Blogging about "A Discovery of Witches" gives me an outlet to process what is happening to the characters in the All Souls Trilogy TV show universe, which is adapted from the three books by Deborah Harkness. I'm grateful that I found the show during a tough summer of 2020. I didn't visit with family or visit friends; didn't take a vacation. So I went on the ADOW journey. Indeed, the story has been quite an extraordinary journey so far.
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.
For those keeping track of the directors and writers of season 2 episodes:
Directors:
- E1, 4, 7: 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
- E7: Joseph Wilde
Shudder TV episode description: Matthew and Diana arrive in Bohemia. Matthew is pushed to the edge.
If you haven't watched episode 7, you will be spoiled if you read any further. I'll only refer to the book when it is significantly relevant.
Episode 7 begins with a recap of moments as if to give us a checklist of some of what we know so far.
- Edward Kelley is in Bohemia; Queen Elizabeth wants him to create the Philosopher's Stone, and Matthew volunteered as her spy to capture him. Kelley's likely in possession of The Book of Life. The queen's royal ambassadors were turned away by Emperor Rudolf II.
- Matthew at Sept-Tours tangled with Philippe, losing control to his blood rage, and Diana witnessed it for the first time. Gerbert and Domenico are fully aware of the de Clermont's infected bloodline and are tying two recent murders in Oxford to the family.
- Philippe's blood vow with his ouroboros onto Diana's forehead; she's a de Clermont
- Matthew and Diana's wedding vows exchanged.
- Philippe's coded message to Ysabeau that he hid for her to discover in present-day informing her that after marrying, Matthew and Diana are on their way to Bohemia to find The Book of Life.
Diana steps up like she has previously with Fr. Hubbard, Kit Marlowe, the Queen, and Philippe. Rudolf is intrigued that she takes an interest in alchemy, which is why she seeks Kelley.
Matthew is cold and jealous. Rudolf is put off by his bad manners, and they leave.
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| Alternative dialogue: "Excuse me, but I didn't give you permission to kiss the hand of my wife." |
Matthew expresses how he feels to Diana "I don't like the way he looked at you like a jewel he wanted to add to his collection." She thinks she can use the way he flirts with her as an opportunity to get to The Book of Life.
A whistle, as if, "over here" and enters Gallowglass (Steven Cree) so that this scene lightens up the tension of meeting Rudolf. Hugging Diana, he senses Matthew and Diana have "consummated" or "mated." In Philippe's words, his face shows he recognizes that their scents are no longer distinct.
"I guess I can call you Auntie now."
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| Matthew gave a millisecond smirk when he looked at Diana and back at Gallowglass. |
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| Diana hearing she's now "Auntie." |
The three continue inside to brainstorm a plan. Gallowglass expounds on the fact that once Rudolf wants something, he stops at nothing to get it.
A knock at the door makes Matthew wide-eyed and alert. Gallowglass receives the delivery at the door with the messenger announcing it is "for the goddess." .
These funny moments are a welcome contrast to the darker moments of ADOW. Steven Cree as Matthew's Scottish nephew finally gets to do more in this episode.
Diana is in bed, letting down her hair, and Matthew is pacing. She should be saying, "Get in the damn bed, Matthew." He says, "The less we arouse the attention of the Emperor..." It is a bit pointed at the fact that Diana barely blinks and Rudolf gets hard for her. Matthew insists that the key to The Book of Life is Edward Kelley, but Diana thinks she can go with Gallowglass to see Rudolf and find out where it is kept.
Meanwhile, Matthew and Pierre sneak into Herr Steiner's apothecarium, and discover that there's a list of appointments only scheduled at night. The name of the person in the appointment book is Talbot, aka Edward Kelley. They return later and find Kelley (Tom Mothersdale) who is obviously Rudolf's prisoner. He starts quoting from The Book of Life as the guards drag him inside to a dungeon, as we later find him chained inside. Matthew and Pierre cannot follow, but they know where he's being kept.
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| Gallowglass walks in with the box saying, "I assume that's not you, Matthew."😂 You guessed it, a gift is delivered from Rudolf to Diana. Picture Rudolf instructing that the messenger say "For the goddess," loud enough to be heard inside. |
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It's an automaton -- The Goddess Diana; Goddess of the Hunt. Matthew glares at it; nothing left to the imagination. Provocative, indeed. |
Other people want to win Rudolf's favor at the lodge when Diana and Gallowglass arrive with the gift of the Voynich manuscript that they brought from Dr. Dee's library. Diana tells Gallowglass that Matthew has changed a lot in the 400 years since he knew him. When no one was present, Gallowglass learned that they're timewalking from the future?
There's such a brief discussion, again, on the topic of what it means to be mated to a vampire. We must first understand that being mated with a vampire also means having a possessive partner. However, Gallowglass explains, "Blood rage is harder to control. It's primal. Physical. If provoked, he will struggle to contain himself." Knowing that they mated is one thing, but it seems like Gallowglass has witnessed a blood rage moment or two in the past.
He's trying to be helpful so he leaves Diana in line on the stairwell to go suss out a new plan to get inside sooner. Coincidentally, a mysterious man stops next to her on the way out. Listen to the subtle drumming of her heartbeat.
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| He recognized Philippe's scent from the blood vow; he's a vampire, too. He can only know that scent if he were also part of the family, but she doesn't yet realize this fact. |
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| Loaded with information, this guy! (Jacob Ifan as Benjamin) |
He introduces himself as Benjamin Fuchs (Jacob Ifan) and vaguely answers when she asks, "Are you a friend of the de Clermonts?" with "I fear I am beneath their interests...I was cast out of my own clan." He says that he is a collector for Rudolf. Off he goes, but the words "cast out" -- interesting choice as, possibly, a clever way to gain her sympathy. Remember that Diana also felt like an outcast even among other witches. She does appear taken aback that a vampire approached her and recognized the blood vow, but she fails to mention it later to Matthew or to Gallowglass.
Rudolf clears away everyone ahead of them for Diana to see him. Gallowglass promises a painting that interests him. It backfires because she only has the Voynich manuscript.
Rudolf sends for the famous scholar, The Maharal, aka Rabbi Loew (Anton Lesser). "Are you interested in the uncanny arts?" Rudolf asks her.
All four go to where he keeps his traveling artifacts collection and he's aiming to impress her with the Eppendorf Root.
Everyone who worked on the props and sets for ADOW deserves an abundance of praise -- all the art that was on display in this episode is referenced from historical notes about Rudolf II's collection of artifacts.
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| Michael Jibson as Rudolf II |
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| Kelley screams "It begins with absence and desire, blood and fear, it begins with a discovery of witches!" |
Matthew is tagging along as Diana meets with Rabbi Loew. Matthew had told her to be careful of what she says. Loew notices how Matthew appears to be overly protective towards her, and then he advises Matthew, "One should find wholeness in a marriage, but it should never become a prison." This is quite appropriate because he's not easily able to leave Diana's side ever since they were married. However, the matter that is most important is that we learn that Loew has not yet fessed up to Rudolf that he cannot decipher The Book of Life. If he admitted he had no ability, that'd be the end of him.
Diana plans to tell Rudolf that she'll decipher it, but Matthew is livid about a new invitation -- she was just invited to hunt for pheasant with the emperor. Rudolf could imprison her as he did with Kelley. Gallowglass volunteers to get the book by sneaking inside. Kelley won't be of use if the book is missing so they can snatch him, too.
In the serene landscape of what should be the Czech mountains, it's actually northern Italy in the Dolomites, yet equally beautiful, we watch Rudolf assign Matthew a smaller falcon, Šárka while his larger falcon, Artemis, represents Diana. He's still trying to win Diana's favor which only further irritates Matthew.
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| "Šárka destroyed an entire battalion of men by herself," says Matthew. See The Maidens' War. |
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| "Play nice," she says. He grunts. |
"You broke my bird!" cries Rudolf. Michael Jibson's comic timing in his delivery is hilarious; he looks woefully across the field. It's the kind of oneupmanship Matthew has been aiming for since he's had to endure Rudolf making it obvious he wants Diana as his newfound "artifact". Rudolf is furious and kicks them out of Bohemia.
The use of hunting as a metaphor is a common theme with ADOW. The writers mix the action in the different scenes to demonstrate the hunter and the prey. See E2 in S1 with Matthew hunting a stag and Knox persisting that Diana dish the details about the book. In E5 S1 when Matthew went after Gillian to find out what she discovered in his lab all the while his mother hunted and captured a fox to show Diana how vampires feed. In this episode, it was a blend of Gallowglass gaining entry into the annex, and the cleverness of Matthew's hunting prowess.
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| The easy way in is not always the easy way out. |
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| Giving it a score of 10 on the landing, if it were the Olympics. |
Stealthy Gallowglass finds his way through the opening above the annex into the Kunstkammer at Rudolf's lodge, but he finds disturbing artifacts hidden in a secret chest. He slips out with a mummified witch's hand and shows it to Matthew and Diana; explains what was in the collection: a necklace of vampire teeth, a jar containing a demon's brain, and bits of creatures. Also, it is important to keep in mind that it was no small matter when we heard Benjamin say that he's a collector for the emperor.
Matthew is disgusted; done. He wants them to leave that night. Diana asks what about the book. He's enraged; the force of his anger being released moves him physically when he shouts, "Enough of the book!" Thick tension fills the room so Gallowglass leaves them.
The argument stirs the blood rage in Matthew much like what we saw with him being pushed to his limit when provoked by Philippe. If Philippe opened old wounds, well Rudolf added the salt to them. Rudolf uses people; a sycophant. Think about the fact that this 1500+-year-old vampire still maintains friendships with a demon, Hamish, and now has in-laws who are witches. Furthermore, he loves and protects his vampire family that he's been trying to find a cure for the blood rage in his study of genetics. Creatures are going extinct. He only has got Diana, Ysabeau, Marthe, Marcus, Miriam, and Gallowglass for his real family. Baldwin is a terrible brother who couldn't protect Matthew from the Congregation finding out that they timewalked.
Matthew's affliction is getting worse since he's returned to the past. Diana supports him and is there for him, but he has got to give her more freedom. It isn't just about keeping her safe anymore. It is him wanting to keep her all to himself. And finally, admitting to her his flaw--that he doesn't trust himself. Diana suggests that he let her talk to Rudolf alone about seeing the book.
"I cannot! I cannot. I can smell him on you." He growls. "This is why I lied to you."
He is like a feral animal and yet he still has control of his words as he explains, "This is what mating is. An unspeakable urge to possess you, body and soul...a rage. A rage that feeds on it." He growls like a wolf in the wild as she reaches to touch his hand very slowly so as not to startle him.
He goes on, "You've never seen what it makes me do."
She softens her voice, "You won't hurt me."
"We're still talking."
"Let me go!"
The door frame is on fire and he's growling while in profile half turned towards her and the other half towards the door.
Much like a therapist would talk to a patient working through a traumatic memory, her voice is steady and calm. He can barely bring himself to look at her, displaying wild animal reflexes, and she says, "Come back to me. You are Matthew de Clermont," as she takes his hand, "And stronger than this." As they kiss he becomes relaxed and calm, but he kisses her much more passionately than we've previously seen in other love scenes. He kisses her like he craves her. 
"It's all right, Matthew."
He goes on, "You've never seen what it makes me do."
She softens her voice, "You won't hurt me."
"No! Not you. For you. I would wade through the blood of kings, queens, and emperors. I would stop at nothing to prevent that from happening to you," he gestures toward the witch's severed hand. He growls, turns to leave, but she tosses a wave of fire from her fingers, curving around Matthew as it lands on the floor, igniting flames so that he cannot leave. It's time to confront him. For once he will not leave without listening to her.
"We're still talking."
"Let me go!"
"You are not defined by the worst thing you've done."
Adapting this from the book's version of telling the story requires condensing it to fit into the time allotted on the screen; not an easy task. The version of this side of Matthew in the book is told with a different angle, but it remains about the vampire's possessive nature. I recommend that fans of the show who haven't read the book check out Shadow of Night after the end of season 2. If episodes 8, 9, or 10 delve further into the possessive traits, I would be surprised. Season 2 doesn't have time to get as elaborate as the book however, it would be amazing to see.
Big applause to the sound design team for the ferocious sound of the flames--it ups the level of danger and suspense. It takes only a little switch in the makeup for Matthew Goode's face during his blood rage because his acting does the work; it's brilliant when he changes back (great editing makes it seamless). Every moment of this scene is as unnerving and mindblowing as the scenes in episode 6.
The fight between Matthew and Diana has new dynamics. Undoubtedly, this is my favorite scene with them in episode 7. Again, I cannot examine enough how the portrayal of these two characters is so captivating to watch with the mesmerizing performances by Matthew Goode and Teresa Palmer. In each new episode that airs, their portrayal is clearly deeper and more meaningful. It comes across that they have a great deal of love and respect for the work.
Gallowglass returns to find the doorframe is charred, he's got a worried expression, but dares not say anything further. He nods as if to say, alright, and closes the door. His return is to present them with the apology from the emperor as well as an invitation for both to view the Kunstkammer. They put in place a plan to be ready to run once they have the book and Kelley.
Rudolf is playing the good sport. He hooks onto Diana's arm as Matthew and Gallowglass follow behind them. The wine glass Rudolf carries has a gold snake ornament wrapped around it. He loves to show off his unique items so Diana asks if he has anything stored elsewhere, not in the public eye. Diana says that she heard he has "a book, a book that holds the secrets to life itself."
Rudolf signals for Rabbi Loew to enter, he wants to make an example of him as a deceiver. He tells the crowd that the Rabbi "has no arcane talent beyond the typical low cunning of his people." He sends him out, turning his attention back to Diana.
Matthew is watching her carefully, but Gallowglass and he know she's got this. Rudolf says, "If I did have this book, why would I give it to you? A prying, English spy and charlatan."
Diana doesn't answer him and concentrates on the gold snake. It changes into an actual living snake right before his eyes. "I am no charlatan," she declares. Matthew signals Gallowglass to take the snake from her and he hides it. Rudolf is ecstatic like he has discovered fire, saying she can have anything she wants. She commands, "Show me the book."
He takes them to a secret underground location. Kelley is chained. He's clutching the book until Diana uses her powers of witch wind to release it from his hands.
Once the book is open on the ground, it releases into the air with her help, the image of the tree lit up. There is a bright yellow circular figure on one side of its trunk and a blue glowing sphere on the other side. It transforms into the King and Queen figures seen in the wedding illustration; the page that came flying out of the wall in Madison. Above the tree are the sun and the moon and then the bright image transforms into a brilliant red dragon.
On a smaller level, the brilliance of the scene reminded me of the climactic moment in Raiders of the Lost Ark with the Ark of the Covenant. Beautiful, though, digital and shorter on time. Nevertheless, it was exhilarating.
Rudolf declares that Matthew can have Kelley as he signals his guards to grab Diana. She fights loose screaming, "The book!" as Kelley begins to tear pages from it. Diana smacks Kelley in the face and takes the book as they all escape. Gallowglass and Matthew are fighting the guards on the way out with powerful swings of fists and elbows.
Once they reach the horses, Diana hands the book to Matthew and he immediately smells the odd smell--it is made from the creatures--from their skin, and the ink is made out of their blood; pages bound with their hair. "I'm sorry, Diana, but this is more like a book of death." They take off to go to Francoise and Jack who are ahead by a couple of miles and waiting.
Kelley's guard is attacked as soon as he yells back to Kelley that he doesn't care about his book. The attack is the same as when the humans were attacked in Oxford. The vampire approaches and it is Benjamin Fuchs. He walks over to Kelley with his mouth still covered in blood and says gently, "I care about your book, Edward." Well, that was spine-chilling!
I love the mystery of this character and won't spoil it for non-book readers, but it is a truly exciting moment to see Benjamin at this early point in the story. He will have a bigger role in at least one more episode of season 2, and most of season 3.
The museum exhibit at the end of the episode has a docent talking about Kelley's work. We're in present-day looking at Edward Kelley's letter under glass, which is an account of what he saw of The Book of Life. Knox, of course, is taking in the exhibit.
Episode 7 sets up so many developments to take us through the final three episodes. I'm expecting nothing less than feeling devastated when we're at the end of season 2.
For episode 8, it looks like we're going to see more of Oxford and Sept-Tours in the present day and we'll see if maybe Emily is taking her magic to a new level, again.
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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