Andrew: Good morning, Cat! I finally caught up with Downton after watching football on Sunday instead—and boy, that episode was certainly more interesting than that snooze of a Super Bowl! Downton Abbey mostly occupied itself with advancing a handful of small plotlines, with most of the sound and fury going to Edith. Poor Edith! Pregnant by a married man who’s gone missing in Munich! Even if Gregson is found, Edith’s pregnancy is going to cause some serious fallout. What’s the solution? Will Aunt Rosamund help Edith find a discreet abortion in London? Will Julian Fellowes arrange a narratively convenient miscarriage? Or will Edith actually have the baby? That would be quite a scandal, indeed.
Catherine: Good morning, Andrew! I have to admit, this season of Downton is helping me to survive a difficult winter. Downton is interesting this year instead of outrageous and thiis episode felt like it was taking a page out of Downton’s first season glory. True, Edith’s pregnancy is new but that girl’s theme has always been male suitors bolting off into the distant sunset never to be seen again. Her gloomy and harassed countenance haunting Downton feels just like old times. And speaking of old times…Thomas is up to his old tricks again. Mrs. Hughes prevaricating over the band with Thomas was a thing of glory! Oh, the dark glare he gave her when the truth was revealed. No change to Downton- just a jazz band! Though perhaps that’s a very big change indeed.
Andrew: Another slight change—Downton’s consideration of race, a topic that’s made nary an appearance on the show until this season. The show’s handling of the topic is typically simplistic and Downtonesque—pairing the reactions of old sticks-in-the-mud like Carson and, surprisingly, Edith, with those who are a bit more forward-minded. But Mary discovering cousin Rose kissing the bandleader Jack Ross in the kitchen may bring this storyline into more nuanced territory. Though the Crawleys will accept a black man in their home to sing jazz standards at Robert’s birthday party, I doubt they’re so forward-thinking when it comes to interracial romance.
Catherine: Lord Grantham’s frozen face when he realized a jazz band was in his home was priceless. Would he freak out? Would he shrug and go with the flow? He decided on the latter but for a moment, it all hung in the balance. Grantham has been behaving like his earlier season one self. He summed up his change of heart in a speech to Mary about being a graceful loser and realizing when you’re beaten. He’s back as a likeable character once more, conceding to change and carrying his concession off with elegance. Hugh Bonneville (Grantham) plays gracious characters well. Grantham’s rigid, uglier side never suited the actor. And yes, I agree, Jack Ross as a bandleader is acceptable to the Crawleys but as a suitor for Rose? It’s reminiscent of Branson’s and Sybil’si story but is now taking a new and much needed look at racial issues. Rose and Jack’s story line is one I’m eagerly watching. And speaking of star-crossed lovers, poor Daisy’s lost love’s lottery once again.
Andrew: Oh, Daisy! I’ve got a soft spot in my heart for her. Unexpectedly, the love rectangle that so bored me a few episodes ago has provided some great moments in the last few episodes. Alfred’s departure to become a chef was quite poignant—he declared his appreciation for the family and Carson, and gave Daisy the goodbye she deserved. What a guy! He’s the opposite of O’Brien in every way imaginable. Meanwhile, Jimmy’s revealed himself to be a not-nice guy, and Ivy’s starting to see Alfred’s worth. With Alfred gone, I don’t see that this storyline has anywhere to go—but either way, I’m hopeful that Alfred’s right and Daisy finds the man she deserves, one she loves and who loves her in return.
Catherine: Alfred is awesome, no denying it. I had to laugh when he expressed appreciation to the family and Carson. Being British, of course, they all had to become very interested in the carpet and barely concede that they heard Alfred’s praise. Alfred’s gone and that means Molesley is back. This is a character I fail to find interest in. He’s been plopping in and out of employment since day one. Remember his drama with Matthew? Would Matthew keep Molesley, would he let him go? Back and forth. Molesley’s story line hasn’t changed much since then. Now he’s a valet or a butler or a road worker or a footman. Now he isn’t. He is, he isn’t. You get my point here.
Andrew: Molesley is the Eeyore of Downton Abbey. His bad luck and self-pitying outlook are occasionally good for a laugh—but mostly dull as paint. But you know who I’m secretly getting bored with? Thomas. I like Baxter and want to know what Thomas has on her, but as for the evil butler himself, I just don’t understand what motivates him. He’s taken an interest in what’s happened between Bates and Anna—because, I don’t know, REASONS. He’s like an evil deus ex machina, a narrative contrivance more than a real person, who exists to stir the pot from time to time.
Catherine: As much as I get a kick out of Thomas’ plotting and scheming, I have a hard time remembering why Thomas is there. He’s a butler or is he an under butler? What is an under butler? Carson buttles the hell out of Downton, there hardly seems the need for more buttling. In the past, Thomas’ malicious behavior was linked to his homosexual orientation. That reasoning failed to work on so many levels. You can bet upon it that when his motivations for sneaking and prying come to light, there will be much hand-waving and incoherent mumbling. Whatever reasons his need to know about the Bates, Mr. Bates is back to brooding in dark corners and this is where Bates’ shines. While I’d like to see a new dimension to our favorite valet, revenge is really his cup of tea.
Andrew: Let’s see, what else do we need to talk about before we sign off for this week? I’m glad that Isobel and the Dowager are back to their old shenanigans—though my #Clarksobel relationship hopes were partially dashed by his “Oh, damn!” reaction to their climactic confrontation. But the moment I really can’t get out of my mind is a sweet one, uniting Isobel, Mary, and Tom in their nursery, reminiscing about the people they’ve loved and lost. Their fond remembrances of the gloriousness of being in love in spite of their grief, and Isobel’s conclusion—”Well, aren’t we lucky?”—put a lump in my throat. Downton Abbey is mostly very silly, but it is capable of wonderful moments of insight now and again.
Catherine: You beat me to the punch! “Aren’t we lucky” was the best part of the episode. Second place could easily go to Mary’s sparring with Blake. Mary only fights men she intends to hook up with- that may well by why Gillingham failed. Evelyn Napier needs to stop bringing his buddies by if he’s going to win Mary’s heart. First Pamuk and now Blake! Napier just can’t catch a break. Worst moment falls to the ominous music cue as Mary climbed the stairs after catching Rose and Jack making out. Like Mary’s going to point fingers at kids for making out in the dark. With a balancing mix of sweet and silly, Downton Abbey made for good television watching this week.
Andrew: It certainly did! Thanks for chatting, Cat. I’ll see you next week.
