TV REVIEW: Downton Abbey - Episodes Three and Four

This post contains major spoilers - please don't read if you haven't seen the episodes yet.

Dear reader, I've been really struggling to put down my thoughts on Downton's third episode. It was an episode that started out well enough. A country party was taking place at the Abbey; there was gambling, light flirting and a world famous singer came to stay in the form of cameoing Dame Kiri Te Kanawa. And then the episode came to a close with one of the most shocking scenes in the show's history as Anna was raped by Nigel Harman's Mr Green.

Suddenly, the rest of the episode fell away. It didn't matter that Mary was flirting with another man in the wake of Matthew's death. It didn't matter that Evil Edna was about to seduce a rather drunk Branson. It didn't matter that one of the most famous opera singers in the world was appearing on a Sunday evening period drama. Because Anna (one of the most beloved characters with frequently the darkest storylines) was raped.

Downton Abbey is no stranger to dark moments, the most recent of which saw Matthew apparently fly headlong from a car to his death. Before that, there was his paralysis after his service in the Great War or Sybil's untimely death after the birth of her child. William died slowly and in great pain after an explosion in the trenches. A returning soldier committed suicide. I could go on really because, despite the fact that Downton's most common association in the minds of the public is one of comfort, it is important to remember that there has been a dark streak in the series right from the beginning which began with the sinking of the Titanic. 

However, in all of these moments, however conveniently placed they might have been, they all felt essential to the developing plot. At no point did I ever think that Sybil dying was a shock tactic; it wasn't. It was a timely reminder of the historical period when medical knowledge wasn't what it is now. It has also proved essential in the development of Branson's character and his ongoing discomfort in a world in which customs and traditions are simply alien to him. 

In contrast, the rape scene felt cheaply constructed to exhibit the exact shocked reaction that it was clearly intended to do. The otherwise genteel proceedings in the rest of the episode was wrenched apart with the shocking violence of the scene. The deliberate combination of the operatic singing and Anna's screams as the scene's soundtrack was emotionally manipulative and frankly insulting to the viewer. Joanne Froggat's performance was, it must be said, outstanding and just as heartwrenching as it should have been. But the key to this scene was the development from it in the next episode.

Downton Abbey is one of the most-watched shows on television and this was a real opportunity to explore the issue of rape sensitively in a historical context that is removed enough from our own to allow for reflection. Instead, Fellowes has given us the most simplistic view of rape he possibly could; Green is your stereotypical 'bad' man who no-one knows, attacks Anna out of the blue and scarpers before there are any repercussions. To put it simply, and in awful terminology, this is a traditional rape where a man leaps out of the metaphorical bushes and forces himself on some poor unsuspecting victim. Rape is a far more complex issue and to not even delve into that, but to present it in such a base and simple way, is a terrible decision.

The fourth episode in the series' run may not have had quite the same shocking scene in one place, but the horrific treatment of female characters just kept on coming. Now I understand that this is taking place in a historical context and must therefore be considered as such, but really, so much was wrong with this episode that I don't even really know where to start.

Probably best to continue with the aftermath of Anna's rape. Anna is internalising the blame for the rape and Mrs Hughes tries to convince her to go to the police, but Anna refuses on the grounds that she is saving Bates. She's forced to sit next to Green at breakfast and does nothing to tell the truth of the situation to anyone. We're clearly being set up for the big dramatic fallout scene, a narrative development that will do nothing to silence the protests against this particular storyline. It's so frustratingly simple and doing absolutely nothing to challenge or explore. Anna is punishing herself. Nobody is punishing Green.

Elsewhere, there were plenty of secretive affairs going on all over the place that were of the morally questionable variety. Ivy and Jimmy were finally revealed to be kissing and Daisy started accusing Ivy of giving herself up all too easily. Nothing to Jimmy. Rose was seen dancing with the band leader of the jazz club, Jack, and admonished slightly for her forthright behaviour. Nothing to Jack. Edith finally has a dalliance with Gregson and returns to Aunt Rosamund's early in the morning who promptly rages at Edith for being so wayward. Nothing to Gregson. Then Mrs Hughes rains down fury upon Evil Edna who, after sleeping with Branson, is claiming she is pregnant in order to trap him into marriage. Branson gets a bit of an earful, nothing major.

It is this last narrative development that is definitely the most problematic. Granted, Branson is recognised as being at fault, though the blame is laid entirely at the feet of Evil Edna. Evil Edna is about as pantomimey a female villain as we'll get on Downton, but following on from the rape, her scene with Mrs Hughes was woefully insensitive. Not only does she embody the myths around women who exploit their sexuality to entrap men, but she is again another frustratingly simple character. There's not even an attempt to provide motive. Mrs Hughes was patronising and forceful, literally threatened to imprison Edna, hold her down and strip her naked to prove that she wasn't pregnant. Seriously Mr Fellowes? Did no one at any point during this process think that that might not be the best way in which to phrase this? 

Downton Abbey has carved a reputation for comforting Sunday night television that allows a cathartic cry once again at the untimely demise of a beloved character in amongst endless witticisms and fretting about dinner jackets. In these past two episodes though, there has been nothing comforting about it.

This is the last time I call for any madcap plot twists.

- Becky

You can read Becky's review of the second episode here.

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TV REVIEW: Downton Abbey - Episodes 6 & 7

In the aftermath of Sybil's sudden demise, Branson and Lord Grantham are at loggerheads, Matthew and Lord Grantham are at loggerheads and in fact, Lord Grantham falls out with just about everyone. Cora seeks to blame him, the Dowager Countess goes into damage repair, Bates is officially in the clear and Edith takes steps to escape her solitary lifestyle. 

After the monumental upheaval that was the fifth episode ,which saw one of the most beloved characters leave the show, Downton Abbey seems to have scaled back quite a bit. Episode Six continued in the excellent vein established by its predecessor and was thankfully not as weepy or traumatic. Maggie Smith has never given a bad performance in the show and here, she was excellent again, attempting to solve the marital difficulties between Cora and Robert. 

Whilst it handled it excellently, the episode was very much a foundation for the conflicts that are to arise for the remainder of the third series. They say you should never talk about religion at a dinner party though Lord Grantham was sort of asking for it by inviting the local Reverend round in an attempt to convince Branson that the christening should not be a Catholic ceremony. However, he failed to understand the power of the Crawley women en masse and the poor Reverend found himself made a complete fool of by the girls and Branson. It was a great scene, written well for the characters and allowing the Dowager Countess to once again steal the show.

Elsewhere, Matthew is still campaigning for his estate reformation though much of it is falling on the deaf ears of Lord Grantham who appears to be doing the 1920s equivalent of sticking his fingers in his ears and repeating 'la la la' at a loud volume until Matthew goes away. Though of course Matthew is right, because he's Matthew and he's awesome and I'm getting carried away again. Nevertheless, there's still an issue here and the treatment of the estate is fast becoming the most symbolic presence of the twentieth century in Downton. Whilst Lord Grantham represents the stoic attitudes of his predecessors, Matthew's middle-class pragmatism demonstrates the need for change. It's always been an interesting dynamic and one that is being continually brought to the fore after the first episode's insistence of the oncoming modernisation of the post-war era.

In Episode Seven, Branson's brother comes to stay and causes a bit of a stir as Branson decides that he will go reside with him in Liverpool with Sybil Jr while Lord Grantham huffs and puffs a bit. Again. Matthew locks horns with Lord Grantham over the management of the estate and manages to offend the existing estate agent while eventually winning the argument. Edith goes on a date with her new editor as she prepares to write her column and finally looks as if she's going to enjoy herself for at least a little while.

For a series that has been pretty great so far, the penultimate episode was actually pretty lacklustre in its predictability. The central conflicts that had been developing in the previous episode just sort of fizzled out, without any real explosion or argument. The issue of the state in particular had practically signposted episodes earlier that it was going to be the way in which Branson stayed at Downton Abbey. The christening was always going to go Branson's way, as predicted by Mary, and additionally, the return of Mr Bates had all the dramatic tension of a damp newspaper seeing as it was inevitable anyway.

One plotline that still has great potential though is the developing relationship between footman Jimmy and everyone's favourite panto villain, Thomas. Although we predicted in an earlier review that their relationship might be of a romantic nature, Julian Fellowes is still toying with us. The scene between Thomas and Mr Carson in the aftermath of the kiss was excellent from the knowing way that Carson handled the issue to James-Collier's performance. He's long been one of the standout actors and it is always good to see him given something else to do other than plot and scheme with O'Brian. It also offers Downton an opportunity to explore the issue of homosexuality in that time period and how vilified it was. But then again, that kiss was not necessarily one-sided... Could it be a case of Jimmy protesting too much or is he genuinely so disgusted by Thomas that he'll get him fired?

Another plus point of this episode was Hugh Bonnville's performance; despite all of his incredulity, Lord Grantham is forced into giving way on just about everything he disagreed with in previous episodes this time and Bonneville is managing to make his performance thankfully more than one note. The christening in particular was a fine exhibition of both his dramatic and comedic skills and was a nice, gentle scene with which to end the episode.

Other than the final scenes between Jimmy and Thomas, which could lead to some interesting issues being presented, there just seemed to be a lack of spark in the episode this time.

- Becky

You can read Becky's review of Episode Five here.

Follow Becky on Twitter @beckygracelea
Or follow her blog beckygracelea.wordpress.com

TV REVIEW: Downton Abbey - Episode Five

The fifth episode of Downton Abbey is both one of the most dramatic so far, and naturally therefore, one of the best. I usually try to avoid major spoilers for my reviews but be warned, there is one massive spoiler here that it would be impossible not to discuss.

The house begins preparing for the arrival of Sybil (Jessica Brown Findlay) and Tom's (Allen Leech) baby while Matthew (Dan Stevens) and Mary (Michelle Dockery) are still longing for the pitter-patter of tiny feet (Oncoming Tragedy Klaxon). Daisy (Sophie McShera) is taking being someone's superior a little too seriously and is yelling at the new kitchenmaid a lot while Anna (Joanne Froggatt) has discovered the evidence that could lead to a pardon for Mr Baaates (Brendan Coyle). The new footman, Jimmy (Ed Speelers) finds himself in a rather compromising situation with the amorous Thomas (Rob James-Collier) thanks to O'Brien's (Siobhan Finneran) plotting. Then as complications start with Sybil's pregnancy, Lord and Lady Grantham (Hugh Bonneville and Elizabeth McGovern) are forced to make a decision that could jeopardise Sybil's health and the baby. How they managed to keep this one secret is anyone's guess, but the episode was so much better for not having a clue about what was just around the corner.

The sense of foreboding was slow to creep up in this episode, most of the focus was on how happy everything was going to be once the next generation of the Downton dynasty arrived. The construction of the episode was one of its strongest points with ebbs and flows that constantly made you question the outcome, particularly once the baby had been born. Then, there was that scene between Sybil and Cora in which the daughter pleaded with the mother for her help with carrying out her husband's wishes for the child. Suddenly, the third daughter's future looked pretty certain and not in a rosy, everything's going to be all right kind of way and in one of the bravest moves the show has ever made, we saw the departure of Sybil, who was possibly one of the most beloved characters.

It's a brave plot point for two reasons; firstly, as I mentioned last week, it shakes up the well-worn path that Downton has been treading this series. We all felt safe because we always knew that everything would always be all right, because it always had been. Well that's now completely out the window and you get the feeling that, for the remaining episodes at least, anything goes. Minor characters have always been dispensable (the footman William for example) but up until now it was always safe to assume that the main characters would survive; Matthew magically recovered his ability to walk and do, erm, other things while Cora survived Spanish flu. Secondly, it's going to make the family dynamic all the more interesting. After all, who is going to defend Branson now that Sybil isn't around? I strongly suspect that the usual family loyalties are going to start shifting. And when I said I was all for seeing more of Branson, killing off his wife was not exactly what I meant but it nevertheless promises an interesting plot-line for the former chauffeur. 

The death scene itself was slow and heart-wrenching, from Branson and Cora's pleas for Sybil to stay with them to Lord Grantham's disbelief at the sudden turn of events, and the scenes that followed just added to the tragedy. I personally could no longer hold it together after the brief scene between the Dowager Countess and Carson in which the usually formidable Countess weeped openly, just for a second. Maggie Smith has always been the standout performer in Downton but this moment was so well-judged and so measured that it made an already galling episode even more so. With people group-grieving everywhere, it would have been easy for one actor to pantomime it and try and outdo the others, but each member of the cast gave a great performance in the final scenes of the episode, particularly James-Collier showing a rare moment of compassion in Thomas and Leech, as the grief-stricken husband.

It's the biggest upset we've yet had on the series and it has set up some very interesting narratives for the rest of the series. With Branson now the only link to Lord Grantham's grandchild, there's naturally going to be even more conflict. Elsewhere in the episode, there's other troubles on the horizon with Mary and Matthew most obviously with their baby struggles but also with the estate itself. Something tells me things are only going to get worse at Downton now. And let's face it, none of us would have it any other way.

- Becky

You can read Becky's review of Episode Four here.

Follow Becky on Twitter @beckygracelea
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TV REVIEW: Downton Abbey - Episode Four

With Downton Abbey now safely in the possession of Matthew Crawley and Lord Grantham, attention is turned to getting the house in order with the arrival of a new footman. Meanwhile, Branson lands himself in hot water both sides of the Irish Sea with a loyal Sybil following in his wake.

Continuing with its weekly well-dressed melodrama, Downton Abbey has slipped back into everyone's lives like a warm, sequinned comfort blanket of tears, romance with a patchwork of Maggie Smith's one-liners. It's never been challenging viewing but last night felt like the show had relaxed into itself and was simply treading the well-worn path of previous episodes of light comedy followed by Lord Grantham shouting at someone in a belligerent manner. 

This someone was of course Tom Branson (Allen Leech) this time around, facing the Lord's fury after his political activities get him into trouble with the authorities, forcing him to abandon Sybil (Jessica Brown Findlay) in Ireland and run away to safety. It's the most interesting plotline of the episode and I'm a big advocate of any development that involves more Allen Leech. It also gave us one of the funniest scenes in the series so far as the Dowager Countess proceeded to side with Branson for the most hilarious reasons; namely that she didn't like the castle he was alleged to have helped burn down. But poor Branson, he just can't keep his mouth shut can he? But then again, he would be a much less interesting character if he did. And with that, we get to one of my gripes with this episode.

Downton has always been a fairly conservative show and maintaining or recovering the status quo has always been one of the key tropes across the series; Mary and Matthew should be together-Lavinia gets in the way-Lavinina dies of Spanish flu-Mary and Matthew get married is a classic example (and one I do keep coming back to because it's hilarious). Now we have Sybil and Branson's socially unacceptable marriage, they leave for Ireland and look set to make a life together outside of Downton. But that simply cannot be! It's just far too leftfield for the residents of Downton to cope with. So Mr Fellowes, master of convenience, gets Branson into trouble with the Anglo-Irish and Lord Grantham comes to the rescue by imprisoning his wayward daughter and the former chauffeur in the house. We're back to where we were in the last series, with everyone back at Downton. 


But wouldn't it have been far more interesting to have Branson and Sybil remain in Dublin and have the Crawleys go and visit them? Just think about it - the Dowager Countess bulldozing her way into Anglo-Irish negotiations with all the subtlety of an elephant but all the wit of Oscar Wilde. This is the roaring 20s after all, everything is going a little topsy turvy but short of the fashion, you can't tell that Downton even made it through the First World War. Martha Levinson kept going on about how the Crawleys can't cope with change, but we don't see them getting a chance to; everything just goes back to normal. I want a big shake-up, the kind of upheaval that the loss of Downton hinted at (though was of course conveniently averted).

Thank God then for Edith (Laura Carmichael), new footman Jimmy (Ed Speelers - from the film Eragon. Remember that? No me neither) and the ever-schemeing Thomas (Rob James-Collier). The first meeting between Jimmy and Thomas prompted both me and my friend to predict a future dalliance between the pair or at least provide O'Brien (Siobhan Finneran) with an opportunity for revenge so it'll be interesting to see where that goes. Meanwhile, Edith has soldiered on after the heartbreak of being left at the altar and gone all feminist on us. Hurrah! Maybe Edith will get a happy ending after all? 

Elsewhere in the episode, Daisy (Sophie McShera) has her hopes of love with the new footman whose name I still haven't learnt because of a pretty new kitchenmaid (the same kitchenmaid she's begged for from Mrs Patmore (Lesley Nicol). Oh Daisy), The Anna (Joanne Froggat) and Mr Baaates (Brendan Coyle) storyline continues to be a bit of a snorefest as something goes awry with the pair's letters and they pine over each other for a little while before getting their letters back and pining over them instead. And Mrs Crawley (Penelope Wilton) helps Ethel (Amy Nuttall) give up her son to his grandparents which was actually quite sad.

Tune in next week for more corseted shenanigans!

- Becky

You can read Becky's previous Downton Abbey reviews here.

Follow Becky on Twitter @beckygracelea
Or follow her blog beckygracelea.wordpress.com

TV REVIEW: Downton Abbey - Episodes Two and Three

Did you really think that we'd left behind all the ridiculous and convenient plot developments in the last series of Downton? Well think again, as these two weeks take us through a cancer scare, an attempted shanking, a wedding and (gasp!) the potential loss of Downton Abbey. But never fear, gentle viewers, Julian Fellowes and his amazingly convenient plot twists are on hand to save the day!

If that opening paragraph makes it seem as if I'm laying into everyone's Downton Abbey this week, I can assure you it is only gentle mocking born out of my deep affection for this show. Even the most diehard Downton fans have to admit, the shocking revelation that Matthew (Dan Stevens) was actually in the clear to bestow his money on Lord Grantham (Hugh Bonneville) was never in any doubt. I must admit though, I didn't see the whole letter plot twist, I just expected Matthew to get worn out from all of the not-so-subtle insults from Mary (Michelle Dockery). But we can all rest easy; even though Mary's and the Dowager Countess' (Maggie Smith) hilarious plans failed last week with Martha (Shirley Maclaine), Matthew was once again on hand to save the day!

The second episode, despite some wonderful one liners from Dame Maggie, was the more lacklustre of the two and served more as a lead-in to the big moments in episode three, particularly concerning Mrs Hughes (Phyllis Logan). Ever the stalwart right-hand woman of Mr Carson (Jim Carter), the housekeeper's strength was tested across these two episodes after discovering that she might have cancer. It isn't one of the strongest plot-lines the show has come up with but it was a chance for Logan and Lesley Nicol's Mrs Patmore to shine. Aside from the lack of originality, it also wasn't the best source of tension because we know that death in Downton is a rare occurence, utilised only when it is incredibly convenient for the existing cast members for people to die (see Patrick Crawley, the long-lost heir or Lavinia, the woman-shaped blockade to the Mary-Matthew marriage). Therefore, Mrs Hughes was NEVER in any danger and now it looks like a possible romance blossoming between her and Mr Carson. D'awww.

Speaking of romance, poor old Edith (Laura Carmichael) was put through the emotional wringer yet again in these episodes as her off-on-off-again romance with Sir Anthony Strallen (Robert Bathurst) heads towards the altar. Or does it? Edith has long been the curmudgeonly spinster of the Crawley clan, spitefully alerting people to Mary's involvement in Mr Pamuk's untimely demise which promptly led to Mary's first destruction of the Edith-Strallen relationship. After the second episode saw the pair engaged, despite the age difference and sum total of only three arms, the third sees the wedding approach. As Edith gleefully observes, for once, an event at Downton Abbey is all about her. Though not for long, as Strallen decides to leave her, rather ungallantly at the alter (in a truly gorgeous wedding dress). I'm developing a theory that Julian Fellowes doesn't like Edith because the poor girl never has a happy ending. Maybe we should all start a campaign? Happy Ending for Edith please!

Because I've covered two episodes here (sharing many of the same themes), I'm going to deviate slightly from the format now and give you a rundown of my other noteworthy moments:

• - Anna (Joanne Froggatt) continues to search for the evidence to prove Bates' (Brendan Coyle) innocence though it's looking a little unlikely. It also continues to be a bit of a yawnfest. 

• Matthew and Branson (Allen Leech) develop their bromance over a game of billiards. Just lovely. Next time, please show the billiards match. 

• - The new, freakishly tall footman (whose name I still don't know) seems to be attempting to cop off with any female member of staff after the American lady's maid in last week's episode and then turning his attention to Daisy (Sophie McShera) and Anna.

• - The war between O'Brien (Siobhan Finneran) and Thomas (Rob James-Collier) starts to heat up as she steals the dress shirts he's supposed to be looking after, whilst he tells Molesley that O'Brien is about to leave Downton. After seeing the two of them attempt to bring down everyone else in their path, it's great to see the pair turn against each other.

Next week looks like a focus on the runaway romance of Sybil (Jessica Brown Findlay) and Branson as the preview featured the former chauffeur in tears and a lot of rain (which we all know means sadness and tragedy). Whilst it may be predictable, over-the-top and ever so slightly daft, it's still cracking entertainment and I'm enjoying the emotional upheaval.

- Becky

You can read Becky's review of the first episode here.

You can follow Becky on Twitter @beckygracelea

Or follow her blog here beckygracelea.wordpress.com

TV REVIEW: Downton Abbey - Episode One

After what seems like an agonising wait after the awesome Christmas special that saw Matthew and Mary FINALLY get together, Downton Abbey returns to our screens with just the right amount of melodrama for some classic Sunday television.

The last series veered from the sublime to the ridiculous so fast it made your head spin, which is no bad thing but let's face it, that was the most convenient outbreak of Spanish flu there has ever been. With it's Roaring 20s setting, the third series might be a little more grounded in some vague reality. Then again, why let real life get in the way of some bally good melodrama? A whole hour and a half of Downton Abbey packs in a hell of a lot of plot and thankfully Julian Fellowes' script keeps it zipping along at a fair pace. It's not for the first-time viewer though as there isn't really any major exposition to explain how everyone got to where they are apart from a few oblique references.  The first episode kicks off some time after the Christmas special with all of Downton gearing up to possibly the most anticipated marital event since Kate Middleton rocked up to Westminster Cathedral in her lacy finery.

Naturally, the course to the oncoming nuptials does not run smooth. Lord Grantham (Hugh Bonneville) is called away to London to discover that he's practically lost all of Cora's fortune (Elizabeth McGovern) and Downton is under threat (thus providing the overall narrative anxiety for the series). Meanwhile, a pregnant Sybil (Jessica Brown-Findlay) and her husband, former chauffeur Tom Branson, (Allen Leech) return to Downton Abbey to face some awkward dinner conversation about coat-tails and Irish nationalism. Bates (Brendan Coyle) has a new, possibly (read definitely) dangerous cell-mate while Anna (Joanne Froggatt) continues to search for the evidence needed to free him. A new footman has started work leading to more plotting from Thomas (Rob James-Collier) and O'Brien (Siobhan Finneran), though for once they are not on the same side. Daisy (Sophie McShera) revolts against Mrs Patmore (Lesley Nicol) whilst Carson (Jim Carter) continues to struggle to maintain order. And I've not even covered half of it.

I should probably warn you in advance of this review that I adore both Matthew and Branson and there may be some slight swooning when discussing their roles in the first episode. I can't help it. One of them has the most amazing blue eyes in the world and the other one has a positively gorgeous Irish accent. Leech in particular excelled here, giving Branson an awkward charm and defiance in the face of the Crawleys. His scene with the Dowager Countess and Mrs Crawley forcing him into a mourning suit was a comic delight whilst his angry drunk Irishman acting was an excellent example of a horrendously awkward situation. The relationship between Matthew and Branson was also a great aspect of this episode with the Crawley heir taking it upon himself to make the former chauffeur feel as welcome as possible in the midst of all the class divides. Stevens and Leech sell the oncoming bromance well and the brother-in-law partnership versus the Crawleys should be an interesting development. It all fits into the wider theme of change that comes with the 20s setting and the various clashes between old and new.

Speaking of clashes, the publicity all centered on the meeting of Maggie Smith's Dowager Countess and Shirley Maclaine's Martha Levinson and it did not disappoint. From the first awkward hallway meeting to the constant attempts to thwart each other over desserts, the two battleaxes are already engaged in a one-liner competition that looks set to go on all series. Smith has long been the fan-favourite for her comedy moments but it is in the more dramatic ones where she really soars; her revelation that it was her money that enabled Branson and Sybil to attend the wedding was understated yet perfectly pitched. If reports are true and Maggie Smith is to leave the series, her presence and acerbic wit will be sorely missed.

Meanwhile, Bates and Anna continue their relationship in the inconvenient location of the slammer. The Bates-Anna romance had me gripped throughout the previous two series, but I can't help thinking that it is starting to run out of steam. Perhaps the circumstances don't help; after all, you can't really have soaring romantic ups-and-downs if one party happens to be stuck in prison, but it all feels a little stale. Now that we know Bates' mysterious past was to do with his psychotic wife who tried to do everything to derail his new relationship and we know that he didn't commit the murder, there's no enigma left to uncover. Also, it's Downton Abbey; everything turns out neatly so therefore we know that, at some point, Bates is going to make it out of prison and return to Downton. There's no tension here anymore, which is a shame because it was previously one of the most gripping narratives.

It's a small gripe though in the scope of the wider episode which finally saw Matthew and Mary get married, despite a couple of hiccups along the way (solved by Branson - did I mention that he's awesome?). It's the moment most people have waited for since halfway through the first series and even those naysayers who disliked the pair must have cheered ever-so-slightly when they got to the church. It was a great end to a fantastic start to the new series and I cannot wait to see what Fellowes and the gang have in store for us. Sunday nights are officially all booked up.


- Becky

You can follow Becky on Twitter @beckygracelea
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