'Downton Abbey' recap: Edith fights her corner in the season finale
Mary gets welcome news, but what's to become of Branson?
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I don't want to say the Christmas episode of "Downton Abbey" was much ado about nothing, as there really wasn't much ado at all. This was a relatively staid ending to a fairly low-key season, and even the significant twists either happened off-screen or, thanks to our stiff-upper-lip Brits, barely registered. Admittedly, that doesn't mean nothing happened. There were a few notable guest appearances (Paul Giamatti for the win!) and there are clearly big plot lines brewing for next season. Well, maybe.
The biggest storyline was Edith's, though initially we had every reason to believe this one was going to be wrapped up and shoved under the carpet as yet another dirty little Crawley secret. Though some of Edith's scenes of self-discovery were ploddingly on the nose ("We should make more scenes! We should let it all out! Hint, hint!"), at least we were given some idea of how she went from sadly acquiescing to Rosamund and Violet's master plan to recruiting Timothy Drewe to take care of the baby closer to home. I have to assume this will blow up in Edith's face at some point, as Edith never, ever gets what she wants.
I'm also a little surprised we haven't gotten a clearer resolution as to what happened to Michael. It seems he was beaten to a pulp by some "brown shirts" (read: Nazis), but I'd still think someone might have stumbled across a body if there was one. I won't mind if this is left a mystery, though, as the uncertainty could yield interesting emotional terrain for Laura Carmichael to explore, a netherworld that allows neither true grieving or resolution.
We did get an oddly tidy resolution to Bates' offing of Green, though. I wasn't entirely convinced by Mary's attack of conscience after Hughes presented her with the damning tickets from Bates' coat pocket. Mary has never exactly been someone to be bothered by morals and ethics, and given that we've seen her drag a dead body down the hallway, I was pretty sure she could suck up her suspicions for Bates and Anna's benefit. Yes, she ultimately made that decision. It was the angst leading up to it that rang false. While Bates and Anna seem to be happy again, I still feel uneasy that this storyline seems to have been resolved with so few complications.
That brings us to the silly caper to retrieve the Prince of Wales letter to Mrs. Dudley Ward's letter from the vile Sampson, which even Violet curtly dismissed: "I feel as if I've spent the whole evening trapped in the cast of a whodunnit." No kidding. While it's always fun when "Downton" peppers real people into the plot line, this story felt pasted on and was truly unworthy of the show. How many times can we drag Sampson back as a plot device?
I would have happily cut the time wasted on the letter caper to more fully flesh out the relationship between Harold (Paul Giamatti) and Madeleine Allsopp. As it stood, the connection between the two seemed too quick and not entirely believable, but I suspect a few more scenes would have made a world of difference. Again, we have two characters we've never met before but in whom we're supposed to become invested in very little screen time.
There's no reason to believe the budding friendship between Harold and Madeleine is a storyline we'll revisit, but I'd like to see more of Cora's scandalized brother and her mom if we can. As Martha (Shirley MacLaine) says to Violet, "My world is coming nearer, and your world is slipping further and further away." Watching Violet and Martha spar is always fun, especially as Martha is far savvier than Violet ever expects, but one I guess we'll only get occasionally.