNOWS ABOUT IT?) was pretty hilarious, as it flies in the face of everything he holds most dear -- i.e., propriety.

Much of this installment is also taken up with Robert's (Hugh Bonneville) continued insistence on being dragged into the post-war twentieth century kicking and screaming by his son-in-law Matthew (Dan Stevens) and the latter's new ally, that HORRIBLE LOW-CLASS CHAUFFEUR SON-IN-LAW Branson (Allen Leech). This dynamic fascinates me. Let's put aside for a second that lawyer Matthew's only real qualification for running and reforming Downton is some middle-class know-how (not knocking the validity of his advice, I just find his lack of...credentials a little humorous) -- what Robert's really fighting is perhaps arguably the sanctity and elite status of his class, a class whose exclusive hold on power and prestige went out the window with war (and, arguably earlier with the sinking of the Titanic, if you buy into Walter Lord's thesis).

Anyways...all this time, and I still think Matthew's people skills in relation to his father-in-law needs some work. But also, Robert needs to get over himself. Happily all of this happens to some degree in this episode, largely facilitated by a surprisingly DIPLOMATIC Branson (shocker, no?). Grief seems to have done a great deal to mellow Branson's perspective on Sybil's family, and I love that he's honest and mature enough to own that. I was honestly quite shocked when, confronted with his jerk of a drunk brother (Ruairi Conaghan), he actually takes up for his mother-in-law and insists that his brother respect her invitation into the Crawley home for baby Sybil's christening, earning Mr. Carter's approval at long last.

Awkward, much?

Robert and Violet's (Maggie Smith) awkwardness at the christening is a humorous cap on the extraordinarily awkward dinner conversation in last week's episode, where Robert attempted to strong-arm his equally strong-willed son-in-law into foregoing the latter's desire for a Catholic baptism and LOST rather spectacularly. Violet and Robert, in particular, are slow to accept Branson but I love how the rest of the family has rallied around both him and his daughter, especially Cora (Elizabeth McGovern) and Mary (Michelle Dockery). It is really wonderful to see both of these women take Sybil's dearest wishes to heart in her absence.

Family bonding at work!

Violet takes my advice from last week (HA!) and concocts the brilliant scheme of installing Branson as Downton's new estate manager, a position that needs filling now that Matthew drove the former manager into retirement and one that would allow Branson and Sybil Jr. to remain within the Crawley family sphere of influence. Well played, Grandma. Honestly I think this type of job is a perfect fit for Branson -- it allows him to remain a part of the Crawley family but it doesn't confine him to some sort of office job which, I think, would be wholly unsuited to his personality. Unfortunately for Robert, this also gives Matthew a strong ally in the implementation of his "radical" schemes to overhaul the way in which Downton is run. Robert fights change with a bullish, oft-times childish tenacity for most of this installment's two hours -- but seeing him finally come around to Matthew's point-of-view, and to begin to truly accept Branson as a valued member of the family is extraordinarily rewarding.

Sybil's absence leaves a void in female character category, and so Fellowes introduces Rose (Lily James), Violet's great-niece come to visit Downton under the completely ridiculous pretext that she "hates cities" or some such rubbish. She is an absolute train wreck waiting to happen, simmering with restless energy, jumping at the chance to return to London with Matthew (who is a LITTLE OBSESSED with the fact that his wife isn't expecting yet...seriously have they even been married a year?) and Edith (Laura Carmichael), the latter having decided to accept the newspaper editor's offer to write a regular column. Anyways, to make a long story short, about the only added value Rose brings to this storyline is that her loose morals and affair with a married man (hello Ribbentrop from Upstairs Downstairs) introduce the 1920s flapper culture, which one really doesn't get to see infiltrate a country estate like Downton. So she's an idiot...but she does give Violet one of her finest moments, as the savvy Dowager manages to ask just the right questions to deduce Rose's penchant for trouble without actually having anyone betray her behavior outright. Well-played, Violet, well-played as always. And Fellowes, if you could give us more scenes of Violet and her daughter Rosamund (Samantha Bond), that would be awesome. I find their prickly dynamic hilarious.

"I'm just a TORTURED SOUL, 'k?"

Now, let's talk about Edith. It's been a long time coming, but she is finally showing some signs of coming into her own, and I love that. The gumption it took to step out of her family's shadow and decide to pursue a career as a writer, all I can say is girl, I didn't know you had it in you. :) On her first meeting with THE EDITOR, Michael Gregson (Charles Edwards), it is abundantly clear that Gregson not only has an extraordinary appreciation of Edith's writing talents but he's QUITE TAKEN with her looks (points to her for outshining her rather SEVERELY PERMED hair). And honestly, Gregson is rather cute in a bookish sort of way, and I'm predisposed to like him since the actor played friggin' ARTHUR CONAN DOYLE in the short-lived Murder Rooms series...so all seems well, right? Until Edith displays a SHOCKING amount of common sense and does the 1920s version of Googling your date by calling the operator and getting the 411 on Gregson's personal life. And LO AND BEHOLD he's married. But he's not just married, OH NO, he's married to a LUNATIC who is locked away in an asylum! BOOM! IT IS SHADES OF JANE EYRE & ROCHESTER ALL OVER AGAIN!!! The dramatic potential of this hot mess has suddenly reached EPIC PROPORTIONS and needless to say I cannot wait to see how it unfolds. My prediction is that sometime in season four, overcome by his passionate desire for a life with Edith, Gregson tries to kill his wife and then the Crawley family is embroiled in ANOTHER trial scandal, only this time involving actual FAMILY. *horrors!*

So, now let's attempt to wrap things up. Apparently my long-standing wish of two seasons has finally been granted, as Ethel (Amy Nuttall) accepts a new position that will allow her to occasionally see her young son. Of course this is NO THANKS to Isobel (Penelope Wilton), who would apparently rather keep Ethel wallowing in misery as her cook than facilitate seeing her established in a new position where her salacious history isn't fodder for the gossip mill. Instead it is Violet who once again makes things HAPPEN (thank goodness) -- sure, she wasn't as into rehabilitating Ethel as Isobel was, but her desire to eliminate a local scandal really did have Ethel's best interests ultimately at hear -- and as Mrs. Hughes (Phyllis Logan) so wisely concurrs with the Dowager, that's never going to happen at Downton where EVERYONE and their cousin knows Ethel's history. So YAY, happy ending there...but I shudder to think what Fellowes has in store for Isobel next season. If she's going to stick around she needs a MAJOR character overhaul IMO.

Matthew and Mary have ended this season on a very strong note, given their propensity for near-constant bickering so soon after their marriage. I loved how deeply they were each concerned about having children, with each of them SO worried they were the one "at fault" that they were sneaking around, going to fertility doctors in secret (and in Mary's case under an ASSUMED NAME!). But seriously, for all that Fellowes thought we needed Matthew having really awkward conversations about impotency issues, we learn Mary had to have SURGERY and it it's kept so vague we're never told what exactly occurred??? I mean c'mon. *sigh* But all that aside, I love seeing them IN love, and their commitment to each other and their relationship. So sweet and a long time coming all things considered. :)

The episode culminates in what we're told is an annual house vs. town cricket match, which is all kinds of a big deal...and I find that hilarious since we've gotten nary a mention of such an event until the end of season three. But whatever. *wink* There is a lot of hilarity surrounding this as poor Molesley (Bernard Gallagher) talks a good game but is apparently a pretty pathetic player, and Branson -- who was corralled into playing under EXTREME duress -- ends up saving the game for the home team and earning his father-in-law's undying devotion. Or something close to it, at any rate. But in the midst of all this sportsmanship and male bonding are undercurrents of tension that I can only assume are the seeds of conflict for season four.

Takin' care of business...

Bates, annoyed beyond belief at O'Brien's manipulation of the Thomas/Jimmy situation, does what he does best and forges an unexpected alliance with Thomas to check the latter's ruin and put a stop to O'Brien's power play. Thomas gives him one powerful phrase -- her ladyship's soap -- and O'Brien is reduced to a quivering, stuttering mess, left scrambling to keep her most shameful act secret. (Nice to know Fellowes plans to possibly revisit that plot thread!) Because of Robert's sudden obsession with winning cricket matches, Jimmy is promoted to first footman in exchange for dropping his insistence that Thomas get sacked without a reference, and Thomas (who is apparently some sort of cricketing wizard) gets to stay and is promoted to "under butler." Needless to say this was NOT what Bates had in mind when he got out of prison intent on repossessing his job as Robert's valet. I'd like to see a kinder Thomas next season, one who can, occasionally, get along with the likes of Bates, but I'm not going to hold my breath. However, I'm inclined to think that if this season was about Thomas's ruin, next season may be all about O'Brien's destruction...thoughts?

All things considered, I feel this was a fairly strong way in which to wrap up the major threads of season three, leading into the Christmas special, while leaving enough questions in the mix to fulfill the requisite spicy drama quotient for the upcoming fourth season. Seeing Robert finally come to accept that some change does not mean his life will be destroyed -- rather, enriched stronger relationships with Matthew, Branson, and the rest of his family -- was really rather gratifying. But hang onto your hats, fandom, because the peace bought for the sake of a cricket match is going to be, I suspect, extremely fleeting for all parties concerned. *wink* Anything I've missed? Chime in with a comment! :)

• Read my recap/review of Series 3, Part 5
• Read my recap/review of Series 3, Part 4
• Read my recap/review of Series 3, Part 3
• Read my recap/review of Series 3, Part 2
• Read my recap/review of Series 3, Part 1

Downton Abbey Series 3, Part 5

This week's installment of Downton Abbey was in many respects all about recovery, as inhabitants both upstairs and down attempt to recover from the reeling blow of Sybil's sudden death. As such in many respects this episode is arguably as emotionally difficult to watch as its predecessor, as family members respond to grief in different ways -- either bringing them closer, or threatening to fracture once-strong bonds. But peppered throughout the episode are moments of unexpected warmth and humor, a welcome solace as each character strives to find their footing once more.

The episode opens with the last of the mourners motoring away from Downton, leaving the family alone in their grief and struggling to adapt to this "new norm." The icy chill that developed between Robert (Hugh Bonneville) and Cora (Elizabeth McGovern) following the former's insistence on acquiescing to the dictates of the aristocratic doctor, who in the end misdiagnosed Sybil, has only grown more pronounced. Robert is basically a mess this season. I really do believe that at his core he is a good and decent man, but where that frustrates, and where things go wrong, is in those very qualities that made me fall in love with him in the first place. Robert's goodness and decency spring from a deep-seated love for and adherence to TRADITION...and in a rapidly changing world, and on multiple fronts, Robert is constantly being assaulted with the demand to change, which he resists with all his might -- which I think in his mind probably involves lowering his standards. In that respect I think Fellowes has successfully scripted the Earl as very much a product of his times -- a good man caught between his desire to uphold tradition, honor the past, and grappling with a shattering, unspoken fear of change.

Cora has never seemed more quintessentially American to me than this season, where she regularly reveals a warmth and a proclivity and willingness to adapt to life -- qualities that, if she'd been allowed her way, possibly could have saved her child. While given the time in which Sybil lived and her advanced symptoms rendered survival unlikely, even if Dr. Clarkson (David Robb) had been able to perform a C-section, that is of course small comfort to a broken-hearted mother. What is SO difficult to watch play out in this episode is how Cora and Robert's split impacts their family, leaving Mary and Edith (Laura Carmichael) in particular grieving not only a sister but a severe rupture between their parents. To Robert's credit he recognizes that there is just cause for Cora's feelings -- and Bonneville broke my heart with his quiet acceptance every time Cora spurned a tentative overture.

Help for Cora and Robert's marriage comes from a surprising quarter -- Violet (Maggie Smith), more well known for her sarcastic comments instead turns her keen eye and considerable influence in an attempt to mend her son's marriage. I absolutely LOVED the scene where Robert seeks his mother's advice -- it is the closest we've ever come to seeing Violet as a caring, vulnerable parent. And while there were no hugs or tears on either side (heaven forbid!), the restrained emotion of the moment was brilliantly played by both. Violet turns to Dr. Clarkson, basically telling him that Robert's marriage problems were his fault (didn't it feel that way?) -- but her instincts were right on target. Recognizing that Robert and Cora need each other if they are to survive this, she instructs Clarkson to research Sybil's condition, hoping that the unlikelihood of her survival will remind both Robert and Cora that they had rather unite and share their grief than take sides over what-ifs.

Branson (Allen Leech) is reeling in the aftermath of Sybil's funeral, which only exacerbates his outsider status. Branson has some (to my mind) completely reasonable plans for his daughter's immediate future, the first being naming her after her mother and the second having her baptized a Catholic (seeing as he is one, this makes sense) -- both of which scandalize Robert to no end. The name thing I don't get AT ALL and honestly it felt more than a little crass to have Robert raising objections on that score. The tendency to view Catholics as second-class citizens, however, was a very real issue during this time period. I loved how Robert invites the vicar to dinner in some sort of misguided attempt to sway the family to his side, and EVERYONE ELSE takes Branson's side and calls the vicar out on his prejudiced views. That was fun...and really, at this point, let's try to have some perspective here, Robert -- at least your son-in-law has some sort of faith and value system he's attempting to adhere to when it comes to his child.

There are rather vague mentions of Branson "doing something" in Liverpool, which we all know is total bunk, right? Because if Leech decides to leave the show at some point I am pretty sure the odds are 2-to-1 that Branson will die instead of just, say, emigrate to Australia or something. But WHATEVS, because I have the PERFECT PLAN for him! While rambling around Downton with Matthew (Dan Stevens), Branson reveals some surprising FARMING related knowledge! All this while Matthew is bemoaning the lack of tenants who will properly see to the upkeep of the land & buildings! But NO ONE puts two and two together here and thinks GOLLY! WE SHOULD GIVE BRANSON A DOWNTON FARM! That will keep him close by and give him something useful to do but GET HIM OUT OF THE HOUSE! Wins all around, right??? *wink*

In other news, Anna (Joanne Froggatt) is still working her darnedest to exonerate her beloved Bates (Brendan Coyle), hoping that Vera's BFF will admit she lied in her testimony to Robert's lawyer. I love Anna and Bates, but the whys and wherefores and hows of him still being in prison, and this random guard and his cell mate and Vera's BFF all working together to keep him there...I just don't care anymore. Did I quit caring too soon and miss something that explains HOW these three know each other? And why this guard would care enough to try and make Bates's incarceration even more miserable? For the LOVE this storyline has gone on too long. The only redeeming factors in this episode are 1) the moment when Bates unleashes his inner bad-ass and lays down the proverbial LAW for his cellmate and 2) the look on Anna's face as she shares the news that her husband is FINALLY COMING HOME. (Side note: I really love how Mary repeatedly asks about the progress on Bates's case...I really don't think that would've even been a blip on first-season Mary's radar. Also, how SWEET was that scene where Mary and Matthew reaffirm their never-ending love for each other?! Adorbs!)

Down the road from Downton, Isobel (Penelope Wilton) continues to bring scandal to the neighborhood by employing THAT EX-PROSTITUTE THAT CAN'T EVEN COOK, a.k.a. Ethel (Amy Nuttall). Now, hear this well because I don't know that I'll ever be able to repeat it...I actually kinda liked Ethel in this episode. Isobel was her usual smug, annoying self, but Ethel on the other hand -- she seems to be embracing this second chance at respectability with everything in her. Seeing her go to Mrs. Patmore (Lesley Nicol) for cooking "tutoring" was smart and funny, particularly when Carson (Jim Carter) discovers that Mrs. Patmore has flouted his orders and she responds by saying something to the effect of he's nuts if he thinks she's corruptible. *wink* Anyone else think Carson was going to have an apoplexy when he realized that when it comes to Ethel, Mrs. Hughes (Phyllis Logan) isn't on his side? This episode is all about girls uniting isn't it, lol!

The Robert/Cora "feud" comes to a head when he discovers that every female member of his family is eating lunch at Isobel's, EXPOSING THEM TO SCANDAL (dude, remember the Turk? your family doesn't have to leave the house to get scandalous). To the credit of every single Crawley woman, they refuse to shun Isobel and Ethel by leaving -- it isn't a question of accepting her past choices, but of offering a second chance -- THANK YOU CORA AND VIOLET. Personally I suspect Violet was secretly relishing any potential scandal, hmmm? *wink* If Ethel continues along this path of holding her head high and refusing to be cowed, of smartly seeking ways to better herself and her chances...girl, we could become friends. I'm just sayin'.

My favorite storyline in this episode involved Daisy (Sophie McShera) and the romantic will they/won't they entanglements brewing among the younger members of the downstairs staff. Alfred (Matt Milne) is still crushing on Ivy (Cara Theobold), while she keeps making eyes at Jimmy (Ed Speleers). Quick side note here -- the way O'Brien (Siobhan Finneran) keeps encouraging Thomas (Rob James-Collier) to make romantic overtures toward Jimmy is just AWFUL. This cannot end well. *sigh* Anyways, back to the fun drama -- I had a thought, when Mrs. Patmore tells Daisy & Co. that they are all in love with the wrong people, do we think there might be a possibility that Jimmy has eyes for Daisy? I'm wondering if this is a possibility, since he seems rather *ahem* attentive when she compliments him on his piano playing, and seems rather eager to demonstrate the fox trot for Alfred by dancing with Daisy. Thoughts? If this is a possibility I could sort of get behind this...

But Daisy has other decisions to make besides romantic ones -- her father-in-law, Mr. Mason (Paul Copley), once again invites her to his farm for the day. While there he surprises her by sharing that he would like to make Daisy his heir, leaving her his tenancy, farm equipment, and savings. Between the land and a side business cooking she could do quite well for herself. I LOVE how Mr. Mason has adopted Daisy since William's death, as goodness knows she needs some family and sound advice. This is a fantastic opportunity for her, and while I would hate to see the dynamic duo that is Mrs. Patmore and Daisy broken up, I love the fact that she has this chance. :)

Looking forward, I cannot wait to see how Ethel's writing pursuits play out. :) And I LOVED Mary in this episode -- she seems to finally be striking a balance between protecting and idolizing her father and realizing that some change is necessary, inevitable, and even good. This was a very strong installment for Daisy and Ethel, and a fantastic showcase for the inimitable Maggie Smith's dramatic range, as she revealed the all too rarely seen softer side of Violet. Please chime in with your thoughts! :)

• Read my recap/review of Series 3, Part 4
• Read my recap/review of Series 3, Part 3
• Read my recap/review of Series 3, Part 2
• Read my recap/review of Series 3, Part 1
• Purchase Series 3 on Blu-ray/DVD
• For a limited time, watch Part 5 online at PBS

Downton Abbey Series 3, Part 4

This week's installment of Downton Abbey saw the Crawley family tragically, irreversibly changed. And as difficult as it was to see that happen, from a dramatic standpoint I thought it was extraordinarily well-done and, honestly, much-needed. As gut-wrenching as it was to see the impact of such shattering grief on the family, this is something they cannot simply ignore and magically recover from with little lasting effect. This loss has the potential power to change the trajectory of character storylines and reset the future of at least one major player -- and in my opinion, as far the sustainability of the show is concerned, that is a good thing.

But before we talk about the EPIC SADNESS, let's try and get most everything else out of the way first, shall we? First of all, Bates (Brendan Coyle) and Anna (Joanne Froggatt) are happy as CLAMS now that he's back in the good graces of the prison powers-that-be and able to receive letters and visitors. I am not really clear about why his cellmate is BFF's with a corrupt prison guard, and why the care so much about making Bates's life miserable -- probably because I don't really care. I mean, whatevs...FREE BATES already, dangit! *wink* Anna has apparently hit on a new theory that, if they can prove and document it, may actually prove her honey's innocence. Remember earlier in the season when Anna visited Vera's own BFF, who no surprise LOATHED the very mention of Bates's name? Apparently she dropped the clue that Vera was last seen scrubbing pastry dough from her hands -- activity that took place AFTER Bates had left her to return to Downton. So, WAIT FOR IT...apparently we're supposed to believe that Vera POISONED HERSELF in order to ruin her estranged husband's life from BEYOND THE GRAVE. *sigh*

The crazy thing is, in this world Fellowes has created that actually seems reasonable in some strange way. :P So, filled with a fresh sense of purpose, Anna takes her theory back to Lord Grantham who passes it on to his lawyer who will then go see Bates himself, because DANGIT the conventions of the social hierarchy MUST BE OBSERVED!

In other downstairs-related action, Thomas (Rob James-Collier) continues to take more than a passing professional interest in Jimmy (Ed Speleers), Downton's latest footman. O'Brien (Siobhan Finneran), ever crafty, continues her long-term game to wreck Thomas for making life difficult for her nephew, Alfred. She takes note of Thomas's interest and does her best to encourage Jimmy to seek Thomas's favor, playing up the latter's influence in the household as Lord Grantham's valet. While Jimmy wants to get ahead, he quickly becomes increasingly uncomfortable with Thomas's "attentiveness." People, when this blows up I have a feeling it is going to be bad.

Daisy (Sophie McShera) seems to be letting the authority that comes with her new promotion to assistant cook go to her head, as she is determined to make new kitchen maid Ivy's (Cara Theobold) life as difficult as possible -- all because Alfred (Matt Milne) is clearly smitten with her. What she doesn't realize is that Ivy only has eyes for Jimmy, and by giving Ivy never-ending heck all she's doing is alienating Alfred by acting like a shrew. POOR DAISY. I am DYING for her to get a little romance on this show and it just kills me to see her feelings for Alfred as yet unrequited. Props to Mrs. Patmore (Lesley Nichol) for trying to make Daisy aware of the problem...I love their relationship. :) (Also, I feel so bad for the downstairs actors...it takes three seasons for Daisy to get a costume change and when it comes it just involves wearing a cap?! LOL)

Down the road SCANDAL ERUPTS when Isobel (Penelope Wilton) decides to hire Ethel (Amy Nuttall) to work as a maid. While I think it is all well and good that she wants to help Ethel in this manner, how she can remain so clueless about the reaction of others to this news is BEYOND ME. When her housekeeper/cook Mrs. Bird (Christine Lohr) learns that she's supposed to work with an ex-prostitute, she gets the heck outta Dodge, but not before sending a note to her apparent BFF Mr. Molesley (Kevin Doyle) with the scandalous news. Molesley takes the intel straight to Mr. Carson (Jim Carter), who is HORRIFIED, and honestly while the issue at hand is certainly serious, Carson's reaction is hilarious -- when he kept issuing orders that no maid, and then no footman, was to darken Mrs. Crawley's door, I cracked up. Downton is hardly immune to scandalous shenanigans, dear sir. *wink* I loved how Mrs. Hughes (Phyllis Logan) was so clearly unsettled by this development, yet tried to downplay the "scandal" at the same time. Awkward. :P

Okay, now to the difficult TRAGIC PARTS of this installment. *sobs* The arrival of Sybil's (Jessica Brown Findlay) baby is imminent, as Dr. Clarkson (David Robb) is called to Downton to assess her early labor pains (any clue how much time is supposed to have passed between this installment and the last? just wondering). Clarkson gives his super expert opinion that all is normal, only to have the air deflated from his happy prognosis by the news that Robert (Hugh Bonneville) has called in a high-end society obstetrician, Sir Philip Tapsell (Tim Pigott-Smith -- look! it's Margaret's father from North & South!). Cora (Elizabeth McGovern) is taken aback, but Robert only says what I'm convinced EVERYONE WHO HAS EVER WATCHED THIS SHOW has been thinking, i.e. that Dr. Clarkson knows NEXT TO NOTHING. While I appreciate a character on the show finally addressing that elephant in the room, bringing in a specialist smacks of insisting that an archbishop marry Matthew (Dan Stevens) and Mary (Michelle Dockery)...a touch of snobbery.

Shortly thereafter Sir Philip arrives, and everyone is enjoying a formal dinner while upstairs Sybil is left with what, one nurse? Nuts. The disconnect between Sybil's labor and the regular society functions below was jarring, to say the least. Cora has insisted that Dr. Clarkson be present to consult (under the guise of not offending him, clever woman). Clarkson is growing increasingly concerned over Sybil's swollen ankles and increasingly muddled state, suspecting eclampsia -- while I cannot fathom the the pain of labor, I'm pretty sure one isn't supposed to hallucinate. It was just MADDENING to watch the smug Sir Philip dismiss Clarkson's concerns wholesale, THE ONE FRIGGIN' TIME THE MAN IS ACTUALLY RIGHT! *headdesk*

A family can be on edge in the best birthing scenario, but outside Sybil's room the situation quickly devolves into raucous contention over Clarkson's insistence that the lives of Sybil and her child are at risk and Sir Philip's assurance that "nature just needs to run its course." Despite the fact that -- in my view at any rate -- Tom (Allen Leech) should've been the one consulted about his wife's care, he is quite understandably nearly out of his head with fear -- and the contention between the pro-Clarkson Cora and the pro-Philip Robert takes SO LONG Sybil delivers a healthy baby girl, and the danger appears to have passed.

But late in the night Mary rushes to wake her mother as Sybil is in the throes of toxic seizures -- Clarkson was right and the eclampsia has taken hold, but advanced so far as to make treatment impossible. People, this scene was gut-wrenching!! Each and every cast member acted the absolute heck out of the moment -- the overwhelming horror of watching Sybil helplessly thrash about, gripped by seizures depriving her of oxygen...it was TERRIBLE. (I've gotta say, though, even if Clarkson and Philip could do NOTHING, I cannot believe that as doctors they'd just stand around like that...yeesh!)

More than Sybil's actual passing, what killed me was seeing the aftermath play out both upstairs and down. Cora's final vigil and promises to her baby girl DID ME IN. Elizabeth McGovern has been given -- at last -- some really strong material to work with this season, adding much needed depth and passion to Cora as both a countess and, more than that, a devoted mother. Likewise the usually almost effervescent Violet (Maggie Smith), always ready with a quip or comeback, is devastated by Sybil's loss -- so much emotion conveyed in just Violet's stance and walk! Maggie Smith, you are superb. I suspect that Branson has gained in Cora an unexpectedly staunch -- and much-needed -- ally in the family, and I look forward to seeing their relationship play out. Branson has been absolutely gutted over these last two episodes, and I'm curious and hopeful that Fellowes will use him as an example, if you will, of a man's ability to transcend social mores and remake himself at the beginning of the twentieth-century.

Downstairs, the ever-faithful Carson, longest-serving staff member, is gutted as he's known Sybil since she was born -- I'm sure looking on all of the Crawley girls as the closest he'll ever come to having grandchildren of his own. I was taken aback by just how deeply Thomas felt Sybil's loss -- clearly the time they spent working in the hospital during the war was a more precious memory to him than I ever realized, its impact powerfully told by Thomas's unexpected tears. Color me shocked, people, but Thomas is actually getting layers this season. I love it. :)

Mary and Edith's (Laura Carmichael) reaction to the loss of their youngest sister was perhaps the most unintentionally hilarious moment of the episode, as Mary exclaims that OMG THE ONLY PERSON WHO THOUGHT WE WERE NICE IS DEAD!!! And Edith is apparently grief-stricken enough she wonders, she actually wonders, DO YOU THINK WE'LL BE NICE TO EACH OTHER NOW? When Mary basically says HECK NO I could've died laughing. While coping with change is a major theme this season, apparently there are some sacrosanct constants where this show is concerned that will remain unchanged. *wink* (Whoops, almost forgot to mention Edith's pre-tragedy big news -- someone wants her to write a regular NEWSPAPER COLUMN!!! You go, girl!)

Perhaps the biggest surprise of the episode for me came in the final moments, when the seemingly stoic, almost shell-shocked Cora lets loose a brief but jarring verbal tirade blaming Robert for Sybil's death. Their marriage has always been, for the most part, remarkably solid throughout the series' run, so much so that  my heart quakes a bit thinking about this rift. In the show's first two seasons Cora was always the epitome of grace and class -- I don't know if the earlier arrival of her oh-so-American mother played a role in Cora's new fire, but she is fast becoming one of this season's most richly drawn and multi-faceted characters. I love that. And while I am also quite fond of Robert, the man has got to wake up and realize he stands not just in danger of losing his home but his family if he doesn't open  himself to change, and soon. (Though seriously, what was with Matthew thinking the DAY the funeral home or whatever comes to take away Sybil's body is the day to discuss the sweeping reforms he'd like to see initiated at Downton with the family solicitor. As much as Mary and Robert need to wake up and realize the man has a point, that was pretty tactless. :P)

Thoughts? As always I love to discuss! :)

• Read my recap/review of Series 3, Part 3
• Read my recap/review of Series 3, Part 2
• Read my recap/review of Series 3, Part 1
• Purchase Series 3 on Blu-ray/DVD
• Watch Part 4 online at PBS for a limited time

Downton Abbey Series 3, Part 3

Downton Abbey continued on Masterpiece Classic Sunday with what I thought was an overall slightly lackluster hour after last week's excitement/tragedy of Edith getting left at the altar. That said, as a "bridge" hour it serves its purpose of (presumably) setting up events to unfold later in the season...so let's discuss. :)

One of this episodes main storylines involves Anna (Joanne Froggatt) becoming increasingly upset as days turn into weeks without a letter from Bates (Brendan Coyle) or permission to visit him in prison. The silence breeds doubt, and she becomes convinced that Bates is trying to be all gallant and set her free to move on with her life, unencumbered by a prisoner for a husband. Bates, likewise, is becoming depressed that he hasn't heard from his lady love, sure she is sick and tired of putting up with the burden of his prison sentence. Oh these crazy kids. *wink*

Meanwhile, the fallout from the decision to make Matthew (Dan Stevens) co-owner of Downton is primed to explode IMO, as Matthew being who he is, that means he's going to actually strive to understand how Downton is run and what he can do to make it better. No offense to his father-in-law, but a born administrator he is not. Downton's dire straits call for a little middle class common sense, if you will. *wink* Unfortunately this means going against generations of deeply entrenched tradition, as it becomes abundantly clear rather quickly that Robert (Hugh Bonneville) doesn't view Matthew's "save" of Downton with any sort of urgency. Instead of an invitation to reverse the downward financial spiral, he sees Matthew's investment as permission to maintain the status quo -- and his biggest ally in this point-of-view is Mary (Michelle Dockery). Awkward.

Downstairs, all that Carson (Jim Carter) cares about is that now that Downton is flush in cash once again is that he can bring the staff back to full pre-war strength. With that in mind he undertakes to hire a new footman and a kitchen maid, the latter which will finally allow Daisy (Sophie McShera) to claim her long-promised promotion to Mrs. Patmore's (Lesley Nichol) assistant cook. The new servants will, however, not be hired in time for the family's scheduled dinner entertaining the Archbishop of York (apparently Julian Fellowes had a premonition that he'd need to answer this recently-published article entitled "Why Is God Still Absent from Downton Abbey?"...ha! *wink* Why anyone is worried about that, in a soap opera, is beyond me given this show's track record, but whatevs).

The dinner party sees a surprise guest return to Downton bringing the promise of scandal -- Branson (Allen Leech) shows up desperate, soaked, and on the run from police, wanted in connection with attacks on the estates of noble families in Ireland sympathetic with British rule. And so the Irish Rebellion comes comes home to Downton and the family finally has to face the real-world impact of Branson's radical views -- well face it being a relative term, as this house possesses the ability to remain remarkably insulated from greater worldwide events all things considered. :P

"I'm stuck HERE? ARE YOU KIDDING ME??"

So the entire family is scandalized -- quite understandably -- that Branson fled Ireland ahead of Sybil (Jessica Brown Findlay), leaving his pregnant wife facing possible questioning or imprisonment at the hands of the authorities because of her relationship with him. Now, in fairness to Branson, Sybil was remarkably game about the whole thing -- but that doesn't dismiss the rather "ungallant" flavor of Branson's actions...particularly after it is revealed just how involved he's been in Irish protests. This show has always taken a rather fast and loose approach to the real world impact of Branson's socialist political views -- he's always been big on talk and light on action and follow through. But actually playing a part in seeing the lives and home of individuals destroyed because they disagreed with him politically -- that seems to have had an impact, and it was refreshing to see the cocky political idealist actually shamed to some degree, for both his actions and the position it put him in vis-a-vis his wife's family.

Everyone goes into  survival mode, and with Cora's (Elizabeth McGovern) encouragement Robert takes the first train to London the next day, desperate to quickly control the narrative fallout resulting from Branson's rash actions. The result is a promise from the powers that be that as long as Branson never returns to Ireland,  he will not be prosecuted. Dude, you're stuck at Downton FOR-EVAH. Let's set aside for a moment that I think this is ridiculously unrealistic, even by this show's standards, but this show is all about the house and sending family members to other countries has got to make filming dashed inconvenient. *wink*

By far the biggest reason this episode felt extraordinarily pointless to me was because of its focus on Ethel (Amy Nuttall) and Isobel (Penelope Wilton) and Mrs. Hughes' (Phyllis Logan) attempts to help her and her son. Look, I think her life is TERRIBLY tragic, but Ethel's storyline has yet to have a twist or development that makes me care about her AT ALL. It doesn't help that Isobel is so wrapped up in her story, either, because last season Isobel got extraordinarily annoying in my opinion and this season has done little to mellow her penchant for irritation. I really do think she's well-intentioned, but FOR THE LOVE the woman has NO common sense.

INSANELY cute kid, no?

In sum, Isobel and Mrs. Hughes want Ethel to reach out to her son's grandparents, Mr. & Mrs. Bryant (Kevin McNally and Christine Lohr). Do we all remember that McNally is married to Phyllis Logan? No? Well then noodle that when you watch these scenes of Mr. Bryant being an absolute jerk. :P Isobel seems to think that Ethel's son should stay with his mother no matter what, while Ethel (to her credit, I'll admit) seems to realize that IN THAT DAY AND AGE having a mother who is a prostitute *might* impede her son's chances of making something of himself in society. At this point Ethel isn't able to support herself without selling her body, so honestly I was a little horrified that Isobel was okay with Ethel's son likely witnessing that at his age. Just sayin'. Anyways, making a looonnnnggg story short(er), Ethel makes the extraordinary sacrifice of turning her son over to his grandparents. And I WISH that was it, but the previews promise this ISN'T OVER. It will apparently NEVER be over. Oh well, c'est la vie.

In more interesting news, Edith (Laura Carmichael) starts taking steps to reinvent herself following the Wedding of DOOM and takes an interest in women's suffrage. She writes an editorial expressing support for the cause, and it is actually published in the Times -- thoroughly horrifying Robert but earning welcome support from both of her brothers-in-law. People, if Fellowes pursues Edith possibly having a writing career -- becoming a political activist -- oh, this could be GOOD. I have this wonderful feeling that Edith is poised on the edge of something awesome. *keeping my fingers crossed* :)

Back to Bates and Anna for a moment -- honestly I thought the whole CORRUPT PRISON SYSTEM conspiring to keep them apart was bordering on the ridiculous. But I love them, so I have an extra measure of patience for their story -- and the end of the hour delivers a fabulous payoff. After Bates spends most of the episode continuing to prove that he is, in fact, a badass, when Bates and Anna finally receive their missing letters the raw emotion of the moment just killed me (yes, I am a total sap). This is why I love this couple -- Anna so incandescently happy she's positively glowing through her tears of relief, and Bates immediately transforming from badass to cuddly teddy bear. Get him out of prison already, please?! FREE BATES!

Downstairs is poised for a shake-up with the arrival of a new, and extraordinarily good-looking, footman named Jimmy (Ed Speelers -- remember Eragorn? Yes, I saw it... :P). Everyone (and I mean EVERYONE, except perhaps Carson and O'Brien) falls hard for the new footman, particularly Thomas (Rob James-Collier) -- we all saw that coming, right? Interestingly enough, O'Brien (Siobhan Finneran) appears to have taken careful note of Thomas's response to Jimmy as well, and unless I'm very much mistaken she'll be looking for an opportunity to manipulate Thomas's feelings at the first opportunity.

Daisy is still crushing on Alfred (Matt Milne), and after a visit to her father-in-law (props to her for that, because considering she and William didn't actually have a marriage, I love that she's sort of allowed William's father to "adopt" her -- she needs that) Mr. Mason (Paul Copley -- holla Horatio Hornblower fans!) she decides to be all daring and modern and SHARE HER FEELINGS! I love that. Seriously I am turning into SUCH a Daisy cheerleader. :) While Alfred seems fairly receptive, the moment is never quite right (girl has GOTTA work on her follow through here), and then the moment flies out the FRIGGIN' WINDOW when Mrs. Patmore announces Daisy's promotion and introduces Ivy (Cara Theobold), the  new and very pretty kitchen maid. She seems nice enough (now, at any rate), but OHMYGOSH did I hate this for Daisy. :P

While overall I didn't find this episode particularly exciting, it does set up some nice potential drama for Edith and Daisy, and the promise of some Downton-running conflict between Robert and Matthew. In perhaps one of the show's more shocking scenes, Matthew actually goes to Violet (Maggie Smith) for help and advice -- talk about desperate times, hmm? *wink* I love the fact that Violet seems receptive to Matthew's ideas, but is basically all "yeah....good luck with that." HA!!!

• Read my recap/review of Series 3, Part 2
• Read my recap/review of Series 3, Part 1
• Pre-order Season 3 on Blu-ray/DVD
• Watch Part Three online at PBS through 3/3/13

And here's another Bates pic...isn't that smile to DIE FOR?! :)