The feud continues between O'Brien and Thomas, who suggests that the ladies' maid intends leaving. Carson suspects that Mrs Hughes is unwell and tricks Mrs Patmore into confirming the cancer and, in a misguided effort to help, informs Cora. Anna visits a friend of Vera, Mrs Bartlett, though she offers no fresh evidence whilst, John falls foul of cell-mate Craig. Mary finds a letter which could persuade Matthew to take the inheritance and save the family home. Edith prepares to marry Sir Anthony.Written by
don @ minifie-1
In later seasons Alfred professes a lifelong desire to be a chef. He even applies to the Ritz and gets accepted into their cooking school. Yet in this episode, he seems to hate gourmet food. After Edith is jilted at the alter, the staff gets to eat all the fancy food made for the wedding. Alfred not only makes fun of it, he refuses to eat and asks for some cheese instead. This makes no sense for someone with the lifelong desire to become a chef. See more »
[at the workers' dinner table; Barrow has just lied to Molesley, claiming that O'Brien will leave, as to upset O'Brien]
Might I ask what you have confided in Mr. Molesley, but have kept from the rest of us?
I don't know what you mean.
Mr. Molesley appears to have given Her Ladyship to impression that you're planning a change of some sort.
I'm-I'm sorry. I thought Her Ladyship would know.
Would know what?
That you're leaving.
I beg your pardon? ...
[...] See more »
Trumpet Voluntary in D, Op. 6, No. 5 Andante Largo
By John Stanley
[processional] See more »
Fellowes has successfully managed to make a soap opera melodrama, luxury rather than a necessity. This royal family and the impact it casts upon others surrounding them is the ultimate definition of royalty, in terms of that it spews each of our assumptions of the livelihood of people residing in such palace onto the screen with elegance and stature that does more than people-pleasing work. The emotions comes in plethora of it- hence arguable the titled genre melodrama- but what doesn't come in hand is the content, the writers fiddles with you with such panache that you are rumble down to be gullible enough to nod at anything offered. And this is primary the reason, why in its middle seasons, where the writing was questioned and yet loved and accepted by us effervescently.
Its primary theme that it adapts or conjures for an episode is shared by an entire cast that makes the episode balance and all the tracks, no matter how long they may carry on later, gets a definite period within that hour for you to pin down your decision. The most difficult part of the writers is to pass on information or rumors in this too-big-a-palace but with flawed three dimensional characters, it is weaved out with excellent justifying reasons leaving you in an awe of it.
Fellowes doesn't share its cast, nor a scene, nor humor, nor any anchor that would weight him down to take bold risks, he doesn't compromise on lopping off a character from the screen or adding one despite of being shared by so many, he has managed to reboot the drama until every last viewers gets that point jaggedly on mark. The series is also blessed with incredible cast like Dockery, Bonneville, Carter, Coyle and Smith that stands out among plenty other performances. Downton Abbey is, yes, cheesy, but each aspect of the series owns it, and with commitment like such comes maturity and just good storytelling.
Presumably, the darkest season of all which proves once again,the bold decisions that writers makes without flinching and their excellent finesse on sculpting those gut wrenching antics that it completely thrives upon.
Finally, a marriage with issues, something that we all aspire for, and despite of having such a bold decisions go haywire, personally I leaned towards a light that shined on a relationship that whispers a soothing love track.
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