Downton Abbey, Part Four

Sunday night, Downton Abbey concluded its stellar, amazing, so-good-it-blew-my-mind-over-and-over-again first season run on Masterpiece Classic. How on EARTH am I supposed to wait an ENTIRE YEAR for series 2?! And how am I going to manage to stay away from spoilers when the show airs in the UK?! *sigh* Well, I will just have to cross that bridge when filming news starts leaking on the internet. *wink* Series 1 has been quite the wild ride, and I've enjoyed every second of this brilliant, well-crafted production. Here's the Part Four episode summary from the PBS website:

Change is in the air as the politically awakened Sybil rallies for the women's vote, in direct violation of her father's rules. But when Sybil is swept up in the violence surrounding the reading of the election results, Matthew wins a heart by defending the girl and bringing her to safety. Meanwhile, back at Downton Abbey, persistent rumors about a family member cause a rift between Cora and Violet. And, a surprise announcement from Cora complicates the larger issue of Downton's fate.

In London, Mary gains a shocking insight, and her Aunt Rosamund — displaying a more than passing resemblance to her mother, Violet — freely dispenses dubious advice to Mary. Meanwhile, Thomas and O'Brien enlist the reluctant, smitten Daisy to bring about Bates' downfall, but Bates seems determined to do it himself, much to the distress of Anna, who finds an opportunity to delve into Bates' past. Concerned about the security of her position, O'Brien sets her spite on a new target, and a misunderstanding provokes a dangerous act of sabotage. Again, Downton is to be hobbled by the entail.

At a resplendent garden party, actions and betrayals come home to roost, and important news arrives that dwarfs the issue of inheritance.

The youngest Crawley daughter, Sybil (Jessica Brown-Findlay), continues to explore her newly awakened passion for politics, aided by the chauffer Branson (Allen Leech). Needless to say, it's obvious there's a little cross-class romance brewing between the two of them - at least on Branson's part (more on that later). I love the fact that for all Branson can come across as rather cocky and impertinent when in the company of other servants, he's got something of a protective streak when it comes to Sybil - especially since, for all her forward-thinking, she's still extremely naive about the potentially volatile nature of politics. Robert (Hugh Bonneville) is of course outraged that one of his daughters would dabble in politics, irregardless of the potential dangers OR any sense of her "proper" position in society. It's interesting to see Cora (Elizabeth McGovern) and Mary (Michelle Dockery) defend Sybil's attendance at the first rally when it's revealed. One has to feel a little sorry for Robert being so outnumbered by strong-willed, forward-thinking members of the opposite sex in his family. *wink* While Robert, perhaps understandably, lays at least partial blame at Branson's door for Sybil's interest in politics, it speaks very highly of his character that he recognizes Sybil's responsibility in her choices and doesn't take some sort of misguided aristocratic "high road" and fire the servant for his daughter's actions. Times are definitely changing, no?

The drama belowstairs reaches a new critical boiling point with Thomas (Rob James-Collier) and O'Brien's (Siobhan Finneran) renewed efforts to rid Downton Abbey of Bates's presence by attempting to frame him for stealing bottles of wine. I cannot stand these characters - which of course reflects very well on each actor's ability to play a villain. Thomas isn't satisfied unless he's being manipulative, and it becomes clear throughout this installment that he is ready to kiss Downton goodbye. Stymied at every turn in his hopes of becoming a valet, with rumors of a coming war he approaches the local doctor about becoming a medic. Unfortunately, Thomas is the type of villain who becomes crueller when he realizes he has nothing to lose. As hard as it was to watch Thomas plot against Bates, at least Bates held his own and pushed back. I couldn't stand seeing him manipulate the naive Daisy (Sophie McShera) or belittle William (Thomas Howes), the latter more vulnerable than ever since he's worried about his mother's declining health. (Side note: How nice was it to see Mary encourage William to visit his mother, proving she's not so self-centered as to be unaware of the pain of others?) While at times it seemed like Thomas's plotting would be allowed to continue indefinitely, it's refreshing to see character, in the cases of Bates and William, specifically, win out in the end over lies and manipulation. Side note: How awesome was it when substitute cook Mrs. Bird (Christine Lohr) sticks up for Daisy and manages to win over the high-strung Mrs. Patmore (Lesley Nichol)? Mrs. Bird is QUITE the diplomat, and that's no small feat in the tumultuous world belowstairs.

One of my favorite relationships in this series has been the mother-in-law and daughter-in-law "dance" between Cora and Violet (Maggie Smith). At the beginning of the series it seemed as though Violet could barely tolerate the fact that her son married an upstart American heiress (oh the HORROR!). But through the upheaval over the entail, Matthew's new position as heir, and Downton's questionable future, Violet and Cora have found themselves united by a common purpose - securing the future of their family. Violet's reaction to the news that her eldest granddaughter's virtue has indeed been compromised by the Turkish diplomat was PRICELESS! I've always loved Maggie Smith's film work, but she takes her brilliance to new heights in Downton Abbey and reveals a deft comic timing and a gift for understatement that I don't think I've ever seen on such glorious display. Both Cora and Violet have very clear vision when it comes to Mary's precarious social position. And as hard as it may have been for them to fathom when cousin Matthew was announced as the new heir, both women realize that he may be Mary's best hope of salvation and security - if only her pride will allow her to recognize it. Funnily enough, Mary and Matthew's future also unites Violet with her erstwhile rival Isobel (Penelope Wilton). Just when all of the Crawley matriarchs appear to be uniting with a common purpose, Mary's pride (read: hormones and mood swings) may drive Matthew away for good...

When Sybil decides to attend an election results rally in clear defiance of her father's wishes - and Branson's good sense - she's wounded in a fight that breaks out (the scene seemed a tad reminscent of the riot scene in North and South). She's rescued by Matthew (Dan Stevens) who had been working late - and while she sees stars over her new hero, much to Mary's chagrin, it's a potential source of conflict between the oldest and youngest sisters that is never really pursued (perhaps they're saving it for Series 2?). I like Dan Stevens well enough, but I've always had trouble seeing him as a really romantic lead. However, that all changed during the scene where he & Mary have a very frank conversation over dinner following Sybil's rescue. When he told Mary to basically quit playing games with him, he positively smoldered - and then they kissed. Excuse me while I go swoon. :) Mary's headstrong pride can be annoying, but goodness she NEEDS a man like Matthew in her life, one who can give as good as she can and who won't allow himself to be run roughshod over, or discarded like a child's unwanted toy. And that, of course, is the problem for Mary - Matthew doesn't play by the aristocracy's rules. He doesn't want to be an option for her - he wants to be the love of her life - and the cliffhanger over that point is killing me. Julian Fellowes has made me emotionally invested in a couple that I was never sure could work, dang it! *sigh*

The characters in this series are so incredibly well-drawn. For example, the bitter rivalry between Mary and Edith (Laura Carmichael) is just one example of how a character can have you cheering for them one second and then wanting to smack them upside the head the other over an incredibly stupid or mean-spirited act the next. When Downton started, I felt so sorry for Edith since she was clearly the "overlooked" sister. Her frustration is not unwarranted, but when her anger at Mary led her to write the Turkish ambassador, revealing Mary's fall from grace to the world, I could've screamed. Doesn't she realize that lowering herself to that level is sure to backfire? And backfire it does, when Mary sees an opportunity to pay Edith back for spreading rumors about her and the Turkish diplomat - she manages to handily destroy Edith's hopes of a proposal from Sir Anthony Strallen (Robert Bathurst). The sad thing is, it's obvious that Edith and Anthony could, I think, get on very well together. I do hope that this storyline is perhaps revisited in Series 2 - I would hate to think we've seen the last of the kind Sir Anthony. Though if Edith doesn't get her act together, he really deserves better. LOL!

We're treated to major headway in this installment in the Bates (Brendan Coyle) and Anna (Joanne Froggatt) relationship - THANK GOODNESS! Oh how I love those two. :) Bates is obviously carrying a lot of guilt around about his past which, we discover, includes a stint in jail for theft (*gasp*)! His guilt goes a long way toward explaining his reticence in fighting for his position against Thomas's schemes - he doesn't feel he deserves any breaks. But Anna, being the intrepid woman that she is with an undying faith in Bates's goodness takes it upon herself to investigate Bates's past. I want to give her a big hug and a rousing "you go girl!" I love her initiative! And their "near kiss" stole my breath I wanted it to happen so badly! Couple of things - I am really stressed that Bates's wife is going to re-appear in Series 2 to throw a wrench in the budding Bates/Anna romance. Though I really, really don't think Bates is the type lie about still being married. But in the world of Downton, who knows?! I am intrigued by the possibility of Molesely (Lionel Guyett) making a play for Anna's affections, though, because (so far) I really like his character, and I think if he pursued his interest in Anna it could create some fantastic angst on Bates's part. A girl can dream, right? And how adorable was it when Bates tells Anna that yes, she does have an admirer, but he doesn't identify himself as the man in question?! Yet another swoon alert. Brendan Coyle, you astound me with your marvelousness and I love you. Seriously. :)

Series 1 of Downton Abbey ends on a hopeful note for some characters and the promise of heartbreak and more drama for others. Thanks to Sybil's support, housemaid Gwen (Rose Leslie) has been offered a secretarial position with the new telephone company. When Branson brings the happy news to Gwen, serving at the garden party, and he, Gwen, and Sybil share a celebratory hug, I absolutely loved the look on his face when Sybil walks away. The ever-wise Mrs. Hughes (Phyllis Logan) recognizes the chauffer is in danger of losing his heart to a daughter of the house - a most inappropriate relationship by a traditionalist's standards. But given that Sybil is such a forward-thinking woman, I rather hope a cross-"class" romance is explored in Series 2. :) There's also hope for sweet William now that Daisy realizes Thomas is such a devious scumbag. William's really come into his own throughout this series, and I LOVED watching him snap and finally start to beat the you-know-what out of Thomas - that moment was a long time coming.

One of the most shocking twists in this episode was the revelation that Cora was pregnant with her fourth child. This had the potential to change everything if the baby turned out to be a boy - Robert would at long-last have a male heir. I thought Matthew handled this news with a great deal of class. Unfortunately for him, the uncertainty this places on his future blows up his hopes of an engagement to Mary (who shockingly admits to her mother that she's been in love with him for ages!). Mary's aunt (and Violet's daughter) Rosamund (Samantha Bond - yep, that's Miss Moneypenny from the James Bond films!) urges her to keep her options open - if the baby turns out to be a girl, she can "always" agree to marry Matthew later. Unfortunately this turns out to be a moot point when O'Brien's machinations cause Cora to miscarry. And wasn't it interesting to see the tables turned on Violet as this daughter who is so like her dispenses advice to Mary that backfires. Because by this point Matthew is fed up with Mary's games - their fight at the end of this episode was positively heart-rending! The tragedy surrounding the baby highlights some of Downton Abbey's strongest relationships - the genuine love and affection between Robert and Cora, and the intricate way the lives of the servants can become entwined with that of their employers. When Mr. Carson (Jim Carter) comforts the heartbroken Mary, that scene was so sweet I could've cried. For many who sacrificed their lives to service, their employers for better or worse became the family their jobs didn't allow them the freedom to have.

I will be very curious to see whether or not Thomas's plans to join the army as a medic do in fact pan out and he leaves the cast as a series regular. I'm completely open to the idea of a new villain, just in case you're listening Julian Fellowes. :) I'm also anxious to see how O'Brien's character changes over the course of Series 2. Her guilt over causing Cora to slip and lose her baby - which turns out to have been a boy - has got to be crushing. I was really glad we saw that O'Brien wanted to make things right - unfortunately her change of heart came too late for Cora and her unborn child. It will be fascinating to see the ramifications of O'Brien's selfish, rash action play out in future episodes.

There is SO MUCH MORE I could say about Downton Abbey. SO MUCH MORE GUSHING I could include in this post. The scope and genius of this show simply astounds me. Julian Fellowes has created a glorious world that I've relished getting lost in each week, and I can't wait to return to Downton Abbey to see the cliffhanger of all cliffhangers - the advent of World War I - and how that world-shattering event impacts the characters I know and love (or love to loathe, depends on the person! HA!). I'm just in complete awe of the script's grasp on each character, and whether you love them or hate them the compelling storyline each individual has in this ongoing drama.

Once I rewatch this series on DVD, I'm planning at least one more post where I hope to highlight any additional scenes that were cut for the PBS broadcast. Until then, I'd love to hear your thoughts on this show! If you've missed any of my previous Downton Abbey reviews, here are the links:

• Part One, The Crawleys
• Part One, The Servants
• Part Two
• Part Three

Downton Abbey, Part Three

The fabulous Downton Abbey continued Sunday with Part Three of its (*sob* only) four-part run on Masterpiece Classic. As much as I'm excited and curious about the upcoming Classics productions - Any Human Heart, Upstairs Downstairs, and South Riding - goodness, I'm going to miss this show. Thankfully, season two of Downton is already in the works, with the recent announcement that it will be followed by a Christmas special, so we have a lot to look forward to in the 2012 Masterpiece Classic schedule already. :) Here's the summary of Part Three from the PBS website:

The fair has come to town, and with it comes romantic hopes for several Downton Abbey inhabitants. In a triumph of the absurd, Violet asks a baffled Matthew to use his legal acumen to dissolve the entail — the very document by which he is to inherit Downton Abbey. Matthew's findings and his hopes for Downton cement his growing closeness with Robert, and a new warmth suffuses his encounters with Mary. But Mary's thaw doesn't extend to her sister Edith, as their competition becomes crueler. Cora simply wants Mary married, but newly circulating rumors may hinder that aspiration. Meanwhile, Violet's power struggle with Isobel moves from the hospital grounds to the annual flower show as Isobel casts her democratizing gaze upon Violet's prize-winning roses.

A kind gesture by Bates is not lost on Anna; but he cryptically professes to not being capable of more. Sybil discovers the politics of gender and class, with the help of the socialist chauffeur, Branson, and Carson discovers that several valuable bottles of wine have gone missing. The vulnerable kitchen maid Daisy, under increased pressure and ire from a fretful Mrs. Patmore, possesses a dangerous secret that she learned upstairs.

I loved the fact that the show brought us an honest-to-goodness turn of the century fair. Such an event is really a great social equalizer, as both Downton's servants and the younger family members derive enjoyment from the colorful occasion. This episode brought Mrs. Hughes's (Phyllis Logan) past to light, as she is reunited with her girlhood beau, Joe Burns (Bill Fellows), who longs to rekindle their romance. It was really rather heart-wrending to watch this storyline play out, as in Part One Mrs. Hughes expressed some doubts about dedicating her life to service. Her choice to stay at Downton is a powerful illustration of the sacrifice of a life "in service," while also speaking to how her life, rising through the ranks of Downton's staff, was a very real career choice that changed her perspective on life and independence, if that makes sense. 

Another part of the reason Mrs. Hughes chose to stay at Downton was because she is really sort of a mother-figure to the downstairs staff, and a commanding officer to those whose plots and shenanigans cross the line and threaten to disrupt the balance of the downstairs order. Poor William (Thomas Howes), the second footman, goes through the absolute wringer this episode. He's still crushing on Daisy (Sophie McShera) who, bless her lil' ol' heart, is still pining after Thomas (Rob James-Collier), who really ups the villainy quotient here. Thomas is just frustrated, and when his plans are thwarted he turns mean, and William is sadly an easy target. He asks Daisy to the fair, and she's got so many stars in her eyes that she can't (yet!) see Thomas for what he is - a manipulative jerk. William may be rather simple, but after the events of the fair I have a great deal of respect for his character. He's extraordinarily kind, and much more deserving of the title of gentleman than Thomas could ever hope to be.

Thomas's partner-in-crime, the lady's maid O'Brien (Siobhan Finneran) is equally frustrated, and turns to plotting upset among the Crawley family when she catches wind of the rumor that Daisy's burdened by a heavy secret - she witnessed Mary and her mother carrying the Turkish diplomat from her room back to his following his untimely demise. O'Brien plays on second sister Edith's (Laura Carmichael) jealousy of Mary by apprising her of Daisy's secret, and Edith, being a respected member of the family manages to pull the secret from the vulnerable Daisy with little trouble. I suspect, or should I say rather hope, that Thomas and O'Brien's machinations will backfire in their faces and we'll get to see them receive the comeuppance they so richly deserve!

Violet (Maggie Smith) and Isobel's (Penelope Wilton) continued rivalry provided some of this installment's most memorable and funny scenes. Violet finally gets to show up Isobel when she correctly diagnoses the hand rash Isobel's butler, Molesely (Lionel Guyett), is suffering from as a plant allergy instead of the infection Isobel diagnosed and unsuccessfully attempted to treat. Maggie Smith's "harrumph" of victory was SO funny! In addition the hospital, Violet and Isobel take their very genteel, private "war" to the battleground of the annual flower competition. Poor Violet is in complete denial that she wins first prize every year as a courtesy for being the Dowager Countess. I was unexpectedly delighted when after much ribbing from both Isobel and her son, Robert, Violet "graciously" decides to take it upon herself to award the cup to the well-deserving Molesly's father and his gorgeous prize roses. I love the fact that Violet had to ultimately make the decision to do so herself, it was an extraordinarily classy moment, both humorous and touching when Violet refuses to admit to the soft-hearted gesture - I think she derived no little sense of satisfaction from being recognized as magnanimous. *wink*

Matthew (Dan Stevens) is finally starting to acclimate to life at Downton and begins to take a genuine interest in the running of the estate. I really loved the developing friendship between Matthew and Robert (Hugh Bonneville) as Matthew begins to look on Robert as mentor and friend. Robert proves to be much more than "just" an aristocrat, and Matthew's open regard and growing respect for Robert and his desire to better Downton creates a father/son relationship between the two, much to Mary's chagrin. Sadly for Edith, and a harbringer of events to come, Matthew has no interest in the often-overlooked middle Crawley daughter. He's attracted to Mary (Michelle Dockery), but at the same time very, very wary of her due to her anger over being displaced as heir because of the entail. I thought it was absolutely hilarious when Violet asks him in his capacity as a lawyer to look into breaking the entail (the swivel chair moment ranks right up there with the "what is a weekend?" comment). I love that Matthew has enough character to do so seriously smf I believe he'd willingly give up his status as heir if it were feasible. But since, at this point, it isn't, the awkward position that places him in with regards to Mary is rather painful to watch since he's highly aware his presence causes her pain.

Mary is still reeling over losing her virtue to a man who died in her bed, and that coupled with her potent anger her strictly proscribed social role has the makings of an explosive combination. I got really annoyed when she blew up at her mother Cora (Elizabeth McGovern) over being "beyond saving" because she'd "taken a lover." Maybe I'm arguing over semantics but one night does not equal "taking a lover" in my book - the latter implies relationship growth or repeated action, and Mary and the diplomat never moved beyond the lust stage, nevermind that she seemed to not really know what was going on. I suspect that before this season of Downton Abbey ends, Mary is in for a RUDE awakening. Until this point she's been operating under the impression that her privileged status as daughter of a respected peer makes her untouchable. But when word of a rumor that Evelyn Napier will not pursue a relationship with her because of her character (read: lack of virtue), Cora recognizes even if Mary does not that the clock is ticking on Mary's opportunities to marry advantageously and with her reputation intact.

Youngest Crawley daughter Sybil (Jessica Brown-Findlay) continues to dabble in "revolutionary" class ideas by helping housemaid Gwen (Rose Leslie) apply for secretarial work. I absolutely hated seeing Gwen's career hopes crushed in this episode - she's tempted to give up, but Lady Sybil won't allow her to admit defeat. Sybil is (thus far, anyway) easily the most sympathetic and likable of the sisters. She seems genuinely interested in Gwen and the two strike up a friendship of sorts in this episode that Sybil's older sisters wouldn't dream of initiating at this stage in their lives. Last week saw the brief introduction of the new family chauffer, Branson (Allen Leech), who proves to share Sybil's views on social equality. Though I suspect that Sybil will prove to be a relative innocent where Branson is concerned both politically and personally. Not only is he good-looking and personable, but he's got an appealingly roguish manner about him that I think could prove irresistable to Sybil. I loved the scene where Sybil makes her entrance in her "shocking" harem-pants style dress, and Branson peeks through the window grinning at her decked out in such forward-thinking fashion.

Bates (Brendan Coyle) and Anna (Joanne Froggatt) prove once again to be the stars of this week's installment and the heart and soul of Downton's staff. I love how Bates is settling into his role as valet and taking on a sort of father figure/protector status towards staff members like William when he's abused by Thomas or Daisy when she's manipulated by Thomas and O'Brien. Of course this is setting him up with a big target on his back, but after seeing Bates slam Thomas against the wall in this episode I have no doubt he can handle whatever comes his way. Seriously, was that moment not wonderful? I had no idea Brendan Coyle had that in him, be still my heart! My Bates/Brendan Coyle crush became a full-fledged obsession in this episode, particularly after he sneaks a tray to Anna when she's sick with a cold in the maids' quarters. How sweet and adorable was that?! The flowers! The romantic tension! I LOVE IT! And despite the fact that Bates has some dark secret that prevents him from pursuing Anna, I nearly cheered when she was the one to declare she loved him. You go girl, that's all I've got to say. :) I've always liked Brendan Coyle, but I simply adore how Downton Abbey has provided him with a character that's transformed him into such a sweet, romantic leading man.

Ending on the ominous scene of Edith penning a letter to the Turkish embassy, I can't wait to see how that plays out. Edith is so jealous she's blind to the potential ramifications of her rash action, as are those who fed her jealousy by apprising her of the rumors about Mary. One of the many things this show does so well is reveal how intricately intertwined the lives of the Crawleys are with those of their servants. The ability for all of the downstairs staff to have their livelihoods depends on the physical and economic "health" of their upstairs "family," and with the entail still being questioned and tested and Mary's reputation hanging by a thread, it could be argued that the Crawley fortune is a house of cards waiting to tumble at the merest hint of scandal. As Cora so wisely tells her recalcitrant eldest daughter, times may be changing, but it's unlikely they'll change enough to impact Mary's future the way she assumes. This is British drama at its finest, a worthy way of celebrating Masterpiece's landmark 40th anniversary. I loved every moment of this installment and can't wait to see where the show takes these characters next!

Catch up with or revisit my other Downton Abbey reviews:

• Part One, The Crawleys
• Part One, The Servants
• Part Two

Downton Abbey, Part One (The Servants)

Downton Abbey is so broad and epic in scope that I just couldn't squeeze a review of all of the characters and plot lines found in Part One into one blog post. (There are worse problems I could have, I know. LOL!) My first review of Part One focused on the Crawleys, the wealthy family who calls Downton Abbey their home, and the succession crisis they face when the heir is lost when the Titanic sinks. As a refresher, here is the portion of the Part One summary that focuses on the plot points specific to the servants who keep Downton running:

As the drama unfolds among the aristocrats of Downton Abbey, changes are happening amidst the servants as well. John Bates has arrived as a new valet for Robert, but he has a pronounced limp, potentially making him unfit to perform his duties. Also, Bates seems to have some previous link to Robert, and a murky past. And, someone else in the servant's quarters is darkly entangled with the fortunes of the family he serves.



Bates

Thus far my favorite "downstairs" character is John Bates, played by the wonderful, marvelous actor Brendan Coyle. Coyle really excels at playing middle class characters (for lack of a better term) who are hard-working, good men, full of heart and nobility. One of Coyle's most famous roles is probably as mill worker Nicholas Higgins in North and South (Oh those scenes with Richard Armitage! I loved their unlikely friendship!). He's also appeared in Lark Rise to Candleford and the Masterpiece Mystery series Jericho (sadly playing a villain in the latter!). Bates is going to be a fascinating character. He suffered a debilitating injury in the Boer War, and thanks to the Earl's willingness to take him on as a valet he is fiercely loyal and heart-breakingly long-suffering. Because of his preferential status with the Earl, despite the fact that his war wound limits some of the duties he can perform, Bates's presence causes instant division below stairs. 


Anna

Bates has one ally in the form of Anna, the head housemaid played by Joanne Froggatt. Longtime blog readers may remember my rants against Froggatt when she appeared in the final season of Robin Hood, but I'm happy to report that so far I love Froggatt's character in Downton Abbey. Not only does Anna have the good sense to develop feelings for Bates, but Froggatt portrays her character with a real warmth and appealing vulnerability. I hope, I do so hope that whatever secrets lie hidden in Bates's past don't prevent a romance with Anna from developing below stairs, because Coyle and Froggatt have the makings of an adorable on-screen couple.


Mr. Carson



Mrs. Hughes

It would be easy to assume that Downton Abbey's servants would care little for the social machinations of the aristocrats they serve. But during this time period, servants often felt a fierce loyalty towards the families they served - often for their entire adult lives - and there was as much competition for primacy of place among the servants as among their upper-class counterparts. This quality is perhaps best embodied by Mr. Carson (Jim Carter), the butler, and Mrs. Hughes (Phyllis Logan), the housekeeper. Carson has been in service at Downton since his youth, longs for the way things were prior to the entailment issue, and he places a high emphasis on order and tradition. The Crawleys, though they would never recognize it, are his family, a sacrifice he has determined is worth an price to his personal life. Carter should be quite familiar to Masterpiece fans - he played Captain Brown in both series of Cranford. Mrs. Hughes embodies everything I'd imagine a housekeeper of the period to be - she's highly competent, moral, and seems fair. She and Carson share a fascinating exchange when she essentially asks him if he believes a life in service is "worth it." Though she would most likely never admit to possessing doubts, it's a telling moment that hints at the resolve and sacrifice necessary to rise through the ranks in service at a great estate like Downton.

Daisy

O'Brien

Among the serving members of Downton's household, there's bound to be "troublemakers" - servants who are either bitter and dissatisfied with their lot, power-hungry, or outright mean. Chief among the latter is Lady Cora's maid O'Brien, played by Siobhan Finneran. O'Brien is, I suppose, the equivalent of an Edwardian "career woman." She sacrified all to rise through the ranks and achieve the coveted post of ladies' maid to a countess. She'll flatter her mistresses as needed in order to get her way, and drop poisonous barbs disguised as concerns into the ears of any and all who will listen. There were moments in Part One when I thought Finneran was quite chilling her performance was so convincing. O'Brien is fast becoming one of those filmic villains you love to hate. *wink*

Thomas

Gwen

Her main ally is Thomas, the first footman played by Rob James-Collier. Thomas's chief faults appear to be pride and self-importance, and he's bitterly resentful of losing the valet position to Bates, a lame war veteran. Thomas and O'Briens schemes to cast Bates as an incompetent had my blood boiling at various points throughout Part One, proving the world below stairs is every bit as cutthroat and intrigue-filled as the world above. Thomas's naked ambition masks the fact that he is a closet homosexual, who had a brief fling with a duke. Whether this fling involved genuine emotional attachment on his part or was a calculated power grab is not specified, but the crushing emotion Thomas exhibits in the scene when the duke rejects him hints at the forces that have molded Thomas into the cold, hard servant he is today. Personally I could've done without "the scene" between the duke and Thomas, and I do hope the series doesn't get more explicit than what was shown in Part One. I do think Thomas's character and the secrets he keeps may perhaps turn into one of Downton Abbey's strongest examples of the price of secrecy and lies - of course only time will tell if I'm correct. :)



Mrs. Patmore



William

The balance of Downton's staff is peopled with other characters who, while they may not have the main plot lines in Part One, are every bit as colorful and fascinating as their fellow servants. Mrs. Patmore, the cook, is played by Lesley Nichol. She is an absolute delight - outgoing and high strung, the woman appears to be a veritable whirlwind of activity. Nichol's face wasn't familiar to me, but when I looked her up on the IMDB I was delighted to discover that she played Mrs. Beaver in the old 1988 production of The Lion, the Witch, and the Wardrobe that I grew up watching on TV. The brunt of Mrs. Patmore's *ahem* stress is directed towards Daisy the scullery maid, played by Sophie McShera. Poor Daisy is well-meaning but quite the scatterbrain, a humorous but sympathetic character. I feel so bad for her because she's naively developing a crush on Thomas, and after the scene with the duke it's abundantly clear that crush is gong to go nowhere. So far she's completely blind to the fact that William, the second footman, has a crush on her. William is a bit of a goofball, but he seems like a sweet guy - he just seems a little too willing to be a doormat for the likes of Thomas. William is played by actor Thomas Howes, and this is poised to be a breakout role for him. I'm anxious to see where his character goes throughout this series. Finally, Gwen the housemaid, played by Rose Leslie is introduced. Her character gets relatively little screentime in Part One, but it's clear she's ambitious and has secrets that I look forward to discovering in the subsequent installments of Downton.

Once again I have to stress that the editing and writing for this series is brilliantly done (bravo, Julian Fellowes!). The way script and scenes cut back and forth between the Crawleys and their servants is seamlessly, resulting in a fast-paced, thoroughly engaging viewing experience. It drives home like no other movie I can think of at the moment the intricate balance and connection between wealthy families and the servants who make their lifestyle possible. The entailment issue that throws the Crawley family into turmoil does not exist in some sort of aristocratic vacuum. Anything that impacts the Crawleys matters deeply, to some degree or another, to each member of their household - and the servants are not shy about taking sides or forming their own alliances. The result is riveting television. I cannot WAIT for Part Two this weekend!

• Click to read Amber's thoughts on Downton Abbey.
• Click to read Renee's thoughts on Downton Abbey.
• Read Laurel Ann's review of Part One of Downton Abbey at Austenprose.
• Read my review Downton Abbey, Part One (The Crawleys).