"A Discovery of Witches" | S2:E3 | An Analysis (contains details of E3)

The following analysis is solely my own. Some of it offers an opinion while recapping portions of the episode. The analysis below is intended to focus on a particular aspect of the story or aspect of a character. This may or 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.

Episode runtime 44 minutes including the recap.

Shudder TV episode description: Matthew and Diana search for the Book of Life. They later meet with Queen Elizabeth.

If you have not watched episode 3 of season 2, please do not read further to not be spoiled.

The before-opening-credits scene is set in present-day Oxford, England. Domenico Michele (Gregg Chillin) of The Congregation in Venice, Italy, has just found out that something got the munchies for human blood. The gory, nasty neck wound appears to be from a vampire. Domenico has tight connections with the police so he hears about it first. 

He tells Gerbert D’Aurillac (Trevor Eve) upon reaching Venice, Italy, that it was obvious the person was a victim of "uncontrolled feeding" and correlates it to the "infected bloodline" of the de Clermonts (more insight into the bloodline to come in E4; the words "blood rage" first come up in S1, E5 when Ysabeau talks about turning Matthew into a vampire). Gerbert would like nothing more than to take them down. Domenico and Gerbert discuss negotiating that if it turns out to help Gerbert, that Domenico gets back control of Venice because its image as a civilization is tarnished; long overdue for an upgrade. Vampires don't like humans that much, and Domenico has an even worse attitude about the tourism that has ruined the city he calls home.

The dead body in Oxford.

Trevor Eve as Gerbert D’Aurillac wearing the red socks ordered from The Vatican that are made for all popes.
He was a pope back in the day.

At Sept-Tours, Emily Mather (Valarie Pettiford) is calling up the spirit of Diana's mother Rebecca. "This path is closed to evil," she says and that hints to us that this is for her protection. Five candles are strategically arranged to represent the pentagram's five points. Smoke rises in front of her and an unfamiliar face of a woman emerges before she whooshes it away. Hopefully, we'll see or learn more in E4.

Emily Mather portrayed by Valarie Pettiford

At the end of E2, we saw Matthew snap the neck of the prisoner Tom Caldwell at the Tower of London. He did it to spare his suffering because Lord Cecil Burghley (Adrian Rawlins) wanted him to name names of other witches acting against the queen. Killing him was the only alternative because letting him go free would have jeopardized his relationship with Diana.

A sign of the cross over the dead (from E2 S2, Matthew Goode plays Matthew Roydon, a Catholic serving Queen Elizabeth I)

After the opening credits, we find Matthew in his secret files room at the Hart and Crown, kneeling on his prayer cushion, praying to a crucifix on the wall, up to the line, "On Earth as it is in Heaven." Cut to Fr. Andrew Hubbard (Paul Rhys), the vampire king of London, walking through the sanctuary of his cloisters, Matthew quickly following from behind. Matthew explains that he wants Hubbard's forgiveness for killing the prisoner. His going to Hubbards differs from the novel Shadow of Night by Deborah Harkness, for which S2 is based. Of course, from S2 E1 we heard Marthe say he's evolved, that is, evolved beyond the role of a torturer.

Matthew says that his stepfather Philippe will appreciate Hubbard forgiving him, the subtext being that it can incentivize Philippe to send Hubbard a monetary donation in return. Hubbard is gonna have to think about it. Remember, he already has sent a message to Philippe telling him what Matthew did, so isn't that enough? Hubbard still thinks Matthew has changed because of Diana, but Matthew denies it.

Alchemical experiments with Mary Sidney (Amanda Hale)
 and Diana Roydon (Teresa Palmer)

Mary Sidney invites Diana to perform some experiments and her search for the book comes up. She refers Diana to Dr. Dee because she knows Dee will have it or he will know who has it. Diana is excited to not only have a science lab buddy, but she's grateful for her connections in the literary world.

A beautiful pastoral setting for Dr. Dee's library.
[Alternate dialogue: What's the library's lending policy?]

"I'm going to have a hell of a time getting you out of here."

💕

[Alternate dialogue: Diana, the boat will sink if
we take all of the books home.]

[Alternate dialogue: You can see I'm in a corset and eight layers
of fabric. Don't make me laugh!]

Matthew fishes Dr. Dee for information about the disposition of the queen in asking about the recent visit she had with him. "Was she in good humor?" We're not in earshot of Dee's answer. The scene efficiently follows most of what happens in the Shadow of Night, in which Dr. Dee discovers that the book he was supposed to have been given by Emporer Rudolph in Bohemia upon return sees that it was not the book at all. We get the lowdown that Edward Kelley is a slick guy who is likely in possession of this book, which Dee assures contains "the secret method to obtaining immortality." Diana is holding back her delight.

Indeed, the pieces of the puzzle are falling into place as Matthew offers to take the wrong book back to Edward Kelley in Bohemia and retrieve the book that Dee was supposed to bring back. Diana suggests later that they could just go to Bohemia for the book in response to Matthew trying to recall who was his contact with Emporer Rudolph in 1590. Surely, walking up to the Emperor's castle in Prague and knocking on the door would work, yeah?

[Alternative dialogue: Certainly, you thought up a
 plan to get the book, right?]

Diana arrives at her first day of weaver training under the teachings of Goody Alsop (Sheila Hancock) and The Rede. Just like in Shadow of Night, Matthew escorts her to the location. Notice a precious, flirtatious moment when the actor, Teresa Palmer portraying Diana, turns to tell him she'll be okay as she blinks just before she turns to go inside.

The lesson involves assessing which of the four elements are part of Diana's intuitive magic, and it comes down to her seeing the threads of each of them -- air, earth, water, and fire. Her awkwardness at first is due to her impatience. When she returns the next time, she's much more confident, and upon weaving the third knot, there occurs a spectacular moment of her arms thrusting into the air as a rowan tree emerges into the space above her, brilliantly lit up with golden light; her arms form the branches. Goody Alsop and The Rede are incredulous as Diana shows them her power. The tree represents the world beyond this world, and Goody declares that Diana is "truly a weaver."

As Diana is leaving the building, Susanna Norman (Aisling Loftus) stops her and tells Diana that she's powerful to which Diana asks her why she's not able to control her magic. Her response is, "Magic feeds from all aspects of your life. Everything is intertwined." 

Look at S1 E6 to see her parents appear to Diana; "Magic is in the heart," she says, and then she flies up to the opening of the oubliette after being tortured by Satu. It's in that episode that her parents first speak of her being connected to Matthew who is the "Shadow Prince," the figure in the tale her mother tells her while her father performs a spell to suppress Diana's power, protecting her from Peter Knox.

Rich colors and fabrics complete each detail
in the 16th-century costumes.

Hair and accessories capture each authentic detail.

Diana is at the beginning of her training and also at the beginning of building a life with Matthew. How Diana will be able to control her magic is yet to be seen. She meets later with Goody, and circles back on this topic in saying that "magic is connected to my intuition and emotions, and they are connected to Matthew." Susanna perhaps has the same power to see this in Diana as Sophie saw Diana in her dreams in S1. We learned at the end of E6 in S1 that she uses her magic out of need; protecting herself, her friends, and Matthew. Look back in S2 E1 when she tells Matthew, "You don't protect me, we protect each other." She's following what Goody taught her so far and using her intuition in an effort to hone her power. 

Sheila Hancock as Goody Alsop is always amazing in using her props to show her emotions, but even more so when she demonstrates the bond she has developed between her and Diana, knowing it means she won't be there to guide her through learning to weave spells.

In Matthew's world, he visits Kit and seeks background details about what's happening in Bohemia. We briefly saw some of Kit's home in E2, but now we see clearly he lives sparsely, like a writer always in need of money. His home is mainly consisting of paper, books, a desk, and a table.

Kit tells Matthew that Bohemia is run by a mad man and that he needs to stay "focused on what's closer to home," referring to his duty to the queen. The idea of losing Matthew is in the back of his mind, too. Matthew uses this time to fish for what Cecil knows of Diana. Kit doesn't give him a straight answer. He only admits that Cecil can tell something is amiss with Matthew's uncharacteristic behavior.

When returning with Diana after her lesson, waiting at the Hart and Crown is Cecil Burghley who determines immediately that Matthew is different because of his sympathy for her kind -- witches. It doesn't matter that Diana tries to persuade Cecil that witches have been loyal and don't want trouble. Cecil commands that Matthew and Diana see the queen the next day.

Matthew immediately tells Kit that Cecil, indeed, knows Diana is a witch and accuses Kit of letting the secret out. "Lies come sweetly to you, don't they?" he growls.

Matthew Goode uses the low ceiling beam on the set -- it already makes him appear bigger, threatening -- slamming his hand on the beam in anger, accusing Kit of endangering Diana, and he's coming between them and not acting as a friend. When Matthew ducks under it, Kit physically stiffens his body anticipating an attack. Tension is like that in E1 when Matthew tells Kit that if he mentions Diana to anyone again, that he will end him. What will happen the next time Kit crosses Matthew's path?

The support beam behind Matthew's head
doubles as a filing system.

[Alt. dialogue: You are so handsome when you're mad, Matthew.]
(Tom Hughes as Kit Marlowe).
The wider angle depicts Kit as slightly smaller than Matthew.

"You stay away from us both."

Kit being eager to convince Matthew that he didn't betray his trust, pays an unscheduled visit to Cecil to find out who told Cecil this news. It should have been him, is Cecil's response because that's why he pays him. It's a confirmation that Kit is a spy for Cecil, "but only when it best suits [him]." Kit, desperate to win back Matthew's trust, asks Cecil to tell Matthew that it wasn't him, but Cecil is above that nonsense. How will Kit fix this so he doesn't lose Matthew? Should he write an apologetic poem?

Countess of Pembroke, Mary Sidney, is turning out to be a much more valuable friend when she delivers to Diana a dress to prepare her for meeting Queen Elizabeth.

"I'm here to make sure your armor is worthy of the battle to come."
Perfectly stated. Diana is unprepared to meet Queen Elizabeth, being a witch and a woman beyond her time.

Lizzie's disdain toward witches is apparent. "I will compel my husband to adhere only to your will," says Diana, speaking to the Queen of Matthew's loyalty to the Crown. The Queen sees through this saying, "She's clever. Too clever," and fortunately, she moves the conversation to reveal that she heard that they were with her astrologer, Dr. Dee. 

Barbara Marten portrays Queen Elizabeth I aka Lizzie.
Exquisite detail in the costume, makeup and hair.

Speaking through her rotten teeth, Lizzie asks if the book that they're seeking has anything to do with the Philosopher's Stone. The Queen is wary of what happens if the "key to eternal life ... the limitless riches, fall into Hapsburg's hands." She can't get to Edward Kelley using her ambassadors because Emperor Rudolf refused them entry. She is counting on Matthew to use his powers of persuasion to bring her Edward Kelley so she can "lock him in the Tower until he creates the Philosopher's Stone." And then she will let Matthew off the hook for snapping the neck of the prisoner and for not being forthcoming upon his return from up north, i.e., presenting his wife Diana to the court as per protocol. Matthew volunteers his assistance while Diana watches and listens -- he's got himself backed into another "corner," in essence, extending their time in the past beyond what they had in mind.

Never turn your back on the Queen, especially when it is obvious the conversation has finished and you must leave.

A note on observing how much the use of natural light in S2 reminds me of the film Barry Lyndon. The candlelight and sunlight are used as much as possible for a feeling of authenticity. It's beautiful even though often dark.

Sweeping Uncle Matthew off of his feet.

🤗

Saving the best to begin the third act of this chapter, we finally meet an infamous vampire out of the book Shadow of Night. The fun won't be spoiled by detailing how he enters the scene. If you are at all familiar with the intellect of predators, in this case, vampires, guessing an opponent's offensive strategy has helped them survive for hundreds, if not thousands, of years. Thank goodness for a gag in what's been a rough 24 hours for Matthew -- Lizzie summoning them, Burghley Bossypants, distrustful Kit, and remember, Fr. Hubbard hasn't forgiven him for murder.

Gallowglass (Steven Cree) is Matthew's nephew. As he's being introduced to Diana his keen senses are alerted that she's a witch. He's got a Scottish accent, thicker than Hamish's accent, and we already know his name because Kit mentions that Matthew was meant to be in Scotland with Gallowglass in E1. Gallowglass received a message from a courier to pass along for which Matthew is caught off guard, appearing stunned upon seeing the wax seal on the note in front of him. It's from his stepfather Philippe de Clermont.

If ever there was a time to say, "F^ckity f^ck f^ck," this is it.

The emotional rollercoaster that Matthew goes through from joy at reuniting with his nephew to seeing the note. Later describing his last memories are of his stepfather going insane. (Ysabeau, Matthew's mother, said in S1 E5 that it was witches who killed Philippe. Here Matthew says it was the Nazis who tortured Philippe into insanity).

Nice that they include in the adaptation the symbolism from Shadow of Night in referencing Philippe's coin on the seal inside the letter that tests the loyalty of anyone he summons. Matthew at first is wistful, and then serious, and becomes sad as he breathlessly describes how Philippe "could barely hold a pen the last time" he saw him.

Matthew pushed the thought of Philippe from his mind in E1 of this season, being of the mindset that they're going to get what they need and leave as soon as possible. Diana listens patiently and supports him by saying that it will "Reopen old wounds, but heal them, too." She doesn't know what she doesn't know but it sounds really soothing. Of course, Matthew knows the wounds, and Philippe's aim does not avoid them. "Not before making them worse, I assure you," is his response to her. Indeed, the [wine] "glass half empty."

Emotionally fraught, he warns her that he'll "be dragging her through a war," to which Diana thinks he means the Siege of Paris. He shuts his eyes, implying "not that war, Diana." Next, he recalls something his father told him,

"mating was destiny, and when I found her...you, that I would just have to accept my fate. But that's not how it works. In every moment, for the rest of my life, I will be choosing you." 

I take this to mean that before he met Diana, and chose her to be his mate, his decisions didn't have to factor in a partner, or the consequences to their lives as a result of his choices. His destiny held little weight until he met her. "From this moment on, we will always be one," he said in E5 of S1. Vampires mate for life. At the close of S1, he relinquishes his title of Grand Master of the Knights of Lazarus, asking Marcus to take over; letting go of that role to time walk to another time and place, to find the book that may save the creatures, but most of all, to keep him and Diana safe from the Congregation.

[Alt. dialogue: Where the f^ck is Pierre with the wine?!]

If by this point you're wondering how Matthew and Diana can journey from England to France, and also factor in the search for Ashmole 782 in Bohemia, watch how Matthew tenderly shows Jack (Joshua Pickering) where on the globe the journey will take them. But Jack has to stay behind. His nurturing of Jack actually is a side of Matthew we are only beginning to see. Diana is now Jack's mother, so she thoughtfully leaves him a parting gift to hang onto until they see him again. The miniature portraits of Matthew and Diana are so perfect in capturing their images, and also, match the description of the art described in Shadow of Night.

Gallowglass (Steven Cree)
[Alt. dialogue: Just tell me. Am I your favorite nephew?]

Gallowglass tells Diana that he's not going to take them further than to Mont St. Michel over the fact that the French killed his father. He also implores her to be an "anchor" for Matthew or "he may lose himself at Sept-Tours." [Is this family visit gonna be fun, or what!?]

Three episodes into this season and for the next seven episodes, their experiences could be life-altering. We may soon see:

⭐ more of Gallowglass!
⭐ Philippe!
⭐ 16th Century costumes, and 
⭐ SCENERY!

I can't wait for more of "A Discovery of Witches"!

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: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. The analysis below is intended to focus on a particular aspect of the story or aspect of a character. 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.

Episode runtime 44 minutes including the recap.

Shudder TV episode description: "Diana meets the head of a local coven. Matthew grows more at home in his old life." 

If you have not watched episode 2 of season 2, please do not read further to not be spoiled.

Episode 2 feels much more condensed. The story moves quickly in its adapted version from book two, Shadow of Night, of the All Souls Trilogy, the series of novels written by Deborah Harkness. 

The second season also delivers stellar opening credits blending images of S1 and S2. Some of the sequences use a silhouette technique, reminiscent of the earliest silhouette animation work of Lotte Reiniger. Reiniger's work is all done by hand, whereas here it is a digital product.

As episode 2 opens, we see Diana Bishop's Aunt Sarah (Alex Kingston) making the bed at Sept-Tours, an old French castle, talking to her partner/wife Emily Mather (Valarie Pettiford). It is possible the temperature in France in early November is chilly. The two witches wear a layered winter ensemble, perhaps as a metaphor for how they feel living around a couple of vampires--when a vampire looks at a witch, the feeling is like icicles on their skin. While Matthew and Diana together timewalked, the women traveled from Madison, NY to live under the protection of Matthew's vampire mother, Ysabeau (Lindsay Duncan) and the de Clermont family servant Marthe (Sorcha Cusack). Ysabeau used to hunt witches, so Sarah seems a little edgy about being near her.

Stoke the fire if you're cold, Sarah (right).
Emily (left) is holding the page that depicts art
representing Matthew and Diana;
cut from Ashmole 782 aka The Book of Life.

Marthe speaks with Ysabeau mentioning that Matthew "has evolved" and it's Marthe's idea that the witches share a dinner table with her and Ysabeau. It's ballsy of Marthe saying, "Because Matthew would expect you to." Well, she is correct.

The Tower of London looms in the distance in
many shots of London during S2.
Ravens are heard and seen in the distance,
as a tradition with the Tower.

Father (Fr.) Andrew Hubbard has a connection to a few characters of the second season. It's revealed that Hubbard was first a priest and has also been a vampire since the Black Plague of the mid-14th century. Matthew explains to Diana that Hubbard believes in the Divine Resurrection because he was dying, dug himself his grave, and then woke up as a newly sired vampire even though no one, yet, has come forward as his "maker." He rules the City of London and takes in "lost souls" under his protection. First he drinks their blood to see into their soul. The fact is that the act of vampires drinking from humans allows them to acquire the human's secrets. Fr. Hubbard has the charm and gentleness of a cult leader on the surface, bestowing the word of God to his "flock." But in no way would Matthew and Diana trust him for protection. 

Father Andrew Hubbard, vampire ruler
in the City of London (Paul Rhys)

Hubbard's men corner Matthew saying he has to bring Diana to Hubbard's that very night. Matthew insists that she not let Hubbard get a drop of her blood or their secret will get out. Diana, frustrated by this new development, asks Matthew why he hasn't said anything about this until now. Kit Marlowe (Tom Hughes) sees this friction between them. He doesn't hesitate to tell her that's what sucks about being a time spinner without having lived in that time. [If it were me, I'd flip him off.] He advises Matthew to "re-inhabit" his "old life... before you get yourself killed," but this suggestion is making Matthew feel even more pressure.

Once arriving at Hubbard's cloisters; Diana's heartbeat is audible, he immediately recognizes that the scar of Matthew's bite on Diana's neck is a problem. Matthew is not so easily intimidated with Hubbard offering protection of Diana and says that Hubbard can tell "his flock" that they're part of the family, but he's not going to get a drop of Diana's blood. The witches would kill Matthew for taking her blood without her consent; she'd have to leave England. Diana takes control and tells Hubbard that it was to "save Matthew's life" and he seems to be satisfied with her answer, but warns her, "Nothing happens in London without my blessing." 

At the end of E1 of S2, we saw Matthew Roydon (his identity in 1590) ordering the torture of a prisoner in the Tower. He's there as ordered by his stepfather Philippe to spy for Queen Elizabeth I. He identifies Catholics and interrogates people accused of treason against the queen, which lately happens to be mainly witches.

In E2, Matthew notices Lord Cecil Burghley (Adrian Rawlins) interrogating and ordering another witch Thomas Caldwell (Louis Maskell) to be tortured. Burghley wants Caldwell to name other treasonists. As Matthew passes by, he stops for a few seconds, and the prisoner screams in pain. He won't intervene; it would make him a sympathizer. Burghley later tells Matthew that the queen is upset by the nasty things witches say under torture, particularly blasphemous things about the Crown. She worries that they're turning against her. Matthew is put in charge of questioning Caldwell even after he tries to remind Burghley that they don't involve themselves with human affairs. Nice try, but Burghley insists that Matthew find out what is being "plotted" against the queen using "any means necessary." [Oh, bother!]

Matthew torturing and killing witches vs. hunting for a wild animal--not quite the same. He's not sucking the blood of witches, yet, to find out any secrets. In S1, Matthew drank from his brother Baldwin, the witch Gillian, and Diana, though that last one was because he was on the brink of death. Each time he saw inside their mind. How well Matthew maintains self-control now that he's back in 1590 is still to be seen. He was doing alright before time walking; not giving in to his hunger for blood and the desire to kill. We haven't seen him actually hunt and eat anything, like the time he chased his meal of an elk to pacify his craving Diana in S1 E2? So, what is nourishing Matthew?

Open carry of a broad sword with a leather ensemble
 of the late 16th century. (Matthew, Kit and Peckham.)
Burghley's got Matthew under his thumb with
the cases against witches accused of treason;
he's caught hanging out with Kit, and dodging his responsibility to the Crown by a Whitehall clerk named Peckham (Tom Lewis).

Matthew Goode (right) and Teresa Palmer (left) are at home in their characters in every scene they share. 

The love between their characters is still present even while they're in the middle of this conflict about his work. Yet, surely, the two are trying so hard to not burst into laughter by the end of the scene.

Later on, Matthew stumbles into Hubbard after having put off Burghley. Caldwell is unfairly being imprisoned and Hubbard believes him to be innocent so if Matthew doesn't free him, he'll send word of this situation to Philippe. He'd just love to hear about Matthew mating with a witch, no? [Hell, no.]

On top of this, Diana figures out the whole Caldwell situation so she raises the alarm about how the persecutions of witches began even though Matthew insists that they're "20 years off from the witch trials." He begs her off, his palms pressed together for emphasis, so he can finish reading the testimonials. She walks out of his secret filing room while hollering back at him that she's found a teacher.

Kit is worried about Matthew getting caught so he advises Matthew to delay Lord Burghley for as much as a few weeks while he contacts his stepfather Philippe to intervene because he could find another way, beyond what they know. Matthew just becomes angrier at the thought of Philippe finding out about Diana. He's got both Hubbard and Kit triggering his anger every time they bring up his stepfather Philippe. Kit, who earlier in a church, says to Matthew, "You've forgotten the other side of Matthew Roydon," and, again, Kit advises, "Matthew Roydon is never cruel for sport. But he is ruthlessly efficient." He tells him to not "impersonate Matthew Roydon, but to become him."

Matthew unlocks the cell, tells Caldwell, "Fr. Hubbard pleaded your case." Perplexed about seeing Matthew deliver this news, but without time to speak, Matthew unwaveringly steps towards him and twists Caldwell's neck in one motion. We watch as Matthew's face remains cold and his eyes are blank. Quickly over, no cruelty. Gently, Matthew rests the body on the stone ledge, lit by moonlight, and he kneels down over the body while signing the cross as a habit of his Catholic faith. 

To placate Lord Burghley would have been an enormous burden. Burghley is enraged, unforgiving of this mistake, and won't accept any of his excuses. As a result, in the preview of episode 3, Burghley is sending Matthew to see the queen.

A somber Matthew returns home. Diana rushes upstairs, inquiring, "Tom?" and Matthew responds, "He didn't suffer." She at first is somewhat assured, saying, "You killed him out of mercy." He sternly imparts that mercy would be Caldwell "rowing himself down the Thames." Her questions push his his patience to the limit, and he is resolute on firmly answering her, "CORRECT," when she states that the prisoner wasn't a threat to her. He kept them alive. The conversation is over. What more is there to say? 

What is the alternative? Setting him free paints him as a sympathizer, betraying the Crown, and then he'd be executed as a punishment for treason. He's trapped. But Diana can't do anything to keep him from doing his job. They have to live with the fact that in order to remain alive, they're going to need to blend in and be not of the future.

In comparison as to how the book, Shadow of Night, depicts Matthew with those accused of treason, Diana asks Matthew, "And your prisoner--is he dead?" to which he says that he didn't get there in time to stop the interrogation and he was only able to "insist that his suffering end." The book says, "Matthew had been through the man's death once before." He had not even gone to the Tower. "Today he could have remained at home and not concerned himself with a lost soul in the Tower. A lesser creature would have." The adaptation is only slightly different and Matthew is not less burdened by serving the Crown.

Yes, Kit pressing Matthew to be the Matthew Roydon of 1590, not the Matthew that has a conscience is in an effort to keep Matthew from being detected, however, it is manipulative and done partly out of his own self-interest. Earlier they shared card games, gambling with Matthew's funds. Kit is getting in between Matthew and Diana. If she wasn't there, he'd have Matthew to himself.

E2, Kit persists in getting the Matthew of 1590 back. Matthew is back to wearing an earring (vampire strength aided in pushing it into an earlobe without a hole). Kit tells Matthew, "See, now you look like Matthew Roydon."

Matthew Goode performs so honestly as if it was always meant for him to be Matthew Clairmont. He enters a scene and we believe he's lived the long, complex life of a 1500-year-old vampire, a Catholic who still prays in a church, who's also a geneticist of modern-day, and returning to a past life as a spy. The secrets and complications arise at every turn, especially the more he hides the truth, and Goode's performance demonstrates every nuance of what comes with his guilt for what he's done and is about to do to keep him and Diana alive; avoid being detected as a mated vampire and witch. 

There is a little respite from the woe, for example, in E2, Matthew goes gambling with Kit. Out with the boys having fun and forgetting about the burdens. In contrast, for the remainder of the episode, he is frequently beset by the guilt of his actions. There's no denying, though, that Matthew's carefree laughter and enthusiasm is something we fans of this character always cherish, even if fleeting.

(Aisling Loftus as Susanna Norma, scene from E1)

Diana invites the reluctant Susanna Norman back to The Hart and Crown while Matthew is not around. Diana is determined to have another test of her powers, but it's one of those spells she doesn't know. Susanna emphasizes that if her powers are too weak, there's no way she's going to get a witch to teach her anything. Diana attempts the spell of cracking an egg into a bowl without using her hands. Last time Diana could only make the fruit rot. This time she got a chick to hatch out of an egg. Susanna, now convinced, sets up a meeting for her to meet with Goody Alsop, the witch we saw in E1 of S2 who prophetically declared a powerful witch is arriving on Halloween. The meeting goes rather smoothly. Alsop imaginatively and magnificently portrayed by Sheila Hancock, explains that Diana is a weaver, a rare kind of powerful witch. Diana recalls that Satu thought she was special and perhaps this is what she meant. Alsop confirms she sees how Diana's father spellbound her to protect her, too. 

Diana has a meeting with The Rede to seek their consent so she can be taught how to use her magic (The Rede aka the Council of Witches). Susanna speaks about the relationship Diana has with a vampire, that the witches are being put in prison, and the leader does have reservations about this information. Alsop steps in and speaks on Diana's behalf. Susanna's concerns are that Diana aligned herself with a vampire and that Fr. Hubbard would disapprove of the interspecies relationship, but Susanna doesn't have a full picture. Diana doesn't hold back anything about her arriving in 1590 from the future as a time spinner aka time walker seeking knowledge from a teacher of this time. 

Furthermore, Diana goes on to explain how The Book of Life (Alsop calls it the first grimoire; the first book of spells) plays a role in her obtaining use of her power and her relationship with Matthew, plus she's trying to understand her purpose once she can master her power. It's fairly straightforward that she's the full package: her power, her relationship with a vampire, and the book. It is a pivotal moment when Alsop declares that they can all welcome her and the glowing palms of their hands make it apparent that they're united to help her learn about weaving her own spells.

The episode also covers the topic of footwear, or at least the shoes we find worn on the feet of alchemist Mary Sidney. In E1, Diana caused fruit to rot, which is mentioned briefly, half-jokingly, when it is suggested by Matthew that they inquire about a teacher with Mary Sidney (Amanda Hale), Countess of Pembroke. Diana arrives in the gorgeous home of Sidney's with every detail depicted of the life of a scientist. The background of a bright room has windows silhouetted with insect creatures painted on the glass. We see Diana is excited, but also apprehensive about meeting one of her favorite people this time. 

Mary Sidney's house.

Once they're seated, Diana simply gazes down towards the toe of Mary's shoe and spots the embroidery of a snake. In a matter of seconds, the snake begins to come alive.

We're not sure how this happens, but it helps them get onto the topic of finding a witch. It's the whole reason why they visited her. It just became awkward and slithery. Moreso, Mary fears what it would mean to help them find a witch since it turns out Matthew's secret identity is not actually a secret to her. No witch for you, but instead Mary offers her friendship; Diana agrees. Mary warns Diana about the witches being imprisoned in Scotland, so it means that she's got to keep it together so no one suspects her. Her warning doesn't help. Still, finally, Diana has a friend in Mary Sidney, a human actually, as opposed to only having vampires and a daemon to back at home.

Twice in one day, she's brought life into the world with the chick and then the snake. (Teresa Palmer)

Aside from the above, these next images, enhanced, are from the wall of Kit Marlowe's house seen in E2.

Did anyone else see the writing on the wall in the scene at 38:23 into the episode? I asked the book's author, Deb Harkness, on her Facebook Q&A of January 17, "Are they supposed to be Jack's drawings?" She answered "No."
Underlined above, I see, "EVERLASTING DEATH" or "EVERLASTING DENIAL"
Is that Christ on the cross above this to the right, pointed with an arrow? 
Is there a woman hanging with her hands tied behind her back, pointed with an arrow? 

Is this an image of a man with a beard or an owl?