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About the Show 2011Downton Abbey, the award-winning series from Julian Fellowes, spans 12 years of gripping drama centered on a great English estate on the cusp of a vanishing way of life. Nearly six years ago, America fell in love with Downton Abbey‘s Granthams and their family of servants, and has followed them through sweeping change, scandals, love, ambition, heartbreak, and hope ever since. With Julian Fellowes’ crackling writing and its stellar ensemble cast led by Maggie Smith, Downton Abbey delivers wit, warmth, passion and a phenomenon that is, at its heart, utterly human.
S04E01: 'Part One' ( and as they aired in the U.K.)Not gonna lie, I was more than a little worried about what Downton Abbey would look like without Matthew Crawley following his sudden and soul-crushing death in. I mean, I wouldn't go as far as to say that the entire point of the show was Mary and Matthew's endless courtship, but their story was certainly a priority.
I didn't even particularly care, personally, about Matthew and Mary's Epic Saga, which always seemed so stuffy and dull compared to, say, Sybil and Tom as a couple or even Edith and Strallan as a couple. Honestly, there were times when I didn't even particularly like Mary all that much. It doesn't even matter anymore because this new depressed-and-totally-at-a-loss-for-what-to-do-with-the-human-she-squeezed-out-of-her-vajayjay Mary is weirdly appealing in an OMG SHE'S HUMAN kind of way.And for now, the late Matthew Crawley's presence is still so deeply ingrained in every aspect of the estate that at times, the Season 4 premiere didn't entirely feel as though his absence had been fully realized on the screen. From the opening shot of the Estate shrouded in bleak, colorless fog to his surviving family's obsession with 'what Matthew would have wanted,' the onetime heir to Downton is still a driving force behind much of the goings-on at the mansion—upstairs, at least.Downstairs, despite the midnight flight of Miss O'Brien for the exotic climes of India, it was very much business as usual.
Ivy and Daisy bickered over boys. Patmore was scared of the new electric mixer.
Carson was a stubborn ass about being a decent human being until Mrs. Hughes invaded his privacy and made him play nice with the long-lost ex-BFF who totally stole his woman. Oh, and Edna's back because Branson's storyline isn't horribly depressing enough as it is. YOU STAY AWAY FROM HIM, YOU HUSSY.Yeah, nah, I don't really care if Branson moves on from Sybil—he's human and he's young and Sybil would have probably wanted it—it's just that Edna is awful and clearly just an opportunist bordering on being a con-artist.
And for the record, I also don't mind if Mary eventually moves on; I'm just not ready to invest in yet another round of Lady Mary's Endless Parade of Posh Suitors. Matthew and Mary's wedding was such a culminating event on Downton Abbey, not just for providing us with a satisfying ending to a story that'd been three seasons in-the-making, but also for all the potential story possibilities it opened up as the Crawley family saw their priorities change. The Estate was saved, and Mary had avoided scandal and ruin and managed to fulfill her destiny by marrying the 'right' dude, who she also had the fortune of not being repulsed. As Downton Abbey roared into the 1920s, the undeniable newness looming on the horizon was a tantalizing promise. Making our return to a decidedly regressed Downton all the more disappointing.In the first half of tonight's two-hour premiere, once again, Mary was technically penniless, as without a male heir for a husband, the family fortune would go immediately to the wee baby George. With the looming death duties demanding payment, Downton was once again facing financial ruin, meaning George probably won't have much of an inheritance anyway.And in the second half, once again, Mary's place in the hierarchy was conveniently saved by a late-arriving letter. The threat of losing everything—or at least a substantial amount of it—to taxes still stands, but with Mary resolving to take an active role in the running of the Estate and her (and Tom's) commitment to fulfilling Matthew's quest to modernize and make the lands profitable, chances are the fortune will be just fine.
BUT (of course there's a but) as Mary and Branson went forward with their plans, Robert once again got a bug up his butt about TRADITION and running Downton THE RIGHT WAY and once again set to being kind of a skeevy jackass in his determination to make bad decisions on behalf of everyone because he has the penis, and therefore all the power. ('When you talk like that I'm tempted to ring for Nanny and have you put to bed with no th-supper.'
The quick re-emergence of the status quo and the oh-so-lucky letter were annoying, but not surprising. The show loves doling out quickie resolutions to its big narrative problems, be they bars of soap or horrible scarred soldiers disappearing into the night, so it's pretty par for the course.Increasingly, it's a show I like for its parts but not their sums. Tom and Mary are an lovely duo, and I've come to love Edith and her gloriously modern but not showy clothes, but so much the show is just.they keep talking about change, but the characters are largely insulated from change, and the show itself it quick to avoid major changes itself. It's troublesome. The old guy Carson saw off at the train - that wasn't my beloved Fat Andy aka Warren Clarke, was it? He had hints of Dalziel around the mouth.Sorry, D/A, I tried. You're still a soap opera to me with no characters that I am so very invested in that I just HAVE to follow the show each week.Meanwhile, I just saw Seven Psychopaths, holy crap on a cracker was THAT good.
No room in Hollywood for old broads, though, that's the truth. Meanwhile, Walken goes on and on and on and on and on and on. Silly me, I thought this might possibly be one show which would be exempt from getting the usual MaryAnn Treatment, which is to frequently have genuinely good observations and insights annoyingly couched in the linguistic style of a 13-year-old girl with a terribly bad Internet addiction. That style is fine for a personal blog or Facebook page but it's far too childish for a show (and/or an entire site) such as this one. Even Tim knows when it's time to write like an adult should.
If someone told you that working copious amounts of Netspeak into every single review was a good idea, that person is not your friend. A very little of that goes an awfully long way. It's nowhere near as cute as you seem to think it is and very greatly detracts from what is otherwise decent commentary. Put another way, and with apologies to Sprint, it's totes mcgotes not cray-cray adorbs.I quit reading this seriously as soon as I saw 'vajayjay,' knowing that the whole rest of the review would be predictably - and lamentably - MaryAnn-ish. Why should this be 'the one show'?
Because the people have English accents and period dress? Downton is just a nighttime soap dressed up in fancier clothes. There's nothing intellectually challenging about any of it. The miraculous (and ridiculous) salvation of Thomas last season, and the miraculous (and ridiculous) letter from Matthew demonstrated that the writers have no interest in actually exploring the punishing realities of the time period, opting instead for the typical Hollywood gloss on the rights of women and gays.When D/A decides to stop acting like a 13 year old playing dress up, then and only then will a review like this be inappropriate. Otherwise, I liked Mary Ann's tone just fine.
Not only is your comment inaccurate, it's also rude and the fact that you quit reading in the first paragraph shows that you're not sufficiently informed to sling mud. If you reread the review you'd see that on the whole it is literate and intelligent. Yes there is the occasional use of Netspeak but guess what, you'd be hard pressed to find a writer on this site that doesn't do exactly the same thing, including Tim and have you read a Price photo recap lately? Rather than detracting from the review this style adds an informal comedic irony that makes the review more entertaining while also making it clear that the show shouldn't be taken too seriously. This show is ideal for such treatment as it tends towards melodrama. Maybe these attributes in a review don't appeal to you - fair enough, you can stop reading, it is however no justification to be rude. Hey, what is wrong with soulless human beings?
I am soulless and relate to Thomas's character mrore than the gag-inducing Mr. Beeeiiites and that blonde girl he is with that looks like a sheep in human form. I try to fast forward whenever they come on my screen. I watch the show on iTunes, I buy the show on iTunes so that I can fast forward through watching those two. I spend money to keep them away from my eyes. Thomas is beautiful too.
You know what. I think he just might be exactly like me too, and I also kind of look like him too, actually. I am tall, thin, pale with black hair and light eyes, uhm, so cut it out with the whole soulless thing, we have souls, we are just darker of personas than the whole Muppet cast and Disney Princess People.
A lot of characters with high value contrasts (platinum hair, porcelain skin, black hair) are casted as 'villains'. Why dont you try appreciating the contrast their characters play instead of making me want to throw up on my iPad keyboard. Replying to ask myself this in front of you: Can somebody kill off Mr. Bates please. Include: Primary Patriarch-Sour-Faced Wimp Man, uhm, the insectual cook girl, the somehow-suppose-to-be-pretty new cook-girl that works alongside the Insect girl that the two sappy-syrupy guys fight over, uhm, give the Scottish ruddy older cook a love interest because she is a bad-a., replace the butler with the crazy-eyebrows with.I dont know I am just tired of looking at him. When was the concept of make-up introduced to these English people anyhow.
Make Mary have more sarcastic comments about Edith, she does it so well. Make Mary a bada. Make Edith relevant, she is awesome in her own way. Uhm, yep, thats all the complaints I can think of as of now to myself.
Thomas is interesting. His flashes of humanity let us know that he's not completely soulless. I thought, surely, the war would change him. But they've actually written a pretty deep character who doesn't change (because people don't) because of things that happen around him and the fact he knows he's hated. He's lonely and likes to brood in his loneliness. His reaction to Sibyl's death was one of the finest moments of the show.If only they could get away from his gossipy schemes and come up with a real storyline for him again. I did enjoy the clever twist they played with his manufactured story about the nanny being true; but pinning the ruined linen on Anna served no purpose.