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Attention: Spoiler Alert. Do not go further or view the images if you have not seen Episode 2. Missed this episode? Want to watch it again? Click here to see PBSs streaming videos of Downton Abbey 3, Episodes One and Two, available for a limited time only.

Two episodes, two weddings, two radically different endings. Poor Edith. She’s rapidly turning into the Upstairs version of Mr. Bates. Poor Edith/poor Bates. See how these two phrases can be used interchangeably? But Edith’s fate is not what this post is about. I am asking you to cast your critical eyes upon the two wedding dresses and two wedding parties and vote for your fave. Who sported a more breathtaking 1920s bridal outfit? Whose flowers blow your mind? And who spurred guests to dress better? Edith or Mary? Curious minds want to know. Find the poll at the bottom of this post.

Mary and Edith in full wedding regalia

Mary and Edith in full wedding regalia.  Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

 

Edith walks down the aisle with Papa

Edith walks down the aisle with Papa. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Mary with her man, veil, and bouquet

Mary with her man, veil, and bouquet. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Edith with her man, veil, and bouquet

Edith with her man, veil, and bouquet. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Edith with her sisters

Edith with her sisters. (That’s Anna in the background.) Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Edith, Cora, and Sybil in the pews at Mary's wedding

Edith, Cora, and Sybil in the pews at Mary’s wedding. Credit: Courtesy of ©Carnival Film & Television Limited 2012 for MASTERPIECE

Cora's hat at Edith's wedding

Cora’s hat at Edith’s wedding. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

The pews at Lady Mary wedding

The pews at Lady Mary wedding. Credit: Courtesy of © Nick Wall/Carnival Film & Television Limited 2012 for MASTERPIECE

Violet at Edith's wedding

Violet at Edith’s wedding. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Downton Abbey Season 3, Episode 2 Wedding Dress Poll

Alas and alack the results of the two weddings were radically different. While one couple experienced wedded bliss, the other couple, well, uncoupled. Sir Anthony, cad, fleed the scene, leaving poor Edith bereft and without purpose. Poor Edith. I am firmly on her team.

Feel free to leave your comments about Episode Two, but no spoilers about later episodes please. Review to come.

Other Downton Abbey Series 3 Posts on this Blog

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The anticipation is over for American fans. PBS has aired the first two-hour installment of Downton Abbey Season 3 and we have had 6 days to digest the goings on of the Crawleys, their friends, relatives and spouses. All week people have been asking me: What are your thoughts?

Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Let me confess, I saw the entire series before Christmas and have since dithered. How to review a program that contains a minefield of plot spoilers? I decided to share my thoughts one week at a time. So, without further ado, I’ll break down the first 120 minutes.

Shirley Maclaine as Martha Levinson

Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE

I salivated, I yearned, I couldn’t wait for Shirley’s appearance KNOWING that she would be Maggie Smith’s equal in retorts and sarcasm. Boy, was I wrong. My dreams of epic verbal sparring between two battle axes were dashed, leaving me feeling as flat as a bottle of Champagne left open for too long. The best line was Martha’s opening salvo when she first sees Violet:

Martha: “Oh dear, I’m afraid the war has made old women of us both.”
Violet: “Oh, I wouldn’t say that – but then, I always keep out of the sun.

I expected more zingers between these two characters, but alas they were few and far between. Martha is a brash American who wears her fortune on her person and looks a bit too newly-minted. She also apes her youngers in dress and fashion, a species whom Violet refuses to acknowledge as her sartorial betters.

Martha lacks proper manners, and here is where the Brit writers got her wrong, for Martha lives in Newport, Rhode Island, one of the snobbiest enclaves for the rich in early 20th century America. As Edith Wharton so brilliantly attested in her novels, there is nothing snobbier than a New York/New England socialite. A nouveau riche American trying to make a dent in that upper strata would have to learn to behave. Martha might be gauche and her money might be fresher than yesterday’s salmon, but she would have known about proper etiquette and manners, make no mistake about that.

My biggest surprise was Shirley’s physical presence. Maggie looms large in every scene, whereas Shirley’s hunched figure seemed diminished in contrast to Maggie’s stiff upper lip and upright posture. Worse, there was no connection between Cora (Elizabeth McGovern) and Martha (Shirley). The viewer was left to wonder about the back story between mother and daughter. A short but marvelously written scene could have given us insight as to what makes Cora tick, but this never happened. An opportunity lost? You betcha.

Sad violin music for Bates and Anna

Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE

As a member of Team Bates I’ve had enough! Will someone please break Bates out of prison before I start rooting for Thomas? I’m sick of watching Anna and Bates making moon eyes at each other across a prison table. Anna does show some moxie in that she’s determined to sleuth in order to free her man. And who knew that Bates could be so ruthless with his cell mate? No patsy he! Still … I yearn to see Bates and his Anna in a more uplifting story line and it isn’t happening anytime soon.

The dissolution of the finest villanous couple in PBS history

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

I’m at a loss for words. Who’d have thunk that the writers would mess with Thomas and O’Brien? I never thought of them as separate entities but as ThomasanObrien. They were always plotting in back corridors as we watched in glee. The reason for their estrangement is so piddly it’s barely worth a mention. Thomas is worried about keeping his job at Downton Abbey and O’Brien’s wants to promote her too tall nephew to footman. THAT’s the conflict. It’s llike asking circus lions to perform a kitten’s trick, or akin to morphing The Clash of the Titans into a bitch fight at a “Real Housewives” party.

The truncated wedding of Mary and Matthew

If you blinked at the wrong time you might have thought that you time travelled. One moment Matthew is making goo goo eyes at his bride at the altar and in the next they are dashing around the countryside in an automobile. No I do’s. No kisses. No tossing of rice, and no cavorting under the sheets in wedded bliss. When the wedding scene was cut short, a gasp went around the room (7 of us viewed the first episode together) and then we shouted – “We wuz robbed!” Anna and the viewers do get a glimpse of Mary and Matthew in bed — much much later. All I could think was: “What if Anna had walked into the room while they were doing IT?” To paraphrase Cher Horowitz in Clueless – “Ewwww.”

Lady Edith, shameless hussy

World War One and influenza did more to reduce Europe’s male population than untold centuries of starvation, hunting accidents, duels, or bar brawls ever did. After 1918, there were a gazillion fertile young women for every man. No wonder Lady Edith set her sight, hooks, and clamps upon Sir Anthony Strallan. While considerably older than the nubile Edith, he’s not all that decrepit a specimen of British aristocratic manhood. He still has his teeth and hair, and can offer her a fine house. While one of his hands can no longer do the job for which it was intended, the other can still unhook Lady Edith’s underthings if Sir Anthony so desired. What else would a young lady of breeding age want? With her biological clock ticking and her eggs shriveling by the minute (and with nothing much else to do), Edith hones in on Sir Anthony like a heat seeking missile, which makes Papa Crawley’s innards crawl The viewer is asked to wonder why, since historically young aristocratic British maidens were SACRIFICED on the altar of land and wealth with nary a blink of an eye by their doting papas.

Tom Branson and his Sybil

Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of Carnival Film & Television Limited 2012 for MASTERPIECE

Our former chauffeur turned newspaperman wears ill-fitting suits and cannot let go of his political fervor even at the dinner table. The servants sniff and snort within his vicinity, unable to withhold their disdain for a man who married his BETTER. The servants resort to the tools they know best to put him in his place. When serving him at table, the footmen hold platters of food too high or low for comfort, or for too short a time. Others sling sideway looks and lift their noses as if smelling a putrid excrescence. Violet shows much more tolerance towards Branson, for in her book he has become FAMILY.

As for Saint Sybil, she’s turned into the invisible woman. Branson leaves her in danger in Ireland to save his own hide, and when she finally shows up at the Abbey, she’s pregnant, dowdy, and all but mute. What’s happened to our feisty miss? I’m not feeling her this season and apparently she’s not feeling it either..

Violet, the Inviolate

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Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

In this instance the writers have not messed with perfection. Either that or Maggie Smith is able to rise above hasty script writing. She’s given fewer zingers this go-round, but every utterance is platinum in my book. Do not criticize my Maggie or you will be banished from my blog forever.

In Conclusion

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Let’s face it, the first episode is off to a slow start. The writers are juggling too many story lines, but the main problem with season three is the lack of real conflict. Season One featured the sinking of the Titanic, which killed off Downton’s heir, and Season Two played against the backdrop of World War One. The only thing Season Three has going for it thus far is that the earl has lost Cora’s money out of sheer stupidity by investing all of it in one railway, and that Matthew refuses to save the day with Lavinia’s dead daddy’s money because of his tiresome high-mindedness about having let Lavinia down. Mary’s still willing to marry him and not pull a Clytemnestra, which boggles the mind. Meanwhile, as Daddy Crawley is forced to contemplate selling his books and his beloved dog Isis, and firing all the servants in order to make ends meet, his daughter Mary is spending money on her trousseau like no tomorrow.

Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

With tepid fare like this, the 120 minutes seemed to drag on. At the end of the first episode, I sang in my best Peggy Lee voice, “Is that all there is?” Well, no. There is more to come and the season does gain momentum. There will be plot twists and turns that will leave viewers stupefied, howling with grief and laughter, or wanting more. Too bad that the first episode barely hinted at the drama to come.

I did a quick survey among friends and colleagues this week and tallied up the scores. Half the people I talked to loved the first episode, the others felt like me. All were let down by Shirley MacLain’s performance, except for one. The best line regarding saving Downton Abbey from bankruptcy came from Market Watch, which asked: “Desperate times call for desperate measures. If you were Earl and Countess of Grantham, what would you do?” One person answered, “I say buy life insurance on Mary and knock her off. Ghastly woman.”

Hah!

Please, in your comments, NO plot spoilers.

The New York Times has an interesting take on the phenomenon that is Downton Abbey

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The third year of Downton Abbey Mania is about to commence. I am fully prepared to devote the next 7 Sundays sitting in front of PBS to join the Crawleys, their friends, and relatives and watch this high-end dramatic soap plot unfold (January 6th – February 17th).  The action has moved from the Edwardian Era and the carnage of World War I and entered the 1920s – the jazz age, the flapper age, and the first generation in which youth held sway in music, the arts, and fashion, influencing their elders in the process.

The lawn in front of Downton Abbey is getting crowded!

The lawn in front of Downton Abbey is getting crowded! Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Scores of young men are now dead and mourned in burial grounds across Europe. The young, angry at the carnage and destruction and irreplaceable loss of life and limb, turned away from their parents’ rules and adopted a looser, more flamboyant lifestyle. Women voted, drove cars, drank, had affairs, attended jazz clubs, and skirted convention.  The youth culture was in full sway, and for the first time adults began to ape their youngers.

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The Edwardian fashion silhouette included restrictive corsets, long skirts, and trussed up bosoms. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Adolescence became the new standard of beauty – youthful adolescence, or the “garconne” look. Thin was in, and the idea was to appear small bosomed, small hipped, and boyish.

The prepubescent girl look became popular, including flattened breasts and hips, and bobbed hair. Fashions turn to the “little girl look” in “little girl frocks”: curled or shingled hair, saucer eyes, the turned-up nose, bee-stung mouth, and de-emphasized eyebrows, which emphasize facial beauty. Shirt dresses have huge Peter Pan collars or floppy bow ties and are worn with ankle-strap shoes with Cuban heels and an occasional buckle. Under wear is fashionable in both light colors and black, and is decorated with flowers and butterflies. – Women’s Fashion 1920

Gabrielle Chanel, Evening Dress in Crepe Georgette with Silver Lamé Sash. France, c. 1923.

Gabrielle Chanel, Evening Dress in Crepe Georgette with Silver Lamé Sash. France, c. 1923. Image @canalblog.com

Hems rose, bras were condemned, and fabrics swayed and shimmered. Unchaperoned dates became de rigueur. And hair was worn short or bobbed.  Gone were the restrictive corsets of their mothers and grandmothers. Hemlines began to rise so that by 1924, skirts stopped at the knee (displaying the entire lower leg) and waistlines dropped below the hips.  Slits, pleats, and skirt gathers allowed for freedom of movement. Fabrics for evening wear shimmered with metallic thread, beads, and sequins. Dance clothes were made of gold lame or flowy fabrics cut on the bias. Fringes showed movement, and the craze for new dances like the Charleston and Tango, was in full swing.

Fashion silhouette for 1922

Fashion silhouette for 1922. Image @Pauline Thomas  fashion-era.com

 

How did the women of Downton Abbey fare in this new liberated age? Let’s look, shall we?

Lady Edith

First, Lady Edith, who we last saw straddling a tractor in pants and learning to drive an automobile, is still trying to find a relevant place in the world. Stuck in the middle of two beautiful sisters, she has yet to find her unique position.

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Lady Edith wears a relaxed, straightlined look popularized by Chanel. The outfit is early 1920’s, before the hemlines started to rise dramatically. Her cloche hat closely fits her head, and she wears her crimped hair short. As skirts shortened, shoes and hose began to play a more important role in fashion. Edith’s outfit is a bit clunky. Will she do better with time? Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Lady Edith’s dinner dress exposes her arms and much of her shoulders, but does not emphasize her waist or bosom. The rich fabric and color is typical of the 1920s. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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The gorgeous shimmering fabric with panels hangs loosely over Lady Edith’s fit frame. Madeleine Vionnet was especially adept with the art of bias-cutting and diagonal seaming. This sleeveless dinner dress is typical of the era. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Close up one can see the beautiful shimmering metallic thread details. Lady Edith’s crimped hair is fashioned to look short. Note the delicate long necklace. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

edith s3

This Callot Soeurs gown reminds me of the cut of Lady Edith’s dress. You can find it on my Pinterest Board: http://pinterest.com/pin/236509417903111924/ Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Coco Chanel strongly  influenced fashion throughout the 20th century. Her dresses for working women and women on the go sported functional features and lacked superficial decorations. Her fashions were clean, sleek, and monotone. In the image below, Edith, who has found a job as a columnist, visits her editor in a practical yet fashionable gown.

Lady Edith in her work outfit, London

Lady Edith in her “little boy” work outfit, London. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Lady Mary

Unlike Lady Edith, Lady Mary has everything, including access to funds. In order to become rich, she has to look the part. It helps enormously that Lady Mary’s figure is thin, elegant, and small-bosomed. Her future assured, she spends no time worrying about the cost of her wardrobe and indulges herself royally before the wedding.

mary and matthew s3

The cloche hat, dropped waist, restrained colors, and well placed details of her day gown bespeak a quality that ready-made or homemade garments did not have. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Rich, lush fabric, dramatic sleeves and neckline, and black embroidered detailing. Matthew’s suits are also beginning to look more relaxed and modern. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

lady mary

An extraordinarily attractive day suit. The hat is dramatic (not cloche) and sports a feather. Note that clothes tend to be color coordinated. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Downton Abbey Series 3

An utterly romantic and refined outfit. Mary is elegant, and certainly not a flapper of the speak-easy kind. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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With so many young men killed during WW I, Lady Mary is lucky to be married at all. This romantic wedding gown echoes the romanticism of the era. The tiara is an especially beautiful and authentic detail. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

1920 head piece

Simplicity and elegance are the hallmarks of early 1920s fashion. 1920 photograph.

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Long flowing lines and drop waist. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Breathtakingly gorgeous gown. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Mr and Mrs Matthew Crawley. Awww. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Wide collared coat and cloche hat. Long beaded necklaces. How very elegant and modern. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Saturday Evening Post, 1922

Saturday Evening Post, 1922

Lady Rosamund, Isobel Crawley, and Lady Rose

Aunt Rosamund

Aunt Rosamund wears a dress with asymmetrical details and loose sleeves that allow for freedom of movement. Her dress echoes that of the younger set and she has most definitely discarded her Edwardian clothes. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Rosamund’s 1920s gown looks downright dowdy next to Lady Rose’s youthful, modern sailor-collared dress. Her hat has more dash and elan than Edith’s simple monotone cloche. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Lily James as Lady Rose MacClare

Lady Rose is the youthful ideal. Her clothes are shorter and flowier than those of her elders. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Lady Rose MacClare (Lily James)4

Young and impetuous Lady Rose MacClare wearing a flapper dress. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Gabrielle “Coco” Chanel (French, 1883-1971). Dress, 1925, crystal beads on silk chiffon. Collection of Phoenix Art Museum, gifts of Mrs. Wesson Seyburn. Photographs by Ken Howie.

Gabrielle “Coco” Chanel (French, 1883-1971). Dress, 1925, crystal beads on silk chiffon. Collection of Phoenix Art Museum, gifts of Mrs. Wesson Seyburn. Photographs by Ken Howie.

isobel crawley

While the older set, like Isobel Crawley, wore fashion influenced by the young, their outfits were decidedly conservative in comparison. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Martha Levinson

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Shirley Maclain as Martha Levinson, Cora’s American mother. Her clothes are expensive and extremely fashionable when compared to Isobel and Violet. Martha tends to overdress according to British standards. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Balenciaga Coat 1927

Balenciaga Coat 1927

dowagers

The contrast between Martha and Violet cannot be more stated than in this image. Violet wears old-fashioned clothes and a tiara that has probably been handed down for generations. Martha is a walking advertisement for nouveau clothes. Her headband is extremely fashionable and she wears an outfit dictated by the preferences of the young. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Martha’s jewels and headbands match each outfit. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Martha's clothes are as flamboyant as her personality

Martha’s clothes are as flamboyant as her personality. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

shirley

This is a rather restrained look for Martha, who sports a short crimped haircut. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Mary, Martha, and Cora: 3 generations. The clothes are simple in this scene, and the details are exquisite. While Lady Mary’s hair is long, the hairstyle mimics a shorter bob. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Cora, Lady Grantham

Image credit_Nick Briggs_PBS

Cora strikes the right balance between current fashion and her position as countess. The earl, who values tradition, wears traditional clothes. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

cora in black

Cora in black. Fashionable, yet restrained and somber. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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The Crawley women at Lady Mary’s wedding to Matthew. Note the elaborate hats. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Cora looking regal in a richly colored and detailed gown. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Ladies of the night... Maggie Smith, Elizabeth McGovern and Lily James

Characters as defined by fashion: Violet in Edwardian clothes, Cora in a conservative 1920s evening gown, and the very young racy Lady Rose in a flapper sleeveless evening gown. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Lady Sybil

mary sybil anna

This interesting image shows the very elegant Mary standing next to Lady Sybil, whose wardrobe reflects her new status as the wife of a working man. Anna is in uniform. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Vionnet chiton dress

The lines of Lady Sybil’s simple gowns remind me of Madeline Vionnet’s chiton gown.

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Early 1920s fashions were influenced by many cultures – Egypt, Greece, Japan, and Mexico.The monastic style was also fashionable. Tom Branson’s suits are ill-fitting in comparison to the earl’s and Matthew’s suits. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

sybil pregnant

Lady Sybil’s pregnancy was easily accommodated in this loosely flowing gown. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Tom and Sybil spruced up for Lady Mary’s wedding to Matthew. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Lady Sybil’s gown is made of fabric with an exotic fabric. This was an era that harmonized art with fashion. Rayon, known as “artificial silk”, gained great popularity with the public. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Team Bates

One simply cannot ignore the servants, although a uniform is a uniform. Let’s see what else the hoi polloi wears, shall we?

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Poor unfortunate Bates. Forced to wear prison garb. Oh, woe is he. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Brendan Coyle Bates in prison

This grey ensemble does poor Bates no justice. When will he be released? Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Mrs. Bates in a fighting mood for her man. She will move heaven and earth to prove his innocence. Her version of 1920’s flapper style is somber indeed. Her clothes are probably homemade and sewn from a pattern. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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With only modest resources, Anna Bates manages to look primly stylish. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Detective Anna Bates prying information from a reluctant witness. Her coat is conservative and long. And is she wearing clogs? Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Another woe is me character – Ethel. Poor poor Ethel is trying to make do in life while taking care of her bastard son Charlie. She still manages to afford a cloche hat. Ethel’s colors of choice are somber, sober, and solemn. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Phyliis Logan as Mrs. Hughes and Lesley Nicol as Mrs. Patmore

Phyllis Logan as Mrs. Hughes and Lesley Nicol as Mrs. Patmore. Very little in their wardrobes has changed. Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

For those whose interests in 1920’s fashion has reached new heights, click here to visit my Pinterest board entitled 1925: http://pinterest.com/janeaustenworld/1925/. For more about avant-garde dresses of the 20’s, google Coco Chanel, Madeleine Vionnet, Lavin (and his robes de style), Paul Poiret (who lost his leadership position in fashion during this era, but who was heavily influenced by Japanism), and Liberty and Co. of Paris and London.

Next week: My review of the first 3 hours of Season Three of Downton Abbey. PLEASE, in your comments do not reveal spoilers. We in the U.S. have not yet seen the series. Thank you!

More on the topic. 

Images courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

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Only two days remain to watch Downton Abbey Season 2 on PBS’s website. The online feature ends on March 6th. If you have a Netflix membership, you can watch Season 1 on streaming video.

Netflix page for Downton Abbey Season 1

Season 3 is being filmed as I type. Once again we have to wait 10 anxious months before seeing the results.

Several questions were sent in by readers about Lady Mary and Pamuk. Perhaps readers can help answer these particulars.

Reader #1:

1) The whole plot revolves around Lady Mary not defending herself so it’s a mystery. WHY does she not defend herself? Pamuk said he would expose her if she didn’t let him have his way with her, and she never tells anyone that. So, she couldn’t even scream him off.

2) How did Pamuk learn where Lady Marys room was? No one asks her and that’s strange. We know that rat Thomas told him after threat of exposure from his peccadillo, but the plot should have someone asking.

Reader #2:

I still have two questions:

1) How did Pamuk convince Mary she would “still be a virgin”?

2) Why was Mary so hesitant to accept Matthew even prior to the news of her Mother’s pregnancy if she loved him? Was it that she couldn’t find the way to explain Pamuk’s death?

Do you have other questions that still remain unanswered?

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Last night PBS showcased the Christmas special of Downton Abbey. Did you find the finale of Season 2 satisfying? Too cliched? Did you encounter unexpected twists? Or did you guess just about every plot point as my neighbor did? Warning to those who have not seen the Christmas special: This post contains nothing but plot spoilers!

Julian Fellowes with Dan Stevens and Elizabeth McGovern.

Julian Fellowes with Dan Stevens and Elizabeth McGovern. Credit courtesy Carnival Film & Television Limited 2011 for MASTERPIECE

I found the details of how the Crawleys treated the servants at Christmas quite interesting, giving them gifts and allowing them a free day.  Sir Richard’s response to the Crawleys’ generosity towards the servants told much about him and foreshadowed the difficulties he would encounter with Mary. They are constantly at loggerheads and his jealousy towards her real feelings for Matthew bubbled over.Sir Richard’s jealousy of Matthew bubbles over. He and Mary are constantly at loggerheads. While he seemed a harsh man, in the end it turns out that he truly cared for the eldest Crawley sister. Even as they make googoo eyes at each other, an upright and uptight Matthew informs Lady Mary that they can never be together because of his guilt trip over Lavinia’s death. Her reply, “Didn’t they teach you never to make promises?” This story line, ending in their engagement, finally gives the viewer a happy ending

With Mr. Bates in prison, the viewer is beginning to wonder if things will ever go right for him and Anna.  I am beginning not to care. The trial was over the top and melodramatic, but it did showcase O’Brien’s attempts to say and do the right thing. As for Anna’s reaction to hubby’s impending life/death sentence in prison – violin strings please.

This viewer sorely missed seeing Sybil and Tom. Their absence created a glaring hole in the story line, although their good news about her pregnancy meant joy for Cora and a Fenian grandchild for the skeptical earl.

It was a delight to see Edith boldly cast her hook and line at Sir Anthony Strallan, one of the few able bodied single men left standing after the war, albeit a little long in the tooth.

In order to be thought a hero,Thomas absconded with the earl’s dog, Isis, a most foul deed that backfired. With this act he entered the pantheon of  the ten most dastardly villains in entertainment history. Isis escapes from the shack

The story of Mr. Mason, William’s father, and Daisy provided a sweet sub plot. Daisy talks to William via the ouija board and Mrs. Patmore.

Many plot points were tied up during the finale, which redeemed Season 2. I do hope that Sybil and Branson will return, for I felt their absence keenly. As for Bates and Anna, their down-in-the-luck story line is getting a little old. While a happy couple makes for boring fiction, the relentless bad luck that this couple experiences has entered the realm of the absurd. It is also time that Edith enjoys her moment in the spotlight. She’s changed this year. While she still gives Mary a couple of good digs, she has become a more rounded character. What did you think of the last episode? Alas we will have to wait 11 months before Season 3 airs. Can we even stand it?

Today I conclude this year’s coverage of Downton Abbey. Future posts will return to the Georgian and Regency eras, where this blog ideally resides. Thank you, readers, for your patience as my Downton Abbey fever ran its course.

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