"A Discovery of Witches" | S2:E6 | An Analysis (contains details of E6)

I am immensely grateful that I have access to watch "A Discovery of Witches." I've read that some countries and providers are not yet airing it. Fans will only grow fonder the longer they wait to watch season two. 

ADOW inspired me to post updates again on this blog during the pandemic. This is still a passion of mine -- to promote, to write without anyone to answer to except me. It gives me a small morsel of purpose until it is safe to get back out into the community for events, volunteer work, social experiences, film festivals, arthouse films, and supporting small businesses more than I presently can due to health and safety protocols. 

The following analysis is solely my own. Some of it offers an opinion while recapping portions of the episode. The focus is usually on a particular aspect of the story or aspect of a character. Anything in this post is created by the blog's author who is an inspired fan wanting to promote the work. Feedback is welcome. Let me know if you like or don't like something. Please leave a comment here or on Instagram @thataddamsgirl.

As I've been saying in previous postings, the TV series "A Discovery of Witches" is adapted from the All Souls Trilogy by Deborah Harkness, and for season 2, adapted specifically from Shadow of Night, the second book. I'll only refer to the book when it is significantly relevant.

For anyone interested in keeping track of the directors and writers for season 2 up through E6:

Directors: 

• E1, 4: Farren Blackburn 
• E2, 3, 5: Philippa Langdale 
• E6: Jonathan Teplitzky
• He also directed Matthew Goode in Burning Man, James Purefoy in Churchill

Writers:

• E1: Sarah Dollard
• E2: Susie Conklin
• E3: Polly Buckle
• E4, 6: Peter McTighe
• E5: Lisa Holdsworth

Shudder TV episode description: Philippe provokes Matthew. Diana and Matthew are married.

If you haven't watched episode 6, you will be spoiled if you read any further.

"I said 'No'!" Diana says as she ends the life of the witch Andre Champier. 

We continue from where we left off in episode 5. He was attempting to absorb her memories when suddenly her survival skills kicked in, and she magically retrieved the dagger from Matthew's belt -- it flew into her open hand.

I love the atmospheric score that plays through this scene. 

Diana and Matthew make me think of "Dagger"

by Slowdive.

Light streaming into the room from the sun acts as a divider in between Matthew and the conversation Philippe is having with Diana. Matthew is in the light like he knows what Philippe doesn't know. Philippe is in the dark; doesn't know why or how Diana would wear the ring that he gave to Ysabeau. The light behind Philippe's head slowly appears as his thoughts become illuminated when he realizes he does not live forever. It is yet another moment in which we see Matthew close his eyes at the thought of yet another thing that upsets Philippe. While grabbing Diana's hand after spotting Ysabeau's ring, Philippe ponders for a moment on why she'd give it away to anyone, "let alone a witch." Matthew wanted Diana to hide it from Philippe. 

And there's no dissuading Philippe from the next steps he takes from this point forward to learn how he dies. James Purefoy as Philippe de Clermont expresses everything in his face showing how he slowly absorbs how this deeply affects his life going forward; he sees everything he does with an entirely different perspective. What could possibly allow him to become vulnerable enough to die?

The excitement of seeing a ring you gifted your wife now worn on the hand of someone else who comes from a time in the future.

Matthew later finds Diana rowing on the nearby lake just on the edge of the castle's grounds. Remember that she'd take a boat out to row in Oxford in the initial episodes of season 1; the only way she could relieve stress since she was discovering her newfound power. She says she needs time to think after defending herself. She wanted to kill Champier she tells him. She asks, "What am I becoming?" Her experience with Knox and Satu has her on a "hair trigger" because one manipulated her into causing her to summon witch wind to protect herself and her friend Sean. The other attempted to physically and mentally open her up to find out what she was capable of magic-wise.

Diana finds in Philippe's library a map left out by Ysabeau for her to track the witches who live in Burgundy. Her plans for the next witch hunt include blue "X" marks, which plot where she shall find witches. Diana moves her hands around the map as if she's able to release the ink into blobs that hover and as pushing them into the air another wave evaporates them entirely into disappearing from the map.

Late autumn in France depicted by the misty air and foliage. The angle from this position at a distance has them, in a way, seeing eye-to-eye. She, too, can be just as dangerous as Matthew if pushed to her limit.

Philippe challenges Matthew to a duel, who is out in the stables getting the horses prepared. Was he going to leave for Bohemia without Diana? He says "I have an errand to run," as opposed to something like, "Diana and I are leaving for Bohemia." Writer Peter McTighe clearly puts Matthew in the vicinity of the stables that positions him further away from Diana's sight and ears so she can't hear them. I'm picturing Philippe's office is on the other side of the castle because they appeared to have walked in from the opposite side on the night of their arrival.

The father and son have an all-out fight in which Philippe infuriates Matthew, bringing the disease that they call "blood rage" to the surface. Eventually, Matthew is overpowered in the barn, further accelerating his anger as Philippe continues to escalate the battle and maintain the advantage. 

The sound design in ADOW is exquisitely dark but also full of action for the fight scene. The first growl is like a big cat, rather than a wolf, before they crash to the lower level. It required a much bigger than the normal growl than we hear from Matthew when he's protecting Diana. Plus, there's the racing heartbeat to signal that the blood rage in Matthew is surfacing. He growls more like his wolf growl once Philippe has him on the table, probably enhanced in post. Listening with earbuds and eyes closed you can tell the difference. Sound and visuals are key to depicting that the intense action is running at full throttle. Credit is due to Alex Ellerington and Andy Kennedy for the distinctive sounds that enhance the onscreen action.

This is the stage combat that I have been waiting for because I've been a fan of how James Purefoy fought in Hap and Leonard for three seasons. See my post that covers Hap and Leonard for more about the realistic fight scenes. You can also find a Collider interview with James in which he explained that "you’ve really gotta look like you’re trying to kill someone." No other pair could have made this fight scene what we wanted to see. It's incredibly seamless work we see by the stunt coordinators and performers who are often overlooked: Steen Young, Anthony Skrimshire, and Jason Beeson.

There's a fury in Matthew's eyes and thick, gelatinous bloody saliva when he speaks; refusing to divulge details to Philippe who thinks he can manipulate Matthew into submission to get what he wants. Teresa Palmer as Diana lovingly conveys worry, sorrow, and fear, as she stands back to watch this bitter battle. It's her first time watching him lose control; be the fierce predator. Only Philippe has restrained him by pressing a dagger to his face, not letting go of Matthew's hair. Radiating with seething anger out of his eyes, spasming in an effort to release himself from his father's restraint. Philippe finally accepts that Matthew has won. Exhausted, Matthew having regained control, collapses to the floor. Diana holds his hand. 

Philippe releases his grip on his hair, tenderly rests his palm, and strokes his forehead with his thumb. 

Matthew explains that he was using genetics to find a cure for the blood rage. She patiently listens as he spills the details and declares that this is why he can never be mated to her, pulling his hand from her grip. Diana knows why he doesn't feel that they can be together, but this new information doesn't discourage her. Finally, it is the truth that he has been hiding. The music score that follows is dramatically gorgeous.

• Diana with a deeper voice, much more confident:  Do you really think that I would ever walk away from you, my love? After all we've been through.
• Matthew: This was just but a glimpse. You have no idea what I'm capable of. I'm a killer, Diana. I have killed thousands. I was Philippe's weapon. He used me to eradicate the disease.
• Diana: He made you his assassin.

His blood disorder is out in the open and she still wants to stay with him. What we didn't understand in episode 5 when he told her to wait was that he didn't want her to commit to him without knowing the truth, but he couldn't admit it to her, yet. She is coming into her power so she isn't swayed by any fear that he will hurt her. Consummating the relationship with a vampire still hasn't been elaborated on, yet (perhaps in episode 7).

I love when Diana storms into Philippe's office angrily saying that he did this on purpose to Matthew to drive her away. He reacts as if thinking, "oh, here we go," with a little eye roll before he faces her and says, "You needed to see the wolf behind the man... If you are to have a future... accept each facet... Matthew had to be free of the guilt that he carries...Your union is forbidden in your time, too, otherwise, you wouldn't have come here." He had to test her faith so he'd see she would not waiver; that they could be united. 

She tells him that Matthew had faith in Philippe, "All his life he has tried to prove himself to you and you used it against him. Your legacy is one of pain and recrimination." Philippe is intrigued as she doesn't back down from telling him like it is. He wonders how she can lecture him on his legacy. And then she begins to have her glæm come out (gleam, but the book uses glæm). He is finally seeing Diana as the powerful witch she is. He reveals the ancient prophecy -- "a witch that would change the destiny of all creatures... alter our understanding of life."

"What do you believe?" she asks. 

"I believe you are power, indeed." 

She's sparkling and glowing. "I love your son and that should be enough." 

The unanswered question will weigh on him, but Philippe won't pursue finding out how he dies any further. Matthew and Diana are on the path above the courtyard tentatively watching as he approaches with his sword. He cuts his thumb and uses the blood to mark her forehead as a way to show others she is a member of the family, his daughter, saying "Diana is a de Clermont. With this mark you're dead," as he paints a half-circle, and like his ouroboros, completes the other half-circle, "With this mark, you are reborn, a forever member of our family." Matthew smiled slightly and bows to Philippe. He's relieved by the gesture of his father welcoming Diana into the family; she's the first witch to become a de Clermont.

The episode up to this moment is already packed with revelations and life-altering decisions: Diana's power, Philippe's manipulative actions using Matthew's blood rage, and her being anointed with Philippe's blood. If you're not emotionally wrecked yet, hold on because you're about to get there.

Diana finds Matthew cleaned up -- he washed the rage out of his hair -- in Philippe's office and he explains how his father died as they stand together by the fireplace. She is doing what Pierre and Gallowglass asked of her -- "to be his anchor." It is too good to spoil by providing the recap here. It has to be viewed with fresh eyes and ears. 

Matthew Goode and his perfect portrayal of Matthew de Clermont breathes life into one of the most loved characters created by author Deborah Harkness. His gripping performance only keeps us wanting to see more. If you only have seen him play Henry Talbot in "Downton Abbey," or play prosecutor Finn Polmar on "The Good Wife," then you haven't seen the true talent of this performer who isn't afraid to be vulnerable and reach into himself to make Matthew de Clermont come to life. Those shows are not written at a level to be as deep-felt as it is with "A Discovery of Witches."

The three of them riding out from Sept-Tours, but riding ahead to talk to Diana, Philippe wants to know how Ysabeau is doing in Diana's time. She suggests that he could have asked Matthew, but he wants the truth. This reminds us of how Matthew holds onto secrets and maybe Philippe suspects that Matthew won't be truthful... still? Oh, but it is a great moment when he's satisfied to hear that Ysabeau is lonely; that she misses him. He treasures her honesty. 

An outdoor temple named for the Roman goddess Diana has columns and an altar. Brides would go there to ask the goddess for protection. This scene culminates in another exceptional and pivotal moment for Matthew and Diana. I enjoyed all of the effects and how Philippe de Clermont can call forth with a few sentences the stag, Artemis. Shadow of Night covers this part of the story in much more detail, but it is adapted well here, or you can research on your own more about Artemis. 

Philippe declares that they are to be married "in two days' time." Well, Matthew, tick-tock, tick-tock! You told Diana in the tent, "Not now, not yet, in time," and now in time is happening in two days! He says to her that they don't have to do this just because Philippe says so. But she wants to even after what she's learned about his inherited blood rage affliction. "If you ask nicely," she answers. Ha! I loved that she said this because both of them have been dealing with heightened emotions, plus an incantation to a Greek god is nothing to take lightly. Let's just come back down to Earth. 

I remember when Matthew told Hamish in S1 E5 that she was funny, how I laugh each time I hear this because he's over 1500 years old and a sense of humor is still vital to him. That should be his icebreaker introduction, "This is my wife, Diana, and she's very funny." Every way that they've expressed love for each other right up to this point keeps us enthralled with the show.

They slept for two more nights in separate beds so Philippe gives him a gift. (Just kidding, but I counted, and I got eight nights that Matthew and Diana slept in separate beds). The wedding day gift is a fibula, aka an ancient brooch, something he found on a battlefield that caught his eye because of its blue stone. He demonstrates how he bent to pick it up, and it ended up saving his life. Matthew is amused by the story and appreciates it enough that he watches with admiration as his father leaves the room. He holds it up to the light at the window for a closer inspection. This is a very poignant moment of a father showing his son how he loves him and wants him to have something to remember him on this special day. I hope that if it brought Philippe luck, it brings Matthew luck, too.

The wedding is announced with the ringing of the bell much like a sound of a bell at the end of S1 E3 while she's in Oxford. The bells wake up Diana from a long day's sleep -- rejuvenating her energy after summoning witch wind. The end of this episode is the first mutual kiss between Matthew and Diana. 

She's dressed in one of the most beautiful 16th century-styled wedding dresses. The sight of Diana opening her eyes into the daylight as the double doors open outwards is one of the most anticipated scenes of the series. Her dress is a spectacular sight. In slow motion, Matthew turns to see her descend the stairs and walk towards him. Obviously, he is transfixed by her beauty. Both are glowing with elation that this day has finally arrived!

It is a short ceremony of few words. Philippe has the first dance with her and she asks how he'll prepare everyone to keep silent about her once Ysabeau returns to Sept-Tours. Matthew takes her hand and if it wasn't for a couple of clips of their dance steps, you would think that they were floating. There's a string ensemble playing the cover of "Time in a Bottle," by the late Jim Croce and then segues into a modernized version sung by Julia Church in the next scene.

The editing for the fight scenes was exciting. Certainly, editors and writers have to keep the episode within an allotted time of 44 minutes. ADOW's growing followers are a young adult audience, so for the wedding night, I already knew it couldn't be controversial or gratuitous. That's not this show's image and the two actors are married in their own life. Of course, I'm pleased that any notion of a wedding night was in this episode, but I would have gone with fewer edits; more time elapsing for each shot. Read more about Matthew and Diana's wedding and the nights that follow in Shadow of Night if you prefer the full-length story. The text version extends beyond the TV version of 50 seconds. Yes, I took out the stopwatch.

I also had already looked at the soundtrack's song titles and saw that they were using "Time in a Bottle." It is a perfect song choice -- particularly the early music ensemble's version -- however, I hated myself for spoiling the surprise so instead of feeling so angry at myself in looking ahead, I created my own version in my imagination of their wedding night. It means I have the book, the television, and my own version, and none are less meaningful than the other.

It's at times like this, the great heaven knows

that we wish we had not so many clothes

So let's loosen up with a playful tease
like all lovers did through the centuries

We're just following ancient history
If I strip for you will you strip for me?

Songwriters: Adam Ant / Marco Pirroni 

Here's a breakdown of the time elapsed in the other ADOW's "love" scenes with Matthew and Diana; merely done for the sake of comparison:

• 00:22 - S1 E2, ending - from the moment he touches her hand, kisses her wrist, and lets go of her hand
• 00:39 - S1 E3, her room after dinner - from the moment her hands touch his chest to until he moves away
• 00:27 - S1 E3, ending - from the moment he reaches for her hair to the end of the scene in her room before they leave.
• 00:23 - S1 E4, night 1 at Sept-Tours on a walk - from the moment he turns and embraces her and they kiss until the scene ends
• 00:37 - S1 E5, Sept-Tours driveway - from when he takes her hand and says that they will always be one until the end of the scene
• 01:24 - S1 E5, in his bedroom from when they kiss and move to the bed until the end of the scene
• 00:22 - S1 E6, in Madison - she runs to the tree - from the beginning to the end of the kiss before she sees Rebecca
• 01:44 - S1 E7, nighttime in the forest - she lands on top of him until the end of the scene inside the house
• 01:11 - S2 E5, inside the tent from when she kisses him until he tells her, "Not now."
• 00:50 - S2 E6, wedding night - start at the end of the dance scene until the end of the love scene

When they were getting ready for their departure for Bohemia, Diana wore the trousers without her long skirt. She isn't concerned about fashion as she is about comfort. It's days of riding so it seemed very appropriate. 

Philippe hands her a bag of money, stating, "the women in this family manage their own finances," and tells her the ring she wears is a sign of Ysabeau's approval; a message to Philippe. His emotions are coming forward and I think all of us fans were so sad to know that the moment was coming in which we, too, had to say farewell to him. The performance James Purefoy gave with his character from the moment they arrive to the moment they're departing is something we all have longed for after reading his story in Shadow of Night. He generously opened up all of his heart in his portrayal of Philippe.

Father-in-law of the millennia, no question

Philippe: You have found a woman who is worthy of you with enough courage and hope to spare.
Matthew: Yes, I know.

Philippe: And know this. You are equally worthy of her. So stop regretting your life and start living it. And there is one more matter to be put to rest before you leave. Whatever happens between the two of us in the future, I forgive you. Now go, my son.

Thank you, father.

James Purefoy as Philippe de Clermont looks into the camera like he is looking at Matthew; his words are most eloquently stated and most touching.

Thinking of the lyric, "But the humans will give no love." from "Horse with No Name" by America 

It needed to be said, for Matthew and Philippe, to find closure before their back together hundreds of years later when Matthew has to face his father again.

Philippe now turns back to Sept-Tours and has found the words he was seeking in order to write a note to Ysabeau. He hides it in the book, slipped into the binding. There's an anomaly that causes a vibration that alerts the witches at the beginning of E6 to look for what is causing it. Ysabeau (Lindsay Duncan) tells them that Philippe hid messages. It isn't until Ysabeau later that night sees a piece of paper folded into a tight square and sealed in wax. Indeed, she finds the last message from Philippe and Lindsay Duncan's performance is so amazing and heart-rending to watch.

Song "Lonely Woman" by Dee Dee Bridgewater

Philippe's ring is an ouroboros symbol. This symbol is throughout Sept-Tours on the various items, not just the stamp he uses to imprint the wax seals on his letters; the saddle mat for the horses, and hung above the door of the entrance, and even can be seen on a shield in present-day hung on a wall.

Philippe has taken into account everything that has transpired during Matthew and Diana's visit.

• Matthew has control of his affliction, while he has found a mate worthy of his love; and she being his equal on love, courage, and hope
• Philippe's closure with Matthew regarding his mortality
• The prophecy about the fearsome witch has come true; plus Ysabeau sent Philippe a sign of approval of Diana to be a part of their family; he has a new daughter and he gave her his arrow pendant.

All of the pieces have fallen into place and it finally is apparent what it is that Philippe has had to process in order to write the letter to his wife, Ysabeau. Philippe explains that he "has struggled to accept his mortality and that today [he] has found peace. [He] is no longer afraid." Listen to the rest yourself as the camera focuses on Ysabeau's reaction to seeing his writing and reading his words about Matthew and Diana having finally mated. The episode closes the chapter; we are crying as we watch Philippe and Ysabeau's teardrops. He secures the book onto the shelf for her to find centuries later. The last three minutes between the two characters delicately juxtapose how each of them cares deeply for each other. Her face streaming with tears in having seen his words again, knowing that this is his last love letter to her, saying in so many words that he knows he is mortal now. Adding to this, the sight of Matthew and Diana riding into the sunset -- these are all of the elements that make our heart, and our eyes, swell with emotion.

Putting the love scene aside, in every scene with Matthew, Philippe, and Diana, or just the pairings Matthew and Philippe -- Matthew and Diana -- each moment of E6 is deeply emotional and absolutely enchanting. 

Previews for episode 7 leave a lot to the imagination. But certainly, the recurring character Gallowglass returns next week.

[If there are scenes that didn't make it into the series between Matthew and James, I would enjoy all of those extras if any were to be added as special features when the DVD is assembled. 

Watch other work in which these two actors share the screen in Roots (2016). See also this blog's post about "The Wine Show" on its own page here.]

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:E5 | An Analysis (contains details of E5)

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.

Episode 5 feels too short even with a runtime of 44 minutes including the recap. The recap to prepare us for the new episode is amazing on its own because it covers earlier scenes from season 1. As I've been saying in previous postings, the TV series "A Discovery of Witches" is adapted from the All Souls Trilogy by Deborah Harkness, and for season 2, adapted specifically from Shadow of Night, the second book. I'll only refer to the book when it is significantly relevant.

Shudder TV episode description: Matthew and Diana arrive in France. Philippe has a revelation. Diana practices self defense.

If you haven't watched episode 5, you will be spoiled if you read any further.

I've watched up through episode 5, and I very much appreciate how the writers are faced with the challenge of adapting a 570-page story for 10 episodes of television. Thankfully, they haven't left out too much about Matthew's nephew Gallowglass (played by Steven Cree). Back in E3, he promised to escort Matthew, Diana, and their servant Pierre to Mont St. Michel from London. In the opening scene of episode 5, he's rowing them to shore from the ship. Mont St. Michel's picturesque landmark is in the background.

Steven Cree as Gallowglass, left.

I immensely enjoy every stunning CGI morsel. The sand and the ocean rushing by as the horses carry them over the hills is awe-inspiring. The beach is on the coast of Wales, but I'd never know the difference. The cinematography in all of these episodes is out of this world. Each wide shot is a tribute to some of the finest open landscapes. Episode 5 leaves quite an impact; above the level of all the episodes that precede it.

Diana sees the welcoming party of horses and men to escort them to Sept-Tours. She asks if Philippe sent the party to protect them on their journey. But Matthew doesn't assure her it's for their protection, saying, "That is certainly what he will claim." If it were not for Philippe summoning him and Diana to Sept-Tours, they would be on their way to Bohemia to find Ashmole 782. Their new handlers are essentially a team that enforces his orders.

Gallowglass offers a little humor for Diana to feel at ease by telling her to "follow the trail of vanquished enemies and satisfied women" when they set out for Emporer Rudolph's castle in Bohemia where they'll meet up later. 

[Side note: it's probably too late, but I'd love a bawdy B story from Gallowglass's POV.] 

He tells Diana, again, "Do not lose him. Or yourself," as he had said in E3, that she "needs to be his anchor while in Sept-Tours." No longer smiling, she takes off to find her horse.

Next is the heartwarming moment of uncle and nephew with forehead-to-forehead, bidding each other adieu. Gallowglass and Matthew have a storied history; their bond is obvious. 

Viewers have been anticipating the reunion of Matthew and Philippe for so long; it's bound to be filled with friction. Matthew wanted to go hide in time from the Congregation and never expected to be reunited with his stepfather whom he watched die 70 years ago. He prepares Diana for Philippe during the rest stops on the way to Sept-Tours. He warns her in so many words about how limited he'll be with regards to his freedom every moment that he's closer to Philippe.

Chapter 8 of Shadow of Night expands more on the conversation between Matthew and Diana regarding the Catholics and Protestants in France, which occurs at about nine minutes into the episode, but is much more condensed in the adaptation. The book explains more back story about Philippe's perspective on Christianity and protecting France plus why it is dangerous to be riding through France.

The secondary story of E5 is about Kit Marlowe running into Matthew's blood born sister Louisa, who is discovered having a blood meal of a man just outside of The Lamb, the pub that is Kit's second home. Kit fills her in on the whereabouts of Matthew. He even reveals who Matthew is in love with and she notices he's pining for her brother. She asks for Kit to escort her around the city while Matthew is away in France. Eventually, he is more than her escort and ends up being her accomplice as they wake up a watchman in Blackfriars, long after curfew, while enjoying target practice. She shoots the man after he calls her a whore. Kit looks shocked at what she's done, and they take off leaving the body behind. Somehow this probably will bring trouble for Matthew later.

Don't call Louisa a whore or she'll shoot you dead.
(Elaine Cassidy portrays Louisa de Clermont)

The dark silhouettes make it more cinematic.

After a brief moment of fatigue, causing Diana to fall off of her horse, she is put on Matthew's horse to ride sidesaddle with him. She still assures him, saying "Wherever you go, I go." Notice the constant theme of "being in this together." For example, back in E5 of S1, when Matthew returns to Sept-Tours with the report on Diana's genetic data, he told her, "We will face this together otherwise we will always be running." Matthew and Diana are holding hands in S2, like while walking through London, and in this episode, walking into Sept-Tours, continuing to show that they're always connected.

When Diana is warming herself by the fire, Pierre asks that she be there for Matthew. She lets her impatience get the best of her at Pierre's expense saying, "I get it...no one can hide the truth from Philippe no matter how much they try." Diana is being counseled by two vampires who've known Matthew longer than she has known him. She can't help but ask Pierre whether or not Philippe wants Matthew to be happy. Notice how he doesn't answer this question. Is it a matter of Philippe not allowing Matthew to be happy? Pierre just tells her Matthew is going to need her and she "must be his guiding light." Has anyone been paying attention to her optimistic attitude?

It's time for bed, but Diana isn't ready for sleep when she tells Matthew, "I'm always yours," and he says, "And I am yours." She initiates the intimacy and wants to take it to a new level in their physical relationship until Matthew says "Not yet. Not now. In time." Diana's response is to turn her face away from him so he doesn't get a goodnight kiss, or any more of her love this night. Teresa Palmer as Diana nails it as the unsatisfied woman. She takes her hands off of him and silently rolls over to put her back to him. Matthew is not telling her anything about why they're not getting past the "bundling" phase of the relationship (see S1 E5).

[The book Shadow of Night expounds on this topic. It will not be spoiled here. Plus, I expect more has been written into episode 6, even if it's a condensed version. More to look forward to next week!] 

"If only the sexual revolution was a little earlier," Diana says this at the beginning of the journey on horseback after arriving in France. Amen, woman!

I guess Matthew has a thing for leather trousers because overnight he left a pair for Diana to wear, which she discovers next to her head -- with a wild flower on top of them. She's quite delighted to put on pants for the first time. Hours of horseback riding remain, but probably are now less daunting. [The gift of leggings is different in the book however, the adapted version works out better to show that Matthew cares about her comfort even while he is lagging behind with regards to her other needs.]

Milo Twomey as Pierre, tasked with finding a hotel in Bohemia
and keeping Gallowglass from getting into trouble.
He looks really psyched, huh?

At just about 23 minutes in, they finally arrive at the castle. Of course, no one expects, "Welcome home, long time no see." The tension is quite thick. The anticipation and anxiousness are apparent on Matthew's face. It's emotionally riveting to watch these two characters together in the series for the first time. Diana doesn't show emotion, but Matthew is quiet, doesn't answer when Philippe beckons from the dark of the alcove, his back to them with barely any candles to light the office, "Explain yourself." 

Matthew, looking like he's at a loss for words, walks towards Philippe who is turning to face him. He places the coin in his hand, he says, "I'm here. As commanded," and bows his head as a sign of respect. His soft-spoken answer is even and steady. Philippe half-willingly bows and swivels with a little scoff. It is an inadequate explanation. "I'm sure your spies have told you everything you need to know," answers Matthew, clearly not prepared to explain anything more than necessary. Philippe says, "You should have told me yourself about your witch." Meanwhile, Diana is just listening; watching Matthew and Philippe begin to acknowledge her.

Diana seizes the moment; speaks with confidence to Philippe about her not only being a witch; she's a weaver. Philippe is not impressed. Matthew watches her much like when he watched her handle herself so well in front of Kit Marlowe, Fr. Hubbard, Lord Cecil, and Queen Elizabeth. He cringes, though, when she tells Philippe she "has seen things that are not in the history books, yet." Philippe challenges her and she can certainly handle him. Philippe divulges that he heard about them from Hubbard, and then states the obvious, "You seem out of place," and he then he faces Diana, declaring, "You are a timewalker. And you have come to this time for a reason."

[alternative dialogue: Merde!]
Matthew appears surprised that
Philippe discovered their secret so soon.

She says, "We were in serious danger." She tells Philippe she loves Matthew.  

Matthaios is yet another name for Matthew.

Matthew: Please do not doubt my feelings for Diana.

Philippe: Surely you are the one with doubts. If this relationship truly meant something to you...

Matthew: Please, don't.

Philippe: You would have consummated it...by now. Did you really expect me not to know?

The pause for emphasis; the speech pattern that connects them to how they are alike. The delivery is impeccable.

Never doubt a vampire's ability to literally smell a lie.

He tries to read her reaction.

[alternative dialogue: Um, that spot still stings. There was this vampire who was obsessed with me... (sigh) Nevermind.]

He humiliates Matthew in front of her. It also makes her look foolish for believing that they were mated all this time. You can see her wheels turning and she doesn't even look at Matthew when she leaves to follow the servant to her room. Indeed, they have to sleep separately, and she is not happy.

Matthew goes to Diana and they have an argument that tops the argument that they had in the second episode after Matthew kills the prisoner.

"He knew before I even opened my mouth. And you lied to me."

"It wasn't a lie... As far as I'm concerned we're mated." Deny, deny, deny the lie, Matthew. 

So, Matthew changes the mating rules to fit his needs and Philippe takes issue with this.

"I knew there was something," she says. She asks why he's holding back. 

He won't give her a clear answer and says, "It's complicated." 

"Your father didn't think so," she says with a look of reproach.

 

"Well maybe you should bed him."

I love that she builds momentum in slapping him in the face, enhanced with a ripple of power that throws him out as the door slams shut. She's so fierce! 

If things don't go his way, he becomes volatile, and therefore, he attacks the person he loves. She was right to stand up to him and she deserves the truth.

Matthew Goode and Teresa Palmer fight like a married couple and I love it almost as much as the romantic scenes between them. None of it is ever contrived. The fight appeared to be fueled by an unbearable weight of their characters leaving things unsaid for so long. It was more believable than the punch from Kit in the first episode.

[Alternative dialogue: He heard everything you said, you know!]

James Purefoy and Matthew Goode are also really compelling to watch because if you've seen them on "The Wine Show," they're good friends and have a great time together. Even though brief, their scenes in E5 explore another side of Matthew Clairmont. James Purefoy is so perfect in his role as Philippe de Clermont. He plays the parent that is forcing his son to think about his actions; own it instead of being in denial. Matthew holds onto trauma creating this wall of secrets that locks him in a painful state. His inability to be truthful is the "sin of omission" in Philippe's eyes. "And you are still sinning," to which Matthew says that this is between himself and Diana. "If only that were true," responds Philippe. I process this to mean, being dishonest to Diana, in the eyes of God, you're committing a sin and you can't say that your pattern of lying is only between you and Diana.

It really irks Matthew when his father asks when he last fed. He's over 1500 years old and the question sounds so ridiculous to him. Remember, this is the same person who has him identifying Catholics for Queen Elizabeth. He cares more about nourishment than how much Matthew is guilt-ridden over his duties to the Queen.

Philippe scrutinizes his son's irritable mood. It's more than about the separate rooms. What happened in Matthew's time with them? The question just hangs there as Matthew is tormented, refusing to answer him. He is only able to utter, "Don't." Philippe is far older and wiser to let anything get past him. When he sees Matthew isn't forthcoming, he ends the conversation. It is breathtaking to see this exchange; so perfectly executed. 

Philippe de Clermont (James Purefoy)

"Don't." 
[Alternative dialogue: Don't. Let's wait a week to dispense with more of my baggage.]

Solo hunting on horseback this time -- last time Hamish drove him through the highlands of Scotland -- and Matthew is enjoying the freedom and fresh air of the late autumn. This is another respite from the pressure he's under, and yet, it will not last.

The quiet moment in silent forest;
it feels amazing to finally be alone
and away from the responsibilities.
He last smiled in E3 when Gallowglass arrived.
Can a long overdue meal get Matthew back on track?

Breakfast in bed? Nope, not at Sept-Tours. Diana is roused by the servant throwing open the drapes. Time to get dressed. Philippe hands keys to Diana, which she doesn't take from him because she's not planning to be there long enough to run the household. It doesn't matter that he is trying to warm up to her after his inconvenient rule about her and Matthew sleeping in separate rooms. She only wants the key to the library.

Philippe: We do not lock up books in this house. Reading seldom leads to bad behavior.

Diana: Oh, you'd be surprised.

She makes great use of the empty bed with lots and lots of books. She's much more relaxed with the history books. Also, adding to her accessories is Ysabeau's ring. She hears footsteps nearby and runs back to her book, which is so funny because she acts like she's in trouble. Wait for it, Diana because here it comes!

Andre Champier, a witch from nearby, shows up uninvited insisting that he was summoned by Diana. Has she got a tracking device on her? This is the second time a witch seeks her out within hours after her arrival. Philippe didn't act as if he ever met him so he just lets him in, escorting him to her bedroom. 

Champier and Philippe interrupt her. She's immediately guarded at the sight of Champier because of what she's experienced with Satu and Knox. He says he is there to unlock her painful memories; erase them by taking them. He's too big to get out from under his grasp when he takes hold of her head in his two hands while he calls her a traitor for letting Matthew feed on her; accuses her of holding secrets. He can see how she saved Matthew's life. Philippe watches what unfolds with fascination.

She screams, he runs!
By the way, how sharp is your dagger, Matthew?

Andre Champier is enthralled with
eliciting the memories from Diana.

She doesn't need his protection.
She just needs his dagger.

Matthew rushes into the bedroom just in time to witness his dagger fly from its holster into her hand from across the room. She plunges it into Champier and stops him from taking away all of her memories. It all happens in a matter of seconds and the episode ends with the drops of blood dripping from the dagger as the song, "Me and the Devil" plays. It is a cover song by Soap&Skin aka Anja Plaschg (originally by Robert Johnson). Cliffhangers like this are so thrilling! Philippe almost let Diana die right in front of Matthew! Is this the war that Matthew predicted he would be dragging her into back in E3?! Bring it on! 

[I plan to post about the season 2's soundtrack after all ten episodes have aired]

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.

[If there are scenes that didn't make it into the series between Matthew and James, I would enjoy all of those extras if any were to be added as special features when the DVD is assembled. 

Watch other work in which these two actors share the screen in Roots (2016). See also this blog's post about "The Wine Show" on its own page here.]