"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.]

"A Discovery of Witches" | S2:E4 | An Analysis (contains details of E4)

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

Episode runtime 44 minutes including the recap.

Shudder TV episode description: Marcus tracks down evidence of Matthew & Diana’s journey. Gerbert & Knox scheme together.

If you have not watched episode 4 of season 2, please do not read further to not be spoiled.

The episode takes place in the present with some subtle nods to the characters not featured in this week's episode. 

We watch a young man riding his bicycle through the Oxford University area, and we cannot help but think of the introduction to Diana Bishop in the first episode of the series when she rode her Dutchie bicycle through Oxford University's main campus. The man even parks his bicycle next to a couple of others with baskets on the front of each of them just like on Diana's bike.

The viewer has the "God" point of view looking down on him walking through a narrow alley. The man is isolated from sight between two buildings and there doesn't appear to be CCTV cameras in the area to capture anything if something were to happen.  

A perfect place to be eviscerated.

This is the first time in the series that we see how a vampire feeds on a human; not simply to bite them in the neck and gain insight into their secrets. It takes a few seconds to attack. The vampire feeds on this man and mutilates the body. The sound is like that of savage beasts eating freshly caught prey in the wild. Tearing flesh from bone and chomping on the cartilage gouged out of the rib cage. The movement is at such a high speed that the detail is not clear. This vampire is a tall man, but there's not much else to see.

Vampires are very fast eaters when they're out of control. Don't expect them to linger over each bite.

"Easter Egg" -- fondly remembering Diana's Dutchie bicycle (left). 
Oxford police officer, played by Tosh Wanogho-Maud,
is about to phone Domenico Michele about
finding another body; another uncontrolled feeding.

Diana's Dutchie bike from E1 S1.

Gazing upon a full moon, shadowed by the clouds over Venice, Gerbert D'Aurillac (Trevor Eve) answers Domenico's call. Another murder. "Track the scent. Find the killer. There has to be a link." 

A mysterious, dark figure speeds by Domenico as he stands outside of the auction house. Did he blink and miss the thief? Domenico, being a vampire, could hear the security guard being attacked, but he didn't react as though he saw anything.

While this investigation into the new attack in Oxford is going on, Dr. Marcus Whitmore (Edward Bluemel) goes through the process of purchasing at an auction the miniatures to bring to Ysabeau (Lindsay Duncan). He's living in Oxford and is intent on taking the miniatures home immediately, but can't. He wins them, has to wait for the payment to clear, and then that's when they are stolen after the break-in as depicted in the photo above.

Marcus (Edward Bluemel--right) let slip a hint to Domenico (Greg Chillin--left); the idea that something went missing. He also suggested that Domenico suck on some Altoids.

Domenico's contact with the police finds that, indeed, there was a theft and the report displays the miniatures that were stolen. The description of them being from the 16th Century is a big lead, but he doesn't reveal the miniatures or any other detail over the phone. Domenico appears to keep this information from Gerbert.

Domenico's computer screen shows the auction house's miniatures entered as stolen items on the police report and also, Domenico has made hotel and flight reservations. Is he on his way to Venice or Sept-Tours? How he searches and finds out where Matthew and Diana went could put him in a powerful position.

In Venice, Peter Knox (Owen Teale), always the scheming witch, who killed Diana's parents, meets with Gerbert, and tells him about a witch fessing up to him. It's obvious that Peter used some form of pressure to get information out of one of the witches who is part of Sarah and Emily's coven, just as Sarah Bishop had suspected could happen (Sarah talks of a witch who she didn't trust to keep the secret of them visiting Sept-Tours during E2). He tells Gerbert that daemons and vampires were at the house in Madison. Here Peter calls it forming a cabal between the witches, daemons and vampires, working together in secret. 

Peter and Gerbert consult a map that has a great amount of detail about what is known about Ashmole 782 aka The Book of Life. It shows that they know about its history with Roger Bacon, Edward Kelley, Emporer Rudolph, John Dee, and the connection to Oxford, France and Prague.

In France, Ysabeau shows the miniatures to Sarah (Alex Kingston) and Emily (Valarie Pettiford) at Sept-Tours saying, "They made it." It's just before the break-in at the auction house. Soon after the theft, Ysabeau is taking a stroll with the two witches on the castle's grounds. Sarah and Em want to go to Oxford themselves to talk with the local coven. Ysabeau won't let them so she can always protect them at Sept-Tours. Sarah has her hair pulled up and held in place with a knitting needle. It would be interesting if it was a choice made so she always has to hand a weapon in case she needs to defend her or Emily. Ysabeau says Gerbert may have been watching Sept-Tours already, so everyone has to remain inside from now on. It sets Sarah off.

Back inside she and Emily are discussing a spell to learn more about The Book of Life for which Sarah tells Em she had better not be contacting the dead. Well, it's a little late, because she had already, and does so again in trying to reach Rebecca, Diana's dead mother. Sarah reminds Em about how contacting the dead didn't work out so well for her in the past. Recall that they live in a haunted house (S1 E7, E8). I'm just guessing something may have stayed behind as a result of spells performed. Only contact spirits of the dead if you know what you're doing. Plus living in a centuries-old castle -- do you really want to upset any ghosts that may still be lurking around Sept-Tours? Later in the episode, Em can bring forth the spirit of Rebecca, but just for a few seconds before the face of Rebecca dissipates. What was Rebecca trying to say? Is it a warning? I only caught the moment she said, "Emily" or "Em."

Gerbert arrives at Sept-Tours and is only allowed to see Ysabeau outside. He accuses her of letting the witches live there. Again, the Covenant forbids interspecies consorting, even just letting other species into the house. Ysabeau is adept at throwing the crap back at Gerbert and doesn't answer questions. It'd be beneath her to let him demean her. She answers with, "Next time, send an e-mail." Gerbert's questions are about what Matthew and Diana doing while hiding in time. He should know based on the map we saw, but he's fishing.

Trevor Eve as Gerbert is sinister, conniving, and villainous, so he coldly breaks the news of the Oxford murder cases. "A vampire infected with blood rage," says Gerbert. "There were always rumors about your infected bloodline." But she has a great face for being indifferent, and then she turns and leaves. She'll never side with Gerbert.

The writing is incredible with how the blood rage angle unfurls and fuels so many tales to be told. Go back to S1, E5, when Ysabeau mentions what happened to Matthew after she sired him in answering Diana's question about how he took to becoming a vampire. She's recalling back to 537 A.D. or thereabouts. We always were given the impression he was easily triggered into acting on predator instincts when he smelled adrenalin; a racing heartbeat with the smell of fear. Ysabeau explains that "Matthew was in a rage, his need to feed was endless... Matthew was in a dark place doing things Philippe didn't want my eyes to see."

Baldwin de Clermont (Trystan Gravelle), Matthew's brother sired by Philippe, and head of the de Clermont family visits Marcus in Oxford throwing down the newspaper.

DRAC THE RIPPER
"VAMPIRE" TARGETS OXFORD

He is really there to talk to Miriam Shepherd (Aiysha Hart) about the murders on behalf of Ysabeau. It may infer that Miriam knows more about blood rage than we have previously understood since she seems to be in charge of the lab at Oxford where she and Matthew study the DNA of the creatures. 

Why wouldn't Ysabeau include Dr. Whitmore? Oh, right, he is the Grand Master of the Knights of Lazarus, plus he's got the miniatures that have gone missing to deal with after the security breach at the auction house. One may remember the line from Ysabeau in S1 E4 when she talks about the desire to have the horses be "biddable" or "docile." "As I get older, I find that quality admirable in horses," and Matthew says, "and in sons, too." Technically, Marcus is her grandson, but remember what Ysabeau finds "admirable" when Baldwin says she wants Marcus to go see her at Sept-Tours. Can she guide Marcus on the right path out of this mess?

Of course, Baldwin is jealous that Matthew gave the responsibility of Grand Master to Marcus instead of him. He accuses Matthew of purposely using Marcus to get to Baldwin -- "I'm Philippe's last surviving blood son." He doesn't like that Philippe gave the responsibility to Matthew, overlooking Baldwin, worse now that Marcus is leading the Knights, but we don't know what they really do today, yet.

Marcus with Ysabeau at Sept-Tours and Lindsay Duncan is having a great moment again with her disdain for the humans. More on that later. We understand better now that Ysabeau confirms that Marcus is Grand Master to protect the family's position--position on The Congregation. Marcus wants to use the Knights to make a difference. Ysabeau says, "Don't tear down the establishment without finding out how it was built or understanding its principles." This can apply to many world policies of today, but for this story, the Order's role in the 21st century hasn't been explained; they're quite mysterious.

She tells Marcus that the future of the family is threatened. I take it Gerbert said enough to startle her into setting up a defensive or offensive strategy. If Gerbert takes down the de Clermonts with the angle that they caused the Oxford murders -- game over. The Congregation would slaughter every member of the de Clermonts. Marcus didn't see it coming and she just spills the whole bloodline backstory starting with, "Philippe formed the Knight and The Congregation to ensure the survival of our species and to protect me." She's the carrier of the infected bloodline. Oh, and by the way, Matthew is "fully afflicted" and therefore, whomever Ysabeau or Matthew turns into a vampire can also present tendencies to "rage" even though she is asymptomatic. Most importantly, Diana does not know Matthew can act as savagely as the vampire killing people in Oxford. [Rob Lane's tense music score in this scene wonderfully adds to the drama so we're on the edge of our seats with every word out of Ysabeau's mouth. Here is the Spotify link for this song, "Blood Rage."] 

Marcus sired humans and made them into "raging" vampires for which Philippe had them killed to stop the transmission of the infection. Matthew kept the blood rage a secret to protect him, but this seems oddly contradictory in protecting the species. Matthew just used an excuse that it was irresponsible to make humans into vampires, which we haven't been privy to any details other than the first episode when Marcus attempts to turn his friend James into a vampire after a fatal hit and run. It's clear now that Ysabeau needs him to save the family. Two families, if you consider the daemons he's protecting, too. We haven't yet seen Marcus be completely heroic on his own other than fetching blood for Diana when she saved Matthew's life. He needed help from Miriam to fight off Juliette in S1, too, when she arrived in Oxford searching for Matthew. He lives "in the shadow" of Matthew in the eyes of Baldwin and now the spotlight is on him.

How does this news take into account that Marcus just met a fabulous woman named Phoebe Taylor (Adelle Leonce)? I suspect that he has more than an interest in only having a one-night fling with her. Phoebe is the auction house contact he made in seeking a way to acquire the miniatures. This is a side of Marcus we haven't yet met. He's got a thing for 80s music and charms her into going out to dinner. Wherever they're dining, it's been a while since I've dined out and was served a generous glass of rich red wine like we see served to Marcus. Phoebe's served a glass of gin, possibly a drink called a Gin French (Lemon twist, gin, dry vermouth and the lemon peel in the glass). When he returns from the conversation with Domenico, she says, "You better catch up." Hilarious; vampires are not affected by alcohol the same as humans are, Phoebe! But, indeed, he did catch up on other things while he up on the roof with Domenico.

Adelle Leonce as Phoebe Taylor

Phoebe: The fact that you're owning your terrible taste in music is kind of attractive.

Marcus: Kind of? (that's his face in reacting to her)

Negging a few hundred-year-old vampire, smooch him, and disappear in a taxi. She's not just any human woman. She's Phoebe Taylor.

And she leaves, but then returns because she "hates mysteries." Seriously, all of the women characters in "A Discovery of Witches" feel in control or seek control if they don't have it. Love it. The writers are not dragging out this courtship. Matthew and Diana didn't kiss until the 3rd episode.

Marcus and Phoebe get it on. But then she is thirsty so she finds the under-the-counter, dorm-style refrigerator because, in a very stylish house, there's a tiny refrigerator. Furthermore, Marcus chills his clearly-labeled blood supply in the same fridge. Phoebe's desire to solve the mystery includes snooping into closed boxes, and yes, it didn't say "do not open," so she opens it, finds photos of Marcus from decades ago. And then she finds that this is too frickin' weird when he confesses to her that he's a vampire. Why wouldn't he tell her the truth? Oh, wait, you are not supposed to let humans know that vampires actually exist. 

"Well, now you'll have to kill her," says Granny Ysabeau. This line is delivered so dry that you can't help but have a moment knowing she's actually serious! The whole way his night turns into a worst-date-ever -- the walk in the middle of the night, confessing that he's really a vampire who has lived through the history she studied. It doesn't turn out to be romantic when she suggests that he needs help;  thinking he might be sick. When she called New Order "old man dance music," he didn't run in the other direction. On the contrary, he asked her to dinner, and you can bet he's going to lay the charm on even thicker when he returns to Oxford. If only Ysabeau didn't tell him that the de Clermonts could be wiped out because of blood rage.

Before we end this recap and analysis, let's expand on the daemon, Sophie Wilson (in S1 she gave the chess piece to Diana to take back to 1590), the descendant of the witch Susanna Norman. She is pregnant and is married to a daemon named Nathaniel. Nathaniel's mom Agatha also lives in Marcus's house with them. Marcus is protecting this family from The Congregation because Sophie suspects she's giving birth to a witch. They wanted a home birth, but there's a heart arrhythmia happening with the baby so they'll be having the baby in the hospital. Planting the idea of using a hospital out of caution is just fine until you mention The Congregation and interspecies conflicts, nevermind them living with a vampire. Agatha is a member of The Congregation, so if they discover that her granddaughter is a witch, they'll take the baby. Marcus, being the Grand Master of The Knights of Lazarus continues to reassure Nathaniel that they "protect those who can't protect themselves." Nathaniel is a skeptic and tells Marcus that they "need a rebrand" because the stuff that's happening in the world doesn't show that they have done much about famine, refugees, etc. He tries to pull that same kind of line on Ysabeau, and well, we heard what she thought of his idea to make a difference.

The House of Marcus; Nathaniel (center--Daniel Ezra) and Agatha (right--Tanya Moodie).

Next week is episode 5, the half-way point in S2. Diana and Matthew will finally reach France. Episode 5 is probably one of the most anticipated episodes because so much has been said about Philippe (James Purefoy) that his reputation truly does precede him. Perhaps we'll learn more about the Knights, his forming The Congregation, his wife Ysabeau, and what reuniting of the father and son -- having not seen Philippe in more than 70 years -- does to Matthew. What will tip Matthew over the edge? 

Screen capture that previews E5, the arrival at Sept-Tours

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:E3 | An Analysis (contains details of E3)

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

Episode runtime 44 minutes including the recap.

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

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

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

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

The dead body in Oxford.

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

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

Emily Mather portrayed by Valarie Pettiford

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

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

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

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

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

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

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

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

💕

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

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

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

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

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

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

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

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

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

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

Hair and accessories capture each authentic detail.

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

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

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

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

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

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

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

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

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

"You stay away from us both."

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

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

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

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

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

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

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

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

Sweeping Uncle Matthew off of his feet.

🤗

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You can watch the show on Shudder or Sundance Now. In the U.S., subscribing to AMC+ provides four networks in one bundle that includes those two mentioned as well as AMC and IFC Films. More photos, videos, and other updates on the A Discovery of Witches Facebook site.