Downton Abbey review: Series 3 Episode 6

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“My dearest boy, there is no test on Earth greater than the one you have been put to. I do not speak much of the heart, since it is so unhelpful to do so, but I know well enough the pain when it is broken.”

I do love it so when they let Maggie Smith do actual acting.

While nothing as traumatic as last week happened, the death of Lady Sybil and the events surrounding it cast a dark shadow over this week’s proceedings. In particular, Cora found herself unable to forgive Robert for his actions – credit again must go to Elizabeth McGovern for her heartbreaking portrayal of a woman grieving for the loss of her daughter, with the added tragedy of not being able to take comfort and solace from her husband. Thankfully, Violet performed one of her random acts of compassion (remember when that farmer won the rose competition because of her guilty conscience? Ah, Downton series one, I do love you) and saved the day. With the help of Dr Plot Contrivance, I mean Clarkson, she managed to repair the relationship between Cora and Robert without even breaking a sweat. I’d have kind of liked them to allow the tension to simmer a little longer (cold Cora is maybe my favourite Cora of all) but I can understand why they resolved it now, and Elizabeth McGovern and Hugh Bonneville were so great in that final scene that I was happy to see them reunited.

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And then we come to Branson. Poor Tom, he waited five years for Sybil and then he barely had her for one. Allen Leech proved once again this week that he’s more than just eye candy (although he does that excellently) as he moved through Tom’s grief and attempts to plan a new life for Baby Sybil and himself. The whole Catholic/Anglican debate wasn’t exactly the most subtle (although them all ganging up on Travis was kind of amazing) but it was saved by Tom’s emotional reaction to Mary revealing that Sybil was happy for the baby to be christened a Catholic/ I’d be very surprised if he does leave Downton – when he was surveying the farm with Matthew, a huge klaxon practically blared – and I hope he doesn’t, as Tom places a unique and potentially great role in the Downton pantheon. Plus, you know, prettiness.

Sybil’s two sisters found themselves in a strange state following her death. Mary and Matthew vowed never to take their relationship for granted, nicely side-stepping the issue of Matthew’s ridiculous insensitivity regarding change that need to be made to the estate. The tension between Mary and Robert was nicely written, and beautifully played by both actors. I always, always like reserved, cutting Mary, but she she’s totally right while being reserved and cutting, Michelle Dockery is at her absolute best. And Edith being all together and organised was a nice call back to her role during the War. Her forays into the world of journalism should be interesting to watch, if only because it will allow Hugh Bonneville to do his best “outraged on behalf of society and all decent people” face.

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The Ethel storyline was actually a lot more interesting than I had expected it to be. Of course, a story is pretty much always going to be great if Mrs Patmore and Mrs Hughes are involved, and I found Ethel a lot more engaging than I have previously. I think having her be determined to cook a good dinner for the grand ladies, and Mrs Patmore then helping out on the sly, was a great way to go; it helped that included the line, “Anyone who has the use of their limbs can make a salmon mousse” which rivals “Do I look like a frolicker?” for the Mrs Patmore Line of the Episode Award. And then Carson and Robert’s righteous indignation, completely refusing to give Ethel and Isobel any credit, added a whole other layer to the “male dominance of females” argument. The fact that the ladies of the family and the servants’ hall were much more sympathetic to Ethel was a great touch, and I suspect I’ll be using the line “It seems a pity to miss such a good pudding” in everyday conversation from now on. But perhaps the best moment of the whole story was Mrs Hughes throwing Carson a “yeah, whatever” look over her shoulder as she left his room. Perfect.

Other than that, we had the continuation of last week’s love rectangle-that’s-secretly-a-pentangle (“You know the trouble with you lot? You’re all in love with the wrong people.”) This week: Thomas was an even bigger creep than before; Alfred tried to learn the foxtrot to impress Ivy (saucy!); Daisy mooned after Alfred some more; James played the piano and continued to be weirded out by Thomas; Ivy wore some rouge (whore!) Actually, one of the sweetest scenes of the episode was Daisy’s visit to her father-in-law; Mr Mason is one of my favourite minor Downton characters, and his relationship with Daisy has developed into something really quite touching. His comment about Daisy having 40 years left in service, by which time houses like Downton would be long gone, really struck me, and I’m intrigued to see what she decides.

And after six episodes and a Christmas special in jail, Bates is finally to be freed. I’ll be glad to see him back at the Abbey, if only because it’ll stop the random prison interludes that felt totally unconnected from anything. They were starting to get really tedious. I have to say, though, as annoying as Bates and Anna have become, Brendan Coyle and Joanna Froggatt have always done great work in their roles. Plus Anna getting all choked up at Lady Mary using the term “we” to describe their relief over Bates was a really beautiful moment of female friendship. What? I’m a sucker for a good “the aristos treating the servants like friends” moment. As Dorcas Lane of Lark Rise to Candleford would say, it’s my one weakness.