The third and final season of A Discovery of Witches opens in a way that is diametrically opposed to its predecessors, although it’s repeating the same exact events. Season 1 opens with a death and season 2 with time travel. Season 3 does both in its first minute, and yet it couldn’t be farther from the other two.
Diana and Matthew timewalk back to the present and land at Sept-Tours to find that tragedy has struck their family. After having played with it so thoroughly, time seems to slow down and expand as Diana watches her aunt Emily close her eyes forever. Diana’s joyful expectations of telling her aunts about the child she’s carrying vanish before her, because Emily, who had such an important part in raising Diana, will never know that she is pregnant.
The funeral is quiet and excruciating, a simple pagan ceremony held at the temple outside Sept-Tours, cruelly ironic since it was the place where Em was dealt the fatal blow by Peter Knox. But life has a way of following death, and Matthew realizes Diana is carrying not one, but two children. The news reinvigorates Diana, who regains purpose and determination to fight. Out of respect, Ysabeau chooses not to attend Emily’s funeral; it would be hypocritical considering how many witch funerals she caused, but she lights the fireplaces for her warm-blooded guests to make sure they come back to a warm, welcoming home.
It’s endearing to see Diana barefoot, in shorts and a cardigan walking about the castle like it’s her Oxford apartment. I can’t say it didn’t touch my heart, after seeing her strut around in Elizabethan gowns all last season (the accuracy of which I absolutely love; costume designer Sarah Arthur is a genius and deserves a shoutout). Diana’s tender moments with Matthew are limited this season thanks to the pandemic necessitating a reduction in the number of episodes, but every single one is meaningful. Last season we definitely got more than we needed (not that I would ever complain) within the roomy confines of 10 episodes; every gaze lingered, every touch turned into a caress, hands stroking, lips kissing skin. This season, there simply isn’t the time, and somehow, despite A Discovery of Witches primarily being a show about a passionate romance, it works out.
This isn’t to say that romance takes a backseat; just that that they did such an incredible job at establishing that Diana and Matthew are ridiculously in love that we can believe it even if we don’t see it. (The same is true for Marcus and Phoebe, who only had a handful of scenes to meet and fall in love.) Even if the leads are going to spend half the season apart, and we do not doubt their love for one second; we do not need a visual or wordy reminder.
At one point during pre-production, the creators had to sacrifice one episode to pay for a COVID department. With an hour less of screen-time, some things sadly had to go. And, as much as I enjoy seeing displays of affection between characters I adore, I’m glad it was those and not the political subplots or the not-so-subtle social commentary that the show provides about racism and prejudice. Plus, with the cast being so talented and full of chemistry, the few moments of affection that we do get are able to show, through a casual touch or a glance, the deep bonds or strong emotions between characters. Look at Marcus and Gallowglass, Matthew and Fernando, Fernando and Gallowglass, as well as every single line Ysabeau or Miriam speak: few words, lots of meaning.
Conflict and unity among the de Clarmonts
The theme of generational conflict has always been an integral pillar of this story. Fathers and sons clash — over ideologies, past mistakes, choices, and secrets held too long. Legacies can weigh characters down as they feel an immense responsibility on their shoulders. Matthew left Marcus in charge of the Knights of Lazarus and found his leadership wanting, as he was unable to protect Sept-Tours and its guests. But Marcus has stepped out of his father’s shadow. This time, Marcus doesn’t let Matthew’s disappointment hurt him, but strikes back with his own accusations. Matthew has a lot to answer for, including omitting the world-changing truth that blood rage is not gone. Matthew has it and Marcus carries the gene itself; that’s why Matthew slaughtered Marcus’ New Orleans children in the 1800s.
There is an almost comedic role reversal to their reunion, because it is also coincides with Phoebe introducing herself to Matthew as his son’s mate, and Matthew not exactly welcoming their union. This is a perfect parallel to season 2 when Diana met Philippe de Clermont in 1590 in the exact same room. Matthew, who back then was so wroth at his father for rejecting Diana, does not treat Phoebe with the respect she deserves. At least his discourtesy is not political as Philippe’s was; Matthew is disrespectful not because Phoebe is human, but rather that she is a distraction for Marcus and the cause of his recent failings.
Baldwin struggles to accept that any changes could be made to the seemingly perfect legacy left behind by Philippe, so he clashes with Matthew, who opines Philippe’s Covenant is anachronistic and should be abolished. The violation of the Covenant is a matter of much discussion in the Congregation chamber.
The scenes set in Venice always serve to ground the story in reality, to remind us that even though this is a story about vampires and witches and daemons, they too have rules to follow. The intrigues, scheming and backstabbing of the Congregation could match the ones in the early seasons of Game of Thrones. It felt like winning to watch Knox be expelled from the Congregation and to watch Satu take a stand. Domenico Michele’s volatile choices will keep getting under our skin, until they won’t. Watch Agatha Wilson closely this season, it’s finally her time to shine.
As the de Clermont family reunites, Agatha says goodbye to her own family, making the hard decision to isolate so that her son Nathaniel, his wife Sophie and their daughter Margaret can’t be used against her. Other significant moments have taken place at Sept-Tours. Gallowglass arrived and reunited with Diana after 500 years, and the pure joy on Diana’s face says a lot about the purity of their bond, even if it’s only been a couple of days since she saw him last in 1591. At the head of the table, Matthew sees everything but says nothing. Baldwin makes it clear that as head of the family he will not tolerate the Covenant being broken, and in a moment where Gallowglass and Marcus fondly reminisce about their bossy grandfather, Gallowglass reminds Marcus that there are other possibilities to explore. Marcus then proposes the idea of Matthew forming a scion, a sort of cadet branch of the family that does not depend on the patriarch. Matthew refuses, but the seeds of insurgence have been sown.
As the de Clermonts and their friends repair to London after Baldwin’s ultimatum that they couldn’t be together at Sept-Tours, we meet Fernando, who is one of Matthew’s oldest and closest friends; Fernando was mated to Matthew’s older brother Hugh before he was killed in the 1300s. There is a touching scene where Sarah’s grief for Emily is mirrored and amplified by Fernando’s 700-year-old mourning over his lost love, and over their union never being recognized.
Fernando is one of my favorite characters from the book: quiet but loyal to a fault, steady as the wave pushing to shore, and I was delighted to see they kept his friendship with Sarah.
Yet another of Matthew’s secrets, perhaps his darkest, is revealed to us, and to Diana: Benjamin Fuchs, whom we met in season 2, is his disgraced son, sired at the time of the Crusades and then abandoned, cast out in retribution. There will be lots to unpack here, but we shall leave it for another episode.
Diana and Matthew’s uncertainty over the twins’ nature — will they be witches, vampires, something in between? — the possibility that they could have inherited blood rage from their father, and the certainty that the world will come from them galvanizes the de Clermonts (minus Baldwin, of course) and their allies. They go to lengths they would never have dared before, and even venture to tell a human scientist their greatest secret — the existence of creatures — in their hunt for answers. Diana’s best friend Chris Roberts, whom she hasn’t seen in over a year, since before the series started, offers his lab to help them research creature DNA.
We are reminded, time and time again throughout the episode, that a blood-raged vampire killer is on the loose, and we are soon to find out why and how. The first episode carried a lot on its shoulders, and it closes with the horrific scene of Benjamin casually committing atrocities in a hotel room, which he leaves when he receives the news that his father and Diana are back.
The premiere set the tone for the season: dark, dangerous, and with a hint of rebellion. Or maybe, revolution.
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