Jasmine Sahu is well suited with this new American drama exclusive to Dave.
Lois Cameron explains why this series is much more than your average cosy period drama.
The last episode of this series sees Sherlock and Moriarty attempt to solve the final problem with devastating consequences.
With major cast changes afoot, Jacob Martin ponders whether Being Human can live up to its own scarily high standard.
“Edith, you are a Lady, not Toad of Toad Hall.”
Following last week's opening episode extravaganza of plot exposition and one-liners, things are changing apace at Downton Abbey this week. Just amongst the three sisters, we have Mary desperately forcing herself to make eyes at smooth but dull newspaper magnate Sir Richard Carlisle, Edith finding her place in life amongst the needles of a haystack, and lovely Sybill being all sweet and noble once more, but this time in a nurse's uniform.
Now, there's a bit of resistance to all these changes from those above stairs – mostly, as you'd imagine, from the Dowager Countess (with Maggie Smith on blistering form, as expected) and a little from the Earl himself. But their reactions to the changes brought by war are nothing – nothing – compared to those of Carson. With the shaky hands of Saint Bates's replacement making him a disaster at the table, and the departure of sweet, clueless William, the poor butler finds himself without any footmen. Following a not-at-all-signposted-in-any-way collapse, Carson goes through a shocking change – he agrees to have women serving at the table. Thank goodness for the sheer class and wit of Jim Carter, as Carson's resistance would have seemed completely frivolous in lesser hands. In his, it was rather endearing.
Carson's loyalty to the Crawley house is his supreme, and his fondness for Lady Mary was shown in a very sweet scene, marvellously played by Carter and Michelle Dockery. It's a pity Mary wasn't able to heed his rather brave advice, as she found herself feeling sorry for Lavinia. Now, I have nothing against Miss Swire, but she's no Mary. And Sir Richard is no Matthew – his proposal to Mary was pleasingly frank, but there's no life there. Iain Glen is marvellous actor, so I think it's a character choice, but still. Hopefully their shared history will be revealed quickly, and they can be packed off together as soon as possible. Though if Cool Bitch Mary can return soon, I'd be very grateful to all concerned, thanks.
Thankfully, the darker side of the war for those at home isn't being ignored, thanks to Mrs Patmore's story and the introduction of Lang. Major credit to the wonderful Lesley Nichol and Hugh Bonneville for bringing the horror of her nephew's plight to life. Lang's shell shock was mostly used to remind us that O'Brien has a soft side, which was great and all, but I enjoy her nasty side too, particularly the glee on Siobhan Finneran's face as she schemed to get Thomas back. But no matter what they do, I don't think anything will top the sight of O'Brien tripping Bates up last year. Best sabotage attempt ever.
And Edith finally got her own plot! Which was promptly dropped at the end of the episode. Still, it was fun to watch, and Julian Fellowes has been pretty good at maintaining storylines that seemed like they wouldn't go anywhere. Yes, I am looking at you, Mr Pamuk. I'm reserving judgement on the house being turned into a convalescent home until I actually see it, although it should be worth it just to see more of lovely Sybil being lovely and dear Branson pining after her.
Since it was able to move the plot along rather than having to stand around and get us up to speed, this instalment of Downton Abbey was even better than the first. Keep it up, chaps.
Next week at 9pm, the return of Saint Bates should stop Anna moping for a while, as she decides to make him a rather shocking offer. The horror!
You must log in to submit a comment.
