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(Hugh Bonneville): All of the love...
(as Anna): Because I love you, Mr. Bates.
(Hugh Bonneville): All of the romance...
(as Sybil): Yes, you can kiss me.
(Hugh Bonneville): And, of course, the weddings.
(Toasting man): Edith and Bertie,
bride and groom!
[CROWD TOASTS.]
(Hugh Bonneville): Join me, Hugh Bonneville,
for a romantic getaway...
with the Weddings of Downton Abbey!
(Hugh Bonneville): Hello, I'm Hugh Bonneville,
here to take you on a tour of the most successful
dramatic series in public television history
- and I was lucky enough to be in it.
Yes, I'm talking about that one.
It's my pleasure to be re-united with the brilliant
creative team of Downton Abbey -
creator and writer Julian Fellowes
and executive producers Gareth Neame and Liz Trubridge
- in revisiting a much-cherished aspect
of the story, the romances
and "The Weddings of Downton Abbey."
Now, it's has been said that being deeply loved
by someone gives you strength,
while loving someone deeply gives you courage.
In my six seasons as Robert Crawley, Earl of Grantham,
I bore witness to many examples of that strength and courage,
and even summoned up a bit of it for my own character.
So, join me now as we walk down the aisle
at Downton Abbey, taking a look back on the long-simmering,
very British passions that gave us some of the most beloved
courtships and marriages in television history.
(Julian Fellowes): The spine of the series is love.
There's no doubt about that.
And all of the characters are given an opportunity
to feel love, to turn love down,
to love the wrong person, to make a mess of it,
to make a good thing of it, but I think on the whole,
love is a very key ingredient to all our lives,
even if, because we haven't got any.
(Gareth Neame): This show is about a time
where relationships are much more straightforward,
there's no strange texting going on, there's no Tinder,
it's much more straightforward, you just meet your cousin
and marry them.
But I think audiences have, have loved the simplicity
of the relationships.
The fact that these are... These are...
this is not really about sexual love,
this is about romantic love.
You know, deeply unfashionable
for television producers to be doing,
and yet it seems to be a formula that's worked
around the world.
(Hugh Bonneville): Romantic love is at the heart
of so many relationships at Downton,
both upstairs and down.
The love of Robert and his wife, Cora,
well-seasoned perhaps but not without sweetness...
the ardor of Carson and Mrs. Hughes,
moving at the pace of a snail with a hangover...
the unwavering devotion of Anna and Bates...
and, of course, the star-crossed passion
of Lady Mary and Matthew Crawley.
But surely the prize for the most surprising
and indeed scandalous love affair is that of
Lady Sybil and Tom Branson, the Irish chauffeur.
(Julian Fellowes): Once you've got
interclass romances, you've got romances
in the work place, you've all of these things in Downton.
Characters are having to fight the norm in order to achieve
what they want.
(as Lady Sybil): It seems rather unlikely,
a revolutionary chauffeur.
(as Branson): Maybe.
But I'm a socialist. Not a revolutionary.
And I won't always ba chauffeur.
(Julian Fellowes): The Sybil - Branson
romance couldn't have happened at the very beginning of the
first series because we needed to establish
the barriers of this world.
So that by the time, they got to it.
(Gareth Neame): We know how abnormal ...
(Julian Fellowes): We know how abnormal it is.
And the, and the huge hurdles they're
going to have to cross.
(as Countess Cora): Whatever is holding Sybil up?
(as Lady Mary): She was going on
about her new frock.
(Liz Trubridge): Not only did the audience
understand the world in which they lived,
but they'd understood that Sybil was a free spirit.
From her costume, from the way she was.
My favorite Sybil and Branson scene, is,
they're not together in it, but Sybil is showing off
her extraordinary outfit ... (Gareth Neame): Pantaloons.
(Liz Trubridge): Her pantaloons.
(Gareth Neame): And he's in the window.
(Liz Trubridge): And he's just peering in
through the window. I love that moment.
** MUSIC *
(Jessica Brown Findlay): The connection she has
with Branson is beautiful, in the first series,
I never saw it, I never saw it sort of being romantic
or anything like that.
I never, I never read it as that.
She just was so happy for there to be someone
she could talk to and understood her.
(as Lady Sybil): It'll be hard to let you go.
My last week at home.
(as Branson): Not as hard as it is for me.
(as Lady Sybil): Branson ...
(as Branson): I know I shouldn't say it
but I can't keep it in any longer.
(Jessica Brown Findlay): She really has to,
you know, consider losing her family,
her friends, her security, her life, everything
she's grown up with.
(as Lady Sybil): Don't badger me, please.
** MUSIC *
(Allan Leech): It is very slow burning,
and the whole way through, I was constantly reading scripts
going, "When are they going to kiss?
Are they ever going to kiss?"
I have to say, I think Branson is very patient.
** MUSIC *
(Allan Leech): I wonder, how many other people
would wait for that long?
(Jessica Brown Findlay): You get that sense
that every single time she goes back to garage people are like,
if you don't kiss now,
I'm going to just throw something at the TV.
It's like, come on.
(as Lady Sybil): Yes, you can kiss me.
(Jessica Brown Findlay): They finally kiss.
** MUSIC *
(Hugh Bonneville): And where will this
secret passion lead?
Well, as the Earl of Grantham, I knew full well
that my youngest daughter was plunging head-first
into an untenable situation...
and, well, that was something I...
Well, I mean... I mean - He...
Yes, he ...uh, wouldn't stand for.
(as Lord Grantham): I won't allow it.
I will not allow my daughter to throw away her life.
(as Lady Sybil): You can posture
all you like papa, it won't make any difference.
(as Lord Grantham): Oh, yes it will.
(as Lady Sybil): How?
I don't want any money,
you can hardly lock me up until I die.
** MUSIC *
(Hugh Bonneville): Robert Crawley may have been
stubborn, old-fashioned, and any number of
questionable qualities that I'm sure
the three Crawley sisters mentioned at one time
or another... but with the help of
his American wife, Cora, even he finally understood
that Sybil's deep love for Tom was beyond his control.
(as Lord Grantham): All right.
(as Lady Sybil): What?
(as Lord Grantham): Well, if I can't stop you,
I see no profit in a quael.
You'll have a very different life
from the one you might have lived.
But if you're sure it's what you want ...
(as Lady Sybil): I am.
(as Lord Grantham): Then you may take my blessing
with you, whatever that means.
(as Lady Sybil): Papa ...
It means more than anything, more than anything.
** MUSIC *
(as Lord Grantham): If you mistreat her,
I will personally have you torn to pieces
by wild dogs.
(as Branson): I'd expect no less.
(as Lady Sybil): Will you come in for
the wedding?
(as Lord Grantham): We'll see, we'll talk
about that later.
And there will be some money. But not much.
** MUSIC *
(Hugh Bonneville): Sybil and Tom's romance
broke many taboos, but it also reaffirmed in the hearts
of everyone who watched Downton Abbey that love conquers all.
But perhaps the greatest example of
the triumph of love in adversity can be found in the story of
Robert Crawley's eldest daughter, Lady Mary.
A truly epic romance
that had the most unpromising of beginnings.
(Julian Fellowes): Hollywood used to have
a phrase called, "meeting cute."
They, they liked their... their lovers
to meet cute.
And that meant they would have a fight
in a book shop over trying to buy the same book,
or whatever it was.
Matthew coming in and essentially legally
stealing the inheritance of Mary, uh...
created a massive meet cute, you know, plot line.
(as Matthew Crawley): And before they, or you,
get any ideas, I will choose my own wife.
(as Isobel Crawley): What on Earth do you mean?
(as Matthew Crawley): Well they're clearly going
to push one of the daughters at me,
they'll have fixed on that
when they heard I was a bachelor.
(as Molesley): Lady Mary Crawley.
** MUSIC *
(as Lady Mary): I do hope I'm not interrupting.
(Julian Fellowes): I suddenly thought this is who
Matthew is, that he's the bad guy
except he hasn't done anything bad.
(as Lady Mary): I suppose you're more
interested in books than country sports.
(as Matthew Crawley): I probably am.
You'll tell me that's rather unhealthy.
(as Lady Mary): Not unhealthy, just unusual.
Among our kind of people.
** MUSIC *
(Julian Fellowes): I'd seen Dan in a version
of Sense and Sensibility on television.
And he had that very English, very sort of blonde,
kind of cricketer thing we were looking for.
I wanted Mary to be pretty tough, pretty cold, pretty hard,
pretty snobbish.
(Liz Trubridge): I remember Michelle's
audition very clearly and she really stood out.
(Gareth Neame): Oh, I'd seen her in Pygmalion.
And I was completely sold on her at, at, at, at,
you know, from that.
And, and, and, as soon as you created that character
I thought, "She's got to be top of the list."
(Liz Trubridge): I think she's one of a small
numbers of actors who really, really can convince,
as, coming from, being... being aristocratic,
when of course Michelle herself is, is not.
(as Lady Edith): You won't marry him
though, will you?
(as Lady Mary): What? Marry a sea monster?
[LAUGHS]
(as Lady Sybil): We shouldn't laugh,
that's so unkind.
(Hugh Bonneville): Hmmm, the lady doth protest
too much, methinks.
Mary's sharp tongue and cool outward manner belied an
instant, undeniable attraction between the two.
Now, that chemistry, and the ups and downs
of their roller coaster romance, reay helped propel
the first two seasons of Downton Abbey.
(Michelle Dockery): I think that Mary
was always attracted to Matthew, even in those first episodes
There's an ease, it's like, you know,
those relationships where you feel like
you're at home, I think that's what she finds in Matthew.
(as Lady Mary): You must be careful
not to break Sybil's heart.
I think she has a crush on you.
(as Matthew Crawley): Well, that's something no one
could accuse you of.
(as Lady Mary): Oh I don't know.
(as Matthew Crawley): I assume you speak in a
spirit of mockery?
(as Lady Mary): You should have more faith.
(Dan Stevens): It's quite a bold move
in those times to be left alone,
having sandwiches over a dining table.
It's much more racy than it sounds these days,
but, um, it's a nice scene to play because suddenly all the
electricity that's been, sort of sparking around
and, and, and building up over the course of the series,
you know, you're about to...
Light the light bulb.
** MUSIC *
(Hugh Bonneville): Will they... or won't they?
In the second season their volatile relationship
developed into something truly memorable.
(Liz Trubridge): A time where I remember
the real chemistry between them almost taking my breath away
was in the second series, when there was a concert
being put on, and Mary knew that Matthew,
who she hadn't seen for a long time now,
was going to arrive with Lavinia.
And, she was standing up, and suddenly caught him.
(Gareth Neame): Oh, she did that so well.
(Liz Trubridge): You could almost see her heart.
** MUSIC *
(as Lord Grantham): Now, please come this way...
(Gareth Neame): When Michelle played the scene
on the railway station platform with Dan at the beginning
of season two, she did not really know that was the most
important scene she would ever play.
(Michelle Dockery): I think what was beautiful
about that episode, is that you really
didn't expect... Mary to turn up.
(as Lady Mary): I wanted to give you this.
It's my lucky charm, I've had it always,
so you must promise to bring it back
without a scratch.
(Michelle Dockery): There was very little
that was said between them.
I love the way it was written.
(as Lady Mary): Goodbye then.
And such good luck.
(John Lunn): Everybody wanted
to make the audience feel that this really
was a goodbye.
(as Matthew Crawley): Goodbye, Mary.
And God bless you.
(John Lunn): So, I had to write a tune
to make everybody feel that
they ought to be together but,
he, he was never coming back.
So, I came up with for some reason.
** PIANO *
** MUSIC *
(Hugh Bonneville): But it wasn't a goodbye, was it?
Matthew returned from the war, injured,
then miraculously healed, but most worryingly,
engaged to another, the beautiful Lavinia.
Trust Julian Fellowes to create
a maze of complications.
But despite all the obstacles,
the love between Mary and Matthew
proved too strong and would not be denied.
(Dan Stevens): As much as he loves Lavinia,
as beautiful as she is, and as wonderful as she's been to him,
there's, there's a sort of a fire
that you can't quite put out...and, um...
(as Matthew Crawley): Oh god, Mary.
(Dan Stevens): He's terribly,
romantically confused man, y'know?
How can you resist, you know, dancing with Lady Mary?
There's music playing, there's, you know.
** MUSIC *
(as Lavinia): Hello?
(as Matthew Crawley): What are you doing up?
(Zoe Boyle): She is head over heels
in love with Matthew, and to see him
completely head over heels in love
with somebody else is the most devastating thing imaginable.
(Hugh Bonneville): But Lavinia has more
than a broken heart to contend with.
(as Isobel Crawley): How's Lavinia?
(as Matthew Crawley): All right, I think.
(Alastair Bruce): The nature of Spanish Flu was,
that just as you appeared to look as though
you are recovering, you are at your most vulnerable.
(as Lady Sybil): It's Lavinia.
(as Matthew Crawley): Can you hear me?
It's me. It's Matthew.
(Zoe Boyle): I knew it was going to
come to this dramatic end, and I love that
actually, I was sort of quite excited by that.
Now I'm kind of gutted because I absolutely
loved doing this job, absolutely loved it.
(as Lavinia): Be happy. For my sake.
(Michelle Dockery): And then of course,
he takes it that she has this broken heart,
which then leads to her death,
which is so sudden.
** MUSIC *
(as Matthew Crawley): We're cursed, you and I.
And there's nothing to be done about it.
(Hugh Bonneville): Lavinia's death was
a devastating blow for Matthew, and it took a
very long time for he and lady Mary to chart
a course back to happiness.
But once they did, and their romance was set fair,
that magical moment when Matthew asked for Lady Mary's
hand in marriage was well worth the wait.
(as Lady Mary): You must say it properly.
I won't answer unless you... kneel down and everything.
(as Matthew Crawley): [sigh]
(Michelle Dockery): So with me and Dan,
I remember it just being really fun,
and sort of knowing that it was quite a magical scene
and just sort of hoping it would turn out that way.
(as Matthew Crawley): Lady Mary Crawley...
Will you do me the honor of becoming my wife?
(as Lady Mary): Yes.
** MUSIC *
(Michelle Dockery): It was the ending
to this dance that had been going on for
two years between the two characters.
** MUSIC *
And there was this beautiful crane shot
that they did, you know, the camera leaving
the house, all covered in snow.
** MUSIC *
(Hugh Bonneville): That storybook proposal
in the swirling snow heralded a wedding for the ages.
The producers, Julian, Liz and Gareth,
knew it had to live up to some fairly monumental
expectations, and I think you'll agree that they delivered.
(Julian Fellowes): I wanted it to be as big
as we could afford, really.
I, I mean, it would have been, in real life,
much bigger than that.
I went there for the day because I suppose I, like the audience,
felt it has been a long time in coming and at
last there we were.
(Gareth Neame): I think we often did that
in the making of the show, when these important
occasions came along, we felt that we had to be there,
because we were living with that family.
(Laura Carmichael): It did feel like a big day,
someone had texted me saying,
"I hope you've started."
And, obviously I didn't reveal what we were filming,
but I did, I did think, if only you knew
what we were filming right now.
(Allen Leech): There was an element
of excitement, even amongst the cast, because this is a day,
even when you read the scripts,
you're waiting for for, you know, two seasons,
three series.
(as Dan Stevens): What's funny watching it back
is that you forget how much, sort of preamble there is.
And you see this lovely shot of her coming down the stairs,
and Carson, you know, the two fathers,
Carson and Robert looking at her.
And then, the carriage ride, which of course I never saw,
and all that, you know, wonderful, you know,
kids running in the street and bunting and all that.
None of which we felt on the day, you know
the shot when we look up, hear all the cheering outside,
of course, we didn't hear anything.
Um, you know we were just sitting there
quite bored probably by the end of that day.
Um, but yeah, it all, it all comes together and um,
it does look, y'know, it does look very special.
(Assistant Director): It's a good position
for everyone, please.
** MUSIC *
(as Matthew Crawley): You came.
To be honest, I wasn't completely sure you would.
(as Lady Mary): I'm glad to hear it.
I should hate to be predictable.
** MUSIC *
(Hugh Bonneville): "Every heart sings a song,
incomplete, until another heart whispers back.
Those who wish to sing always find a song."
No, not Cole Porter but the ancient
Greek philosopher, Plato, - the lyrics of love
were written long ago, my friends.
Centuries later, Mary and Matthew
wrote their song, and Downton Abbey finally
had the glorious wedding everyone had been waiting for.
Stay with us as we celebrate some of
the other beloved characters whose destiny it was
to walk down the aisle...
in The Weddings of Downton Abbey.
I didn't miss a single one of them
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** MUSIC *
(Hugh Bonneville): Welcome back
to "The Weddings of Downton Abbey."
Hello I'm Hugh Bonneville.
A few moments ago we heard a quotation from Plato.
Let's skip down through the centuries
to 1878 and these timeless words from
the great English novelist George Eliot:
"What greater thing is there for two human souls,
than to feel that they are joined for life -
to strengthen each other in all labor,
to rest on each other in all sorrow..."
Could there be a more perfect description
of the love story of Anna Smith and John Bates?
Their paths were a tortuous saga of longing,
frustration, suspense, deep secrets, pain,
public humiliation, crime and punishment,
drama upon drama ... until ultimately -
thank the stars - a happy ending.
But what an exhausting journey!
(Julian Fellowes): I always wanted
Anna and Bates to be in love with each other
and for it to be a slow burn romance because part
of the key of Bates is how hard it is
for him to express his feelings.
** MUSIC *
I wanted, again from very early on
to define Anna, um, as, if you like,
a wholly sympathetic character.
(Gareth Neame): You really have,
you know, as a sort of disabled man
coming into that environment,
most of the other characters have a fairly negative
view about him.
(as John Bates): I'm John Bates, the new valet.
(as O'Brien): The new valet?
(as John Bates): That's right.
(Brendan Coyle): She clearly has empathy
for this character on his arrival.
(as Anna): I'm Anna,
the head housemaid.
(as John Bates): How do you do?
(Joanne Froggatt): Before Mr. Bates comes along,
I think she's just happy with her lot, really.
(Brendan Coyle): There's an attraction,
it's just alchemy.
(Joanne Froggatt): She just falls for this man
and she has this different option now in her life.
(Julian Fellowes): I mean, my favorite scene,
I suppose, of the whole, uh, Anna and Bates story,
really, remains the very first episode,
when she comes up with the tray.
(Gareth Neame): It's that wonderful of a ...
a woman who loves a man respecting his dignity.
(Liz Trubridge): Mm-hmm.
(Gareth Neame): And knowing that a man
has a certain kind of ... You know, that the idea
of her seeing him cry would be too humiliating.
(Julian Fellowes): And he- he'd be
diminished by it.
And then that thing at the end, drop us a card,
you know, let us know you're all right.
It was very ... they did it very well.
I mean, it was very moving.
(as Anna): Drop us a line,
else I'll worry.
(as John Bates): Well, we can't have that.
** MUSIC *
(Gareth Neame): You've got Anna,
from the very moment, she's not like
it's about lust or anything,
it's not...
(Liz Trubridge): Not at all.
(Gareth Neame): ... she thinks...
that it's particularly a physical attraction,
but she sees this person,
and it- and it's her own ...
(Julian Fellowes) Oh, it's tenderness.
We went in for a romantic love, um,
and sort of tenderss and uh, and it-
those are the kind of high points of
our romantic histories, I think.
(as Anna): I wish you'd just
come out with it.
(as John Bates): With what?
(as Anna): Whatever it is
you're keeping secret.
(Liz Trubridge): The thing I remember is
of the feedback we were getting that people ...
it was that "I love you, Mr. Bates,"
be- became an iconic line.
(as Anna): Are you trying
to tell me that you're married?
(as John Bates): I have been married, yes,
but that's not all of it.
(as Anna): Because ...
Because I love you, Mr. Bates.
I know it's not ladylike to say it,
but I'm not a lady and I don't pretend to be.
(Liz Trubridge): And I love the fact that
it was Anna who said, in the servants' hall,
grabbed hold of uh, Bates's attention and just said ...
(as Anna): We're going to get married.
(as John Bates): Don't be silly,
we can't, not now.
(as Anna): You're not listening.
You're going to Rippen tomorrow afternoon
to take out a special license, I don't care how much
it costs, and fix a day.
We'll tell no one, but this you will do.
(Liz Trubridge): That was very beautiful,
and then Cora was getting sicker and sicker
so she had to ... Anna had to ask Mary
if she could go and get married.
And so it was naturally a very, very quick.
(Gareth Neame): It's a very snatched moment,
they get sort of two hours off work ...
... to go and get married, sort of.
(Liz Trubridge): Well, and it was literally
half a day to shoot.
The fact that no matter how close they got,
even when they were getting married,
she still called him Mr. Bates.
And it- it became...
It was- it- She was such a trooper,
and I think it was...
it came out of the writing.
(Justice of Peace): It therefore gives me
great pleasure to say,
"You are now husband and wife together."
(Julian Fellowes): We set the tone
actually with that romance.
We set the tone of a lot of Downton romancing.
Uh, that- that they were very passionate,
very strong feelings, but everything kept under wraps.
And- and we really went on with that all- all through it.
** MUSIC *
(Hugh Bonneville): The impromptu wedding of
Mr. and Mrs. Bates was really just the beginning
of their love story.
They seemed to face difficulties at every turn -
misunderstandings, miscarriages of justice,
vengeful first wives, prison mates
with murderous intentions...
I could say the chaos for both characters
continued "un-a-bated"...
but don't worry, I won't.
(Julian Fellowes): I say you have to have
a few problems.
You don't normally have as many as they've had,
but I think we got away with it, uh,
because they were so good.
(as John Bates): I love you.
(as Anna): And I love you,
for richer or for poorer, for better for worse.
(as police): Come along, sir.
(Gareth Neame): Like Edith, they are another
group of characters who are, you know,
plagued by bad luck and difficulties.
But unlike Edith, what they have got is
this extraordinary relationship of the heart,
this incredible bond.
They're the couple that all of us know
somewhere in our lives, that have that
amazing partnership.
And it's the only way that they can
deal with all of the hurdles
that are put in front of them
is- is the strength of their personality.
(Hugh Bonneville): At the close of
Downton Abbey's final season, after all of their struggles
and uncertainties, we found Anna and Bates together
at last... and as a family of three!
For many millions of viewers, it was one of the most
satisfying conclusions tony of the stories
of Downton Abbey.
(as Lady Cora): Is this the new arrival?
(as John Bates): It is, my Lady.
I am a father and I have a son.
** MUSIC *
(as Anna): We have a son, John.
[BABY NOISES]
(as Lord Grantham): Congratulations to you both.
(Hugh Bonneville): Love permeated every brick
and every blade of grass at Downton.
And it wasn't just for the younger members
of the household.
The matriarch of the family, the Dowager Countess
of Grantham herself - the incomparable
Dame Maggie Smith - or 'mummy' as I
sometimes called her in unguarded moments -
also found herself the target of cupid's arrow.
(as Dowager): Who was that at the door?
(Denker): A- a gentleman called
Prince Kuragin, my Lady.
(Gareth Neame): It's just such a dicious
storyline, so well delivered.
To, to Julian Fellowes' credit,
he is writing about romance for old people.
(Prince Kuragin): I wish to spend
my final years with you.
(Julian Fellowes): I like older characters
to have emotional lives, you know.
Um, sometimes in Hollywood, y- you know, you feel
it's illegal for a woman over 32 to consider
herself a sexual entity and I don't believe that.
(as Lord Merton): I state freely and proudly,
Isobel, that I've fallen in love with you and
I want to spend what remains of my life in your company.
I believe I could make you happy.
At any rate, I ... I should very much
like the chance to try.
(Julian Fellowes): I- I think we all
want love in our lives, and if we have none, we're, you know,
on the whole up for it.
(Hugh Bonneville): It is said that
a successful marriage requires falling in love many times...
always with the same person.
In my case, as Robert Crawley, it meant falling in love
with Elizabeth McGovern six seasons in a row
- a tough job but someone had to do it.
It soon became clear to us that the warmth,
patience, and acceptance of the other's shortcomings
that characterizes a long-standing romance
was at the core of Robert and Cora's
relationship and at the heart of Downton Abbey.
(Julian Fellowes): I think it was important
that the central marriage, Robert and Cora's marriage,
should be a good marriage.
I think it's a warm show, it's a- a warm look
at that world.
(Gareth Neame): This is the one that
occupies every single episode.
(Julian Fellowes): Everywhere.
(Gareth Neame): And I think you're quite right,
and if that had been...
had any sort of different color to it, I think that color
would've, uh, bled into the whole rest.
(Liz Trubridge); Filtered down into the rest.
(as Robert): You are a woman of real
substance and I am lucky enough to call you my wife
(as Cora): So I don't have to give it up?
(as Robert): (laughs) You wouldn't have anyway.
(as Cora): (laughs) Probably not.
(Julian Fellowes): I like the idea that
in order to save Downton and keep the show on the road,
and subsequently fell in love with her.
Because it put a slight guilt almost
into the relationship on his part.
(as Cora): How terrible for you.
(as Robert): It's not so good for you.
(as Cora): (laughs)
Don't worry about me, I'm an American.
Have gun, will travel.
(as Robert): Oh, thank God for you...
(Elizabeth McGovern): She's very good for Robert
because ... she is the one that eases him into
a changing world after the-
the first World War and helps him to
psychologically adapt.
(Gareth Neame): Well, I think you can look
at Robert and Cora's marriage probably and-
and see in it, uh, many many marriages and see the experience
of a lot of people in the audience.
Of actually how difficult it is to maintain
a marriage and how there are constantly these
challenges and compromises and this real need to
have a sort of deep understanding of each other.
(Hugh Bonneville): Despite that deep understanding,
any marriage can run aground if it drifts
into uncharted waters.
One of my favorite stories from the fifth season
is when a certain Mr. Bricker appears over the horizon.
A storm is brewing for Robert and Cora
- and for the rest of us.
(Julian Fellowes): Cora, although, of course
she never at any point has any intention of
becoming Bricker's mistress,
she is aware of the fact that he's flirting with her
and he fancies her and she enjoys it.
(as Bricker): I've seen you with your family.
Ignored and passed over.
(as Cora): None of this is any reason-
(as Robert): I'm glad you're still awake...
(Julian Fellowes): Robert, he certainly thinks,
"Now hang on a minute, I really mind this."
And Bricker takes one step too far
and gets a punch on the nose.
(as Bricker): You can't be surprised.
When you chose to ignore a woman like Cora,
you must have known not every man would be as blind as you.
[GRUNTING]
(as Cora): Stop it!
(Hugh Bonneville): Nothing for it but for
Robert to save his honor and his marriage
with a good right hook.
Well, more of a right wallop, really.
Among the older generation at Downton,
Robert and Cora's romance was by and large
affectionate and very much present for all to see.
What a contrast to the almost imperceptible,
slow-burning relationship that developed
between two other veteran members of the household...
let's head downstairs and join...
Mr. Carson and Mrs. Hughes.
(Julian Fellowes): Carson is really
the most establishment man in the house,
including the family.
He, he believes in the system more than anyone,
more than Robert does.
(as Mrs. Hughes): You mustn't take it personally.
(as Carson): Well, I do
take it personally, Mrs. Hughes.
Can't stand by and watch our family threatened
with the loss of all they hold dear.
(as Mrs. Hughes): They are not our family.
(as Carson): Well, they're all
the family I've got.
(Julian Fellowes): Mrs. Hughes is wise,
and kind woman but who is unfettered
by the class imprisonment.
She um, is not a revolutionary,
she's not abusive or rude to, the people she wo-
she quite likes them really.
She doesn't worship them and
she doesn't worship the system.
And so there is a real contrast and
together Jim and Phyllis have created this duo.
(Jim Carter): Mrs. Hughes is about the
only person that Carson can reveal any of his inner self to.
(as Carson): Do you find me very ridiculous,
Mrs. Hughes?
Putting on airs and graces I've no right to?
(as Mrs. Hughes): What's brought this on?
(as Carson): (sighs) Nothing ...
except at times I wonder if I'm just a sad old fool.
(as Mrs. Hughes): Mr. Carson, you are a man of
integrity and honor who raises the tone
of this household by being part of it.
(Phyllis Logan): We wouldn't talk like this
in front of the rest of the downstairs staff,
but we can together, so um, we l- we like
having those scenes.
And yes, it is nice when he's being a bit
of a stuffed shirt and she sort of sticks a pin
in him a bit you know, and deflates him slightly.
(as Carson): Human nature is a
funny business, isn't it?
(as Mrs. Hughes): Oh, why don't the poets
come to you, Mr. Carson?
They'd have saved themselves a lot of time and trouble.
(Phyllis Logan): I mean, she thinks he's
a bit of an old fuddy-duddy and could loosen his braces
a bit, you know, but they- they feel very warm
towards each other.
(as Carson): Don't tell me you'll miss me?
(as Mrs. Hughes): I will, Mr. Carson, very much.
And it costs me nothing to say it.
(as Carson): Thank you.
That means a lot to me.
(Julian Fellowes): When uh, an audience has
followed you for six years you have a sort of responsibility
to give them the ending they want
for most of the characters.
With Carson and Mrs. Hughes,
they just, through those scenes sitting in
her sitting room, sitting in his pantry-
(Gareth Neame): There was no plan for us to
have those two marry. (Julian Fellowes): No.
(Liz Trubridge): No, none at all.
(Gareth Neame): No, it's entirely as you say,
response to- to those actors.
(Gareth Neame): But I know the
three of us didn't talk about
the inevitability of that marriage...
Until, I wo- possibly even season four.
(Hugh Bonneville): Mr. Carson and Lord Grantham
aren't all that different, really.
They both keep their emotions -
like their collars - well starched and tightly buttoned.
That's what makes the tiptoeing, sweetly awkward
romance between Charlie Carson and Elsie Hughes
so utterly beguiling.
(Jim Carter): If he does move,
he moves slowly, you know, the speed of a glacier, really.
And- and prompted by Mrs. Hughes,
uh, it's the longest-burning slowest romance
in the history of television, I think,
Carson and Mrs. Hughes.
(Samantha Bond): It has been brilliant,
the sort of- the drawn-out nature of,
"Will they? Won't they? Can they? Can't they?"
(as Mrs. Hughes): I'm not convinced
I can be hearing this right.
(as Carson): You are, if you think
I am asking you to marry me.
(Phyllis Logan): It was beautifully written.
It was great fun because I've ... Jim and I
got on very well and um, it was just a nice scene
to play together.
(as Mrs. Hughes): Well then.
** MUSIC *
(as Carson): What exactly
are we celebrating?
** MUSIC *
(as Mrs. Hughes): We're celebrating the fact
that I can still get a proposal at my age.
(as Carson): And that's it?
** MUSIC *
(as Mrs. Hughes): Of course I'll marry you,
you old booby. I thought you'd never ask.
** MUSIC *
(Julian Fellowes): We did give, um, Carson
and Mrs. Hughes a bigger wedding than Anna and Bates,
which was not very hard to do.
(as Mrs. Hughes): According to God's
holy ordinance, I...
** MUSIC *
(Liz Trubridge): I also love the fact
that their reception, we- Mrs. Hughes's wish prevailed.
(Gareth Neame): Yes.
I mean that was of itself, as a whole,
you know, the planning of the thing.
Is it going to involve the family,
isn't it going to ... Is it gonna be out-
Uh, you know, it- it was ... You know, her wish
to make it her own personal...
(Liz Trubridge): Yeah. (Gareth Neame): affair was-
was- was nice. And all of their,
in the usual way, all of their different perspectives
on this were true, and not- they were- of course
Carson wants it to be with the place that defines him.
(Liz Trubridge): Yes.
(Gareth Neame): And she does not.
(Liz Trubridge): Well, you said- you-
you have her say to him, "For the rest of my life,
I'm going to be (laughs) going... your will,
so on this day, we're going to do it...
it's my wedding day."
And I th- I felt that was right. And it was lovely.
(as Carson): To my wonderful bride.
(as Lord Grantham): The bride and groom.
(Guests): To the bride and groom!
(Hugh Bonneville): We're not quite done
with matrimony at Downton Abbey.
When we come back, we'll see even more
of the romance that I think made this series
so special... but we'll also see
someone left standing at the altar.
I wonder if you can remember who that was?
Prepare yourself for a shock when we return
to "The Weddings of Downton Abbey."
>> HI, I'M JAMES
>> HI, I'M JAMES STEINBACH, A
VOLUNTEER HERE AT WISCONSIN
PUBLIC TELEVISION.
AND WHAT DID YOU DO ON SUNDAY
NIGHTS, YOU WATCHED "DOWNTON
ABBEY," SO GREAT TO HAVE THE
WEDDINGS, IT RACES YOU THROUGH
THE GREAT MEMORIES AND SUCH A
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>> I'M MICHAEL BRIDGEMAN, A
VOLUNTEER NOW, WE USED TO BE ON
THE STAFF.
STILL DO OCCASIONAL VOLUNTEER
THINGS BECAUSE I LOVE THE
STATION AND ONE OF THE THINGS I
LOVE ABOUT THE STATION IS THAT
IT IS MEMBER SUPPORTED, AND THIS
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WE WOULD LOVE TO SEND YOU THE
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WE HAVE THE COMPLETE LIMITED
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CREATOR'S FAVORITE CUTS, AND
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>> MICHAEL HAS BEEN TALKING
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THAT IS PART OF OUR SUSTAINER
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LET ME JUST REMIND YOU THAT IF
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>> WE HAVE FIVE CALLS, ON THE
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YOUR GIFT IS SEVERAL THINGS,
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I WANT TO SAY, MICHAEL SAID HE
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LITTLE MODEST, HE'S ALSO THE
HOST OF THIS WONDERFUL SHOW "THE
REMARKABLE HOMES OF WISCONSIN"
THAT YOU SAW IN THE PAST, AND
COMING UP, A PROGRAM ON THE
CAPITOL.
AND MICHAEL WILL BE WALKING --
HE KNOWS EVERYTHING ABOUT
HISTORY.
YOU KNOW, THAT'S THE DEAL.
HE'S NOT THAT OLD THAT HE WOULD
THINK HE WOULDN'T DO IT, BUT HE
DOES.
SO, YOU CAN'T SEE HIS FACE NOW
BUT I CAN, I CAN TELL YOU WILL
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SO CALL US AT 800-236-3636.
WE ARE AT SIX CALLS, ON THE WAY
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>> I DON'T KNOW EVERYTHING ABOUT
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>> YOU HAVE TO LOVE IT WHEN
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CALL US AT 800-236-3636.
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TRULY, IT IS MEMBER DOLLARS THAT
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HEAR FROM 35 FOLKS, JAMES, WE
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AT 800-236-3636.
>> SO, WE ARE AT 31, AND MY MATH
SAYS THAT'S VERY CLOSE TO 35, SO
YOU CAN GET US THERE.
800-236-3636.
I WANT TO TALK FOR JUST A MINUTE
ABOUT THE LEADERSHIP CIRCLE,
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AND IT STARTS WITH US.
LEADERSHIP LEVEL OR WHATEVER
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>> AND IF YOU CALL ONCE AGAIN,
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MONTH, THE COMMITTEE SERIES ON
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SER I ALL SIX SEASONS.
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>> WONDERFUL THANK YOU GIFTS, A
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YOU JUST CAN'T GET ENOUGH OF
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IMAGINE IF IT HAD NEVER CROSSED
THE POND AND GOT HERE, THE FOLKS
SAID YES, IT MUST GET HERE, AND
THEY WERE ABLE TO DO THAT.
SO, YOU REALLY DO MAKE A IT MUST GETHERE
THEY WERE ABLE TO DOTHAT.
SO, YOU REALLY DO MAKE A
** MUSIC *
(Hugh Bonneville): We're back, with
"The Weddings of Downton Abbey."
Hello, I'm Hugh Bonneville.
The love stories of Downton were timeless
and beautifully written.
Audiences became totally enthralled,
rooting for each couple,yearning fo
Perhaps that's why Matthew's death
was such a devastating blow for Downton fans
all over the world.
How could any of us imagine Mary finding love ever again?
(Gareth Neame): We had this of sense
of honoring Matthew's memory, didn't we?
(Liz Trubridge): Mm-hmm. (Julian Fellowes): Yeah.
(Gareth Neame): As if you know, as if he were,
you know, just didn't feel... and then we thought
it-it wouldn't feel right,
we didn't think the audience
would like her to move on that quickly.
A sense of her...
that lovely first episode where she-
where she's essentially sort of dead
at the beginning and- and reborn by the end.
So, she has ... people wanted a sense that
she was getting on with her life but not that she was gonna sort
of leap straight back in the saddle.
And that and it was interesting how
with that original plan,
sort of we've realized that this was a two-year
story, not a, not- not a, not a one-year story.
(as Mary): It means that
I know that I've spent too long in the land of the dead.
(as Carson): We were very fond
of Mr. Crawley, you know, my Lady.
All of us.
(Hugh Bonneville): Mary does move on eventually,
although Matthew's memory casts a long shadow
over the choices she makes.
She finds herself pursued by suitors,
notably Tony Gillingham, who convinces her,
and if you are of an infirm disposition
please cover your ears now,
to join him for a secret tryst...
in a hotel...
in Liverpool.
(Michelle Dockery): I think the main thing
with Mary is the decision she comes to with Gillingham
and going away to Liverpool for that weekend.
That represents the social change for her character
more than anything really.
Because of course, why shouldn't she make that choice
through that weekend together that they have?
At the time, that was something that was
incredibly bold to do for a woman.
(as Lady Mary): I must be sure I'm right
to want this man, as my friend, as my lover,
as my husband.
(Julian Fellowes): The twenties was a time,
when that was being challenged,
and you had people like Marie Stopes who
were treated by some members of the establishment
as if she'd been a sort of pornographer.
(Michelle Dockery): I was shocked
when I read it, um that that kind material was being read
by women at the time.
(Alastair Bruce): While Marie Stopes'
book was so refreshing, you know this stuff
had never been spoken about.
You were jolly lucky if your father told you
as a daughter, uh what was going to happen
on your wedding night and for an enormous
number of women who were incredibly na�ve,
when the husband climbed upon them
and things happened, they had no idea.
(Joanne Froggatt): Lots of women,
wouldn't have really known what they were doing, you know.
It's a time where sex wasn't spoken about,
you know, not in polite conversation (laughs).
(Michelle Dockery): She's a very intelligent woman
and she wants to know what to expect, so why shouldn't she
research it? (laughs)
Do you know what I mean?
(Julian Fellowes): A second marriage,
is quite difficult in that you have
a much clearer idea of what you're getting into.
(Gareth Neame): And I thought you were
spot-on with the whole way that she thinks:
"Yes, I'll try it out with Tony Gillingham."
(Julian Fellowes): Yeah.
(Gareth Neame): And that felt very real.
(Liz Trubridge): I absolutely loved that.
The idea that you would go: "Well okay,
I'm going to go away with him for a week,
I'm going to sleep with him,
it's an important part of our arrangement."
And she thought she was in love with him
and then realized: "Oh Lord, I don't want this."
(as Tony): I love you and you love me.
Well at least you told me so when we were in Liverpool.
(as Mary): I know,
and I thought I meant it.
(as Tony): Well, what's changed?
(as Mary): I can't explain exactly,
but something has, that's all.
(Julian Fellowes): We needed an
unsuccessful romance.
We needed a proposal that was refused.
We, you know, um... because that's life.
(as Mary): You were just
what I needed when I needed it.
I hope you know that.
(as Tony): Well I know a lot of things,
and one of them is not to mess with Lady Mary Crawley.
(Liz Trubridge): But I also loved
that it gave the opportunity for Mary...
even once she decided she didn't want him,
and he was going off with somebody else,
she then can't quite let him go, it's that thing of now:
"Oh wait a minute, I don't want anybody else,
maybe I do want you."
And I think that's very real, it's very human.
(Julian Fellowes): Very Mary.
(Liz Trubridge): Very Mary, but very human.
(Gareth Neame): For us to get Mary
back in the saddle, I think the fact that we teased
the audience through season 4, season 5:
"Where is she going to land?",
and then in 6 it's really delivered.
I think of all- all of the stories
that we had to wrap-up, I think she had to be number one.
I like the way that with- with Talbot, it's when,
it's the old thing of when she's not looking,
she finds the one that really is the one.
So I think that- that to me felt quite real.
(as Mary): I'm not twenty,
trembling at the touch of your hand, but I know that
if I leave you now, I'll never be as happy
as we could've been together.
(as Talbot): I'm not twenty either,
but I still tremble at the touch of your hands.
(as Mary): Me too,
I don't why I said that really.
(Julian Fellowes): Matthew has that kind of,
insouciance, you know, he just doesn't care.
(as Talbot): Well, I'd say she's concerned
about what happens next.
(Julian Fellowes): One of the things about
a lot of actors, is they care too much
and so they pose, whereas he just sort of
does his, kind of reckless, which seemed dead right
for the character, well it was dead right for the character.
(as Mary): Why are you interfering anyway?
(as Branson): Because I love you
and I want you to be happy.
(as Mary): Well you've got
a bloody odd way of showing it.
(as Talbot): Well, I take it this is me
you're fighting about.
(Liz Trubridge): Do you know what stands out
most for me, was actually more than the wedding itself,
was the scene where she actually made-
made her peace about remarrying with Dan.
That very poignant moment by that grave, I think that
was really beautiful.
(as Mary): Remember, however much I love him,
I will always love you.
** MUSIC *
(Liz Trubridge): The wedding itself
was a great contrast.
(Hugh Bonneville): A contrast indeed!
After what might be described as a tortured path,
lady Mary's marriage to Henry Talbot filled the hearts
of every Downton character with joy.
And when we filmed the scene, it was an idyllic day...
a gorgeous setting and the perfect wedding
for everyone at Downton Abbey.
(Director): There's something about
a day'filming like today, that gives- gives you
a clues to why people like Downton Abbey in general.
Because if you're going to have a wedding,
a traditional wedding, there simply is no better place
to have it than an English country church like this.
And there's better period to have it,
than this one for the- for the sake of
the costume and the dresses and luckily today,
there's no better weather.
(Laura Carmichae: Peek-a-boo!
(Michelle Dockery): We had the best
day in Bampton.
Hi! There was a real sense fun to it.
And I think that comes across in the wedding episode.
(Director): So you're running off
to your honeymoon, and you're definitely, definitely,
definitely gonna have sex tonight.
(Matthew Goode): I knew it!
(Director): That's essentially what
I want the shot to say.
(Matthew Goode): It just wasn't written so...
(Michelle Dockery): Don't use that.
Cut that.
(Matthew Goode): Definitely having sex.
Yes! (laughs)
** MUSIC * [CHEERING]
(Michelle Dockery): In the end she is happy,
not just because she's with Henry but,
I guess she's made some kind of peace with herself.
** MUSIC *
It's actually just love for herself and in the words
of Whitney Houston:
"The greatest love of all." (laughs)
(Hugh Bonneville): In the very centre
of Bampton, Oxfordshire, the church of St. Mary's was
transformed into St. Michael's as it was
for all of Downton Abbey's major set pieces.
Every detail was meticulously planned, especially when
it came to the weddings.
The church notices were printed in period fonts
and the flowers - carefully selected to match
the favorite blooms of the time.
(Florist): These are alliums
and these are longey lilies.
And asparagus fern.
It's very important to have correct foliage
of the period, like this pittosporum here.
This is all the sort of stuff that would be grown
in the great gardens you see and be picked
by the, the gardeners for a wedding like this.
(Hugh Bonneville): Though the church saw no fewer
than four Downton Abbey weddings, it may be the
one that didn't happen that left the deepest impression.
(as Anthony): Good afternoon Carson,
is Lady Edith in?
(as Lady Edith): I am.
I most certainly am.
(as Anthony): I was just driving past-
(as Lady Edith): Yes.
(as Anthony): And I thought you
might like to come for a spin.
(Robert Bathurst): He was a widow,
um I think a baronet, um land owner,
uh lonely, (laughs) uh, older.
(Laura Carmichael): Sir Anthony was a sort of,
a suitor for Edith that would've
been a very simple match.
He had a kind of place in society,
and she would have been the Lady of the manor
and it would've been all of the things that she'd expected.
(Robert Bathurst): What was rather enjoyable
was that he, he didn't make the running,
you know, it was Edith.
(as Lady Edith): What are you doing here?
(as Anthony): I'm meeting a train,
but I'm too early.
(as Lady Edith): Oh.
(as Anthony): Oh, I mustn't hold you off.
(as Lady Edith): Well, I'm not doing anything.
(as Anthony): Oh.
(Robert Bathurst): And so, so the sweetness
of that relationship ... and I think it was a sweet
relationship, um, uh, started from her.
(as Lord Grantham): Edith, let Sir Anthony go.
** MUSIC *
(Hugh Bonneville): Like any father,
Robert was always protective of his daughters.
And in an effort to spare Edith from an ill-advised choice
of husband, Robert did try to convince Sir Anthony
to step aside.
But cupid's arrow had been fired and
the wedding was to take place...
Wasn't it?
** MUSIC *
(Robert Bathurst): A lot of people
are nervous at the altar rail.
A lot of people on their wedding day
are thinking: "Have I done the right thing?"
But he saw her, you know he saw her coming up.
(as Lady Edith): Good afternoon.
(as Anthony): Good afternoon, my sweet one.
(Robert Bathurst): And he just thought:
"Well I'm not worthy of it, I'm- What am I,
what am I doing to her?"
(as Priest): Dearly beloved, we are gathered-
(as Anthony): I can't do this.
(as Lord Grantham): What!
(as Anthony): I can't do it.
You know it's wrong.
You told me so yourself several times.
(as Lord Grantham): My dear chap-
(as Anthony): No, I never should
have let it get this far.
(Robert Bathurst): In fact, when we were
filming it, we did a rehearsal where I had to walk
down the aisle ... suddenly Jim Carter started it,
all the servants went: "Boo!" (laughs)
(Julian Fellowes): There are lucky people
and there are unlucky people.
There is um, a modern illusion, that if you
are born privileged or born rich or whatever it is,
that you're on kind of "glissando" and
everything's going to be fine from then on.
As if that's all there is, but of course
this is absolute nonsense, and I felt it
was quite interesting to make one of the daughters of the
house be the unlucky one- as opposed to
the kind of kitchen maid or something.
You have that sort of audience awareness,
that they're feeling sorry for someone who in life,
it wouldn't occur to them to feel sorry for.
(as Daisy): I never thought I'd
feel sorry for an Earl's daughter.
(as Anna): All God's creatures
have their troubles.
(Laura Carmichael): As much as we sympathize
with Edith, I think it's- it's really interesting
to watch her suffer (laughs) in some ways.
** MUSIC *
(Robert Bathurst): I still get it, years later
people um, (laughs) "How could you?"
and all that.
(Hugh Bonneville): While being abandoned
at the altar is the ultimate humiliation for her,
like the phoenix rising, it also marks the
turning point in Edith's life.
(Julian Fellowes): But it's from then, that
she has an affair,
gets involved in publishing,
starts having a London life-
(Liz Trubridge): Has a baby.
(Julian Fellowes): And a baby,
but the war changes her.
(Gareth Neame): It changes her into
a modern woman- (Julian Fellowes): Yes.
(Gareth Neame): With that London
career and everything.
(Julian Fellowes): Edith became that woman
for our audience, which I think was right
and then of course all those adventures.
Even though there were good bits in them,
but I mean nevertheless, quite tough adventures.
(as Mary): Well you must have told him?
You couldn't accept him without telling him?
(as Bertie): Tell me what?
(as Mary): About Marigold.
Who she really is.
** MUSIC *
(as Lady Edith): Marigold is my daughter.
(Gareth Neame): The break-up scene
that they then have out in the garden,
is a brilliant scene.
(Liz Trubridge): It's unbearable.
(Gareth Neame): Because they...
but she understands his reasons, he says:
"You do understand why I've had to do this."
"Yes I do." And yet there still is...
I was detecting that scene, something that is actually
rather positive 'cause you kind of know
this isn't the end of it.
(Liz Trubridge): Yes you do.
(Gareth Neame): Although this is just happened,
it's actually galvanizing their love even more,
so I- I always found it a very uplifting scene actually.
(Liz Trubridge): Mm.
(as Lady Edith): The truth is,
my life was about to perfectly wonderful and...
now I've thrown it all away.
** MUSIC *
(Julian Fellowes): When I think Bertie
is a marvelous character in it, because he is decent and he is
traditional but he is not stupid.
(as Lady Edith): Oh, I think you'll
make a very good job of it.
You couldn't ask for a man with a sounder
moral conscience.
(as Bertie): The conscience maybe,
but what about the courage?
(Juilian Fellowes): I think the wedding was
certainly planned as the ultimate Christmas gift.
(Hugh Bonneville): What better Christmas present
indeed for the last program in the series,
than one final, perfect Downton Abbey celebration?
For Edith, and for all the fans of the show
who had waited so long to see her happy,
the bells of St. Michael's at last ring out with joy,
to mark the wedding of Lady Edith Crawley.
** MUSIC *
(Michael Cochrane): Today I'm marrying
Edith and Herbert, i.e. Bertie.
Now I did try and marry Edith some time ago,
but unfortunately the husband pissed off.
(Laura Carmichael): I love playing
the wedding scene.
It did feel like a very momentous day.
(Dress Assistant): It's just come together so well.
Difficult to articulate when I'm sewing
with a beading needle through hundred year-old,
very, very expensive lace.
** MUSIC *
(Matt Barber): It's nice that it's
all wrapping up happily and everyone's getting
what they deserve, in their best possible way.
** MUSIC *
(Peter Egan): You see uh, someone walking up
the aisle looking beautiful with their dad and it- it always
brings a tear to your eyes, doesn't it?
(Harry Paton): She's walking down the aisle,
holding Hugh, who's sort of being her dad for six years.
And seeing Jim Carter and everyone with real tears
in their eyes.
Just so thrilled for Edith and for Laura
that she's got this lovely happy ending.
(as Priest): Dearly beloved,
we are gathered together here, in the sight of God,
and in the face of this congregation...
(Laura Carmichael): Harry and I were giggling,
we thought it was so funny, but everyone had this
energy of excitement like it was a real wedding.
Crew members and uh, other cast members
keep saying to me, to Laura:
"You must be delighted, you must be so happy that
she gets to be so happy."
** MUSIC *
(Hugh Bonneville): Can I just say,
can I just say, this is the fourth wedding that
Lord Grantham has had to pay for so no wonder
the estate's falling apart.
Let's just hope that this one lasts.
(as Shrimpie): Edith and Bertie,
bride and groom.
(guests): Bride and groom.
** MUSIC *
(Hugh Bonneville): I'm reminded of something
Katharine Hepburn said: "Love has nothing to do
with what you are expecting to get;
only with what you are expecting to give,
which is everything."
And after six eventful and emotional seasons
of Downton Abbey, it was clear
that the producers of this show truly loved these characters
and that they also loved their fans.
For, in the end, they gave us everything!
(Julian Fellowes): The last episode is written
for the fans who have supported you all along the road.
If anyone new chooses to watch it I'm delighted
but I was writing for our supporters at the very end.
I wanted a real warm glow and everyone sitting there
with two bottles of Koridor and crying.
And that was my, that was my conscious plan,
which I think we brought off really...
(Group): [Singing]... a cup of kindness
yet, for Auld Lang Syne.
** MUSIC *
(Hugh Bonneville): It's been a great pleasure
for me to re-live the romances and the
weddings of Downton Abbey.
Thank you for joining me on this trip
down memory lane.
And on behalf of everyone for whom Downton Abbey
was our world for six incredible, happy seasons,
thank you too for welcoming our story
into your homes and your hearts.
>> HI, I'M JAMES STEINBACH, A
VOLUNTEER HERE AT WISCONSIN
PUBLIC TELEVISION.
I HOPE YOU HAVE ENJOYED THIS
PROGRAM, "THE WEDDINGS OF
DOWNTON ABBEY," GIVE A LOT OF
INSIGHT INTO THE CHARACTERS AS
THEY WENT ALONG.
THIS IS A PROGRAM, CLEARLY,
ENORMOUSLY POPULAR ON PBS, AND
WHEN THAT STARTED, THAT WAS NOT
CLEAR.
IT WAS NOT LIKE OH, YES, THIS IS
GOING TO BE A BIG HIT -- WE
THOUGHT MAYBE AFTER SEASON
THREE, SEASON FOUR, AND THEN
GREAT, AND SEASON SIX AND WE ARE
DONE.
BUT YOU KNOW, IF YOU ARE GOING
TO DO SOMETHING LIKE THSHGS YOU
DO WANT TO MAKE SURE YOU MAKE IT
GREAT ALL THE WAY THROUGH AND I
SUPPOSE IN ANY OF THESE THINGS
THERE COMES A TIME YOU THINK WE
HAVE DONE THE BEST WE CAN DO,
DONE EVERYTHING WE CAN DO WITH
THIS, AND WE ARE GOING TO LEAVE
IT AND LEAVE THE QUALITY AND THE
BRILLIANCE OF THIS IN PEOPLE'S
MEMORIES AND MINDS, AND WE ARE
DONE, SO WE FINISHED IT.
AND HE CAN ENJOY THE LOOK BACK
LIKE "THE WEDDINGS" PROGRAM WE
ARE WATCHING.
SO, CALL US AT 800-236-3636.
>> AND WHEN YOU CALL, YOU CAN
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IF YOU PLEDGE $12 ONGOING
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>> A LOT OF WONDERFUL MEMORIES
THIS EVENING AS WE HAVE BEEN
WATCHING "WEDDINGS OF DOWNTON
ABBEY," AND SOME TERRIFIC THANK
YOU GIFTS, WANTING TO EXTEND TO
THANK YOU FOR GIVING US A CALL
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GIVE US A CALL AT 800-236-3636.
>> SO WHEN YOU THINK ABOUT
WISCONSIN PUBLIC TELEVISION, I
THINK ONE OF THE WORST THAT
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OR "HERE AND NOW," OR WISCONSIN
LIFE.
THE THING THAT ALL THESE
PROGRAMS HAVE IN COMMON, AS
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IT'S TERRIFIC.
AND THINK ABOUT WHAT IT MEANS TO
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WHATEVER YOU VALUE, CALL US AT
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>> "DOWNTON ABBEY" WAS A
REMARKABLE SERIES, BUT NOT THE
ONLY THING WE HAVE SEEN OVER THE
YEARS.
SOMETHING YOU MAY WANT TO SHARE
EITHER IN YOUR OWN HOUSEHOLD,
WITH YOUR FRIENDS OR WHATEVER,
AND IF YOU WANT TO DO THAT,
PLEDGING AT ONE OF OUR SPECIAL
LEVELS OF MEMBERSHIP IS A WAY TO
GET THE PROGRAMS, ONGOING
MONTHLY, AND HAPPY TO SEND YOU
THE COMPLETE COLLECTION ON DVD
OR BLU-RAY.
IF YOU WOULD LIKE TO PLEDGE $25
A MONTH, THE COLLECTOR SET, AND
BONUS AND VIDEO MATERIAL, AND
ADDITIONAL SET OF THREE DISCS
CALLED "DOWNTON ABBEY THE
WEDDINGS."
A TOTAL OF 25 DISCS IF YOU GET
THE $25 PER MONTH MESSAGE.
A WAY OF SAYING THANK YOU.
AND YOU CAN ENJOY IT FOR A LONG
TIME TO COME.
YOU CAN DO IT BY CALLING
800-236-3636.
>> YOU KNOW, ONE OF THE AMAZING
THINGS ABOUT THE "DOWNTON ABBEY"
SERIES WAS THE SIZE AND
DIVERSITY OF THE AUDIENCE, TOO.
IT WAS SORT OF A
MULTI-GENERATIONAL PROGRAM, TOO.
I KNOW THAT MY HOUSEHOLD, WE
ACTUALLY HAD OUR NEIGHBORS, YOU
KNOW, WE GOT TOGETHER AS
NEIGHBORS AND WATCHED THAT, BUT
INCLUDED ALL THREE GENERATIONS
OF PEOPLE AND MY KIDS WERE
INTERESTED IN IT AS WELL AS
TEENAGERS, AND THEN AS I HAVE
GONE AROUND THE STATE AND TALKED
TO OUR MANY MEMBERS OF THE
STATION, HERE, TOO, I HAVE
STRUCK BY THE RANGE OF FOLKS
THAT ENJOYED IT, AND I SAY
RANGE, OLDER MAN, YOUNGER WOMEN,
YOUNGER MEN, OLDER WOMEN, IT
SEEMED TO SPAN A LOT.
AND BECAUSE OF THE GREAT
WRITING, WONDERFUL PRODUCTION
VALUES, SPARKED A REAL
CURIOSITY, WHETHER YOU WERE
INTERESTED IN FASHION OR
HISTORY, OR HOW PEOPLE ARE HUMAN
INTERACTION, A LOT OF GREAT
ELEMENTS THAT CAME TOGETHER, AND
THAT WAS THANKS TO PUBLIC
SUPPORT AND MEMBERSHIP SUPPORT.
AND ANOTHER CRITICAL THING TO
THE SUCCESS OF PUBLIC TELEVISION
ARE THE VOLUNTEERS.
I WANT TO TAKE A QUICK THANKS TO
OUR VOLUNTEERS HERE ON THE PHONE
BANK TONIGHT, THEY ARE FROM AT&T
PIONEERS, AND WE APPRECIATE THEM
VOLUNTEERING THEIR TIME HERE TO
ANSWER YOUR CALLS 800-236-3636.
>> IF YOU ARE A REGULAR VIEWER
OF WISCONSIN PUBLIC TELEVISION,
OR LISTEN TO WISCONSIN PUBLIC
RADIO, YOU KNOW THAT THIS IS THE
100th ANNIVERSARY OF
BROADCASTING, IT'S A REAL
LEGACY, AND I THINK IT RAISES
THE QUESTION THAT YOU COULD
THINK ABOUT, WHETHER YOU WANT TO
CONTINUE THE LEGACY BY INCLUDING
WISCONSIN PUBLIC TELEVISION IN
YOUR ESTATE PLANS, BY JOINING
OUR HERITAGE SOCIETY.
IF THAT'S SOMETHING THAT
INTERESTS YOU, SOMETHING YOU
WOULD LIKE TO LOOK AT, GO ONLINE
TO WPT.ORG AND CHECK IT OUT.
YOU CAN ALSO CALL US AND WE'LL
HAVE SOMEBODY CALL YOU BACK WITH
INFORMATION ABOUT THAT, BUT TAKE
A MOMENT AND THINK IF IT'S A
POINT IN YOUR LIFE, HOW CAN I
CONTINUE TO MAKE A DIFFERENCE,
WHAT CAN I INVEST IN THAT WILL
PAY A BACK TO MY FAMILY, MY
NEIGHBOR, MY STATE.
FIRST 100 YEARS, NOW GOING ON
THE SECOND HUNDRED YEARS.
CALL US AT 800-236-3636.
>> MATTHEW GOING OFF TO WAR, MR.
BATES GOING ON TRIAL, POOR
LONG-SUFFERING EDITH, AND MANY
THINGS WERE INTERESTING,
WONDERFUL, SAD, HAPPY, ETC.,
MAKES IT SO MUCH FUN TO WATCH.
IF YOU HAVE ENJOYED THE FULL
SERIES, YOU CAN HAVE THE FULL
SERIES IF YOU PLEDGE $12 ONGOING
MONTHLY TO WISCONSIN PUBLIC
TELEVISION.
WE WOULD LOVE TO SEND YOU THE
COMPLETE COLLECTION, THAT'S ALL
SIX SEASONS, ALL 52 CAN BE AT
THIS LEVEL OF MEMBERSHIP, DVD OR
BLU-RAY, $12 MONTHLY.
OR $25 A MONTH, THE LIMITED
EDITION COLLECTOR SET, THE
COMPLETE SERIES, AS WELL AS SOME
ADDITIONAL VIDEO ON FOUR BONUS
DISCS IN THE BOX, AND YET
ANOTHER SET OF DVDs, AND THIS IS
"DOWNTON ABBEY THE WEDDINGS."
WONDERFUL MATERIAL ON THEM,
INCLUDING THE PROGRAM WE HAVE
BEEN WATCHING TONIGHT.
ALL THESE ARE WONDERFUL REASONS
TO CALL AND SHOW YOUR SUPPORT
FOR WISCONSIN PUBLIC TELEVISION
AND THE QUALITY WE BRING YOU
THROUGHOUT THE YEAR.
YOU CAN DO THAT AT 800-236-3636.
>> AND JUST A QUICK REMINDER
ABOUT THE MANY BENEFITS OF BEING
A MEMBER OF WISCONSIN PUBLIC
TELEVISION.
ANY MEMBERSHIP LEVEL OF $35 OR
ABOVE YOU WILL AUTOMATICALLY
RECEIVE "AIRWAVES" PROGRAM
GUIDE.
$60 OR ABOVE, WPT PASSPORT, LIKE