The following analysis is solely my own. Some of it offers an opinion while recapping portions of the episode. The focus is usually on a particular aspect of the story or aspect of a character. Anything in this post is created by the blog's author who is an inspired fan wanting to promote the work. Feedback is welcome. Let me know if you like or don't like something. Please leave a comment here or on Instagram @thataddamsgirl.
Episode 5 feels too short even with a runtime of 44 minutes including the recap. The recap to prepare us for the new episode is amazing on its own because it covers earlier scenes from season 1. As I've been saying in previous postings, the TV series "A Discovery of Witches" is adapted from the All Souls Trilogy by Deborah Harkness, and for season 2, adapted specifically from Shadow of Night, the second book. I'll only refer to the book when it is significantly relevant.
Shudder TV episode description: Matthew and Diana arrive in France. Philippe has a revelation. Diana practices self defense.
If you haven't watched episode 5, you will be spoiled if you read any further.
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| Steven Cree as Gallowglass, left. |
I immensely enjoy every stunning CGI morsel. The sand and the ocean rushing by as the horses carry them over the hills is awe-inspiring. The beach is on the coast of Wales, but I'd never know the difference. The cinematography in all of these episodes is out of this world. Each wide shot is a tribute to some of the finest open landscapes. Episode 5 leaves quite an impact; above the level of all the episodes that precede it.
Diana sees the welcoming party of horses and men to escort them to Sept-Tours. She asks if Philippe sent the party to protect them on their journey. But Matthew doesn't assure her it's for their protection, saying, "That is certainly what he will claim." If it were not for Philippe summoning him and Diana to Sept-Tours, they would be on their way to Bohemia to find Ashmole 782. Their new handlers are essentially a team that enforces his orders.
Gallowglass offers a little humor for Diana to feel at ease by telling her to "follow the trail of vanquished enemies and satisfied women" when they set out for Emporer Rudolph's castle in Bohemia where they'll meet up later.
[Side note: it's probably too late, but I'd love a bawdy B story from Gallowglass's POV.]
He tells Diana, again, "Do not lose him. Or yourself," as he had said in E3, that she "needs to be his anchor while in Sept-Tours." No longer smiling, she takes off to find her horse.
Next is the heartwarming moment of uncle and nephew with forehead-to-forehead, bidding each other adieu. Gallowglass and Matthew have a storied history; their bond is obvious.
Viewers have been anticipating the reunion of Matthew and Philippe for so long; it's bound to be filled with friction. Matthew wanted to go hide in time from the Congregation and never expected to be reunited with his stepfather whom he watched die 70 years ago. He prepares Diana for Philippe during the rest stops on the way to Sept-Tours. He warns her in so many words about how limited he'll be with regards to his freedom every moment that he's closer to Philippe.
Chapter 8 of Shadow of Night expands more on the conversation between Matthew and Diana regarding the Catholics and Protestants in France, which occurs at about nine minutes into the episode, but is much more condensed in the adaptation. The book explains more back story about Philippe's perspective on Christianity and protecting France plus why it is dangerous to be riding through France.
The secondary story of E5 is about Kit Marlowe running into Matthew's blood born sister Louisa, who is discovered having a blood meal of a man just outside of The Lamb, the pub that is Kit's second home. Kit fills her in on the whereabouts of Matthew. He even reveals who Matthew is in love with and she notices he's pining for her brother. She asks for Kit to escort her around the city while Matthew is away in France. Eventually, he is more than her escort and ends up being her accomplice as they wake up a watchman in Blackfriars, long after curfew, while enjoying target practice. She shoots the man after he calls her a whore. Kit looks shocked at what she's done, and they take off leaving the body behind. Somehow this probably will bring trouble for Matthew later.
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| Don't call Louisa a whore or she'll shoot you dead. (Elaine Cassidy portrays Louisa de Clermont) |
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| The dark silhouettes make it more cinematic. |
After a brief moment of fatigue, causing Diana to fall off of her horse, she is put on Matthew's horse to ride sidesaddle with him. She still assures him, saying "Wherever you go, I go." Notice the constant theme of "being in this together." For example, back in E5 of S1, when Matthew returns to Sept-Tours with the report on Diana's genetic data, he told her, "We will face this together otherwise we will always be running." Matthew and Diana are holding hands in S2, like while walking through London, and in this episode, walking into Sept-Tours, continuing to show that they're always connected.
When Diana is warming herself by the fire, Pierre asks that she be there for Matthew. She lets her impatience get the best of her at Pierre's expense saying, "I get it...no one can hide the truth from Philippe no matter how much they try." Diana is being counseled by two vampires who've known Matthew longer than she has known him. She can't help but ask Pierre whether or not Philippe wants Matthew to be happy. Notice how he doesn't answer this question. Is it a matter of Philippe not allowing Matthew to be happy? Pierre just tells her Matthew is going to need her and she "must be his guiding light." Has anyone been paying attention to her optimistic attitude?
It's time for bed, but Diana isn't ready for sleep when she tells Matthew, "I'm always yours," and he says, "And I am yours." She initiates the intimacy and wants to take it to a new level in their physical relationship until Matthew says "Not yet. Not now. In time." Diana's response is to turn her face away from him so he doesn't get a goodnight kiss, or any more of her love this night. Teresa Palmer as Diana nails it as the unsatisfied woman. She takes her hands off of him and silently rolls over to put her back to him. Matthew is not telling her anything about why they're not getting past the "bundling" phase of the relationship (see S1 E5).
[The book Shadow of Night expounds on this topic. It will not be spoiled here. Plus, I expect more has been written into episode 6, even if it's a condensed version. More to look forward to next week!]
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| "If only the sexual revolution was a little earlier," Diana says this at the beginning of the journey on horseback after arriving in France. Amen, woman! |
I guess Matthew has a thing for leather trousers because overnight he left a pair for Diana to wear, which she discovers next to her head -- with a wild flower on top of them. She's quite delighted to put on pants for the first time. Hours of horseback riding remain, but probably are now less daunting. [The gift of leggings is different in the book however, the adapted version works out better to show that Matthew cares about her comfort even while he is lagging behind with regards to her other needs.]
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| Milo Twomey as Pierre, tasked with finding a hotel in Bohemia and keeping Gallowglass from getting into trouble. He looks really psyched, huh? |
At just about 23 minutes in, they finally arrive at the castle. Of course, no one expects, "Welcome home, long time no see." The tension is quite thick. The anticipation and anxiousness are apparent on Matthew's face. It's emotionally riveting to watch these two characters together in the series for the first time. Diana doesn't show emotion, but Matthew is quiet, doesn't answer when Philippe beckons from the dark of the alcove, his back to them with barely any candles to light the office, "Explain yourself."
Matthew, looking like he's at a loss for words, walks towards Philippe who is turning to face him. He places the coin in his hand, he says, "I'm here. As commanded," and bows his head as a sign of respect. His soft-spoken answer is even and steady. Philippe half-willingly bows and swivels with a little scoff. It is an inadequate explanation. "I'm sure your spies have told you everything you need to know," answers Matthew, clearly not prepared to explain anything more than necessary. Philippe says, "You should have told me yourself about your witch." Meanwhile, Diana is just listening; watching Matthew and Philippe begin to acknowledge her.
Diana seizes the moment; speaks with confidence to Philippe about her not only being a witch; she's a weaver. Philippe is not impressed. Matthew watches her much like when he watched her handle herself so well in front of Kit Marlowe, Fr. Hubbard, Lord Cecil, and Queen Elizabeth. He cringes, though, when she tells Philippe she "has seen things that are not in the history books, yet." Philippe challenges her and she can certainly handle him. Philippe divulges that he heard about them from Hubbard, and then states the obvious, "You seem out of place," and he then he faces Diana, declaring, "You are a timewalker. And you have come to this time for a reason."
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| [alternative dialogue: Merde!] Matthew appears surprised that Philippe discovered their secret so soon. |
She says, "We were in serious danger." She tells Philippe she loves Matthew.
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| Matthaios is yet another name for Matthew. |
Matthew: Please do not doubt my feelings for Diana.Philippe: Surely you are the one with doubts. If this relationship truly meant something to you...Matthew: Please, don't.Philippe: You would have consummated it...by now. Did you really expect me not to know?
The pause for emphasis; the speech pattern that connects them to how they are alike. The delivery is impeccable.
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| Never doubt a vampire's ability to literally smell a lie. |
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| He tries to read her reaction. |
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| [alternative dialogue: Um, that spot still stings. There was this vampire who was obsessed with me... (sigh) Nevermind.] |
Matthew goes to Diana and they have an argument that tops the argument that they had in the second episode after Matthew kills the prisoner.
"He knew before I even opened my mouth. And you lied to me."
"It wasn't a lie... As far as I'm concerned we're mated." Deny, deny, deny the lie, Matthew.
So, Matthew changes the mating rules to fit his needs and Philippe takes issue with this.
"I knew there was something," she says. She asks why he's holding back.
He won't give her a clear answer and says, "It's complicated."
"Your father didn't think so," she says with a look of reproach.
"Well maybe you should bed him."
I love that she builds momentum in slapping him in the face, enhanced with a ripple of power that throws him out as the door slams shut. She's so fierce!
If things don't go his way, he becomes volatile, and therefore, he attacks the person he loves. She was right to stand up to him and she deserves the truth.
Matthew Goode and Teresa Palmer fight like a married couple and I love it almost as much as the romantic scenes between them. None of it is ever contrived. The fight appeared to be fueled by an unbearable weight of their characters leaving things unsaid for so long. It was more believable than the punch from Kit in the first episode.
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| [Alternative dialogue: He heard everything you said, you know!] |
James Purefoy and Matthew Goode are also really compelling to watch because if you've seen them on "The Wine Show," they're good friends and have a great time together. Even though brief, their scenes in E5 explore another side of Matthew Clairmont. James Purefoy is so perfect in his role as Philippe de Clermont. He plays the parent that is forcing his son to think about his actions; own it instead of being in denial. Matthew holds onto trauma creating this wall of secrets that locks him in a painful state. His inability to be truthful is the "sin of omission" in Philippe's eyes. "And you are still sinning," to which Matthew says that this is between himself and Diana. "If only that were true," responds Philippe. I process this to mean, being dishonest to Diana, in the eyes of God, you're committing a sin and you can't say that your pattern of lying is only between you and Diana.
It really irks Matthew when his father asks when he last fed. He's over 1500 years old and the question sounds so ridiculous to him. Remember, this is the same person who has him identifying Catholics for Queen Elizabeth. He cares more about nourishment than how much Matthew is guilt-ridden over his duties to the Queen.
Philippe scrutinizes his son's irritable mood. It's more than about the separate rooms. What happened in Matthew's time with them? The question just hangs there as Matthew is tormented, refusing to answer him. He is only able to utter, "Don't." Philippe is far older and wiser to let anything get past him. When he sees Matthew isn't forthcoming, he ends the conversation. It is breathtaking to see this exchange; so perfectly executed.
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| Philippe de Clermont (James Purefoy) |
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| "Don't." [Alternative dialogue: Don't. Let's wait a week to dispense with more of my baggage.] |
Solo hunting on horseback this time -- last time Hamish drove him through the highlands of Scotland -- and Matthew is enjoying the freedom and fresh air of the late autumn. This is another respite from the pressure he's under, and yet, it will not last.
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| The quiet moment in silent forest; it feels amazing to finally be alone and away from the responsibilities. He last smiled in E3 when Gallowglass arrived. Can a long overdue meal get Matthew back on track? |
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Philippe: We do not lock up books in this house. Reading seldom leads to bad behavior. |
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| Diana: Oh, you'd be surprised. |
She makes great use of the empty bed with lots and lots of books. She's much more relaxed with the history books. Also, adding to her accessories is Ysabeau's ring. She hears footsteps nearby and runs back to her book, which is so funny because she acts like she's in trouble. Wait for it, Diana because here it comes!
Andre Champier, a witch from nearby, shows up uninvited insisting that he was summoned by Diana. Has she got a tracking device on her? This is the second time a witch seeks her out within hours after her arrival. Philippe didn't act as if he ever met him so he just lets him in, escorting him to her bedroom.
Champier and Philippe interrupt her. She's immediately guarded at the sight of Champier because of what she's experienced with Satu and Knox. He says he is there to unlock her painful memories; erase them by taking them. He's too big to get out from under his grasp when he takes hold of her head in his two hands while he calls her a traitor for letting Matthew feed on her; accuses her of holding secrets. He can see how she saved Matthew's life. Philippe watches what unfolds with fascination.
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| She screams, he runs! By the way, how sharp is your dagger, Matthew? |
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| Andre Champier is enthralled with eliciting the memories from Diana. |
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| She doesn't need his protection. She just needs his dagger. |
[I plan to post about the season 2's soundtrack after all ten episodes have aired]
You can watch the show on Shudder or Sundance Now. In the U.S., subscribing to AMC+ provides four networks in one bundle that includes those two mentioned as well as AMC and IFC Films. More photos, videos, and other updates on the A Discovery of Witches Facebook site.
[If there are scenes that didn't make it into the series between Matthew and James, I would enjoy all of those extras if any were to be added as special features when the DVD is assembled.
Watch other work in which these two actors share the screen in Roots (2016). See also this blog's post about "The Wine Show" on its own page here.]
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