BBC’s The Musketeers season 1 didn't just walk onto our screens; it kicked the door down with a flintlock pistol in one hand and a bottle of cheap wine in the other. Forget the powdered wigs. Forget the sanitized, Disney-fied versions of 17th-century Paris you might have seen in the past. This was different. When it first aired back in 2014, showrunner Adrian Hodges had a massive task: how do you make Alexandre Dumas’ 1844 novel feel relevant to a modern audience used to the moral ambiguity of Game of Thrones?
The answer was mud. Lots of it. And leather.
Honestly, the first season is a masterclass in how to reboot a classic. It follows the familiar beats—D'Artagnan’s quest for revenge, the brotherhood of Athos, Porthos, and Aramis, and the Machiavellian schemes of Cardinal Richelieu—but it breathes with a kinetic, sweaty energy that most period dramas lack. If you’re coming to this for a history lesson, you're in the wrong place. But if you want a swaggering, high-stakes adventure that understands the "all for one" ethos better than any film adaptation, The Musketeers season 1 is basically required viewing.
Redefining the Four: More Than Just Capes
Most people think they know the Musketeers. You’ve got the leader, the gambler, the lover, and the kid. But the brilliance of this first season lies in how it deconstructs those tropes. Luke Pasqualino’s D’Artagnan isn't a polished hero; he’s a hot-headed farm boy grieving his father. He’s reckless. He’s messy.
Then you have Tom Burke as Athos. Burke plays him with a simmering, alcoholic intensity that makes you feel the weight of his tragic past with Milady de Winter. It’s not just "brooding"; it’s a soul-crushing regret that defines his every sword stroke. On the flip side, Howard Charles gives Porthos a backstory rooted in the Court of Miracles, moving the character away from the "jovial fat man" stereotype and turning him into a formidable, street-smart warrior with a chip on his shoulder.
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And we can’t talk about the trio (well, quartet) without Santiago Cabrera’s Aramis. He’s the spiritual one, the romantic one, but also the one most likely to get everyone killed because he can't stop flirting with the Queen. The chemistry between these four actors is the engine of the show. If that didn't work, the whole thing would have collapsed under the weight of its own leather trousers.
The Peter Capaldi Factor
Let’s be real: Peter Capaldi as Cardinal Richelieu is the best part of The Musketeers season 1. He filmed this right before he stepped into the TARDIS for Doctor Who, and you can tell he’s having the time of his life being absolutely wretched.
He’s not a mustache-twirling villain. Well, he has a mustache, but he doesn't twirl it. He’s a patriot. In his mind, everything he does—every assassination, every lie, every framing—is for the glory of France. Capaldi plays him with a cold, intellectual precision that makes him terrifying. He doesn't need to fight the Musketeers with a sword; he fights them with budgets, laws, and whispers in King Louis XIII’s ear.
Speaking of the King, Ryan Gage’s portrayal of Louis is fascinating. He’s often played as a fool, but here, he’s a mercurial child-man. He’s petulant, vulnerable, and dangerously powerful. You never quite know if he’s going to hug the Musketeers or have them hanged on a whim. This dynamic creates a constant tension throughout the season’s ten episodes. The Musketeers are sworn to protect a man who is often their greatest obstacle.
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Paris in Prague: The Visual Aesthetic
One of the reasons the show looks so good is that it wasn't filmed in France. The production moved to Prague, using the city’s untouched Gothic and Baroque architecture to stand in for 1600s Paris. It works. The scale feels massive. You see the grime in the gutters and the opulence of the Louvre, and the contrast is jarring in all the right ways.
The action choreography deserves a shout-out too. This isn't the theatrical, "clink-clink-clink" fencing of the 1940s. It’s dirty. They use elbows. They use knees. They throw people through tables. It’s a brawl. Stunt coordinator Pete Lodovique clearly wanted the fights to feel like desperate struggles for survival rather than choreographed dances. When a Musketeer draws his rapier, you feel the danger.
Breaking Down the Key Episodes
While the season has an overarching plot involving Milady de Winter (played with chilling excellence by Maimie McCoy), it mostly operates on a "mission of the week" format. This could have been boring, but the writing keeps it tight.
- Friends and Enemies (Episode 1): The setup. It’s fast, it establishes the D'Artagnan/Athos rivalry, and it introduces the Cardinal’s guards as a legitimate threat.
- Sleight of Hand (Episode 2): This one focuses on a plot to kill the Queen and introduces the explosive chemistry between the leads.
- The Homecoming (Episode 8): This is arguably the strongest episode of the season. It dives deep into Porthos’ origins and the racism/classism of the era. It grounds the show in something much more real than just "swashbuckling."
- Musketeers Don't Die Easily (Episode 10): The finale. It brings the Milady/Athos conflict to a head and sets the stage for a much darker second season. It’s explosive, emotional, and satisfying.
What Most People Get Wrong About the Show
There’s a misconception that The Musketeers is just "guilty pleasure" TV. People label it as a lighthearted romp. But if you actually watch season 1, it’s surprisingly dark. It touches on religious persecution, the brutality of 17th-century law, and the PTSD of soldiers. Athos isn't just a drunk; he’s a man who literally lost his entire life because of a woman he loved and a brother he lost.
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Also, the female characters aren't just there to be rescued. Tamla Kari’s Constance Bonacieux is a highlight. She’s trapped in a loveless marriage, and her journey from a shopkeeper’s wife to a woman who finds her own agency (and a sword) is one of the best arcs in the series. She doesn't just wait for D’Artagnan to save her; she often saves him—socially and physically.
Real-World Impact and Legacy
When it launched, The Musketeers was a hit for the BBC, pulling in over 9 million viewers for its premiere. It filled that "Sunday night adventure" slot perfectly. It also served as a springboard for its cast. Beyond Capaldi’s move to Doctor Who, you saw the leads go on to major projects in film and prestige TV.
But more than that, it proved that you could do "classic literature" without it being stuffy. You can have the historical trappings without the boredom. It paved the way for other shows like Black Sails or even The Great to take liberties with history in favor of character and tone.
Actionable Insights for Fans and New Watchers
If you’re planning to dive into The Musketeers season 1 for the first time—or if you're circling back for a rewatch—here’s how to get the most out of it:
- Watch for the Background Details: The production design is insane. Look at the costumes by Phoebe De Gaye. They used modern materials like denim and heavy leather to give the Musketeers a "rock star" look while keeping the silhouettes historically accurate.
- Don't Skip the "Filler": Some episodes seem like standalone stories, but they almost always plant seeds for the Athos/Milady confrontation in the finale.
- Check Out the History (Loosely): While the show is fiction, researching the real-life 17th-century Musketeers (the Mousquetaires de la garde) adds a layer of appreciation for how the show handles the political tension between the King’s men and the Cardinal’s guards.
- Pay Attention to the Music: Murray Gold (of Doctor Who fame) did the score. It’s sweeping and heroic but has these weird, modern percussive elements that keep the energy high during the chase scenes.
The show eventually ran for three seasons, but there’s a specific magic to the first ten episodes. It’s the origin story. It’s the moment these four men become a family. Whether you're here for the sword fights, the political intrigue of the French court, or just to see Peter Capaldi being a genius, this season delivers.
To fully appreciate the scope of the series, start by focusing on the political landscape of the first three episodes. Notice how the Cardinal uses the law as a weapon just as much as the Musketeers use their blades. This duality is what makes the show more than just a costume drama—it’s a political thriller dressed up in leather and mud. Once you finish the season, compare the portrayal of Milady here to the original Dumas text; you'll find that Maimie McCoy's version is significantly more nuanced and tragic than the "femme fatale" archetype usually allows.