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.

DVD Review: ‘Mama’s Family – The Complete Third Season’

Article first published as DVD Review: ‘Mama’s Family – The Complete Third Season’ on Blogcritics.

Mama’s Family, a spin-off of The Carol Burnett Show was canceled by NBC after only two seasons. Remember it airing more than that? That’s because a short time after the original cancellation, the show was revived in first-run syndication (meaning someone else, not the network, made the show and sold it for broadcast) for another four seasons. The first year of that reboot will soon be available in a four-disc set from StarVista and Time Life.

Based on Carol Burnett Show sketches, this iteration of  Mama’s Family features some changes that set it apart from its first years. Mama (Vicky Lawrence), her son, Vinton (Ken Berry), and Vinton’s gal, Naomi (Dorothy Lyman), remain. But Vinton’s kids, briefly mentioned in season three, then never brought up again, are out of the house, as is Mama’s sister, Fran, after a “natural” death.

From a practicality stand point, Rue McClanahan, who played Fran, was not able to come back because she had accepted a role in a little show called The Golden Girls. Ellen, Mama’s sister, is played by Betty White, who only appears in one episode of the syndication reboot for the same reason. So it’s not like those ladies were not funny, or were unceremoniously kicked off the series. As for the kids, well, that’s a different matter, and rumors swirled over Ed and Eunice’s (Harvey Korman and Carol Burnett) departure.

To plug the hole in the cast, Bubba Higgins (Allan Kayser), Eunice and Ed’s son, joins the clan, fresh out of a stint in juvie. His parents are said to have moved to Florida, and Mama is left to straighten Bubba out. Luckily, Mama has Iola (Beverly Archer) to rely on for support, her best friend and the other new main cast member.

The focus of the series shifted more to Mama herself by season three. She became a much more dominant personality, with Vint and Naomi being more obedient, making for less bickering. Perhaps America didn’t want to see so much strife in a loving family, or maybe the writers just wanted to highlight the fantastic Lawrence even more, but whatever the reason, The Complete Third Season is a bit of a different show.

Make no mistake about it, though; Mama’s Family remains a funny, beloved classic in this third year. In fact, this version may be the one many fans are most familiar with, the early seasons running for a shorter length of time. So there’s no reason to shy away from The Complete Third Season.

Among the installments of note in this set are: “Farewell, Frannie,” containing Fran’s funeral and Bubba’s arrival; “Where There’s a Will,” where Mama is forced to keep her temper in order to inherit Fran’s money; “Best Medicine,” in which Ellen returns and apologizes for missing the funeral; “Mama and Dr. Brothers” features Dr. Joyce Brothers (herself) helping Naomi with her bedroom troubles; “The Love Letter,” a comedy of errors; “Where There’s Smoke,” in which Mama tries to charm herself a leadership position in the church league; “Santa Mama” finds Mama playing Santa Claus at the mall; “Mama’s Cousin” has Lawrence playing two roles; and “The Best Policy,” in which Naomi may be trying to kill Vinton.

Honestly, though, I could have easily added more titles to that list of episodes to watch. Most of the entries in this set are really funny, and the show holds up tremendously well. Combined with some special features including a classic “Family” sketch featuring Downton Abbey‘s Maggie Smith, a featurette on Bubba, an interview with the actor that plays Bubba, and a cast reunion, this is a good release.

Mama’s Family – The Complete Third Season will be available this coming Tuesday from StarVista.

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.

Golden Globe's TV Categories Need Updating

Another awards season is upon us, with the Golden Globes just passed, and the Oscars approaching. There will be endless debates about people and films that are undeservedly left off of these lists. This column is not about that.

No, my complaint today is with the Golden Globes in particular, and the way that they treat television. Excellent hosts Tina Fey and Amy Poehler opened with a joke this year about how TV actors (like themselves) are looked at unfavorably compared to film performers (also, like themselves, though they are less known for film). In an era where the lines between the two have become increasingly blurred, this is an archaic notion, and one that should have been abandoned long ago, as television has moved into a golden age.

Also, it's quite funny that a film industry that thinks they are better than television airs their awards shows on the small screen, rather than making people go to the theater to witness the proceedings. Wouldn't that make more sense with the persistent attitude?

I'm not saying everything that graces the small screen is great, of course. But having moved through a decade that brought us Buffy the Vampire Slayer, Lost, Battlestar Galactica, The Wire, and The Sopranos, and being well into a decade with Homeland, Mad Men, The Walking Dead, Downton Abbey, Game of Thrones, Breaking Bad, Justified, and so many others, it is very hard to argue that television is an inferior medium.

I feel like the lack of understanding of television by an awards show that airs on, you guessed it, television, is best proven by a look at their categories.

First, the supporting actor and actress awards are separate from everything else because they do not get divided into two genres: drama or comedy. Well, three, because miniseries is rightly given its own standing. But for supporting players, they are all lumped in together. How do you possibly compare Sofia Vergara's work on Modern Family with Sarah Paulson in Game Change? You don't. You just reward the well respected Dame Maggie Smith, who is in a British miniseries, and ignore everyone else.

The main actor and actress, as well as the best program, are divided into three distinct genres, and they should be. Just as comedy movies are almost completely ignored by the Oscars, you won't catch the Golden Globes giving a supporting performance trophy to a sitcom star very often, if ever. It's completely unfair to put them together, even when effort is made to divide the nominations between all three arenas.

However, this separation has some trouble, too. Calling the comedy category "Comedy or Musical" comes from an era when all movie musicals were light-hearted, thus not belonging in the heavy drama world. That might work for Glee, but Smash and Nashville are every bit dramas, and should not be tossed in with the half hour situation comedies.

Those aside, you used to be able to tell if a series was a comedy or a drama simply by its running time. Dramas are typically hour-long shows, while comedies are half hours. But as HBO and Showtime have entered the arena with Nurse Jackie, The Big C, How To Make It In America, Weeds, and Enlightenment, this is no longer the case.

The problem becomes in how you define these types of series. I look at comedies as programs where the characters act a certain way to get a laugh, and the situations arise just to make the characters do funny things. If there are some jokes, but the main point of the story is an ongoing personal experience that fundamentally gets to the core of a person and forces them to look at themselves, not a humorous device, then it's a drama. I sometimes laugh at Nurse Jackie, but the show is about Jackie struggling with addiction and lies. This is not a comedy.

The Golden Globes haven't gotten wise to the shift, though. Which is probably why these types of series have come in and stolen the trophies from more traditional fare on the broadcast networks.

This year, Lena Dunham's win for Girls kind of throws a wrench into the entire thing. Her series is definitely drama, because serious things happen, and self-reflection is a large part of the story. Yet, Girls provides many more chuckles than its premium peers, and the arrogant, self-involved way in which Dunham's character behaves is inherently comedic. It's really, really hard to put this show in either box.

Which means that she won, of course, over actresses like Fey and Poehler who are following the comedy guidelines in the more traditional sense. Is this fair? Isn't what they are doing two completely different things?

The problem is, how can we solve this conundrum? The bloated Golden Globes is already too long, and diluting the field by adding more genres isn't doing anyone any favors. And yet, it certainly isn't fair that the smarter, bold, definition busting series take away from the broad comedies like 30 Rock and Community that still have something valuable to say, and can be outstanding examples of the art.
I do think we should move the HBO and Showtime series into the drama world. They may straddle the line, especially Girls, but the characters have more in common with broadcast dramas than comedies.

The fact that the Hollywood Foreign Press hasn't seen this, or chosen to do anything about it, just makes them feel out of touch with what really defines a genre. Considering that the purpose of the organization is to serve these programs, exhibiting such a glaring, fundamental fault takes away from their credibility greatly.

And then there's the argument that award shows themselves are dumb, at least for the viewing public, and should be private, industry-only events, and the number of them should be reduced drastically. I do actually agree with this argument, but that's a whole other column. Maybe next year.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first published as Golden Globe's TV categories Need Updating on Blogcritics.

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.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on TheTVKing