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Seriously, this is a fine trailer. And I don’t even like the Flash. And the Arrow crossover possibilities are endless.
Grant Gustin will be playing the title character, Barry Allen, and he’s evidently a jolly sort who likes his powers.
The Flash previously appeared in a one season TV show that ran in 1990 starring John Wesley Shipp. No one really talks about this show any more, but it ran in the “Dark Ages” too soon for the internet, too late for nostalgia.
The first three minute look at Constantine, the upcoming NBC series based on the Hellblazer comics, has been released and there is good and there is bad.
I liked the callouts to actual comics, like the insect covered call of the very first issue, and the angel winged Mannym as played by Harold Perrineau. OBviously there were a lot of Glenn Fabry covers floating around on the set. THe story is set in NYC which I guess I can live with — filming in London would have been too expensive. The actual filming looks like Vancouver, but that’s typical.
I was only half convinced by Matt Ryan as Constantine. He looks the part but his line reading were as stiff as frozen maple syrup. And I know a Scouse accent would be unacceptable on American TV, but Ryan’s native Welsh accent came through most of the time. I guess most people expect him to sound like the Geiko Gecko (Cockney) but I’m sure this will grow on me.
The action looked Vancouver TV level, but faithful to the feel of the book. So rest assured when it debuts on Friday nights this fall I’ll be there to set my DVR!
Fox and WB just released the very first trailer for this falls GOTHAM tv show!
With great hesitation and uncertainty, I would tag this as “Nolan-esque.”
And why not? The Christopher Nolan Batman movies are the benchmark now. Gotham has been ordered for a full season this fall on Fox, and it’s billed as “an origin story of the great DC Comics Super-Villains and vigilantes, revealing an entirely new chapter that has never been told.” Ben McKenzie stars as James Gordon, Donal Logue as Harvey Bullock, Jada Pinkett Smith as mob boss Fish Mooney, Sean Pertwee as Alfred Pennyworth, David Mazouz as young Bruce Wayne and Camren Bicondova as young Selina Kyle. The PR also mentions “one cop’s rise through a dangerously corrupt city teetering on the edge of evil and chronicles the birth of one of the most popular super heroes of our time.” Gotham begins.
As you can see, this is a dark, gritty serious take on Batman, with all the villains as youngsters just discovering how evil they can be, and Gordon taking a grieving Bruce under his wing. This is really a nobrainer for a TV show provided it lives up to its promise.
Straight from the offices of Publishers Weekly, it’s More to Come! Your podcast source of comics news and discussion starring The Beat’s own Heidi MacDonald.
In this week’s very special podcast the More to Come Crew – Heidi “The Beat” MacDonald, Calvin Reid and Kate Fitzsimons – discuss the film Captain America: The Winter Soldier, its positive impact on the TV show Agents of S.H.I.E.L.D., and compare Warner Bros.’s DC Comics movie slate to Disney’s Marvel Cinematic Universe, all on PW Comics World’s More To Come.
Now tune in Fridays for our regularly scheduled podcast!
The Syfy Channel has generally been left out of the comic book mania gripping Hollywood, although they’ve had various stuff in development over the years. But now they’re going all in with FOUR projects in development including Frank Miller and Lynn Varley’s Ronin, an often assayed but never conquered peak.
This time out Warners Horizon is developing it as a mini-series. The original was a complicated story about a reincarnated ronin who comes to a futuristic city to fight a demon. Darren Aronofsky once took a crack at making a Ronin movie, and a later movie version has been languishing for a long time. Frank Miller has been out of favor in Tinsel Town for a while but I guess 300: Rise of Empire did okay so he’s “in” again.
Also in development:
Clone, based on the Skybound comic by David Schulner and Juan Jose Ryp. Robert Kirkman is aboard as executive producer. The story involves a retired soldier who has to fight a clone of himself. Schulner, who was involved in the recent Dracula and Ironside tv shows, will write and produce himself.
Letter 44, based on the Charles Soule/Alberto Albuquerque book about a new US president dealing with aliens and such. Jonathan Mostow (Terminator 3) will write and direct.
Pax Romana by Jonathan Hickman, about a Vatican-led plan to travel back in time and improve things via warfare. Federman & Stephen Scaia (Jericho, Warehouse 13, Human Target) are writing the script.
If you’re not a devoted Game of Thrones watcher, please move away.
Sean T. Collins has a post about the recent rape problems on the show that kind of echoes what I’d been thinking. Basically, that the Jamie/Cersei rape scene wasn’t necessarily a fatal misstep, given that we don’t know where these characters are going…but the problem is that it probably wasn’t meant to be a rape scene by the producers, a view supported by the confused interviews they’ve given about the scene in question.
Collins also brings up the real problem in the matter: HBO’s titty mandate. This was on display in True Detective, where the completely gratuitous and jarring T&A sex scenes gave the impression that this was a story complicit in the demeaning attitudes about women it was actually exploring. Creator Nic Pizzolatto said as much when he was quizzed on the lack of female characters. There is no problem with a wonderful piece of storytelling that follows two great characters who happen to be men; but when unnecessary bare breasts are thrown in, the entire enterprise gets an unseemly tacky element. (Also, the all male police department of the 90s amused me — it’s the 90s not the 30s fer gawd’s sake, even if it is Louisiana.)
I haven’t read the Game of Thrones books (yes yes, I know…….) but it’s often mentioned that one of George R. R. Martin’s themes is is the suffering caused by brutality against women and brutality in general. The TV version retains that, but, once again, the endless sexposition undermines the message. As someone I was watching it exclaimed the other night, “Oh, a glass of wine! We’ll be seeing titties soon!” And indeed, whenever someone is relaxing with a glass of wine, a good shag is about to follow 80% of the time.
Martin’s books are actually coming from a more evolved place than HBO, which operates under the assumption that to be adult you’ve got to show naked ladies. Serves them right that so many times, it turns out to be Lena Dunham.
Well, to no one’s surprise, Almost Human, the SF show about two guys driving around talking about their nads, has been cancelled by Fox. Although it launched with strong ratings—and was the fourth most popular new drama of the last season—Fox declined to pick up the JJ Abrams-production, even though the follow-up program, The Following, which had similar ratings, will go to a third season.
While I haven’t seen any behind the scenes reports, watching the show made it clear that Fox didn’t know what to do with it. They aired all the episodes out of order, switching from a heavily-storyline oriented show to a more routine police procedural with futuristic trappings (including liberal use of images and even sound stings from Blade Runner). The cost of the SFX also varied wildly as the season progressed. One thing that didn’t change was the great chemistry of the cast, though, and that’s what made it a favorite at Stately Beat Manor, as at other nerdly households. Not enough, alas. Plus of course, Karl Urban, who is a born leading man for TV or PS3 or Amazon or whatever you’re watching. Apparently he didn’t like the weekly grind of making a TV show, though, so I think it will be a little while before we see him back on a weekly basis. Sigh.
Kids, families, schools, and communities pledge to spend 7 days unplugged.
BOSTON -- April 28 -- Children are spending way too much time with screens -- and it’s not good for them.
School-age children spend more time with screen media -- television, video games, computers, and hand-held devices -- than in any other activity but sleeping.
Screen media use is at an all-time high among preschoolers -- according to Nielsen, young children spend, on average, more than 32 hours a week watching just television.
A recent survey found that the amount of time children ages 0-8 spend using mobile devices tripled in two years.
Screen time is habit forming and linked to poor school performance, childhood obesity, poor sleep habits, and attention problems.
64% of children ages 12 to 24 months watch TV and videos for an average of just over two hours a day -- even though the American Academy of Pediatrics recommends discouraging screen time for children under two.
For these reasons and more, so many leading health, education, and childcare organizations actively support this year’s Screen-Free Week (May 5 – 11, 2014), the annual celebration where children, families, schools, and communities turn on life by turning off screens for entertainment. Endorsers include the National Head Start Association, the National WIC Association, KaBOOM!, the US Play Coalition, the Association of Children’s Museums, the National Black Child Development Institute, and the American Public Health Association.
“Such wide-ranging support for Screen-Free Week reflects the growing national consensus that kids spend too much time with television, video games, apps, and computers,” said Dr. Susan Linn, director of Campaign for a Commercial-Free Childhood, the official home of Screen-Free Week. “More screen time means less time for hands-on play, reading, exploring nature, and dreaming -- activities crucial to a healthy, happy childhood."
Since 1996, millions of children and their families have participated in Screen-Free Week (formerly TV Turnoff). Each year, thousands of parents, teachers, PTA members, librarians, scoutmasters, and clergy organize Screen-Free Weeks in their communities. Here are just a few of the upcoming festivities:
The Irving (TX) Public Library is hosting events all week long including sidewalk chalk art, a bubble bonanza, a science experiment, and opportunities to create books and build with construction materials.
In NYC, The Uni Project will take up residency all week on a wide stretch of sidewalk in the Lower East Side with their pop-up, open-air reading rooms.
The Wooden Horse toy store in Los Gatos, CA has a week of activities planned, starting with a pajama party and story time and ending with a play day that will be filled with arts & crafts, games, and races. A game night and nature-themed activities will also be offered during the week.
Spring Garden Recreation in York, PA will be joining with local businesses and Recreation departments to offer an activity for each day of the week free of charge. They’re starting the week off with a kids’ biathlon.
In Cambridge, MA families will celebrate Screen-Free (Screen-Wise) Week with cooking from the garden, building and playing with cardboard tubes, a kids’ walk and picnic at Fresh Pond, exploring materials with magical properties, and sketching plants and trees. They’ll end the week with a Mother’s Day bike ride.
Campaign for a Commercial-Free Childhood (www.commercialfreechildhood.org) is a national coalition that counters the harmful effects of marketing to children. CCFC is a project of Third Sector New England (www.tsne.org).
One of the reasons that I'm not so down on spoilers is that, for someone who consumes pop culture the way I do, they're essentially impossible to avoid. Online fandom talks a big game about its spoiler-phobia, but if you've ever spent a day on twitter in the wake of a major pop culture event, you know that there's no way not to pick up exactly what happened, even if people haven't said it
Many thanks to everyone who participated in this month's blog series at readergirlz! I had a lot of fun gathering candid and heartfelt responses from authors. Lorie Ann asked me to post my own list, so here goes nothing:
7 Things You Don't Know About Me
1) I've been writing stories and songs since birth, practically.
2) I am capable of charming squirrels out of trees.
3) There is no television show I have loved more completely from start to finish than Leverage.
4) I love word play.
5) Synchronicity and causality are recurring themes in my life.
6) Chances are, I'm shorter than you.
7) I project. In more ways than one.
So there you have it! I hope March has been lovely for all of you. Don't forget to mark your calendars for Operation Teen Book Drop 2014, which will be happening in just a few weeks on April 17th. Stay tuned to the readergirlz blog, Facebook, and Twitter to learn how you can participate and #rockthedrop!
In March 2013, during the Q&A after an educators conference in Georgia, a huge fan of The Big Bang Theory suggested I send a copy of each book to the show.
Though I don’t watch it (heresy!), I know it regularly references superheroes. I didn’t see what the producers might do with my books...yet this audience member kept kindly suggesting (almost insisting), and eventually I was convinced.
What did I want from this? Well, this woman seemed to think the true stories in these books could inspire a storyline on the show. I felt that is probably unlikely, but I am a never-hurts-to-try guy. In any case, I’d be thrilled if either or both could be added to the set, even if for just a scene. I believe they are the kinds of books the characters would own...
On Facebook, I asked if anyone in my network has a connection to anyone connected to the show, and within minutes, I heard from a friend who is friends with Kaley Cuoco’s makeup artist. She happened to be supremely nice, and offered to pass along my books, so I sent them to her. Every time I followed up, she was equally nice and complimentary.
As of now, nothing has come of it. But you can’t predict a big bang…Add a Comment
Here’s a run down of what Kevin Smith is up to, including news that Comic Book Men will be renewed for a fourth (!) season. Smith is also developing a late night talk show based on his Hollywood Babble On podcast with Ralph Garman. And Finally, there will be a Comic Book Men SPIN-OFF somehow related show starring Asbury Park co-runner Robert Bruce, a regular guest star on CBM:
Frequent castmember Robert Bruce will be the focus of the companion series, which is not being billed as a “spinoff.” Produced by Original Media, with Charlie Corwin and Smith executive producing, the series would take Bruce outside of Jay and Silent Bob’s Secret Stash (as highlighted on Comic Book Men), on a cross-country search for collectibles and fanboy items at estate sales, auctions and flea markets.
Game of Thrones Season Four had its premiere at Lincoln Center last night and they built a big old dragon for the occasion, as seen on Instagram.
The new season debuts on April 6th, and doubtless we will have daily countdown clocks blazing across Tumblr. If you, like The Beat, have waited until the last minute to cram on remembering what happened last season, here’s a short new trailer that was just released:
And for post grads, here are two longer catch up pieces. From what we know, in the new season, the cast reacts to the horrific events of the Red Wedding, Joffrey gets married again, Cersei and Jamie are reunited, Tyrion has to deal with humiliation, Daenerys frolics with her dragons and Jon Snow learns a thing or two. Oh and because so many characters got killed off last year, there are NEW characters to kill off or disfigure! Woot, can’t wait.
A Flash pilot is on the way starring Grant Gustin as Barry Allen—and here’s the first look at his costume. It was designed by Academy Ward winner Colleen Atwood, who also works on ARROW. (Her Oscars include Alice in Wonderland, Memoirs of a Geisha and Chicago.)
This image says scarlet, it says foreshortening…does it say Speedster? What say you, peanut gallery?
THE FLASH pilot is executive produced by the ARROW team of Greg Berlanti, Andrew Kreisberg and David Nutter. Nutter is directing from a script by Berlanti & Kreisberg and Geoff Johns.
I know everyone is tired of the dumping on Agents of SHIELD but Tuesday’s big episode had the lowest ratings yet for the show. Whoops. The 1.7 rating was down 23 percent from 2.2 for the previous episode. You got some heavy lifting to do, Sif.
It’s worth remembering that as rousingly entertaining as they may be, none of the Marvel movies are cinematic masterpieces. In fact they are cut from a very standard cloth. I watched this episode and it was okay, but in a world of True Detective and Breaking Bad, it looks painfully pedestrian. But as my friends with kids tell me, the younglings like it, so let’s just leave it for the intended audience.
Now can we all start being anxious about the upcoming Netflix Defenders?
Over two years ago, before The Only Ones came out, I did a countdown of 99 things (books, movies, art, places, etc.) that inspired it. It was a fun way to revisit some stuff I was actively thinking about when I wrote the book, as well as some stuff I didn’t realize influenced me until I had some time to reflect.
Well, it’s 99 days until The Riverman hits shelves and I figured, why not do it all again? So, without further ado, here is my list of #99inspirations that I’ll be counting down daily on Twitter. This doesn’t represent all of my favorite things (sorry, no bright copper kettles and warm woolen mittens here), though it does include some stuff that I truly love. And hopefully it sparks some conversation about the stuff you love and the stuff that leaks into your creations.
Searches for this phrase (minus the comma) keep popping up in my stats. It’s a Downton Abbey quote, Violet mocking Isobel: “I wonder you don’t just set fire to the Abbey and dance ’round it, painted with woad and howling.” She didn’t pause for a comma, which has some folks confused. ‘Howling’ here is a verb.
Here is a person who is painted with woad, and is also howling.
Woad is a blue dye extracted from a the plant Isatis tinctoria or “dyer’s woad.” Its flowers are yellow but you can get blue from its leaves. I learned a lot about it while researching my Martha books—woad would have been one of Auld Mary’s staples. Indeed, it was a staple in European textiles through the Middle Ages, until it was gradually replaced in commercial use by indigo.
You chop the leaves into a paste, let them dry, crumble them into powder, then sprinkle them with water and allow them to ferment, a process known as “couching.” Then you add a mordant, something to help fix the color into the cloth. In days of yore this was most commonly stale urine. (The ammonia in the urine serves as the fixative, as you probably learned from The Mammoth Hunters.) Fun fact: according to this dyeing site, the urine of male beer drinkers was most effective. The collection and sale of urine from certain cities was big business, at one time.
Urine from London was shipped up the coast to Yorkshire, where there was a big dyeing industry, and this is the origin of the phrase “taking the piss.”
Captains were unwilling to admit that they were carrying a cargo of urine and would say that the barrels contained wine.
“No – you’re taking the piss” was the usual rejoinder.
In ancient Scotland, so the story goes, the Picts liked to paint or tattoo themselves with woad, especially before going into battle. In fact, that’s how they came to be called Picts by the Romans, from the Latin word “pictus” or painted. Julius Caesar wrote in his The Conquest of Gaul, “All the British color themselves with glass, which produces a blue color.” Over time his word “vitro” (glass) came to be associated with woad, and the image of blue-painted Scottish warriors stuck. Some modern scholars dispute the association, saying Caesar meant something else entirely; it is widely accepted that the early Britons did engage in body art but the contemporary thinking, as far as I can tell, seems to be that the paint was probably not made from woad. However, other experts will point out that woad has antiseptic properties, which could well explain its use in painting the skin before or after armed conflicts. And so woad lives on in battles (of the scholarly sort) to this day.
Whatever the truth may be, the blue body paint is exactly what the Dowager Countess had in mind when she tossed her barb at Isobel. If I had any kind of Photoshop skills you would be looking at Maggie Smith’s face painted with woad (and howling) right now.
The producers of BBC’s Sherlock did something really mean this week. They released a shot from a cut scene in the final episode of season three, “His Last Vow,” in which Irene Adler leaves Sherlock a single red rose in the hospital.
I’ve been writing a series about these two for over a year now, because I love them together. After the completion of “This is Not a Safe House, Part II,” I received several emails requesting a part III. But I had nothing else to say … until the aforementioned photo was released. Now, I have plenty to say.
Just for you, the beginning of “This is Not a Safe House, Part III.” For the story in its entirety, follow the link provided at the end. It’s Christmas!
This is Not a Safe House, Part III
by Sara Dobie Bauer
Sherlock Holmes in a hospital bed looked unreal, so in the darkness of night, she reached out her fingers and touched the skin around his white bandage. He was real. And warm. He was alive, breathing, asleep, and probably high on morphine. Comforted by the quiet sound of beeping machines that monitored his heart rate, Irene Adler was finally able to set the small vase and red rose on the table at the foot of his bed.
Should she wake him? If she did, she knew she would have to answer for herself—her absence. Perhaps if she woke him, he would think it but a dream and forget her by morning. But no, the rose would give her away. He would know it was from her, so maybe she should leave, just turn around and go, before those piercing blue eyes could stab her in the heart.
One more touch; she’d never been good at denying herself anything. She hoped the drugs were strong in his system as she leaned over and kissed his forehead.
His voice rumbled beneath her: “I was wondering if you were going to cut and run.”
She lingered with her mouth against his skin and then pulled back slowly. “So was I.” Irene looked down at the man she loved and hadn’t seen in over two years. He had aged some, filled out. Not so skinny anymore, and his features, more rugged. She knew she had changed, too.
“You didn’t answer me.” He sounded furious.
She stepped to the bottom of his hospital bed and smiled. “Did you ask a question?”
“When I came back to London, I sent for you. You didn’t answer.”
He tried to sit up, but his face melted into pained wrinkles.
She ran to him, her weakness showing. She put her hands on his chest and pushed him back against the bed. “Don’t,” she said.
She watched him take a few deep breaths, his eyes closed.
“You look different,” she whispered.
“I look different? You were blond last I saw you.”
She nodded, remembering their time in California. He’d talked as if they had a future then. He’d talked about her coming to hide at Baker Street when he came back to life in London—talked as if they might end up happy. Together.
He looked up at her, and she withered under his gaze. “Why didn’t you come back?”
“Who shot you?”
He chuckled, bit at his bottom lip. “Planning a vendetta?”
“Don’t call me that.”
Irene tried to hide behind her long hair, loose around her shoulders. Quietly, she asked again, “Who shot you?”
I don’t have the heart to do a full recap right now. That was a horrible turn of events, wrenchingly depicted, and I’m upset on about fifty different levels, not least of which is a fear that this plotline is being played for drama only and won’t succeed (even if it wants to) at taking a really meaningful look at that issue, which ought never never never to be played for drama only.
I will say this: even before we arrived at that terrible point, I was frustrated as all get-out by the way Anna and Bates were being made to behave. I say “being made to” because their interactions felt absolutely contrived, not organic. His cantankerous jealousy, her obliviousness to the villain’s obvious flirting. (And what are we to make of THAT? The price of friendly banter? Infuriating, and treads perilously close to suggesting her behavior played a role in what happened next.)
I set too much stock in TV relationships; this is a running joke between Scott and me. For a couple of seasons of The Office, I took it very hard if there was any whiff of trouble of a certain kind between Jim and Pam (after they were together). I welcomed organic challenges to their relationship—smooth sailing does not gripping viewing make—but I wanted believable challenges, not manufactured ones. And for many seasons, that show was remarkably successful in placing organic obstacles in their path. It was fun and refreshing to see them as allies and co-conspirators. So often, television seems to feel that as soon as the long-yearned-for romance is realized, it must Get Rocky and Face Threats. The Office accomplished something unusual in presenting us a strong Jim-and-Pam team that endured many years before a writerly wedge was thrust between them. (And for the record, during that final season, I kept hollering at Jim to SHOW PAM THE FOOTAGE. It was all there, his dogged devotion. My satisfaction when he finally listened knew no bounds.)
In Downton, I’ve taken a similar pleasure in the Anna and Bates relationship. They’ve weathered trials together, united. And now, even before the rape (it pains me to write that word so casually, as a plot point, which is my much larger problem with this episode than the subject of this paragraph), we’re shown little tendrils of doubt and discord coiling between them, and I don’t buy that for a second. Not to go all Kathy-Bates-in-Misery on Julian Fellowes, but, well, Annie Wilkes, whatever else her failings, did have a sound understanding of story.
Mr. Bates would never embarrass his wife in public!
But even that, the hamhandedly portrayed strife between Anna and Bates, seems almost inappropriate to complain about after what happened next. As for everything else that happened in this episode, I hardly know how to feel about any of it. I mean, how can there be a rest of the episode after what happened to Anna? I’m supposed to care about Jimmy’s sprained wrist and his oddly ambiguous behavior toward Ivy? About Robert’s deep discomfort over dining with a (gasp) world-famous opera singer?
I liked Lord Gillingham but am, like Isobel, not quite ready to watch Mary edge toward a new romance. Two episodes on, perhaps. I did enjoy their conversations and was happy to hear the tartness return to Mary’s voice. Much better than Zombie Mary.
Boy, the good doctor hovers mighty close to Isobel’s side these days, doesn’t he?
Does anyone who talks to Tom remember that he, too, has lost a cherished spouse?
Molesley. I just. He’d be much less pathetic if he’d stop talking about how pathetic he is. But it rings true to character, at least. Molesley never has done himself many favors. Grumping aloud to the Dowager while serving dinner was a bit of a stretch, however.
I cared a lot about the Edith and Mr. Gregson storyline, until I didn’t. Trouncing the card sharp might have been an entertaining thread in another episode, but the show’s final moments retconned the rest of it for me, rendering all the mini-dramas frivolous.
Someone who’s seen the rest of the season, tell me it’s worth hanging in there for.
I once read a scathing review of my book Little House by Boston Bay in which the reviewer lambasted me for utterly mischaracterizing events in a small Massachusetts village during the Revolutionary War. The reviewer was something of an expert on the Revolution and was openly disgusted with my apparent ignorance. Such-and-such would not have happened during the War for Independence, he declared, did not happen. And he was right: because, you see, Boston Bay does not take place during the War for Independence. The novel is set in 1814, some thirty years after the end of the Revolution, during the War of 1812. The reviewer, it turned out, disliked my book because he thought he was reading an entirely different book.
It struck me this week that I’ve been doing the same thing with Downton Abbey. I’ve been mentally classifying it as the same kind of smart, probing period drama as the BBC’s Pride and Prejudice, when really what it is is a beautifully dressed Melrose Place. It is, I think I can confidently say, the most gripping and linguistically clever Melrose Place I’ve ever seen. But it’s never going to be Pride and Prejudice, in which every tiny morsel of plot supports the primary narrative and themes. Here we will have characters stride in, devastate a life or two, and stride back out into the credits, serving purposes more dramatic than transformative.
I’m trying to make my peace with this, trying to stop expecting a bite of orange when I sink my teeth into an apple.
And so we say goodbye to Braithwaite, that “manipulative little witch,” as Thomas called her, and to Lord Gillingham as well. Ah, Tony, we hardly knew ye. Mrs. Hughes dispatched Edna as effortlessly as she would have swatted a fly. (And just as viciously. “I’ll tear the clothes from your body and hold you down”—good heavens! Since that’s exactly what happened to Anna last week, this remark is in rather bad taste.) It’s interesting to note that Mrs. Hughes is the real mover and shaker of this season so far, the catalyst of events in the lives of Isobel, Carson, and now Tom. I’m fully expecting her to be the eventual force of reconnection for Anna and Bates. Perhaps not; Anna is generally her own catalyst, but I can’t imagine Mrs. Hughes will be able to watch this painful distancing go on for long without interfering in some small way.
But I’m not quite ready to talk about Anna yet.
I liked Lord Gillingham quite a lot and I thought Mary’s scenes with him were her finest of the season so far—the layers of her emotions each distinct and apparent. Affection, wistfulness, regret, ache. But it was too soon, too soon, for us to root for that romance, and in the end, her gentle refusal felt entirely familiar. We’ve seen Mary in this moment before. The only fresh note was when her calm mask cracked, her eyes filled with tears, and she spoke of how Matthew fills her brain and she isn’t ready for that to change, isn’t ready to mentally leave him. That was a raw, honest moment, but still the whole story arc left me feeling like I’d been strong-armed back onto a roller coaster before I’d caught my breath from the last looping ride. Also, now I have to think about Tony being sad and stoic out in the world somewhere, making the best of a life with poor Mabel.
Will everyone please stop bumping into Isobel in the graveyard? We get it, she’s there a lot. One tombstony encounter would have been sufficient to make the point (and I’m certain we’re going to see another proposal before the season’s out—I only hope we don’t have to watch another regretful ‘I’m terribly sorry but no’).
At the Lotus Club—why on earth didn’t Tom or Tony go rescue Rose sooner instead of sitting there watching that drunken Bullock slobber all over her? Oh that’s right, it was to contrive a moment—and a very sweet moment it was—between Rose and the singer. Well, it could have been much less clumsily contrived. Now the question is, will Mr. Ross be dispatched brokenhearted in the next episode a la that nice young farmer, or is he the next Tom Branson/Michael Gregson?
Speaking of Michael, it’s remarkable how the bold, modern Edith shrinks back into her chastened, pre-war self the moment Rosamund raises an eyebrow in her direction. But then I think Edith has a lot of uncertainty about this very unorthodox path she’s walking. At least her aunt doesn’t underestimate her, the way everyone else persists in doing, year in, decade out. “Edith’s as mysterious as a bucket”—oh, come on. (I forget who said it—Mary? Cora?)
I’ll leave the tortured Kitchen Love Rectangle to the rest of you. Still wondering why Daisy chooses to stay at Downton in misery rather than go be mistress of her very own farm. If ever a woman needed a change of scenery, it’s that one.
As for Anna and Bates…I don’t know. I’m so unhappy about this story arc that I find myself just hoping it’ll all be resolved quickly, and then I feel sick, because of course that’s the point. What happened to Anna can’t be ‘resolved quickly,’ can’t be neatly wrapped up in a three-episode arc. It’s 2014, and rape should not be Melrosed.
I did watch an interview with Joanna Froggatt, who plays Anna, discussing her confidence in Fellowes and her feeling that the storyline is not gratuitous (i.e. not being played for drama only). I appreciate her thoughtful comments (here’s the link if you can’t see the video below), and I want to say I think Froggatt is doing a beautiful job of conveying Anna’s pain and trauma. But. But. Something still isn’t sitting right with me, and it’s what I talked about last week: the decision to create a rift between Anna and Bates before her trauma. His sharpness and jealousy, the suggestion that Anna was being a bit flirty with Mr. Green. Those two writerly decisions (and always, always with this show, we come back to the very visible hand of The Writer, who is meant to be invisible) are so wrongheaded they undermine whatever sensitive or unflinching exploration of a very real trauma they are striving to create.
I’m also bothered that Anna’s trauma is becoming Bates’s trauma as well—or no, it’s not that exactly, it’s the way he did kind of bully her with his “I will find out.” Bates is being written all wrong this season, period.
Well, Carson’s being written rather wonderfully, I’ll give Melrose Abbey that much. He wins best line this week: “I always think there’s something rather foreign about high spirits at breakfast.” Oh, the layers of disdain he piles into the word ‘foreign’!
So who’s your pick for the next lady’s maid? A return of Miss O’Brien? She’s not that old. I’m trying to remember what ‘older’ women Thomas knows…
After the high drama of last week, this episode proceeds at a more subdued pace—right up until the final scene, which comes off like a promo instead of a scene: Previously on Melrose Abbey. But truly, there wasn’t a whole lot of Melrose in the house this time around. The most shocking development was that Mary voluntarily spent ten minutes in the nursery with baby George.
We open in a somber mood: Bates walking alone and lonely from the cottage, Anna in silent misery in the maids’ room, covering her fading bruises with powder. When she finds Bates waiting for her in the passage downstairs, she’s short with him: “I don’t know why you always wait for me. There’s no need.” He tries to answer with the old warm smile, but when she rebuffs him again, he shifts into that forceful, almost angry tone that makes him seem more like the bully his first wife claimed he was rather than the gentle Bates we fell in love with along with Anna. Of course we’ve seen, more than Anna has, his tough side; we know how he was able to take care of himself in prison. I’m wondering, this season, if Julian Fellowes wants us to harbor doubts about whether or not Bates really was innocent in the matter of Vera’s death, after all. In response to Anna’s sudden and unexplained distancing, Bates slips quickly into a stern countenance. He doesn’t plead with her to explain so much as order her to.
The tense exchange is interrupted by the new lady’s maid, Miss Baxter. Time for this week’s Newfangled Gadget! What will Mrs. Patmore make of Baxter’s electric sewing machine? At least she needn’t worry that it will replace her in the kitchen. (Hold onto your corset-strings, Mrs. P.; before the evening’s over, Lady Cora will ambush you with a refrigerator.) A nice moment with Daisy: When Miss Baxter offers her a try at the machine, we get the first smile we’ve seen out of that girl all season.
And Mrs. Patmore may not be a futurist (loved that line) but she’s forward-thinking enough to encourage Alfred’s dream of attending the cooking school at the Ritz. “Hope I’m not inciting a revolution!” she sings out, sounding for all the world as if she wouldn’t mind if she did. Daisy is giving Albert cooking lessons—and demonstrating her own competence as she does, though she seems unaware of it. It’s nice to see how far she’s come in her profession, given how little she seems to have matured emotionally these past ten-odd years.
Miss Baxter seems off to a good start, wooing Cora with orange juice because she’s heard Americans like it. She is friendly and likable, and though we learn soon enough that Thomas has landed her this job because he wants a spy both above and below-stairs, Miss Baxter doesn’t seem like a schemer. I’m sure Thomas will put the squeeze on her soon, and we’ll see how she reacts under pressure, but for now, I’m rooting for her.
Isobel, at the good doctor’s prompting, takes a young villager under her wing, securing him a position as the Dowager Countess’s undergardener. This is a minor subplot, introducing a bit of tension between Isobel and Violet, which always makes for good dialogue. Violet lands some of her pointiest blows in recent weeks, seeming to revel in the open (but oh so genteel) warfare with her do-gooder relation. “I wonder your halo doesn’t grow heavy. It must be like wearing a tiara round the clock!” And now a letter opener’s gone missing, and my guess is it would positively make Violet’s day to see Isobel humbled by having put forward a thief. Isobel, despite having been pressured into recommending Peg by the doctor in the first place, climbs to the highest heights of her high horse at the very suggestion. It’s to these actresses’ credit that they can ratchet this rather banal storyline into some of the sharpest comedy of the episode.
Meanwhile, in Affairs of the Estate: an aged tenant has died and since he hasn’t paid rent in a long time, his heirs are to be evicted. But his son, Mr. Drew, an earnest man of middle age, pleads with Lord Grantham to let him take over the farm.
“Our family has farmed at Yew Tree since the Napoleonic Wars. Surely that’s got to mean something.”
“It means a great deal to me,” Robert replies, promising to see what he can do—meaning, see if he can talk Mary into letting the man renew the lease. Interesting to see how helpless Robert already feels when it comes to decisions regarding the estate. Just a few weeks ago he was tsk-tsking over the idea of Mary having any involvement at all, and now he’s all furrowbrowed over the prospect of approaching her for permission.
Later, Mr. Drew visits Robert in the house. He speaks frankly, with dignity: he can’t pay the arrears right away, but “we’ve worked this land in partnership with the Crawleys for centuries.” This resonates with Robert. He offers to lend Mr. Drew the back rent out of his own pocket, so that the estate books may be brought clear.
When Mary hears that her father wants to give the lease back to the Drews, she’s a bit peeved. Robert makes an earnest case for the partnership—that word again.
“If we don’t respect the past, we’ll find it harder to build our future,” he says at dinner, prompting a comic reaction from his mother, who finds it too fine a sentiment: “The one thing we don’t want is a poet in the family.” It’s become impossible to know when Violet is serious, and when she’s just trolling. A chauffeur she can adjust to, but a poet? Horrors. “The only poet peer I’m aware of is Lord Byron. And I presume we all know how that ended.”
As for Mr. Drew, it seems even Cora is in his corner, pointing out the moral (not legal) obligation to work with him. I enjoyed Tom’s reaction to Mary’s prodding. He’s on the farmer’s side, of course! “I haven’t abandoned all my socialism.” Tom continues to struggle with questions of identity—bit of a Pygmalion thing going on—but for the most part the family whisks past his mental turmoil. They’ve welcomed him into their inner circle and it’s baffling to them that he might not feel at ease there in the long run.
By the end of the episode, Mary and Tom have discovered Robert’s secret loan to Mr. Drew. Mary is heartened by Robert’s confidence in the man, and by his kindness. Echoing her father’s expression, she remarks to Tom that the incident tells her they are “in partnership with a good man.” Mary doles out compliments sparingly (just ask Edith), so this was a nice little beat.
Meanwhile, Mr. Carson (mightily pleased with his cleverness) has decided to kill two birds with one stone by offering Alfred’s job to Molesley, should Alfred get into the cooking school. Woe to Molesley for not responding with groveling gratitude. His hesitation offends the dickens out of Carson, who seems to take relish in rescinding the offer when poor Alfred gets a rejection letter. Molesley’s reaction to the bad news is rather hilarious. “You’ve missed your chance.”—(shrugs) “As I generally do.”
But wait! Alfred’s in, after all! Will Molesley get another chance? Will he grovel to Carson’s satisfaction this time? Will the tide ever turn for this longsuffering Eeyore?
And back we come to Anna and Bates. I was bothered by the two bootroom scenes. Isn’t that where the rape occurred? It’s horrible to have Bates looming over Anna in such a disagreeable way, there in the very site of her attack, his tone never gentle, earnest, or imploring, but rather stern and grim. He’s reading her sudden coldness as an indication that she no longer loves him, and his reaction to that seems to be primarily anger (not anguish) because she won’t tell him what he did wrong.
When he eavesdrops on her conversation with Mrs. Hughes, he gets a glimmer of understanding that maybe he hasn’t trangressed after all. First chance he gets, he transfers his hostile interrogation to the housekeeper. If she won’t spill Anna’s secret, he’ll have to leave Downton immediately. He’s playing hardball, and it works. Mrs. Hughes reluctantly explains. He guesses the culprit but Mrs. H. denies it, even (under his relentless inquisition) swearing on her mother’s grave. She’s a staunch and generous soul, that Mrs. Hughes.
Alone in the hall, Mr. Bates breaks down and sobs. But before long he’s back in the bootroom, confronting Anna—and again with the menacing edge, for the first part of the conversation. He confirms Anna’s worst fears: “If it was the valet, he’s a dead man”—forcing poor Anna into the terrible position of having to defend Green, lest Bates go hunt him down and wind up back in jail.
Because of all this menacing on Bates’s part, the tearful reconciliation didn’t move me the way I think it was meant to. Bates’s words were touching, and he sounded sincere— “Why do you talk of shame? You are made higher to me and holier because of the suffering you have been put through. You are my wife, and I have never been prouder or loved you more than this moment”—but I was too bothered by his prior behavior to be melted by this speech. I’m glad, at least, that he and Anna are reunited, if not recovered. Bates’s parting words to Mrs. Hughes at the episode’s close make it clear recovery is a long way away. And that scene, as I suggested above, struck me as completely superfluous to actual plot. There’s no reason Bates needs to glower at Mrs. Hughes and tell her the matter isn’t over and done with. If he’s harboring revenge plans, what point is there in troubling her with them, except to milk a bit of drama out of the ending?
Odds and ends:
• No letters for Edith, who still hasn’t heard from Michael. All right, gang: do any of you have guesses about what’s become of him? Her doctor visit suggests tempests ahead.
• Tony Gillingham is engaged to Lucky Mabel, but I wouldn’t order their wedding gift just yet.
• Looks, it’s nice Mr. Napier, last seen shaking his head in regret over having lost Mary’s attention to his Turkish friend in season one. (I presume we all know how that ended.) He’s still carrying a torch for her, obviously. But, oh, poor Evelyn. “It’s lovely to see you looking so…lovely.” Mary requires a more witty bantering partner than that. He’s in Yorkshire on government business: he’s involved with an assessment of the estates in the area and manages to wrangle an invitation for himself and his boss to stay at Downton for the duration. Hasn’t he learned not to invite competition?
• “Mrs. Patmore, is there any aspect of the present day you can accept without resistance?” “Oh my lady…I wouldn’t mind getting rid of me corset.”
• Tom: “Made me face the fact that I’m living where I don’t belong.”
Edith: “Welcome to the club.”
Mary: “Oh, stop moaning.” Boy, when she told Edith (after Sybil’s death, was it?) that they were never going to be friends, she wasn’t kidding.
• Cousin Oliver Rose has an idea for Robert’s birthday party. Gee, I wonder what ::coughjazzbandcough:: that might be?
• Mostly I want to talk about that awesome moment when Violet says to Isobel, “Nobody cares as much about anything as you do” and then chortles to herself for the next ten minutes. That laugh was amazing. You could fill an entire episode with Maggie Smith chuckling over her own witticisms and I would watch it on repeat.
“Look, I’m as unhappy about this storyline as you are.”
So here we are at episode 5—that’s episode 6 by UK reckoning, or if you’re watching via Amazon—more than halfway through the season. And if I have realized anything during these past few weeks, it’s that I would pay good money to watch a show featuring Isobel Crawley as a village sleuth—a sort of “indigation-fueled ” Miss Marple (to borrow Violet’s excellent phrase) minus the knitting—solving local crimes in between rounds of barbed exchanges with her crotchety relation. The whole Young Peg plot was a predictable throwaway, really—he’s a thief! no wait, I’ve been sitting on the paper-knife this whole time—but it allowed for some of the most amusing dialogue and face-making of the season. (And some champion bell-ringing on Violet’s part.) Game, set, match to the Dowager, indeed. Did you catch the stink-eye Isobel shot the good doctor at that remark? Coming to take his staunch loyalty for granted, are we?
As for the rest of them, there’s a lot of stasis going on. Edith keeps getting caught crying in corners, and Robert and Cora express much sympathy but then immediately turn their thoughts to other topics. The conversation between the two of them in the bedroom that one night was amazing. They each uttered one sentence about “poor Edith” and then swept immediately on to Cora’s brother Harold’s mysterious predicament.
Of course, if they knew what Edith was really crying about, they’d be talking of nothing else. Our predictions about last week’s doctor visit in London were confirmed: Edith is expecting. Now what? And still no news of Michael.
Speaking of Uncle Harold, Robert’s had bad news of him in a letter, some scandal he’s involved with; seems Harold is “in a fine fix” and has “backed a lame horse” and when Robert starts trotting out strings of clichés I always want to hug him. Life’s brisk changes are endlessly perplexing to him and he takes such comfort in well-worn phrases, poor dear.
And now the Downton aristocrat-farmers are going to try their hand at pigs! Oh, I do hope one of them breaks loose and wanders into Violet’s house, and Isobel has to solve the mystery of The Mud on the Carpets.
Thomas continues to badger Baxter for upstairs secrets. She picks up a whiff of Rose’s birthday plans for Robert, but not the specifics, only that a secret exists. This, of course, drives Thomas to immediately suspect all manner of diabolical deeds brewing in the minds of his employers. (The most diabolical of all, apparently, being possible layoffs. He’s so far off-base, so needlessly dramatic, that it would be comical if it didn’t seem a rather hamhanded attempt to inject some tension into a house that is actually running pretty smoothly at the moment.)
Having been tipped off that Mrs. Hughes is in on the secret, he tries to pry it out of her, and she has so much private entertainment in stringing him along (“I’m a woman of mystery if ever there was one”) that I’ve decided to cast her in my No. 1 Downton Ladies’ Detective Agency show. I’m thinking an 80s-style montage for the opening credits, what do you think?
Anyway. Big news in the kitchen: Alfred gets a letter of acceptance to the cooking school, after all. Daisy, whose glee at his having been rejected spurred her to break servants-hall protocol and (gasp) serve him the first scone, is once more downcast, and bitterly angry at Ivy (as usual). But it was nice to see Daisy rally, there at the end, and give Alfred a genuinely sweet goodbye. Also, that was a lovely pie crust she was rolling out.
Jimmy takes Ivy on another date—to see Rudolph Valentino in The Sheik—and then tries to get fresh with her afterward. Ivy’s having none of it. Back in the kitchen, Mrs. Patmore and Mrs Hughes console Ivy, and then Daisy bites her head off again, and Mrs. Hughes says Ivy had it coming. Rough night for Ivy.
Anna and Bates are each struggling, one tearful, one sinister and brooding, to cope with life after Anna’s rape. I’m fed up with Bates; he’s being just awful. If you must brood, do it where she can’t see you, for Pete’s sake. In an attempt to “make new memories,” they go out to dinner at a hotel, where they meet the maître d’ from Ferris Bueller’s Day Off. (Snooty? Snotty.) Fortunately, Cora (the Sausage King of Downton Abbey) come to their rescue, effortlessly tying the mortified host in knots. That was enjoyable. It was nice to see Cora have something to do, for once.
(Tangent: I’m dying to know what books she’s been reading all season. She reads constantly. Are they books from the Downton library? Are they new and popular novels from town? It’s killing me.)
Of course, one fancy dinner can’t erase the pain Anna and Bates are in. Whisperings of their unknown troubles reach Baxter’s ears, who relates them to Thomas reluctantly and for no good reason. I mean, I know that Thomas is holding some kind of leverage over Baxter’s head, but that doesn’t mean she had to tell him that specific scrap of gossip if she didn’t want to. I assume the tension between them is going to boil over soon, and perhaps we’ll find out what dark secret Thomas is holding over Baxter’s head. But Baxter doesn’t seem terrified; really she just comes off as weary of the whole game. Which must be frustrating as all get-out for Thomas.
Lovely moment between Mary, Tom, and Isobel in the nursery, reminiscing about how they all fell crazy in love with their lost spouses. It was touching and sweet, and Isobel is so wonderful when she lets her soft side show: “Well, aren’t we the lucky ones.” Beautiful.
Though I did want to pinch Isobel a little when she declined the chance to hold baby George because he wouldn’t know who “this funny old lady was.” See, you have to actually interact with babies once in a while if you want them to know you are, Grandmama.
(I’m wondering how Cora will feel about being assigned “Granny.”)
Molesley, upon learning that Alfred is leaving after all, reappears with hope in his heart—that footman position may be beneath him, but it’s better than digging roads—and Carson smacks him down quite ruthlessly. Doesn’t matter if you’re scrubbing toilets at Downton, you’d jolly well better be excited about it. So off slumps poor old Mose once more, but Mrs. Hughes intercepts him and before you can say “One lump or two,” she’s got the whole matter sorted. (Proving again that the housekeeper holds the keys to everything at Downton, including Carson’s heart.) She hires Molesley to serve tea to the servants. Violet accepted the news that her grandaughter ran off with the chauffeur more calmly than Carson reacted to the sight of Molesley in a kitchen apron. OH FINE, you can be a footman.
Robert, upon realizing propriety says he should call Molesley “Joseph” now, suffers a minor heart attack at his birthday dinner. Fortunately his mother is there to breeze right over it. Molesley he is, and Molesley he shall remain. Which is a pity, because his name is surprisingly hard to type.
But before we get to the birthday dinner, we must meet Mary’s new sparring partner. Evelyn Napier has arrived with his boss, the handsome Charles Blake, who lands immediately on Mary’s bad side. (Which is generally where Mary prefers her love interests to be.) Charles, it seems, has been dispatched by Lloyd George’s government to survey failing estates—not with an eye toward assisting their struggling owners, as Mary had assumed, but in order to assess the likelihood of food shortages. So: Mary dislikes Charles, Charles dislikes Mary, Napier is seated way at the opposite end of the table, and I’m thinking it’s just as well Tony Gillingham went ahead and proposed to poor old Mabel.
Well, Rose’s big birthday surprise has the desired effect: the Downton crowd both upstairs and down are staggered by the jazz band, especially Mr. Ross. But they rally quickly, make a few earnestly patronizing statements about what a decent fellow Ross seems to be, and the upstairs crowd demonstrates some genuine enthusiasm during the dancing. Isobel, never one to miss an opportunity to moralize, points out to Tom (who has spent the episode continuing to ponder emigration to America) that if jazz can happen at Downton, why, anything can, and so he oughtn’t to give up on the family quite yet. Tom smiles at her with that sweet expression of his that says, “I’m way too polite to argue with you, but seriously, you don’t really think they’re going to let me date anyone here, do you?”
There’s one more surprise in store for Mary, who catches Rose making out with Jack Ross downstairs after the party. Mary, who abhors a scene, backs quietly up the stairs and calls out a warning to give the lovebirds a chance to jump apart, and then politely ignores the guilt written all over Rose’s face during the ensuing conversation about the band’s bill. Mary walks back up the stairs looking troubled, and there’s our Melrose Abbey exit music.
Well, if you’ll excuse me, I need to go set fire to the abbey and dance round it painted with woad and howling.
THERE BE SPOILERS HERE! IF YOU HAVEN’T WATCHED ALL OF SHERLOCK SEASON THREE, DO NOT READ. YOU HAVE BEEN WARNED.
Episode One: The Empty Hearse
We all wanted to know how Sherlock survived the dive from St. Bart’s. Within the first three minutes of season three, we get an idea via an action-movie style montage including a bungee chord, a hair ruffle, and a sexy smooch. I loved this opening. Completely unbelievable and hilarious, and of course, it was a mere flight of fancy from Anderson.
Sherlock-Molly kiss. And tumblr EXPLODES!
The tempo of this episode was a little off, but I forgive, especially because of Martin Freeman’s face when he realizes Sherlock is alive and standing at his dinner table. Priceless, followed by several punches to the face. We also get to meet Sherlock’s parents, played by Cumberbatch’s real mum and dad. Adorable. We meet Mary, Watson’s soon to be wife. There was even a Sherlock and Moriarty almost-kiss—which begs the question, what the hell really happened on that roof at the end of season two?
I don’t think the truth was made clear, but I do think this was done on purpose. Co-creators Moffat and Gatiss knew how many theories there were, so they gave us three, the third of which being the most likely—but nothing is for sure. Did I feel a little cheated by this hedging? Perhaps, but this episode felt more about character than plot. They made Sherlock softer, almost a real human being, and this theme of Sherlock’s sentimentality stretched the whole third season.
Episode Two: The Sign of Three
An episode about a wedding but not necessarily a detective. I call this episode “odd,” but I enjoyed it because I like odd things (like Benedict Cumberbatch’s face, for instance).
Highlights included John asking Sherlock to be his best man, after which, Sherlock resembles a frozen computer screen; comedy gold. Speaking of, the stag night within which the boys get horribly drunk and try to solve a case. Instead, Sherlock passes out on a floor, vomits, and they both end up in jail. Finally, dear Janine the bridesmaid falls for Sherlock. (Janine: “Do you always carry handcuffs?” Sherlock: “Down girl.”)
So Mary and John are married, and the grand finale: they’re expecting a baby! I really enjoyed the dialogue and back and forth. True, not too much of a mystery here, but one hell of an adorable best man speech from Sherlock and lots of laughs. Which prepared us for …
Episode Three: His Last Vow
Mary is a bad, bad girl.
Well, this one wasn’t very funny at all, was it? And yet it’s one of my favorite episodes of the series. We meet the odious Charles Augustus Magnussen (CAM), who actually accomplishes a face lick without being silly. He is the man Sherlock hates the most and must bring tumbling down.
First off, Sherlock has a girlfriend in this episode—Janine, of course, from the wedding, which is just so, so awkward. I knew something wasn’t right; we all did. We soon find out he’s only dating her to get to CAM. He even proposes to her to get into CAM’s office, which is when …
MARY SHOOTS HIM! MARY! Yeah, John’s wife is some sort of super killer assassin person. That was shocking, yes, but I must say, the entire sequence inside Sherlock’s mind as he fights to stay alive was fan-freaking-tastic. It even featured Moriarty, who I love, but really, amazing, amazing sequence. Gorgeous. So well done.
In the end, Sherlock survives the bullet wound and John forgives his wife. The coup de gras: Sherlock murders CAM, and there’s a sweet goodbye between John and Sherlock as Sherlock goes off to die in East Europe on some undercover assignment. But then … but then …
MORIARTY IS ALIVE!!!!!! Sherlock gets called back to London!! Closing credits!!!
My brain exploded—almost. Would have been a hell of a mess. But this whole Moriarty thing raises so many questions. For instance, what about the body on the roof from season two? Someone must have known Moriarty was not dead, and my money is on Mycroft. Maybe Mycroft was hiding Moriarty (God knows why), and with Sherlock’s life in peril, he brought Moriarty back to life?
Well, the speculation now begins, as we are on hiatus—again. Weren’t we just on hiatus? Yes. Yes, we were, and we’re back, and who knows when we’ll get season four? But I’m sated, for now, and it’s a good thing; I’ve been Sherlock-obsessed for months. Time to get back to real life. But take heart: Moriarty lives.
“You do realize even Alfred gets more screen time than you do?”
(UK / DVD episode 7. Also, spoilers below.)
Telegram! Robert has been summoned to America by Cora’s Horrible American Mother to assist Cora’s Impossible American Brother. There’s a scandal involving oil and a Senate committee who may or may not be favorably impressed by a titled brother-in-law, because nothing says respectable like an impoverished English earl who snaps up an American heiress to save his estate, and then loses her fortune on bad investments.
Bit of a flurry over the notion that Bates must accompany Lord Grantham to America. (I love how it’s always “America.” Last season, when Shirley Maclaine arrived to out-shout the Dowager, she referred to her home as “America” 100% of the time. You have to wonder if Julian Fellowes has ever chatted with any Americans long enough to discover that if you ask us where we’re from, we don’t name our country; we name our state. Unless you’re a New Yorker, in which case you name your borough.)
Anna puts on a brave face for Bates, but sobs in the hall. Mrs. Hughes takes the case to Lady Mary, who puts on her best stone face and insists she would like to help, but she “must know the facts.” What is Mrs. Hughes to do? She reveals Anna’s secret, and Mary marches straight to her father and orders him to take Thomas to America instead of Bates, wearing that exact same stone face and saying, “I can’t explain it. If I could you’d agree with me.” I actually burst out laughing at this, despite the graveness of the subject matter. It’s so Mary. She expects her father to jump when she says jump and take her word that jumping is the gentlemanly thing to do in this circumstance. But by golly, nobody’d better expect her to take any request on faith.
All right, then, it’s settled, Bates stays, Thomas goes, Mary has a moment with Bates (“It wasn’t your fault, Bates. It wasn’t Anna’s, but it wasn’t yours, either”), and—HOLD ON EVERYONE, THE PIGS ARE COMING!
I absolutely love how every time anyone in this episode says “Pigs,” it starts with a capital letter.
Pig interlude over, we can go back to bidding Robert farewell. My second shout of laughter came at Cora and Robert’s parting scene. This dialogue—
“Oh darling. I do think your going to rescue my hopeless brother is an act of real love, and I cherish you for it.”
“That’ll keep me warm as I cross the raging seas.”
“Good. Now kiss me.”
—are you kidding me? We’ve left Melrose Abbey and entered John-and-Marsha territory. I can’t decide if Fellowes is punking us or what.
Thomas is looking forward to his report from Miss Baxter when he returns. Only Thomas could make an abundance of verbal italics come off as sinister. Molesley, loading the suitcases into the car with humble, gloved hands, overhears the italics and furrows a brow in concern.
Robert has tender words for Poor Edith, leaves Rose in charge of “fun,” chides Mary for being preoccupied, is too preoccupied to notice his mother is about to keel over, and admits he’s going to miss his dog Isis most of all. The post-war years have not been kind to Robert.
As soon as he drives off, Violet admits to Isobel that she feels ill. Isobel offers to help her home, but “that is the very last thing I would want.” Which means, of course, that Isobel’s help is the very only thing she’s going to get for the rest of the episode. She comes down with a nasty case of bronchitis, Isobel gamely volunteers to nurse her round the clock, the doctor makes eyebrows, Cora and Mary stand three feet away from the bed on their one and only visit to Granny during the whole episode, and Violet is every bit as mean to Isobel in her fevered delirium as she is in her highest spirits. Last week, the volley of barbs between these two characters was the funniest part of the episode, even if their scenes did have COMIC FILLER written in Sharpie across the top of every page. But this week, ugh. We get it. They annoy each other, they need each other, they have each other’s backs as long as they can grumble about it. Now give me back my Lady Sleuths show, please?
(Violet’s arch “Oh, goody goody” at the end of the episode was almost worth the price of admission, though.)
Mary spars with Charles Blake: he’s frustrated by the stubborn helplessness of the owners of “these failing estates,” and she’s shocked, SHOCKED I TELL YOU, by his suggestion that God isn’t weeping to see aristocrats losing hold of their lands.
Wait, did someone say Pigs? Even better! PIGMAN! There’s a Pigman, and he’s been hired! For the Pigs!
Tragedy strikes the servants’ hall: Alfred wants to stop in for a visit. Mrs. Patmore and Mrs. Hughes are Highly Alarmed, because undoubtedly his presence will reignite the Daisy/Ivy feud—you know, the one that never actually ceased, because it would kill Daisy not to mutter darkly in Ivy’s direction every five minutes. To prevent the reignition, the senior servants whisper plans back and forth through several scenes. I don’t know why they’re whispering; Ivy and Daisy can’t hear them anyway over all their feuding.
Anyway, the grand plan is to tell Alfred there’s flu at Downton and he must stay at the inn, lest he jeopardize his cooking course. I mean, this is one elaborate lie. Carson has to waylay Alfred right off the train and divert him to the inn, and stay and have a drink with him, and foot the bill. Back in the kitchen, Daisy hears Alfred isn’t coming and rips right into Ivy, fueled with fresh ammunition because obviously Alfred doesn’t want to return to the place where his broken heart is buried. Mrs. Hughes and Mrs. Patmore, listening to the warfare, congratulate themselves on having prevented it.
Later, Alfred will pop in anyway, flu be damned. More sniping! The End.
Mary has a heart-to-heart with Evelyn Napier about why Charles Blake seems not to like her. Since Napier’s heart is a timid little rabbit thumping away in his genteel breast, the closest he can come to proposing to Mary (which we all know he’s been wanting to do since the year the Titanic went down) is to tell her Charles Blake thinks he, Evelyn, is blind where Mary’s concerned. Mary’s not listening anyway; she’s still puzzling over the news that Blake finds her “aloof.”
She pesters Anna on this point: Moi? Aloof? “Do you want me to answer truthfully, or like a lady’s maid?” replies Anna, which is entirely too honest for Mary’s comfort. Mary immediately turns the subject to Anna’s secret, which she knows Anna knows she knows. Anna is not ready to talk about it, not to anyone, though she admits to being relieved there is “honesty between us again.”
Stop the presses, THE PIGS HAVE ARRIVED. Oh, but Mary missed it. It seems she was busy standing a safe distance from her grandmother’s bed at the time. Never mind, she can see them tomorrow.
Edith and Rose go up to London, each with her own secret plans. Rose wrangles permission to visit some Totally Respectable Friends, and is next seen floating down the river in a boat with Jack Ross, the jazz singer. He seems pretty level-headed about the future prospects of this relationship, but Rose is all, “Oh shut up and kiss me.” John! Marsha!
Edith’s secret is, of course, much graver. Aunt Rosamund ferrets the truth out of her: Edith has scheduled an abortion. This was a pretty touching scene: Edith’s anguished cry, “I’m killing the wanted child of a man I’m in love with and you ask me if I’ve thought about it” strikes home with Rosamund, who announces she’s going with her to the appointment. Once there, a heartbroken Edith confesses that she can’t bear the thought of being an outcast all her life, as will certainly be the case if she tries to raise a child born out of wedlock. She has always, always been the odd man, even (or especially) in her own home. She can’t let herself become some “funny old woman” living in isolation, endlessly gossiped about and received by no one. But then she hears another patient sobbing, and she changes her mind. Perhaps she can’t bear to be an outcast, but neither can she go through with the abortion. Rosamund takes her home, and we don’t yet know what Edith’s fate will be.
Rose pitches a dainty fit at the news she’s going back to Downton sooner than anticipated, and that’s about it for Rose this week.
But she gets more screen time than Tom, who is mostly busy around the fringes playing chauffeur, dog-watcher, and Greeter of the Pigs. But he does show up at the political meeting Isobel urged him to attend, and winds up sitting next to an amiable young woman—after both of them are singled out to embarrassing effect by the politician at the podium. I assume we’ll meet this new friend again? Here’s hoping.
BUT WHAT ABOUT THE PIGS?! I mean, the suspense has been something awful. Come on, Downton, you promised me Pigs.
Mary and Charles decide to wander out to visit the famous Pigs after dinner, still wearing their fancy dress. (Obviously. One mustn’t underdress for Pigs.) It’s a long walk, but no one gets chilly in a beaded dinner dress in England in the evening, and high heels are perfect for strolling across damp fields. At last we meet them, the marvelous Pigs. But oh no! Where is the Extremely Reliable Pigman? Off celebrating his lucky station in life, no doubt. And if you thought the Alfred situation was tragic, brace yourself: these Pigs are Not Doing Well At All. They’ve knocked over their water trough, and the brutal English sun has baked them to the brink of death.
Cue the special Pig Music! With no time to lose, Charles springs into action. Mary will not sit idly by and watch this loathed fellow save Her Pigs all by himself. It’s nice that there are four water pails so ready at hand. The two of them work tirelessly long into the night, saving the Pigs with carefully apportioned swallows of water. And it’s a well known truism of television that a rich woman never looks lovelier than when she is tastefully smeared with mud (preferably with a lock or two of hair wisping down), so down Mary must go, flop-bott. Charles looks upon her with new eyes, and when, having delivered salvation to her beasts, Mary laughs her throaty laugh, Charles is a goner.
Sorry, Tony Gillingham. Who by chance arrives the next day! But first Ivy has to stumble upon Mary and Charles in the kitchen at the crack of dawn, enjoying well-deserved scrambled eggs and glasses of Carson’s best wine. But no one’s at all suspicious of shenanigans, because Mary Wouldn’t Behave that Way. Well, except for that one time her foreign lover died in her bed and she had to drag his corpse down the hall, but come on. Bygones.
Mary does look genuinely delighted to see Tony. Her face softens and she’s very warm with him, and only jabs him once about Mabel. Seems Tony and Charles are old war buddies. Napier shuffles nervously: oh dear, more competition. It’s sweet the way he thinks he’s actually in the running.
But along with Tony Gillingham comes his valet, the rapist. Mrs. Hughes confronts him: I know who you are and what you’ve done. Green tries to pass it off as if Anna was drunk and willing, but of course Mrs. H. isn’t buying that. Now, here’s the part that confused me. He thanks her for not telling Bates he was the attacker—so he seems to have some inkling that Bates will kill him (probably literally) if he finds out. And yet a few minutes later, there Green is at dinner with the servants, spouting loudly and pointedly about how, on his previous visit, the opera singer was “screaming and screeching as if her finger was stuck in a door” and he escaped her performance by coming downstairs. He knows Bates knows that’s when and where Anna was raped. He’s just begging for revenge. He should have taken Mrs. Hughes’s advice to “stop playing joker, and keep to the shadows.” Because now Bates is looking murder at him, and the Melrose Abbey soundtrack tells us there is danger ahead.
But I very much fear I’m never going to find out what became of the Pigman.
Darling, I’m so glad you survived your time in the land of Prohibition.
(UK / DVD episode 8. Also, spoilers below.)
Proving it has its priorities firmly in place, this episode starts with the VIPs: the Very Important Pigs. Look at ’em, up and drinking, fat and sassy! Oh, what a relief. I’m only sorry we never got to meet that dastardly fellow, the Negligent Pigman. After the great trough catastrophe, Tom and Mary have decided to offer sturdy Mr. Drew, whose devotion to Yew Tree Farm has proven his mettle, the job of Keeper of the Pigs.
Let’s just take a moment to savor this: Downton Abbey is full of grown men and women who require another adult’s help to change clothes three times a day, but Mr. Drew can be trusted to tend these somewhat delicate Pigs and FARM AN ENTIRE FARM. In fact, he’s so reliable that Edith is eyeing him as a potential foster father for her child. (She’ll be talked out of that by Aunt Rosamund, but that comes later.) For once I’m not making fun of the show; I think this is a pretty realistic depiction. I have no doubt that Mr. Drew is fully capable of running his farm and tending the Pigs. And while Mary has shown that she can do a hard night’s work in an extraordinary circumstance (and even elegantly scramble an egg afterward), it’s amusing how different the family’s definition of “farming” is from Mr. Drew’s. When Mary and Robert speak of “farming Downton themselves,” they mean making plans and hiring people to carry them out. When Mr. Drew speaks of farming, he means getting up at 4:30 in the morning to check on the Grantham Pigs before milking his own cow.
A recurring theme throughout the four seasons of this show has been how much happier the upstairs crowd is when they have some real work to do. During the War, we saw Edith blossom as an aide to the recovering soldiers (and, later, as a newspaper columnist), and Sybil grew from a restless cause-seeker to a woman who found real satisfaction in her nursing duties. We began this season with Mary and Isobel in zombie states, six months after Matthew’s death. The spark came back into Mary when she was nudged into taking an interest in the management of the estate, and Violet basically applied a bellows to Isobel, dumping the problem of Carson’s down-and-out former friend in Isobel’s lap, fanning the embers of her do-gooder zeal back into the fire she runs on.
We’ve seen it with Cora, too, this season: so many scenes in which she looks absently up from a book, smiles benignly, and does nothing of consequence—she has seemed more like an amiable ghost than a person whose actions have any effect on the world. This week, Cora was zooming around in a whirl of bazaar preparations, and although her somewhat vapid remarks seemed designed to elicit eye-rolls from her family as well as the audience, the truth is that organizing an event on the scale of that one is a mammoth undertaking. If you tried to assign me that job, I’d run away with the Pigman. I appreciated Tom’s insightful “beast of burden” remark near the end of the episode, his recognition of how hard Cora had toiled over the bazaar. I still found myself wanting to roll my eyes at everything Cora said—I’m serious when I say I think the script wanted me to—but Tom’s right. We very seldom see Cora at work, but she does work. There are parts of her job she could do a great deal better; she’s been only superficially aware of Edith’s misery and Rose’s mischief all season. But she organized a mighty impressive bazaar, and I’m glad Tom gave her her props.
But I’m jumping ahead. This week saw the Dowager Countess back on her feet, poking Isobel with her customary relish. She drags Isobel in to help entertain Mary’s godfather and seems mildly surprised to see the distinguished widower taking an interest in our Mrs. Crawley. Lord Merton walks Isobel home, totally spaces that her son has died, and sends a gorgeous flower arrangement in apology. Did anyone catch his rank? I’m not sure I see Isobel remarrying (she’s too easily irritated), but it would be pretty funny if she married into a higher rank than Violet’s.
Through Violet, we learn that Uncle Harold is mixed up in the Teapot Dome Scandal, which I think a lot of us suspected, given the timing and the hints. So far, this plotline has had little effect on the Downton main players except to remove Robert and Thomas from the scene for a couple of episodes. Frankly, we needed a rest from both of them. Thomas’s absence has allowed a nice little relationship to flourish between Miss Baxter and Molesley, who is absolutely astonished to see himself through Miss Baxter’s eyes. She envies him his lifetime in a community that, in her words, respects him and likes him. Molesley, after sinking just about as low as he could go—reduced to digging roads and begging for a footman’s job—has finally encountered someone who doesn’t view him as the ultimate sad sack. It’s quite sweet.
Violet’s other occupation this week is to ferret out the truth about Edith, and to respond with deep understanding. Rosamund has tipped her mother off that Edith “needs cherishing,” and when, shortly afterward, Rosamund makes a sudden visit to Downton to announce she’s taking Edith to Switzerland for several months—to improve her French—Violet does the math. If she tsk-tsks Edith, we never see it. Instead, she offers to pay Edith’s travel expenses. Edith is not exactly happy about the plan—it kills her to think she won’t be any part of her baby’s life—but she’s relieved not to have to tell Cora she’s pregnant, at least.
Another round of Alfred Drama sets the kitchen crowd fluttering once again, but mostly only because no one wants Daisy know what’s going on. Since the tactic Mrs. Patmore and Mrs. Hughes apply to Hiding Things from Daisy is to make alarmed faces at her every time she walks into the kitchen, Daisy susses out the truth pretty quickly. Alfred has written to propose to Ivy; Ivy has turned him down; and now Alfred is going to swing by Downton to say goodbye forever. Mrs. Patmore sends Daisy off to visit her father-in-law, Mr. Mason, to spare her the pain of watching Ivy break Alfred’s heart one last time. But Mr. Mason persuades Daisy to go back and say a real goodbye to him, leaving “nothing jagged, nothing harsh” between them. This is probably the wisest advice anyone’s ever given Daisy, whose heart is full of jagged edges, and she carries it out so gracefully that for the first time we have hope she may not turn out a bitter, sharp-tongued shrew. Mrs. Patmore’s heartfelt praise afterward (“I couldn’t have been prouder if you were my own daughter”) clearly touches Daisy. Actually, Miss Baxter’s words to Molesley apply very much to Daisy as well—in her eleven years at Downton she has developed quite a supportive (if sometimes overzealous) network of friends, whether she realizes it or not. Including Mr. Mason, who is basically a more talkative Matthew Cuthbert. Daisy, like Molesley, is luckier than she realizes. Perhaps someday we’ll see her realize it.
Charles Blake and Evelyn Napier announce they’ll be ending their prolonged stay at Downton, both of them leaving their hearts at Mary’s feet. (Mary fails to notice Napier’s and accidentally kicks it under the sofa, where it will lie forgotten until 1941, when a young London evacuee will discover it and it to his collection of birds’ eggs and owl pellets.) Before Charles goes, however, he jumps another notch in Mary’s esteem by demonstrating his undaunted willingness to do that which most Downton upstairs folk quail from: he voluntarily holds Baby George, and even seems to like it. First Pigs, now babies. (At Downton we don’t uppercase babies; that might make them think we’ve remembered they exist.)
To make sure Mary is well stocked up on attention before her suitors depart, Tony Gillingham sends word that he’s going to stop by for the night. For Anna, this is terrible news: it means another encounter with Tony’s valet, Mr. Green—and another opportunity for Mr. Bates to put two and two together about the identity of her rapist (but he’s already done that math, hasn’t he). Anna, distraught by the prospect of Green’s return, finally reveals to Mary that he was her attacker. Mary is horrified and wants to notify the police, but Anna swears her to secrecy. If Bates learns the truth, he’ll kill Green and hang for it; of this everyone in the know seems quite certain. Because obviously, Anna’s rape is All About Bates. I’m sorry, I’m so disgusted with this entire narrative thread.
Including the way every major scene involving Bates (all season) seems to take place in the bootroom—the site of Anna’s attack. Green is the villain, but it’s Bates we see here, over and over, making his sinister, brooding faces. It’s here Bates badgers Anna about Green’s return: “And Mr. Green? He’ll be coming back? Have you gone off him? You liked him so much when he first came.” WE GET IT, BATES. Don’t be a monster. But Green will arrive, and Anna will go tharn at the servants’ table, sickened by his presence, and Bates will ask leading questions about where exactly in London Green lives, furthering Anna’s torment. I miss first-season Bates. Season 4 Bates is worse than Thomas. At least Thomas doesn’t pretend to be anything but self-serving.
Tom and Isobel go to Thirsk, the small town six miles from Downton, where Tom spies Rose caressing Jack Ross’s cheek in a restaurant. Back home in the village, Isobel and Tom (who spend a lot of time together this season; it’s quite sweet) bump into Sarah Bunting, village teacher, the young woman Tom met at the political meeting last week. This was my favorite scene of the week, because of the way Isobel rushes to speak up on Tom’s behalf when he won’t. He’s a keen political thinker, she informs Sarah, unafraid to question his own beliefs. Tom’s been in such existential turmoil lately, it was nice to see Isobel characterizing it in a way he might be able to make his own peace with. Isobel gives Sarah Bunting a stamp of approval too: “She knows her own mind”—a quality Isobel appreciates in everyone except Violet.
Back home, Tom takes his uncomfortable Rose secret to Mary. (Best moment of the week: his absolute panic when Mary asks why he isn’t in tails for dinner. After all, Granny’s coming. Poor Tom.) Mary takes the Rose news in stride—it wasn’t a total surprise to her, after all, since she caught them making out weeks ago. She’ll deal with it.
At dinner that night, the main course is We’re All in Love With Mary, with a side of Thinking Is a Dangerous Occupation. Tony’s been rambling around Scotland having epiphanies while Charles and Mary were being perfectly splendid at rescuing Pigs. In the morning, Tony confesses to Mary that he has broken his engagement with Mabel, not that Mabel knows it yet. Mary still can’t promise to marry Tony, however, she’s “not on the market.” Honey, this season you are the market. Next morning, her trio of admirers departs, leaving the ladies behind to debate the best collective noun for suitors, while Mary smiles serenely and pretends to be annoyed.
Regarding the matter of Rose’s suitor, Mary plays a more active role. Rose declares she’s going to marry Jack Ross, they’re totally in love and also it will really upset her mother. Mary immediately makes plans to go to London the next day, where she will pay a visit to Jack Ross and put the kibosh on the wedding plans. Now, this is a show that thrives on making high drama out of mild events (“Alfred’s coming for a visit? BATTLE STATIONS, EVERYBODY!!”), but then we’ll have a storyline that might conceivably be expected to generate some theatrics, and it’s defused in the most mellow fashion, over a cup of tea. Jack thinks Mary is underestimating Rose’s mettle, but no worries, he’ll call off the engagement anyway. He loves Rose and doesn’t want her to have to face the societal censure she’ll incur by marrying a black man. Sorry, Rose.
Anna is spending the night in London with Mary, freeing Bates to head off to York on mysterious errands of his own. Mary lunches with Tony Gillingham, swatting away a few more declarations of undying devotion, including the news that Tony has broken his engagement to Mabel, who by all accounts is as good a sport as Jack Ross. But Mary’s real purpose in meeting Tony is to ask him to fire Mr. Green, no questions asked. Naturally, Tony agrees. Mary says jump, you jump. (But would Charles Blake jump? I’m not so sure. I think he’s a better sparring partner for Mary. Sigh, I miss Matthew.)
Tom happens upon Sarah Bunting, stranded by the side of the road with car problems. She’s surprised to learn Lord Grantham’s son-in-law is actually out on estate business—she assumed it was a figurehead position—not to mention that he knows his way around a car engine. Tom fills her in on his past. This makes Sarah “take a kinder view of the family”—she doesn’t generally “warm to their type.” “I don’t believe in types,” says Tom. “I believe in people.” So now I want to run off to America with Tom.
Back at Downton, look who’s in the bootroom! It’s Bates, being secretive about what he did in York all day. “This and that.” He’s not even trying to put on a front for Anna anymore. He’s been a total Mr. Hyde this whole episode. Dear Julian Fellowes, this is why my husband won’t watch the show with me anymore.
The day of the bazaar arrives, sunny and beautiful. Look—a miracle! There’s Mary holding baby Geo—nope, wait, she’s handing him back to Nanny. Whew, I thought the earth was going to crack open there for a second. Rose pouts to Mary about her nixed engagement; Molesley, basking in Miss Baxter’s admiration, trounces Jimmy at a game of Ring the Bell; and menfolk converge upon the Downton women from all directions. Robert’s back! Tony Gillingham’s back! Charles Blake is back! Sorry, Edith, no one here for you. Have some ice cream.
Robert’s return is wreathed in smiles. Actually, the way Edith lit up in genuine joy when she saw him was very touching. Even Mary smiled, like a real smile that showed teeth, and the sight was so startling I realize how seldom we’ve seen her that way. Cora and Robert have a reunion as loving an affectionate (and, yes, cornily written) as their parting last episode. The warmth between these two has been given a lot of screen time this year.
His mission was successful; Uncle Harold is saved. We’ll get to meet him next week in the final episode of the season. (And since he’s played by Paul Giamatti, I can’t wait.)
Lord Gillingham brings less cheerful news. I’m sure we were all shocked (shocked!) to learn that his valet, Mr. Green, is dead. Stumbled and fell into traffic the day before. Mary still won’t tell Tony why she wanted him to fire Green, and I’m sure he doesn’t suspect anything when she immediately walks over to Anna and tells her the news. That’s about when Charles Blake shows up, and Mary pulls him aside to ask his advice about turning in a man you suspect of committing a crime you personally believe was a very good crime to commit. Charles says he’d keep quiet, which is what Mary is hoping he’ll say but is a reaction that makes very little sense. Who can answer a hypothetical like that? What kind of crime, Mary? There’s a pretty big range of possibility there. Charles, I thought you had more gumption.
Anna murmurs to Bates that she wishes she knew what he’d been up to the day before. He says, “You know me, when I do a thing I like to have a very good reason for doing it”—which is TOTALLY NOT SUSPICIOUS AT ALL. You’d think his time in prison would have taught him how to cover his tracks better.
Of course Robert’s return means Thomas is back, too. He sidles up to Miss Baxter and starts picking for secrets—always with the everlasting secrets—but Molesley nips at him and escorts Miss Baxter away. Anticlimactic return for Thomas.
Now all that’s left is for Mary’s suitors to proclaim their determination to wait as long as necessary for her frozen heart to melt in one direction or the other, and let’s all raise our glasses to the best bazaar in Downton history, or least since Violet was in charge.