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, 8: Farren Blackburn
- E2, 3, 5: Philippa Langdale
- E6, 9: Jonathan Teplitzky
- E1: Sarah Dollard
- E2: Susie Conklin
- E3: Polly Buckle
- E4, 6, 8: Peter McTighe
- E5: Lisa Holdsworth
- E7: Joseph Wilde
- E9: Michelle Gayle
If you haven't watched episode 9, you will be spoiled if you read any further. I'll only refer to the book when it is significantly relevant.
Shudder TV episode description: Matthew must account for his visit to Bohemia. Matthew and Diana reach a new level of intimacy.
Tell me if you are reading this and felt the need to brace yourself because this episode is one of the last two episodes of the season. Episode 9 is 44 minutes of everything being a matter of life and death. In The Hart and Crown, Diana (Teresa Palmer) hides Ashmole 782 aka The Book of Life, wrapped carefully, securing it inside a space below the floor of the bedroom. She tells Matthew (Matthew Goode) that she can see how they could build a life together with Jack by remaining in London 1591, but she doesn't know the reality of what it would really mean for Matthew. He says, "But we don't belong in this time. Perhaps we've been here too long." How have they impacted life in 1590-91 by traveling to that time?
A major storyline bombshell drops before the opening credits. The stakes are higher when Goody Alsop (Sheila Hancock) sees Diana after she's been married and mated with Matthew and it is revealed that Diana is pregnant. Her hands hover over Diana's abdomen and we can hear a heartbeat. How has Matthew missed this or was she not far along yet for him to detect it until she saw Goody?
In Shadow of Night by Deborah Harkness, Matthew is first to discover that she is pregnant because he had his head up against her abdomen while seated. I like that Goody senses it because she is mentoring Diana and it seems fitting that witches would know. In fact, midwives at that time had medicinal knowledge and were often accused of practicing witchcraft.
Having a child with a vampire wasn't ever thought to be possible, but if Diana and Matthew are meant to be together -- her mother and father saw her with the Shadow Prince -- then perhaps the miracle of life through their mating means that both of their bloodlines won't die out. Maybe the baby won't continue to carry the de Clermont blood rage.
They are both astounded by the news. They have to timewalk to the 21st century as soon as Diana can get her final training in weaving those knots. We watch her train with much less anxiety and with much more confidence. The fifth knot formed first with a star in the shape of the five-pointed pentagram, but without the circle around it. The sixth is first shaped from a heart and then forms a vertical infinity symbol before the knot is tied.
She finds her familiar in this episode with the seventh, which has been long anticipated by fans of the book Shadow of Night. The familiar is a firedrake named Corra and Goody tells Diana that her familiar will be there when she needs it. The special effects team did a fantastic job in the detail because it appears similar to a dragon, the face has the details and its wings and body is made entirely of fire. You can read more about the familiar and what role they play with witchcraft in the Wicca Wiki.
As complications arise, Matthew has changed in such a way that he's able to roll with complex problems easier than before he left London to see his father. Goody sees his attitude has changed and so has Queen Elizabeth. A lot has happened between episode 3 and episode 9 to help his character gain more perspective. However, he was supposed to return with Edward Kelley and the queen is forcing him to turn over The Book of Life so that Emperor Rudolf gets it back. Lucky for Matthew and Diana that they have Jack (Joshua Pickering) who swipes the book back from Lord Cecil Burghley's (Adrian Rawlins) box of confiscated books with a little distraction effort in the street by Gallowglass (Steven Cree).
The fate of Jack is still to be settled before Matthew and Diana timewalk out of there. His value has increased incredibly by saving the book. I'm guessing that before they leave, they will turn over the book to John Dee so that his collection is preserved for them to find the book in the future in Oxford.
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| The bars of this doorway's gate is a reminder of what happens if someone betrays The Crown. |
Barbara Marten as the aging Queen Elizabeth is most authentic in playing this character. There's so much intricate detail in the makeup and costume, but the words are always delivered with determination. And then there is the enchanting Matthew Goode as Matthew Roydon, particularly when he has the queen essentially in the palm of his hand. When her fingers gently grace the side of his face, he softens his eyelids for her. This is the last time they will be in each other's presence while he's not the Matthew Roydon that he used to be. Rather than feed her more lies, he knows how to set her at ease. In fact, his first action is one of mercy. He offers her a drop of his blood as the antidote to her pain. Indeed, he reveals that he and Diana came from four centuries into the future. She believes him saying, "You are a future Matthew." When he says that everyone in the future remembers her name and using, "Gloriana, the greatest monarch in English history," she is finally satisfied and pleased at hearing a most valuable secret from her spy. We're looking up at her with the big arches of the gothic ceiling above her head and the light from the windows behind her, framing her on either side. She is royalty from head to toe. She thanks him and he turns back to say "You're welcome...Bess." Nice, too, how the camera slowly backs out of the hall -- we won't turn our back on the queen as we leave. Later we see her telling Burghley that she forgave Matthew and she wants to be left in peace.
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| Matthew Goode (left) hearing Sir Walter Raleigh portrayed by Michael Lindall (right) is not on the greatest terms with the queen. Here's why. |
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| Vampires who offer alternatives to dentistry: don't call 1-800-DENTIST -- call 1-800-VAMPIRE! |
Having been detained at Whitehall also meant that he was unable to retrieve Diana from Goody's. She didn't return to The Hart and Crown on her own. Pierre (Milo Twomey) and Gallowglass didn't find her either. Kit Marlowe (Tom Hughes) schemes a story to make Diana think Matthew was sent to the dungeon. She's suspicious but she still gets in the boat.
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| "A room without books is like a body without a soul." - Marcus Tullius Cicero |
When she arrives at a wet and muddy cave, Louisa de Clermont (Elaine Cassidy) with a ferocious "whoosh" of incredible speed, swoops in and restrains Diana in a headlock. While the water drips all around them, Diana attempts to convince Louisa that Philippe accepted Diana as his blood sworn daughter; has Philippe's blessing to be a member of the de Clermonts. Every moment of the scene shows Diana as powerful. Maybe the best part is when she recites Marlowe's words from "Hero and Leander." Kit is vulnerable to Louisa, not wanting to disappoint her, he is forced to point a gun at Diana. It is a profound moment when Diana has convinced him she'll tell him all he wants to know about his future. She plays into his desire to know his fate. Louisa knocks him out, but her gunfire fails to hit Diana twice. Calling forth her firedrake, Corra rises up from behind Diana and adds flames to encircle Louisa and Kit. Diana tells them that they have no future and that they both die soon. Matthew, Gallowglass, and Fr. Hubbard (Paul Rhys) arrive to quite a sight of Diana in control. This is the first time they all see Corra and are mesmerized at what Diana can do. Hubbard tells Diana that he's got this and takes Kit and Louisa to Bedlam. Matthew is relieved to see Diana unhurt.
It is night, a full moon shines brightly so, naturally, nice long shadows surround bright beams of light as Matthew tortures his old friend Kit and his sister Louisa. Diana demands that Gallowglass take her to Bedlam because if Matthew is in a blood rage, she can pull him out of it. Of course, he is; blood is running down his face. He's been torturing Louisa. Kit chained up, cowers in fright. Louisa tries to tell Matthew about the Witch's prophecy -- the old story that the witches want to destroy the vampires. It seems that Louisa didn't get the memo that Philippe saw a different prophecy of a witch with the power that inspires everyone to see the world differently.
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| Bedlam is based on the hospital for the insane called Bethlem Royal Hospital. Take a look at the book called This Way Madness Lies. |
Diana is successful again. Her coaxing Matthew back is depicted differently in the adaptation, but both versions, in their unique way, reach the same conclusion. Her soothing words remind Matthew that he's no longer an assassin. He has the feral-like mannerisms that we saw in E6 and 7; growling and about to eviscerate his prey. Her touch and her taking his hand guide him back. She is his "anchor." They depart for home leaving his victims on the floor. As they reach Water Lane, he spots The Hart and Crown, she takes his hand to assure him. They look in on Jack asleep. They're a family. Matthew wraps his arm around Diana with his hand resting over their baby in her womb.
In the morning in the bedroom, we arrive at the scene which we have been waiting for in the adaptation (any book followers know what I mean). I'm certain most fans thought it would occur in E7 at the point in which Matthew tells Diana that he wants to "possess [her] body and soul." My theory is that the producers and writers thought that the scene was already intense. I previously acknowledged that the adaptation is different for television. Its image is never associated with exploiting sex or violence for ratings. The book primarily drives the adaptation, so I'm not expecting anything in which you can see lips on the skin slurping up the blood. I accept that this is made for younger adult fans. However, if you are searching in the book, the scene begins in Shadow of Night's Chapter 30 and you can see how parts of E7 and E9 were adapted from that chapter.
Something very unique has to occur for this blog writer's jaded heart to palpitate as a result of viewing exceptional material. Such was the case for scenes in ADOW's S1 E3, E7, and S2 E5, i.e., the night we meet Philippe. I'd definitely say that such was the case for E9, specifically at the end. It is magnificently executed -- every second of their intimate ritual is dignified.
Maybe it was the blood rage hangover, but Matthew is covering his eyes and exhaling. He is steady on the idea that he will finally tell Diana how he really feels. We're watching from the other side of the canopy bed's thin veil of a curtain and as he begins to speak, but when Diana appears onscreen, we're on the inside watching and listening as if we're in the bed with them.
"Every day of my life is a battle for control. A war with myself of the need to possess you in ways that no warm blood could possibly fathom." This is from the book, but more is explained in the book about how he doesn't "believe it is right to take blood from other creatures."
One can draw the parallels of how an addict speaks about trying to maintain control. In my opinion, it is similar, but I feel the character of Matthew has been humbled by the many actions of Diana during their relationship. Whenever she steps up to speak, she has saved them from something worse. Think back to how she would have no part in destroying the vampires when Peter Knox told her that Ashmole 782 held the secrets to the creatures; that the witches could unmake the vampires. She explained to Fr. Hubbard why Matthew drank from her. She fought Juliette to save him. She asked to see the book and got Rudolf to take her to Kelley. His being with her means everything to him as he has said to Marlowe, "I'm nothing without Diana."
He explains that blood rage consumes him and he's always been burdened by it; ashamed. Diana watches as he speaks, listening to the man she loves, whom she has married. Now she's carrying their child, and she accepts his truth without question. She says nothing and lies back on the bed. 
He takes a moment in which he observes intently that she doesn't resist the idea. He is silent, facing forward, he closes his eyes and then lies back next to her. He then turns to look at her as she touches her neck.
"No." He points to her heart vein. She is gazing at the top of the canopy serenely listening. She's out of focus and Matthew in focus. It is as if we're allowed to lay on the bed next to them. It is at this point at which I felt my heart stop and start as he says, "The heart vein, they say it tastes sweeter." His words imply that he hasn't tasted blood from any person's heart vein himself. Well, of course, because he hasn't mated with anyone until Diana. We know from early on he craves her blood, but he was always in control and only drank from her because he would have died if he hadn't. He did it only because she forced him to and he knew when to stop. In the book, it elaborates that someone with blood rage who is drinking from the heart vein "requires complete control...not to be swept up in the strong emotions that result." Controlling his blood rage during this ritual is not in the adaptation, but we know the danger that comes with a vampire feeding vs. a vampire sampling the blood for information.
The score by Rob Lane is called "Transcendence." consists mainly of stringed instruments and not like what we've heard typically for their intimate scenes, often with vocals. Exultingly special, the score reminds me of works by my two favorite composers, Angelo Badalamenti who scored "Twin Peaks," and Ennio Morricone, particularly his love theme in Cinema Paradiso.
Matthew softly explains, "To drink from one's mate is to know that nothing is hidden and all that is left is complete belonging and honesty." In my opinion, saying that drinking from this vein is about their trusting each other, and it says as much in the book, but also says that they experience "a deeper intimacy" in seeing each other's thoughts. The ritual is done to connect to each other's truth, and not solely about being jealous in thinking of E7.
Her face comes back into focus and she's still on her back. "Drink, then."
Dried blood on edge of his hairline; wearing his blood-stained shirt from the torture he dealt the night before at Bedlam. We're watching from above while he is telling her everything. "But I'll know your secrets and you won't know mine."
"I could." She turns to face him pointing to the spot at the middle of his forehead and says, "The witch's kiss allows me to see inside your soul."
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| Read about the third eye aka sixth chakra. Read more about the forehead kiss. |
"You first."
"You always smell like honey." (the line is in Shadow of Night)
"Are you ready?"
"I trust you."
The sound of the music gets louder. In the book, Diana's perspective is that she feels his bite, and then her "skin went numb from the pressure of Matthew's mouth on my flesh." Onscreen her face reads of pleasure with little gasps when he releases his mouth. He only has a little taste, then stops, returns to lay on his side, and he lovingly gazes at her.
When Diana goes to touch him to turn and kiss him, Matthew reacts slightly startled, like he was in another state of mind. "It's okay," she says, and then she kisses him with her lips glowing. It's the spot of the third eye between the eyebrows. The light remains when she removes her lips and a thread of light connects from his third eye to the spot where he drank from her heart vein. The volume of the music rises again to complete their ecstatic reaction and the camera positioned next to Diana, our POV, has us watching Matthew ask her, "What did you find?"
She answers, "You. Only you." In Shadow of Night, this is his answer to her when she asks, "And what did you find?" The role reversal is something to consider. Here Matthew is concerned about what his partner detects regarding his honesty. Diana's honesty is unquestionable.
From the moment she says "I trust you" in which we're above looking down at Matthew about to put his mouth on her, from this point, I timed the entirety to last 1:48.
Their performance, Goode and Palmer, is so realistic; their intimacy so natural. In character, I believe that they're high on each other and their bodies react in unison -- together climaxing without the act of sexual intercourse -- when the thread connects his third eye to her heart. It is better to show us than tell us, but having any insight into their thoughts would be like a breach of privacy.
I'll be watching for any future episode in which their connection is more telepathic in nature. In Shadow of Night, Diana's lips touch his third eye and she sees Matthew in the forest, which appears in the adaptation in E6, having a moment of joy while he's there to hunt. The adaptation omits, during her kiss, who Benjamin actually is -- the man who approached her in Bohemia when she was at Rudolf's lodge waiting in line. I predict that the topic will enter into the conversation in episode 10.
There's nothing I would change for the adaptation of the storyline in E9. Their connection far supersedes the intimacy of sexual intercourse, which is what happens in the book. If you disagree, think about it -- we watched something much more emotional on a deeper level, which already simulates an orgasm.
All of the cast -- regulars, guest stars, and stunt performers -- are stellar in every scene throughout season 2. Their level of commitment no matter how fantastical the story is a gift to us fans. I know I'll follow their work in months and years to come. The same goes for the production team, writers, and the directors. I love the attention to all of the details.
Episode 10 gives us the remaining 44 minutes of season 2 and we all should expect a breathtaking cliffhanger based on the previews. How can one prepare to wait for season 3, which is currently being edited?
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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