At Christmas 1919 the Crawleys welcome Edith's former suitor Sir Anthony, now a war invalid, who tells her that he is too old for her, and Robert's sister Rosamund with her beau, the raffish Lord Hepworth. Sybil writes to announce her pregnancy. After Carlisle's selfish attitude towards the servants and his jealousy when Mary accompanies Matthew to visit Lavinia's grave, Robert prises from his wife the fact that the newspaper baron is effectively blackmailing his daughter into marriage to keep her secret and, on her father's advice, Mary breaks off the engagement, knowing that the angry Carlisle will now probably expose the family. Aware that Hepworth is penniless, Violet unsuccessfully tries to warn Rosamund against marriage but Rosamund is determined to go ahead with the wedding - until she catches her fiancé in bed with her maid. Things do not go well for John, on trial for killing Vera, though Robert and Matthew vow to contest his life imprisonment. Upstairs and downstairs at ...Written by
don @ minifie-1
In the first and second season characters make fun of Edith for her wanting to be with Anthony Strallan even though he is considerably older than her. However they don't say a word about Mary and Richard Carlyle who is also older than she is. They don't say the ages of Anthony and Richard, but in real life both men are older than Hugh Bonneville who plays Edith and Mary's father. See more »
One the New Years Day shoot, every time a bird flies over Matthew fires a single shot, the ejects and replaces TWO cartridges. See more »
Fellowes has successfully managed to make a soap opera melodrama, luxury rather than a necessity. This royal family and the impact it casts upon others surrounding them is the ultimate definition of royalty, in terms of that it spews each of our assumptions of the livelihood of people residing in such palace onto the screen with elegance and stature that does more than people-pleasing work. The emotions comes in plethora of it- hence arguable the titled genre melodrama- but what doesn't come in hand is the content, the writers fiddles with you with such panache that you are rumble down to be gullible enough to nod at anything offered. And this is primary the reason, why in its middle seasons, where the writing was questioned and yet loved and accepted by us effervescently.
Its primary theme that it adapts or conjures for an episode is shared by an entire cast that makes the episode balance and all the tracks, no matter how long they may carry on later, gets a definite period within that hour for you to pin down your decision. The most difficult part of the writers is to pass on information or rumors in this too-big-a-palace but with flawed three dimensional characters, it is weaved out with excellent justifying reasons leaving you in an awe of it.
Fellowes doesn't share its cast, nor a scene, nor humor, nor any anchor that would weight him down to take bold risks, he doesn't compromise on lopping off a character from the screen or adding one despite of being shared by so many, he has managed to reboot the drama until every last viewers gets that point jaggedly on mark. The series is also blessed with incredible cast like Dockery, Bonneville, Carter, Coyle and Smith that stands out among plenty other performances. Downton Abbey is, yes, cheesy, but each aspect of the series owns it, and with commitment like such comes maturity and just good storytelling.
Installing the premise of War and the catastrophe it casts on each character, this season feels more reserved on exploring the characters' equation and more on diving deep on individuals, along with adding few more and reincarnating the previous errors, it keeps its standard consistently good.
Christmas At Downton Abbey
A well earned hour by the makers, by spewing their best aim on all directions from a compelling courtroom drama to the usual inner family politics, the holiday is celebrated with equal sincerity by revealing new surprises and finally accepting the love track.
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