Blu-ray Review: ‘Sherlock – Season Three’

Article first published as Blu-ray Review: ‘Sherlock – Season Three’ on Blogcritics.

The BBC’s Sherlock has been off the air for far too long. Recently, it finally returned for third season, broadcast on PBS in the United States as part of Masterpiece Mystery. Having just completed its airing, the three ninety-minute episodes that make up this run, each feeling a bit like its own movie, have now been released on Blu-ray and DVD.

Season two ended with Sherlock Holmes’ (Benedict Cumberbatch) death. Obviously, the series cannot continue without its hero, so it should come as no surprise to anyone that he isn’t actually deceased, having faked the demise. But those who love Sherlock have lived under this false impression for two years, making for quite a startling turn when Sherlock comes back to town.

John Watson (Martin Freeman), in particular, is thrown for a loop. Having mourned his best friend, he’s moved on, preparing to propose to girlfriend Mary (Amanda Abbington, Mr. Selfridge). This news is enough to knock Sherlock back, too, so the partners have some obstacles to overcome before they might resume the work they are familiar for.

Sherlock does have a mission right out of the gate, though. He has been summoned to London by his brother, Mycroft (Mark Gatiss), who did know Sherlock lived all this time, but doesn’t exactly count as a loved one, unlike. say, Lestrade (Rupert Graves), Molly (Louise Brealey), and Mrs Hudson (Una Stubbs). Thus, Sherlock can’t spare too much time considering Watson, having a job to get on with.

This premiere, “The Empty Hearse,” brilliantly balances many elements. There are the character moments, especially between Sherlock and Watson and Sherlock and Mycroft. There’s an exciting mystery to solve. There’s the beginning of an arc with a man who may be Sherlock’s greatest foe yet. And there’s still time for some good gags as multiple scenarios revolving around Sherlock’s survival play out on screen, with none of them possibly being the correct one.

The excitement continues in “The Sign of Three,” which takes place on the occasion of Watson and Mary’s wedding. Sherlock has the challenging (for him) task of being best man and delivering a speech. Said speech may be the longest in history, as viewers are treated to flashbacks of the bachelor party, among other things, and Sherlock deduces a would-be crime right in the middle of it. That’s not the last surprise in the installment, one jam-packed with compelling story, even as it stands as the lightest and funniest of the trio.

I’m really glad Sherlock takes the time to do this. It’s a situation that finds our protagonist supremely out of his comfort zone, but the fact that he’s willing to go through with it anyway proves the level of his affection for Watson, something reiterated strongly in all three episodes. Plus, the wedding is just so much fun, a splendid affair with a great Sherlock twist.

The year’s Big Bad fully comes out in the season finale, “His Last Vow.” The man’s name is Charles Augustus Magnussen (Lars Mikkelsen, The Killing original version), and he is a self-described businessman who controls far more than he should, especially in the arena of politics. His vast library of dirt allows him to manipulate anyone he comes across, and he has some very startling secrets about someone close to Sherlock he isn’t afraid to use when Sherlock makes a move against him.

Magnussen, though important, is only part of the story, though. Midway through the episode, Sherlock is shot in a shocking sequence that reveals something major about a recurring player. Much of the back half deals with the ramifications and fall-out from this event, which is so much more than it seems at first. I can’t spoil anything about it, just saying that it’s a beautiful, near-perfect piece of storytelling, that ends in one hell of a climax, bringing it all back around to a very memorable stand off with Magnussen.

If that wasn’t enough, “His Last Vow” ends with a wallop of a cliffhanger, after fans will think the action is done, leaving the promise of a stellar fourth season to come.

Sherlock season three is different from the first two in that Sherlock and Watson aren’t doing their traditional work together, life interfering in major ways, and the cases come to them very naturally, through personal means. There is also not a lot of plot for supporting players like Lestrade and Molly. But the character development for Sherlock, Watson, Mary, and Mycroft is fantastic, and you likely won’t think about the little bits that are missing, given what’s there on the screen.

This release also contains a trio of special features, “The Fall,” “Shooting Sherlock,” and “Fans, Villains, & Speculation.” They are interesting enough, though don’t go as deep as one would like, leaving us wanting more. Which is about par for such a Blu-ray edition.

While not traditionally a big-budget show, I do recommend the Blu-ray version this time around. There is a lot of darkness in Sherlock, and HD will ensure the visual layering and stark colors needed to fully appreciate the scenes. There are also a couple of huge shots, such as those of the exterior of Magnussen’s home, that you’re going to want to see as much detail as possible from. The series contains a sweeping, crystal-clear score, well mixed with the dialogue.

Sherlock Season Three is available now.

DVD Review: ‘The Lady Vanishes’

Article first published as DVD Review: ‘The Lady Vanishes’ on Blogcritics.

In 1938, Alfred Hitchcock made a film based on the novel The Wheel Spins. It was remade in 1979 starring Cybill Sheperd, Angela Lansbury, and Elliott Gould.

Recently, the BBC and Masterpiece created a new version of this story, The Lady Vanishes, this one reportedly more closely hewing to the novel than the previous two, and released it on DVD.

This version stars Tuppence Middleton (Spies of Warsaw) as Iris Carr. A carefree socialite, she hangs around a hotel after her friends leave and ends up riding back to London on a train car with assorted strangers. She finds a friendly face in fellow Englishperson Miss Froy (Selina Cadell, Doc Martin), but after Iris wakes from a nap, Miss Froy seems to have disappeared. Iris grows more and more upset as she can’t find a witness to support her story that Miss Froy even exists, other passengers presumably lying, and a bout of what might have been sunstroke leaves her own testimony circumspect.

There is a diverse contingent of players on the train, a confined setting for the story that adds a feeling of claustrophobia to the mix. The Baroness (Benedikte Hansen, Borgen) could be the villain responsible for the drama, if indeed Miss Froy has been abducted, or she could be an innocent rich person that serves as a target for Iris’ delusion. Young, dashing Max Hare (Tom Hughes, Silk) would like to believe Iris, whom he takes an instant liking to, but even his chivalry can’t erase doubts as Iris’ claims seem to fall apart. There is also a Professor (Alex Jennings, Whitechapel), a Doctor (Jesper Christensen, Arvingerne), a Reverend (Pip Torrens, Fleming), his wife (Sandy McDade, Lark Rise to Candleford), and others who come into play, some with their own motivations, and some who remain more mysterious.

The main point of The Lady Vanishes seems to be to let viewers question reality and build tension. If everyone else is lying, why would they do so? Might Iris be as crazy as some accuse her of? Is Miss Froy alive or dead or made up? There are more questions than answers for most of the piece, which should be enough to keep viewers watching, if for no other reasons than to see how it ends up. It’s frustrating to watch, but that only mirrors Iris’ own feelings, so the tone does succeed in letting us relate to the protagonist quite well.

The 90-minute thriller is fine for television, but falls short for the cinema. The pacing is too slow and the emergency too tame, with decent, but not mind-blowing, acting. What this makes for is something that will feel familiar to fans of British period pieces and PBS, albeit moving into a slightly different genre than most of their productions, satisfying a particular, niche audience, but perhaps not appealing to the public at large.

The film’s production values aren’t particularly memorable. The train looks well-detailed, but with its muted, dark colors, it’s not a stand-out set, nor are the costumes lavish enough to really admire. Not being a student of this period, it’s hard for me to determine how realistic the program is, but I do find myself racking my brain, having a hard time coming up with elements to discuss, as the overall feelings is one of blandness.

That’s likely the biggest downfall with The Lady Vanishes. Athough I was interested while watching it, I wasn’t overly impressed enough to do so again anytime soon. It also didn’t stand out as something I would spend any time thinking of after the fact. It’s quick and forgettable, slightly interesting, but mostly dull.

It doesn’t help that there are no extras on this bare-bones DVD release. Perhaps if there were some clue as to why the producers thought a remake was necessary, or a discussion of the choices made, that might spark something more than a first impression leaves. Sadly, no audio commentaries or behind-the-scenes looks are included to serve this purpose, with only the film on the disc.

The Lady Vanishes is available now.

SHERLOCK Lives

Article first published as SHERLOCK Review on Seat42F.

The BBC’s SHERLOCK begins its third outing on PBS tonight with“The Empty Hearse.” Picking up two years after Sherlock’s (Benedict Cumberbatch) death, everyone has accepted the detective’s fate and begun to move on with their lives. Which makes it especially messy when Mycroft (Mark Gatiss) summons his brother home to help out on a new assignment, disrupting the lives of the people who missed Sherlock.

It’s not a spoiler to reveal that Sherlock did not, in fact, die in the previous season finale because there would be no SHERLOCK with Sherlock. That’s just simple logic, easy enough for even the most amateur sleuth to deduct, and it has been pretty clear is press materials and such leading up to this run that Cumberbatch would return.

The questions are, though, how did Sherlock fake his death, why did he not tell his partner, Watson (Martin Freeman), the truth, and what has he been up to while away? Speaking of them in no particular order, as PBS has asked us not to give this stuff away, at least one of these is answered in the initial installments, one is sort of left up to the viewer to decide, and one is played with in spectacular fashion, proving Sherlock is as much as a legend as he is a person. The last I refer to may never satisfactorily be answered, but that only adds to the mystique of the character.

SHERLOCK is as much about the mystery as it is about the answers. Yes, the titular character thrives on putting together the clues, but he doesn’t have to disseminate the information to everyone. He plays his cards close to his chest, and if he didn’t, he wouldn’t be Sherlock.

Not that Watson doesn’t have a few surprises of his own. While missing his buddy, he has met and fallen in love with Mary (Amanda Abbington, Mr. Selfridge), whom he intends to marry. This throws Sherlock for a loop, with his partner’s loyalties now split. Can Watson balance a spouse and the demanding detective? Or will he have to choose? Will that decision even be hard?

Watson isn’t the only one who has a strong reaction to Sherlock’s return. Among the familiar characters featured in “The Empty Hearse” whose reactions to Sherlock’s resurrection are revealed are Lestrade (Rupert Graves), Molly (Louise Brealey), and Mrs Hudson (Una Stubbs). Sherlock does not live in a vacuum, and while he abhors a true community, he is not lonely as he accuses Mycroft of being. He has his friends, and they are happy to have him back, for the most part.

This episode is full of a number of hilarious, wonderful scenes. From Mrs. Hudson’s surprise at Watson’s heterosexuality, to a couple of outlandish theories played out, to an unexpected gay kiss that will make internet fan-fiction writers gasp, to multiple discussions of facial hair, to one-liners tossed into serious bits willy nilly, the writing is sharp and entertaining. Plus, the emotional stuff between Watson and Sherlock and Sherlock and Mycroft is very well done, deepening our understanding of these important bonds. There is a lot to appreciate and enjoy about the 90 minute installment.

There is also new danger afoot. Sherlock doesn’t re-emerge by chance, and what Mycroft wants him to do isn’t the only threat that London faces. Within the premiere, one of the main characters finds their life threatened in a very serious way. Then, Sherlock and Watson get right in the middle of a very large-scale plot that could result in hundreds of casualties, or more. As emotionally fulfilling as “The Empty Hearse” may be, it is also thrilling, too.

“The Empty Hearse” is a jolly good time, a return to form for the popular British programme. SHERLOCK premieres tonight at 9:58 p.m. ET on PBS as part of Masterpiece Mystery.

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.

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

The Song of Lunch coming to DVD tomorrow

BBC's The Song Lunch is the story of two former lovers who get together for a meal fifteen years after they last saw each other. It originally ran in the states a few months ago as part of PBS's Masterpiece series on Sunday nights. "He" (Alan Rickman, Harry Potter, Galaxy Quest) is a miserable, lonely book editor, and narrates the piece. "She" (Emma Thompson, Nanny McPhee, Last Chance Harvey) is happily married and living in Paris. The two come into the meeting with very different expectations, and as the afternoon wears on, much is laid out on the table, so to speak.

Rickman and Thompson are fantastic performers. Besides both playing professors in the Harry Potter movies, they also play a couple in Love Actually, so they aren't exactly strangers. Yet, The Song of Lunch is also not a redo of their previous work. It's something new and fresh, and the actors really inhabit the roles completely. Viewers will quickly forget they are watching Rickman and Thompson, and instead be completely taken in by the story unfolding, and the complicated parts being performed.

The Song of Lunch is based on a poem by Christopher Reid. And it feels like a poem. Most of the spoken word in the fifty minute production is done with His narration, rather than dialogue. This voice overspeaks in flowery language that is very clearly more than standard prose. Given His attempts to make it as a writer, but stuck in a dead end publishing job instead, the style of language is perfect for the character. Whenever the colorful words get too dramatic or ridiculous, one only needs to remember that He has failed at being a writer, though he fancies himself a wordsmith, and it's all right. As such, the presentation of The Song of Lunch is really perfect for what it is trying to do.

If one has suffered failure and setback, it will be easy to relate to Him. Miserable, longing to be with Her again, but realizing He has no chance, getting drunk, mourning over the state of his existence. It's pathetic, and it's the kind of thing that happens more often in the mind, as various scenarios play out, than in reality. Yet, the sheer rawness of the emotion, and the power of the emotions expressed are gripping, and dully fascinating. The ending is both surprising, and fitting, after watching this desperate scene play out.

There will be sympathy for Her, to be sure, even if He is the main character. She shouldn't have to sit through this. She may regret ever being with Him, seeing what He has become. She wants to stop Him, but also knows it's too late to save him, nor is it Her job to do so. There is frustration, and perhaps regret for Her as well, having played any part of this downfall. When She walks away, though, there is no blaming Her. It's regrettable that She will leave this encounter haunted by His destroyed visage, when She could have continued to live in blissful ignorance.

The setting is like Him. It's familiar, a place the two of them used to frequent when they were a couple, but has undergone much change. As much as He wishes it were how it used to be, it's a pointless wish, as time marches on, and nothing stays the same. She doesn't seem to mind the differences, but then, She is more comfortable with the path Her life has taken than He is. Putting them in this specific restaurant, instead of a random eatery, only adds to the tension, and the beauty of the story.

It's a good thing this story is so great, because the DVD release has zero special features. Honestly, it's hard to imagine what features one would want with The Song of Lunch. Perhaps the two stars discussing the roles? Yet, it's such a work of art that should stand alone, anything additional might take away from the piece. People who collect DVDs and are obsessed with extras will be disappointed. But the target audience for The Song of Lunch should have few complaints about it.

The Song of Lunch goes on sale on DVD this Tuesday, February 7th at retailers everywhere. It is also available to download streaming on amazon, or as a paperback.

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