A Discovery of Witches review, Episode 3×05

The fifth episode of A Discovery of Witches season 3 is about family and the seeds of revolution, with a pinch of politics and a glimpse into an evil masterplan. The plot may not necessarily take huge steps forward, but it’s nice to sit back and relax after the rush of the first half of the season. The third-to-last episode of the series revolves heavily around the christening of Diana and Matthew’s twins and what the ceremony itself represents for creatures.

As the previous episode ended on the tragic note of Timothy Weston’s death, this one opens with his funeral, a brief ordeal with only two in attendance: Diana and Agatha’s presence denotes not only their good hearts, but the real weight of Timothy’s desolation; neither woman really knew the late daemon, but they vowed to remember him, to honor him for what he gave up to save them all, and to make sure what befell him never happens to another creature again.

The de Clermont family reunites at Sept-Tours

At Sept-Tours, Ysabeau commands an army of assistants to adorn the castle and the chapel for the christening as hundreds descend on de Clermont territory for the ceremony. Ysabeau gets to shine this episode as a hostess, as a mother, and more. Grandma fever completely takes over the matron; she’s not just enamored with the newborn twins, but also with Jack, whom she makes sure feels welcome and a part of the family. It was also lovely to see her be sweet and caring with Sarah, knowing it wouldn’t be easy for the witch to be back. And Sarah finally seems at peace when she visits the temple where Emily was killed.

The first part of this episode is a mosaic of heavenly domestic moments and endearing family scenes: everybody fawning over the babies, smiles and reunions all over; Phoebe and Marcus discussing her determination to become a vampire; Matthew and Jack talking about Benjamin and smiling over the likelihood of little Philip being a witch; and Ysabeau finally doing Diana the honor of calling her her own daughter.

The quiet is interrupted when Marthe suggests Diana give baby Rebecca some of her blood, since milk doesn’t seem to sate her. It works, and Matthew is furious, but he soon realizes it’s irrational: he lives in fear of his children inheriting his blood rage, but denying Rebecca sustenance through blood doesn’t make her something she isn’t. Diana is optimistic about the future and knows they will be prepared for whatever challenges their children will face.

Sept-Tours is bristling with life as the many guests arrive. Among them are Ransome and Geraldine from the New Orleans branch. Miriam leads a tense Chris through rooms filled with countless creatures, and Gallowglass is, very pointedly, absent. This fact is commented on by various people, and is the first thing Diana notices upon entering the chapel.

What are the full names of Matthew and Diana’s children?

The ceremony is joyous. In full de Clermont fashion, each baby can count on six godparents, which means that half the people in chapel stood up when the priest asked for the godparents to come forth. After the Catholic ritual, Sarah finally reveals the full names out loud for the first time since Diana and Matthew decided on them.

I wish the show had been more explicit in explaining the meaning behind the babies’ names since they are so complex and special. The twins have five names each — de Clermont tradition actually called for six, but Diana drew the line at five and two last names. Diana and Matthew agreed to bestow upon their children a name of a grandparent, a name of an archangel, another grandparent’s name, and lastly, someone who had been important to their birth.

The girl is named Rebecca (after Diana’s late mother) Arielle (after the angel Ariel) Emily (after Diana’s late aunt) Marthe (after the faithful and beloved de Clermont housekeeper who brought Diana and Matthew together). The boy is Philip (after Matthew’s father) Michael (an archangel) Addison (Diana’s father’s middle name) Sorley (one of Gallowglass’s many names — though absent at the ceremony, he was also named godfather).

The choice to hyphenate last names respects the witch tradition of inheriting maternal last names, and therefore “Bishop” goes before the anglicized “Clairmont,” although the babies would also respond to “de Clermont” like everyone else in the family. These names sure are a mouthful, but let it never be said that de Clermonts ever did things halfway. Welcome to the world, Rebecca and Philip Bishop-Clairmont!

Enter Baldwin

When word of the twins’ birth reaches Gerbert d’Aurillac and the uncertainty of their nature is discussed in the Congregation chamber in Venice, Matthew’s older brother assures them he will assess the babies and bring them in for observation. Despite having received an invitation to the ceremony, Baldwin barges in late like every infamous uninvited guest in history: like Maleficent cursing Sleeping Beauty at her christening; like the goddess Eris casting the seed of strife that would cause the Trojan War at Peleus and Thetis’s wedding.

Baldwin doesn’t come with the intent to exact justice, but it’s clear he doesn’t appreciate seeing the intermixing of species. As Matthew and Baldwin fight, Matthew urges his brother to reconsider his proposal to grant him a scion. The performance of both actors is stellar, particularly in that “Let me go.” “Let me go!” frame.

Baldwin cannot let Matthew strike out on his own, and it’s not because he loves being in charge. He doesn’t like having to be jury and judge (he leaves executioner to Matthew). He does not enjoy sitting in the Congregation chamber because he’s particularly good at it, but because it’s what Philippe wanted him to do. He lives to uphold Philippe’s legacy because it’s the only way he can feel close to him. Baldwin does not give or receive much love from his family, so Philippe’s memory and his work are all he has.

Baldwin genuinely believes he has to be the head of the entire family to keep the de Clermont name out of the mud; because Matthew has murder in his blood and cannot be trusted to lead, let alone to neutralize his blood-raged children. So Baldwin has ostracized himself, let the family resent him, risked his very life, all to save their name from ruin.

I have not yet commented on Peter McDonald’s Baldwin. When the recast was announced, we all thought it was a bold choice, as the new actor looked nothing like the old one, the amazing Trystan Gravelle. That was fully intentional; they didn’t even try to bridge that gap, in looks or in mannerisms. Gravelle’s Baldwin was chaotic and prone to anger, while McDonald’s is collected, patient and refined. I can’t say which one I prefer, only that they give two opposite interpretations of the character and somehow both manage to do him justice. McDonald plays a Baldwin who is fully Philippe’s son, with all that it entails. He has done an incredible job picking up the role and giving it his own spin.

After Matthew and Diana scare Baldwin into surrender, she promises she will spellbind anyone in their scion who acts on their blood rage as the condition for Baldwin to concede his approval. They got what they spent four episodes trying to achieve and it should be a joyous victory, but it comes with the dire reminder that Matthew is now responsible for everyone he’s sired and all their sins,  Benjamin included.

Matthew and Diana get ready to take on Benjamin and the Congregation

Benjamin Fox has been kidnapping and torturing witches across Europe. The show spares us the explicit details of the horrible things he’s doing to them. In short, he’s desperate to understand how Diana was able to carry Matthew’s children and trying to emulate his father. When he intentionally lets one of his prisoners go, she goes straight to Sept-Tours seeking refuge.

The threat of Benjamin on the prowl only adds to the stress they’re already feeling from the Congregation and Gerbert breathing down their necks. Marcus adds more soldiers to the ranks of his Knights of Lazarus. For the first time, creatures of all species and genders are accepted in the Brotherhood; even the twins, as this means everyone else will be bound by oath to protect them.

In his continued efforts to be a better father to all his children, Matthew keeps making time to be with Jack, to be vulnerable and honest with him. Later, he joins Diana in their tower and it looks like the protagonists may finally have a quiet moment to just be and revel in each other. The explosive chemistry between Teresa Palmer and Matthew Goode is as undeniable in their love scenes as in their arguments. Diana begs Matthew not to go after Benjamin alone, but she makes no promises as to staying out of it. Matthew knows who he married and is aware that it would be pointless to argue. There are only two episodes left, and tomorrow’s problems can wait — Matthew opts instead to kiss Diana for what may be the last time.

Was this episode filler? Absolutely. The whole christening could have been shown in a much faster sequence. Did I enjoy every second of it? Yes. Do I wish anything had been done differently? Absolutely not.

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