Queen VICTORIA

Article first published as VICTORIA Review on Seat42F.

PBS’ Masterpiece presents a new drama this week called VICTORIA. Centered around the long-reining British queen of that name, the show originally aired in the UK, and is now coming to the states, the first two hours premiering this Sunday. The initial offering deals with Victoria taking the throne, befriending the prime minister, and her struggles between what she wants personally and what the politics of the country demand.

Although not a fan of Jenna Coleman’s Clara in the series Doctor Who, I do like her better as Victoria. She does a fine job portraying the young, short queen (only eighteen when she took the throne, and under five feet tall) as she comes into her own.

Victoria has a very sheltered childhood, controlled as she is by her mother (Catherine Flemming, Simones Labryinth) and her mother’s close pal, Sir John Conroy (Paul Rhys, Da Vinci’s Demons). When she gets that first taste of being in charge, it goes to her a head a little bit. Coleman keeps her sympathetic through those bits, helping us understand why Victoria makes the decisions she does, and rationalizing the more selfish ones.

I also like Rufus Sewell (The Man in the High Castle) as Lord Melbourne. He and Victoria had a special relationship, and while the way it is shown in VICTORIA isn’t wholly accurate, I like this chemistry, too. It avoids being romantic, which is certainly a good thing, but I do get that Melbourne really cares for her, and that’s important as Victoria transitions into power.

Other than that, though, this series, while interesting, isn’t overly compelling. Some of what is portrayed is relatively factual, historically speaking, but other parts are dramatized to try to add more excitement. This seems unnecessary, and feels forced, especially in making Melbourne so attractive. What happens with Victoria’s birthday cake is a good example of something that didn’t need added in, as is the scheming of relations behind her back. The show could have focused more on the real things, such as the possible scandal with Sir John, which is gotten through pretty quickly, rather than adding excess drama.

I would point to The Crown on Netflix as an example of how to do things better. It doesn’t help VICTORIA that its U.S. release comes just after The Crown has gained steam and awards. (It hadn’t yet premiered when VICTORIA aired across the pond.) The Crown keeps things more grounded, less episodic, and that makes it stronger overall. VICTORIA should take note of that as it develops season two, changing course to feel more like a docudrama and less like a soap. I doubt it will, but that would be the smart move.

The other comparison VICTORIA is sure to rate is to Downton Abbey, mainly because there are plenty of scenes for the servants, including the queen’s German baroness, Lehzen (Daniela Holtz, Phoenix), Mrs. Jenkins (Eve Myles, Torchwood), and the young Skerrett (Nell Hudson, Outlander). I feel like this is a bit of an odd choice because the household of a queen would have a LOT more servants than Downton Abbey, and yet it doesn’t feel like it does because VICTORIA focuses on such a small group. Which again, takes me a bit out of the story, and feels like an odd choice for a show about the queen herself.

Neither comparison, to Downton Abbey or to The Crown, leave VICTORIA the better for it. Taken on its own, I found it entertaining and beautifully produced. By comparison to its peers, it feels trite and superficial, as well as more soapy than it should be. For that reason, I can’t see continuing to watch it, even though it has been renewed for a second series overseas.

VICTORIA premieres this Sunday, January 15^th, at 9/8c.

Leaving DOWNTON ABBEY Once More

Article first published as Leaving DOWNTON ABBEY Once More on TheTVKing.

*NOTE: This more an opinion piece than my typical review. As a fan of the series and the characters, it serves as a string-of-consciousness musing about the relationships and some of the threads of this past season. Your opinions may differ.

Now that another season of Downton Abbey, the British period drama airing on PBS, has come to an end, we can look back at the fourth season and reflect on what the show did both right and wrong. Overall, despite a gloomy start, it was a much lighter year than the last, and other than one major misstep, the story was quite good.

The finale itself was quite satisfying. Not only do we get the conclusion of some nagging stories, but the cast goes to London, providing a fresh setting. The servants' trip to the beach at the end is even more novel and amusing. There's an exciting story of espionage and scandal that doesn't ruin any of our characters' good names. There are absolutely fantastic moments for both the Dowager Countess (Maggie Smith) and Mrs. Crowley (Penelope Wilton), always welcome. Plus, Shirley MacLaine returned, and Paul Giamatti's part was much better than expected. It was a nice way to go out.

But really, most fans of Downton Abbey watch for the romance. The main thrust of much of the drama of the show revolves around who will be with who, and what will happen for them. There are other stories, to be sure, but not nearly as many that don't involve love, it seems. So how have the various pairings shifted this season?

A major arc this year involved Lady Mary's (Michelle Dockery) re-entry into the dating world. A wealthy widow, heir to a great estate, cannot allowed to remain single long. She was pursued by two suitors - Anthony Gillingham (Tom Cullen, World Without End), someone she considered "one of her own kind," and Charles Blake (Julian Ovenden, Foyle's War), who seemed out to bring down the aristocracy. Despite the easy decision on paper, Mary found herself torn between the two, unable to choose, even by the season finale.

It's nice to see Mary smile and be happy. She grieved an appropriate amount of time for Matthew, and then allowed both men to grow on her in pleasing ways. Both would make a good match, but I'm glad the question hasn't been settled yet, given how much fun it has been to see them both compete. It would not remain fun if it were stretched out after many years, but another season would be perfectly acceptable. Unlike when Mary was last eligible, there isn't any one man she's destined to be with, so there's a bit of suspense in the arc. As a firm supporter of "Team Blake," I was glad to see Charles get a leg up in the latest installment, hoping that's a sign that he could win in the end. But however it turns out, Mary declaring game on at the end was a terrific turning point for her.

Lady Rose's (Lily James) romantic prospects were not so cheery. I really liked her dalliance with jazz singer Jack Ross (Gary Carr, Death in Paradise) while it lasted, but it did seem pretty clear that a major part of Rose's attraction to Jack was the trouble it would cause. Besides, she's young, and it's enjoyable to see her single and carefree during her big coming out party, leaving the door open for times to come.

I'm not a fan of Tom (Allen Leech) and the school teacher Sarah Bunting (Daisy Lewis) being together. It's not that she's not an intellectual match for him; she is. But I don't see the chemistry and can't help but think Tom needs to determine his own path forward between the worlds before getting remarried. The arc of Tom feeling stuck in the middle of his roots and his new life has grown weary, but that's exactly why it's time for him to find a calling to dedicate himself to.

On the other hand, I am certainly in favor of Baxter (Raquel Cassidy) and Molesley (Kevin Doyle) being a couple. Molesely has been through some real down times, and while that befits the personality of his character, he doesn't deserve many of his troubles, and its gratifying to see him smile. Baxter spends much of this year being bullied by Thomas (Rob James-Collier), and it's awesome to see Molesley stand up for her, her knight in shining armor, an unlikely role for him to be cast in. That makes their pairing so perfect. Can we please see them marry next year?

So far, the servants have not had a good run of marriages. The only pair portrayed is Anna (Joanne Froggatt) and Mr. Bates (Brendan Coyle), and they've seen nothing but misery. This season's story of Bates killing Anna's rapist is depressing and sucky, something unnecessarily piled on. Mary almost turning Bates in is also completely unacceptable and out of character. Basically, everything surrounding this plot didn't belong in Downton Abbey and served as the significant weak point in an otherwise good year. Thank goodness it's over.

The other bit of bad luck is that annoying Daisy (Sophie McShera) didn't take the job offer in America, but at least we got rid of the almost-as-annoying Ivy (Cara Theobold) in the process. Now it's time for Mrs. Patmore (Lesley Nicol) to hire some decent help.

The season finale this year hints at something between Mr. Carson (Jim Carter) and Mrs. Hughes (Phyllis Logan). Yes, there have been signs of this before, but never such an obvious moment as when they hold hands while wading into the sea. The show might never "go there" for them, but wouldn't it be sweet if it did? There's obviously deep affection between them, and fans would love to see it. Why not?

Lastly, we get to Lady Edith (Laura Carmichael). Her love lost and her baby given up, she sinks into a dark place. This story was mixed for me. I absolutely loved how Lady Rosamund (Samantha Bond) comes to her aid, and was pleasantly surprised that the Dowager Countess acted mostly without judgment towards Edith. I also liked how Edith ignored them both and went to get her child back, something very much in keeping with her independent personality. The resolution, though, that Edith would have Tim (Andrew Scarborough) secretly raise the child for her was weak sauce. Edith needs to act like a mother, no matter what her family thinks.

In all, though, season four was a good one for Downton Abbey. Some have complained that it's disjointed and makes drama just for the sake of drama, and it does. But it's beautiful and well acted. Even when the writers make dumb mistakes, they usually get sorted out or moved past quickly enough for the show to go on, and there's always other examples of good writing in the same episodes. It's soapy but it's just different enough from other soapy works to really land. I look forward to season five.

DOWNTON ABBEY Getting Over Grief

Article first published as DOWNTON ABBEY Review at Seat42F.

The British series DOWNTON ABBEY returns to PBS this week with the first two hours of its fourth season. It’s been six months since the events of last year’s finale, and while life has gone on for much of the household, there are a couple of individuals finding it hard to get past their sorrow. This is the focus of much of the first couple of installments, though likely won’t dominate the year.

DOWNTON ABBEY is the kind of series that takes a long time to make changes. Characters and plots do grow, but the development is slow, over the course of many episodes or even seasons, rather than immediate. That means that the latest episodes feel more like a continuation of the same familiar tale than the start of anything new.

Many fans have been waiting most anxiously to find out how Lady Mary (Michelle Dockery) is doing. Having lost her husband, Matthew, in the season three finale, as one might expect, Mary is anything but adjusted in season four. She is numb with grief, not having dealt with her feelings yet, even though a good amount of time has passed. This leaves her unable to function much at all.

Those who surround Mary are divided over how to treat her. Her father, Robert Crawley (Hugh Bonneville), thinks she should be protected from the world, shut away until she is ready to come out. Brother-in-law Tom (Allen Leech) and grandmother Violet (Maggie Smith) think quite the opposite, believing that putting Mary to work will draw her out of her cocoon. A few others get the chance to put in their opinions before this is resolved.

The question raised here is not necessarily the best way to move on from sadness, but what is right for the individual in question. While Isobel Crawley (Penelope Wilton), the departed’s mother, is also lost at first, the way Mary and Isobel come out of it, similar as it may be, definitely relates to their personalities. Grief is a deep emotion, tricky to navigate, and DOWNTON ABBEY does a fair job working through these situations, keeping them interesting and authentic to the characters.

Although Matthew is dead, he still instigates one more development, which makes quite a bit of impact late in the two hours. It’s not something hokey or contrived, really, but rather a natural story point for the established characters. Without spoiling anything, I will say the person most affected is Mary, and fans of the couple should be quite pleased. It also moves the story along in a direction that should be seen coming, but feels a bit surprising, in a good way. I look forward to see where it goes from there.

Lady Edith (Laura Carmichael), Mary’s sister, also faces some change in her life. Hers is a bit more predictable, but still, it’s nice to see plot for an interesting character.

The servants’ side of things is no less served. Mr. Molesley (Kevin Doyle) finds himself out of work now that Matthew is deceased, cards from secret admirers shake up the house (which leads to an incredibly sweet scene that I didn’t see coming), someone who rejected a potential romantic partner may be changing their mind, a new appliance is added to the kitchen, and a figure from Mr. Carson’s (Jim Carter) past reaches out. All of these are fun and compelling stories that keep the same spirit fans of the show love. It also helps balance out the more depressing stuff, making for a nice flow and tone.

Of course, not everyone sticks around forever. As had been widely reported last summer, Mrs. O’Brien (Siobhan Finneran) is out, a fact dealt with very early on. But, in keeping with DOWNTON ABBEY’s propensity to bring back familiar faces, even those who seemed to be brief stories that already ran their course, O’Brien’s replacement is someone we’ve seen before. And she’s not the only one from earlier seasons whose name pops up again.

I don’t completely like the method of O’Brien’s departure as I’m not completely sure it’s in keeping with who she is. O’Brien is known to be extremely loyal to Cora (Elizabeth McGovern), ever since that incident a few years back. Yes, O’Brien doesn’t always feel appreciated (because she isn’t), and her leaving is telegraphed last season, but it still seems just a little off. Hopefully this will be resolved with a future appearance, as the story leaves the door open for a return, at least in a guest starring capacity.

Besides O’Brien’s successor, another new staff member is present at the start of the season. Nanny West (Di Botcher, Stella) is charged with taking care of Mary’s son and Tom’s daughter. I won’t say you’ll like Nanny West, but I definitely found her subplot entertaining.

And Cousin Rose (Lily James) is now part of the central cast. She gets into trouble, of course, and as the young rebel in the house, will probably be a driving force behind story this season.

DOWNTON ABBEY is a memorable drama series that I look forward to. Judging by these first two hours, that won’t be changing anytime soon.

DVD Review: ‘Misfits Season Three’

Article first published as DVD Review: ‘Misfits Season Three’ on Blogcritics.

Misfits Season Three was recently released on DVD by the BBC. In these eight episodes, the familiar not-quite-heroes figure out their new powers, but more importantly, try to decide what they want for themselves in their lives. It’s a series with super-human abilities, but the characters are extremely down-to-earth, and their complicated relationships, both within and outside of the group, are the focus of the story.

As season three begins, Nathan (Robert Sheehan) has moved to Vegas with his lady love, leaving a hole in the central gang. It is quickly filled by Rudy (Joseph Gilgun, Emmerdale), a young man who is as obnoxious and overly sexualized as Nathan, but who is more open about his insecurities that make him that way. In this manner, Rudy does not quite replace Nathan, but serves in a similar capacity, while also deepening the archetype in a new and engaging way.

Rudy’s power is that he can split himself in two, essentially separating his good side from his bad, though neither personality is as extreme as one might expect from watching other science fiction shows. It’s cool that Misfits takes such an old trope and puts their own unique, grounded spin on it, as the series has done with other superhero elements. This also provides an appropriate conceit to illustrate Rudy’s inner turmoil.

In season two, viewers saw a badass future version of Simon (Iwan Rheon) come back in time to save his lady love, Alisha (Antonia Thomas), only to die in her arms. In this third outing, young Simon is striving to become that man, though Alisha doesn’t want him to be, as the end result would be her losing the guy she cares deeply about. Must Simon fulfill his destiny, or can time be re-written?

This question plagues the story for a lot of season three in a very intriguing way. There is an examination of fate, and a discussion about whether Alisha would just disappear if Simon doesn’t go back, or if, now that she’s been saved, she’ll be OK. Ultimately, the fate of Simon and Alisha is both poetic and poignant, not quite answering these queries, but providing a satisfying conclusion just the same.

Kelly (Lauren Socha) soon discovers her new power, being a rocket scientist, isn’t all it’s cracked up to be, especially when people have a hard time taking her seriously because of her physical appearance and accent. Similarly, Curtis (Nathan Stewart-Jarrett) has many difficulties with his ability to turn into a girl, especially when sex is involved. Both of these seem more like comic relief than Simon and Alisha’s plot, but find room to delve into pathos occasionally, too.

Most of the eight hours in season three are concerned with these character-driven arcs, as well as Kelly’s relationship with power broker Seth (Matthew McNulty). But a couple of installments interrupt most of the forward momentum to present an alternate, Nazi-controlled timeline or battle zombies. Misfits is stronger in keeping to the bigger stories, not being bogged down in weekly stuff, so thankfully there is much more of the former.

At the conclusion of the season, the past comes back to haunt the group, quite literally, as three of the characters they previously killed (including a Downton Abbey star) return as ghosts that can interact with the physical world. It’s a cool callback, especially as most of the central cast ends their story permanently, and a prompt to examine what has happened to the characters, as well as who they have become. It’s a wonderful ending.

The three disc set includes a few special features. Each episode has around 3 minutes of Behind the Scenes footage, too brief to be very informative, but it does give us a glimpse of what happens on set. The featurettes on visual effects and stunts are more than ten minutes each, and go a bit deeper, though also aren’t anything special, too technical for the casual fan, but too light for those actually excited about such things. And there’s an “On the Set” bonus that is interesting.

The best inclusions are two extended webisodes, “Vegas” and “Erazer.” “Vegas” is what happens to Nathan after leaving the group, giving us a glimpse of what he is up to now. The story is totally in keeping with the established character, whom is missed, so the mini-episode is welcome. “Erazer” explores a brand-new hero, which kind of makes it case-of-the-week stuff, but it’s short and artistic and presented separately, so it’s more fascinating than distracting to the overall story.

That makes this a great set for Misfits fans, a fitting continuation of the story. Misfits Season Three is available now.

Suits goes to "War"

Article first published as Suits goes to "War" on the TheTVKing.

The characters in USA's Suits have had a rough season, what with Daniel Hardman (David Costabile) returning to the firm he helped found, trying to wrest control away away from the current partners, and then other firms smelling blood in the water and circling. In the season finale, "War," though, the biggest threat comes not from the outside of Pearson (Hardman?), but from the inside.

It's hard to tell which person the threat lies with. Jessica Pearson (Gina Torres) thinks the best course for the firm that she runs is to merge with a British company run by Edward Darby (Conleth Hill, Game of Thrones). However, Harvey (Gabriel Macht) disagrees, and does his best to thwart the arrangement.

Does Jessica have the firm's best interests in mind? Or is she just trying to put Harvey in his place? She's right that he acts like he has equal ownership in the place, so she has a point in wanting to humble him. But if Harvey truly believes that combining forces with Darby would be a mistake that will cost them all, then he might have good intentions, too. It's likely both Jessica and Harvey are motivated by selfishness and pride, as well as their stated purpose, so it all comes down to differing viewpoints, and not being able to back away from a confrontation with each other.

When combined against a common enemy, Jessica and Harvey are on the same page. Now, they clearly are not, making the workplace not nearly so harmonious. Is it because they do believe different things, or because they have been in fight mode for awhile, and are having trouble getting out of it? They still have aggression, and without Hardman or someone to direct it against, they end up turning on each other.

I worry about how things will progress in season three. By the end of "War," it seems that all trust between Jessica and Harvey is gone, both having cheated and played dirty to get what they want, with Jessica coming out on top. Harvey appears to be willing to play her game and get along, but it could just be a show, with him biding his time and plotting his next move. And maybe Jessica assumes that is what he's doing, so she's wary of him. There is a lot of tension there, and until the air clears, there will much discord between two characters, both beloved by fans.

What is very much up in the air is how Brady will fit into the chemistry. Will he be hands off, leaving Jessica to run things as she sees fit? Or will he interfere, meaning that Harvey is right, and Jessica will have to make up with Harvey to throw off the yolk of yet another dictator? Will he try to broker peace, or let them fight it out?

Sadly, the way Jessica wins is by using Mike (Patrick J. Adams), blackmailing him into turning on Harvey, his mentor and friend. Harvey takes the betrayal very personally, trying to fire Mike, who is now protected be Jessica, but who doesn't want to stay there that way.

Mike is put in a very difficult position. Jessica is his boss's boss. Mike can be forgiven for confiding in her initially, since he's seen Harvey support her all this times. Mike tried to find a way out himself, with double blackmail, but it didn't work. I don't know if Harvey could have protected Mike had Mike refused Jessica's orders. Surely, at some point, Harvey has to realize this. On the other hand, if Harvey thinks Mike put self-preservation above loyalty, understanding isn't going to do a whole lot of good, one way or the other.

We see just how bad things are for Mike in the file room at the end of "War." He is near tears, feeling like he has lost everything, and in a way, he's right. Adams does a superb job handling the roiling emotions, and it's a terrific scene for the actor, dealing with the fall out from a no-win scenario.

Then Rachel (Meghan Markle) comes in, mad at Mike for dodging a favor, and it's just too much. I've long been wanting Mike to tell Rachel the truth, and in this moment, if he doesn't, he could lose her forever. And so he spills his guts, and it results in hot sex, which they both need right then. They may be in dark places, professionally speaking, but at least they have each other, and that will help them. It's a bright spot on the horizon, one that will hopefully last this time.

I'm glad Mike and Rachel get the happy romantic scene, since Harvey's admirer, Scottie (Abigail Spencer), is tossed to the curb. Or is she? At Donna's (Sarah Rafferty) advice, Scottie sends a pretty clear message to Harvey about her interest in him. Even though Harvey is skeptical at first, it's enough to spur him to convince Brady not to fire her.

But will Harvey choose to work with her in New York, or send her to London? I'm guessing London, which would effectively end things between them. However, Harvey has shown some signs this year of maybe wanting to settle down, and if Scottie is a possibility, this could make for a whole other Harvey in season three, maybe one who is willing to extend an olive branch and an apology to Jessica.

Of course, Harvey could also be interested in Donna. Yes, I am glad the show doesn't go there because it's such a predictable move, but one of these days Donna is going to have to give a straight answer, while looking the questioner in the eyes, about how deep her feelings for Harvey go.

I would be remiss is I did not mention Louis (Rick Hoffman) in discussing "War." Not only does he have an amazing scene with Donna early in the episode, and we see him be a friend to Harvey, and he does the right thing in regards to Rachel, but he also has his own subplot with a potential new friend working for Brady, whom Louis sabotages a fledgling relationship with because he can't sacrifice the pride he has in his job.

I don't know if I like Louis more for sticking to his guns, even if it costs him a comrade, who I really hope pops up again, or am frustrated that he doesn't show his compassionate side here. We know he has one, and the interactions he has with each of the other cast members are phenomenally good. I do believe Hoffman's performance this year to be Emmy-worthy. Yet, Louis is a frustrating man, and it's hard to know when to love him or loathe him sometimes.

I have heard that opinions on this Suits finale have been mixed. For any detractors, I recommend watching again and just looking for the character moments. The movie and TV references are funny (nice Downtown Abbey one this week), and the cases are intriguing, but the leg up Suits has over its peers is just how well defined and performed the people featured are. These actors are doing incredible work, surely backed up by some truly smart writing. The moments that soar are the ones that display honest communication between any two of the main characters. This is why I love Suits, and will defend it vigorously.

Suits will return for a third season this summer on USA.

Downton Abbey celebrates romantic Christmas

Article first published as Downton Abbey celebrates romantic Christmas on TheTVKing.

Grade: 94%

PBS completed its airing of Downton Abbey's third series this week with the hour-and-a-half Christmas special. While much of the drama does usually revolve around romance, this installment kicks it up a notch, and for awhile, it seems like everyone is coupling up. Which is a sweet note to end the year on, even if they all won't work out.

Robert (Hugh Bonneville) Crawley, Cora (Elizabeth McGovern), and their closest relations are invited to Duneagle Castle, the home of Violet's (Maggie Smith) niece, Susan (Phoebe Nicholls, Brideshead Revisited). Unfortunately, during their stay, it becomes increasingly obvious that Susan and her husband, Shrimpie (Peter Egan, Death at a Funeral), don't get along in the slightest. This leads to Robert appreciating Cora more than ever.

Robert and Cora's marriage isn't always smooth sailing. We've seen some up and downs, especially when losing a child. However, they always manage to work things out, and there is real, tangible love between them. We see this in their occasional quiet moments alone. Contrasted with such a terrible pair, it's nice to know that our protagonists recognize that they have something special, and remind each other of it.

Susan and Shrimpie make the wise decision to try to spend some time apart by the end of the episode, but they do have a problem: what to do with their daughter Rose (Lily James, Secret Diary of a Call Girl). Why, send her to Downton, of course!

I'm not sure yet if I like Rose, but she will certainly add some conflict to the upcoming fourth season, in which she has been promoted to main character. She will surely clash with the more traditional members of the household, and test the family's patience as she acts out even more than their own daughters have. It should be scandalous, if nothing else. As long as she doesn't bring ruin on the family, she will likely be more fun than annoying. Maybe even get some of the others to lighten up.

Anna (Joanne Froggatt) and Mr. Bates (Brendan Coyle) don't have much story in this Christmas special, but it's satisfying just to see them enjoying one another's company. After the far-too-drawn-out arc that lands Mr. Bates in prison, getting to witness them spending time together will bring a smile to many a face, and that is all we need from this couple for now. They deserve some peace.

Lady Edith (Laura Carmichael) is denied her own peace when her editor, Michael Gregson (Charles Edwards) follows her to Scotland. Physically, he looks a lot like Edith's previous suitor, though younger and healthier. Sadly, he comes with his own baggage that makes it impossible for them to be together. Edith definitely has a type. The family would like to warn Michael off, but Edith, as usual, will have none of their meddling, preferring to settle her own matters of the heart.

I do feel bad for poor Edith. After everything she has been through, she just can't find an easy path to love. There is much to admire about her, and she has firmly established herself as a character that should be well liked and respected. If she wants Michael, she'll get him. But let's hope that his wife, locked away for the past several years in an asylum, dies first, providing a convenient resolution to their issue so that she can finally be happy.

This isn't about any couple of characters, like the other paragraphs in the review are, but it is highly amusing to see Mrs. O'Brien (Siobhan Finneran) tussle and come out ahead against her Scottish counterpart, Wilkins (Simone Lahbib). O'Brien may be the least pleasant member of the cast, but at least she's one of ours, and Wilkins proves to be even more grumpy. Plus, their little battle of wits leads to a drunken dancing Mr. Molesley (Kevin Doyle), which is a sight we definitely needed to see.

Back at Downton, Tom (Allen Leech) is left to mind the house by himself, making him easy prey for the new maid, Edna (MyAnna Buring, Ripper Street). This does shine a light on the fact that Tom is lonely, and deserves a little happiness. Maybe that will be in the cards for him next year.

For now, though, Edna is acting highly in appropriate, and I am glad to see her promptly fired. No matter what Tom's background is, he's a gentleman now, part of the upper crust. It's one thing for him to dine with his former co-workers in the basement. It's quite another for him to take up with one of them in his in-laws' house. Maybe Tom's next romance will be from the lower class, but it cannot come among the staff at this particular place. It would be a slap in the face to Robert, and Tom would wind up being a driver again.

While most of the Crawleys are away, the staff decides to take a little break, much to Carson's (Jim Carter) dismay. Carson is entirely too stuffy for his own good, and like Robert, he needs to modernize a bit. However, we do get to see a softer side of him as he bonds with baby Sybil, a welcome glimpse of the soft heart we all know he tries to hide so well.

Isobel (Penelope Wilton) spends some time with Dr. Clarkson (David Robb) in this episode, who would like to begin something serious with the widow. It's disappointing that Isobel isn't interested, because it would be nice to see her with a man for a change, but at the same time, one has to admire the way she gently cuts Clarkson off at the pass, anticipating his intentions, and giving him a way to save face. She is a remarkable woman, and any guy would be lucky to have her.

Mrs. Patmore (Lesley Nicol) is invited to a local fair by a new vendor, someone who offers her a date, followed closely by a proposal. But Mrs. Hughes (Phyllis Logan) notices that this new beau has a wandering eye and a flirty hand. She warns Mrs. Patmore, who is relieved at not having to make a choice about being a wife.

Mrs. Patmore is one of the most enjoyable, fun characters on Downton Abbey. It's nice to see her get some positive attention from a man, even if it's just for her cooking. But I also adore the friendship she has with Mrs. Hughes, and this plot is as much about the two women as it is a chance for love. In this, it's a wonderful side trip that I hope to see more of.

Jimmy (Ed Speleers) also runs into trouble at the fair when he gets drunk and is mugged. Thomas (Rob James-Collier) comes to his rescue, taking the beating himself, and allowing Jimmy to escape. It's what Jimmy finally needs to put the past unfortunate incident with Thomas aside, and even form a friendship. I will be very interested to see where this might take the two characters next year.

Thomas has long been a thorn in the side of Downton Abbey, an unlikeable jerk who should have been kicked out long ago. Yet, when his homosexuality is exposed, his pain and suffering laid bare for us to see, the family and staff alike close ranks to protect him. I think this causes a fundamental shift in Thomas, knowing he is valued and cared for, no matter what he is, for the first time. I like this nicer Thomas, and hope his villainous days are behind him.

Lastly, we get to Lady Mary (Michelle Dockery), who goes into labor a little early after her journey. The family rushes home to be by her side after she has her baby, and it's a beautiful boy, finally providing the next in line to inherit Downton Abbey, extending the line of successions. For a moment, we see Mary, Matthew (Dan Stevens), and the unnamed infant together, a perfect picture of a happy family.

And then Matthew is tragically killed in an automobile accident. This is a necessary twist, given Stevens' selfish desire to quit the series that has made him famous. But it's unwelcome, both to the story, and to the fans, many of whom are as invested in events as the characters. We already are still reeling from Sybil's passing. It's not fair to introduce another child who will be raised by a single parent. It took so long for Matthew and Mary to get to this place, it's highly disappointing to see them ripped apart now.

Knowing ahead of time what would come, I expected Matthew to die before he could make it to the hospital to see his son, but am relieved the he didn't. At least he dies happy, and we have that image of him with wife and baby. But it still sucks as a story, and the only blame that can really be laid is upon the actor himself, as it is his decision to go.

This is a lengthy review, just touching on so many characters, and leaving some of the main ones out. Downton Abbey has a fantastic large ensemble, and I cannot wait to see more of the same quality storytelling they have delivered these past three years. I have no complaints about the installment (save Matthew's death), just an appreciation for a job well done.

Downton Abbey will return for a fourth series.

Return to Downton Abbey

American fans eagerly awaited the series three premiere of Downton Abbey on PBS. We finally got it this past Sunday night with a special, two-hour episode. In the first part, the guests arrive for the highly anticipated wedding of Lady Mary (Michelle Dockery) to Matthew Crawley (Dan Stevens). Among those attending are Grandma Martha Levinson (Shirley MacLaine, Steel Magnolias), who would like to help loosen up her stuffy British in-laws, and Lady Sybil (Jessica Brown Findlay) and her "commoner" husband, Tom Branson (Allen Leech).

Unfortunately, the guests aren't the only thing causing trouble, as Robert (Hugh Bonneville) gets some disturbing news: he has lost virtually all of his money. This means, without a cash infusion, the family could lose Downtown Abbey. Luckily, Matthew has just inherited a large sum. Unluckily, he feels guilty about keeping the cash, given the circumstances of its passing to him so he plans to give it away, an act that Lady Mary not only has trouble fathoming, but also spurs her to consider calling off the nuptials.

Viewers of the series have watched Mary and Matthew go through so many ups and downs that the writers simply could not follow through with another break up! It would have utterly killed the show. Plot reasoning be damned, there is frustration at these last minute complications, and the only good part about them is seeing the concerns pushed aside in the name of love, cementing the couple's union.

The person who manages to save the day here is Tom, surprisingly. I don't care much for Tom's character, who pushes things further than he should. But his spirit adds a dash of acceptable drama to the proceedings, making him an invaluable part of the cast.

When Matthew stands up for Tom during a prank gone wrong, Tom returns the favor by talking Matthew into righting things with Lady Mary. The relationship developing between the two brother-in-laws is fun and satisfying. They may come from different worlds, but they are both sort of outsiders. Dealing with the family gives them something to bond over. It will be interesting to see if Tom begins to change to adapt to the Crawley way of life, as Matthew has, or if living away in Ireland will save him from that.

And so, the wedding takes place, with smiles all around. It's beautiful, of course, but it's odd that it ends so abruptly. PBS pushed together two separate episodes on Sunday night, so there has to be a transition somewhere. But the way it is edited together, cutting off after a mere moment at the alter, feels stilted. Perhaps nothing could be done about such an issue, but it really breaks the flow of the story.

In the second half, Lady Mary and Matthew have no sooner returned from their honeymoon than Mary and the Dowager Countess (Maggie Smith) begin to hatch a plan to get Martha to give up (more of) her money to save the estate. Like any scheme, it's ill-thought-out, and does not unfold according to plan. In the end, Martha is willing, but doesn't have the liquid assets to acquiesce, though she offers other assistance.

The dinner party that Mary and the Countess plan is a comedy of errors. Part of this involves a servant feud, which I'll get to in a moment, but that's only where some of the blame lies. Neither woman is truly cold-hearted, which is what it takes to pull off master manipulation. They are working towards what they see as a noble purpose, and they go about it through the positive light, rather than by hurting anyone. Which, while sympathetic, even if it it displays their out-of-touch attitudes, sadly fails.

Martha salvages the party as things go awry. She is a wonderful energy to add to the house, even temporarily, bringing a modern (for the 1920s), American sensibility with her, but also a lot of genuine love. She may not approve of the way her daughter, Cora's (Elizabeth McGovern), family lives, but she doesn't judge them too harshly, nor try to tear them down. She only encourages an acceptance of the change that no one can stop. She also does her best to keep things light and fun for everyone around her.

My favorite interaction Martha has, though, is not with the upper crust, but with new footman Alfred (Matt Milne). Martha doesn't look down upon those working at Downton Abbey, and her teasing back and forth, at first not picked up by Alfred, is delightful!

Besides Martha, the Dowager Countess gets all of the best lines in these two hours. Maggie Smith always adds something wonderful to every episode she is in, but she has stepped up her wittiness in the series three premiere, and seems to have slightly increased her screen time. This only benefits the show.

The last story I'll mention among the upper half is Lady Edith's (Laura Carmichael) serious pursuit of Sir Anthony (Robert Bathurst) as a husband. She has flirted with him before, but it's gratifying to see such a serious turn happen for the couple, as they get engaged. Edith is the last of the Crowley sisters to marry, and while her romantic life has had some missteps, she seems well suited to Sir Anthony, besides his obvious drawbacks as a spousal choice. I hope their nuptials go off without a hitch, and they live happily ever after, even if that makes for boring television.

Now, down to the lower class. Mr. Bates (Brendan Coyle) is still in jail, despite Mrs. Anna Bates' (Joanne Froggatt) efforts to clear his name. I have to be honest, this plot has been dragged out quite enough. Yes, getting absolved of a murder charge isn't something that can easily be done. But the show has spent more than one series dealing with Mr. Bates' first wife and her subsequent death, keeping Anna and her hubbie in misery. It would be great if Anna can find something and put this whole thing behind them.

In Downtown Abbey itself, O'Brien's (Siobhan Finneran) nephew, Alfred is the new guy. One would think that he might be a bit evil, since O'Brien has caused more than her share of trouble, even if she seems to have somewhat turned over a new leaf. But no, this apple falls far from the tree, and Alfred proves to be a kind and amusing addition to the downstairs. Especially as he takes up with Martha's naughty maid (Lucille Sharp).

The issue with Alfred is, he is hired behind Carson's (Jim Carter) back. Then, he jumps from footman to valet too quickly, which makes Thomas's (Rob James-Collier) resentment justifiable, for once. None of this is Alfred's fault, but it's not doing him any favors. Alfred is very likable, but he hasn't yet found his place within the staff. I'm sure it'll sort itself out in time.

As mentioned, Alfred's presence is not tolerated well by Thomas, which sparks his villainous streak once more. This time, though, O'Brien is on the opposite side. After watching them team up to take on good people who don't deserve it, I like the pay off of seeing them battle against each other. I just hope that Alfred doesn't become too damaged in the crossfire.

Mrs. Hughes (Phyllis Logan) has a lump in her breast that might be cancerous. When things start to calm down, why does something like this have to come along? I get that it keeps the plot moving forward without having to bring in another character, but if anyone does not deserve breast cancer, it's Mrs. Hughes. The only good thing that comes out of this story so far is when an oblivious Carson tells Mrs. Hughes that he cares about her.

Mrs. Hughes also has support in the form of Mrs. Patmore (Lesley Nicol). At first glance, Mrs. Patmore might not be the person one would like to lean on, given her blunt, outspoken attitude. Yet, her tendency to tell it like it is can be a breath of fresh air, away from all the fronts put up by the others, both upstairs and downstairs. And it gives her something to do that's more meaningful than comic relief, or putting up with the whiny, thoroughly unlikable Daisy (Sophie McShera).

A few more tidbits:

• The scene where the women of the staff welcome Tom home, even while the men take umbridge, is sweet.
• I did not expect to see Ethel (Amy Nuttall) again, and especially not as a prostitute seeking Isobel's (Penelope Wilton) help!
• When Matthew makes Tom his best man, I'm not sure if Robert or the Dowager Countess will have the first heart attack, but they both look awfully close to a cardiac episode!
• I think it's possible that Carson may even more stuffy than the people that he serves.
• It's nice to see Robert and Cora's marriage has been repaired.
• Robert keeping the money issues away from the staff, while issuing an unexplained hiring freeze, makes the two classes seem further apart than they ever have before.
• Finding out that Mrs. Hughes sees the same village doctor as the Crawleys do, even while outside of the estate, makes the two classes seem closer than they ever have before.

The heart of Downton Abbey is clearly the characters, as that is all I have been talking about this entire review. In this, the show continues to do well, using its sprawling cast mostly wisely, and allowing the people to grow, both as themselves, and on the viewers. There is relatability in both major groups, and yet, the show still shows us a world that few living today are used to, and which is fascinating.

Downton Abbey continues Sundays at 9 p.m. ET on PBS's Masterpiece Theatre.

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Article first posted on TheTVKing