ONE
As the credits roll we see a wireless transmitting a message intercut with a rolling steam locomotive. Immediately we know we’re in an historical period. Whatever is on this ticker tape, the news shocks the clerk.
The house, the grand Downton estate exterior, is established. April 1912.
Inside, the servants awaken. The staff, a lot of people, bustle throughout the house, lighting fires, opening drapes, preparing trays. Different characters get close-ups, and then here come the keys. It’s Mr. Carson and Mrs. Hughes, our chiefs of staff. I have no idea, but this seems like a huge house of servants for the early 20th century. The sense that Downton is approaching a milestone is evident before we even hear the plot.
TWO
A bicycle messenger approaches the house, meaning the newspapers have finally arrived. “You’ll see why,” he says. The staff all know what the big news is, but we don’t.
Lord Grantham and his dog descend for breakfast. Ah, he knows, too. It’s Titanic. Of course. Someone important to the family was onboard.
O’Brien, Her Ladyship’s maid, gossips with staff and lets us in on what’s important: Mr. Crawley’s dead and Mr. Patrick was his only son. They were heir to the title.
A just-arrived man with a cane is Bates, the new valet. Handshake from maid Anna, stone face from O’Brien (which pretty much tells you what you need to know about each character). Mrs. Hughes wonders how he can manage with his limp. Mr. Carson comes in and smoothes it all, even though he has concerns.
THREE
Grantham again reiterates that his first cousin and the son are dead. Mary, the eldest daughter, will be the most impacted. She was unofficially engaged to Patrick so that the estate could stay in the family, but no romantic feelings were involved.
FOUR
Footman Thomas shows Bates the Earl’s room and what his expected duties as valet will be. Bates reveals himself to be a bit of a philosopher. Thomas, who was passed over for valet, is unhappy. He and O’Brien are clearly a pair of schemers and possibly villains.
What was hinted at in the Three is clarified as Lord and Lady Grantham stroll the grounds. The estate is entailed to whoever holds the title and that must by law be a man. Is it possible the entail could be smashed and Mary inherit all but the title? Cora’s substantial dowry is wrapped up in the estate. Robert married her initially for her money; it would be a shame to lose it.
While the staff sits to lunch in the kitchen, Carson gives the speech to Bates questioning his ability to do the job. In walks His Lordship to say hello to his old comrade in arms. That shuts up the staff.
A memorial is held for the unrecovered bodies. Company arrives and the kitchen prepares food. Daisy, cook’s assistant and oddbody maid, seems to have a crush on Thomas. A lot of kitchen stories can revolve around Daisy as she’s young and inexperienced, allowing us to learn as she learns.
SWITCH
Walking back to the house in formal mourning wear, Robert discusses the terms of the entail with the lawyer. The notion of dividing it from the inheritance is impossible.
FIVE
We’ve met all of the family and staff. Now we can relax and get to know them better. A quiet moment with Hughes and Carson, showing their professional relationship and their kindness to each other, is a pleasure.
Most of the Five, though, revolves around two issues: Can Bates handle the job? And, what will the new heir be like? No one’s actually met him.
Some duke comes to visit and asks for Thomas to attend him. They’ve worked together before, he says. Yup, red flags around these two.
The family wants and expects the duke to propose to Mary. It may be the 20th century, but the eldest daughter still has to be married off as a business proposal, apparently.
And O’Brien knocks aside Bates’ cane so that he falls in front of the entire family as they receive the duke.
SIX
In the servant’s quarters the duke takes Mary on an exploration but she’s clearly uncomfortable. This is not the family’s space, she says.
We only get two moments when Mary asserts herself: here at the Six, when she apologizes to the servants for wrongly entering their quadrant, and at the Three, when she balks at wearing mourning for a fiance society doesn’t recognize. Otherwise, Mary snipes at Edith and follows the family’s path for her future. At the Three we get a hint that she’s a stickler for rules; at the Six she endears us with her rule-following. For one second Mary becomes an empathetic character, and these mirroring beats help explain why.
SEVEN
Carson puts his foot down that Bates is not up to his duties. His decision to confront Lord Grantham leads to a cascading decision by Robert to fire Bates. Anna brings him a tray and sees that he’s weeping. (His prospects outside of this house aren’t good.)
EIGHT
We get the duke’s whole game. He only wanted Mary if they broke the entail and she inherited (because he needs an heiress). Upstairs with Thomas, we see how comfortable they are together, and that it’s all been their machination. Thomas is a fool, though. He’s intimate with the duke, but a man like that would never consider a servant’s wants. When Thomas threatens him the duke reveals he’s stolen the love letters, Thomas’ proof, from the servant’s quarters when he tricked Lady Mary to take him there. Royalty will always come out ahead over the servants.
Robert talks to Cora about duty to the estate. He’s not fighting the entail, because the Abbey is a father and a child to him. He must keep it strong. They don’t agree but they’re amiable with each other. Although they didn’t marry for love, they are a strong team now.
Oh! Beautiful! As Bates is driven away for the train, Robert runs after and stops him. It isn’t right, get back in the house, and we’ll say no more about it. Boom, Bates is rehired.
Thomas, stabbed on all fronts (he expected a promotion to Bates’ job), is this episode’s grand loser.
NINE
Last shot, finally we see the heir apparent at home with his mother. A surprise letter from Lord Grantham arrives. What does he want? “He wants to change our lives.”
Juicy.