• PBS
• "I'm a woman, Mary. I can be as contrary as I like." - Lady Violet

Last night, change swept over the manor with enough force to actually propel Isobel to France! The aristocratic barriers continued to fall, though Lady Violet, for one, hopes they will be repaired after the war. One mustn't get too caught up in "inappropriate friendships," she cautions Sybil at the dinner table. Of course, only her Mary knows the truth: that Sybil, the "wild one" who has been known to wear pantaloons and dresses up as a nurse, has feelings for the chauffeur, Branson. Does she? Or is it just that she realized all the men she ever danced with are dead, and here is a fine young Irish chap in a well-fitted jumpsuit who is besotted with her and practically bullies her into running away with him. Well, why not?

The Sybil and Branson struggle was just one manifestation of a myriad of power struggles occurring within Downton, most openly between Cora and Isobel over who should be managing the house (the part of the house not managed by Thomas - and by the way, what exactly does Thomas manage? Besides his great hair, of course). Though both women were given the responsibility to share by Dr. Clarkson, they are mysteriously unable to work together, despite the perfect marriage of Isobel's working-class knowledge and medical training, and Cora's understanding of Downton's specifics. But Cora prevails in the end, running Isobel off to France, where she will presumably be closer in proximity to Matthew. At the same time, Matthew has the uncanny ability to be able to return straight to Downton every other weekend, dropping by here and again to see Lavinia in London (one guesses) so when and how will he see his mother now?

Upstairs, the struggles continued internally as the Crawleys worked through their feelings about Matthew's sudden disappearance and presumed death. From Robert acknowledging that he loved him like a son, to Edith feeling compelled to tell Mary not as an act of malice but one of kindness, and even Lady Violet managing nearly, but not quite, to be anxious over the subject, mentioning that "who knows who the next heir might be, a chimney-sweep from Surrey?" there was a tenseness to every proceeding with the weight of Matthew's disappearance (and William's, lest we forget) shadowing the house. Of course, Matthew and William were fine, and even appeared in time for a literally show-stopping performance where Matthew was able to pick up the male harmonization to a popular ditty of the era with Mary. Though the two feign a brotherly-sisterly relationship, there is obviously still passion smoldering under that uniform and that corset. But for now, the two are still to be married off to others. The real question seems not if they will get together again but when, though "Downton" has thrown us some curveballs in the past that might make their reunification, if it still happens, more difficult or further down the line than the typically expected, and I for one appeal for that result.

Downstairs, the servants adjust to life with extra help in the kitchens and wondering how to define themselves in such changing times. Mrs. Byrd and Molesley are the best examples of those caught adrift as the war begins changing things. As their mistress and master are gone from the house, the two are bored without anyone to serve. Luckily, a young wounded veteran stumbling into their kitchen set up a heart-warming series of incidents that resulted in a kind of soup kitchen, aided by Mrs. Patmore and the "special storage area" of Downton's kitchen (and eventually the help of Cora, despite the handiwork of mischief-making of O'Brien who wanted the operation shut down). O'Brien's humanity was shown in glimpses with the addition of Mr. Lang in the house, but now that he is gone she has regressed to her black-hearted ways. She and Thomas smoke and scheme in the shadows on the corridors throughout the episode, but in the end even Thomas grows bored of trying to ruin lives and decides to leave Bates, a rekindled target, alone. O'Brien, confused and disappointed says, "I suppose I hold a grudge longer than you." Thomas shrugs it off, and O'Brien no doubt begins scheming on her own of new ways to manipulate Cora to do her bidding. Meanwhile, draft-dodging Molesly merrily yucks it up with Mrs. Byrd over the glamour of his stand-in position of Robert's valet, even going so far as to buy the Earl a special new shoehorn which Bates - who, having returned makes Molesley's position as valet moot - smilingly takes from his tremoring hands and promises to pass it along. Perhaps it is karma thwarting Molesly. And given his stress levels in that scene I almost expected him to have a Lang-like episode in protest of being sent back to his former post!

The episode lurched around at a frantic pace that brought us not just an illicit roll in the hay but a baby that came from it as well! The gravitas of Matthew and William missing was erased by their quick and unscathed musical return, and there was something similarly disconcerting in the speed and confusion regarding Sybil and Branson's stunted courtship. The two are obviously friends (Sybil spends a great deal of time hanging around the garage), but Branson's overtures towards Sybil are so forceful they are difficult to take seriously. For a couple we have barely seen interact, Branson seems sure that Sybil will willingly give up her whole life to run off with him. This is an obvious contrast to the muted affections of Matthew and Mary, and even the elongated and complicated courtship between Anna and Bates. Unfortunately that has seemingly lead Anna, a favorite character from Season One, to have very little to say or do in the current season aside from pine for Bates and look relieved that Bates has returned. As the Downton residents upstairs and down attempt to steady themselves in a time of great upheaval, so too does the show, which seems to have lost some of its footing. Although, perhaps it just takes the Dowager Countess speaking to remind us all exactly where we stand ... that we read too many novels and are distressingly middle-class.

Next Week: Vera Bates is back with her blackmailing ways, and there are further wartime complications for Matthew and the household.

Musings and Miscellanea:

— For whatever reason, I found Matthew returning more compelling this time around than I did the first time I watched, where I found it ridiculous. Is the narrative being cheated by not putting Matthew in any real danger in the war?

— Thomas: "I take orders directly from Major Clarkson." Bates: "Another reason to pray for peace."

— A great version of the song sung by Mary. Doesn't Michelle Dockery have a great voice? She's also a jazz singer and just an all-around talented gal.

— When did the British government start supporting returning veterans with benefits? The lines for the soup kitchen in a small town such as that around Downton was staggering and sad.

— Edith: "I wish we had a man." Mary: "(sigh) Amen."

— Daisy's clothes look so familiar ...

— Thomas was such a jerk in this episode. But I can't help but like him still being at Downton!

— Robert was so poetic speaking with Bates about his fears for Matthew: "help me through this vale of shadows."