What Is COBRA?

 Article first published as TV Review: COBRA on Seat42F.

This week, PBS premiered the British drama COBRA. It’s basically a disaster film, spread out into a six-hour miniseries. In it, the government of the United Kingdom has to deal with a major crisis that leaves much of the country without electricity. This, of course, sparks many smaller crises, fire after fire that must be put out. Without having seen the whole thing yet, I can’t say for sure everything will work out, But yeah, the heroes portrayed will probably save the day for the vast majority of their citizens.

The term COBRA refers to Cabinet Office Briefing Rooms, and I have no idea where the A comes from, other than possibly to make it easier to say out loud. The acronym is far from the only detail that may confuse American audiences that are not familiar with the differing structures, positions, and power sharing present in the ruling body of our neighbors across the pond. While there are some interesting tidbits that provide a small bit of education, COBRA doesn’t take a lot of time to explain itself, assuming its audience already knows these things. So I recommend not spending too much time trying to figure it out and just focus on the characters in the story.

Two protagonists seem to be most central to COBRA. Anna Marshall (Victoria Hamilton) is the more compelling of the two. As Chief of Staff to Downing Street, she is a capable advisor who can put aside her personal issues and focus on the tasks at hand. While she is not liked by everyone, especially Archie Glover-Morgan (David Haig, Penny Dreadful), the Home Secretary, the disagreements with her seem based on political beliefs, rather than anything wrong with her. I look to her to set the path forward as the government deals with the disaster.

Alternately, Prime Minister Robert Sutherland (Robert Carlyle) seems ineffectual and weak. He is new to the job, but that doesn’t necessarily excuse his behavior. It is acceptable for a country’s leader to doubt themselves and to seek advice from the rest of the governing body; laudable, even. However, when those doubts are shown so openly, it causes others to doubt if he is up to the task at hand, or not, and it seriously undermines the credibility he has. He does not seem poised to come out of this on top and keep his position.

I find the switch in both actors from previously known roles quite intriguing. Carlyle was very powerful as Rumpelstiltskin / Mr. Gold in ABC’s Once Upon a Time, while Hamilton played a less vocal Queen Mother in The Crown on Netflix. That shows that they are making conscious acting choices, even at the times when their characters’ range of expression comes across as limited.

Unfortunately, those performances, interesting as they may be in the context of a career, don’t necessarily prove to be magnetic here. Nor does the way everything unfolds in the first hour of COBRA. There’s a plane crash teased at the very beginning, but while that is the biggest action sequence so far, it’s hard to care all that much about it. Instead, the personal drama is more on the forefront, and isn’t as compelling as in many other drama series.

I personally find things to like about COBRA that will probably keep me watching. Most notably, the performances of two actors I enjoy and learning about the British government, as you may have surmised from my discussion of both above. However, as a disaster series, I do find it slow moving and far less enticing than I would expect from the genre. That may be fine for PBS, but is unlikely to attract a larger audience beyond the network’s typical viewership.

COBRA is currently airing Sundays on PBS in the United States.

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.

Climb Aboard THE GREAT AMERICAN DREAM MACHINE

Article first published as DVD Review: 'The Great American Dream Machine' in Blogcritics.

Have you ever heard of The Great American Dream Machine? If you’re like me, born more than ten years after the two-season PBS series came to an end, probably not. But if you were alive in this era, I can’t imagine you’d forget. After watching just a small sampling of the show, I certainly won’t stop thinking about it anytime soon.

The Great American Dream Machine is billed as a variety show, but it’s not in the vein of what we think of today as being in that genre. There’s no stage or host or transition bits. Instead, it’s a series of shorts on a variety of topics and done in a myriad of styles, making up a disjointed, but thoroughly engaging show.

Sometimes, the segments are documentaries. For instance, stuntman Evel Knievel, someone I’d heard about but know very little of, is interviewed. It’s a casual portrait of a man, presenting what he thinks of himself more than a listing of his achievements. It’s deeply personal in a short running time, and unlike most documentary-style things you might see today.

Sometimes, the pieces are meant to be both humorous and informative. For instance, a man named Marshall Efron examines the various sizes of canned olives available. While what he presents is relatively straight forward, the way in which he talks about the government regulations and inconsistencies within them are more satirical than what you’d be taught in school.

And sometimes, the bits are just bizarre, just as a singing pig that some seek to eat, or a French-language sexual interlude, or a music video about computer dating (which apparently existed pre-1970, surprisingly), or Chevy Chase and Ken Shapiro as mimes mouthing along to music. And that’s all just in the first episode! I’m not sure what is supposed to be meant by these, but they are creative looks at different subjects.

Instead of telling you what The Great American Dream Machine is, it might be easier to tell you what it isn’t. It isn’t silly like Monty Python; it’s a style of comedy being more intellectual and less superficial. (That’s not a knock on Monty Python; there’s room for both in this world). It isn’t as edgy nor as polished as Saturday Night Live would be just a few years later, more raw in presentation. It isn’t stuck in its metropolitan roots, as although it’s based in New York, it frequently ventures across the country.

One thing The Great American Dream Machine is is a fascinating time capsule. For someone who didn’t live in this era, the bits where average people are interviewed, a technique still appearing on television today, is eye-opening. It’s amazing how similar and different attitudes are then to now. Some things never change, and some have changed drastically.

In its time, The Great American Dream Machine was attacked by conservatives for being too controversial for television. While on its face it does seem like a conservative show, given the title and a lot of the middle-of-the-country segments, it also has a bit more sex than most television would have in that era (though still tame by today’s standards). As someone interested in history, I am intrigued by this program.

I think another way to illustrate this series is high-quality is to mention some of the names involved. Besides those appearing above, personalities like Andy Rooney, Albert Brooks, Elaine Stritch, Charles Grodin, Penny Marshall, Carly Simon, Tiny Tim, Henry Winkler, and many, many more are involved. Such a group could not be assembled for just any show.

S’more entertainment has released a four-disc DVD set that captures many of the great moments from The Great American Dream Machine’s two-year run, nearly thirteen hours of content in all. Whether you have never heard of it or remember it fondly from your past, I recommend checking it out. It’s dated, but in a good way, capturing a time and a spirit that doesn’t exist any more, and is endlessly interesting.

The Great American Dream Machine 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 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.

MR. STINK A Bit Too Stinky

Article first published as MR. STINK A Bit Too Stinky on TheTVKing.

PBS aired the British holiday special Mr. Stink this week, based on a children's book. Hugh Bonneville (Downton Abbey) plays Mr. Stink, a smelly homeless tramp who is ignored or scorned by the neighborhood, other than his adorable dog, Duchess. Then, one day, a young girl named Chloe (Nell Tiger Free), who feels neglected by her busy family and is bullied at school so she has not friends, takes an interest in him, and soon everyone in England knows Mr. Stink's name.

First, let me say that Bonneville is a terrific actor. I've seen him in a few roles, and he never fails to impress. Mr. Stink is quite a bit different that other recent parts, and he definitely shows some range in the almost unrecognizable costume. He is easily the best part of the production, even if the character is not written in a way to make him particularly memorable.

Part of my problem with the titular Stink is that it's hard to tell exactly what he is. For awhile, one suspects he might be Santa in disguise, looking for kind-hearted children. This is supported by the fact that he has magical powers, albeit the kind a boy would make up, as he can waft stench into a physical punch.

But then, late in Mr. Stink, the plot actually explains away his background. We learn that Mr. Stink is a wealthy duke who lost his wife and home in a fire. Unable to cope, he begins wandering from place to place, no longer caring enough to keep himself clean. I guess his dog's name is supposed to be the clue about this. This doesn't really add up, though, even though we see that Chloe can freshen his appearance by showing him love again, and doesn't gel with the magic stuff at all.

Chloe is a well-past-realistic level of kind. She doesn't shy away in the slightest from Mr. Stink, although we know from everyone else's reactions that his odor is extremely powerful. She even hugs him at one point, burying her face in his coat. There is no way that any kid could stand to be that close and really ignore the foulness so easily unless she has no sense of smell, which is not a mentioned characteristic in the movie.

Mr. Stink is a heartwarming tale, but of a predictable, mediocre variety. The story of a girl who shows compassion to someone everyone else ignores, and in the process, finds the love of her family is a nice one, but it's one we've heard many times before.

What doesn't quite fit is the popularity Mr. Stink gains on television, even meeting the Prime Minister. It seems like a completely different message than Chloe's bits are working towards, combining two separate threads that do not satisfactorily weave together.

Not to mention, most of the characters in Mr. Stink are flat and cartoonish, and not in a clever or authentic manner. Chloe's mum (Sheridan Smith, Mrs Biggs) is an ultra-conservative politician who will make as many empty promises as she must to win an election. Chloe's dad (Johnny Vegas, Ideal) is a whipped, washed-up musician who hides his lack of job and handles the cooking and cleaning for the household. Then, they both easily change in the end, somehow finding their former, decent personalities again that they'd moved far away from. I wonder how much of this comes from the simple source material, and is just not well-executed for an hour-long program.

I want to like Mr. Stink, I really do, because I feel like a grinch to tear down a family-friendly holiday special. But its wholly forgettable and isn't likely to get much replay in future Christmas seasons. Oh, well.

DVD Review: ‘Last Tango in Halifax’

Article first published as DVD Review: ‘Last Tango in Halifax’ on Blogcritics.

The BBC recently released Last Tango in Halifax, a thoroughly charming drama, mostly based on a true story. The series recently aired in the U.S on PBS.
This two-disc set includes the six episodes that make up the initial series run. A second series has already filmed and is coming soon. After viewing these first six installments, that’s good news indeed.

Last Tango in Halifax is not your typical modern television program. It has no crimes to investigate, no medical mysteries to solve, no aliens, no disasters, and no chase scenes. Wait, strike that last one. It is, however, remarkable for being a simple love story between two people in their 70s, an age group far under-served on TV. And it’s incredibly sweet.

As the story begins, Alan Buttershaw (Derek Jacobi, The King’s Speech) is living with his widowed daughter, Gillian (Nicola Walker, MI-5), and her teenage son, Raff (Josh Bolt, Nowhere Boy). Lonely and missing his departed wife, Alan decides to play around on Facebook, searching for his old classmates. Celia Dawson (Anne Reid, Upstairs Downstairs), the woman Alan once harbored a huge crush on is not only one of the few left alive, but also currently without a spouse. The two begin an electronic pen pal relationship, which soon evolves into much, much more.

Celia is also residing with her daughter, Caroline (Sarah Lancanshire, Lark Rise to Candleford), who has been going through marital strife with husband John (Tony Gardner, Lead Balloon). John is a cheater and Caroline may be a lesbian, considering a romance with a co-worker named Kate (Nina Sosanya, Silk). Which doesn’t make their two sons feel very good.

It’s into this chaos that Celia and Alan’s relationship unfolds. They are bonded instantly, while their families have to deal not only with the a clan of new people in their lives, but their own messy issues. There is a lot of authenticity and heart in Last Tango in Halifax, but there is also some darkness and a few doses of reality in the subplots, which helps keep the tale grounded as more than a fairy tale.

The back story of this couple-that-almost-wasn’t is fun and full of foibles. What one doesn’t realize at first is that the past will have lasting implications, though they won’t pop up until late in the run. There are not serious consequences, at least not that we’ve seen yet, but there’s an emotional wallop that feels both natural and unexpected, and if anything, is downplayed more than it should be after it emerges.

I like both the way the characters are so relatable, as well as the departure from the usual formula. There really isn’t anything else like this series currently airing, and this production is very well done, with some superb acting, especially from the pair at the center. I wish more networks would take chances and show us another side of human nature that is so often ignored on the small screen.

The only thing that feels a little staged is the rift that comes between Alan and Celia at the end of the season. They get along so perfectly up til then, and when it happens, it’s swift and major. I have a hard time believing either would think about taking a drastic step apart when they’ve been so happy with one another, even considering the very reasonable thing that comes between them. But the resolution sort of saves things, and without giving too much away, at least there’s material left over for a second season.

This DVD set has no special features whatsoever. After looking over the Wikipedia page on the series, that feels extra surprising, considering the very interesting origins of the show. I really wish there had at least been some interviews and discussions about this, and feel a little let down that there’s not. But it is a solid batch of episodes that can stand on their own, so as much as I might yearn for more, I can’t fault what is present.

Last Tango in Halifax is available now.

Hopefully This Isn't the LAST TANGO IN HALIFAX

Article first published as Hopefully This Isn't the LAST TANGO IN HALIFAX on TheTVKing.

PBS is airing a BBC drama series currently called Last Tango in Halifax. It has no crimes to investigate, no medical mysteries to solve, no aliens, no disasters, and no chase scenes. Wait, strike that last one. It is, however, remarkable for being a simple love story between two people in their 70s, an age group under served on television today. And it's incredibly sweet.

Alan Buttershaw (Derek Jacobi, The King's Speech) is living with his widowed daughter, Gillian (Nicola Walker, MI-5), and her teenage son, Raff (Josh Bolt, Nowhere Boy), to help them out. Lonely and missing his own departed wife, he decides to search Facebook to look up his old classmates. Alan discovers that his long-ago crush, Celia Dawson (Anne Reid, Upstairs Downstairs), is not only one of the few left alive, but also currently without a spouse. The two begin an electronic pen pal relationship.

It's very touching to see how their communication plays out, Alan afraid to ask Celia to meet up in person, and she hesitant to accept. It's not because she doesn't like him, but rather, both feel snubbed because of a miscommunication decades ago, with Alan's late wife likely to blame. Once they do see each other face to face, though, the years melt away, and they can finally pursue the romance they both always wondered about, but never thought would happen, he still that nervous boy, and she that eager girl.

It's hard to get into Alan's mindset at first. He loved his wife very much, yet still held a torch for Celia. Can one man love two people at once? What would have happened if Celia had come onto him earlier, perhaps while he was still married? Yet, because of the type of man Alan is, this doesn't seem to matter, and to those it does, they will probably assume he would have stayed faithful. It doesn't take long at all to get behind the coupling, something that brings these two joy so late in life they thought it wouldn't happen for them.

See, Celia never had the love Alan did. She disliked her husband, and so her feelings for Alan never lessened. She plays coy at first, not wanting to admit her pain or regrets, but Alan is easy for her to talk to, and it comes out. Alan is the man she has always wanted to be with, and now it's happened.

Yet, Last Tango in Hallifax is not just two old people sitting around and talking. In the first episode, which aired this week in the U.S., they engage in some pretty fun shenanigans that threaten Alan's weak heart. Get your minds out of the gutter, it's not what you're thinking. And it's not what you expect to see from a couple of this age. The show doesn't ignore their advanced years, but rather, presents wholly developed portraits of people not defined by their age. In this, it feel fresh and brilliant.

Of course, things will not be easy for Alan and Celia. Their daughters take an instant dislike of one another, as Gillian insults Celia's uptight daughter, Caroline (Sarah Lancashire, Lark Rise to Candleford). But that's something they have five more episodes to work out (in the first season alone; it has been renewed in Britain), so we can look forward to amusing rivalry.

Last Tango in Halifax does give the younger players their own plots. Caroline has to deal with a cheating husband (Tony Gardner, Lead Balloon) who wants to come home to her and their sons, though Caroline is more interested in colleague Kate (Nina Sosanya, Silk). And Gillian must reassure her son's fears that she might have killed her husband, a suspicion raised by Raff's uncle Robbie (Dean Andrews, Ashes to Ashes). But while I don't complain about serving the entire cast much, each scene that did not involve Alan and Celia made me want more of them.

I think it's just heartwarming to see Celia and Alan find each other after all these years. Their relationship is so much better and simpler than their childrens'. One has to wonder if earned wisdom doesn't allow Alan and Celia to rise above the way they likely were in earlier years, too. It gives us all hope that no matter how life plays out, there's always a chance to end it happily.

Last Tango in Halifax airs on PBS. Check your local PBS listings for showtimes.

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