Downton Abbey Series 4, Part 6

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I know there's been some controversy over the quality of this season of Downton Abbey, but on balance (poor Anna's shocker of a storyline aside) this is shaping up to be one of my favorite seasons. I know this probably isn't a popular viewpoint, but Matthew Who? *wink* Sure, there have been some storylines that have worn thin (i.e., anything involving Rose), but on balance I think the show has done an excellent job moving Downton forward into the brave new world of the 1920's.

This installment opens with an urgent missive from Cora's (Elizabeth McGovern) mother, requesting Robert's (Hugh Bonneville) presence in America ASAP in order to lend some sort of English aristocratic credibility to his embattled brother-in-law. (And it turns out I was right about his involvement in the Teapot Dome Scandal! High school history FTW!) Robert is all "do I HAVE to go?" and Cora is all "you're the BEST HUSBAND EVER if you do," so of course, powerless to resist his wife's charms off he goes to make plans to leave for America (no small feat in 1923 either). (Side note: I love Robert & Cora's marriage, but perhaps never more so than this season. Well done, Fellowes.)

But Robert being Robert wouldn't leave for America without his valet, placing Bates (Brendan Coyle) in the horrifically awkward position of leaving Anna (Joanne Froggatt) just as they're trying to recover, or resigning his position without notice or explanation, leaving him likely without a reference. Anna attempts to put a brave face on the situation, insisting he go, but when Mrs. Hughes (Phyllis Logan) learns of the plans she takes matters into her own hands and goes to Lady Mary (Michelle Dockery) to plead Anna's case. And so Mary has to be told of the horror Anna has endured, and she immediately goes to her father, convincing him to take Thomas (Rob James-Collier) to America in Bates's stead.

Mary has gotten a lot of flak over the course of this series -- most of it undeserved in my view -- for being too stand-offish. But underneath her public persona is, I believe, an extraordinarily caring woman who feels very deeply about her family, home, and friends. And it is never more apparent than here of just how much she values Anna, as she tries to cross the boundaries of class and employment to offer her support and friendship. I LOVED that.

Of course Thomas thinks he's won the friggin' lottery when he receives the news that he's going to America. This apparently puts him in an expansive mood as he's rather nice to Jimmy (Ed Speleers), making some off-hand comment about how he hopes the footman, thwarted in his pursuit of Ivy (Cara Theobold), is stepping out with a nice "village girl" when he gets back. But then he has to go and ruin the illusion of niceness by charging Baxter (Raquel Cassidy) with finding out exactly WHY Bates is staying at Downton (clearly Thomas has never heard that saying about not looking a gift horse in the mouth...the ingrate :P). I have a terrible feeling that just WHY Baxter is -- apparently reluctantly -- in Thomas's power is an issue that is never going to be resolved. Oh well, c'est la vie!

After the family gathers to bid Robert a fond "bon voyage!," a very ill-looking Violet (Maggie Smith) quickly retreats back to her home, and Isobel (Penelope Wilton) bums a ride from Branson (Allen Leech) back to the village. I really enjoyed their exchange here -- both have been dealt heavy losses, but Isobel is really coming back to life now and uses this time to encourage Branson to do the same. She convinces him to attend a political lecture in nearby Ripon, and he agrees. However, she soon realizes she must cancel the engagement when she discovers just how sick Violet actually is, and SUPERHERO NURSE ISOBEL kicks into high gear, immediately summoning Dr. Clarkson (David Robb). He diagnoses bronchitis, and I had my doubts (because when has this man EVER been right??), but hey he turns out to be right for once, and charges Isobel with Violet's 24/7 nursing care in order to prevent pneumonia from setting in.

Props to Isobel here, because not only do she and Violet have a prickly relationship at the best of times, but she basically stays awake for something crazy like TWO DAYS, refusing any help because she views this as an opportunity to pay the Crawley family back for making her one of their own (or something to that effect, her exact quote escapes me now). When Violet finally turns the corner and realizes to whom she owes thanks for her care, her reaction is PRICELESS. I loved the scene where the two play cards, and Violet has this resigned look on her face, like "I am never ever EVER going to be able to get rid of this woman now." If the scripts start moving these two into reluctant BFF territory I will just die laughing...the comic possibilities are endless!

While Isobel is off nursing Violet, the rest of Downton (namely Mary) is concerned with the arrival of the PIGS! (This is not a euphemism for the lower-classes or anything like that, lol! ACTUAL PIGS!) Mary is all about this latest venture, which receives the hard-to-please Blake's (Julian Ovenden) support, though she's irked that he seems to feel all their efforts to make Downton a viable enterprise are doomed to fail. This episode succeeded in making Blake a viable and compelling potential love interest for Mary, developing into a classic case of pride versus prejudice. :) She thinks he's too egalitarian, wanting to see the old families fail, while he thinks she is too superior -- a privileged lady who is too aloof and knows what she wants but is unwilling to dirty her hands in order to see her plans succeed.

But oh how Mary proves him wrong. Following an intimate dinner consisting of just Mary, Blake, and Cora (isn't this COZY), Blake suggests they take a post-dinner stroll to check out the pigs (does he ever know how to woo a woman!). Mary agrees, but only because she's into the PIGS and not Blake, and she doesn't want to scandalize her mother by rudely refusing. But instead of marveling at Downton's latest additions, they discover the pigs NEARLY DEAD FROM DEHYDRATION!! I mean they had the pigs dropped off and then just left them there? (So maybe Blake has a point...) But there's no time like the present for a little TEAM-BUILDING EXERCISE, and the two unlikely allies join forces to haul water for the parched critters. This is EPIC...both of them covered in mud, Mary's gorgeous dress ruined, Blake all disbelief that she's doing this at all, and best of all, no one at the house is overly concerned that Mary is out all night at the pig sty with Blake. THAT cracked me up! So they've bonded, and she actually COOKS HIM EGGS (!!!) -- nearly giving Ivy a heart attack when she finds them in the kitchen -- and poor Napier (Brendan Patricks) is apparently left out in the cold for good. The guy cannot catch a break where Mary is concerned, can he? If they play this right, I think Blake could be an excellent match for Mary -- he has the backbone to challenge her but also, I think, to be an extremely supportive ally. It won't be easy, but goodness I think it could be worthwhile. *wink*

Now let's talk about Edith (Laura Carmichael) for a moment, shall we? The poor girl is still barely holding it together in the wake of the news that Gregson is still missing, and the confirmation of her pregnancy. Under the pretext of returning to London to check on business matters, she makes an appointment to obtain an illegal abortion. On the eve of the event she breaks down and confesses her secret to Rosamund (Samantha Bond). Rosamund urges her to reconsider -- what if Gregson returns? -- but Edith can see no way out of her situation, no way to live with the social stigma that would be branded on her were she to "go public" as an unwed mother. These scenes just broke my heart -- while Rosamund was an excellent mother figure, I do so wish Edith felt she could've confided in Cora -- that woman desperately wants to be there for her daughter. The two keep the appointment, but once they arrive and Edith overhears another sobbing patient, she finds she can't go through with it -- so she makes the choice to keep the baby. I foresee a trip to Europe in her future, and a carefully placed adoption, hmmm?

Rose (Lily James) accompanied Edith to London, all to -- surprise, surprise -- visit Jack Ross (Gary Carr). How these two developed such an intense romance in the pre-cell phone age is beyond me. I mean WHERE ARE THE SPARKS?! I've been fairly tolerant of Rose overall, but this episode she crossed all sorts of lines, pitching juvenile fits when Edith wants to cut short their London stay, or when Rosamund wants to know her plans...just ridiculous, super-annoying, childish behavior. This was the grating Rose that was first introduced in season three, well before that year's infamous Christmas special where she seemed so dialed back and borderline normal (for her age, at any rate). This over-the-top, hysterical, conniving version is SO ANNOYING. Please, please make it stop, Fellowes!

Wrapping things up, there is a whole subplot where Carson (Jim Carter), Mrs. Hughes, and Mrs. Patmore (Lesley Nicol) try to keep Alfred (Matt Milne) from visiting Downton because they don't want to deal with the conflict sure to arise from such a visit between Ivy and Daisy (Sophie McShera). I'm a bit over the whole "love triangle" thing between the three of them, but Carson, Mrs. Hughes, and Mrs. Patmore were HILARIOUS, making excuses about trying to nix his visit because they think they all have the flu or something. :) Of far more interest to me was seeing Branson attend the political lecture solo, where he has a "meet cute" with one Sarah Bunting (Daisy Lewis). I'd read that Lewis was cast as a potential love interest for Branson, so I'm looking forward to seeing how this plays out -- politically-minded, and too cute for words in her smart ensemble? I see loads of possibilities here, Tom!

The episode ends on an ominous note as Gillingham (Tom Cullen) returns to Downton to make eyes at Mary or something (he is SO colorless when compared to Blake!), bringing along his scummy valet Green (Nigel Harmon). Poor Anna is unable to conceal her shock when she finds Green back in Downton's kitchen, and after he makes some comments about being unable to stand Dame Nellie's singing during his last stay, forcing him to leave the concert, Bates begins to put two and two together, and there's murder in his eyes. But honestly I think Green should be more afraid of Mrs. Hughes, as corners him in the boot room and gives him absolute hell, in full-on mama bear mode. She is NOT a woman to trifle with, that Mrs. Hughes!

Only two weeks left this season, can you believe it?!

*Photo copyright Masterpiece/ITV/Carnival Films. No copyright infringement intended.

Downton Abbey Series 4, Part 5

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This week's installment of Downton Abbey was on balance, I think, another very solid hour -- the season seems to be picking up the pace and pointing to a satisfactory conclusion, which makes me quite happy. :)

In a bid to keep Downton an independent and viable money-making venture, Branson (Allen Leech) and Mary (Michelle Dockery) have arranged to start PIG FARMING. I can't wait to see how this plays out, y'all. Robert (Hugh Bonneville) is characteristically reticent, but manages to be a supportive team player -- and I've got to say, I'm SO glad it doesn't appear we're going down the road of Robert vs. EVERYONE ELSE as regards Downton's running, because that would get old really fast. :P And anyways, he is all ruffled feathers and righteous indignation over some business scandal Cora's brother has found himself embroiled in over in the States. (I have to think this is going to be the Teapot Dome Scandal? The timing is about right for where we are in the 1920's.)

But who cares about Cora's wastrel brother because IT'S ALMOST ROBERT'S BIRTHDAY! And Rose (Lily James) loves her uncle SOOOOOO much she arranges a surprise he's SURE TO LOVE -- a performance by the American jazz band lead by the one and only savior of her honor on the dance floor, Jack Ross (Gary Carr). If my eyes don't stop rolling they are sure to fall out of my head, but whatevs. SO. Rose keeps freaking out that her surprise will be discovered, and enlists Mrs. Hughes (Phyllis Logan) to agree to keep the band downstairs, but she can't tell any of the staff until the band arrives, or some such nonsense. So of course Baxter (Raquel Cassidy) hears this and dutifully reports to Thomas (Rob James-Collier) who takes this to mean that people are going to lose their jobs or something...and at this point can I just say THOMAS, YOU ARE FLOUNDERING. His attempts to be even a marginally interesting schemer post-O'Brien are WOEFULLY inadequate. I mean now that we've seen how nice he is to Sybbie, we know he has a heart and all that, so this pathetic level of scheming just feels extra forced. (Kinda like Rose, I mean there is still no real point there, hmmm??)

Meanwhile downstairs Daisy (Sophie McShera) is not-so-secretly thrilled that Alfred (Matt Milne) wasn't accepted to the cooking program. He is even further depressed when he hears that Jimmy (Ed Speleers) has finally gotten Ivy (Cara Theobold) to agree to go to the pictures with him. But as is so often the case with this show, things change with the speed of lightening. In sum: Alfred is accepted to the cooking program, because he was just FIFTH PLACE and someone in the top four dropped out, whoop! Daisy is CRUSHED. Ivy finally realizes that Jimmy is just out for a good time when he tries to cop a feel after their date and she is scandalized, because apparently she thought he had depth or something. It was hilarious, however, when Daisy tells her off instead of offering her sympathy, and Mrs. Patmore (Lesley Nicol) and Mrs. Hughes agree with her. Ha!! I did love Alfred's public offering of thanks, crediting Carson (Jim Carter) for his success at Downton (Carson was SUCH a proud papa at that moment, lol!), and then going out of his way to thank Daisy for her friendship. I thought that was a lovely moment of honesty between the two of them -- so please, can Daisy move on now Fellowes? Or is Alfred finally going to WAKE UP and realize that eventually the two of them could marry and be fabulous together and I don't know, run a fancy boarding house or hotel or something like The Duchess of Duke Street. Just throwing that out there. *wink*

There are more shenanigans between Violet (Maggie Smith) and Isobel (Penelope Wilton) over whether or not the local chap Isobel insisted Violet hire to work in her gardens has been pilfering items from her home. Isobel is kind of wearing me out again with this weird insistence that Violet live life according to her expectations or something. I did however think it was pretty funny when Isobel transforms herself into Miss Marple to gain entrance to Violet's house and ferret out the location of a missing paper knife -- but more than that I LOVED the fact that she lost her moral high ground and her righteous indignation fizzled out spectacularly when she discovers that Violet, owning a wrong, had beaten her to the punch in apologizing to her gardener and restoring his job. DON'T MESS WITH THE DOWAGER, ISOBEL. You can't hope to win. *wink*

Branson is apparently still stuck on this idea of not belonging at Downton and moving to America, and while I think that is the STUPIDEST IDEA EVER (ha!) it does lead to some nice moments between him and Mary. I LOVE their friendship, and how even though she doesn't want him to leave she's willing to arrange introductions to help him, should he undertake this venture. But the best part -- and perhaps my favorite moment of the episode -- is when Branson, Mary, and a visiting Isobel find themselves in the nursery, and end up sharing a bit about their respective love stories -- how well they've loved, and how much their other half is missed. I thought it was a really beautiful moment indicative of just how far these characters have come since season one, to find such an accord and peace together in each other's company.

Anna (Joanne Froggatt) and Bates (Brendan Coyle) are still struggling to reconnect Bates's discovery of the attack she suffered. Bates is still in DIE, ATTACKER, DIE mode, and when he's unable to hide that impulse from Anna everything gets even worse and threatens to spiral out of control. Desperate to put this behind them, if only for an evening, they decide to have a DATE NIGHT at some fancy restaurant where the maitre'd refuses to seat them even though they MADE a reservation!! This does not help Anna's struggles, but thankfully Cora (Elizabeth McGovern) just happens to be at the same restaurant and gets to have one of her more awesome moments in recent memory -- she judiciously wields a little of her aristocratic power to ensure that Anna and Bates are treated like royalty. The look on the face of the maitre'd was just PRICELESS. I'm thrilled Anna and Bates are working through the fallout from the rape together...I just wish that we weren't (apparently) going down the road of Bates in sudden death mode. But whatever. :P

So just prior to Robert's party, Evelyn Napier (Brendan Patricks) returns as promised to Downton bringing his boss, Charles Blake (Julian Ovenden, a.k.a. ANDREW FOYLE). Mary is all "YAY! HELP US OUT!" and Charles is all "I DON'T CARE ABOUT THE PERPETUATION OF LARGE ESTATES AND ARISTOCRATIC LIVELIHOODS! FOOD FOR THE MASSES!" So that new relationship gets off to a cracking good start and all of a sudden snarky Mary is back and in fine form! :) Really she just needs to step back and think this through -- Blake's a socialist, apparently, her sister married a socialist and she is now all BFF-y with the same, so WHY FIGHT IT??? This is FATE!!! It's in your GENETIC MAKE-UP, girl!! LOL! While the spark of conflict here seems a bit forced (but when is this show ever subtle, lol??), I'm a big fan of Ovenden and thrilled to see him on my television screen again, so I'm anxious to see how this potential relationship plays out!

Poor Edith (Laura Carmichael) is miserable this entire episode. Gregson arrived in Germany but has been missing ever since -- I mean this is 1923, this is a major European country, what the heck? Weird. And on top of all that she receives confirmation that (shocker! not!) she is indeed pregnant so YAY WHACKED OUT HORMONES (on that score girl, I feel your pain). Of course she's not wanting to reveal this little bombshell, but she's not exactly doing a stellar job hiding her upset from her parents who, to their credit, are going above and beyond in the concerned, what-the-heck-is-wrong-with-you department. I felt SO badly for Robert when he found her crying and she's all WHAT ARE YOU DOING I'M NOT YOUR FAVORITE!! C'mon girl, 1) give your parents credit and 2) such responses are not going to convince them that you're not keeping secrets!!! Yeesh!

Wrapping things up, despite some hiccups (Carson's conversation with Jack Ross about race issues is hilariously awkward) on balance Rose's surprise seems to have paid off -- despite the scandal of turning Downton into a temporary NIGHT CLUB!! *wink* Things are going REALLY well for Rose (*ahem*) since at the end of the evening Lady Mary sees her making out with Jack (and I feel like we're missing something? but whatever, they're probably just all carpe diem and stuff!), and UH-OH we have another scandal alert!! Oh, and Molesley (Kevin Doyle) has a job again, replacing Alfred as a footman, but I have a really hard time caring because I am just not as invested in his character as the rest of the downstairs staff seem to be.

But that's the thing about this show -- even when you have Thomas's scheming falling apart and Rose being stupid, I recognize these things but I'm still entertained, because I love this world and all of its soapy predictability. :) Thoughts on this installment and the latest developments? Please chime in! I can't believe we're already into the home stretch with only three weeks left!

*Photo copyright Masterpiece/ITV/Carnival Films. No copyright infringement intended.

Downton Abbey Series 4, Part 4

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This week's installment of Downton Abbey was a vast improvement over last week's "filler" episode. Here we are actually treated to what felt like some forward momentum on several storyline fronts, not the least of which is Anna (Joanne Froggatt) taking some steps toward healing and recovery in the wake of the vicious assault that occurred during the houseparty weekend. Stuff happens this hour, people! At a fast pace, no less!

With Edna's absence (THANK GOODNESS), Cora (Elizabeth McGovern) was once again without a lady's maid -- a position that has now been filled thanks to Thomas's (Rob James-Collier) recommendation of some random woman named Baxter (Raquel Cassidy). Baxter, shockingly, seems really nice (she gives Cora ORANGE JUICE with her breakfast, which brings on a bout of the I MISS AMERICA FEELS), and is a total whiz with a sewing machine. If you've seen Land Girls, Baxter's face may be familiar as she was featured in that show's second season. She also appeared in the Doctor Who season six two-parter, "The Rebel Flesh" and "The Almost People." I've heard from a friend who has watched the whole season that the Baxter storyline as regards her connection to Thomas -- and his apparent hold over her -- isn't satisfactorily resolved this season. At this point given their similar coloring my guess is she is a relative of some sort. Thoughts?

Anna is still determined to keep the truth of her attack from Bates (Brendan Coyle), and this is NOT going well because she's moved back into Downton and can't even attempt to mask her emotional turmoil in Bates's presence. I mean obviously something is seriously wrong -- though apparently enough time has passed between this episode and the attack for her to know that she did not become pregnant (THANK GOODNESS...if Fellowes had gone THAT route I might have broken my television screen). Poor Mrs. Hughes (Phyllis Logan) is stuck between the proverbial rock and a hard place as she wants to honor Anna's wishes, but she's sure that Anna SHOULD tell Bates and work through this as a couple.

Here is where things get a little weird for me. Bates basically corners Mrs. Hughes and blackmails her into revealing Anna's secret by threatening to leave. She does so, but insists that the rapist was a random, outside attacker that will be impossible to identify (of course Bates does NOT buy this, given that Anna's change in manner coincides the the end of the houseparty). I GET why Bates is upset...I GET his impulse to want revenge on the man who wounded his wife. But it really sort of astounds me that both Anna and Mrs. Hughes are positive Bates would just go out and whack the rapist, which kind of makes me re-think the whole, interminable storyline regarding the death of the FIRST Mrs. Bates. Setting aside Anna's trauma just for a moment, both women seem remarkably okay with the idea that Bates's teddy bear exterior masks a potential cold-blooded killer. Somebody talk me through this here -- I'm honestly not trying to make some sort of judgement call, because I get the desire to protect and the raw anger and grief Bates must be feeling when he hears WHY Anna has become so withdrawn -- but I wasn't entirely comfortable with the way he pushed Mrs. Hughes during their conversation (though goodness knows she can handle ANYTHING), or the way he starts to plot his revenge, certain of the rapist's identity -- never mind that, if he's caught, Anna may be avenged BUT she'll be left without a husband. That said, though, the scene where Bates and Anna FINALLY talk everything out and he reassures her of his love and her value in his eyes, reassures her that any guilt or shame that she's been struggling with are undeserved lies, that moment was beautifully played and heart-wrenching to watch.

WAIT A SEC. I just figured out my problem. I'M OVER-THINKING A SOAP OPERA. Moving on...

The big upstairs storyline involves the death of a longtime tenant and Mary (Michelle Dockery) and Branson's (Allen Leech) proposed plan to follow through on foreclosing on the lease, thereby allowing Downton to farm that tract of land. Robert (Hugh Bonneville) hates to seen the long-time tenants lose their lease, as they've worked Crawley property for...well, so long I can't remember. At the funeral he is approached by the son, Tim Drewe (Andrew Scarborough), who would like to halt the foreclosure, continue working his family's land, and pay off his father's debt. Robert is inclined to loan the man the money and views his earnest proposal as a good bet, but suspects (rightly) that Mary will object (BECAUSE THAT'S JUST THE WAY THINGS ROLL AROUND HERE, FOLKS). I was pleasantly surprised by how this storyline played out -- I expected Mary's rather more cutthroat business instinct to be proved correct, but instead when she discovers that her father loaned Drewe the money without a word to her, she's moved by his generosity and dedication to the longtime business association between the families. If anyone is a good business bet, I would hope this Drewe fellow rewards Robert's faith in him -- I see he's slated to appear in the season's final two episodes, so I suppose we'll see!

The whole kerfuffle over whether Drewe stays or goes seems to have reawakened Branson's socialist leanings, which gets him to dwelling on the fact that since he's been a part of the Crawley family he doesn't fit in anywhere -- more than a chauffeur but less than an aristocrat. (I expect that sense of new identity, of blending families is a side effect of marriage, Tom, but whatevs...) So he starts talking about moving to America, which as long as Leech is happy with his contract I don't see happening, but it gets Cora all worked up because she doesn't want Sybbie to leave -- but oh does she ever get the allure of America as the land of opportunity. (Robert, just HUG IT OUT with him. Bet you anything he'd stay then!) ;-) Side note: wasn't it great to see Sybbie and George in the nursery? And wasn't Branson ADORABLE with his daughter?! THE CUTENESS. I die.

Alfred (Matt Milne) is accepted to the Ritz's cooking program, and every spare moment is filled with cooking lessons from Mrs. Patmore (Lesley Nicol) and Daisy (Sophie McShera). Sophie is ALL torn up about the prospect of him leaving, but Mrs. Patmore continues to urge her to do the right thing and support his dreams, etc. Alfred is nice enough and all but I am PAST ready for Daisy to meet a fellow who is  NUTS about her from the start! Anyways, all of her worrying is for naught as Alfred doesn't make the cut -- but it was an interesting "field trip" away from Downton, and one hopes he sticks it to Jimmy (Ed Speleers) and continues to pursue his dreams. I don't even get Jimmy's point now -- all he does is make snarky comments and moon after Ivy (Cara Theobold), and even she seems to be getting a bit sick of it all.

Molesley (Kevin Doyle) is extra pathetic this episode. When Carson (Jim Carter) thinks Alfred will be leaving, he broaches the possibility with Molesley of taking the position of footman. He hems and haws about it so much he offends Carson, who hilariously RELISHES telling Molesley off after he deigns to accept the come-down job-wise. HELLO. Would the man not rather be a footman, back in the big house as it were, than paving streets? He does not seem cut out for manual labor, just sayin'!!

There is a whole subplot involving Isobel (Penelope Wilton) attempting to find the son of a local widow a gardening position in Violet's (Maggie Smith) household. The whole did the gardener steal the letter opener thing felt kinda worthless EXCEPT for the fact that Isobel and Violet were back to snarking at each other. Honestly, I didn't realize how much I'd missed the more adversarial side of their relationship. ;-) I do wonder how Isobel's story arc is going to play out, now that she isn't actively involved in the day-to-day life at Downton, as she was in Matthew's day. I don't feel like the family is purposely cutting her out, but obviously both sides need to perhaps make more of an effort to connect, for George's sake if nothing else.

Wrapping things up, Mary gets an visit from an old friend -- Evelyn Napier (Brendan Patricks)! She should just marry him and get it over with. ;-) He's adorable. And apparently GAINFULLY EMPLOYED traveling the countryside with his boss, Charles Blake, and assessing the impact of the war on the sustainability of the country's estates...or something. I guess it perhaps boils down to seeing if they can pay their taxes?? Anyways...Mary is all STAY HERE, YOU'RE ADORABLE...and I can pick your brain about running Downton. So next week we get Charles Blake's introduction, and please FOR THE LOVE let him be less pathetic than Gillingham!!!

Oh...and did I mention that Edith (Laura Carmichael) is preggers?? OBVIOUSLY.

*Photo copyright Masterpiece/ITV/Carnival Films. No copyright infringement intended.

Downton Abbey Series 4, Part 3

This week's installment of Downton Abbey primarily concerned itself in dealing with the aftermath of the houseparty of doom. I'd like to address the Anna-related portion of this hour's storyline first. Realizing that this episode opens the DAY after her attack (just ONE DAY, people!), it is extraordinarily painful to see Anna (Joanne Froggatt) attempt to hold her composure, knowing her attacker is still on the grounds, albeit preparing to leave. Bates's (Brendan Coyle) constant fretting that he is somehow responsible for Anna's black mood wore thin after the first mention or two...and underscores, I think, a problem in the couple's characterization that I'd never really considered. There is no reference point for a sad Anna...even when Bates was imprisoned, when you knew that was weighing on her, she was never overwhelming, outwardly depressed. While I've loved Anna's sweet spirit and general enthusiasm for life and positive outlook since the show began, in dealing with the aftermath of this attack it's a bit clearer that to this point she's not been the most nuanced of characters, hmm? I'm not knocking her, but as this storyline (which I hate BTW) has brought this to light, I feel it is fair to mention it. I mean it seems only realistic to me that they would've had a spat or two (or ten) in their married life to date, but this side of Anna has completely thrown Bates off his game...and while I get him wanting to know what's behind her sadness, his worry face seems a bit nagging after a while as opposed to actually being, you know, worried. I have to give Froggatt credit here -- she is revealing nuances in her acting here that speak to what a superb talent she is, and Fellowes -- well, her speech to Mrs. Hughes about feeling "unclean" and unworthy rang very true. So while I hate that we've gone there...at least how Anna is processing this feels honest, painfully so.

Branson (Allen Leech) is likewise riddled with guilt over sleeping with Edna (MyAnna Buring), never mind that she got him flat-out drunk in order to orchestrate their liason. It is unfortunate that for all the aftermath of Anna's situation touches on the painful emotional after effect of rape, the flip side of the coin -- a situation where a woman takes advantage of  man in the same regard -- is so bungled. Branson's guilt is genuine, and my heart really broke for him, because at that time (and even today) I think society conditions men to think that they can't be taken advantage of...and that forces them to process events of the like involving Branson and Edna in a whole other way, denying that an attack occurred and instead taking on the guilt of a moral failing or lapse in judgment.

So we all knew the only reason Edna weaseled her way back into Downton's halls was because she HAD TO GET IN BRANSON'S PANTS, because apparently she'd decided that he was to be her ticket out of service and no other would do. *headdesk* Over the course of this installment Branson reluctantly agrees to accompany Mary and Rose on a trip to London. During this time he and Mary have a beautifully played, very honest exchange, where she attempts to get him to share what's so obviously bothering him, and he refuses, sure it will ruin their friendship -- and I love the fact that they HAVE such a solid friendship now. Mary's advice -- that finding a safe person with which to share one's heart is critical -- is beautifully honest, which sends Branson in search of his unofficial mother, Mrs. Hughes (Phyllis Logan).

I LOVED how Mrs. Hughes read Edna the riot act, but honestly her "evidence" -- a family planning book or something like that?? -- was really, really weak. And while I am not sorry to see Edna go (please let it be forever this time!), the manner in which the desired end was accomplished felt like SUCH a rushed cop-out. Now, apparently, Branson is fine, because as a man he can just show lapses in judgement, and he's incapable of being raped...so any completely viable emotional fallout is brushed aside in a rather clumsy fashion. Ugh. However...Mrs. Hughes rocked it, this scene being just one of many reasons that I loved her in this episode -- the other being every other scene she shared with Carson (Jim Carter). I LOVE THOSE TWO TOGETHER SO MUCH. And when she had his former lady love's photograph framed as a gift? I DIED. They are SO PERFECT TOGETHER.

So, back to upstairs shenanigans -- Branson aside -- for a bit. Cora (Elizabeth McGovern) is beyond thrilled with the success of her houseparty, sure that Anthony Gillingham (Tom Cullen) has piqued Mary's interest in LIVING AGAIN. Robert (Hugh Bonneville), to his credit, takes a bit more measured of a view to this "development" - ha! Cora arranges for her sister-in-law Rosamund (Samantha Bond -- I've missed you!!) to invite Anthony and his loser friend John Bullock (Andrew Alexander) to dinner with Mary, Branson, and Rose (Lily James), the latter OH SO EXCITED to be in London where, you know, STUFF HAPPENS.

And stuff does indeed happen in London, my friends, because they go to a SWANKY NIGHT CLUB  and Bullock gets smashed and embarrasses Rose on the dance floor (though seriously I think she is just incapable of not starting fights or getting embarrassed when dancing...something is BOUND to happen), leading to her rescue by the African-American bandleader (and terrible singer) Jack Ross (Gary Carr). Seriously, not a fan of his voice...but whatever. I'm not really sure what racial politics was like in England in the 1920s, but Rosamund is just shy of scandalized by Rose's enthusiasm for the young gallant and ushers them all home. So apparently this is the point of Rose this season...a romance with a man of a different race...which, given Fellowes's track record in dealing with controversy will probably go no where.

Meanwhile -- or later? I've lost all track of time -- Edith (Laura Carmichael) is in London to say goodbye to Gregson (Charles Edwards), who is happily tripping along in his plans to become a German citizen so he can ditch his crazy wife and marry Edith. He proceeds to seduce her with responsibility, having her sign some sort of power of attorney that gives her authority at his paper, they kiss, and the next thing you know she is doing the walk of shame sneaking back into Rosamund's house early the following morning. Rosamund isn't all about this development, but I really don't see Edith being taken advantage of here...and honestly I think she and Gregson make a nice couple. Their lives are just a hot mess any way you look at it. :P

Back at Downton, Gillingham shows up to FRIGGIN' PROPOSE to Mary because hey, they just reconnected like four days ago after YEARS apart and he LOVES HER can't you tell??? And why the heck not?? That was the saddest, most pathetic thing ever. I mean LAME, Fellowes, SO LAME. I'm all for Mary moving on but to have an option propose in his SECOND EPISODE appearance...well he goes from looking sort of cute with possibilities to unbelievably pathetic. He'd better not be the new endgame, 'cause if so he has a LOT of ground to make up.

Is Violet (Maggie Smith) nicer this season? I'm not complaining mind you -- I think every word that drops from Maggie Smith's lips is golden. But she's so nice and understanding to Mary and Isobel (Penelope Wilton), especially the latter. I LOVE it...I never thought I'd see the day where I felt Violet was..mellowing, is perhaps the word -- mellowing a bit. *wink* Dare I say it? Are Violet and Isobel fated to become BFFs? Isobel seems to have found her new purpose in life as she agrees to work at Dr. Clarkson's (David Robb) new clinic. So...remember when he was all into her? Are we gonna revisit that, like, EVER?

The balance of the downstairs action in this episode revolves around Mrs. Patmore (Lesley Nichol) getting exasperated (or maybe I'm projecting?) watching Jimmy (Ed Speleers) and Alfred (Matt Milne) STILL moon over Ivy (Cara Theobold), while Daisy (Sophie McShera) gets more and more miserable because she's STILL got a thing for Alfred. At this point I don't even know why Jimmy is all of a sudden into Ivy, but whatever...it all drives Alfred to the crisis point of actually applying for a training position in the kitchens of the Ritz in London. And to all that I say GO FOR IT, Alfred. Just because Jimmy doesn't want to do anything with his life doesn't mean his interest in Ivy should hold you back. Or something. This quadrangle thing going on is just exhausting.

This felt more than usual like a filler episode, and given the pall hanging over the show in the aftermath of Anna's attack that's understandable. What I wonder if Fellowes ever grasped was how introd a rape plotline would so overshadow EVERYTHING ELSE going on. Because even though only Anna and Mrs. Hughes know about the attack, it's pretty near impossible to view the more light-hearted, soapy shenanigans the show is known for without filtering it through the lens of "if they only knew they'd act differently," or something like that. ANYWAYS...I'd love to hear your thoughts on the episode, so please chime in!

*Photo copyright Masterpiece/ITV/Carnival Films. No  copyright infringement intended. 

Downton Abbey Series 4, Part 2

GUYS. I just don't have the heart to really blog about this episode...and I KNEW WHAT WAS COMING.

Dammit, Julian Fellowes. :-/

I've adored Downton Abbey in all of its soap opera glory since the first season...and I realize I'm admitting to something of a double standard here when I say that I can deal with shenanigans of all stripes, from romantic flings to murders (or accusations thereof), but personal, physical attacks like rape...well, there's a reason I don't watch crime shows of Law & Order: SVU's ilk. And that doesn't even touch on STUPID EDNA getting Branson drunk and doing God knows what behind closed doors. Whether or not she actually succeeds in sleeping with him in his state is left to question, but if she did -- well, as other bloggers have pointed out, whether female OR male, the inability to give consent does not imply its presence.

This new storyline for Anna feels out of step with the history of the show -- without spoilers, I would've expected there to be some conflict over a mistaken flirtation with Green, not an outright attack. But maybe that's just me. I will say this -- Joanne Froggatt, you broke my heart -- and you're an even better actress than I ever dreamed. It KILLED me to see a character defined by her unflagging positive outlook and constancy suffer this. I can only hope that the aftermath and recovery is handled in a sensitive manner that respects the seriousness of this plot "twist."

So, rather than my usual gushing, which feels particularly inappropriate given the gravitas of the subject matter introduced here, I'm just going to quickly highlight a few points relevant to the other characters' storylines going forward:

• The first of Lady Mary's (Michelle Dockery) new suitors arrives for Downton's house party -- childhood friend Lord Gillingham, Anthony Foyle (Tom Cullen). He is adorbs, and also apparently "nearly engaged," whatever that means, but oh-so-into Mary (of course). (The Masterpiece geek in me can't get over that there is an Anthony Foyle character here, when later in the season Suitor Option #2 shows up -- Charles Blake, played by Julian Ovenden, who played Andrew Foyle in Foyle's War.)
• Fellowes masterfully finds reasons to keep Molesley (Kevin Doyle) on this show by having him substitute as a footman when Jimmy's (Ed Speleers) penchant for showing off lands him with a sprained wrist. Poor Molesley isn't dealing well with his come-down in the world...
• Carson (Jim Carter) has no understanding of the celebrity culture boom destined blossom during the twentieth-century's ensuing decades as the thought of a world-famous singer, Dame Nellie Melba (Kiri Te Kanawa), conversing with the family leaves him absolutely scandalized. This would be hilarious enough on its own except Cora (Elizabeth McGovern) makes her frustration with this view known by proclaiming that she's the most progressive, modern resident of Downton. HA.
• Robert (Hugh Bonneville) has gambling issues, losing a substantial sum that he can ill afford to Sampson (Patrick Kennedy), some random frenemy from his club. Anyone recognize Kennedy from Bleak House, where he played Richard Carstone? 
• Robert's aforementioned gambling issues are resolved when Gregson (Charles Edwards) OF ALL PEOPLE finally manages to ingratiate himself with his dream father-in-law by revealing Sampson to be a card shark in need of a come-down, winning back everyone's I.O.U.'s. This makes Edith (Laura Carmichael) stupid happy, furthering the train wreck I feel sure is coming. I mean separating Gregson from his crazy wife for the moment, I really do think he and Edith share some nice chemistry...but they are so hilariously awkward sometimes it just cracks me up. 
• Robert's big objection to Gregson is that he's essentially "in trade" as a newspaperman, right? Neither parent knows of his marriage? And who exactly does he think is supposed to be a better option, especially if he's ignorant of point #2? I mean NO ONE IS AROUND, Robert. Yeesh. 
• Violet (Maggie Smith) is overflowing with her requisite wit, but pauses in her non-stop sarcasm to once again reveal her compassionate side, reaching out to Isobel (Penelope Wilton) and encouraging her to start giving herself permission to enjoy life post-Matthew. 
• Branson (Allen Leech) needs a hug. It was SO hard seeing him bumble through the house party while trying SO HARD and get progressively more and more depressed. Obviously it was beyond stupid to talk to Edna (MyAnna Buring), but he certainly wasn't reaching out to her for the kind of comfort she so obviously wants to give. :P I cannot WAIT for her to disappear, preferably forever. (Side note: I loved seeing Joanna David as the Duchess of Yeovil that manages to corner Branson at every opportunity -- if she seems familiar, that's because she played Mrs. Gardiner in the 1995 Pride and Prejudice.)
• Bates's (Brendan Coyle) look at Anna's obvious distress at the end of this installment BROKE MY HEART. 

I suppose that about covers it. There were a few other enjoyable downstairs developments, like learning Alfred (Matt Milne) wants to win Top Chef 1922 or something, and as per the norm  Mrs. Patmore, Daisy, and Mrs. Hughes were all in fine form. But it's just the nature of this episode, for me at any rate, that the attack on Anna colors what would otherwise be vintage Fellowes in the vein of Gosford Park, making any other character's more light-hearted moments tragic because they just don't KNOW what happened.

I'm definitely curious to hear your thoughts on this episode, so please share! And if you've seen season four in its entirety please try to keep comments relatively spoiler-free, thanks. :)

EDIT: A friend shared this link on Facebook, where a survivor of rape talks about her reaction to this installment of Downton Abbey. It is a heartbreaking and thought-provoking read. http://www.christianitytoday.com/women/2014/january/lets-talk-about-what-happened-on-downton-abbey.html

Downton Abbey Series 4, Part 1

Six months have passed since the car wreck heard 'round the world took Matthew from Downton Abbey, and if you weren't sure that THINGS HAD CHANGED, well all you had to do was watch the credits...the familiar backside of Lord Grantham's beloved dog was replaced by scenes with positively Gothic overtones of someone sneaking out of Downton under the cover of darkness. Downton Abbey is BACK, people!! :) (And in case you're not familiar with my Downton recaps, this is NOT a spoiler-free post!)

The figure sneaking away in the middle of the night turns out to be the love-to-hate O'Brien (Siobhan Finneran), who has absconded to INDIA with Violet's niece Susan! (I'd like to take this opportunity to point out that I totally suggested this last year, thanks for reading the blog Mr. Fellowes! *wink*) While I suppose I'll miss O'Brien's scheming (and her epic bangs!), I think it is wholly appropriate that the character make their exit causing scandal -- family members poaching each other's staff! Sneaking off in the dead of night!! THE SHENANIGANS!!!

O'Brien's hasty exit in Lady Susan's employ makes things right awkward for her daughter Rose (Lily James), who feels rather guilty that her mother would do something so declasse as poach a longtime staff member from the household that's been hosting her daughter for the past six months. She shows some initiative and posts an advertisement for a lady's maid in the POST OFFICE WINDOW, which is pretty shockingly modern but unfortunately attracts the attention of the erstwhile maid Edna (MyAnna Buring), who uses the reference provided by Mrs. Hughes -- which was basically a bribe to get rid of her -- to get re-hired by the family. I pretty much hate Edna with the white-hot heat of a thousand suns, so I am in complete accord with Mrs. Hughes' assessment that Edna's reintroduction to Downton is like a bomb waiting to go off. (Side note: It's refreshing to see Rose be, well -- excited and youthful and non-annoying...at least thus far. Her little interlude masquerading as as a maid at a local dance was HILARIOUS.)

Continuing to assess the downstairs action, we get a little Valentine's Day card drama to remind us that NO ONE IS INTERESTED IN DAISY which is one of this show's greatest tragedies! Both Daisy (Sophie McShera) and Ivy (Cara Thebold) get cards from anonymous admirers. Daisy is heart-breakingly hopeful that Alfred (Matt Milne) sent her a card, but he's deep in the midst of his own awkward times deflecting questions about his aunt's midnight decampment from Downton, and he still, for some reason I cannot fathom, has eyes for Ivy alone. Ivy of course is still into Jimmy (Ed Speelers), who seems only willing to flirt until he decides HEY, WHY NOT, IVY LIKES ME I SHOULD TAKE HER OUT. They can have each other, because who needs Jimmy or Alfred when you have a kick-ass mentor like Mrs. Patmore (Lesley Nichol) who sends you a card just because she's worried about you feeling left out of the romance drama, and you COMPLETELY MASTER the art of making mousse with the SHINY NEW ELECTRIC BLENDER in no time flat. Daisy, my dear, you rock. :)

Carson (Jim Carter) finds himself in the middle of some unexpected drama when his old acting partner, Charles Grigg (Nicky Henson) -- whom we haven't seen since season one, part two! -- has fallen on hard times and found himself in the workhouse. It seems Carson can hold a bit of a grudge, and his reluctance to see Charles stems from the disappointed romantic hopes of youth rather than any concern about keeping his stellar reputation as a butler without equal intact. Mrs. Hughes (Phyllis Logan), however, cannot STAND to see Carson tortured (because they are IN LOVE, right?! they just don't know it yet), and after a little smart reconnaissance work discovers a repentant Mr. Grigg, in desperate need of help and desperate to make amends with his one-time friend.

Mrs. Hughes decides I CAN FIX THIS! She goes to the grief-stricken Isobel (Penelope Wilton), who has a long history of being SUPER ANNOYING. But a bereft Isobel I can apparently deal with -- but Mrs. Hughes very wisely realizes that a bereft Isobel ISN'T NORMAL, so she convinces her to take on her first post-Matthew project of fixing Mr. Grigg, which she does with her usual efficiency, securing him a job in Ireland. But Carson has taken grave exception to Mrs. Hughes' well-intentioned meddling, and it takes some SPARKS and as close as the two of them get to fighting for him to realize that he has no need to hang on to the memory of some woman who threw him over way back when, because HELLLOOO!!! Mrs. Hughes is RIGHT THERE. (I kid, I kid, I'm projecting a bit here...)

Anna (Joanne Froggatt) and Bates (Brendan Coyle) are stupid cute in this episode...I mean RIDICULOUSLY happy. And since I know a few spoilers for what's coming later on in the season, this breaks my heart...I mean don't these lovebirds realize by now that happiness is a jinx?! Bates -- did anyone else notice that he's hardly limping anymore? -- gets some wonderful screentime as the devoted husband, going out of his way to placate Anna's worries about Molesley's (Kevin Doyle) unemployment situation by playing a sort of jolly Santa Claus. Seeing the normally stoic Bates involved in such a light-hearted scheme is, frankly, adorable, and just makes me want to give Brendan Coyle a hug. :) Apparently Edna and Thomas (Rob James-Collier) are now allies and have decided to take-down Anna in the family's estimation, which honestly feels like such a poor imitation of a classic O'Brien-Thomas scheme one wonders why Fellowes bothered... (Also, how sad is it that unemployed Molesley is the most compelling version of this character to date? Poor guy...)

Speaking of Thomas, he accidentally does something rather good by complaining about Nanny West's (Di Botcher) treatment of the newest Crawley family members, George and Sybbie Jr, after the nanny tries to give him orders. While I completely get Thomas' affection for Sybbie, as her mother always treated him with kindness, I really didn't expect the nanny to actually be guilty of abusing the girl in favor of her cousin because of Branson's history in service. YIKES. In other news, the discovery of Nanny West's unsuitability provided Cora (Elizabeth McGovern) with one of her more awesome moments to date in the series. Half the time Cora is such a frustrating character because she takes EVERYTHING the servants tell her at face value...but just when I think she couldn't be more clueless, she does something awesome like accept Branson into the family because Sybil loved him, or go all Mama Bear on the evil nanny. BE MORE AWESOME, CORA. I know you can do it!

For the past six months, upstairs life has revolved around trying to accommodate Mary's (Michelle Dockery) crippling grief. She's become a shadow of her former self -- I've read many describing her as a zombie, which personally I find a little harsh -- I mean just because I don't really care that Matthew's gone doesn't mean I don't think she shouldn't...as his widow her grief and crippling depression makes sense to me. But then I've always felt like I liked Mary a lot more than many other viewers of the show? ANYWAYS, enough thinking out loud there. Mary's zombification leads to two interesting plot points -- Robert's (Hugh Bonneville) insistence that she not be bothered with anything regarding the running of the estate, and Branson's (Allen Leech) belief that she NEEDS to do just that in order to bring her back to life. Also, how wrenching and powerful were Mary and Carson's scenes? It broke my heart a bit when she told him off but it made sense...and I loved that Carson loves her enough, and has known her long enough, to know where that anger was coming from. Well-played by both Dockery and Carter.

I love Branson the estate agent SO MUCH. He seems to have really settled into the role comfortably and his compassion for Mary's grief, and his understanding of what it takes to find the will to engage again from his own loss is really beautifully played. Loss and parenthood have softened this one-time hothead's rough edges with a lot of compassion and wisdom. Robert's reluctance to involve Mary in the stewardship of her son's inheritance is highly concerning...I do think Robert grieves Matthew, but his insistence on not burdening Mary starts to become annoyingly patronizing all too quickly. Thankfully his mother is around to put him in his place, especially when he floats the ridiculous notion that it would be permissible to conceal Matthew's final wishes -- a will of intent if not in actuality -- until his lawyer verifies it. BADLY DONE, ROBERT.

I adored Violet (Maggie Smith) as per the norm in this episode. Not only is she as smart and sassy as ever, but the woman looked AMAZING. That dove-grey ensemble she was wearing at one point? SO STYLISH. Smith is an acting powerhouse, and the moment where she encourages Mary to re-enter the land of the living just KILLED me. I would love more of the Dowager's backstory...for all her quick wit and sharp tongue, this is a woman capable of great compassion and empathy...and I'd love to know how she got there. Too bad we can't travel back in time to let a young Maggie Smith bring a film of Violet's youth to life. :)

Now Edith (Laura Carmichael) -- that girl is ROCKING the 1920's fashions isn't she? Girl has finally got a decade whose looks love her. *wink* Apparently she's still writing, but no one really knows about what exactly, because WHO CARES she and her editor still have a little something going on! And dancing on the edge of a full-blown affair is apparently VERY good for Edith's looks and temperament! Gregson (Charles Edwards) -- I can't be bothered to call him Michael -- is like some needy version of Rochester. I mean SO CUTE but SO DOESN'T HAVE IT TOGETHER. His latest brilliant idea is becoming a German citizen because apparently that means he could divorce his insane wife and marry Edith. Not that I think the show is going to go well into the 1930s (not successfully at any rate), but who doesn't see Fellowes thinking "oh!! Gregson can become a German fascist!" LIKE THAT IS GOING TO END WELL. :P

I suppose this about covers it for Downton's two-hour season four premiere. For all this show's forays into soapiness and predictability I still love it. Thoughts on the first two hours -- did I leave anything out? And for those of you who have watched series four in its entirety, please try to keep comments as spoiler-free as possible for those in the US watching this season as it airs on PBS!

*All images copyright Masterpiece/ITV/Carnival films. No copyright infringement intended.

Downton Abbey Series 3, Part 2

Downton Abbey continued with part two of its Masterpiece run last night, and thank goodness it was only an hour long installment because this episode was packed. And AWESOME. This is Downton at its best, for me at any rate -- absolutely insane drama at lightning-fast speed. *wink*

The Crawley family is in the throes of planning its second wedding in what -- a month? -- as Edith (Laura Carmichael) is determined to marry Sir Anthony Crazy Eyes Strallan (Robert Bathurst). NO ONE except Edith thinks this is a good idea, but the family all seems resigned to letting her push ahead with her grand plan to become Lady Strallan. But a pall even worse than gaining a sap for a son-in-law hangs over Downton, and particularly Robert (Hugh Bonneville), as the family must face putting the beloved estate up for sale. Robert is loathe to see his financial and leadership failures exposed to the world, but he's resigned himself to his family's fate, even if Mary (Michelle Dockery) hasn't, because her stubbornly MORONIC husband refuses to save the family home. *headdesk* The family decides to take a picnic to "Downton Place" which is far from a shack...but it's all about perspective, isn't it? *wink*

To her family's everlasting credit, they are attempting to celebrate Edith's big day and encourage her as she marries Sir Anthony, even though the marriage is virtually, universally frowned upon. For all that Edith suffers from "middle child syndrome," if you will, when compared to the glittering Mary or the unconventional Sybil (Jessica Brown Findlay), good friggin' GRIEF does she ever deserve better than marrying to become (as Violet so eloquently puts it) "an old man's drudge" (and keep in mind, I will be ALLLLL about a well-written May/December romance, as long as one of the parties involved doesn't give me the creeps!). I mean I GET that nearly all of the young men in Edith's social circle died in the war. I GET that Anthony gives her the time of day. But a mutual love of motoring is only going to take a couple so far... :P

So while Edith is all in la-la land getting ready for her marriage and a lifetime of having Sir Anthony as her own special "project," the rest of the family copes with the reality of having to leave Downton while downstairs health scares and personal rivalries take center stage. After two seasons of seeing O'Brien (Siobhan Finneran) and Thomas (Rob James-Collier) as allies in their shared quest for world domination and desire to spread pain and suffering where ever they go, they are finally on the outs...and people, I LOVE it. Last week saw O'Brien abscond with Robert's dress shirts in retaliation for needling her nephew, making Thomas (as his valet) look the fool. This episode saw Thomas up the ante and use poor, gullible Molesley (Kevin Doyle) to start a rumor that O'Brien was leaving Downton. When Cora hears this "news" through back channels she's understandably put out that her ladies' maid wouldn't confide in her -- and this leads to all sorts of awkward moments for O'Brien. She's so rarely off-kilter. *wink* (I actually felt kind of bad for poor Molesley, unintentionally running afoul of O'Brien!)

Matthew (Dan Stevens) continues to be a complete ass about the fact that he's due to inherit money from Reggie Swire, the man who would have been his father-in-law if that silly twit Lavinia hadn't up and died last year. :P Lavinia, to her credit, was more than gracious about the whole Matthew-is-still-in-love-with-Mary mess, and for goodness' sake she died from THE FLU. It isn't as if she wasted away solely through her own (lack of?) willpower. So for approximately three-quarters of this episode Matthew is a complete jerk about the fact that Reggie wanted to leave him his estate, apparently relishing the chance to wallow in self-loathing and guilt over how he shouldn't accept the money because of Lavinia. Dude, Lavinia DOESN'T care!!! *sigh* I know Mary can have something of a reputation for being difficult and cold, but goodness I wanted  her to smack Matthew upside the head so. BADLY. All things told, the new bride handled her husband's idiocy with real class IMO.

Downstairs, aside from the O'Brien/Thomas "war," the most compelling storyline involves Mrs. Hughes (Phyllis Logan) anxiously awaiting the biopsy results from Dr. Clarkson (David Robb). I really enjoy the layers this test has revealed not only in Mrs. Hughes' character, but the warmth of the friendship that she shares with Mrs. Patmore (Lesley Nichol). Mrs. Hughes' worry and fatigue become increasingly difficult to hide from the ever-vigilant Mr. Carson (Jim Carter), who first attempts to discover the cause from Dr. Clarkson (props to Clarkson for actually -- surprisingly? ha!! -- respecting doctor/patient confidentiality), and then wheedles the truth out of poor Mrs. Patmore. His worry for Mrs. Hughes just KILLED me...please, if they retire or something can they PLEASE PLEASE PLEASE get married Julian Fellowes? Because that would rock my world. I love how he goes to Cora on Mrs. Hughes' behalf, and then Cora calls her in and is all DON'T WORRY ABOUT A THING, WE WILL TAKE CARE OF YOU NO MATTER WHAT. I was close to tearing up right along with Mrs. Hughes -- particularly in that day and age, where she sacrificed the chance to make her own family for a career at Downton, when facing a cancer diagnosis she must've struggled with feeling so alone! HUGS ALL AROUND! And well done, Cora. :)

Edith and the Wedding of DOOM

So...Ethel's WEDDING EVE OF DOOM is upon Downton, and Sir Anthony has this horribly awkward conversation with Robert, where Robert, to his credit, doesn't tell Anthony what he's REALLY thinking (i.e., that Strallan is too lame to be his son-in-law). One gets the feeling Anthony is making Robert re-think Branson's (Allen Leech) suitability. *wink* Fast-forward to the next day, and the Crawley women all share a pre-wedding bonding moment, and then Edith makes her grand entrance -- and oh it kills me that she's so excited about this, because Anthony looks like he's going to throw up and she looks FAB. Seriously, wasn't her wedding dress amazing?! About this time I commented we have a runner -- and Sir Anthony Crazy Eyes does not disappoint, delivering perhaps one of the most awkward jilt-the-bride-at-the-altar scenes ever caught on film. LAME LAME LAME. Poor Edith is in understandable shock, but Violet (Maggie Smith) seizes the day -- and her comments about letting him go and it's all for the best -- AT THE ALTAR!! -- cracked me up. Vintage Violet moxie, that. *wink*

in hindsight, a portent of doom?

I predict that Anthony ends up dead if not by the end of this season, then before the end of the show. He is going off the RAILS, I can feel it!! :P I'd like to propose this scenario: Anthony runs his car off a bridge or something, because he can't stand that he's become SO LAME, and leaves all his money to Edith. Edith (who doesn't have compunctions about accepting odd and convenient inheritances like Matthew) takes the money and RUNS and goes on a grand European tour, where she takes up writing poetry. Somewhere in France or Italy or someplace AMAZING she meets an exiled Russian nobleman who had the foresight to put all of his money in a Swiss bank. They fall in LUV and Edith happily sticks it to her ENTIRE FAMILY by lassoing a HOT RUSSIAN PRINCE. The End. :)

Edith's heartbreak leads to a really touching scene between Cora and her oft-overlooked middle child -- people, that scene is why I love Elizabeth McGovern. She rocks. Cora doesn't often get the opportunity to show her "motherly" side, so it was refreshing to see her cast in the role of comforter here. I am quite excited to see where Fellowes takes Edith's storyline in the rest of this season and the next. Methinks the girl could do with a bit of scandal and genuine drama in her life. Mary and Sybil have carried the balance of that far too long. *wink*

Running parallel to the wedding prep and drama, Mary bites the proverbial bullet and -- against Matthew's express wishes -- reads his final letter from Reggie, wherein Matthew receives the man's full blessing. Of course Matthew is still an ass about it all and Mary actually has to go to the SERVANT'S QUARTERS to find out who the heck could've mailed a letter from Lavinia on her DYING DAY. LET IT GO MATTHEW, FOR THE LOVE LET IT GO!! But finally, after what, fifty-five interminable minutes of Matthew whining, he  takes the money and runs and puts Robert out of his misery -- with a twist. Robert insists that they in effect become "co-masters" of Downton, with Matthew's money being treated as an investment. Like this join chairmanship thing is gonna go down without any drama... :P

gratuitous Bates looking hot shot

In other news, Anna (Joanne Froggatt) goes all Miss Marple on the Bates case and interviews the last woman to see Vera alive. Of course this "witness" was Vera's BFF, who patently hates Bates and goes so far as to describe Vera in saint-like terms. Give me a break. I did rather enjoy seeing Bates (Brendan Coyle) manage to foil his cellmate's attempt to frame him by concealing a weapon in his bunk. Bates, m'dear, you are a badass. Love it. :) And in news I care absolutely nothing about, Isobel (Penelope Wilton) hunts down Ethel (Amy Nuttall), who has shown up at her wayward women reformation project multiple times, only to change her mind and run off at the last minute. WHY OH WHY is Ethel still on this show? Has she had another kid? Didn't she give her kid to random soldier father's parents? I don't even care enough at this point to look it up. :P

In the aftermath of Edith's wedding debacle, I thought it was quite touching to see the family and servants rally around the heartbroken daughter. I loved how during the servants' meal, where they got to eat all of the wedding food, Mr. Carson caved and "allowed" them to speak poorly of Stupid Strallan. *wink* I loved Daisy (Sophie McShera) in this episode, and how she's determined to become more outgoing in an effort to further her career and catch the eye of Alfred (Matt Milne), the new footman. When he asked her to play checkers and she had to say no I might've kinda screamed at the television. They could be SO CUTE together!!!

This installment concludes with perhaps one of my favorite scenes in Downton Abbey to date -- Mrs. Hughes returning to the house with the news that she is cancer-free. She lets Mrs. Patmore break the news to the anxious Mr. Carson, who is then so happy he starts singing while he works. SINGING. Carson. SINGING. That moment was utter perfection. :)

I absolutely loved this episode of Downton, precisely because it was so insanely wild. :) Good times, people, good times. Here's to next week's installment!

• Read my recap/review of Series 3, Part 1
• Read Laurel Ann's recap of Part Two at Austenprose
• Pre-order Season 3 on Blu-ray/DVD
• Watch Part Two online at PBS through 3/3/13

A Very Carson Christmas

So now we know what Carson does on the side to earn a little spare cash...

Downton Abbey, Part Two

Downton Abbey continued this past Sunday with Part Two of its four-week run on Masterpiece Classic, and my suspicions that this is one of "those" shows that keeps getting better and better as time goes on has been happily confirmed. I'm going to try my best to confine my review of Part Two to one post, but I'm not making any promises. :) If you're new to the blog, or want to revisit my thoughts on Part One of Downton, here are the links: The Crawleys, The Servants. Now that I've had about three hours to familiarize myself with the world of Downton Abbey and the many, many "upstairs" and "downstairs" residents that call the estate home, I feel like I have a much better grasp on the characters and multiple, interwoven plotlines. Here's the summary of Part Two from the PBS website:

As Matthew and Isobel, the newly-arrived Crawleys settle into life in the village, Isobel offers her experience with modern medical techniques at the hospital, to the considerable consternation of Violet. Both Matthew and Mary bristle at the prospect of being matched to one another; still, Matthew indulges Mary's clever barbs even as a suitor in the form of Evelyn Napier is invited for a foxhunt, accompanied by the handsome attaché at the Turkish Embassy, Kemal Pamuk.

Downstairs, secrets reflect the ambitions, shames and desperate hopes of the servants, as housemaid Gwen tries to hide the contents of a heavy box set atop the wardrobe in her room; Carson abandons his customary dignity as he skittishly raids the pantry; and Bates refuses to share the source of his debilitating pain to his co-workers. Their concern and camaraderie markedly contrast the festering discontent of Thomas and O'Brien.

A sinister stranger barges into the house, demanding to speak to Lord Grantham, and an attractive stranger captivates Mary before setting into motion a chain of events that put the fate of Downton Abbey on even less stable ground.

Lady Sybil

I was quite happy to see many of the characters who I felt were barely introduced in Part One given more fleshed out storylines and personalities in this installment of the series. We're introduced to the secret hopes of Gwen (Rose Leslie) the housemaid, when Anna (Joanne Froggatt), the head housemaid discovers her secret. Gwen wants to be a secretary! It's fascinating to see just how radical of an idea this was in 1913 - virtually unheard of in many social circles, yet if a woman succeeded in training herself and secured a suitable position, she could achieve a level of independence unknown of scant years before. Time and technology has changed much. :) Not only do I a greatly admire Gwen's bravery in reaching for such a bold dream, but the support she receives from Anna further seals my good opinion of that housemaid's character. We are also finally treated to some insight into youngest Crawley daughter Sybil's (Jessica Brown-Findlay) character. When she discovers Gwen's aspirations she resolves to do all she can to help the housemaid realize her dream - clearly Sybil has the makings of a social and political activist.

Mentioning Anna brings me the opportunity to discuss what is fast becoming one of my favorite relationships on the show - the friendship (hopefully more? hopefully SOON? *g*) that develops between Anna and Bates (Brendan Coyle), the valet. When Bates and Anna find themselves alone in the servants quarters, and Bates teases her by saying "alone at last" - people, I kid you not, I melted. Brendan Coyle is just adorable. Of course, for every halting step forward in their relationship - such as "bonding" over the hilarious discovery that Carson (Jim Carter), the butler, had is secret life as a stage performer revealed in front of the Earl. While Carson was mortified at being embarrassed before lower staff members, the fact that Anna and Bates handled the news with discretion earns them, especially Bates, some much-needed grace from the butler's perspective. Bates's attempts to treat his limp on the sly with a painful-looking metal brace also reveal the sympathetic side of housekeeper Mrs. Hughes (Phyllis Logan), who I absolutely love now thanks to the kindness and understanding she shows him. The excrutiating brace reminded me of old-school scholiosis treatments - I have scholiosis and was treated with a brace for a time as a child, and believe you me as inconvenient and uncomfortable as my brace was, I am convinced it was nothing to the types of devices used to treat back curvatures even a mere fifty years ago. I desperately hope that Bates's reticence to share about his past (seriously, I'm dying to know the man's secrets!), and admit to vulnerability doesn't keep him and Anna apart forever...I would be crushed.

Matthew (Dan Stevens), the new heir, and his mother Isobel (Penelope Wilton) have begun to settle into life at Downton in earnest. Since Isobel was married to a doctor and trained as a nurse, she very naturally takes an interest in the local hospital where Violet (Maggie Smith), the dowager countess, serves as patroness. Isobel has some rather progressive ideas - she advocates the latest medical treatments and wants equal care for all patients, no matter what their social standing. And while these ideas may not seem all that radical today, in a world like Downton Abbey's that thrives on tradition and male dominance in areas like the medical profession, Isobel's push for improvements sets her at odds with Violet. I practically cheered when Isobel's suggested treatment for dropsy (I had no idea how awful that affliction is!) succeeded in saving the life of a poor farmer. Watching Isobel "butt heads" with Violet is going to be a lot of fun as this show progresses, and I'm really growing to love her character - Wilton has infused her with just the right balance of "modern" sensibilities and old-fashioned class. And watching Violet fume at having to share management of the hospital with Isobel was hilarious - Part Two continued the grand tradition set forth in Part One of giving Maggie Smith some of the show's funniest lines and seeing her steal scenes whenever she appears on-screen.

Kemal Pamuk

Isobel's son, Matthew, has been obstinately determined that his new status as heir will not change his character, and much to the chagrin of the Crawley family he has retained his "working class" sensibilities. My absolute favorite scenes with Matthew so far occur in this episode. Robert (Hugh Bonneville), the Earl, begins to take on the role mentor and seeing the estate through Robert's eyes begins to slowly but surely change Matthew's perspective on his cousins' lifestyle. When Robert gently suggests that Matthew's contempt of needing a valet has personally wounded the servant, the implication that he's been guilty of exhibiting his own class prejudices is staggering. The scene that shortly follows when Matthew asks his valet, Molesely (Lionel Guyett) for help and input nearly brought tears to my eyes. That moment of kindness and understanding was so sweet! If Matthew can balance his middle-class upbringing with some grace and understanding of the traditions that have formed Downton Abbey, he could turn out to be an heir to be reckoned with, worthy of respect.

Lady Edith

Of course Matthew is still getting no where with Mary (Michelle Dockery), who bristles at the mere suggestion that she should marry such a commoner to secure her inheritance. In Part Two we begin to see that Matthew is attracted to Mary, but of course loathe to admit it (shades of Pride and Prejudice, anyone?). Since Mary makes no secret of her disapproval of the new heir, her overlooked middle sister Edith (Laura Carmichael) begins to look on him favorably as a marriage prospect for herself. I really felt so bad for her when their afternoon of church visiting backfires with Matthew's mentions of Mary and the suggestion they bring his mother along on a future outing. Edith is so tightly wound, so resentful of her position as an "overlooked" younger daughter that I half expect her to do something quite rash before this miniseries ends.

Mary is still a difficult character to like, but if there is one thing this episode drives home it's the fact that her proud manner is a mask for extraordinary amounts of childish pride, naivete, and uncertainty. She remains hopeful that her prospects will improve with the arrival of Viscount Evelyn Napier (Brendan Patricks) for a foxhunt (which was a lot of fun to watch come to life on-screen). Unfortunately for the handsome Napier, he brings along a friend - Kemal Pamuk (Theo James), an attache to the Turkish embassy (and the first hint of the worldwide political climate that will result in World War I). Pamuk makes quick work of acting on Mary's oh-so-obvious attraction to his dark good looks, and seduces her with the 1913 version of one of the oldest lines in the book ("You'll still be virtuous for your husband"). Mary, being a total ninny, falls for it, and her stupidity has an unexpected (and if I'm being honest here, I thought frankly hilarious) result - Pamuk has a heart attack and dies in her bed. In order to save her reputation, she has to get Anna and her mother Cora's (Elizabeth McGovern) assistance in hauling him back to his room. I never, ever expected the show to have the man responsible for Mary's ruination drop dead in such a spectacular fashion, and I confess the sight of her long-suffering and PROPER mother hauling a corpse around Downton was so unexpected it cracked me up. Yes, I realize this probably says something awful, like I occasionally exhibit a disturbingly macabre sense of humor, but at least I'm owning to it.

Viscount Evelyn Napier

I feel so, so bad for poor Napier when he realizes that Mary has absolutely no romantic interest in him, even after Pamuk's death (I think trauma has something to do with the latter, though!). I really liked the painfully honest conversation he has with Cora, about his hopes for a marriage based on love. The man is a class act all the way and I really hope we get to see his character again. It will also be interesting to see the impact Mary's shocking indiscretion has on her relationship with her mother. I suspect that the full ramifications of her actions with Pamuk have yet to be felt.

Part Two of Downton Abbey succeeds on a grand scale, adding layers of rich characterization and raising the stakes for each member of the Crawley family and their servants. It is truly fascinating to witness how intricately entwined the lives and fortunes of the wealthy owners of Downton Abbey are with the servants who depend upon Downton for their livelihood. Unforunately for the Crawleys, Mary's dalliance with the Turk was not the secret she hoped - and like all hidden secrets and sins, the truth is sure to out and the impact will doubtless be felt by many more than just Mary (there's a lesson there, no?).

To anyone who may still be making their mind up about whether or not to watch Downton Abbey - I will say that this series pushes the envelope a bit more than many may be accustomed to in period drama. It definitely does not shy away from all aspects of life, the good and the bad. From my perspective, the show does not "cross the line" and become too explicit for my tastes (i.e., it cuts away from Mary's seduction scene), but I recognize that it may be too close to the line for others. I know that viewing tastes and preferences are varied among the readers of my lil' ol' blog, and I do try to recognize and be sensitive to that in my reviews.

What captivates me about Downton Abbey isn't just the smart script and gorgeous sets and costumes, but the raw authenticity of the characters. The characters' mistakes and actions - whether or not I agree with them, ultimately - have thus far, anyway, provided me with both entertainment to feed my period-drama loving heart and food for thought about the best and worse that humans are capable of. I'm looking forward to seeing where this wild ride takes the Crawleys and their servants next. :)

• Click to read Charity's EXCELLENT post "Life at Downton"
• Click to read Laurel Ann's thoughts on Part Two at Austenprose