I’m pretty sure my massive sigh of relief could be heard within a two-mile radius when Siegfried called off his impending wedding to Dorothy in the Season 7 finale of All Creatures Great and Small. He finally realised where his big heart and stubborn head truly belong: with Mrs Audrey Hall. And judging by the huge online celebrations following the episode, I was most definitely not alone in raising a glass to the wedding that wasn’t.
While I struggled with some of the earlier episodes, the final two instalments of the season were among the finest the show has ever delivered. They reminded me why this series is so very dear to me: its wonderfully imperfect people, the care, acceptance and fierce loyalty they show each other, and the time it gives ordinary moments to become extraordinary. I finished the season weeping over Siegfried’s heartfelt and deeply moving speech that finally led him to the realisation that he loves the woman who has been under his nose all along. I am now full of hope about what comes next. Getting there, however, had not been without its frustrations, especially after the beautifully crafted sixth season they blessed us with last year. What stayed with me most, both in my frustrations and my delight, was how the season handled its relationships – particularly the complicated bond between Siegfried and Audrey.
What Was Left Unspoken
The 2025 Christmas Special brought back Mrs Hall’s friend Dorothy, which in itself was not a bad idea and offered plenty of possibilities. What troubled me – and continued to trouble me in Season 7 – was that her return had little to do with her friendship with Audrey and everything to do with Siegfried. Here was finally someone who knew Audrey before her life at Skeldale, yet we gained no insight into that history beyond her love for Eccles cakes. A lovely detail, but I had hoped for something more substantial.
I also struggled to reconcile Siegfried’s relationship with Dorothy with the emotional development Season 6 had established. How did Siegfried go from telling Audrey that, irrespective of the question, the answer was always her, to proposing to Dorothy in such an elaborate, heartfelt manner? Samuel West’s performance in that scene was undoubtedly tremendous, but the script did not allow us to get a clearer understanding of the actual feelings behind those words. Season 6 made Siegfried’s fear of abandonment very clear, but in Season 7 we were mostly left to infer that this fear was still driving him. It certainly could explain an impulsive proposal, but I still struggled with how sincere and wholehearted it sounded. It seemed as though he were expressing feelings he had held for years, when until then his scenes with Dorothy had not shown any of the affection expressed at that moment.
At times, the episodes also seemed to have more material than they could comfortably accommodate. Dorothy and Granville’s larger roles sometimes left me with the feeling that the five main characters did not get the space and time they needed. There were storylines I hoped they would explore more deeply – Mrs Hall’s WI work, Maggie’s current struggles, Mrs Pumphrey adjusting to having two Pekingese to spoil – but these were cut short or barely touched upon.
That lack of space was particularly noticeable in Mrs Hall’s storyline. They relied heavily on Anna Madeley’s outstanding ability to convey entire pages of unspoken dialogue through the tiniest shifts in her facial expressions alone, suggesting feelings behind Audrey’s composed exterior that the writing did not explore further. Eventually, though, something more tangible is required. Mrs Hall had little opportunity to voice what was on her mind. Not about the impending wedding of her two best friends, nor about Edward missing her birthday celebration. And to a certain extent, that makes sense: after all, her guardedness has always been part of her character, and Madeley truly excels at conveying that restraint while still making Mrs Hall so very warm, caring and nurturing. At some point, however, she has to be given the opportunity to share at least some of her inner struggles, be it with Helen, Maggie, Mrs Pumphrey, a stranger if that’s easier, or Siegfried himself.
I also missed the conversations certain developments might have prompted within the family. Siegfried was preparing to leave his own home, yet there was no reaction whatsoever from any member of the Skeldale family. Not even when he was visibly struggling and every fibre of his being signalled that he did not actually want to leave. Audrey, meanwhile, was helping her best friend marry the man with whom she had built so much of her everyday life. Why was no one asking her how she felt about it? This risked coming across as a lack of care and weakened the sense of connection within the household.
However, it is also entirely possible such scenes do in fact exist but were cut to accommodate Channel 5’s ad breaks. When the episodes air in the US on PBS Masterpiece they often include additional scenes that British viewers did not get to see, and I hope those might fill in some of the gaps, as they have, for example, in Season 5.
Feeling at Home Again
Episode 5 truly was my knight in shining armour. It brought back the show I love so very dearly. The focus returned to the main five characters, the pacing felt more settled, the editing was spot-on and scenes had room and time to develop. Above all, it restored the familiar Siegfried-Mrs Hall dynamic that had been missing throughout much of the season.
Seeing the two characters so comfortably themselves with each other again, I sobbed through the entire bedtime story scene, thanking the gods of television and whoever else decided we needed a moment like this. Godparents and children sitting in Jimmy’s bed, Siegfried reading them all Shakespeare (obviously), Audrey comfortably beside him. Their ease, little rituals and precious goodnight rhyme – taking turns before finishing together – made it feel like a familiar routine they had shared plenty of times before. But only now were we allowed to witness it. Children and godparents alike seemed entirely at home, not only at Skeldale but with each other.
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| “Farnon, Herriot and Farnon” – ALL CREATURES GREAT AND SMALL, Pictured: Anna Madeley, Isabella Ward, Samuel West & Thomas Riches, 2026 / ©5 Broadcasting Limited / © Playground Television UK Ltd. 2026 / All Rights Reserved |
Keeping Siegfried and Audrey physically and emotionally further apart up to this point in the season felt intentional. It highlighted how his relationship with Dorothy changed their easy companionship and reduced the time they spent together. And it also made Siegfried’s confession in the season finale hit harder. Within the story, however, the sudden return to their usual closeness in episode 5 was harder to follow. The Siegfried/Audrey scenes were undoubtedly exquisite, offering moments many had been waiting for ever since pressing “play” on the pilot episode. I personally would not trade them even for a lifetime supply of Mrs Hall’s shortbread and Yorkshire puddings. However, I would have appreciated it if we had got a clearer sense of what had changed to make that closeness suddenly possible again.
But whether every development felt supported by previous episodes or not, it does not take away from the fact that the performance of every single actor involved remained consistently excellent. In particular, Madeley and West complement each other perfectly, conveying their characters’ shared history through the most ordinary exchanges. Their emotional depth repeatedly made me wish the writing had given them more room to explore it. Chemistry between the cast matters in any TV show, but particularly in All Creatures, where connection and family are at the heart of it all. Luckily, the show hit the casting jackpot with its five starring actors. Anna Madeley, Nicholas Ralph, Rachel Shenton, Samuel West and Callum Woodhouse keep shining in every episode – individually but especially together, one elevating the other, bringing out the best in each other.
Also deserving of a mention is the fantastic Maimie McCoy. Many viewers might not have been excited about her character becoming Siegfried’s (temporary) love interest, but this fact does not in any way diminish McCoy’s excellent portrayal of Dorothy, particularly in the finale episode. And while Siegfried and Dorothy for the most part lacked romantic chemistry (which felt intentional), McCoy’s chemistry with actors Madeley and West is apparent and was especially visible in episode 1, leading the show’s fans to affectionately call Audrey, Dorothy and Siegfried “Darrowby’s first throuple”.
A special mention also goes to the two young actors playing Jimmy and Rosie Herriot: Thomas Riches and Isabella Ward. They both bring such natural warmth to their scenes and seem entirely comfortable around their grown-up acting buddies. Thomas Riches had considerably more to do this season and was wonderful and completely authentic throughout. The acting profession needn’t worry – there’s clearly plenty of talent in the next generation.
The Words He Finally Found
The season finale surpassed my expectations. Not once did I feel that a scene had been cut short because there were too many additional characters to accommodate. The storylines were seamlessly connected and the editing gave each moment room to breathe.
I teared up for the first time six minutes into the episode when Audrey handed Siegfried an early wedding present: a new version of their beloved word game to take with him once he was married and living with Dorothy. Their familiar back and forth eventually gave way to silence. He expressed hope that she would visit for a game. Audrey kept smiling, promising to come over “from time to time”, but both seemed perfectly aware that this likely marked the end of their game nights. Their exchange and the sudden heaviness as they realised what they were about to lose captured the significance of those many evenings they had spent together.
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| “Give Us This Day” – ALL CREATURES GREAT AND SMALL, Pictured: Anna Madeley & Samuel West, 2026 / ©5 Broadcasting Limited / © Playground Television UK Ltd. 2026 / All Rights Reserved |
Shortly afterwards, when treating a horse with severe colic, Tristan and James discovered that the husband-to-be had not yet prepared his wedding speech. A rather unusual occurrence, as Siegfried approaches speeches much as Shakespeare approached plays: with plenty to say and no intention whatsoever of keeping it short or understated.
The horse had to be kept on its feet, so the vets took turns walking it. When Siegfried’s turn came, he began composing his speech aloud and, after his earlier failed attempts, found the words he had been looking for. But instead of talking about his love for Dorothy, he spoke of Audrey, at last revealing his feelings for her and reminding viewers how well he knew her. He thanked her for her company, her friendship and their many happy evenings together playing board games. He mentioned how she made his life better and finally – and I think most importantly – he pointed out how she simply let him be himself. Throughout Season 7, Siegfried spent so much time trying to be someone he was not, trying to change himself to be the man he thought Dorothy wanted. With Audrey, he had never needed to do any of that. She accepted him exactly the way he was. Sure, she called him out when he made a mess of things, but she never tried to change him, never made him feel like he was inadequate or not good enough. And as Siegfried kept talking, listing all the wonderful things about her, the realisation finally hit him: “I cannot imagine my life without her.”
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| “Give Us This Day” – ALL CREATURES GREAT AND SMALL, Pictured: Samuel West, 2026 / ©5 Broadcasting Limited / © Playground Television UK Ltd. 2026 / All Rights Reserved |
It was one of the finest moments of the entire show. West’s vulnerability and sincerity conveyed how completely this discovery floored Siegfried while also seeming to free him. And Alexandra Harwood’s poignant, tender score made his realisation all the more moving – enhancing an already outstanding scene. Shortly afterwards, the horse passed manure, signalling its recovery. Siegfried’s love for Audrey clearly cured the horse. I hope they have written about this case in veterinary books.
What mattered particularly about this scene was that it made it unmistakably clear that it was Siegfried’s decision to call off the wedding. Dorothy did not release him from the engagement, nor did Audrey ask him to choose her. He simply seemed to have realised that he was already exactly where he wanted to be, with the woman he wanted to be with: at Skeldale with Mrs Audrey Hall.
Back in Darrowby, Siegfried unexpectedly found Dorothy in the kitchen, trying on her wedding dress. We don’t often see Siegfried at a loss for words, yet for the second time in this episode, he struggled to express himself. Dorothy immediately sensed something was wrong, but the camerawork really highlighted the severity of the situation. While Siegfried tried to explain himself, the words not quite coming, the camera slowly pulled back from him, making us almost physically feel his loss of composure. Back on Dorothy, the camera drew closer, her unease becoming more visible. The camera movement was unfamiliar, perhaps even uncomfortable, but it splendidly emphasised just how unsettling the situation was for both characters. A brilliant use of visual storytelling!
Before Siegfried could properly start the no doubt difficult conversation with Dorothy, news of Audrey’s trouble at the bakery sent him hurrying to her rescue. Dorothy was left behind, still wearing her wedding dress, already sensing that everything was about to fall apart.
In true Siegfried fashion, the vet strode across the village square, shouting from afar that Mrs Hall needn’t worry because he was going to sort things out. Once in front of the bakery, he ignored everyone’s attempt to inform him that things had already been handled. Instead he told off the baker as well as the constable who had been called to resolve the situation. I was torn between laughing and wanting to reach into my TV set to physically stop him before he embarrassed himself any further.
But apart from Siegfried’s rather unnecessary rescue attempt, the bakery scene deserves recognition in its own right. Audrey stood up against injustice without a second thought and did not even back down when threatened with being taken to the police station. It showed how far she is willing to go to protect those she cares about. And while Mrs Hall might have been rather quiet and passive this season, especially in episodes 2 and 3, this scene gave her back some of her fire and reminded the audience that she should not be messed with.
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| “Give Us This Day” – ALL CREATURES GREAT AND SMALL, Pictured: Christopher Brand, Anna Madeley, Gavin Spokes & Mollie Winnard, 2026 / ©5 Broadcasting Limited / © Playground Television UK Ltd. 2026 / Photographer: Helen Williams. All Rights Reserved |
I also found it particularly heartening to see that the people who had gathered in front of the bakery were not only supporting her but putting their own reputations on the line, insisting that if the constable arrested Mrs Hall, he would have to arrest them too. And I revelled in Maggie telling off the constable when he threatened to take Mrs Hall to the station. As a financially struggling single mother, Maggie had everything to lose, but defended her friend without a moment’s hesitation. The entire bakery sequence demonstrated just how respected and well-loved Mrs Hall is, even outside her family.
Returning to Skeldale, an embarrassed Siegfried and a thoroughly amused Audrey gave Dorothy a glimpse of their ease together. Their interaction and Audrey’s carefree laughter seemed to make something click. Apparently, Dorothy had not experienced the two of them together like that before.
What I initially paid little attention to, but went back to rewatch after a friend pointed it out, was the shift from the tension between Siegfried and Dorothy in the kitchen to our favourite vet making a spectacle of himself in front of the entire village, before returning to the kitchen and its emotional weight. Comedy and heartbreak existed comfortably alongside each other, something All Creatures is generally excellent at, though the shift between the two is usually more gradual and less pronounced. A perfect example of how confidently the show switches between and combines the two tones without either losing any of its impact.
Dorothy then asked Siegfried to drive her home. They drove off accompanied by the rattling tins Tristan and James had attached to the Rover as a wedding surprise/prank. The scene was so wonderfully uncomfortable: Siegfried racing through the Dales with the woman he was not going to marry in the passenger seat, while the loud, relentless clatter of the tins behind them reminded them every single second just how wrong everything was.
On their way, somewhere out in the Dales, they stopped to talk. And again the words did not come easily for Siegfried. But Dorothy already knew that he couldn’t marry her. She was hurt but ultimately agreed that not going through with the wedding was the right decision. She wanted to be with someone who loved her with their whole heart and Siegfried was not that person. And while he never even hinted at what had made him realise he could not become her husband, Dorothy knew. She asked him: “Does she know?” Siegfried did not reply.
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| “Give Us This Day” – ALL CREATURES GREAT AND SMALL, Pictured: Samuel West & Maimie McCoy, 2026 / ©5 Broadcasting Limited / © Playground Television UK Ltd. 2026 / All Rights Reserved |
When he returned to Skeldale, Siegfried found yet another upset woman in the kitchen. Audrey. The woman he had just cancelled his wedding for. Dorothy had rung and told her the wedding was off, though she had not mentioned why. And of course Audrey now blamed herself for this entire disaster. She challenged his habit of rushing into things without even stopping for a second to think – just as he seemed about to do it again by reaching for her hand. It is unclear whether he was about to tell her why he called off the wedding but (thankfully) Helen walked in. Audrey briefly patted his outstretched hand before switching into full-on housekeeper mode, filling the silence with talk of making up his bed and needing his ration book back now that he was staying at Skeldale. Helen certainly clocked that something was going on. Whether she understood quite what, however, remained another question.
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| “Give Us This Day” – ALL CREATURES GREAT AND SMALL, Pictured: Anna Madeley & Samuel West, 2026 / ©5 Broadcasting Limited / © Playground Television UK Ltd. 2026 / All Rights Reserved |
The adults were then called into the living room for an art presentation. Jimmy had drawn a picture of his family, including Auntie Audrey and Uncle Siegfried playing their word game – a lovely reference to the beginning of the episode when they had both thought their game nights belonged to the past.
As the boy showed them the drawing, Siegfried kept looking at Audrey, but she completely avoided his gaze and devoted her attention exclusively to the children. The episode ended with Tristan reassuringly squeezing Siegfried’s arm. The uncertainty between him and Audrey remained.
It is not exactly a happy ending, but it is a truly excellent end to the season, as it at last reveals something big the show has been dancing around for quite some time and thus pushes two of its main characters into new territory. While it remains unclear whether Audrey knows the wedding was called off because of her, it is rather hard to imagine that she doesn’t at least suspect something on a subconscious level.
And after this episode, the next visit to Darrowby really cannot come soon enough. Season 7 delivered a truly exceptional finale, but the strong ending still does not erase earlier frustrations. While some of what bothered me made sense in retrospect, it did not always feel coherent when the earlier episodes aired. Even so, I am still basking in the happiness the season finale left me with and hope that the Christmas Special will offer time for some honest conversations, plenty of delicious banter and heartwarming family moments.
More Time in Darrowby?
And for those of us who cannot get enough of All Creatures, there might be some good news on the horizon. In a recent interview with The Ankler, Channel 5 boss Ben Frow said the show “will go more than eight series” and even mentions a possible spin-off. Nothing official yet, but coming from the big boss, I’d say the chances are pretty good that we’ll get more time with our favourite TV family.