We leave the trenches behind this week as the walking wounded get settled into Downton – and so does Thomas
Downton Abbey: Dan Stevens as Matthew Crawley and Penelope Wilton as Isobel. Photograph: Nick Briggs/ITV
SPOILER ALERT: This blog is for people watching Downton Abbey on ITV1. Don't read any further if you haven't seen episode three.
Viv Groskop's episode two blog
Praise be. After two interminably hammy and overly expositional opening episodes, Downton finally settled down into something resembling Series One form. With very few scenes set outside the Abbey and, blessedly, no first world war trench-action whatsoever, the cast could finally get down to doing what they do best: making threatening/ seductive/ admonitory/ complicitous covert eye contact. The return to the Abbey of viewers' favourite Thomas – "Acting Sergeant, I believe," Carson reminded us sternly – was a boon. At last it felt like we were back where we belonged with the upstairs-downstairs dynamic back in force, old scores resurfacing and something nasty bubbling in the soup tureen.
Having dreaded the invasion of the walking wounded, with their manky eye patches and straight-out-of-central-casting limps, the transformation of Downton Abbey into a convalescent home was surprisingly easy to stomach. It turns out to be a great narrative device – and also a true-to-life plot development: the real Downton suffered the same fate. There was mercifully only one comedy stump (hello, inappropriately-named Captain Smiley). Poor Lady Edith's face when that popped out from under the bed clothes.
The characters had room to breathe in this episode. Rivalry and class loyalty are two of Downton's strongest themes and some mini-plots have at last started to play out nicely. The three sisters are back at war with an unsubtle reminder never to underestimate The Plain One. Thomas and O'Brien are back in cahoots, with Carson and Mrs Hughes opposing them. Penelope Wilton's eyes almost popped out of her head, so severe was the enmity between Cousin Isobel and Cora (Elizabeth McGovern). Quietly and almost unnoticed, the relationship between Bates and Anna took a sensible, tentative turn. As did the pussyfooting between Lady Mary and Matthew. More of this slow burn, please, puppet-master Fellowes.
Only one or two clunks over the head reminded us painfully of this series' tendency to over-emphasise the historical period. "It was wrong for our life to chug along as if the war were only happening to other people," chided Anna, voicing a slogan which would ideally be worn on a T-shirt by all cast members. Then Lang pulled his own rival T-shirt on: "You all wander around ironing clothes, cleaning boots and choosing what's for dinner while over the Channel men are killed and maimed and blown to pieces." Thanks for clearing that one up – we did wonder what was wrong with all those injured types in khaki uniforms.
In my favourite development, Isis the usually placid labrador was struggling to cope with the changes wrought by the arrival of a ping pong table. More Isis! She's already got her own Facebook page. (No, really, she has.)
A surprise visitor also poked his head around Villains' Corner, but he was far too nice a chap to stay for long. For a few moments it all went a bit Cluedo. Branson, the Chauffeur? With a cow pat? In the dining room? A lucky escape indeed!
Less romantic, more lustful, Hollywood-obsessed flighty Ethel dropped a priceless line to the officer who's already promised her a trip to the York Picture House once the war is over. "No-one tucks better than I do." And we thought Ginger Lavinia was the only harlot in town.
To Carson: "I'm good at mixing. We always danced the first waltz at the Servants' Ball, didn't we, Carson?" "It was an honour, m'lady."
Subtext: some of us remember how things are supposed to be around here and we're jolly well not going to give up without a fight.
Speaking about having Lavinia over for tea – Lady Mary: "You said that as if you're going to gobble her up." Violet: "If only we could."
Subtext: mischief is my middle name. Watch this space.
On Lady Rosamund: "She's never more righteous than when she's in the wrong." Surely a woman after Violet's own heart? Like mother, like daughter.
Viv Groskop's episode two blog
Praise be. After two interminably hammy and overly expositional opening episodes, Downton finally settled down into something resembling Series One form. With very few scenes set outside the Abbey and, blessedly, no first world war trench-action whatsoever, the cast could finally get down to doing what they do best: making threatening/ seductive/ admonitory/ complicitous covert eye contact. The return to the Abbey of viewers' favourite Thomas – "Acting Sergeant, I believe," Carson reminded us sternly – was a boon. At last it felt like we were back where we belonged with the upstairs-downstairs dynamic back in force, old scores resurfacing and something nasty bubbling in the soup tureen.
Having dreaded the invasion of the walking wounded, with their manky eye patches and straight-out-of-central-casting limps, the transformation of Downton Abbey into a convalescent home was surprisingly easy to stomach. It turns out to be a great narrative device – and also a true-to-life plot development: the real Downton suffered the same fate. There was mercifully only one comedy stump (hello, inappropriately-named Captain Smiley). Poor Lady Edith's face when that popped out from under the bed clothes.
The characters had room to breathe in this episode. Rivalry and class loyalty are two of Downton's strongest themes and some mini-plots have at last started to play out nicely. The three sisters are back at war with an unsubtle reminder never to underestimate The Plain One. Thomas and O'Brien are back in cahoots, with Carson and Mrs Hughes opposing them. Penelope Wilton's eyes almost popped out of her head, so severe was the enmity between Cousin Isobel and Cora (Elizabeth McGovern). Quietly and almost unnoticed, the relationship between Bates and Anna took a sensible, tentative turn. As did the pussyfooting between Lady Mary and Matthew. More of this slow burn, please, puppet-master Fellowes.
Only one or two clunks over the head reminded us painfully of this series' tendency to over-emphasise the historical period. "It was wrong for our life to chug along as if the war were only happening to other people," chided Anna, voicing a slogan which would ideally be worn on a T-shirt by all cast members. Then Lang pulled his own rival T-shirt on: "You all wander around ironing clothes, cleaning boots and choosing what's for dinner while over the Channel men are killed and maimed and blown to pieces." Thanks for clearing that one up – we did wonder what was wrong with all those injured types in khaki uniforms.
In my favourite development, Isis the usually placid labrador was struggling to cope with the changes wrought by the arrival of a ping pong table. More Isis! She's already got her own Facebook page. (No, really, she has.)
Villains' Corner
"What about Thomas, m'lady? He's always had a soft spot for Downton Abbey..." Can you call a megalomaniac desire for revenge, all-consuming power and vile deeds a "soft spot"? I think you can. The reunion of Thomas and O'Brien was treated with pleasing simplicity, mercifully not over-played, and therefore brilliantly suspenseful. We still aren't sure what O'Brien is up to – Shakespearean guilt over The Soap notwithstanding – and neither is Thomas: "You're a queer one and make no mistake." Nor do we know what Thomas is cooking up and why.A surprise visitor also poked his head around Villains' Corner, but he was far too nice a chap to stay for long. For a few moments it all went a bit Cluedo. Branson, the Chauffeur? With a cow pat? In the dining room? A lucky escape indeed!
Not-So-Surprise Romantic Declaration of the Night
Poor Daisy. With Mrs Patmore as her pimp, it was always obvious she'd have to promise herself to William. A potentially cheesy and obvious move beautifully handled by Thomas Howes (William) and Sophie McShera (Daisy), who both portray potentially irritating village-idiot characters with charm and understatement.Less romantic, more lustful, Hollywood-obsessed flighty Ethel dropped a priceless line to the officer who's already promised her a trip to the York Picture House once the war is over. "No-one tucks better than I do." And we thought Ginger Lavinia was the only harlot in town.
And the Joey Tribbiani Award for Smell-the-Fart Acting goes to...
Carson – again! For an expression of pure outrage, disgust and soul-damning ire when a nurse almost bumped into him with a pile of blankets. A split-second glance containing the embodiment of everything this series represents ("The world as we know it is doomed!"). Carson is the best."What is it you're really trying to tell us here?"
Finally, a Dame Maggie (Violet) special this week!To Carson: "I'm good at mixing. We always danced the first waltz at the Servants' Ball, didn't we, Carson?" "It was an honour, m'lady."
Subtext: some of us remember how things are supposed to be around here and we're jolly well not going to give up without a fight.
Speaking about having Lavinia over for tea – Lady Mary: "You said that as if you're going to gobble her up." Violet: "If only we could."
Subtext: mischief is my middle name. Watch this space.
On Lady Rosamund: "She's never more righteous than when she's in the wrong." Surely a woman after Violet's own heart? Like mother, like daughter.
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