ADOW inspired me to post updates again on this blog during the pandemic. This is still a passion of mine -- to promote, to write without anyone to answer to except me. It gives me a small morsel of purpose until it is safe to get back out into the community for events, volunteer work, social experiences, film festivals, arthouse films, and supporting small businesses more than I presently can due to health and safety protocols.
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.
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.
For anyone interested in keeping track of the directors and writers for season 2 up through E6:
Directors:
- E1, 4: Farren Blackburn
- E2, 3, 5: Philippa Langdale
- E6: Jonathan Teplitzky
- He also directed Matthew Goode in Burning Man, James Purefoy in Churchill
Writers:
- E1: Sarah Dollard
- E2: Susie Conklin
- E3: Polly Buckle
- E4, 6: Peter McTighe
- E5: Lisa Holdsworth
Shudder TV episode description: Philippe provokes Matthew. Diana and Matthew are married.
If you haven't watched episode 6, you will be spoiled if you read any further.
"I said 'No'!" Diana says as she ends the life of the witch Andre Champier.
We continue from where we left off in episode 5. He was attempting to absorb her memories when suddenly her survival skills kicked in, and she magically retrieved the dagger from Matthew's belt -- it flew into her open hand.
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I love the atmospheric score that plays through this scene. |
Light streaming into the room from the sun acts as a divider in between Matthew and the conversation Philippe is having with Diana. Matthew is in the light like he knows what Philippe doesn't know. Philippe is in the dark; doesn't know why or how Diana would wear the ring that he gave to Ysabeau. The light behind Philippe's head slowly appears as his thoughts become illuminated when he realizes he does not live forever. It is yet another moment in which we see Matthew close his eyes at the thought of yet another thing that upsets Philippe. While grabbing Diana's hand after spotting Ysabeau's ring, Philippe ponders for a moment on why she'd give it away to anyone, "let alone a witch." Matthew wanted Diana to hide it from Philippe.
And there's no dissuading Philippe from the next steps he takes from this point forward to learn how he dies. James Purefoy as Philippe de Clermont expresses everything in his face showing how he slowly absorbs how this deeply affects his life going forward; he sees everything he does with an entirely different perspective. What could possibly allow him to become vulnerable enough to die?
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The excitement of seeing a ring you gifted your wife now worn on the hand of someone else who comes from a time in the future. |
Matthew later finds Diana rowing on the nearby lake just on the edge of the castle's grounds. Remember that she'd take a boat out to row in Oxford in the initial episodes of season 1; the only way she could relieve stress since she was discovering her newfound power. She says she needs time to think after defending herself. She wanted to kill Champier she tells him. She asks, "What am I becoming?" Her experience with Knox and Satu has her on a "hair trigger" because one manipulated her into causing her to summon witch wind to protect herself and her friend Sean. The other attempted to physically and mentally open her up to find out what she was capable of magic-wise.
Diana finds in Philippe's library a map left out by Ysabeau for her to track the witches who live in Burgundy. Her plans for the next witch hunt include blue "X" marks, which plot where she shall find witches. Diana moves her hands around the map as if she's able to release the ink into blobs that hover and as pushing them into the air another wave evaporates them entirely into disappearing from the map.
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| Late autumn in France depicted by the misty air and foliage. The angle from this position at a distance has them, in a way, seeing eye-to-eye. She, too, can be just as dangerous as Matthew if pushed to her limit. |
Philippe challenges Matthew to a duel, who is out in the stables getting the horses prepared. Was he going to leave for Bohemia without Diana? He says "I have an errand to run," as opposed to something like, "Diana and I are leaving for Bohemia." Writer Peter McTighe clearly puts Matthew in the vicinity of the stables that positions him further away from Diana's sight and ears so she can't hear them. I'm picturing Philippe's office is on the other side of the castle because they appeared to have walked in from the opposite side on the night of their arrival.
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| 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."
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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."
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.
like all lovers did through the centuries
If I strip for you will you strip for me?
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.
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| Father-in-law of the millennia, no question |
Philippe: You have found a woman who is worthy of you with enough courage and hope to spare.
Matthew: Yes, I know.Philippe: And know this. You are equally worthy of her. So stop regretting your life and start living it. And there is one more matter to be put to rest before you leave. Whatever happens between the two of us in the future, I forgive you. Now go, my son.
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| Thank you, father. |
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| James Purefoy as Philippe de Clermont looks into the camera like he is looking at Matthew; his words are most eloquently stated and most touching. |
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| Thinking of the lyric, "But the humans will give no love." from "Horse with No Name" by America |
Philippe now turns back to Sept-Tours and has found the words he was seeking in order to write a note to Ysabeau. He hides it in the book, slipped into the binding. There's an anomaly that causes a vibration that alerts the witches at the beginning of E6 to look for what is causing it. Ysabeau (Lindsay Duncan) tells them that Philippe hid messages. It isn't until Ysabeau later that night sees a piece of paper folded into a tight square and sealed in wax. Indeed, she finds the last message from Philippe and Lindsay Duncan's performance is so amazing and heart-rending to watch.
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| Song "Lonely Woman" by Dee Dee Bridgewater |
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| Philippe's ring is an ouroboros symbol. This symbol is throughout Sept-Tours on the various items, not just the stamp he uses to imprint the wax seals on his letters; the saddle mat for the horses, and hung above the door of the entrance, and even can be seen on a shield in present-day hung on a wall. |
Philippe has taken into account everything that has transpired during Matthew and Diana's visit.
- Matthew has control of his affliction, while he has found a mate worthy of his love; and she being his equal on love, courage, and hope
- Philippe's closure with Matthew regarding his mortality
- The prophecy about the fearsome witch has come true; plus Ysabeau sent Philippe a sign of approval of Diana to be a part of their family; he has a new daughter and he gave her his arrow pendant.
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.
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