The Only Girl/The Only Boy
Last night's episode aired of Downton Abby and it was a doozy. Many things happened and of course I have a lot to say so here it goes:
So while obviously want to speak about Mary/Matthew I shall save them for the last.
Sybil/Branson-Let's start with them, shall we? I am not a fan of theirs, but I've tried to be. I really have. Of course, out of all the other couples, they seem least likeliest to succeed, Mary had such a fit over the idea of marrying a middle class lawyer, it seems really outrageous for Sybil to run off with the chauffeur But there is a way to make them work, make them seem PERFECT for each other, in that If Sybil's real calling is to be a nurse. She has said it, even to Branson but it didn't come off very well. Last night's episode truly bothers me because of how he seemed to view her career. His belittling what she's doing (and I believe she is doing more than just fetching drinks). The actor tweeted that a scene shot of him apologizing was cut and I'd be angry if I was a fan of the couple. It's imperative for Branson to realize how important Sybil's occupation is to her. If he doesn't get that, then he doesn't get her. How can I root for them? It's also annoying he seems completely obtuse about her leaving her family. He's confident the family will eventually accept her again, but where does this come from? Yes, the audience knows that Robert and Cora are good people, but he rarely sees them outside the car. He was willing to embarrass the family without regards to the impact of the home or their reputation with his near stunt last episode. It seems obvious to me that the way you go about pushing a couple such as this together (after it's clear they are in love which, of course, Sybil's complete confusion is a whole other problem) you make it so Sybil realizes she would be happier living a different life with him. Right now, Sybil has it all, at least in regards to her family and her "career". What she may not see is that when the war is over, no longer will the family put up with her nursing to the wounded and expect her to fall back in line as a good upper class daughter. At this point, she may have to choose between her family and her career (the latter coming with Branson thus making it all worthwhile).
Edith/Mary-While the focus was on Edith's declaration of Matthew going missing, I enjoyed their working together for the concert as well. There was no sniping, there was no rolling of eyes. Just we have to do this and get along for the men. I loved it. I also loved Violet's line "Now I've seen everything."
Bates/Robert-It was a nice scene. Robert's probably relieved to hear Bates is around so he could apologize to him, as I'm sure he's been carrying around a good deal of guilt over his final words to him. I also liked that Robert needed to speak to someone about Matthew missing. He admitted he loved Matthew and wanted him to be heir. It's been obvious that's the case but rare for a man to say it. Bates' logic that he can get a divorce now from Vera and pay her off from telling the scandal is rather naive. I don't know what would stop her from getting as much money from him as possible then spilling the beans. Or even, just foregoing the money and telling anyway, she's certainly that vindictive.
Molesly-I enjoyed the soup kitchen story. I did not enjoy the scenes of Molesly trying to get into Downton Abbey. I understand his feelings and I do sympathize. But not at the cost of other stories. I suppose his dismissal from a position he never really had will turn into resentment and he will be "against" Anna/Bates. I really can do without that. We've already got Vera and O'Brien (for some reason) working against them. Possibly THomas though thankfully his character realizes its not worth it anymore. I'd rather have seen the other characters.
O'Brien/Cora-I am so happy that Cora forced her manipulative maid to take her to the soup kitchen. I don't mind O'Brien that much (though her vendetta against Bates makes no sense) and enjoyed her softer side with Lang, her constant ability to trick Cora to do what she wants her to do is irritating. I really hope now that maybe Cora will take O'Brien's words with a grain of salt.
Anna/Bates-Well he's back now. So they are back on. Um, ok. I want Anna to be happy, but if I was her, I might have to thump him in the back of the head for making all of them go through this. It's obvious his "dealing" with Vera is not going to take so very soon we will have Mrs. Bates back. On the romantic side, I am glad he held Anna, and I was a little worried he didn't like being out in the open with her in his arms. Thank goodness it was about the cool, night air.
So is that it? Is that all for the episode. Let me think. Have I missed anything? HMMM.
Mary/Matthew-Well wasn't that a moment for all moments. In the history of shipping, I have rarely had the couples I support wind up singing to each other. So thank you Julian for that. It was cheesy, I can't deny it, but it's exactly the kind of cheese a soap opera needs. If the daytime soaps had figured this out, they may not be dropping like flies anymore. You can have drama, action, suspense and maybe a Mary Sue here and there, but moments like these go a long way to making a couple rootable and that will be all I'm saying on that.
I also think the song is an interesting choice. Everyone mentions this is a favorite WW1 song. But it's interesting for both Mary and Matthew to sing those lyrics? Because the symbolism beneath them can be what they really feel without worrying how it comes across. LOVE it. I also love that Mary can't hide her relief in seeing him alive or her joy in his joining her "on stage". She's not just in public but completely exposed to everyone. If anyone in the crowd had doubts to Mary's feelings, they would be idiots to think she's moved on.
That said, I am tired of everyone coming up to Mary and asking about Matthew. The ball is not in her court and it's unfair to keep bringing it up. Why doesn't someone say something to Matthew for a change? Oh that's right, it's awkward. I don't care. No one wants him to marry Lavinia. And at this point, I wonder if he wants to marry her. We don't know because the show gives us very little of Matthew. I was angry when Mary said to Matthew how she knows he doesn't like Carlisle. Really? WHEN DID WE SEE THAT? Oh, right, we didn't. We are halfway through the season and I'm ready now for Matthew to start making his way back to Mary. I'm not asking for him to grab her and kiss her (though I won't complain if he did) but moments where he actually NEEDS Mary and leans on her. That actually would be worth more than the singing scene. (Stands firmly that it would, as much as I loved the singing scene).
So while obviously want to speak about Mary/Matthew I shall save them for the last.
Sybil/Branson-Let's start with them, shall we? I am not a fan of theirs, but I've tried to be. I really have. Of course, out of all the other couples, they seem least likeliest to succeed, Mary had such a fit over the idea of marrying a middle class lawyer, it seems really outrageous for Sybil to run off with the chauffeur But there is a way to make them work, make them seem PERFECT for each other, in that If Sybil's real calling is to be a nurse. She has said it, even to Branson but it didn't come off very well. Last night's episode truly bothers me because of how he seemed to view her career. His belittling what she's doing (and I believe she is doing more than just fetching drinks). The actor tweeted that a scene shot of him apologizing was cut and I'd be angry if I was a fan of the couple. It's imperative for Branson to realize how important Sybil's occupation is to her. If he doesn't get that, then he doesn't get her. How can I root for them? It's also annoying he seems completely obtuse about her leaving her family. He's confident the family will eventually accept her again, but where does this come from? Yes, the audience knows that Robert and Cora are good people, but he rarely sees them outside the car. He was willing to embarrass the family without regards to the impact of the home or their reputation with his near stunt last episode. It seems obvious to me that the way you go about pushing a couple such as this together (after it's clear they are in love which, of course, Sybil's complete confusion is a whole other problem) you make it so Sybil realizes she would be happier living a different life with him. Right now, Sybil has it all, at least in regards to her family and her "career". What she may not see is that when the war is over, no longer will the family put up with her nursing to the wounded and expect her to fall back in line as a good upper class daughter. At this point, she may have to choose between her family and her career (the latter coming with Branson thus making it all worthwhile).
Edith/Mary-While the focus was on Edith's declaration of Matthew going missing, I enjoyed their working together for the concert as well. There was no sniping, there was no rolling of eyes. Just we have to do this and get along for the men. I loved it. I also loved Violet's line "Now I've seen everything."
Bates/Robert-It was a nice scene. Robert's probably relieved to hear Bates is around so he could apologize to him, as I'm sure he's been carrying around a good deal of guilt over his final words to him. I also liked that Robert needed to speak to someone about Matthew missing. He admitted he loved Matthew and wanted him to be heir. It's been obvious that's the case but rare for a man to say it. Bates' logic that he can get a divorce now from Vera and pay her off from telling the scandal is rather naive. I don't know what would stop her from getting as much money from him as possible then spilling the beans. Or even, just foregoing the money and telling anyway, she's certainly that vindictive.
Molesly-I enjoyed the soup kitchen story. I did not enjoy the scenes of Molesly trying to get into Downton Abbey. I understand his feelings and I do sympathize. But not at the cost of other stories. I suppose his dismissal from a position he never really had will turn into resentment and he will be "against" Anna/Bates. I really can do without that. We've already got Vera and O'Brien (for some reason) working against them. Possibly THomas though thankfully his character realizes its not worth it anymore. I'd rather have seen the other characters.
O'Brien/Cora-I am so happy that Cora forced her manipulative maid to take her to the soup kitchen. I don't mind O'Brien that much (though her vendetta against Bates makes no sense) and enjoyed her softer side with Lang, her constant ability to trick Cora to do what she wants her to do is irritating. I really hope now that maybe Cora will take O'Brien's words with a grain of salt.
Anna/Bates-Well he's back now. So they are back on. Um, ok. I want Anna to be happy, but if I was her, I might have to thump him in the back of the head for making all of them go through this. It's obvious his "dealing" with Vera is not going to take so very soon we will have Mrs. Bates back. On the romantic side, I am glad he held Anna, and I was a little worried he didn't like being out in the open with her in his arms. Thank goodness it was about the cool, night air.
So is that it? Is that all for the episode. Let me think. Have I missed anything? HMMM.
Mary/Matthew-Well wasn't that a moment for all moments. In the history of shipping, I have rarely had the couples I support wind up singing to each other. So thank you Julian for that. It was cheesy, I can't deny it, but it's exactly the kind of cheese a soap opera needs. If the daytime soaps had figured this out, they may not be dropping like flies anymore. You can have drama, action, suspense and maybe a Mary Sue here and there, but moments like these go a long way to making a couple rootable and that will be all I'm saying on that.
I also think the song is an interesting choice. Everyone mentions this is a favorite WW1 song. But it's interesting for both Mary and Matthew to sing those lyrics? Because the symbolism beneath them can be what they really feel without worrying how it comes across. LOVE it. I also love that Mary can't hide her relief in seeing him alive or her joy in his joining her "on stage". She's not just in public but completely exposed to everyone. If anyone in the crowd had doubts to Mary's feelings, they would be idiots to think she's moved on.
That said, I am tired of everyone coming up to Mary and asking about Matthew. The ball is not in her court and it's unfair to keep bringing it up. Why doesn't someone say something to Matthew for a change? Oh that's right, it's awkward. I don't care. No one wants him to marry Lavinia. And at this point, I wonder if he wants to marry her. We don't know because the show gives us very little of Matthew. I was angry when Mary said to Matthew how she knows he doesn't like Carlisle. Really? WHEN DID WE SEE THAT? Oh, right, we didn't. We are halfway through the season and I'm ready now for Matthew to start making his way back to Mary. I'm not asking for him to grab her and kiss her (though I won't complain if he did) but moments where he actually NEEDS Mary and leans on her. That actually would be worth more than the singing scene. (Stands firmly that it would, as much as I loved the singing scene).