Honestly, if you've ever felt like modern fantasy TV moves a bit too fast, you aren't alone. When the first episode of A Discovery of Witches dropped back in 2018, it felt like a breath of fresh air for people who wanted their supernatural romance with a side of actual history and academia. It wasn't just another teen drama. It was adult. It was smart. It was based on Deborah Harkness’s massive All Souls trilogy, which basically redefined how we look at alchemy and vampire-witch relations in the 21st century.
The show follows Diana Bishop, a brilliant historian who happens to be a "weaver" (a very rare kind of witch), and Matthew Clairmont, a geneticist who also happens to be a 1,500-year-old vampire. It’s a classic "forbidden love" setup, but it works because the stakes aren't just about their relationship. They're about the literal survival of species.
Across the Discovery of Witches seasons, we see a massive evolution. Season 1 starts in the dreaming spires of Oxford. Season 2 takes a wild turn into Elizabethan London. Season 3 brings us back to the present for a high-stakes showdown with the Congregation. Most people who watch the show feel it ended right when it was getting its second wind, and there's a good reason for that.
Breaking Down the Three Discovery of Witches Seasons
Most fans divide the show by its books. Season 1 covers A Discovery of Witches. Season 2 handles Shadow of Night. Season 3 wraps up with The Book of Life.
In the first season, the vibe is all atmosphere. It’s moody. It’s dark. You’ve got the Bodleian Library acting as the primary backdrop where Diana finds Ashmole 782, a manuscript that basically every creature in the world wants to get their hands on. This season is where we meet the main players like Peter Knox and Gerbert d'Aurillac—the villains you love to hate. It’s about discovery. Diana is discovering her power, and Matthew is discovering that his long, cold life might actually have some meaning left in it.
The pacing in Season 1 is actually pretty deliberate. It takes its time. But things get weird—and cool—in Season 2.
The second installment of the Discovery of Witches seasons is almost a different genre entirely. It’s a period piece. Diana and Matthew "timewalk" back to 1590. If you’re a history buff, this is the peak of the show. We meet real historical figures like Mary Sidney and Queen Elizabeth I. We also meet Matthew’s father, Philippe de Clermont, played by the incredible James Purefoy. His performance is probably the highlight of the entire series. He brings this gravitas that makes the de Clermont family history feel heavy and real.
Then we hit Season 3. This is where things get a bit rushed, to be blunt. While the first two seasons had eight episodes each, the final season only had seven. You can feel the compression. It’s the conclusion to the "Blood Rage" plotline and the final battle for the Covenant. It’s satisfying, sure, but it feels like they had to sprint to the finish line to make sure every character arc got a bow tied on it.
Why Season 2 Changed Everything
Going back to the 16th century wasn't just a gimmick. It served a mechanical purpose for the plot. Diana needed to find a teacher to help her control her magic, and she found that in Goody Alsop. This is where we see the "weaving" magic in all its glory. It’s visual. It’s complex.
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The production design in Season 2 was massive. They built entire Elizabethan streets. They used authentic costumes that looked lived-in, not like something from a Spirit Halloween. This shift in setting is why some fans rank Season 2 as the best of all the Discovery of Witches seasons. It expanded the world beyond the modern-day labs and libraries.
However, it also split the narrative. We had to keep jumping back to the present to see what the villains were doing. Sometimes that worked. Sometimes it felt like it was dragging us away from the more interesting stuff happening in the past.
The Casting That Saved the Script
Let’s talk about Teresa Palmer and Matthew Goode. Without them, this show might have folded after one season.
Palmer plays Diana with a mix of vulnerability and "don't mess with me" energy. She isn't a damsel. She’s a PhD. She thinks her way out of problems before she starts throwing fireballs. And Matthew Goode? He’s basically born to play a broody, aristocratic vampire. He has this way of looking at Diana that makes you believe they’ve been together for centuries, even when they’ve only just met.
The chemistry is the engine. If you don't buy the romance, the political maneuvering of the Congregation feels boring. But because you care about them, the threat of the "Covenant"—the law that says creatures can’t intermingle—actually feels dangerous.
- Lindsay Duncan as Ysabeau de Clermont: She’s cold, terrifying, and eventually, a fierce ally.
- Edward Bluemel as Marcus: He brings the much-needed levity to a show that can sometimes take itself very seriously.
- Adelle Leonce as Phoebe: Her relationship with Marcus provides a human perspective that the show desperately needed to stay grounded.
Is More Content Coming After Season 3?
This is the question every fan asks. Since the show ended in 2022, the rumors haven't stopped.
The truth? The main story of Diana and Matthew is done. But Deborah Harkness has written more books in the "All Souls" universe. Time’s Convert focuses on Marcus’s backstory during the American Revolution and the present-day struggles of him and Phoebe. There’s plenty of material for a spin-off.
The producers have been somewhat quiet, but they haven't ruled anything out. The problem is usually scheduling. Matthew Goode and Teresa Palmer are in high demand. Getting the gang back together is a logistical nightmare. But the world-building is so deep that a spin-off focusing on a different set of characters could easily work.
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Honestly, the Discovery of Witches seasons left a void in the "prestige supernatural" niche that hasn't quite been filled yet. Interview with the Vampire is great, but it’s darker and more cynical. Mayfair Witches hasn't quite hit the same level of critical acclaim.
The Science vs. Magic Debate
One of the coolest things about this show—and the books—is how it tries to explain magic through science. Matthew isn't just a vampire because of a curse; he’s a vampire because of a genetic mutation. The witches' powers are tied to their DNA.
This "creature genetics" subplot is what drives a lot of Season 3. They’re trying to find a cure for Blood Rage, a condition that makes some vampires lose control and become killing machines. It’s a metaphor for many things, but within the show, it’s a biological puzzle.
This approach makes the world feel "sticky." It feels like it could exist right under our noses. When Diana is researching in the library, she’s using real historical techniques. When Matthew is in the lab, he’s using real CRISPR-style technology. It bridges the gap between the fantastical and the mundane in a way that feels incredibly modern.
Addressing the Common Criticisms
It’s not a perfect show. No show is.
Some people find the romance a bit "insta-love." Within two episodes, they’re basically ready to die for each other. If you aren't into that, the first season might feel a bit melodramatic.
Another sticking point is the villains. Peter Knox, played by Owen Teale, is a great "bad guy," but sometimes his motivations feel a bit one-note. He hates vampires. He wants power. It’s classic, but compared to the nuance of the de Clermont family, it can feel a bit thin.
And then there's the ending. Season 3 had a lot of ground to cover. It had to resolve the mystery of the Book of Life, finish the Blood Rage arc, handle the birth of the twins, and deal with the revolution against the Congregation. It’s a lot for seven episodes. Some viewers felt the final confrontation was a bit anti-climactic.
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But even with those flaws, the Discovery of Witches seasons stand out because they respect the audience's intelligence. They don't over-explain. They assume you can keep up with the historical references and the complex family trees.
Where to Watch and What to Expect
If you're just starting, you can find the series on AMC+, Shudder, or Sundance Now. In the UK, it’s a Sky Original.
Don't go in expecting Game of Thrones level violence. It’s more of a "cozy-dark" vibe. It’s about the atmosphere, the locations (Wales, Venice, Oxford), and the intellectual curiosity of the characters.
- Season 1: Focus on the atmosphere and the chemistry.
- Season 2: Pay attention to the historical cameos; they’re brilliantly done.
- Season 3: Keep track of the DNA/genetics subplots, as they pay off in the finale.
Actionable Steps for Fans
If you've finished all the Discovery of Witches seasons and you're feeling that post-series depression, there are a few things you should do next.
First, read the books. Seriously. The show is great, but the books are massive tomes filled with even more historical detail and "creature lore" that didn't make the cut. Specifically, Time’s Convert is essential if you want more of Marcus and Ysabeau.
Second, look into the "Real Life" history of the characters. The show mentions the "School of Night." This was a real-life group of poets and scientists in Elizabethan England. Christopher Marlowe, who appears in Season 2, was a real playwright who some think was a spy. Diving into the actual history makes the show even better on a rewatch.
Lastly, check out the "All Souls" fan community. It’s one of the most dedicated and polite fandoms on the internet. They host conventions and tours of the filming locations in Oxford and Wales.
The Discovery of Witches seasons may have concluded, but the world Deborah Harkness built is still expanding. Whether we get a Marcus spin-off or a prequel about the origins of the de Clermonts, the foundation is there for years of more stories. For now, we have twenty-three episodes of some of the best-looking fantasy television ever made.
Go back and watch the transition from the modern world to 1590 again. Notice how the color palette changes. Notice how the sound design shifts. That’s the mark of a show that cared about the details. And in a world of "fast-food" content, that's something worth holding onto.