"A Discovery of Witches" | S3:E2 | An Analysis (contains details of E2)

The following analysis is solely my own. Some of it offers an opinion while recapping portions of the episode. I impart a little satire within the recap. It may not recap every moment and may not cover every character of the episode. Anything written for this post is created by the blog's author who is an inspired fan with the intention of promoting the work. If you enjoy reading this, please leave a comment here or on Instagram @thataddamsgirl.

This episode:

• Director: Jamie Donoughue 
• Writer: Helen Raynor
• Description: Diana is forced to make a confession to Matthew after the pair are shocked by the appearance of another familiar face - Jack Blackfriars.

If you haven't watched season 3, episode 2, or any episodes from the two previous seasons, you will be spoiled if you read any further. Episode 2 has a very quick recap: 

• The killer in Oxford following Matthew and Diana and we see Domenico telling Baldwin that the killer stole their miniature portraits from the vault; 
• Matthew in his blood rage and growling in the asylum of Bedlam; 
• An overview of the scientific research on the creatures – vampires no longer able to sire; witches losing their powers, daemons succumbing to mental illness; 
• Gallowglass's warning to Diana -- "being mated to a vampire with blood rage" -- seems a bit full of doom in that a vampire cannot control the blood rage (this part is murky in the TV series, but if you read the books, it deals with possessiveness traits), 
• Don’t forget the pact between Diana and Father Hubbard, 
• Diana meeting Benjamin in Bohemia, and 
• Benjamin on the phone, hearing Matthew and Diana are back in London.

Camera angles begin from above and descend to the person standing in front of an open bible. The moment is peaceful inside the cloisters as the scene reveals we’re seeing Father Hubbard (Paul Rhys) for the first time since season 2 ended. His peace is interrupted by Benjamin. Hubbard tells him, “He is not here.” Ah, which “he” does he mean?

The exterior of Hubbard's church is Christ Church Greyfriars which is located next to St. Paul's Cathedral in London on Newgate Street.

 

Where have all your brethren gone, Father Hubbard?

The story hops over to Chris’s research lair (ok, it’s a lab). Research scientist Christopher Roberts (Ivanno Jeremiah) is featured in the third book of The All Souls Trilogy's The Book of Life quite a bit more than in the show. Diana suddenly looks really pregnant so perhaps a few weeks have passed. She’s carrying two babies; "two heartbeats" is what Matthew said he heard in episode 1. 

Chris and Miriam talk about the lengthy process of mapping the genes of vampires; it may take years. Matthew cannot accept that timeline and he is determined to know how to cure blood rage because Diana's carrying his children who are possibly infected. It’s difficult enough with handling this case of a killer vampire, but two teething baby witch-vampire hybrids with blood rage? There’s not enough Tension Tamer tea in the house for that headache.

Diana and Matthew are heading out of the parking garage when he senses vampires in an oncoming car blocking their path. Out of the car is Father Hubbard and Diana moves towards him asking WTF you doing here? She is actually calmer about it, oddly. I find the scene to be quite subdued. Matthew becomes guarded at the sight of Hubbard showing up all of a sudden. 

“You left something in my keeping,” says Hubbard. Well, it was Henry Percy’s responsibility to take care of Jack, yet Diana went to Hubbard with the request that he keep Jack safe. 

Here’s an aside for contemplation. It hurts my head to imagine that Matthew Roydon of 1590 never reappears in London after Matthew Clairmont and Diana of 2019 return back to the present. Roydon doesn’t meet Jack? I know, just stick with the simple storyline.

Jack Blackfriars (Toby Regbo) gets out of the backseat. He’s a sweet-faced, blue-eyed, blonde, medium-length hair; a young man dressed in a hoodie. Matthew appears as a man at a loss for words.

“I brought him back, where he belongs,” says Hubbard. 

Title sequence.

Hubbard explains that he saved Jack from the plague. Matthew and Hubbard argue, but Matthew can’t out-shout him. Hubbard is right. Diana and Matthew said they were taking a ship. Jack never gave up in thinking that they’d return and his despair only grew worse waiting for them.

I love the tone of Paul Rhys’ inflection on the last two words in delivering the line, “Do you really think a warm bed and food in his belly could mend his broken heart?” Hubbard turned Jack into a vampire to add another to his flock of vulnerable followers.

Working as a chauffeur is a good side hustle for Hubbard. He doesn't take Paypal, but he'll take your blood. The best advice is to sit in the seat directly behind him. Paul Rhys plays Father Hubbard. 

Jack admits that he learned that they timewalked from Hubbard to which Matthew tilts his head looking at Jack and back at Hubbard. “You knew that? You knew that in the 1590s?” Hubbard knew they timewalked and told Jack because Diana allowed a drop of blood to Hubbard to ensure Jack had his protection. It actually gave Hubbard insight into her secrets, but not Matthew’s. He asks Hubbard to leave. This would have also been a great opening for Hubbard to let Diana and Matthew know that Benjamin is out to seek Jack and that they need to protect Jack before Benjamin finds him. But this is not how TV works.

"How dare you pour red wine into this water goblet! (growls) I'll drink it anyway."

Matthew Goode plays Matthew de Clermont.

"We have a supply chain situation so we're using water glasses for red wine."

By the way, Jack is wearing Philippe’s ring, the ouroboros circle. In season 2, we see it on a wax seal representing the de Clermont family. It’s in much of the ironwork and branding on display at Sept-Tours.

Later in the episode we can see a closer look at the ring. It's Philippe's ring.

Bounce to the bedroom with the argument between Diana and Matthew. Though not as heated, it is close in tone to their argument in season 2, episode 1 when Diana tells Matthew she followed a witch while he was out to see people. He returns and is angry at her and she’s angry at him for not telling her what business he had in the middle of the night. Their argument now is about if his secrets were revealed to Hubbard. They weren’t. If he wished he had died instead of being sired so he didn’t have to live without his wife and son. He didn’t. “No! Because I would never have met you. And now I have a chance to be a father again.” Diana sums up that this is now what Jack has with being reunited with them. A family.

Next, we’re in Venice, during this pandemic without tourists. It never has looked cleaner. Peter Knox (Owen Teale) is talking in front of a very ornate stained glass window. He shows Satu that he has a letter about the missing pages; the three pages were sent to three other recipients from Edward Kelley. Knox wants Satu to help get the pages back. “You can’t control me anymore. I am a weaver.” He thinks he can convince her that Gerbert will turn on her and she sees through it. 

She cast her vote as the newest member of the Congregation and still has one more thing to tell Peter.
Malin Buska plays Satu

Satu is a weaver with the ability to render Knox powerless.
Owen Teale plays Peter Knox.

Phoebe (Adelle Leonce) and Marcus (Edward Bluemel) are discussing how she’s researching what happened to the missing pages. She thinks she can find all the magical and alchemical books. Well, ok, good luck. Those miniature portraits you wanted so badly to sell to Marcus, by the way, they're just over in the other room, but you go ahead and research missing books.

Matthew finds Jack drawing as he’s about to take off to the university. He says that Gallowglass and Fernando will stay with him. Matthew looks at the works and Jack asks why Matthew didn’t want him to become a vampire? Matthew doesn’t give him an answer except that he’s glad Jack’s there. At the sound of Jack saying “Or we start again, clean slate,” Matthew’s trademark, “Mm,” is his way of acknowledging the words without being in agreement. Jack turns the page back to the beginning and studies the miniatures to create his drawing.

At the university, Miriam and Chris are in scientific discourse about blood rage; what causes it. The quantity of DNA is not enough. Miriam suggests that Marcus visit his children in New Orleans. Chris is astonished as Matthew says he’s going to talk to Marcus. Seems Matthew doesn’t trust Chris’s students to take on the project. He’s worried about the genetic info getting into the wrong hands. 

He narrows in on Chris when he hears, “I understand.”

“No, you don’t. You don’t” with each “t” being crossed as he says it. 

The tone turns heavy as Matthew reveals to Chris that his father was experimented on–tortured–by the Nazis in the name of science. Chris and Matthew settle as Diana admits that she “thinks it is time to trust others.”

We return to Matthew’s London home as Baldwin appears to find Jack in the garage with Gallowglass working on a motorcycle. Baldwin enters and all of the light leaves. He sees Jack and tells him to get out. Gallowglass nods towards Jack. As Jack passes by Baldwin, the air is cut with, “One of Hubbard’s strays.” Jack is ready to continue leaving the garage and Baldwin bitterly states, “It’s family only in this house.” Jack can't hold back and the blood rage appears as his skin becomes almost transparent, uncovering the bleeding capillaries, his mouth turns sinister and he retaliates towards Baldwin, biting the back of the neck. Gallowglass shouts to Jack. Baldwin tosses Jack to the floor. Jack is enraged with bloodshot eyes and the bloody lips from taking a bite out of Baldwin's neck. He’s seething with eyes flaring. Baldwin realizes he’s been bitten -- this is the killer.

Excellent visual effects on Toby Regbo as Jack is overcome by blood rage.

Matthew can hear the commotion from the bedroom and finds Baldwin holding Jack by the back of his neck. He’s kneeling on the floor. Matthew approaches and sees Jack in a blood rage, he later uses the term suffering. He knows firsthand how Jack feels in this moment. Baldwin says that if Matthew cannot control his houseguest, then he will and bites Jack on the back of the neck. With that bite he obtains all of the information Jack knows: Diana in the street in 1590 with her purse about to be stolen and Matthew stopping Jack before he can get away with it, they are looking at the constellations, they are looking at the pair of miniature portraits, they are saying goodbye, and then Jack attacking the college student in Oxford, and his attack on the vampire Domenico.

It’s that information that Baldwin uses to decide that Matthew has to kill Jack right then and there. First, Diana yanks the ceiling light from its chain and uses the chain to strangle Baldwin until he lets go of Jack. Matthew is dealing with the fact that Diana is about to kill Baldwin. Telling him that Jack belongs to us and then asking Diana to release him from her spell, which she does. He then says, "Jack is the blood raged killer."

Diana looks at the photos from the crime scenes and Jack is quiet, shakes his head, and he can’t speak. Matthew realizes what Baldwin is asking and kneels to show mercy, “I promise you, I had no knowledge of Jack’s blood rage.” We get a sense now that Matthew felt obligated to obey the commands of his father and now he feels obligated to obey Baldwin’s commands since he has for decades been the head of the family. 

The presence of a backlit Baldwin with the half-moon window casting rays of light is to show Baldwin’s power over everyone, or at least how he sees himself. Baldwin commands that Matthew kill Jack. “God help me,” says Matthew. He stands and looks down at Jack. He walks towards Jack and then Jack runs out of the house. Gallowglass can’t catch him. Diana is telling Matthew, “You are not going to kill him, are you?”

He bites back. Peter McDonald as Baldwin Montclair.

They both find Hubbard again in the cloisters. They learn that Jack didn’t want Hubbard to reveal he has blood rage. Hubbard naively thought that they’d never need to know the truth. Hmm, kind of tough to keep it a secret with Jack moving in and Baldwin hating everyone he meets. 

Hubbard explains how he was sired or in his words, resurrected, by Benjamin Fuchs who found Hubbard dying in a cemetery during the plague. He was burying his parish’s members and dug his own grave. Benjamin counted on Hubbard helping him take down the de Clermont clan, especially having inherited the blood rage gene. He tells Diana and Matthew that Benjamin saw a way to give Jack the training that Hubbard couldn’t give. Trained him to be a killer. Used his blood rage to hunt and “torture his victims in order to prove he was one of Matthew’s blood.” Hubbard neglected to look after Jack and the addiction of killing took over Jack. Hubbard tells Matthew, “You are my last hope for him.” Diana persists in telling Matthew not to kill Jack. 

Sarah has been listening to the conversation and finds herself thinking how ridiculous it is to think of killing Jack. “Isn’t the lab finding a cure blood rage, I mean, this is why we were all dragged here?” 

Hubbard's back in black and in the shadows of his cloisters like he was in 1590.

But if there’s no cure, the Congregation will come after Jack when they find out he’s the killer, or he’ll meet Baldwin’s ultimate wrath. Benjamin is also using Jack against the de Clermonts so he’s doomed no matter where he ends up or who he ends up with if Matthew doesn’t kill him. It seems to be an unwinnable war. Diana has the sense that a father protects his children like her father tried to protect her.

We’re back with Phoebe and Marcus to which he explains to her what happens when a vampire has blood rage, that they’re eliminated by order of the Congregation. Marcus gives her the history that every vampire he sired and that his children sired were ordered by Philippe to be killed by Matthew in an effort to control the blood rage and protect the species from calling attention to the humans. 

Take this photo to an interior designer and say "I want the funeral home decor of 'A Discovery of Witches,' please."

Marcus is played by Edward Bluemel. 

Matthew finds Jack through the sounds of him having a major blood rage breakdown under the highway. When Matthew approaches, Jack comes out of hiding and is ready to confess. He shows the portraits to Matthew. He explains that he was not aware of the illness and tells Matthew that Philippe told Jack to wait for Matthew. 

"I've been waiting for centuries to ask you for your autograph, Matthew."

Jack saying Philippe's name -- Matthew cannot believe his ears. Did they talk about his and Diana's timewalking? Should Matthew take Jack back to Sept-Tours and show him the church he built?
"There's the roof. But don't go up there. It doesn't look as dangerous from down here. Trust me, it is." 

We are immediately put into the thought process of Philippe post-1590. In which century did Jack meet Philippe? His wanting Matthew to teach Jack how to control blood rage is Philippe's way of giving Matthew the final assignment. [I really enjoy how they keep Philippe's legacy as part of the story.] 

Jack tells Matthew, “I’m not the boy that you knew.” Very true. The actor Toby Regbo was not the boy who played Jack in season 2 (played by Josh Pickering). However, Regbo carries that same mischievous attitude along with an innocent, appealing smile filled with wonder. 

Jack is ready to accept his fate as Matthew closes in and then Matthew wants to make a positive change and let Jack live. Diana is quite relieved to see Jack alive when they both return. 

In the next scene, we learn that Fernando taught Matthew how to handle the blood rage. It’s about control and not letting the condition be what fulfills his destiny. Gallowglass adds an emphasis to the fact that Diana will be there for Jack, too. 

It’s when Jack leaves the room that Fernando offers advice to Gallowglass. “Don’t let Matthew know.” He can see that Gallowglass wants Diana. Like he, really, really wants her. Gallowglass responds by explaining that he’s been ordered by Philippe to protect Diana. "I spent my whole life keeping her safe.” For the non-book readers, go back to last week's episode and look at how he hugs Diana. Listen to him when he's with her.

The heaviness here is lovely in which Fernando wants Gallowglass to realize that she’s got Matthew to protect her. Fernando says that he’ll soon need to let her go. Gallowglass says, “I know. But not today.”  We’ve hardly had much screen time with a contemplative Gallowglass, even less with Fernando, but it feels like they’ve shared an extensive, well-lived history with each other.

"Diana's cool. Yeah.
Oh, hey, Fernando!"
Steven Cree plays Gallowglass.

"Gallowglass, I'm telling you, you've got to get an International Cupid account, and soon."

Olivier Huband plays Fernando Goncalves.

Gallowglass: Fernando, water glasses for the wine?

Fernando: A squirrel got into the dishwasher; the spinning thingy broke in half and shattered the stemware. This pandemic has been brutal.

At the end of episode 1, it appears Domenico was not necessarily working against the de Clermonts and definitely not completely loyal to Gerbert. In episode 2, he visits Gerbert in Venice. The family tree from the archives is on Gerbert’s desk. He tells Domenico that the de Clermonts hid something. In walks Benjamin, which causes Domenico to stop in mid-sentence as he senses him. It seems that both Benjamin and Gerbert are interested in how they can get to Matthew with Domenico’s help.

Those blood orange colors that Baldwin and Domenico are wearing -- I'm not sure this is a coincidence. They possibly enjoy shopping for their suits together on Savile Row, and most certainly not the dept. store, Grace Brothers.

Gregg Chilingirian plays Domenico Michele.

In the scene with Matthew and Diana, in which she thanks him for bringing Jack home, he tells her he’s leaving for New Orleans. She supports his plant to form a scion; facing change together. He’s going to take Marcus and Jack with him. She seems surprised, but Matthew doesn’t want her to take care of Jack while she’s carrying the twins. It’s a bigger deal, his leaving, in The Book of Life. But the TV series is unable to replicate that goodbye. It’s unfortunate, but Diana in the TV version is quite different and emotionally evolved from feeling like she has to be attached to him everywhere he goes. 

"Matthew, mind helping me up off the floor?"
Teresa Palmer plays Diana.

Back in Chris’s science lab, Chris is explaining to a class the CC chromosome aka Creature Chromosome to which Matthew takes over and tells the students he’s a vampire. He tells them how “people fear what they don’t understand.” He outs Miriam as a vampire and Diana as a witch.

Pre-flight red wine in a proper wine glass. It's a good omen. Or is it?

Marcus tells Matthew if they succeed in New Orleans, he’ll "forgive Matthew and offer his allegiance."

Matthew’s phone rings and the final four minutes of the episode are quite unsettling. Benjamin is on the phone and shows Matthew a video of Jack, still learning his way even though he is not a new vampire. Jack is in the front and in the back are two humans restrained, but alive and aware. 

Matthew looks back at Jack standing just over his shoulder and watching the video with him. In the video, Jack thinks that they both look scared at which Benjamin eggs him on saying, “Come on, Jack. And you wonder why Matthew left you. Perhaps he knew you didn’t have the spirit in you. Not enough to be his son.”

Benjamin’s appearance is not that different from Jack’s in the length of his hair and his clothing which is a way that he assimilates to Jack to befriend him; manipulate him. 
Jacob Ifan plays Benjamin Fuchs

Jack hears those words; a dark mood settles in. His skin flushes red. I love this visual effect -- pressure building. Benjamin moves further from the car so we can only hear the sounds of Jack killing the husband and wife in the back seat without seeing it in graphic detail. Massive Attack’s song “Teardrop on the Fire” is in the background.

Benjamin explains his desire is to bring the whole family together including Diana. Benjamin is overcome with deranged emotions half on the verge of crying and half expressing delight in imagining what may seem like an impossible vision of them all being together.

"Matthew, wanna say 'hi' to Domenico? I know, it seems like season 1 was yesterday! I have five more episodes to torment you. HAHA-HAHA-HA!"

"A Discovery of Witches" | S2:E9 | An Analysis (contains details of E9)

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

Writers:

• 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.

The bars of this doorway's gate is a reminder of what happens if someone betrays The Crown.

The music that plays in the background when Matthew first greets the queen provides an atmosphere of importance; the queen appearing rather edgy. His influence and power represented as his face is center screen under the high arches of the ceiling above him as well as in parallel to the tall support column. The sobering setting of the great gothic hall adds to the heavy idea of her threatening that he'll lose his head and Diana will be imprisoned and probably tortured. She's sucking on clove oil because she has an aching tooth. She's also still dealing with the worry that witches are rising up against her. Matthew is held at White Hall while every nook and cranny of The Hart and Crown are being searched for books.

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.

Matthew Goode (left) hearing Sir Walter Raleigh portrayed by Michael Lindall (right) is not on the greatest terms with the queen. Here's why.

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. 

"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.

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."

Read about the third eye aka sixth chakra. 
Read more about the forehead kiss.

He answers with something similar to what he said in S1 E5 when she's about to see the scars on the surface of his skin, "You might not like what you find." 

"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.

"A Discovery of Witches" | S2:E7 | An Analysis (contains details of E7)

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.

The introduction upon their arrival by Emperor Rudolf's spokesperson is tense. Once inside, the Emperor of the Holy Roman Empire, Rudolf II (Michael Jibson) doesn't take kindly to Matthew and even calls him yet another name, Matthaus, while telling him that they're in the wrong place. "Edward Kelley resides in Prague," says Rudolf, but Matthew is suspicious. Likely this is a lie. Rudolf stands up to Matthew, well, he comes to about his shoulder. He lets Matthew know that he isn't going to forget he's a vampire; only allowed to be in Bohemia because Rudolf is being gracious. Rudolf is never without an agenda, though. Read more about Rudolf II.

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.

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." 

Matthew gave a millisecond smirk when he looked at Diana and back at Gallowglass.

Diana hearing she's now "Auntie." 

At the lodgings up a flight of stairs, everyone discovers that Jack is the unexpected guest and this sets Matthew off. It is a complication to have their adopted son from London there while they've got to get Kelley, the book, and skip out of Bohemia. But Matthew is still tense about Rudolf getting hot and bothered upon meeting Diana, so he takes it out on Francoise, the first person who breaks the news that Jack wouldn't stay behind in London. 

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." .

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.

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.

It's an automaton -- The Goddess Diana; Goddess of the Hunt.

Matthew glares at it; nothing left to the imagination. Provocative, indeed.

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.

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.

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.

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.

Michael Jibson as Rudolf II

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.

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. 

"Šárka destroyed an entire battalion of men by herself," says Matthew.

See The Maidens' War.

"Play nice," she says. He grunts.

Matthew is a vampire with a talent for hunting; far more skilled than Rudolf. Having just heard Rudolf make an advance towards Diana regarding Matthew's cold touch, and how she must long for something warmer in bed, it is Matthew's turn to show Rudolf who really is the prey. Once launched, we see Matthew visibly having some connection to Šárka; her hunting instincts. His animal counterpart is a wolf, and Šárka is a raptor, so together they could have a symbiotic relationship helped by his vampire senses. She heads directly towards her competition and kills Artemis. Matthew has to stifle a smile, but he's happy with this outcome. I found it quite amusing as well as exciting. 

"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. 

The easy way in is not always the easy way out. 

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.

"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."

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. 

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.