|Philippe releases his grip on his hair, tenderly rests his palm, and strokes his forehead with his thumb. |
Matthew explains that he was using genetics to find a cure for the blood rage. She patiently listens as he spills the details and declares that this is why he can never be mated to her, pulling his hand from her grip. Diana knows why he doesn't feel that they can be together, but this new information doesn't discourage her. Finally, it is the truth that he has been hiding. The music score that follows is dramatically gorgeous.
- Diana with a deeper voice, much more confident: Do you really think that I would ever walk away from you, my love? After all we've been through.
- Matthew: This was just but a glimpse. You have no idea what I'm capable of. I'm a killer, Diana. I have killed thousands. I was Philippe's weapon. He used me to eradicate the disease.
- Diana: He made you his assassin.
His blood disorder is out in the open and she still wants to stay with him. What we didn't understand in episode 5 when he told her to wait was that he didn't want her to commit to him without knowing the truth, but he couldn't admit it to her, yet. She is coming into her power so she isn't swayed by any fear that he will hurt her. Consummating the relationship with a vampire still hasn't been elaborated on, yet (perhaps in episode 7).
I love when Diana storms into Philippe's office angrily saying that he did this on purpose to Matthew to drive her away. He reacts as if thinking, "oh, here we go," with a little eye roll before he faces her and says, "You needed to see the wolf behind the man... If you are to have a future... accept each facet... Matthew had to be free of the guilt that he carries...Your union is forbidden in your time, too, otherwise, you wouldn't have come here." He had to test her faith so he'd see she would not waiver; that they could be united.
She tells him that Matthew had faith in Philippe, "All his life he has tried to prove himself to you and you used it against him. Your legacy is one of pain and recrimination." Philippe is intrigued as she doesn't back down from telling him like it is. He wonders how she can lecture him on his legacy. And then she begins to have her glæm come out (gleam, but the book uses glæm). He is finally seeing Diana as the powerful witch she is. He reveals the ancient prophecy -- "a witch that would change the destiny of all creatures... alter our understanding of life."
"What do you believe?" she asks.
"I believe you are power, indeed."
She's sparkling and glowing. "I love your son and that should be enough."
The unanswered question will weigh on him, but Philippe won't pursue finding out how he dies any further. Matthew and Diana are on the path above the courtyard tentatively watching as he approaches with his sword. He cuts his thumb and uses the blood to mark her forehead as a way to show others she is a member of the family, his daughter, saying "Diana is a de Clermont. With this mark you're dead," as he paints a half-circle, and like his ouroboros, completes the other half-circle, "With this mark, you are reborn, a forever member of our family." Matthew smiled slightly and bows to Philippe. He's relieved by the gesture of his father welcoming Diana into the family; she's the first witch to become a de Clermont.
The episode up to this moment is already packed with revelations and life-altering decisions: Diana's power, Philippe's manipulative actions using Matthew's blood rage, and her being anointed with Philippe's blood. If you're not emotionally wrecked yet, hold on because you're about to get there.
Diana finds Matthew cleaned up -- he washed the rage out of his hair -- in Philippe's office and he explains how his father died as they stand together by the fireplace. She is doing what Pierre and Gallowglass asked of her -- "to be his anchor." It is too good to spoil by providing the recap here. It has to be viewed with fresh eyes and ears.
Matthew Goode and his perfect portrayal of Matthew de Clermont breathes life into one of the most loved characters created by author Deborah Harkness. His gripping performance only keeps us wanting to see more. If you only have seen him play Henry Talbot in "Downton Abbey," or play prosecutor Finn Polmar on "The Good Wife," then you haven't seen the true talent of this performer who isn't afraid to be vulnerable and reach into himself to make Matthew de Clermont come to life. Those shows are not written at a level to be as deep-felt as it is with "A Discovery of Witches."
The three of them riding out from Sept-Tours, but riding ahead to talk to Diana, Philippe wants to know how Ysabeau is doing in Diana's time. She suggests that he could have asked Matthew, but he wants the truth. This reminds us of how Matthew holds onto secrets and maybe Philippe suspects that Matthew won't be truthful... still? Oh, but it is a great moment when he's satisfied to hear that Ysabeau is lonely; that she misses him. He treasures her honesty.
An outdoor temple named for the Roman goddess Diana has columns and an altar. Brides would go there to ask the goddess for protection. This scene culminates in another exceptional and pivotal moment for Matthew and Diana. I enjoyed all of the effects and how Philippe de Clermont can call forth with a few sentences the stag, Artemis. Shadow of Night covers this part of the story in much more detail, but it is adapted well here, or you can research on your own more about Artemis.
Philippe declares that they are to be married "in two days' time." Well, Matthew, tick-tock, tick-tock! You told Diana in the tent, "Not now, not yet, in time,
" and now in time
is happening in two days! He says to her that they don't have to do this just because Philippe says so. But she wants to even after what she's learned about his inherited blood rage affliction. "If you ask nicely," she answers. Ha! I loved that she said this because both of them have been dealing with heightened emotions, plus an incantation to a Greek god is nothing to take lightly. Let's just come back down to Earth.
I remember when Matthew told Hamish in S1 E5 that she was funny, how I laugh each time I hear this because he's over 1500 years old and a sense of humor is still vital to him. That should be his icebreaker introduction, "This is my wife, Diana, and she's very funny." Every way that they've expressed love for each other right up to this point keeps us enthralled with the show.
They slept for two more nights in separate beds so Philippe gives him a gift. (Just kidding, but I counted, and I got eight nights that Matthew and Diana slept in separate beds). The wedding day gift is a fibula, aka an ancient brooch, something he found on a battlefield that caught his eye because of its blue stone. He demonstrates how he bent to pick it up, and it ended up saving his life. Matthew is amused by the story and appreciates it enough that he watches with admiration as his father leaves the room. He holds it up to the light at the window for a closer inspection. This is a very poignant moment of a father showing his son how he loves him and wants him to have something to remember him on this special day. I hope that if it brought Philippe luck, it brings Matthew luck, too.
The wedding is announced with the ringing of the bell much like a sound of a bell at the end of S1 E3 while she's in Oxford. The bells wake up Diana from a long day's sleep -- rejuvenating her energy after summoning witch wind. The end of this episode is the first mutual kiss between Matthew and Diana.
She's dressed in one of the most beautiful 16th century-styled wedding dresses. The sight of Diana opening her eyes into the daylight as the double doors open outwards is one of the most anticipated scenes of the series. Her dress is a spectacular sight. In slow motion, Matthew turns to see her descend the stairs and walk towards him. Obviously, he is transfixed by her beauty. Both are glowing with elation that this day has finally arrived!
It is a short ceremony of few words. Philippe has the first dance with her and she asks how he'll prepare everyone to keep silent about her once Ysabeau returns to Sept-Tours. Matthew takes her hand and if it wasn't for a couple of clips of their dance steps, you would think that they were floating. There's a string ensemble playing the cover of "Time in a Bottle," by the late Jim Croce and then segues into a modernized version sung by Julia Church in the next scene.
The editing for the fight scenes was exciting. Certainly, editors and writers have to keep the episode within an allotted time of 44 minutes. ADOW's growing followers are a young adult audience, so for the wedding night, I already knew it couldn't be controversial or gratuitous. That's not this show's image and the two actors are married in their own life. Of course, I'm pleased that any notion of a wedding night was in this episode, but I would have gone with fewer edits; more time elapsing for each shot. Read more about Matthew and Diana's wedding and the nights that follow in Shadow of Night if you prefer the full-length story. The text version extends beyond the TV version of 50 seconds. Yes, I took out the stopwatch.
I also had already looked at the soundtrack's song titles and saw that they were using "Time in a Bottle." It is a perfect song choice -- particularly the early music ensemble's version -- however, I hated myself for spoiling the surprise so instead of feeling so angry at myself in looking ahead, I created my own version in my imagination of their wedding night. It means I have the book, the television, and my own version, and none are less meaningful than the other.
It's at times like this, the great heaven knows
that we wish we had not so many clothes
So let's loosen up with a playful tease
like all lovers did through the centuries
We're just following ancient history
If I strip for you will you strip for me?
Songwriters: Adam Ant / Marco Pirroni
Here's a breakdown of the time elapsed in the other ADOW's "love" scenes with Matthew and Diana; merely done for the sake of comparison:
- 00:22 - S1 E2, ending - from the moment he touches her hand, kisses her wrist, and lets go of her hand
- 00:39 - S1 E3, her room after dinner - from the moment her hands touch his chest to until he moves away
- 00:27 - S1 E3, ending - from the moment he reaches for her hair to the end of the scene in her room before they leave.
- 00:23 - S1 E4, night 1 at Sept-Tours on a walk - from the moment he turns and embraces her and they kiss until the scene ends
- 00:37 - S1 E5, Sept-Tours driveway - from when he takes her hand and says that they will always be one until the end of the scene
- 01:24 - S1 E5, in his bedroom from when they kiss and move to the bed until the end of the scene
- 00:22 - S1 E6, in Madison - she runs to the tree - from the beginning to the end of the kiss before she sees Rebecca
- 01:44 - S1 E7, nighttime in the forest - she lands on top of him until the end of the scene inside the house
- 01:11 - S2 E5, inside the tent from when she kisses him until he tells her, "Not now."
- 00:50 - S2 E6, wedding night - start at the end of the dance scene until the end of the love scene
When they were getting ready for their departure for Bohemia, Diana wore the trousers without her long skirt. She isn't concerned about fashion as she is about comfort. It's days of riding so it seemed very appropriate.
Philippe hands her a bag of money, stating, "the women in this family manage their own finances," and tells her the ring she wears is a sign of Ysabeau's approval; a message to Philippe. His emotions are coming forward and I think all of us fans were so sad to know that the moment was coming in which we, too, had to say farewell to him. The performance James Purefoy gave with his character from the moment they arrive to the moment they're departing is something we all have longed for after reading his story in Shadow of Night. He generously opened up all of his heart in his portrayal of Philippe.
|Father-in-law of the millennia, no question|