PBS is preparing to open the doors of Downton Abbey once again as episodes from the iconic Masterpiece series return to its airwaves. The network will begin rebroadcasting the British historical drama Sunday evenings starting May 17 from the first season onward up to sixth going into 2027.
The runaway hit that initially ran on the network in 2011 followed the aristocratic Crawley family and their domestic servants between 1912 and 1925. Its popularity gave way to a number of accolades and three movies. One person who was most excited about the news was Alastair Bruce, who served as Downton Abbey’s historical advisor. His keen eye stood as the foremost authority on historical accuracy. From Edwardian protocol in dress, posture, and manners to serving of food, vocabulary or even the correct way to step out of a car, he made sure production got it right.
Bruce’s resume speaks for itself as a British television journalist and former senior officer in the British Army Reserves. He also served as the Governor of Edinburgh Castle from 2019 to 2024. Fans may recognize him from hosting two Masterpiece specials or blink or you’ll miss him cameos.
‘Manners of Downton Abbey’
What does it mean to you to see the show return in this way on PBS? How is it looking at those early years through today’s lens?
Alastair Bruce: We were immensely proud of the Downton Abbey project, and it seems to have brought so much pleasure and joy. Indeed it’s brought a great deal of escapism, to so many people, and I think that, in this time when life is full of challenges, it’s tough for lots of people and Downton Abbey has managed to bring an escape.
It’s a delightful escape that takes you into a story and you meet and get to know so many delightful people. So to see it come back to PBS is like seeing a group of friends who you may think you remember the story about, but when you watch it again, it comes to life in its own remarkable way, and I hope that it will bring new escapes for people who wish to return to a place where they felt safe and they enjoyed learning about a family and their staff.
What were some of the biggest challenges you faced with the team as they worked to find the balance between accuracy and artistic liberty?
It was made very easy for me to bring accuracy into fiction because I was supported by the producers. First of all there was Julian Fellowes, who had asked for me to be part of the team, in order to bring his writing into a very specific period and to have it correct. Then there was Gareth Neame, who was running everything and Liz Trubridge, who was on set. She was the producer I went to if I thought any director was about to make an error.
She eloquently helped the director achieve his story, while accommodation was made for my concern. In the end, I was there to help but I was helping with advice and the director must have his or her story and what worked is that we combined my demand for accuracy with the brilliant creativity of directors and the artistic interpretation of actors, to produce something that I think is truly good.
Did you ever have a scene or moment during an episode that you re-watched, and were like…I missed that?
There was an occasion when I was looking through one of the earliest programs, and I noticed that [John] Bates was walking into a room past a light switch! This was at a time before electric light had been brought to Downton Abbey. I suppose it wasn’t specifically my fault, but we were all working together to try and catch these human weaknesses of missing this, or that. Of course, immediately the footage was altered to remove the light switch and no one would have known.
Do you have a favorite memory from set?
My favorite memory of working on set with Downton Abbey was just how well everyone got on. Now that may seem strange, but I’ve worked on a lot of films and in many productions and, on the whole, we were very lucky with the ensemble of both cast and crew and I think it was down to the leadership. Liz Trubridge was an outstanding producer on set, and she just made sure everyone got on. I can assure you, this does not always happen.
Any character/cast member you enjoyed working with most?
The actor I most enjoyed working with was Kevin [Doyle], who played [Joseph] Molesley. I think it was his friendship, his courtesy, his interest in what I had to say. The fact that you can’t take your eyes off him, whether he is the focus of a scene, or he’s just part of its background. I have always found him compelling to watch and I found him delightful, as a friend, to spend time with and if I’m honest, I rather miss him.
Credit: Photograph by Nick Briggs
What do you remember about sharing time with Maggie Smith?
Maggie Smith was part of the ‘filmocracy’. She was a leader in her trade. Her background was irreproachable, as an actress, and so all of us were moderately in awe of her. However, that doesn’t always make life with her easy! She could have her moments, albeit resting on that great reputation, but, in truth, I got on with her very well. I think that was because, after the first series, where I think she thought very little of me, I gave a talk about warfare. Now, I have been a soldier, and I had been in battle and so I had some quite helpful things to share with the actors about that before the First World War.
From the moment I had done that she took me seriously. I suppose if you are a professional of her level, you have a right to take time in making a judgement about whether the ‘add-on advisors’ who appear on set giving you information have value or not. In the end, I think she thought I did have value and we got on very well, but I never took my conversations with her for granted because sometimes she was possibly in pain, but definitely sometimes in a bad mood. We miss her desperately because it was a privilege for all of us to work with her.
How much time would you say was spent on your end, including research ahead of production, whether it’s a movie or episode?
Research for accuracy is something that you do over your life. I have a well of residual information drawn from the most esoteric rainfall of research, and it is that deep well into which I drop the bucket, in order to bring information for any scene, or any situation, that comes up. My role was to be clear and immediate with information. It was not good for any director to pose a question at me or challenge me with a situation to which I couldn’t come up with the answer.
When was the moment you felt the show had resonated?
It was the viewing figures that surprised us first, but when Downton Abbey went to America and picked up such an enormous viewing public; then we knew!
What do you remember about the show’s response from the royal community over the years? Queen Elizabeth II was a noted fan, but reportedly also liked to pick inaccuracies. What do you make of that?
I can confidently say that Elizabeth II was not a fan of Downton Abbey, contrary to everyone’s opinion. Indeed, the late Queen was not a television watcher, unless it was the news or horse racing! You must remember that, unlike most other people, the Queen had her own Downton Abbey existence and I would imagine living within a story like that was quite enough to say her interest if our houses were run.
That said, quite a few members of the royal family were great fans. The present Queen, Camilla, always enjoyed it and, I believe, never missed an episode. Also a great fan was the Princess of Wales (Kate Middleton). Indeed, as Duchess of Cambridge she came to visit the set, which was a tremendous boost for all of us and I think gave the project a bit of useful British status at a rather interesting time in the show’s popularity.
What would you say was your favorite season or movie to work on?
Possibly my favorite season was [Season 4] when Lady Rose MacClare (Lily James) was presented at court. It necessitated me going to Windsor Castle and researching the return after the first world war of court social life and it was a joy to present the production team with empirical advice on what music would be played in the background? What sort of people would’ve been present and precisely have the Ceremonial of the event took place. As you may know, I had a cameo role in every series and film. In this particular one I played the part of The Lord Chamberlain so I read out Lady Rose MacClure‘s name. It was a sort of allergy moment and I loved it!
Manners of Downton Abbey
Thoughts on how the story ended with the last season and movie?
The end was bittersweet. Of course it was sad to see the ensemble of actors come to their conclusion but it was time. We had been working on this particular story, as a group, for a little over 15 years! In the end life is full of chapters and this was a wonderful chapter for me, but I didn’t mind closing the page on it and turning over to other things. That said I felt that Julian brought each of the stories to a beautiful ending that left those who chose to watch from the beginning to the end sense of finality and completion even though the truth is with these great houses and these great families is that time much is on the challenges continue and they either survival fail depending on how each family handles each house
Is there anything you own from the set?
I collect objects from every film and television series I work on so, yes, I do have objects that were part of the production. In particular I have the star of the Order of the Garter, which was worn by Queen Mary (that is Geraldine James), in the second of the three films it is beautifully made by a great friend of mine, called Martin Adams, who made all the jewelry for the Downton Abbey project and who has also made a number of beautiful objects for my collection.
What were you most proud of from working with the franchise?
What made me most proud was seeing the accolades that were given to Julian, Gareth, Liz and the ensemble of cast for what they achieved. Downton Abbey was not everyone’s ‘cup of tea’ but it succeeded, as an entertainment, and it brought a great deal of pleasure to a huge number of people.
When I did my tour for PBS stations around the United States, which I did over a number of years to help raise money, I realized how successful the project was. It was an immense privilege for me to raise the profile of Downton Abbey and tell the stories behind these great houses and about the time that Julian so beautifully drew upon, when he penned and painted the characters and stories of Downton Abbey into our imaginations. If I have one sadness, it is that I didn’t get to every PBS station so, if you want me to come, I’ll happily return and weave an insight into the magic. Alternatively, there are the Manners of Downton Abbey films I made.
Downton Abbey returns May 17, 10/9c, PBS
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