“I don't think one knows anything in war time.”
While it is a common complaint/concern among episodic TV criticism that the critic perhaps spends too much time worrying about the individual pieces of the show that we lose sight of the overall narrative. It's the standard “losing the forest among the trees” argument, and it becomes even more significant in the case of miniseries (or British series, as we're dealing with here), where the overall narrative tends to be tighter, and episodes tend to piece together more fully. With the PBS editing of the series that effect is amplified, as the original openings and endings sort of become non-existent. This leads to a mess of themes and plotlines, and makes it very difficult to review individual episodes.
To that end, I wasn't able to review “Part II” by itself, but when coupled with “Part III”, it becomes much clearer how this season is shaping up, and how I should approach each one without being overly simplistic.
The main problem is that “Part II” only seemed to double down on themes of the premiere, in the sense of further depictions of the collision between the Crawleys' sense of nobility and the encroaching needs of the war. It might not have made for the most intriguing hour, since it felt like very little had changed since the first two hours, but the themes were also presently more strongly in the third hour than they had been previously.
The real power from the episode came in pulling the focus tighter on Downton Abbey and the surrounding town, and not bothering with any sort of jaunts to London, or across the channel to the war. Our entire season one focus was on the Crawleys and the extended family, and the show trying to expand the world is admirable, but it also gave us somethings in the premiere that weren't all that interesting due entirely to their alien nature. The next two hours, by contrast, bring the war to the Abbey, and letting those collisions play out in a familiar setting makes for much better drama.
So it was quite the treat seeing all of the Downton residents reacting to the various inconveniences of the war. The Crawleys might not mind assisting in the war effort, but they do seem to be perturbed at the thought that there will be no separation between the upper crust and those who are risking their lives in the name of the country. The war might be crumbling all sorts of social order, but it appears that they – even supposed military man Robert – won't gives them up without a fight.
Yet as much as it may rankle the traditional mode of the Abbey, there's something freeing about it as well that seems to affect many of the residents. Sybil continues to enjoy her turn as a nurse, and Edith seems to envy the freedom that's she's obtained, and it positively giddy at the idea of taking her own role in the soldier's lives. Thomas and Isobel both see a chance to grab some power-holdings in Downton, though her motivations aren't even as close to selfish as his are. (It's interesting to note that Robert doesn't seem to have a problem with Thomas running Downton since he's a soldier, even though he's likely aware of what a shitheel he is.)
But of course war isn't given an entirely rosy depiction here, as even though the show seems to have a much more generous to the militaristic attitude of the past than most contemporary shows are, it does allow for some criticisms to seep through on the edges. Things like Mr. Lang's undiagnosed PTSD, the contempt with which Ms. Patmore's nephew is treated for his cowardice, or the way in which Branson almost throws away his job in order to protest the war. This is taken to even more literal extension with the actual intrusion of the soldiers into Downton, including the worrisome flirtation between Ethel and a wounded soldier....
“Part III” then, dispenses with depicting the Crawleys in a purely reactionary mode, and givign them more agency results in the best hour of the series yet – and yet also the most problematic.
Still smarting from the loss of their autonomy within their own house, Cora quickly sets about wresting control away from Isobel, who takes this as an affront (which is it, and was meant to be) and leaves Downton for a place where she can work more freely. Ironically while this is going on, the two younger Crawley sisters are also gaining autonomy within the house by swering into the war effort curve. Edith's quite enjoying being the de facto matriarch of the soldier's quarters, to the extent that she's throwing a talent show for the men, and dragging Mary along with her. Sybil meanwhile grows more confident everyday thanks to her nursing duties, and it also seems to be opening up her up to other possiblities usually unassociated with her station – like possibly running away with Branson. Of course, his rather dickish pressuring of her isn't helping things.
And speaking of pressuring – William. His courtship of Daisy has been a bit troublesome morally, as it's not really been clear whether we're supposed to hate him for taking advantage of her genial nature, or blame her for being such a pushover, but either way it asks us to hate characters who are morally good for the most part, and with so many actual villain on the show, it's getting to feel like a bit much.
Yet the William/Daisy story also helps to shift the episode into the most workable formula for the show yet, one where there are storylines that are informed by the war, yes, but also serve to cause more recognizable, believable, and frankly interesting drama back home. So when Matthew and William's ill-advised patrol turns into a “behind enemy lines” situation, it's a particular war story sure, but the stronger material exists back at the Abbey as the residents worry over there fate. (Once again, the show misses a chance to critique the war, as the two men have incredible luck at ending back up at a Royal army tent.)
In a similar turn, Ms. Patmore, along with a few other of the house help, decides to assist the recently freed-up Ms. Bird in her quest to form a soup kitchen for veterans. It is perhaps the silliest and slightest of the hour, but it also serves an important purpose in reorienting our views on Cora. Given how negative she's been about the soldiers crashing in on the Abbey, she's been somewhat of a bitch. But seeing her willingness to use the house's own food to feed the soldiers softens her a bit. (It was also another good scene for O'Brien being taken down a peg or two.)
Elsewhere, further machinations and back-stabbing abound in regards to the various power positions within Downton. Thomas predictably has become a raging dick in his new role, taking it out on everybody, especially Carson. He eventually gets taken down a peg or two by his superior, thanks to Ms. Hughes meddling. Of course this comes at the worst opportunity, just when Robert has convinced Bates to return to Downton. And Bates return had it's own ill-effects, and it has ousted the scheming Mosley, who apparently is just so in love with the labor system.
All of this get washed over in the last act, however, as William and Matthew return to Downton, right in the middle of Edith and Mary's duet. It's a beautiful moment, as the two main plots come crashing together, and it's a flourish of open emotion that Downton by it's nature doesn't really dabble in. (Okay, it's still pretty restrained emotion, but relative to rest of the show, this moment was as embarrassingly emotionally open as any Michael Bolton song.)
It's the last few minutes of the hour, however, that give me pause – and then after that pause, great worry. Look, I've already spoken out against Ethel as a character. She's both annoying and useless, and to give her a pregnancy – one of the most tired in the entire soap genre – just means that were going to get a lot more of her, in a plot that will only increase her grating nature. And I believe that this is what all those British naysayers were warning us about when they said this season wasn't all that good. So hold on, fellow viewers; I get the feeling it's about to get bumpy.
Quotes and Other Thoughts:
As if we needed another reminder of how awesome Maggie Smith is on this show.
“Officers aren't men, at least where I'm concerned.”
“We can't leave all the moral high ground to Sybil; she might get lonely there.”
“That Rosalind – she's never more right than when she's in the wrong.”
*********
“Of course it would be foolish to accuse you of being unprofessional, since you've never has a profession in your life.”
“Really, it's liking living in a second-rate hotel where the guests keep arriving and no of them seem to leave.”
“I may not be a woman of the world, but I do not live in a sack.”
“What'd you think: That you'd marry the chauffeur and we'd all come to tea?”
Cora, dolling out proper punishment: “O'Brien, you can manage the bread.”
“He's getting grander than lady Mary, and that's saying something.”
“I'm used to Matthew now – god know who the next heir will be.”
The real power from the episode came in pulling the focus tighter on Downton Abbey and the surrounding town, and not bothering with any sort of jaunts to London, or across the channel to the war. Our entire season one focus was on the Crawleys and the extended family, and the show trying to expand the world is admirable, but it also gave us somethings in the premiere that weren't all that interesting due entirely to their alien nature. The next two hours, by contrast, bring the war to the Abbey, and letting those collisions play out in a familiar setting makes for much better drama.
So it was quite the treat seeing all of the Downton residents reacting to the various inconveniences of the war. The Crawleys might not mind assisting in the war effort, but they do seem to be perturbed at the thought that there will be no separation between the upper crust and those who are risking their lives in the name of the country. The war might be crumbling all sorts of social order, but it appears that they – even supposed military man Robert – won't gives them up without a fight.
Yet as much as it may rankle the traditional mode of the Abbey, there's something freeing about it as well that seems to affect many of the residents. Sybil continues to enjoy her turn as a nurse, and Edith seems to envy the freedom that's she's obtained, and it positively giddy at the idea of taking her own role in the soldier's lives. Thomas and Isobel both see a chance to grab some power-holdings in Downton, though her motivations aren't even as close to selfish as his are. (It's interesting to note that Robert doesn't seem to have a problem with Thomas running Downton since he's a soldier, even though he's likely aware of what a shitheel he is.)
But of course war isn't given an entirely rosy depiction here, as even though the show seems to have a much more generous to the militaristic attitude of the past than most contemporary shows are, it does allow for some criticisms to seep through on the edges. Things like Mr. Lang's undiagnosed PTSD, the contempt with which Ms. Patmore's nephew is treated for his cowardice, or the way in which Branson almost throws away his job in order to protest the war. This is taken to even more literal extension with the actual intrusion of the soldiers into Downton, including the worrisome flirtation between Ethel and a wounded soldier....
“Part III” then, dispenses with depicting the Crawleys in a purely reactionary mode, and givign them more agency results in the best hour of the series yet – and yet also the most problematic.
Still smarting from the loss of their autonomy within their own house, Cora quickly sets about wresting control away from Isobel, who takes this as an affront (which is it, and was meant to be) and leaves Downton for a place where she can work more freely. Ironically while this is going on, the two younger Crawley sisters are also gaining autonomy within the house by swering into the war effort curve. Edith's quite enjoying being the de facto matriarch of the soldier's quarters, to the extent that she's throwing a talent show for the men, and dragging Mary along with her. Sybil meanwhile grows more confident everyday thanks to her nursing duties, and it also seems to be opening up her up to other possiblities usually unassociated with her station – like possibly running away with Branson. Of course, his rather dickish pressuring of her isn't helping things.
And speaking of pressuring – William. His courtship of Daisy has been a bit troublesome morally, as it's not really been clear whether we're supposed to hate him for taking advantage of her genial nature, or blame her for being such a pushover, but either way it asks us to hate characters who are morally good for the most part, and with so many actual villain on the show, it's getting to feel like a bit much.
Yet the William/Daisy story also helps to shift the episode into the most workable formula for the show yet, one where there are storylines that are informed by the war, yes, but also serve to cause more recognizable, believable, and frankly interesting drama back home. So when Matthew and William's ill-advised patrol turns into a “behind enemy lines” situation, it's a particular war story sure, but the stronger material exists back at the Abbey as the residents worry over there fate. (Once again, the show misses a chance to critique the war, as the two men have incredible luck at ending back up at a Royal army tent.)
In a similar turn, Ms. Patmore, along with a few other of the house help, decides to assist the recently freed-up Ms. Bird in her quest to form a soup kitchen for veterans. It is perhaps the silliest and slightest of the hour, but it also serves an important purpose in reorienting our views on Cora. Given how negative she's been about the soldiers crashing in on the Abbey, she's been somewhat of a bitch. But seeing her willingness to use the house's own food to feed the soldiers softens her a bit. (It was also another good scene for O'Brien being taken down a peg or two.)
Elsewhere, further machinations and back-stabbing abound in regards to the various power positions within Downton. Thomas predictably has become a raging dick in his new role, taking it out on everybody, especially Carson. He eventually gets taken down a peg or two by his superior, thanks to Ms. Hughes meddling. Of course this comes at the worst opportunity, just when Robert has convinced Bates to return to Downton. And Bates return had it's own ill-effects, and it has ousted the scheming Mosley, who apparently is just so in love with the labor system.
All of this get washed over in the last act, however, as William and Matthew return to Downton, right in the middle of Edith and Mary's duet. It's a beautiful moment, as the two main plots come crashing together, and it's a flourish of open emotion that Downton by it's nature doesn't really dabble in. (Okay, it's still pretty restrained emotion, but relative to rest of the show, this moment was as embarrassingly emotionally open as any Michael Bolton song.)
It's the last few minutes of the hour, however, that give me pause – and then after that pause, great worry. Look, I've already spoken out against Ethel as a character. She's both annoying and useless, and to give her a pregnancy – one of the most tired in the entire soap genre – just means that were going to get a lot more of her, in a plot that will only increase her grating nature. And I believe that this is what all those British naysayers were warning us about when they said this season wasn't all that good. So hold on, fellow viewers; I get the feeling it's about to get bumpy.
Quotes and Other Thoughts:
As if we needed another reminder of how awesome Maggie Smith is on this show.
“Officers aren't men, at least where I'm concerned.”
“We can't leave all the moral high ground to Sybil; she might get lonely there.”
“That Rosalind – she's never more right than when she's in the wrong.”
*********
“Of course it would be foolish to accuse you of being unprofessional, since you've never has a profession in your life.”
“Really, it's liking living in a second-rate hotel where the guests keep arriving and no of them seem to leave.”
“I may not be a woman of the world, but I do not live in a sack.”
“What'd you think: That you'd marry the chauffeur and we'd all come to tea?”
Cora, dolling out proper punishment: “O'Brien, you can manage the bread.”
“He's getting grander than lady Mary, and that's saying something.”
“I'm used to Matthew now – god know who the next heir will be.”
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