The feud continues between O'Brien and Thomas, who suggests that the ladies' maid intends leaving. Carson suspects that Mrs Hughes is unwell and tricks Mrs Patmore into confirming the cancer and, in a misguided effort to help, informs Cora. Anna visits a friend of Vera, Mrs Bartlett, though she offers no fresh evidence whilst, John falls foul of cell-mate Craig. Mary finds a letter which could persuade Matthew to take the inheritance and save the family home. Edith prepares to marry Sir Anthony.Written by
don @ minifie-1
From the minute Ethyl showed interest in Sir Anthony, everyone in her family made a huge deal about their age difference. He was 25 years older than her. On the wedding day, she was 28 and he was 53.
The truth is, any family in 1920 would have been delighted for their spinster daughter to marry a wealthy member of the peerage, that had a title and an estate. It was extremely common for a man of his rank to marry a much younger woman when his first wife died. That Edith's family makes such a fuss about their age difference just would not have happened, it would have never even occurred to them. They would have given up that Edith would ever find a decent man to marry, her best years were behind her. Sir Anthony was someone they would hope one of their daughters would marry. Indeed, when Mary was looking for a husband a few years earlier, the family was pushing Sir Anthony at her. Why was it OK for a older man to wed Mary, but not Edith, who is only 2 years younger than Mary,
It's still accepted today among the wealthy. There are scads of rich older men married to much younger women, it was no different in 1920. 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.
Presumably, the darkest season of all which proves once again,the bold decisions that writers makes without flinching and their excellent finesse on sculpting those gut wrenching antics that it completely thrives upon.
Finally, a marriage with issues, something that we all aspire for, and despite of having such a bold decisions go haywire, personally I leaned towards a light that shined on a relationship that whispers a soothing love track.
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