the ladies who power lunch at downton abbey

Downton Abbey manages to pack a lot into one episode, bringing up controversial issues (like former chauffeur, now son-in-law Branson wanting to baptise little Sybil as Catholic), somewhat resolving the Countess's (Elizabeth McGovern) and her husband the Earl's (Hugh Bonneville) estrangement over their daughter Sybil's death last week in childbirth due to the brilliant machinations of the Dowager Countess (Maggie Smith), and finally putting an end to the storyline that was dragging on and on — Mr. Bates (Brendan Coyle) in prison. Thankfully next week will see him return to Downton and an end to that bore of a subplot.

The Earl interrupts lunch, and is not welcome

But again, one of the most powerful threads of last night's episode centered around the former prostitute and now cook/housekeeper to Mrs. Isobel Crawley (Penelope Wilton), Ethel (Amy Nuttall). Mrs. Crawley, like everyone else, was concerned about how hard Lady Grantham, Cora, was taking the death of her youngest daughter, and wanted to do something, anything, to bring her out of herself. She planned a luncheon for Cora and her daughters, to which the Dowager Countess tagged along ("Am I one of the girls?")

Ethel is admittedly not a whiz in the kitchen, so Mrs. Crawley asked her to keep things simple. But Ethel wanted to do something nice for her former and current employers and enlisted the help of Downton cook Mrs. Patmore (Lesley Nicol) to make some decent food. This of course caused a scandal in he eyes of head butler Mr. Carson (Jim Carter), who had forbidden everyone at Downton from having any contact with Crawley House and its fallen woman. He ran and told Lord Grantham, Robert, about the scandalous luncheon and Robert hightailed it to Crawley House to "rescue" his ladies. He was promptly ignored, especially when Ethel brought out a delicious dessert. Cora still being angry at her husband certainly helped, as she brought up more than once in the episode how Lord Grantham's old-fashioned views were holding everyone back (Edith taking a job writing for the paper, last week's choice of a Harley Street doctor and subsequent inaction which may have led to Sybil's death) — sometimes with disastrous consequences.

Ethel, that dessert does look delicious

With his son-in-law Matthew (Dan Stevens) determined to drag the management of Downton into modern times, and his other son-in-law (Allen Leech) about to baptise his daughter in the "pagan" religion of Catholicism, the Earl is clearly out of touch. His mother may share many of his views, but she is wise enough and has lived long enough to know when to give way. She also knows that sometimes bending the truth a little may help everyone in the long run, as she so brilliantly exhibited when asking Doctor Clarkson (David Robb) to tell Lord and Lady Grantham how slim Sybil's chances of surviving birth were, regardless of whether a Caesarian section had been performed or not — so they could finally come together to grieve.

Hugh Bonneville is doing a masterful job portraying his befuddlement at how the balance of power has somehow shifted inexorably away from him when he wasn't looking. It will be interesting to see if he continues to stubbornly refuse to go with the flow and becomes a fossil, or if he, like his middle daughter Edith, will find "something to do." As Mr. Mason (Paul Copley) pointed out to assistant cook Daisy (Sophie McShera) — does she really think she'll be in service the rest of her life? Or that old houses like Downton will still be operating in the same fashion in the next forty years? Downton's world is changing, and rapidly.

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we've come a long way, baby — from downton abbey

For everyone who tunes in to Downton Abbey for the fabulous period costumes and Upstairs, Downstairs-ish soap opera, those features were again in abundance, but this past Sunday's episode also turned up a twist — please don't read on if you haven't seen it yet and don't want a major spoiler.

Downton Abbey continues to faithfully serve up a glimpse of life among the rich and not-so-rich in (now in its third season) 1920s England. But what the show also offers is a look at how far we, especially women, have come since just the last century. Last night's episode underlined how difficult, whether you are the server or the served, life could be for women.

Edith's prospects are ignored by her father over breakfast

Lady Edith (Laura Carmichael), after her well-received letter to the editor, had been offered a position to write a column for the local paper. Brother-in-law Matthew Crawley (Dan Stevens) was supportive, but her father, Lord Grantham (Hugh Bonneville), and grandmother, the Dowager Countess (Maggie Smith), were predictably against it. I suspect Edith with go ahead with it, but the fact that her father still thinks he can forbid her taking the position shows how difficult life was for Edith. It's absurd to us today that Edith's father thinks that her expressing her opinion in print will embarrass him, that the world will make fun of her, and that he can prevent all of that from happening.

Matthew's mother, Isobel Crawley (Penelope Wilton), offers fallen woman and former Downton maid Ethel (Amy Nuttall) a job. Her cook and housekeeper Mrs. Bird (Christine Lohr) protests, and is let go. Not the outcome she expected, but Mrs. Crawley is not one to be trifled with. Mrs. Bird quickly fires off a letter to Mr. Molesley (Kevin Doyle) at Downton, to  express her outrage, and he wastes no time running to Mr. Carson (Jim Carter), who agrees that Ethel will make it impossible for any "decent woman" to ever set foot in Mrs. Crawley's house again. He urges her immediate dismissal but Mrs. Hughes (Phyllis Logan) persuades him to let it be, at least for now. How hard it was then for a young woman, especially of a certain class, who had sex out of wedlock which resulted in a baby. She had few or no options. Ethel became, like many, a prostitute. And now, when she is trying to change her life, is still being treated like the scum of the earth, even when she would never prostitute herself again. It's hard for many contemporary women to understand, let alone relate to Ethel, or the attitudes she inspires. It's important that Downton Abbey reminds us how very different the rules for sexual behavior were for men and women not so long ago. It's also interesting that, apart from Mrs. Bird, two women, Mrs. Crawley and Mrs. Hughes, are far more sympathetic to Ethel's plight than men like Mr. Carson and Mr. Molesley.

Baby girl Branson

In the episode's most touching moments, Lady Sybil (Jessica Brown Findlay) went into labor, but all was not well. Her father brought in the aristocratic doctor Sir Philip Tapsell (Tim Piggott-Smith) to attend the birth, implying it was beyond local Dr. Clarkson (David Robb), who so ably eased Mrs. Hughes through her cancer scare last week. His wife Cora (Elizabeth McGovern), Lady Grantham, objected, as Dr. Clarkson "knows them" and insisted that he also be on hand. Her husband agreed, but it was soon clear that she, like many other women before and since, was merely being humored, as he and especially Tapsell, had no intention of letting Clarkson in on things. Everything came to a head when Clarkson diagnosed Sybil with eclampsia, and urged them to get her to a hospital to perform a Caesarian. Tapsell and Lord Grantham refused, and Sybil's screams ended the argument. She delivered a baby girl (the X chromosome is strong in the Crawley family) but a few hours later began having seizures and died, with her horrified, grief-stricken family and both doctors looking on helplessly. Women still die in childbirth today, but it is beyond tragic that Sybil's death may have been avoided, if only Cora and Clarkson, and Sybil herself, who had been complaining of headaches, swollen ankles, and hallucinating, had been taken seriously earlier. How far we have come in trying to offer safe and clean options for birth, and practically minute-by-minute monitoring of mother and baby-to-be in our modern world.

Lord Grantham, who we have learned has no nose for investments, and Matthew has discovered has not exactly been running Downton to a profit, was even more of a pompous ass than usual last night. Not only was he pig-headed and insensitive (as always) in his treatment of middle daughter Edith's opportunity, but he let his outmoded ideas of class and privilege affect a life and death decision about his youngest daughter. It is clear that his actions, or rather, inaction, has severely affected his marriage. Cora has kicked him out of their shared bedroom, and it doesn't look like he will regain entry anytime soon. The death of a child is difficult enough for a parent to take, but if Cora believes that it could have been prevented — and Lord Grantham has admitted to his mother that he agrees with her that it could have — the Crawleys will not be able to forgive themselves for Sybil's death for some time to come, if ever.

Will Cora and Robert be able to forgive themselves?

The Crawleys are being dragged into the 20th century, step-by-step, whether they want to be or not. Cora, Matthew and his mother, and Edith seem poised and eager to embrace more modern ways, while Lord Grantham, Lady Mary (Michelle Dockery) and the Dowager Countess are trying desperately to hold onto a past that can no longer exist. They will all have to mourn Sybil, as the usually distant Thomas (Rob James-Collier) did in a touching moment, and eventually move on. There is a young baby to take care of, and what of "the chauffeur," Sybil's widower, Branson (Allen Leech)? Downton Abbey continues to entertainingly layer on the suds, while keeping us thinking about life then, and now.

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"poor edith"

Lord Grantham (Hugh Bonneville), "Poor old Edith. We never seem to talk about her." 

Lady Cora (Elizabeth McGovern), "I'm afraid Edith will be the one taking care of us in our old age." 

Lord Grantham, "Oh, what a ghastly prospect!"

Does anyone love Lady Edith Crawley (Laura Carmichael)? Anyone except Sir Anthony Strallan (Robert Bathurst), who after much back-and-forthing finally proposed, only to cave at the absolute worst last minute and leave the poor girl at the altar with the parting words, "Goodbye, my dearest darling, and let God bless you." Hardly reassuring to know that someone cares enough about you enough to jilt you in front of all of your friends and family on what should have been your most special day.

Edith, with beautifully marcelled hair,  and Sir Anthony plan their wedding. I love that they re-use wardrobe on Downton Abbey. Edith has worn the hell out of this lovely green number, which is authentic, as even the rich didn't have the quantity of clothes cramming their closets that we do today.

Continuing my Downton Abbey ruminations from yesterday's post, I wanted to focus on who has become the series' most interesting character in the show's third season — and the one with the most potential to truly reflect the changing times of the 1920s — Edith. Elder sister Lady Mary (Michelle Dockery) has long been the family favorite and youngest Lady Sybil (Jessica Brown Findlay) the prettiest, leaving poor Edith, like many middle children, a little lost and unsure of their position.

It was heartbreaking watching how happy Edith was in this episode, and how everyone else in the family was either not-too-interested or outright opposed to her pending nuptials. More than one character said "Let's just get through this wedding ...," their minds on more important-to-them issues.

Edith, "Something happening in this house is actually about me."

By the end of the episode Edith ranged from pure despair to being resigned to becoming the unloved, luckless spinster. But I don't think that should be her fate. Edith is a spinster, yes, but she is also living at a time when women could start to lead more independent lives and even (gasp) get a job. Downton Abbey may be saved by the end of the episode, and the family and its staff can continue to follow their daily patterns, but Edith has no reason to stay there.

Edith needs to reflect on her mostly enclosed existence and how slight her chances have been to have marriage be her way out of Downton and come up with another plan. Her first love was the rightful heir to Downton, a cousin named Patrick Crawley. But Patrick went down with the Titanic, and Edith never had a chance with him anyway, as her parents intended for first-born Mary to marry him and secure the family manse forever.

Driving Miss Edith

She made a feeble play for the new heir apparent, Matthew Crawley, but again didn't stand a chance, as he and Mary were instantly drawn to one another. She had a brief, mostly innocent fling with a local farmer until his wife put an end to it. An injured veteran claiming to be the deceased Patrick Crawley briefly gave her hope that she might be reunited with her true love (and be able to stick it to her sister by becoming Countess of Downton), but that soon went up in smoke as a false claim. She had a genuine affection for Sir Anthony, but everyone else seemed bound and determined to stand in their way, especially her father, urged on by his mother the Dowager Countess (Maggie Smith).

Edith has displayed more modern tendencies than either of her sisters throughout the series. She is more independent than she or anyone in her family suspects. She was the first to learn how to drive an automobile, taking lessons from the family chauffeur, and she really enjoyed the feeling of freedom and accomplishment that driving gave her. Her short bob and marcelled hair is more au courant than either sister's fashions, and even her wedding gown was more stylish than older, more traditional Mary's.

Although they are both simple in style, Edith's dress has a more attractive sweep, and the neckline seems more modern than Mary's which has an eye to the past

Matthew (Dan Stevens) and Mary are comfortably ensconced at Downton, and the Earl and his wife are already letting the power shift in their direction. Sybil is about to give birth to her first child, and if the previews for Sunday's episode are true, may have to go on the lam to Ireland with her politically-inclined husband, former Downton chauffeur Tom Branson (Allen Leech). Edith has led a sheltered life — part of the reason her romantic prospects have been so scarce. Maybe it's time to leave Downton and find her own way. Her other grandmother, Martha Levinson (Shirley MacLaine), would certainly be supportive of her showing some independence. Why not a trip to America? It's time for Edith to branch out and turn a defeat into a triumph. I'm looking forward to seeing where this season takes her.

noble vs. nobility on downton abbey

Everyone loves Downton Abbey here in America, both the upstairs and downstairs intrigues. The third season currently in full swing, is already as fun and involving as the previous two. For me, one of the more interesting recurring themes of this and past seasons has been the characters' concept of "noble" acts or behavior. Can a modern person really fully connect with the idea of "doing the right thing," especially if that involves giving up something or someone you love or desire?

noble (according to Merriam-Webster)

of high birth or exalted rank : aristocratic

possessing, characterized by, or arising from superiority of mind or character or of ideals or morals : lofty

Resident heartthrob and sometimes infuriatingly priggish Matthew Crawley (Dan Stevens), now married to the lovely and willful Lady Mary (Michelle Dockery), has more than once let his noble intentions/ideas muck up the plot. It's amazing that Lady Mary hasn't hauled off and belted him on numerous occasions — just in the first few episodes of this season — but that's where nobility comes into the picture. Such behavior simply wasn't done by someone of her station, and she's pretty sassy when needs be.

Newlyweds Matthew and Mary love each other, but don't always see eye-to-eye

But is Matthew's nobler-than-thou stance something inherent to his personality, people of his age, or might it be a direct result of his lack of nobility? Both Lord Grantham (Hugh Bonneville) and Mary and just about everyone else in the vicinity see no problem with Matthew using an inheritance from his almost father-in-law to save and sustain their way of life (the Earl's bad investment skills had threatened the loss and sale of the family home). For all of his vociferous objections to taking money on false pretenses (he no longer loved the man's daughter and she conveniently died, paving the way for him to marry his true love Mary), Matthew doesn't seem to consider or care that his inaction would not just put a potentially serious rift between himself and his bride and his family, but he would also be putting a lot of the servants out of work. The family would not only have to seriously downsize their home, but their way of life, which would jeopardize the future of their staff.

Lady Mary and her family, especially her clever and vocal grannie, the Dowager Countess of Grantham (Maggie Smith) are trying desperately to hold onto their way of life, which is quickly disappearing in post-WWI 1920s England. The Countess is the essence of nobility, but her motivations many times stray from the noble in order to benefit herself and her family. She frequently coaches the younger generation on how to preserve the family manse — utilizing any means necessary. She was not above encouraging her son the Earl to force the break-up of middle daughter Lady Edith's (Laura Carmichael) engagement to an inappropriate man (of nobility, yes, but too old), even if it would most certainly result in the breaking of Edith's heart and possible eventual spinsterhood.

Edith made a lovely (almost) bride

The ideas about what constitutes proper behavior isn't exclusive to the upstairs residents of the Abbey. The servants are just as bound, if not more so, by convention and ideas of appropriateness, frequently trying to mirror their noble employers. Head housekeeper Mrs. Hughes (Phyllis Logan) is shocked and deeply touched when Lady Grantham (Elizabeth McGovern) assures her that if she is indeed ill (she had a lump in her breast which turns out to be benign) that she need not worry, the family will take care of her and Downton will always be her home. She is equally amazed that not only has her "secret" somehow worked its way upstairs, but at Lady Grantham's response. Mrs. Hughes and Head Butler Mr. Carson (Jim Carter) not only run a tight ship at Downton Abbey, but they are constantly schooling their charges on proper behavior and how to best focus on the family's needs.

The Dowager Countess has ways of getting what she wants and what she thinks is best for her family

Of course all of this scheming and characters' back-and-forthing about what's "right" and what they want is what makes Downton Abbey such a delicious soap opera, and at times morality play. It is hard to imagine, however, any modern man or woman hesitating for a moment to "take the money," whatever the source, as Matthew has struggled. Or for Lady Edith to feel that she had to listen to her Grannie or even her fiancee's pleas that they weren't well-suited due to his age. They must have had trophy wives in the 1920s, but the Crawley family certainly doesn't want their daughter to become, as the Dowager Countess views it, a "nursemaid" to her aged husband. A modern Mrs. Hughes might keep her diagnosis under wraps until she was sure, but she hopefully wouldn't be beholden to the kindness of her employer regarding her future healthcare and job retention. Maybe it's a good idea to have these "outdated" concepts of noble behavior to ponder. To see how far we've come in many ways, but also to be reminded that it can be useful and instructive to step back and ponder the moral implications of our behavior.

i went to a garden party

Article first published as TV Review: Downton Abbey Season Finale on Blogcritics.



The first season of Downton Abbey ended very well, with lots of issues brought up and even a few resolved. But there were a few cliffhangers, too, as the First World War had the nerve to break out and spoil the sumptuous garden party. The party was pretty to look at, but beneath the lovely white linen clothes there was plenty of drama to go around, with characters having hopes raised and then horribly dashed. Just another day in the life of the Earl of Grantham and his family in 1914 England ...

Lord and Lady Grantham (Hugh Bonneville and Elizabeth McGovern)

If you missed any of this excellent program, from Academy Award winning Gosford Park writer Julian Fellowes, or want to re-immerse yourself in its large cast of characters, it can still be viewed online. All of the acting is top-drawer, with one of the highlights Maggie Smith's Dowager Countess, the Earl's mother. She can be impossibly stuffy "One can't go to pieces at the death of every foreigner. We'd all be in a constant state of collapse whenever we opened a newspaper," or out-of-touch "I couldn't have electricity in the house, I wouldn't sleep a wink. All those vapors floating about," or just plain vinegary, "No one wants to kiss a girl in black." Even when you can see her coming, she manages to be unexpected. And delightful.

So much happened in this episode. The terrible first footman Thomas and his sidekick, lady's maid O'Brien, tried to weave a web to entrap valet Mr. Bates, using poor besotted-with-Thomas kitchen maid Daisy as their accomplice. We found out a little more about Bates's character, which was intriguing, but what was truly interesting was the conspirators—when faced with a crisis, Thomas stayed true to his nasty self, Daisy finally worked out who was nice and who wasn't, and O'Brien thought better of her scheming ways, although unfortunately a little too late. She will have to live with, and looks to be shattered by, the results of her misplaced and malicious actions.

The Earl's two eldest daughters, Mary and Edith, could teach modern mean girls a thing or two as they played a dangerous one-upmanship game which threatened Mary's reputation and Edith's chances for a happy marriage. We'll just have to wait until the new season to see if the two are still at each other's throats. Things look so socially black for both of them at the end of this series that the only reputation- and sisterhood-saving choice would be for the girls to call a truce and both admit to telling terrible lies about each other. But as they are "ladies" that probably won't be allowed. Their appalling behavior is a definite result of their having too much idle time on their hands. They need a hobby. They are surprisingly young for their age. No matter how badly they behave it's hard not to feel sorry for both of them, as their stupid choices also lead to theor own heartbreak as well as their rival's.

Edith, Mary and Sybil (Laura Carmichael, Michelle Dockery and Jessica Brown-Findlay)

Youngest sister Sybil is more emotionally mature than her sisters and also possibly her parents. She is a suffragette and doesn't know it yet. She attends political elections and helps the help—housemaid Gwen—move up in the world by getting employment with a future, as a secretary. She also has eyes for Mr. Crawley, their cousin and heir to Downton Abbey. Watch out Mary, you may be wasting your time fighting with Edith when you've got a lot more to worry about with Sybil.

Crawley is in love with Mary and Mary thinks she's in love with him, but they both had to act like a couple of asses in the final episode to heighten the drama. I haven't seen such mis-communication, stupid breaking-up and almost getting-together since Moonlighting. People probably did act that "noble" once upon a time, but it's hard to watch in 2011. The things that separate this couple don't seem as daunting as the class barriers in another filmic Edwardian England—Helena Bonham-Carter's Helen Schlegel and Samuel West's Mr. Bast in Howard's End, but I may be underestimating the impact of Lady Mary's fling with the gorgeous Turk in an earlier episode. Today such an event would be slightly scandalous, but certainly not the end of a girl's social life. An upper class lady's reputation in the early 1900s was crucial. She at least needed to appear spotless to her peers and potential suitors.

"Who's really in charge?" kept running through my mind as I watched butler Mr. Carson solve all manner of problems upstairs and downstairs. Lady Mary can be such a cold character, but she always lets Carson in. And he is wonderful with her, letting her drop her reserve and be vulnerable and even loving. Something she can't seem to do with either parent. Her mother may favor her, but only because she is obsessed with "settling" her eldest.

Mr. Carson, with Thomas lurking in background (Jim Carter, with Rob James-Collier)

As enjoyable as it has been to live vicariously in the castle, it will be even more fascinating to watch how this privileged way of life completely falls apart as World War I takes its toll and everyone's world is shattered. I know from my Agatha Christies that very few large houses like Downton were able to continue running in the same opulent manner post-war. Most were turned into hospitals or other institutions. Young people who had served in the war did not come home eager to be "in service." It was a whole new world, and needed to build itself up again. How many of the staff at Downton will enlist or be drafted? How many of the gentlemen? How many will survive? What about Mr. Crawley? If he serves and doesn't survive, where will that leave Downton and the entail?

It's a credit to everyone involved with Downton Abbey how involved the viewer feels in all of their lives and in their way of life. The dignity and grace that are displayed via modes of address and in the daily rituals of dressing for dinner are not just limited to the Earl and his family. Apart from the creepy Thomas, the staff at Downton have a code of behavior and decorum that they adhere to. After the Great War a good many new and wonderful innovations happened that led to how we live our lives today—women getting the vote and entering the workplace, the rise of the telephone, the gradual dissolving of the stricter divisions of class in society. But there was also a more formal, more polite way of speaking that was a result of that rigid structure that has all but disappeared. I wouldn't trade my opportunities and station in life for any of these ladies, upstairs or downstairs, but I do wish that people could communicate with one another in a more thoughtful and meaningful way, as they seem to do at Downton Abbey. It's a depiction of a lost era, but it makes me wonder about how much we have all lost.

Images from Jane Austen's World

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downton abbey

Downton Abbey echoed loudly of Robert Altman's wonderful film Gosford Park, and no wonder, it was created by that film's writer, Julian Fellowes. The echoes are good ones. Downton Abbey might actually be viewed as an expansion on the themes of the earlier film, in the way that the lives of the Earl and his family intersect with those of his staff.

Highclere Castle, by JB + UK_Planet, where Downton Abbey is filmed.

The casting is superb, full of familiar BBC drama faces, many beloved, such as Maggie Smith as the indomitable Dowager Duchess (the Earl's mother). Her son the Earl, played by Hugh Bonneville, I most likely recognized from a recent Poirot, although checking out his resume on imdb confirms he's been in lots of British shows that I have watched over the years (Vicar of Dibley, Miss Marple, Midsomer Murders, etc.) It's also great to see Elizabeth McGovern again, who stars as the Earl's American wife. She has always been a favorite, and still exhibits the same brains-behind-the-beauty that she had as Evelyn Nesbit in Ragtime, probably the first time I saw her in a movie. But everyone in the cast is great in this new-to-PBS series. Downton Abbey was originally broadcast in the UK as seven episodes (with commercials), but PBS will be showing it (sans commercial interruption) in four parts. Last Sunday night we watched what were the first two episodes. The show has been so popular in England that it will return for a second series, which we probably won't get over here until next year, or at least much later than they get to see it across the pond. It might be worthwhile tracking its progress on ITV. Strange, in this age of instant internet gratification, that the television stations, even internationally, haven't been able to more closely coordinate their content.

But back to the show. The central dilemma of the drama, beginning in 1912, is the end of a way of life. Downton Abbey is a huge mansion that has been in the Crawley family for ages. But one can't run an estate on nobility alone. Lots of money is required. So the Earl went to America many years ago and secured himself a rich heiress (McGovern). Luckily for the Earl and his new wife, they also fell in love, as she points out, a year into the marriage ("No, sooner than that." insists the good-hearted Earl). All seems hunky-dory. Except that the Earl and his wife have had only daughters, and the Earl's father made one of those crazy wills that stipulate that the estate and all its property (including the heiress's money) is entailed, which means that it can only be inherited as the old geezer stipulates, in this case by a male in the family.

Here we go again, where women may be valued for their money to save an estate, but not inherit it. England had one of the strongest and best monarchs in Elizabeth I, but over three hundred years later is still able to enact such sexist legislation. Both the characters played by McGovern and Maggie Smith are hardly shrinking violets, and immediately team up to start hatching plans to break the entailment. We'll have to watch and see if they are successful. In the meantime, the Earl's only male relative, a third cousin, and decidedly not a gentleman but a working lawyer (horrors!) is set to inherit, unless they can break the will or marry him off to their eldest daughter. They've got to try and preserve the fortune for her (and for the rest of them) in some way.

From guardian.co.uk: Downton Abbey, Sunday ITV1. Photograph: Nick Briggs

There's lots of pathos, but also humor in the show, not surprisingly supplied by Smith. There is a great scene where the entire family is utterly flabbergasted upon hearing that their cousin the young lawyer plans to continue working rather than "learn the estate." He tries to assure them that he will have plenty of time to devote to Downton Abbey as well, as there is always the week-end. Smith, in a confused voice, interrupts, "What is a week-end?" How better to concisely express class differences, and who better to do it? I'm looking forward to the next Downton Abbey.

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