Downton Abbey Series 4, Part 7

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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 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. 

Sherlock: The Reichenbach Fall

PEOPLE. The things I find in the drafts folder of this blog...like half-forgotten musings on The Reichenbach Fall from TWO YEARS AGO.

This Sherlock post isn't going to be nearly as in-depth as past blog entries (i.e., The Hounds of Baskerville or A Scandal in Belgravia), but as Sherlock is finally returning to Masterpiece with Series III THIS SUNDAY, I feel compelled to post something about this installment of the show (and in case you're wondering, yes, I have managed to avoid spoilers as to how Sherlock survives that fall!).

This episode is positively riddled with wonderful character moments and nods to the canon, but at its heart is, of course, the relationship between Sherlock and John, and a showcase for the chemistry between Benedict Cumberbatch and Martin Freeman. Before touching on a few of those moments, here are the paragraphs I wrote TWO FRIGGIN' YEARS AGO and then, apparently, promptly lost in my drafts folder:

I have a feeling the answer is hidden in plain sight, but because we have all been watching the characters and action unfold on-screen we're missing some subtle clue(s). I'm convinced Molly has something to do with helping Sherlock pull it off. I read an interesting theory that possibly John was drugged by the substance used in the Baskerville episode...which is fascinating to me because going on what we see, we see Sherlock with his head bashed in -- but that is from John's point of view...and shock/drugs/getting hit by that bike...all contributing factors to his rattled state.

I sort of feel like Sherlock's tears might have -- at least in part -- been a genuine emotional reaction to the moment. Because I think whatever he planned, however he pulled it off, he KNEW what it was going to do to his best friend, he KNEW he had no choice but to willingly crush him emotionally. Very interesting how Moffat and Gatiss are overseeing the growth of Sherlock's character. He is very much the Sherlock of the canon but there are moments of powerful growth that they insert in the series, that I think mean a great deal because we know Sherlock isn't "wired" to connect/be emotionally vulnerable. He's not becoming someone he isn't, or was never meant to be...they are just testing him in some really interesting ways. At least I think so. :)

I think it is possible Sherlock and Mycroft are in on the whole thing -- during the "dead" time between "Fall" and "Empty House," Mycroft financially supports Sherlock in hiding...will be interesting to see if that is brought into the next series! I love how this series explores this testy, emotionally frought relationship between the brothers...just because Mycroft is more "socially adept" than Sherlock doesn't mean he is any less messed up. :P There's a bigger game afoot, at least that's how I saw it.

***

Was that worth waiting two years to click "publish"? Nevermind, don't answer that. *wink*

The episode opens with John visiting his psychiatrist for the first time in over a year, heartbroken over his best friend's death. I KNEW that was coming, and still, after all this time, that opening gives me chills. Flashback three months, and we see Sherlock riding on high on a string of fabulously publicized successes, his crowning jewel the recovery of a J.M.W. Turner painting of Reichenbach Falls (I LOVED that, immediately reminded me of the atmosphere of the original stories as well as my beloved Jeremy Brett series).

Meanwhile Moriarty (Andrew Scott) pays a visit to the Tower of London, breaking into the case containing the Crown Jewels (after writing "Get Sherlock" on the glass), while simultaneously unleashing codes from his phone that open the vault at the Bank of England and unlock all of the cells at Pentonville Prison.. This is a brilliantly filmed sequence to the soundtrack of Rossini's "La gazza ladra" ("The Thieving Magpie"), a wonderfully appropriate metaphor for the Moriarty of this series, here highly suggestive to my mind of the manner in which he picks away at the threads of Sherlock's reputation in this installment.

Moriarty is arrested and Sherlock is called to testify, sure of the outcome, never dreaming, perhaps, that it was Moriarty's plan all along to participate in a highly publicized trial only to be acquitted. This highly public black mark against Sherlock in the public eye is but the first step in the madman's plan to see his rival utterly destroyed, to see the "angel" the public has embraced shredded, utterly destroyed.

The primary canon source for this episode is obviously Doyle's "The Final Problem." I've always thought it was rather interesting that Doyle scripted Sherlock's death here, tired of writing for his most famous creation, determined to have him exit in a spectacular fashion -- little counting on the public pressure that would insist on Holmes's resurrection ten years later in "The Adventure of the Empty House." Doyle's rather fraught relationship with the cult of celebrity that erupted around Sherlock is, I think, mirrored after a fashion in this episode -- public adoration made Sherlock here, and can just as easily destroy him as Moriarty so methodically intends to prove.

Through the ensuing storm of accusations and doubt, John (of course) remains faithful to his friend -- what breaks my heart here is seeing the impact of Sherlock's very public fall from grace on Lestrade (Rupert Graves). THAT killed me (just ONE of the times something came very near that in this episode) -- closely followed by the revelation that Mycroft (Mark Gatiss) was responsible for the leak of personal information regarding HIS BROTHER during earlier interrogations of Moriarty. That fatalistic acceptance of that -- well, is there any other word for it than betrayal, however unintentional? -- is brilliantly played. The Holmes brotherly relationship in this series is so fraught with tension, so utterly heartbreaking.

This series' crowning moment is Sherlock and Moriarty's final face-off on the roof of St. Bartholomew's Hospital, where Moriarty reveals the true depth of his obsession with destroying his rival -- he commits suicide, leaving Sherlock to pay the price of his friends' lives -- John, Mrs. Hudson, Lestrade -- with his own. Only with his death will they be spared an assassin's bullet. And so he makes a final call, determinedly attempting to destroy John's childlike faith in him by admitting that he's a fake, that everything they've experienced together, the entire basis of their friendship, is a lie.

But of course John knows his friend. And the final scene of this episode leaves me every bit as gutted as Martin Freeman is on-screen. The utter devastation with which he imbues John's final words over Sherlock's grave -- while Sherlock looks on from the shadows -- is gut-wrenching, an unforgettable image of loss and steadfast faith that has been the defining image of this incarnation of the classic friendship for far too long.

Sherlock returns this Sunday on Masterpiece. I am looking forward to seeing how he survived the fall, of course, but the mechanics are at this juncture just that -- mechanics. What I really can't wait to revel in is the return of Sherlock and Watson to my television screen and the unforgettable dynamic brought to their unorthodox friendship by Cumberbatch and Freeman's performances. Everything else is just icing on the cake. :)

*Image copyright BBC/Masterpiece. 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 7

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

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

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

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

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

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

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

this really happened

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

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

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

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

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

no words

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

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

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

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

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

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

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

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

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