Downton Abbey Series 4, Part 7

Source: Pinterest link via HuffPo UK

Well, I've (obviously) fallen a bit behind in my Downton Abbey blogging, seeing as season four concluded on Sunday. But never fear, my goal is to catch up THIS WEEK, starting with part seven!

After the near-death experience with Downton's newest residents -- pigs! -- Mary (Michelle Dockery) and Blake (Julian Ovenden) are quite chummy. YES. I approve of this development, as the only other option on the horizon is Gillingham, and I think he's an idiot. (I wish Napier was a serious contender, but then who would Fellowes bring back at random times just to go SEE! SERIES CONTINUITY! I FORGET NO ONE!) Mary and Branson (Allen Leech) go to visit the pigs (because that's a thing now), now under the care of Tim Drewe (Andrew Scarborough), the farmer who took over the family's tenancy following his father's death. Edith (Laura Carmichael) tags along for this visit, because visiting pigs IS a thing now and heck, anything is better than thinking about her pregnancy. Drewe is, apparently, a Pig Whisperer, and so Mary and Branson offer him the job of seeing to the animals' care. And because he's SO GOOD WITH PIGS, Edith gets STARS in her eyes, and we all know what she's thinking, right? The Pig Whisperer is the perfect man to RAISE MY BABY!! Oh, Edith...I suppose there are worse measures of one's character...and desperate times call for desperate measures...but at this moment this sorta feels like a new low. :P

With Robert (Hugh Bonneville) still in America getting his brother-in-law's scandal squared away (or something...still not sure WHAT exactly he's supposed to be facilitating regarding that mess), Cora (Elizabeth McGovern) is all stressed out organizing the annual church bazaar. I love how these annual events show up once, never to be repeated. LOL! She tries to get Rose (Lily James) to help, but that initiative is a non-starter (no surprise there, eh?), as Rose has better things to do, like arranging not-so-clandestine meetings with Jack Ross (Gary Carr) in neighboring Thirsk. This is NOT GOING TO END WELL, as the couple is spied by Branson getting cozy in a tea shop. Branson is completely out of his element in attempting to deal with something of this nature, so he foists the scandal-in-the-making off on Mary, who I believe I shall start calling The Fixer. *wink*

Edith is becoming increasingly desperate (and unhinged -- see above: random farmers make great fathers!), leading to a surprise visit to Downton from Rosamund (Samantha Bond). While Rosamund attempts to disguise the true purpose of her visit as being a dutiful daughter visiting her recently ill mama, Violet (Maggie Smith) of all people isn't fooled in the least. Maggie Smith has been an absolute GEM this season, as is her norm, but this hour she was on fire -- the Dowager's quips and looks and brilliantly funny moments kept coming at a rapid-fire pace throughout the entire installment! ABSOLUTE HEAVEN. (Also, Edith is supposed to be FIVE MONTHS pregnant in this episode? That is RIDICULOUS.)

Rosamund decides that rather than give the baby to a local farmer, she and Edith will take a spur-of-the-moment trip to Switzerland so she can LEARN FRENCH. Because going to Switzerland for that makes SO MUCH SENSE. Violet, smelling a rat, holds court (literally, this woman is a QUEEN of the screen!) -- and neither Edith nor Rosamund have a prayer of keeping their secret when faced with her eagle-eyed gaze, confirming Violet's suspicions that Edith is pregnant. The Dowager insists on paying for their trip -- and can I just tell you I LOVE these moments when Violet's heart is revealed, showing just how far she'll go for any member of her family. (Side note: I really hope that Edith's baby daddy doesn't just disappear in Germany. That would be a really lame send-off.)

Back-tracking a bit to catch up on a few other notable happenings, among them Ivy (Cara Theobold) receiving a letter from Alfred (Matt Milne), where he PROPOSES MARRIAGE, in between telling her about his father's death and his impending visit to Downton as a consequence. What the HECK, Alfred?! Ivy is taken aback to say the least, as is Mrs. Patmore (Lesley Nicol), but we all know Mrs. P. is more worried about Daisy's reaction than Ivy's future, right? LOL. To make a LONG story short(er), Ivy decides (thank goodness) to refuse Alfred, Daisy goes off on her (again) for breaking his heart and driving him away from Downton, and Mrs. P. takes pity on her and suggests she go visit her father-in-law Mr. Mason (Paul Copley), a.k.a. the only other person in Daisy's life with any sense. More on THAT in a moment. :)

Wishy-washy Gillingham (Tom Cullen) returns to Downton, again, because he JUST CAN'T QUIT MARY, but not before Anna (Joanne Froggatt) tearfully confesses the identity of her attacker -- Gillingham's valet. Mary is outraged and wants to do something, anything, to bring Green to justice, but Anna insists that the secret must be kept between them so Bates (Brendan Coyle) doesn't go off on the guy and end up in prison again. To Mary's credit, she tries to stop the visit, but wires are crossed and it's too late as Gillingham is already en route. When they arrive Bates comes out of the shoe-shining room (seriously, did anyone else notice that while Robert is in America, he is practically LIVING in there??) to notice Anna's reaction to the creep, and to hear that they live in Piccadilly (cue revenge plotting music).

After saying goodbye to Gillingham, AGAIN, Mary is sent into crisis management mode when Rose tells her that she's engaged to Jack Ross. Now, apparently Rose wants to marry Jack to really stick it to her mother, whom she hates (when did this start? also, your mother has been halfway across the world for MONTHS...get over it!), so you know this is a love match for the ages. *eyeroll* Mary plans a quick trip to London, accompanied by Anna, in order to try and talk Jack out of marrying her cousin. This whole storyline was really pointless, wasn't it? Because when they meet, instead of fighting for Rose, instead of having anything remotely resembling a meaningful conversation on the impact of interracial relationships during this time period, Jack has ALREADY decided to break the engagement. I repeat: What. Was. The. POINT?! Completely expected side note: while Anna is in London, Bates takes a day trip to York, which even Carson (Jim Carter) think is weird, but goes along with...yeah, sure, I buy that... :P AND Gillingham breaks his engagement. AND Mary gets him to agree to fire Green, but keeps Anna's secret.)

How are we all feeling about Branson's potential new love interest in the form of schoolteacher Sara Bunting (Daisy Lewis)? I'm...wary. Intrigued, but wary -- mainly because thus far she seems so set on accusing him of abandoning his principles by working for the Crawleys. I DID think the scene where he comes upon her with a broken-down car was cute, and I do like how her often annoyingly intrusive questions and assumptions force him to take stock of his relationship with the Crawleys -- and, at least thus far, make him realize that he IS a part of the family. He might not agree with them, but he does care about them, and that care is reciprocated. So in the sense that she is kind of forcing him to come to terms with his new life, I approve. But the constant needling about his politics...that could get old really fast. :P

Getting back to Violet being awesome -- she invites Isobel (Penelope Wilton) for tea because Mary's godfather, Lord Merton (Douglas Reith), who we met way back at the beginning of season three, is coming over. She apparently has no patience for his rather dour ways, but finds more entertainment in the occasion than she expected when Merton shows an unexpected interest in Isobel! Violet's shock and awe face was killing me -- and the icing on the cake was when Merton sends flowers to both women, care of Violet, and Isobel's arrangement is bigger! LOL! Not that I'm fond of Merton (yet), but I do think this is a VERY promising development for Isobel -- and while she's frustrated me on occasion, honestly I wouldn't wish the doctor on my worst enemy so a new guy is good! :)

Things actually happen for Molesley (Kevin Doyle) here! Concerned for Baxter (Raquel Cassidy) after overhearing Thomas (Rob James-Collier) bullying her about secrets, he attempts to befriend her, encouraging her to not let Thomas try to turn her into O'Brien 2.0 (well, not exactly those words, ha!). She starts looking at him like he's hung the moon or something, and he can just barely deal with it, and they share a cute moment at the fair when he beats Jimmy (Ed Speleers) at a strength test at the bazaar. Perhaps Molesley's never-ending sad-sack bad luck is finally turning around! Color me SHOCKED!!

During the bazaar, Daisy (Sophie McShera) pays a long overdue visit to her father-in-law, who encourages her to let go of her bitterness over the Ivy/Alfred situation and say goodbye, wishing him well and leaving their friendship on good terms. She takes his advice (of course, because when has he ever steered her wrong?), bringing him a basket of food as a peace offering of sorts and sincerely wishing him well. It's a wonderful moment, and so sweet to see how proud Mrs. Patmore and Mrs. Hughes (Phyllis Logan) are of her maturity. Also, not gonna lie, it's fun to see Alfred second-guessing himself and realizing that all this time, he may have been pining after the wrong girl (DUH). GO DAISY!

Wrapping things up, Robert and Thomas return from America during the bazaar, which is a hit (convenient timing, that). Gillingham shows up to give Mary the SHOCKING NEWS (not) that his valet was killed by "stumbling" (sure...) into the street and getting hit by a car. But poor Anna...instead of getting to feel relieved that she'll never have to see her rapist again, she's NOW worried about what Bates really did on his day off. He is such a sly fellow, eh? :P AND Blake shows up, just to tell Mary that HE CAN'T QUIT HER EITHER, and it's ON with Gillingham because he is NOT giving up without a fight.

EXCITING TIMES, right?! Finale recap coming soon!! :)

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

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?! :)

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

Downton Abbey Series 2, Part 7

Downton Abbey conclued its second-season run on Masterpiece Classic last night, and oh am I going to miss this show. Season 2 certainly upped the show's soap opera factor, and as I consequence was arguably less tightly plotted than the previous year -- but I can't complain twoo much because I LOVE THIS WORLD. Case in point, the above photo -- Downton at Christmas. DOWNTON AT CHRISTMAS?! I am SO there. Here's the episode summary from the PBS website:

Christmas, 1919

Christmas reunites most of the Grantham family as Rosamund, her gossipy maid Shore in tow, arrives eager to introduce her new suitor to the family. But neither the Granthams nor the servants can escape into the season's merriment when they are forced to turn against one of their own. Not even games can pierce the gloom surrounding Downton, where downstairs the servants are desperate for guidance. Thomas and O'Brien are up to their old tricks, Daisy tries to make sense of her future, and Anna holds tight to endure the present.

Robert hopes that the annual New Years Shooting Party will lift everyone's spirits, but an ill-tempered Richard resets his sights on a familiar target. His petulant and brutish efforts to dominate Mary do not go unnoticed. But with his threat hanging over her head, Mary must choose between two kinds of ruin.

The passage of time has been one of this year's weakest strengths -- I mean we've had episodes that cover a  month and episodes that cover nearly a year (or so it seems). This episode picks up roughly six months after the whole Spanish flu thing and the debacle of Mr. Bates (Brendan Coyle) getting hauled off in cuffs for the (alleged?) murder of his wife Vera. So the whole beloved valet is in prison thing is just one of many factors threatening to cast a pall over Downton's Christmas celebrations. But if there's one thing this family does and does well, it's the soldiering on, keep a stiff upper lip thing. *wink* Didn't the house look gorgeous -- the snow, the gigantic tree, the wrapped gifts? I've yet to visit the Biltmore Estate at Christmas time but I imagine the Biltmore in its heyday was very like the glamour we got to glimpse last night. Loved it. :)

So a murder trial involving one of Downton's own is a bit of a buzzkill when it comes to Christmas cheer, but I loved the way the Crawleys and their servants rallied around one of their own. They know Bates, and scandal or not they refuse to abandon him to his fate. I was especially touched by Mary's (Michelle Dockery) care and concern for Anna (Joanne Froggatt). Over the course of the last two seasons their relationship has started to blossom from just employer/employee into genuine friendship and regard. When Mary gave Anna the lovely heart-shaped brooch for Christmas I teared up -- and then when she insisted on attending the trial I nearly cheered. She may have a death wish when it comes to Sir Richard, but in all other respects her growth in the selflessness department has been a joy to witness.

I found it rather fascinating to watch the impact of the trial on Downton's household, especially Robert (Hugh Bonneville), Mrs. Hughes (Phyllis Logan), and even O'Brien (Siobhan Finneran), as they are called as witnesses for the prosecution. While all three (even O'Brien) are convinced of Bates's innocence, once they're on the stand their assurance starts to crumble as overheard words, spoken in anger, take on a more sinister meaning since Vera's death. Especially Robert, so sure that an Earl's recommendation will hold sway on the courtroom sees his confidence shaken by a clever and determined prosecutor. And when a verdict of guilty is returned, even O'Brien reminds us that she does, apparently, have a heart, as she's genuinely saddened for Anna and shaken by the verdict. (Seriously the woman mellowed out this episode big time...if this keeps up I'm going to be pulling for Mr. Lang to return so maybe she'll have a shot at a little romance!) I've got to say I was really rather impressed with Froggatt's acting this episode. She dug deep and delivered Anna's heartbreak in an achingly realistic way, all while never losing the resilient streak her character has always seemed to possess. Battered but far from broken, no?

Speaking of O'Brien, now is as good a time as any to touch on her and Thomas and their status as the "villains" of Downton Abbey. This episode left me more convinced than ever that O'Brien has the best hope becoming a character I can cheer for -- the fact that she's able to gin up some genuinely believable sympathy for Bates and Anna's plight is nothing short of extraordinary. Thomas (Rob James-Collier), on the other hand, will apparently stoop to anything to ingratiate himself with the Earl and/or undermine Carson's (Jim Carter) authority. I couldn't believe he friggin' kidnapped Robert's dog!!! That is a new low, yeesh! Of course he can't even execute a dog-napping plot smoothly (the humor no doubt a necessary component seeing as this episode aired at Christmastime in the UK).

Robert's sister Rosamund (Samantha Bond) returns to Downton for the holidays with her new maid Shore (Sharon Small) and a potential new suitor in tow, Lord Hepworth (Nigel Havers). Violet's (Maggie Smith) reaction to Hepworth was priceless (she was pretty much on fire for the entire episode, but her interaction with Hepworth was particularly awesome). Apparently Violet had a little something going on with the current Hepworth's father back in the day (ha! knew she was a pistol!), and she has some very valid concerns on her daughter's behalf that the apple hasn't fallen too far from the tree, as the saying goes. Violet's discussion with Robert over the right/feasibility of a woman "Rosamund's age" taking up with a fortune hunter was priceless -- especially when they both agreed the bottom line was that they see her fortune protected, the implication being that she's gonna do whatever she wants anyway. But even Rosamund, also known as the Aunt Who Gives Crap Advice, has her limit when Anna and Mary discover that her erstwhile beau is carrying on with her MAID. Oh the HORROR (the horror of course, being that this proves Violet right! ha!).

Daisy (Sopie McShera) was granted a particularly nice storyline this episode (finally). For some reason Shore takes an interest in Daisy's cooking abilities and gets Daisy to stewing about how she's all ignored and underappreciated, etc. Meanwhile William's father (Paul Copley) is still trying to connect with his daughter-in-law, and Mrs. Patmore (Lesley Nichol) is tired of seeing Daisy put him off. In one of the funniest scenes in the series, Mrs. Patmore commandeers O'Brien and Thomas's Ouijja board to send Daisy a message from William. Hysterical how she's grown so much over the course of the show but buys that. Anyways, Daisy and Mr. Mason share a very sweet moment where he basically begs her to accept him as an adoptive father, and you can see the light bulb go on as she realizes that hey! someone cares about me! this could be good! This heart-warming scene was followed by her hysterical conversation with Mrs. Patmore where she basically demands a promotion -- Daisy is all prepped for a fight and Mrs. Patmore is all heck yes, if the money's in the budget you're in, NO PROBLEM! *wink*

So, finally let's talk about those crazy Crawley sisters. Edith (Laura Carmichael) doesn't have all that much to do in this episode except mope around that Sir Anthony Strallen (Robert Bathurst) -- remember him from season one? -- is back and won't come to the flippin' New Year's shooting party. Turns out there's a reason for that -- he was injured in the war and now carries his hand in a really awkward looking sling. But the real casualty of war here is apparently his eyeballs as he's strangely (and disturbingly) bug-eyed in every scene. (RUN EDITH!) Kudos him, he doesn't want to saddle Edith with a nursing job, but in the process he calls her lovely which means HE'LL NEVER GET RID OF HER. Edith can do better, I mean really this is possible, right? (Fellowes PLEASE TELL ME THERE IS A MASTER PLAN HERE!)

Sybil and Branson are AWOL in Ireland, presumably enjoying married life since Cora (Elizabeth McGovern) receives a letter  that she's soon to expect her FIRST GRANDCHILD! Kudos to Cora she is back in a big way in this episode, working her American wiles on Robert (*wink*) that they are FAMILY dangit and she will NOT be denied visits with her grandchild! Presumably Robert will learn THE CHAUFFEUR'S NAME by Season 3. *sigh* Cora also decides there's no time like the holidays to tell Robert her and Mary's biggest secret, since it has become glaringly apparent even to her that Mary and Richard are extremely ill-suited for each other. I was seriously bummed that Cora's confession about Pamuk happened OFF-SCREEN (Fellowes, that is so very Greek tragedy of you, Violet would not approve!)...but bottom line, better six years late than never, right?

Robert handles the whole Pamuk conversation with admirable aplomb, all things considered. Apparently the war and his almost affair with the maid  and Sybil's insistence on marrying THAT CHAUFFEUR have all worked together to make him sit back and really take stock of what's important in life. And really when you're valet is on trial for murder what's one more lousy scandal? For realz. I absolutely loved the moment where he confronts Mary with the truth and urges her to break with Richard for her own happiness, go to America, and find a cowboy to shake up the family! PRICELESS! That scene brought tears to my eyes it was so well-played by Dockery and Bonneville -- one of the best moments in the series.

Prior to Robert freeing Mary to break with Richard (Iain Glen), the newspaper magnate was nothing but a pill this episode, constantly whining about having to serve himself lunch because the servants were allowed to enjoy their own Christmas feast AT THE SAME TIME AS THE FAMILY (the absolute gall! yeesh...) or freaking out if Mary talked to Matthew about as non-relationshippy as Bates's murder trial. Matthew (Dan Stevens) is still unfortunately stuck on paying lip-service to his post-Lavinia's death vow to remain single (seriously think about that Matthew, MAKES NO SENSE), but throughout the episode we can see him mellowing on that score, as he's determined to aggravate Richard and foil his rival's every atttempt to control Mary. Isobel (Penelope Wilton) has been putting up with all of this but even she draws the line when Lavinia's father drops dead and Matthew completes his final almost-son-in-law duty of seeing to the man's ashes. The feisty, sassy Isobel I liked so well in season one returns with a roar when she basically tells Matthew to get over himself and save Mary from evil Sir Richard's clutches. SERIOUSLY, Lavinia's whole family is dead now, MOVE ON. :P

Matthew apparently takes this conversation to heart as he practically begs Mary not to throw herself away on Richard during a moonlit walk hunting for the AWOL Isis. Mary finally comes clean about the Turkish diplomat incident, the root of all her self-loathing, etc., going so far as to compare herself to Tess of the D'Urbervilles (REALLY??). Matthew is a little taken aback but all in all he takes the news really well and sticks to the main point which is Mary MUST DITCH RICHARD.

Which brings us to the Servant's Ball. This much anticipated affair was touch-and-go until word came down from London that BATES WOULD LIVE (in prison, but living is living, right?). So Mary decides that yes, now is the time to FINALLY BREAK UP WITH RICHARD, and somehow this all escalates into Matthew actually throwing a punch at the creep and a tussle which breaks Violet's least-favorite vase (WIN). So Richard is GONE (Mary is very classy re: the send-off), and now Downton can finally get down to the business of partying. This Servant's Ball thing means Matthew has to dance with O'Brien (awkward) and Thomas dances with anyone who he thinks might advance his social aims, including Violet (another one of my favorite moments in this episode -- Smith and Collier looked like it was all they could do not to break out in laughter!).

So, the stage is finally set, and the only thing standing in the way of Matthew and Mary finally making some progress in their relationship is a dead woman (and even she clears that up by sending a message to Daisy and Anna through the Ouijja board *rollseyes*). And people, it was worth the wait -- this proposal scene was just about practically perfect in every way. :) From the gently falling snow to Matthew gazing at Mary with unabashed adoration, I just loved that these two characters were finally getting this hard fought, longed-for moment. Mary's moment of vulnerability, then forcing Matthew to get down on one knee and say the words, because yes dangit I wanted to hear them too! -- oh I loved it. :)

Cue the happy sighs (yes, I needed THIS MANY PICTURES). :) This season has been nothing if not a roller-coaster ride, but people that's at least half the reason I love this show so much. It isn't afraid to go big. *wink* I'm a bit in denial that the wait for new episodes begins again -- but more confident than ever that the wait will be worth it. See you next year, Downton...

• Read my review of Series 2, Part 6
• Read my review of Series 2, Part 5
• Read my review of Series 2, Part 4
• Read my review of Series 2, Part 3
• Read my review of Series 2, Part 2
• Read my review of Series 2, Part 1
• Order the Season 2 DVD
• For a limited time, watch this episode online at PBS.org
• Read Tasha's recap of this episode at Edwardian Promenade
• Read Laurel Ann's recap of this episode at Austenprose