It’s Christmas at Downton Abbey! Beautiful dresses and heartfelt acting compete with an overly melodramatic, season-ending plot. I love the characters, the setting, and the time period, but I don’t know if I’ll write up future seasons. The disordered structure of the series takes all the fun out of examining it.
ONE
Roll credits and theme music while a truck carrying a pine tree drives toward Downton. When the truck arrives at the front door, Thomas waves workers forward to untie the tree. Inside the house, Daisy totes cleaning supplies from room to room. She walks past the tree, now set up in the front hall, as O’Brien helps decorate it. People wander through and admire the tree. Now Cousin Rosamund and her lady’s maid approach the house in a chauffeured car, to be greeted by Mary. The Dowager pokes around the Christmas cards, tutting at whatever’s written.
End credits. Christmas 1919.
TWO
The family is dressed formally, and giving out presents. Mary hands Anna a small box and Cora says they all prayed for Bates today in church. As each servant is given a present from the family, filing up one by one, Hughes talks to Anna. “I wish I could tell you not to worry.”
Cut to downstairs where the servants enjoy the meal at their own table. Crackers pop, hats are worn, and cheering goes up. Rosamund’s maid makes a cheeky question about Bates, “the murderer”.
Upstairs, Sir Richard complains about the lack of service. Downstairs has their luncheon, the family has dinner, Mary says. It’s Christmas Day. Well, that’s not how he’ll run his household. Basically, the family exchanges gifts and barbs in equal measure.
THREE
In the hallway Mary comes upon Matthew hanging up the phone. Mr. Swire (Lavinia’s father) is ill — dying, and Matthew’s on his way in the morning. They discuss Bates’ trial. Some of the servants will need to testify.
FOUR
In the kitchen Patmore sends the Christmas pudding upstairs with Thomas. Daisy finds a board game — Planchette. (Isn’t that sort of like Ouija?) O’Brien says she’ll take it.
The pudding, served flambé, is presented to the family at dinner. It’s Sybil’s favorite, murmurs Edith. They make a wish for Bates, which sets off Richard and Rosamund in their own ways. The loyal end of the family has no doubts of Bates’ innocence.
Cut to O’Brien using the Planchette. “Is anyone there?” Maids giggle, and Thomas quiets them. In comes Daisy. He says, “We’re talking to the dead.” Rosamund’s maid watches with worldly humor. Daisy doesn’t think this is right. O’Brien tries again — “Is there anyone there?” — and the pointer starts to move toward the letters. Hughes comes in and breaks the meeting apart.
Upstairs, Mary acts out charades. (The family sucks at guessing.) Richard asks the Dowager if she enjoys games where the person must appear ridiculous. With great wit, Violet returns that life is a game where the player appears ridiculous. Mary’s turn is over, and Richard is called up next, which Violet thoroughly enjoys.
From that jollity and rich Christmas color, we cut to paleness and gray. It’s Bates in jail. He’s alone, and he cries.
Back to Carson and Robert, discussing Bates. (Ah, this would be business for Carson. Someone must valet His Lordship.) Carson says that Thomas is looking for promotion, if anything horrible happened with Bates. Robert says no. Dressing is intimate, and he doesn’t want Thomas near him. Meanwhile, it’s Carson doing the job.
Daisy prepares food in the kitchen. Walking by, Rosamund’s maid, with her troublemaking attitude, tells Daisy she could be a sous chef in London. Patmore comes in, giving orders. Now the maid takes on Patmore: “Does Daisy cook the soufflee’s, too?” Barely recognizing her existence, Patmore replies, “What’s it to you?”
Edith looks out the front window in — horror? shock? — to see Sir Anthony arrive in a chauffeured car. Oh, it’s Granny’s house and she’s done the inviting. When he enters and sees Edith, he smiles, pleasantly surprised. (He’s the nice man who almost married Edith, right?) Oh, he took a bullet in the right arm and lost use of it. Edith makes a very tactful joke: “Now we know why you didn’t want to come shooting.” (What’s hilarious is Violet in the background going from elated that her matchmaking is working, to despondent that Anthony isn’t such a good catch anymore. Also, now we know why he has a chauffeur when in the past he loved to drive.) Anthony asks after Sybil’s marriage, which allows us to be reminded of her details. Edith stumbles, trying to answer with the truth. Granny, the master, phrases things more generally.
Back to the gray-tone of jail as Anna visits. Families sit opposite prisoners at a communal table. You must prepare for the worst, Bates tells her. Anna remains more of a glass-half-full person than Bates is.
Another car arrives at Downton. (Who is it this time, lol?) The title card says, “New Year’s Eve”. It’s Lord Hepworth. (Who’s that?) He has no man, so Thomas will see to his needs. Cora and Rosamund greet him. Has she got a beau?
A letter from Sybil comes in the post for Cora. While she reads, she and Robert discuss “Rosamund’s pal”. (Oh, does he have no man because he’s too poor? Robert talks of him as a gentleman shopping for a rich wife.) Suddenly, Cora gasps. Sybil’s pregnant.
In the upstairs hallway, Rosamund comes upon Hepworth, both dressed for dinner. Their rooms are side-by-side. The maid, Shore (finally, a name), joins them. She speaks disparagingly of the chance the servants here would have a New Year’s party downstairs. Hepworth flirts archly with Rosamund as they descend and greet Lady Grantham. She knew Hepworth’s father. Again, Violet’s a master class in tact and the underhanded comment.
Shore, seeing Carson prepare glasses of wine, asks Daisy what they’re for. A toast at midnight among the servants. This surprises Shore, and she says something about her last post, opening her up to questions. Were you not always a lady’s maid? She’s only been one for two months. Meanwhile, the evil smokers (yay!) discuss how Robert doesn’t want Thomas as his valet. O’Brien says, get in his good graces. Hide something he loves and give it back. (Rut-roh.) Oh, dear. Thomas turns his head, and there’s the dog in the doorway.
Upstairs, the family is seconds from midnight. Edith mentions Sir Anthony, and Granny whispers to Rosamund to not encourage that relationship. Richard complains again to Mary that the servants are partying while the family stands around without attention. Matthew is back from Mr. Swire’s passing. There’s the chime. Everyone lifts their glass.
Afterwards, Anna walks the upstairs hallway on an errand. Looking across the balcony she sees Maid Shore talking with Hepworth. He wants her to put in a good word with Rosamund, apparently.
A frosty morning outside as the company prepares to shoot. The men quibble over the ladies’ attention, and Mary ends up with Matthew for the first round. Doggies, servants beating the bushes, and shotguns pointed at pheasants. (No one wears ear protection, and half the actors have no idea how much a fired shotgun will kick.) Mary and Matthew end up alone. She admits to him that Richard is starting to get on her nerves.
Aw, William’s dad, who’s been visiting the grave, comes into the kitchen to see Daisy. She wants to tell him the truth, and again Patmore discourages her.
Edith, who can drive herself, pulls up to Sir Anthony’s house to invite him out. He says no, he can’t spare the time, but offers her a cup of tea. He wants to make something clear: he’s far too old for her. “I don’t need a wife, I need a nurse.” She protests, and he insists.
Daisy brings Mason a cup of tea. She’s ready, and here she goes. Patmore listens at the door. Oh, haha! (It’s very sweet.) She can’t do it. Halfway through her declaration she changes the sentence. She’s not necessarily happy with herself, but Mason is very kind and very comforted.
Back to the foggy woods as Richard and Mary wander about. He chastises her about Matthew. She can hold her own, of course, but now we see that Matthew can overhear their raised voices. He butts in. Mary diverts, though, and Matthew steps away. Afterwards, everyone gathers for a meal al fresco in the barn. Isabelle, sitting next to Robert, mentions Bates’ trial. Matthew’s going, and she’d like to as well.
Violet has invited Hepworth for tea. (What is she up to, lol?) She grills him. He says, “I see it’s time for some honesty.” He’s so poor he’s lost all the family properties. She accuses him of pursuing her daughter Rosamund for the money. Tell the truth about your circumstances to Rosamund, she says. If she still wants you, fine.
After dinner at Downton, Hepworth approaches Rosamund, asking to speak to her later, to tell her something not so pleasant. Richard corners Mary and insists on setting a wedding date. Matthew and Robert see his veiled threat. As Mary leaves, Matthew follows. “You don’t have to marry him.” Yes, I do, and I can’t tell you the reason, she says.
Ooh, it’s Planchette again! Patmore, watching, seems to have asked a question. The board spells out something that ends in “too fat”. You’re pushing the “thing”, Patmore says in disgust. As she and Daisy head to the kitchen, Shore calls out, “I hope the work is challenging.” Giving her a look, Daisy says, “Leave it.” Patmore doesn’t know what this is about.
Robert has heard from the lawyer. Hughes, O’Brien, and he have been called to testify, he tells Cora. Then he mentions an “awkward moment” between Richard and Mary. Did she notice? Oh-ho, look at Cora! She’s on the brink of confessing about the Turkish gentleman! If you know something, tell me, he says. “Perhaps it’s time,” she answers. He sits, lol. She says, “Swear not to fly off the handle.” (Oh, my God, so delicious! Finally!)
O’Brien and Hughes question the lawyer as to why they’ve been called. It seems the prosecution has named them. Anna, because she’s Bates’ wife, cannot be compelled to testify. We transition immediately to the court room. O’Brien’s on the stand. Mary, Isabelle, and Anna sit in the observer box. O’Brien answers honestly (which makes her testimony look bad for Bates), but she doesn’t seem comfortable with any of it. Next up is Hughes, and it goes much the same. Out in the foyer the lawyer reassures them: everything always looks bad when the prosecution has its turn. It’s a shame, though, he didn’t admit about the poison when he had the chance.
Back to the trial, and Robert’s on the stand, very certain of Bates’ innocence. But — rut-roh — here comes the cross exam. (Where exactly does the prosecutor get his personal information of what people said? It looks like it comes for Bates.) The camera pans the gallery. Matthew, a lawyer, looks deeply disturbed by Robert’s testimony. The prosecutor gets him to admit damning evidence. Many reaction shots of Anna, scared, and Bates, who realizes he should’ve been a little more temperate in his rantings. (Yeah, I inserted that intention. I mean, it’s unfair, because the writers put all of that vitriol in his mouth as a plant for this moment. Would Bates, a glass-half-empty man, have really said all these vindictive things about his wife to his employer if the writers hadn’t arranged it? Maybe, but I mostly feel manipulated.)
SWITCH
After, Isabelle tries to reassure both women, Hughes and O’Brien, that they did their best. Now, the jury, all men, has returned. As Bates stand for their verdict, Anna’s chin shakes with emotion. Guilty. The judge places the black cloth on his head. Execution by hanging. Anna cries out, and Bates is dragged away.
FIVE
Transition to Rosamund having tea at her mother’s. They discuss Bates until Violet can turn the conversation to Hepworth. Rosamund knows he’s broke, and she’s not sure what she’ll decide.
At an inn, the lawyer, Matthew, and Isabelle try to convince Anna there’s still hope. It’s only the beginning. They try to explain the law to her, but it all sounds so unsympathetic. And his chances, no matter how much they battle with the legal tools, is not good.
Meanwhile, Hughes and O’Brien are home, explaining to staff what happened. Carson asks Hughes to go upstairs to update Cora, and O’Brien, moved by the trial, rebukes Thomas when he speculates he can now be valet. With Hughes, Cora says this is now a time of grief and heartbreak. In the kitchen, faced with a loose dinner time, Daisy complains about how to keep the chicken ready. Patmore goes off, reprimanding her for feeling sorry for herself today of all days.
After the long day, Mary and Robert meet in his library. They commiserate about Bates, then we get a lingering close-up on Robert. (Here it comes.) Hahaha! He cuts right to the heart. “Do you stay with Carlisle because he’s threatened to expose the story of Mr. Pamuk dying in your bed?” (Beautiful.) She explains, he listens. And then Robert says, “I want a good man for you. A brave man.” He doesn’t care about scandal. She breaks down crying and hugs him.
Cut to Thomas entering Carson’s office. Oh, dear. Thomas asks directly, and Carson must answer that His Lordship thinks “you’re more suited to your present position”. In the kitchen, Daisy, also, asks for more. She’s unappreciated. Patmore has no patience, either. “You’re tired. Go away for a day.”
SIX
In the rain, it’s Lavinia’s headstone. Mary joins Matthew and Isabelle. Mr. Swire wished his ashes to be interred with her. They set his urn on her grave. Mary says that this part of their story is over. They’re going different ways now. Matthew starts the “Our Father” as they pay last respects.
SEVEN
How interesting! Violet enters the library to find Daisy crying at the fire grate.
Back to the cemetery. As Mary walks off, Isabelle tells Matthew: She’s still in love with you. He won’t hear, though. They both deserve to be unhappy (because of Lavinia). Isabelle calls it nonsense.
Hahaha! Back to the library. Violet, sitting on the couch, has obviously heard everything because she’s already debating Daisy. Marrying William at the end to keep up his spirits seems like you loved him very much, she says. Entering, Robert interrupts them. Daisy curtsies and rushes out. The Granthams discuss Bates and the lack of coverage in the newspaper, and then Violet gets to Rosamund. Can a woman of her age marry a fortune hunter? Sure, Robert answers. But let’s make sure we tie up the money first. Exactly, Violet agrees. Oh, no! Then he says that Isis (the dog) has gone missing!
EIGHT
Cut to Isis on a leash as Thomas leads her through the woods. He notices some kind of a shed and locks her in.
Anna visits Bates. (Speaking of locked in.) He tells her not to hold people’s testimony against them. Even O’Brien! He gets a last kiss as the music swells.
Back to the same gang playing Planchette. Patmore, glancing at Daisy, brushes O’Brien aside and sits herself down at the board. The pointer heads to W. William. Thomas’ eyebrows lift as the pointer moves straight to spelling “go to farm”. Thomas even tries to control it and is knocked askew as Patmore pushes harder. “Make dad happy.” Everyone in the room except Daisy knows what happened. No one lets on, though, and Patmore goes back to her tea.
Matthew in formal wear asks Carson to bring Lady Mary. Seeing, Robert comes over. His dog has gone missing. They organize a search party and head into the woods. Thomas, walking with Carson, approaches the shed. The group turns back for the night, though, before reaching it. Thomas seems torn, but he does as he’s told and returns to the house. Mary and Matthew walk together in the dark. He’s come to ask what she meant when she said she must marry Carlisle. He says, “Please tell me,” and the scene shifts.
As Carson removes his overcoat, he and Hughes discuss Bates. Anna will be the widow of a murderer. She’ll have to get used to a degree of notoriety. And so will we, as the house that shelters her. Carson turns, and there’s Anna walking past and overhearing their conversation. Anna hands in her notice. Hughes won’t accept it, but Anna says she means it.
Cut back to Matthew’s face. He’s obviously been told about Mr. Pamuk, and it’s a blow. He tries to cope, and comes out the other side declaring she must not marry Richard. He and Hepworth will be at Downton tomorrow for the Servant’s Ball, which won’t go on if Bates is hanged. (I think that’s the timeline. Wow, sentenced and executed. Boom.) Matthew finally makes clear: I never could despise you.
Thomas smokes while O”Brien, who clearly knows, berates him for the dog-napping.
Daisy asks Patmore if that was really William. “Who else would know you’ve been asked to the farm?” (Daisy, thinking only of the dead, says that’s true.)
Morning in the woods with Thomas. The lock on the shed is already open.
Daisy goes to the farm, intercut with Thomas frantically calling for the dog, tripping over roots, and rolling about the ground.
Mason has put out a spread for Daisy, which makes her uncomfortable. William had four siblings, all dead at birth. Mason says he’d have no one to pray for without Daisy, and he thinks it’s one reason William married her. “Will you be my daughter?” (Oh, boy, I’m gonna cry. Beautiful scene. She’s never had anyone to pray for her, she says. I think Daisy will now be at peace about William and her marriage.)
Thomas, a failure, comes home. Woof, woof! Isis runs up the path to greet him, Robert behind. What happened to you? “I’ve been looking for the dog.” A village child found her, accidentally trapped in a hunter’s shack, yesterday. Robert, seeing how dishevelled Thomas has become while searching for the dog, is surprised and impressed.
Mason hitches up his wagon to drive Daisy back to the station so they can talk. “If you’re my daughter, you must allow me to give advice.” Haha, he counsels her how to state her case to Patmore, asking for more money, and to not listen to that Miss Shore. (He was in the Downton kitchen for about two minutes and nailed the lay of the land that quickly, lol.)
Hepworth arrives, meeting Rosamund on her way downstairs. No news on that valet yet, so the Servant’s Ball is cancelled.
Anna, dressing Mary, asks what she’ll do in America. If Bates gets no reprieve, Anna would like to come with Mary. Of course! But let’s not give up hope yet.
Haha! Robert, because of the dog incident, tells Carson he’d like to give Thomas a try at valet. “Really, My Lord?” (Hahaha! Carson is priceless.)
Mary is ready to break off with Richard.
Isabelle encourages Matthew to fight for Mary. All snooty, he says, “I don’t expect you to understand.” She comes right back at him: “Don’t invoke the name of that sweet, dead girl again.”
Anna, tearing up, tells Hughes of her plan to go to America. She absolutely breaks down, and Hughes holds her.
Cut to Richard with a stormy face. Ew, ugly scene. Richard has been keeping the Bates story quiet with bribes, and now all bets are off. Revenge is coming. Voices are raised, and in comes Matthew to check on her. Oh, man, Richard says, “Lavinia knew you never loved her.” Matthew throws the first punch, and down they go, knocking over the end tables. Robert enters, using his Earl voice to stop them. What time shall I call the car for you in the morning, Robert asks. Back comes Richard with threats about Mary. And now Granny rushes in. After Richard, with some grace, says he’s leaving and doubts they’ll meet again, she says, “Do you promise?”
Morning, and the car’s out front. Mary catches Richard on his way to the door and apologizes. She doesn’t want their last words to be angry. Richard says he loved her. (It’s slightly tender.) She hopes the next women he loves deserves him more than she did. (It’s not a dig.) Away he goes.
Anna comes across Hepworth and Shore in the hallway.
Carson dashing. He comes into the library. “My Lord!” A telegram. Bates has been reprieved: life imprisonment, not death. Cora sends Carson for Anna. Family supports Anna as she learns the news. She wants to go see him.
NINE
In the servant’s hall, Carson shares the news with everyone. And now they’ll hold the Servant’s Ball.
Anna and Bates sit across from each other at the communal jail table. She’ll stay at Downton.
Robert and Matthew share a bracing drink before the Ball begins. Cora will dance with Carson, Robert with Hughes. Perhaps Matthew could dance with O’Brien, Robert says. “Crikey,” Matthew answers.
The dance. Music plays, and people waltz about. We can’t hear what Matthew says to O’Brien, but he converses pleasantly. Thomas comes up to ask the Dowager to dance, and she happily agrees. Anna, watching the dancers from a corner, hears and turns to see Hepworth lead Shore upstairs.
Daisy and Patmore, dressed beautifully, have that conversation. Patmore has no problem with Daisy being assistant cook if Hughes will okay the budget for it.
Mary leads Anna and Rosamund through the hall. Rosamund doesn’t know what she’s there for until Anna opens Hepworth’s door and reveals him in flagrante with Shore. He’s apologetic but Shore cuts him off. She’s the force, definitely, in their relationship. They’ll leave in the morning. Outside the room, Rosamund tries to pull herself together. (Aw, she’s genuinely lonely and didn’t care if he was after her money. But he didn’t want her heart, either. It’s hard to feel sorry for Rosamund, who’s usually not so nice, but she manages it.)
Now Patmore dances with Matthew and Carson dances with Isabelle. Edith and Thomas have fun. Anna approaches Robert off to one side. “Might I withdraw my resignation?” Smiling, he hoped she’d say that. Matthew invites Mary to dance. He asks her about her America plans.
Robert and Cora meet in the library, hoping they can retire for the night. She’s written to Sybil. “I want to go over there and I want Sybil to come over here.” “And the chauffeur?” Robert asks with a tiny lip lift. “Him, too,” she says. She’s trying to persuade him to accept their marriage. They kiss.
Daisy, still dressed up, sits in front of the Planchette board as O’Brien enters. Thinking about William. He always loved the Servant’s Ball. When O’Brien goes up to attend to Her Ladyship, Anna sits with Daisy. The two of them rest fingers on the pointer. It takes off forcefully. Laughing, Anna says, “Are you pushing it?” “No, are you?” The board spells out: May they be happy, with my love. The two women start to realize that neither one of them moved the pointer.
Cut to Mary out front with snow falling about. Matthew crunches up. They talk about America. “Would you stay,” he says, “if I asked you to?” He proposes, down on one knee in the snow. She accepts. Roll credits.
CRITICAL NOTES
Does this episode go on forever, or is that my imagination? Lol. Is the Enneagram I’ve laid out of any use? I don’t know.
The most obvious story arc within this episode is Bates, and that’s where I’ve been able to find an Enneagram structure of sorts. At the Two his trial is introduced, and at the Eight it’s resolved. At the Switch he’s sentenced. At the Nine Anna settles her life back at Downton. Within that we have a subplot of Thomas angling to take Bates’ place as valet, which includes the dog stuff.
Surrounding that arc, though, are many other stories that don’t fit in so nicely. I love the Daisy plot. We have Rosamund, and, most importantly, Matthew and Mary. The Trouble with Richard is introduced in a Two slot, and the resolution — breaking off the engagement — happens in the Eight slot. That’s good, although the Eight gets fatter and fatter with each arc.
My question, as it often is, revolves around the Three/Six. Matthew mentioning Mr. Swire is so odd, so unconnected to past storylines, that it feels very Three-ish. We knew Lavinia had a father, but who in the world cares about him? Why must Matthew make such a fuss about attending him at his death? It’s necessary for his arc, so that he can move from Lavinia to Mary, but it’s still such a strange moment. I can only explain it as a Three.
And then we have that lovely graveyard scene. So visual! Such a beat! I really, really want it to mirror as the Six. It’s so early, though. I have marked it as the Six, and it moves so beautifully to the Nine when Matthew proposes, that on its own I like the structure. Surrounding it, though, are so many other stories that aren’t served by this Six.
And what am I to make of that Seven? Violet’s advice — the Dowager Countess sits on the couch to listen to the housemaid’s problem! — is wonderful, cascading into Daisy’s decision to go to the farm. It’s lovely, but it has nothing to do with Bates or Matthew/Mary. Of the many story arcs, this Seven only moves one of them forward.
Let’s be frank. My structural numbers are mostly arbitrary. The Bates stuff fits nicely, and other stuff makes no connection at all. And the Bates plotline is my least favorite of the episode! Traditionally, Downton’s structure is gentle and meandering. It never strikes its beats with force. This, though! I just watched the thing and I can’t remember any of it except Daisy.
But it’s Christmas, so let’s not be too harsh. They all live happily ever after, at least until next season’s drama kicks in.