"A Discovery of Witches" | S3:E5 and E6 | An Analysis (contains details of E5 and E6)

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. For this post, I’ll recap mostly in order of how the episodes unfolded. I begin with the fifth episode followed by the sixth episode. You'll know to stop if you're not caught up before I recap the sixth. In some moments I may condense some of the scenes all in one section to avoid jumping back and forth between the different storylines. 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.

Season 3 Episode 5

Writer: Lisa Holdsworth, Director: Debs Paterson

Description: Benjamin's plan to bring down the de Clermonts is set into motion. Matthew and Diana return to Sept-Tours with the twins. Gerbert demands to examine the babies.

“In every ending is a new beginning” is the constant theme that runs through the TV series "A Discovery of Witches." The ouroboros symbol is plainly ever-present in representing the de Clermonts; it appears on their seal that imprints the wax on letters and important documents. All throughout the chapters of The Book of Life the symbol is mentioned. E5 opens to us bearing witness to the rituals tied to life and death. Agatha Wilson and Diana de Clermont attend T.J. Weston’s funeral in The Cotswolds. Meanwhile, Ysabeau is having Sept-Tours prepared to hold Rebecca and Philip’s christening ceremony. In the world of the All Souls Trilogy, enduring the cycle of life and death for an infinite number of the Earth's rotations is a synonymous experience for creatures and humans. Vampires are always talking of death and life, recalling who it was that they sired from the moment of being brink of death to being reborn a vampire. The dawn has often been a symbolic message bringing a new beginning and the dusk has also been when someone life's comes to an end.

Baldwin and Gerbert are socially distancing.
Trevor Eve is Gerbert (right). Peter McDonald is Baldwin (left).

Has anyone else felt like this constant pissing match between Gerbert and Baldwin should finally come to its end? Essentially, Gerbert thinks the de Clermonts having offspring between a vampire and a witch is an imbalance of power. Gerbert what is it you plan to do with all the power? Control freak, indeed. It's ADOW's greedy, selfish villain whose only desire is to be superior. Baldwin is under pressure from Gerbert to control these new children as the head of the de Clermont family.

Emily Mather appears in the form of a firelight, with similar movements as a butterfly flapping its wings. The mist of the morning clears the way to let in the stream of sunlight over the sacred circle.

Ysabeau and Marthe meet the babies and welcome back Sarah whose emotions are on the surface in still mourning Emily upon her return. Sarah takes flowers Ysabeau had obtained at her request and heads back to the sacred location to lay them in the center. A beautiful beam of sunlight breaks the fog with a flickering light of a butterflylike spirit much to Sarah’s delight.

Hi Jack, I heard so much about your ragers.
Lindsay Duncan plays Ysabeau.

Jack and Ysabeau finally meet. She warmly welcomes him. Doesn’t mention the blood rage situation. It’s in the subtext, though. “I heard so much about you.” He seems self-conscious hearing her say it.

Is the blood ragers anonymous meeting happening before or after the christening?
Toby Regbo plays Jack Blackfriars.

I've got to point out that whoever it was who planned the camera shots in E5 and E6, it never misses an opportunity to have the oil painting of Philippe de Clermont in view. It hangs in the hallway as people come and go at Sept-Tours. In this post, you'll see that I highlight each moment.

What actually happened to this painting after the series wrapped?
James Purefoy should have it hanging in his home next to his sword collection.

Marthe, Ysabeau, the babies with Diana and Matthew are gathered in the sitting area by the main fireplace. They discuss the scion, what they’re trying to accomplish. The babies symbolize a new opportunity to unite the creatures. Diana and Matthew shall determine who are their true friends by who shows up. 

We descend onto the city of Berlin and meet Lena, a witch, who is leaving a dance club. Of course, shadow caster, Benjamin, is onto her. She looks a heckuva lot like Diana. He takes her hostage in a derelict industrial setting of Lublin Voivodeship, Poland, which turns out to be located in the central operation area of the holocaust; the Nazi concentration camp of Majdanek. She’s tortured off-camera and while restrained and dazed, she hears the names of Diana and Matthew. She’s able to free herself from the bed she’s cuffed to later in E5 while Benjamin is preoccupied with torturing Gabriella, likely another witch. She's doing exactly as he had hoped, which is going straight to Matthew with the intention of luring him to his lair.

Goth poser. He wears white socks with black trousers and black shoes.
Jacob Ifan plays Benjamin Fuchs.

Diana is struggling to keep her daughter Rebecca satiated. This scene is quite the same as in the book. She takes Marthe’s hint that Rebecca wants something other than her mother’s milk. It's amusing to see a plate of russet potatoes in front of her and a big steak knife on the table. Someone was about to make Hasselback potatoes and then got sidetracked. Alright, of course, use the tool best suited for the job. Rebecca, your taters are on hold until we can get you to chill out with some fresh garnet drippings.

Diana, the Chopped choice of ingredients are breast milk, pumpkin, russet potatoes, or your blood. You have 45 seconds to feed your daughter before you're both sent back down the oubliette. What will it be?   

As in The Book of Life, barely a second passes and a vampire will hear the flow of blood as it is being siphoned. Matthew rushes to discover Diana allowing Rebecca to drink from a slice in the vein of her palm. Diana wins the argument and Matthew apologizes in agreement that they will do what they have to for their children.

Future prospects for Marcus and Phoebe seem to rely on Phoebe telling Marcus that she wants to become a vampire. He tells her to shelve that conversation until after the christening. 

Jack and Matthew have detected that Philip is a witch. It’s a sweet moment between them. The scene makes it seem like Matthew is cautious, almost in a possessive way, about Jack handling his son. Jack had earlier been patrolling the grounds of Sept-Tours looking for Benjamin in case he decided to come after the family. Later in the episode, they’re taking in the night's air on the grounds of Sept-Tours. Matthew mentions to Jack that he understands how difficult it is to have held back and not intervene when Baldwin threatens to take the children from the chapel. Matthew wants the family to stop hiding from the shame that blood rage has brought to them and admit that it has "done more harm than the actual blood rage" itself.

Guests arrive for the christening from New Orleans and London, Fernando de Clermont reunites with Sarah Bishop, Marcus’s family Geraldine and Ransome, finally meet Ysabeau, Chris and Miriam are now more than colleagues–they’re friends. They stop to observe the portrait of Philippe de Clermont, which is in view of the camera from a side angle again. At least this time it is about seven seconds to pause with slightly more light.

Whoa, I swear I just saw his eyes follow us!
Chris, come on! Philippe's painting is not alive.

Jack, I hear you like to draw. 

Do you know what a painter draws before he goes to bed?

Curtains. 

Get it? He (hahaha), draws the curtains!

This big gathering seems to also be missing Gallowglass. Fernando tells Sarah that he decided to decline the invitation. Ysabeau says that their “allies are waiting in the chapel.” She calls the children "revelations." She’s come to realize that she has a witch as a daughter and that she regrets Philippe not being there; that Philippe would have been proud to witness this moment.

In the chapel, the godparents stand including Chris, Miriam, Marcus, Phoebe, Fernando, Sarah, Jack, Hamish, Marthe, and Ysabeau -- they vow to protect the children. Driving to Sept-Tours is Baldwin Montclair. 

The Catholic christening takes place first and then the Wiccan ritual conducted by Sarah Bishop. She bestows the names “they will take as they go out into the world…to recognize their potential. Rebecca Arielle Emily Marthe; Philip Michael Addison Sorley." 

Chapter 32 details that "Sorley" is the last name of Gallowglass. Addison was Diana's father's middle name.

Baldwin throws open the doors and apologizes for his tardiness, offers his congratulations, and asks for the children so he can take them to Venice for assessment. “We need to know what they are, Matthew.” Baldwin won’t recognize the scion. He calls them the “diseased branch of the family.” Jack starts to feel some anger and Ysabeau calls on him to control it. Baldwin labels this scion a formation of a rebellion. Matthew clearly wants to sink his teeth into his older brother.

We've washed away the baby's sins. But I'm still living with MINE, Baldwin! (Grrrrrr!)

LOVE this action and the actors in this scene! Peter McDonald is Baldwin Montclair, Matthew Goode is Matthew de Clermont

Vamp fighting is a matter of showing who’s got more strength and power – Baldwin is physically restrained and calls for Matthew to let go, literally. Matthew wants Baldwin to let him go, figuratively, let him go on, and do what he wants with forming a scion. Diana has the upper hand with threatening to set off an explosion. Matthew declares that he’ll never bring shame on the family. Baldwin settles for Diana who swears she will spellbind her family if they develop blood rage. She says if "the scion fails" she’ll "submit to the congregation." Baldwin finally relents and says Matthew is responsible for all whom he sired and all of whom those he sired has sired. So that means Benjamin’s his problem.

NY Fashion Week reaches a whole new level with Diana bringing her witch fire to the runway!

It's thrilling to watch her call upon the witch fire! Teresa Palmer is Diana Bishop de Clermont.

Sarah and Diana talk about her power. The 10th knot was not used, but it is the “knot of creation and destruction.” This is like her and Matthew’s partnership. She says her magic is made of this same principle, which she calls a “union of opposites.” She references Goody Alsop in saying that forming the scion is a representation of "old worlds dying and new worlds being reborn. When I get The Book of Life back, replace the missing pages and heal it, something tells me that my magic will be even stronger.”

Baldwin brings the Congregation up to date. Knox’s old chair still is empty. Gerbert is still sour about power. Insinuates that Baldwin approved of the scion so that they can still defy the Covenant. Baldwin clarifies that Matthew is now responsible if members of his scion screw up – whether they had done something against the covenant in the past or are accused of wrongdoing in the future. The question is raised by Domenico if Jack has been dealt with and Baldwin is satisfied that he’s no longer a threat. Satu speaks up and says that Diana’s promise to spellbind Jack is a betrayal to witches because it is against the principle of their way–don’t make a creature powerless, ever. Agatha tries to reason with Satu and brings to attention that voting on the matter would be unfair since the seat of a former witch has not yet been filled. Um, Agatha probably has a certain witch in mind--just hold that thought. 

Baldwin has to now answer to Gerbert’s insistence that Rebecca and Philip were to be assessed by the Congregation to which Agatha accuses him of wanting to kidnap them. He fumbles his way through clarifying that it is simply “quarantining” them. Gerbert starts to infer that the vampires need to take the lead on this matter.

Diana was showing the twins twinkling magical lights, and then she hears someone coming, so she quickly snuffs the magic and then pretends to be playing with their feet. Ysabeau appears and she asks Diana to come downstairs because a witch has arrived to see her and Matthew. Lena, the witch is warning them. First, she says Benjamin kidnapped her. Benjamin wants to expose the witches; he talked about “a witch with the power of life and death that would allow him to control everything.” He was hoping to mate with her to make babies like Matthew and Diana. She goes on to say, “He wanted me to be his Diana.” Lena lets out that Benjamin told her Matthew turned him into a torturer. They take her somewhere to let her recover. Marcus says that Matthew will need “the strength of the Knights of Lazarus,” if he’s going to find and kill Benjamin. Matthew gets all Eeyore-like, thinking nobody's gonna want to be part of their order of misfits. Chris, Miriam, Sarah, Jack, Rebecca, and Philip are now members of the Knights of Lazarus. “It means that we’ll be sworn to defend each other.” The Congregation won’t be able to target one individual without the defense of the entire scion of the Knights of Lazarus. The ritual of swearing on the sword and putting on the rings, which all contain the ouroboros goes like this: “Do you swear faith and fealty to the order and to each other, vampire, daemon, witch, and human to protect those in need of help? Welcome to the Knight of Lazarus.”

Fernando tells Matthew that he’s no longer interested in being the outsider like he was when Hugh de Clermont, his partner, was killed. He says, “I want to be part of your scion, Matteus, part of what you and Diana are doing. A member of your family. And I hope that is at your right hand.”

Olivier Huband is Fernando Goncalves.

“That is where I want you.”

Fernando, your amazing coffee will help me make, sweet passionate love to Diana all night. Thank you. 

Matthew sniffs the coat that Lena wore. Of course, he knows it belonged to Benjamin. He finds the watch in the pocket that once belonged to Philippe. It’s dated “1922” so there’s that clue to bite us in the ass later. Which vampire of the two is a better biter, Benjamin or Matthew? Definitely has to Matthew thinking back about how Diana reacted to his taking a drink from her heart vein in E9 of S2.

Diana and Matthew finally make out; it has been a minute. It took until the 5th episode to show he still enjoys intimate moments with Diana. She doesn’t want to promise that she won’t go near Benjamin. They sit up and he says, “You’re my wife, not a weapon.” 

She’s got Corra, the firedrake, just nearly ready to escape back in the chapel – let Corra kill him! Of course, the song begins, “Nightcall” by Kavinsky. This song was in the film Drive, and a cover version is used in this case. If one compares that film's Driver and Irene with ADOW's Matthew and Diana, well, we're at the point in the story in which there is an unavoidable conflict. It's in the way of their ability to go on with life peacefully. Diana is not actually the "Irene" in this scenario, but she's what has been grounding him and there is no one else for Matthew except her; his mate for life.

The Book of Life's passage in chapter 33 reads as follows:

“The family will survive if I don’t come back. There are others who can serve as its head. But you are its heart.” 

“There is no point in arguing with me. I know this from experience,” he said. “Before you, I was nothing but dust and shadows. You brought me to life. And I cannot survive without you.”

In E5:

“Mon coeur, ma lionne. If I don’t come back, this family of ours will go on. And there are others who can serve as its head. But you, you will always be its heart.”

Their romantic embrace brings the episode to a close while the camera pulls back into the burning fireplace. If you read any of the books, though, Matthew's hands are always described as having a cool touch. I always think of how the TV version cannot offer the sensual touch he gets from Diana's "fire" and she gets from Matthew's "ice." It is this passage I find going to for knowing what these characters feel when they embrace:

“It’s too hot,” Diana protested, though she still put her hand in his. 

“I’ll cool you off,” he promised with a smile. 

Diana looked at him with interest. Matthew’s smile broadened. 

His wife—his heart, his mate, his life—stepped down off the porch and into his arms. Diana’s eyes were the blue and gold of a summer sky, and Matthew wanted nothing more than to fall headlong into their bright depths, not to lose himself but to be found.

Darling, I think you have Rebecca's spit up on your back.

Episode 6

Writer: Christopher Cornwell  Director: Jamie Donoughue

Description: After receiving Benjamin's message, Matthew leaves Sept-Tours at dawn to track him down; Diana enlists Sarah's help to finally get the Book of Life.

Continuing from where E5 left off of Matthew leaving the family for Poland to find Benjamin. The song “Genesis” sung by Ruelle plays.

Philippe may be dead, but he lives on in this portrait overseeing everyone's arrival and departure.

He holds Philippe's watch that Benjamin surely planted for Matthew to find in the coat's pocket. He’s going to find him and kill him knowing that he may not come back. Diana is peacefully sleeping with the twins by her side. He looks at her from the side, he stops at the foot of the bed and observes her once more. He is about to pull open the door to leave and he turns back to see her entering the room with the portrait of Philippe above her to the right. I truly love the framing of this moment as they come together as dawn is breaking through the windows as they hug. He cups her head in his hands. In The Book of Life, “He cupped my face in his hands, searching every inch as though trying to memorize it.”

Philippe's portrait is serving the back story, so for it to oversee Matthew leaving to go kill Benjamin, it signals the warning of what happened to Philippe can happen to Matthew. We learn that Philippe was tortured by Benjamin and not the Nazis.

While Matthew is driving towards Poland, the hills reflect on his windshield as he’s facing what is really an uphill battle.

Let's recall that in S3 E1, Matthew told Diana:

“at the end of the first crusade, I was in Jerusalem. Philippe dreamt of establishing a homeland for creatures, but in order to do so it was necessary for us to reveal ourselves to some humans that we thought we could trust. And, Benjamin was one of them. When Benjamin threatened to expose us all, it crushed Philippe’s dream. … By God I wanted to punish him. Death would be too quick. I made him a vampire so that he couldn’t reveal our true nature without revealing his own. And then I abandoned him. A new blood-raged vampire. I thought it would kill him eventually or get him killed. It was the most terrible miscalculation."

Here’s the way The Book of Life covers this:

“He was mine. Benjamin began to trade in de Clermont family secrets. He swore he would expose the existence of creatures—not just vampires but witches and daemons—to the humans in Jerusalem. When I discovered his betrayal, I lost control. Philippe dreamed of creating a safe haven for us all in the Holy Land, a place where we could live without fear. Benjamin had the power to crush Philippe’s hopes, and I had given him that power.” 

… “Death was too quick. I wanted to punish Benjamin for being a false friend. I wanted him to suffer as we creatures suffered. I made him a vampire so that if he exposed the de Clermonts, he would have to expose himself.” Matthew paused. “Then I abandoned him to fend for himself.” 

There are several times in this series when a scene begins with someone facing the opposite direction. Their back to the camera. We saw it in S1 when Diana’s adrenalin is racing and Matthew is on the far side of the room from her trying to hold it together to not attack her and his back is to her. In S2 when Diana and Matthew arrive to see Philippe, he’s in his office and his back is to them. In S3 we saw Matthew facing out the window when Phoebe enters to introduce herself. Now in E6, Diana is at the fireplace in a smaller room when she tells Marcus that she’s going to Oxford and he can’t change her mind. She does not want to wait any longer with the three missing pages so she gathers Sarah and Fernando to go with her, however, Marcus asks Fernando to go ahead of them.

Diana asks that the rest all remain back at Sept-Tours to guard Rebecca and Philip. She gets out her Oxford University Bodleian Library reader card and magically duplicates it to make Sarah a reader. Sarah and Diana are fearless in knowing that showing up to retrieve the book is going to call attention to themselves. Where was Diana before I was of age to get into a show that was 21 and over without a valid ID?

E6 gives us another territorial pissing match between Baldwin, Domenico, and Gerbert in Venice. Two daemon members of The Congregation leave Gerbert’s office seeming to agree to his power grab. His intention is to reform The Congregation and fix the broken Covenant. He wants to have the vampires lead or, he believes, it’s all chaos from now on because of the scion Matthew formed. The plan is to ban Agatha, the ally that supports Diana, which in actuality, protects the Knights of Lazarus, the de Clermonts, from having to answer to the Covenant. Baldwin reminds Gerbert that Philippe never intended for the balance of power to be with the vampires. Gerbert argues that the “formation was to serve the Covenant and the wisdom of it was to be self-evident.” Baldwin is pressured to support Gerbert as Philippe’s full-blooded son and he complies. Domenico is silently absorbing all of this. Later he lends his voice to Baldwin privately.

Domenico gets that Gerbert is creating a lot of friction in his attempt to end the authority of the de Clermonts. Gerbert freely admits to meeting with Benjamin and now says that Benjamin was responsible for Philippe losing his mind, not the Nazis as we had been led to understand. Domenico is listening intently as Gerbert spills the beans that he capitalized on the opportunities as a result of Philippe’s death. If Gerbert could do this with Philippe, what's stopping him from doing this to other vampires?

Do you mean I spent 5-1/2 episodes being a dickhead to my brother Matthew when I should have just killed Gerbert and taken all of his money?
Gregg Chilingirian is Domenico Michele.

At the 38:42 point in the episode, Baldwin and Domenico meet. He calls Baldwin “an inflexible, arrogant head.” Baldwin has been manipulated by Gerbert to think that Matthew has undermined him by forming a scion. Domenico reveals, however, that Gerbert has fostered Benjamin’s reemergence and the blood rage killings. They have been in cahoots for centuries. Domenico drops quite a bombshell on Baldwin and he wants nothing in return for dumping this information in his lap.

Fernando and Marcus quietly agree to a plan which Fernando knows already without him even asking. Marcus throws it out there that he’s asking him as Grandmaster of the Knights of Lazarus. There’s only one person that matters in protecting Diana on her mission to get The Book of Life. Is everyone paying attention?

We’ve seen Philippe’s library back in S2 when he offered Diana free reign of it. He stashed a secret message in the binding of a book in it for Ysabeau to find later that season. S3 we saw research being done in that space perhaps with some books and then Ysabeau pulls out a book from it for the christening. This time Diana slides out her pages from under a slot built into a shelf. I’m so pleased that his library has become so useful to her this season.

Is this the best hiding place in all of Sept-Tours? If we're trying to imagine where Diana would have hid the missing pages, one of the first things we'd do is see if they were tucked inside a book kept in a library? How well hidden is this secret shelf?

Phoebe and Marcus get down to the discussion of having to run when the Congregation comes after them; how long he can hide out without being noticed as opposed to her. He essentially can go an entire lifetime without surfacing is what he’s getting at and she can’t because she’s not yet a vampire. He says, “If you don’t make the change, you still have a choice, you can still go back to your life.”

I don’t know how he can think that he can sire her with the fact that he couldn’t sire his friend James after the car hit and killed him. He tried to give him his blood and it wasn’t James’ genetics that prevented him from turning. It was Marcus’ blood that has the problem with turning a human into a vampire.

We’re 10:09 into the episode and the moment we’ve ALL been waiting for…(drumroll - cymbals) Steven Cree aka Gallowglass, shirtless, tattooed, with pecks and biceps exposed, plus his tight abdomen. Cree lifted weights; sacrificed ice cream and chocolate to bring the fans of Gallowglass his sculpted physique. He read the books and knew the fans expected a bigger character, physique-wise. 

I can live with the only sighting of Corra the firedrake being a tattoo on Gallowglass.

Take a moment to study the landscape of a man we all have had to endure being covered up in all the previous episodes.

The tattoos are fading and the tattoo artist thinks it is from sun exposure. She has an American accent. I’m not sure what she’s doing in Brighton, England on the boardwalk giving Gallowglass a touch-up session. She notices his left shoulder, thinking it is a dragon and he calls it a firedrake. Fernando shows up to save us from staring too long at this perfect torso. He explains how Diana will need his protection. Gallowglass points out to Fernando, “You were the one who told me I should walk away.” (sighs) (And we sigh, too, Gallowglass) “And you know how hard it was for me to do it.” (Aye, we know!)

Using tattoos to give us more clues about Gallowglass is our favorite plot device. 

Fernando: I do.

Gallowglass thinks he doesn’t need to be answering to the de Clermonts, i.e., Matthew’s got Diana and she’s got him. It’s all Sonny and Cher singing a pop ballad, yet, he’s got no one.

Fernando: Then don’t do this because you’re a de Clermont. Do it because you’re the man I know you to be.

"O, tha fìor dhòigh agad le faclan, Fernando," is the Scottish Gaelic for,
"Aw, you really have a way with words, Fernando."

For the sake of time, I’m not comparing this with The Book of Life, so I encourage you to read Harkness' words yourself that describe Gallowglass’s tattoos in chapter 23 of the book. I feel it would have been much clearer on how he felt about Diana if they created the same images of his tattoos on TV as they were in the book.

They arrive at the Bodleian Library. Diana is in her trademark blue winter coat, the least inconspicuous fashion, in my opinion. Oh, it’s thundering above, so the gloomy weather is so apropo for this daunting task of calling up Ashmole 782.

She sees Gallowglass standing center under the overpass and walks briskly to give him a big hug. She tells him that she missed him and he’s glad to hear it, calls her Auntie.

The vampires inform Diana that they’re keeping watch in the main outdoor plaza and she heads inside with Sarah not far behind her. They have vampire hearing and will know when danger is nearby.

Diana says she feels right being back and calls up the book at the call desk. The original staff person who searched for it the first time in S1 is still working there. The note comes back that the book isn’t there; it’s missing. Diana turns and starts to walk and something in the air tells her to check the lift again. There it is, on the lift. She moves to the side and the call desk staff person is suspicious. Refer to chapter 34 to read about how she finds it in The Book of Life.

Diana opens it and it is just like she left it in 2018. The spell to cloak her, though Sarah calls it a masking spell, makes it appear that they’re just reading together. She inserts the page with the tree and it accepts it with a seal like a laser fastening it to the book. The next page is inserted and then the page with the dark prince and his bride. Her and Matthew. She triggers a shockwave and the book's pages start flipping forward. She stops it and places her hands on it. 

“It’s the story of us. Here lies the lineage of an ancient tribe known as the Bright Born. Their power boundless as the night. Their love began with absence and desire, two hearts becoming one. When fear overcame them.” 

She’s absorbing the entire contents of the book. She’s becoming The Book of Life.

Sarah walks out holding a blue book that disguises Ashmole 782. Gallowglass cannot help but see under her skin the words are alive and flowing through her bloodstream.

Gallowglass's tattoo seems to be a variation on the Ingwaz rune symbol. It makes for a great tattoo because it is never in a reversed position. Adding a dot to the center is not traditionally how Ingwaz is depicted so I'll interpret it as a make up artist adding their own artistic marker.

They walk out of the plaza to the car down the road and, when Sarah removes the disguise, she sees all the text wiped from the book. They hustle Diana into a car, but a man who was there when the shockwave hit, calls Peter Knox to say that they’re leaving the area.

A vampire can move faster than a train through a dense forest and arrive without a hair out of place. 

Matthew finally arrives in Poland. He carries Philippe’s watch with him; he uses his vampire speed to cross through the forest. He finds the derelict facility and all of his senses are on high alert. However, I cannot help but feel like Matthew is unprepared for this psychotic killer. He enters a room that appears to have the 1940s, hospital-style light fixtures.

Benjamin enters and sees Matthew in the corner of the room. He knows how to get to Matthew in saying his best work was in driving Philippe’s torture to the point of insanity. “If it’s any consolation, I was well rewarded with the information I got from him.” Matthew thinks the contrary that he got nothing and that he’s been living a lie, “The wronged son!” he tells Benjamin.

He tells Matthew he’s exactly as he made him. “Do you remember what it feels like, that new hunger for blood? How it cuts you in two? How strong the blood rage is when you’re first changed?” 

Matthew admits he wanted him be cursed and Benjamin tells him that “it’s not a curse; it’s a gift.”

Benjamin says he waited until now to come after Matthew because he needed Matthew to be happy otherwise there’s no point in "ending a life of someone who is miserable." It’s exciting to Benjamin to think of being able to meet Diana and he tells him “witches are so fragile,” although he “hopes Diana is more robust.”

They tangle with each other showing off their vampire speed, but we can see how Benjamin is luring him into a room to torture him. The fighting goes on until it seems like Matthew comes out dragging Benjamin as if he’s won. He scratches Matthew’s face which heals quickly. A moment of stillness overcomes Matthew and he admits that it wasn’t Benjamin’s fault. I wasn’t a good father.” 

You can see Matthew is about to lean down and drain Benjamin when all of a sudden a shockwave hits him. It stuns him and seems to pull the life from him. He tips over and falls from his kneeling position, collapsing on the floor. It is Satu who is doing this. She shows great power in controlling how she can render Matthew powerless. Moments later Benjamin is on his feet again and she is in a space where he tortured witches. He regrets that Diana didn’t watch Satu bring down Matthew. She wants Matthew dead, but Benjamin tells her that they need Matthew to get to Diana. They made an agreement that Satu gets Diana and he gets Matthew because he doesn’t need Diana. 

Satu (Malin Buska) wears a dress designed by Susie Cave.

Her clothing line is under the label The Vampire's Wife.

Villanelle (Jodie Comer) wore a dress by The Vampire's Wife in one of the first episodes of S2 of "Killing Eve". 

The journey back to Sept-Tours is delayed by the fact that a disheveled Peter Knox is waiting for Diana and Sarah at the helipad. He demands The Book of Life be turned over and he realizes Diana has it inside of her. Sarah calls him a murderer and he goes off on a tangent about the witches he destroyed. She calls the wind to “capture the dark” and he accuses her of not having the power. Alex Kingston is a fierce witch and Diana steps in to add her energy to seek to avenge Emily’s death. He’s pulverized into the air carried off by the wind leaving behind only his spherical tool on the ground.

The tap of her hand to her heart awakens her power as she calls upon witch wind.  
Alex Kingston as Sarah Bishop.

Witch wind is encircling Peter Knox played by Owen Teale.

"For Em."

They return to Sept-Tours. Phoebe knows they have the book, but Diana clarifies, “It’s a little more complicated than that,” and then she shows the text lit up and moving under her skin. No one reacts like this is some unfathomable phenomenon that she absorbed the entire book.

BFFs greet Diana at the entrance to Sept-Tours. Though we cannot hear him, Philippe would have said, "She is power, and now she's The Book of Life!" 
Aiysha Hart (Miriam), Ivanno Jeremiah (Chris), and Edward Bluemel (Marcus). 

Diana braindumps the book’s information much to the delight of Chris and Miriam who find she confirms all of their theories. She and Sarah talk about what happened to Peter, but are interrupted by Marcus. It’s a video from Benjamin. He shows Matthew on an elevated angled table semiconscious, in a drugged state, slowly being drained of his blood. Matthew is singing a German hymn, which is actually a lullaby, titled “Der Mond ist aufgegangen.” In the book, Ysabeau says that Philippe used to sing it when he returned home. “Der Mond ist aufgegangen, / Die goldnen Sternlein prangen / Am Himmel hell und klar.” It translates to “The moon has risen / The golden stars are emblazoned / Bright and clear in the sky.” In the book, “It is a song about God’s final judgment,” says Ysabeau. Wicked, dark stuff, thank you, Deborah Harkness.

Diana never made a promise to not go anywhere near Benjamin. 

Benjamin tells Diana, with a lift of his wrist to his chest, wearing the watch that Matthew brought back to him, that “time is running out” if she wants to “say goodbye.”

The music that closes is written by Radiohead, “Street Spirit,” but this is a cover by Rosie Carney. It’s a perfect choice for this scene as Diana’s eyes well up and she boldly stares down Benjamin. The camera backs out of the room and the ceiling lights are like the dotted lines on a highway, like driving in reverse at night, fading out into the darkness.

Wow, if there was ever to be an opportunity for Diana to finally use her tenth knot, this would surely be it! In any heightened action scene of a TV drama, as its story is coming to a close, it’s emotional to witness a hero be taken down. Viewers will be intensely gripped with suspense as Matthew's soulmate and his friends take on a heroic rescue. Who can replenish Matthew's blood to revive him? He could drain Benjamin like he did Philippe, yet, not to put him out of his misery but to end him. How will Diana and the gang defeat Satu and Benjamin, and revolutionize The Congregation in the remaining 45 minutes of this series? 

"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.