Diana and Matthew make their way to Sept-Tours at the summons of Phillipe, but what awaits them will test them both.

Having spent last week solidly in the present, this episode goes right back to the past, where Matthew has been summoned to present himself to his ‘father’, Phillipe, and Diana isn’t taking no for an answer in accompanying him on the journey.

Much like the last episode, it’s a bit of a slow burn, not without its action but mostly focused on character development and the long shadow thrown over almost half of it by the idea of Philippe before he even appears on the screen. The grinding journey across 1590s France towards Sept Tours takes its toll on Diana, and on her relationship with Matthew in one aspect, as there is still something which he is very much holding back.

When Phillippe does arrive on screen, James Purefoy plays the character to perfection. By turns distant and warm, the enigma of the character only serves to make him more interesting with each scene. His obvious disapproval of Diana and Matthew’s match seems straightforward enough, but beneath the haughtiness and the fear which Matthew clearly has of being near his father lies suggestions of genuine concern, even love.

That’s not to say that he ever truly appears nice here – one scene in particular suggests that Phillippe is quite capable of allowing cruelty to transpire if it serves his purpose. Purefoy’s performance makes the man like smoke, tangibly there yet impossible to ever pin down.

Back in London, Kit runs into the personification of trouble as a face from his and Matthew’s past resurfaces. Between Kit’s melancholy at having lost his friend/unrequited love and this individual’s casual disregard for anything which doesn’t serve their direct whims. One thing seems certain – with the pair of them teamed up, only trouble can be awaiting.

It’s an episode that really sticks with you in the small details – Phillipe’s declaration that in his house ‘we don’t lock away our books’, Gallowglass’ split second turn from boyish braggadocio to deadly earnest concern, an exchange between Phillipe and Matthew that demonstrates the former’s acute perceptiveness and intelligence. They all add up to an episode that doesn’t need impressive spectacle set pieces or massive action scenes to keep you compelled. Which means that when it does occasionally erupt into action, it has all the more impact.

Verdict: Perfectly pitched and balanced – and that’s just James Purefoy’s performance! Cracking stuff. 9/10

Greg D. Smith