Da Vinci's Demons: The Sins of Daedalus

DA VINCI'S DEMONS: THE SINS OF DAEDALUS

Written by: Corey Reed and Marco Ramirez (Story by Brian Nelson and Corey Reed)

Directed by: Peter Hoar

Airdate: May 31, 2014

It says a lot about medieval Italy when an invading Ottoman armada is one of the lesser problems they face. The Sins of Daedalus, which closes out Season Two of Da Vinci's Demons, packs in a lot with excellent results. Thrilling, sometimes shocking, it carries a lot of stories that one hopes will come to a great conclusion in Season Three.

As Florence recovers from its occupation, we find that Nico (Eros Vlahos) is a shrewd figure. No surprise, as his full name is Niccolo Machiavelli! His cleverness is needed now more than ever, as Vanessa (Hera Hilmar) finds herself as the Regnant of Florence. This is not a position she wants, preferring to retire quietly along with her new son. However, her new son is a Medici, and the only male Medici around. Clarice (Lara Pulver) has disappeared after the chaos of the occupation, and Lorenzo (Elliot Cowan) is in Naples.

Apparently, everyone else is in Naples. The battle between the Florentines Lorenzo and Leonardo da Vinci (Tom Riley) and the joint alliance of Pope Sixtus IV (James Faulkner) and whacked-out King Alfonso (Kieran Bew) must put aside their differences and join forces against a greater threat. The Ottoman Turks are fast sailing towards the Neapolitan kingdom, determined to begin the conquest of Europe. Bayezid (Akin Gazi), the Sultan's son, is eager to take revenge against the Pope who not only scorned him but humiliated him out of Rome. With Lucrezia Donati (Laura Haddock) forcibly serving as envoy, she gives the Christians the ultimatums: surrender the country to Bayezid and to Islam or else.

Leo won't take the "or else" bit lying down, and neither will the rest of them. It is as the ships begin to approach that Pietro da Vinci (David Schofield) gets the shock of his life when he looks through the spyglass. The sorceress and soothsayer serving the Sultan's son is none other than Leonardo's mother!

The Sins of Daedalus throws a great deal at us, leaving us with many loose ends. We have Vanessa as the de facto ruler of Florence, the real Pope Sixtus having left his prison, Count Riario (Blake Ritson) as the newest member of the shadowy Enemies of Man. It has so many stories flying hither and yon, yet it never loses its balance on any of them.

The pacing never lets up as The Sins of Daedalus jumps from one story to the next. From the arguing among the various Italian leaders to how Nico manages to outwit the Florentine elite with some Machiavellian maneuvering, one never feels shortchanged in terms of plots.

That, however, may not work well when it comes to the performances. No, the performances are pretty good to great. We have many strong performances all around, and even when we have smaller parts such as Sasha Behar as "the Seer" we see strong actors doing strong work. The problem is that we get little bits where they do not get enough time.

I grant that as the season finale, we have to put a lot of things and open up that third season. 

However, on the whole I found The Sins of Daedalus moved well, has strong performances and manages to leave things with enough endings to get us to a Season Three. 

9/10

Next: The Complete Second Season

Da Vinci's Demons: The Enemies of Man

DA VINCI'S DEMONS: THE ENEMIES OF MAN

Written by: Allison Moore and Marco Ramirez (Story by Brian Nelson and Marco Ramirez

Directed by: Jason Molotnikov

Airdate: May 17, 2014

As we finally arrive back in the Old World after our Incan encounter, we see that Da Vinci's Demons still goes all in on the cray-cray. The Enemies of Man brings us a bit of a downer ending and given that we're only one episode from the finale, it does not bode well to see an upbeat one.

Now that we've left the Amazon, Leonardo da Vinci (Tom Riley) finds that things in his beloved Florence are now worse than before. The city is now in the hands of corrupt and sleazy Duke Federico (Vincent Riota). Holding Clarice de Medici (Lara Pulver) hostage, the city is in despair, thrown into chaos. How will Leo liberate his libertine city? The way to do so is not without a brutal cost, as Leo's mentor and friend must pay the ultimate price when they learn that Carlo de Medici (Ray Fearon) is the mysterious Labyrinth, who seeks revenge against the Sons of Mithras. It was Carlo, not the Abyssinian, who traveled to Machu Pichu 

Meanwhile, Count Riario (Blake Ritson) is a man broken by guilt and emotional turmoil; he is saved from a suicide attempt after his uncle, Pope Sixtus IV (James Faulkner) mocks his pleas for spiritual forgiveness. He soon finds himself being emotionally and psychologically tortured by those who saved him, a spent and distraught figure.

In Naples, while Lorenzo de Medici (Elliot Cowan) has enough time for some sexy-time with Duchess Ippolita (Jeany Sparks), he finds that King Ferrante (Matthew Marsh) is dead, leaving his equally unstable son Alfonso (Kieran Bew) as the new king. Worse, now King Alfonso remains fiercely loyal to the Pope, who seeks terms of surrender.

Perhaps it is because a lot of time has elapsed since I've seen the episodes, but I find that The Enemies of Man and the following episode are blending together. There certainly is a lot going on here, and to their credit some of the performances are simply brilliant.

At the top of that list is Ritson, who has shifted from whispering villain to a tragic figure. As Da Vinci's Demons has progressed, he has stolen the spotlight from the equally hunky Riley. I think it is due to how their characters have evolved. 

Riley's da Vinci has remained pretty much the same: cocky, arrogant, catnip to every woman he comes across. Riario, however, has evolved from a coldblooded figure into an emotionally battered one, driven by genuine desires of blind loyalty only to find that the cost of following his faith has been a high one. Thinking he was saving souls, he was instead destroying his own.

It is a wonderful thing to see, which is why I am more impressed by Ritson than by Riley. It is not that Riley has slacked off: the sight of his friend, mentor and father-figure dying before his eyes is a strong bit of acting. It is, however, that he does not have many opportunities for such displays.

I thought well of The Enemies of Man, though at times it veered close to slipping into farce. Of particular note is when we see Clarice, who looks like the medieval version of Princess Leia's slave girl from Return of the Jedi. The episode is dominated by darkness and greys, which is fitting for such a downer of an episode and the generally bleak situation. Perhaps they went a bit overboard in the portrayal of Florence as a truly desperate city, but it is not a hill I'm willing to die on.

The Enemies of Man packed in a lot of stories in its running time. I thought it was good not great, but a strong lead up to the season finale.

6/10

Next Episode: The Sins of Daedalus

Da Vinci's Demons: The Fall from Heaven

DA VINCI'S DEMONS: THE FALL FROM HEAVEN

Written by: Jonathan Hickman and Corey Reed

Directed by: Peter Hoar

Airdate: May 10, 2014

It is not until now that I realize the pun in The Fall from Heaven, that of a literal fall. As we finally get closer to the end of Da Vinci's Demons Season Two, we get one of the best performances of the series and some wild, even funny turns.

We are finally back to the beginning when we started Season Two, and we see that Riario (Black Ritson) is overwhelmed with guilt over his past. Despite being a "sword of the Church", he sees that he is a most miserable sinner. Despite being close to death, he and Leonardo da Vinci (Tom Riley) will continue their mad hunt for both the Book of Leaves and Leo's mysterious mother. Engineering a great escape, they along with Zoroaster (Gregg Chillin) and Nico (Eros Vlahos), they go back to the cave and discover an automaton that speaks in Leo's mother's voice. How to escape the Incans?

Well, fly away of course. Leo creates parachuting and sadly informs Incan High Priestess Ima Kama (Carolina Herrera) that there is no literal book. With that, she knows her civilization is doomed. So is Riario's soul, who reveals a shocking revelation about his most brutal act involving his own mother.

Meanwhile, back in Italy, Pope Sixtus IV (James Faulkner) is amused by the appearance of the Turkish Bayezid (Akin Gazi), the Sultan's son. He quickly orders him stripped and driven out of Rome, much to Bayezid's shock and anger. In Naples, Florentine Lorenzo de Medici (Elliot Cowan) is working to curry favor with the mad King Ferrante (Matthew Marsh) with a little help from pirates and a lot of help from former flame Ippolita, Duchess of Urbino (Jeany Spark). In Constantinople, the Sultan's advisor Jacob Pasha (Raymond Coulthard) sees that Lucrezia Donati (Laura Haddock) is not on the up and up.

It is the Riario story that elevates The Fall from Heaven. Ritson's performance is perhaps his finest in the season. A haunted, tormented man, he's moved past the soft-voiced villain from Season One. His final monologue, accompanied by genuinely shocking and sad images of his final interaction with his mother, will move the viewer.

If not for Ritson, I would have found a lot of The Fall from Heaven very uncomfortable. Again, I go back to the graphic violence on the show. The throat-slashing of Incan sacrificial victims was far too graphic, and I think unnecessary. The killing Riario remembers too is highly disturbing to me. Then a poor Incan warrior gets crushed by some doors. I do not understand why Da Vinci's Demons opts to show more than perhaps I think they should. I do wish some restraint would be exercised.

I also found some of the acting surprisingly theatrical. I would put Coulthard's Jacob rather overdone, but Spark and even some of the regulars like Cowan seemed to revel in some slightly campy acting.

I am not sure whether to take Leonardo da Vinci and company paragliding to safety funny or not. Granted, we crossed some lines when we have Leonardo da Vinci cavorting in Incan High Priestesses but even here, things seem pretty bonkers.

As I reflect on The Fall from Heaven, I see that my enthusiasm has damped a bit. Blake Ritson did a fantastic job here, and he elevates the episode. However, apart from that, I was not bowled over by this fall.

6/10

Next Episode: The Enemies of Man

Da Vinci's Demons: The Vault of Heaven

DA VINCI'S DEMONS: 

THE VAULT OF HEAVEN

Written by: Brian Nelson and Marco Ramirez

Directed by: Peter Hoar

Airdate: May 3, 2014

Perhaps my lack of enthusiasm for The Vault of Heaven is due to what is a pretty cliched situation: the many-trapped vault. I can roll with this up to a point, but my major takeaway here is, "Why do temples holding secrets always need so many clever traps?". 

Leonardo da Vinci (Tom Riley) and Count Riario (Blake Ritson) are forced to join forces to find the mythical Book of Leaves, suspected to be hidden within a well-guarded Incan cave. Along with their companions Nico (Eros Vlahos) and Zoroaster (Gregg Chillin), they must go through various traps which Leonardo solves with some ease. Once they get to the final test, Leo hears his mother's voice coming from inside. However, as he went ahead without Incan High Priestess Ima Kama (Carolina Herrera) despite his promise not to, they are all to be executed.

Back in Florence, Clarice de Medici (Lara Pulver) is continuing her affair with her half-brother-in-law Carlo (Ray Fearon). A tryst, however, is a true coitus interruptus when ninjas descend from the roof to try and kill them, along with Vanessa (Hera Hilmar), who carries the late Guiliano's child. Who could be behind the plot, and why? 

Finally, Lucrezia Donati (Laura Haddock) has reached Constantinople, where she has an audience with Bayezid (Akin Gazi), the younger son of the Sultan. She hopes to get him to go to Rome as part of her plan to get the real Pope Sixtus IV, her father, back onto St. Peter's Throne. However, like Leonardo, she finds herself a literal hostage to fortune.

Good or bad, I could not help thinking of Legends of the Hidden Temple while watching The Vault of Heaven. All that was missing was the Temple Guards popping out to scare Nico. 

I was not overwhelmed with the idea that the Book of Leaves is guarded via elaborate traps, finding the concept slightly comical. Somehow, it seems now slightly looney that the Incas would simultaneously want someone to find the Book of Leaves to save their society and make it so difficult that any effort to get to it will get you killed. We see others have tried, but some traps seem so outlandish that I chuckled versus feared.

We also have the issue of ninjas storming the Medici Palace. Granted, they were not literally ninjas, but their tactics were very Ninja-like. It makes things slightly hilarious versus scary. 

What does lift The Vault of Heaven are the performances, which continue to be excellent. Riley and Ritson work so well together as these frenemies, joined in a cause but having no love for each other. In a smaller subplot, James Faulkner oozes villainy with brilliance as Pope Sixtus IV. Commenting on the issue of temptation, he remarks that the sin is not in its existence but in its worship. Haddock also does well as Lucrezia, attempting to hide her character's fear behind an image of strength.

Still, the entire booby-trapped Incan maze deal is a bit hackneyed. Where art thou, Olmec?

4/10

Next Episode: The Fall from Heaven

Da Vinci's Demons: The Rope of the Dead

DA VINCI'S DEMONS: THE ROPE OF THE DEAD

Written by: David S. Goyer and Matt Fraction

Directed by: Jon Jones

Airdate: April 26, 2014

Sworn enemies are forced to unite in The Rope of the Dead, where we learn that sadism is an international and multicultural trait. A mostly good to great episode, we have however, the excessive graphic violence of Da Vinci's Demons that for me is most troubling.

In the New World, Incan high priestess Ima Kama (Carolina Guerra) tasks Leonardo da Vinci (Tom Riley) and Count Girolamo Riario (Blake Ritson) to essentially join forces if they are to get closer to the mythical Book of Leaves. For Leo, it means getting bit by a poisonous snake which causes him to both have sex with Ima and enter the netherworld where he meets the dead. There, the dead will guide him to clues about how to acquire the Book.

For Riario, it means searching for the antidote. The task entails becoming the hunter and the hunted, fighting Incan warriors whom he has to kill in surprisingly gruesome ways. Ultimately, while he emerges triumphant, to get the antidote, he must sacrifice the only love he has.

Back in Florence, Lorenzo de Medici (Elliot Cowan) must endure torture physical and psychological from the bonkers Royal House of Naples. Lorenzo gets advice from his dead brother Guiliano (Tom Bateman) on how to survive mad King Ferrante's (Matthew March) plan before Ferrante will give him a formal audience. Lorenzo has one arrow to kill a horse tied to a rope, otherwise the slack will eventually run out and hang him (or snap his head off). Only one person has survived this test: Ferrante's heir Alfonso, Duke of Calabria (Kieran Bew). 

Finally, Lucrezia Donati (Laura Haddock), on her way to Constantinople, has an encounter with Al-Rahim, better known as The Turk (Alexander Siddig), who will help her get to the fabled city as part of both their plans to get help from the Ottoman Turks against the usurper Pope. 

Both Leo/Riario and Lorenzo manage to survive, with a little help from the dead. 

I have commented on what I think is the excessively graphic violence on Da Vinci's Demons, something that has concerned me. The graphic violence is something I commented on with regards another show, only Gotham was on network not premium television. Violence as depicted on television has, to my mind, become not just more and more graphic. It has become almost sadistic in its portrayal, close to, as I see it, encouraging viewers to either passively or worse, actively enjoy it.

The Rope of the Dead went far beyond anything I am comfortable with. We saw graphic decapitations, head snapping, intense stabbings of various body parts. I am not opposed to violence on screen. I also know that Da Vinci's Demons has set itself up to be violent as part of its world-building. However, The Rope of the Dead for me went way overboard in what it chose to show. It would not have taken away from my enjoyment if it had opted to be less graphic and more suggestive. A lot of what I saw could have been toned down or not shown to the degree it was.

I suspect that both in succeeding episodes and Season Three we will see equal or even more graphic violence, which troubles me greatly.

It is a shame, because a lot of The Rope of the Dead worked quite well. Of particular note was the visualization of the netherworld between life and death, which was beautifully crafted and filmed. The episode also gave Riley and Cowan some of their best material, particularly the latter. This episode gave Lorenzo a chance to genuinely grieve his brother, to metaphorically release his own demons at both Giuliano's death and the knowledge that despite being the older he will outlive him, perhaps for decades. 

Riley and Ritson too excelled, their own confusion and grief really pushing things forward. Granted, it did make me giggle that Leonardo would need to have sex with a beautiful Incan high priestess in order to achieve connection to the netherworld. The guy finds new reasons to indulge his sexual powers. It also was amusing to see the end turn into a bit of a Battle of the Six Packs between Riley and Ritson (I think the latter would be the winner).

Tom Bateman in a guest spot served as guide to not one but two figures, and The Rope of the Dead gave him a chance to overact to the point of being theatrical. However, given that his character is dead, I can cut him some slack in his over-the-top manner. Not so Estella Daniels as Zita, Riario's love interest. It is a shame that she too will be relegated to a ghost, for I think she could have developed into a fascinating character.

The Rope of the Dead gets major points deducted for its violence. If not for that, I would have ranked it higher, but minus the almost sadistic nature of the visuals, I thought highly of the episode.

6/10

Next Episode: The Vault of Heaven

Da Vinci's Demons: The Sun and The Moon

DA VINCI'S DEMONS: THE SUN AND THE MOON

Written by: Dan Hess and Corey Reed

Directed by: Jon Jones

Airdate: April 19, 2014

Who is to say that Leonardo da Vinci did not encounter Incas at Machu Picchu? Da Vinci's Demons long ago abandoned the idea that it was in any way historical. With The Sun and the Moon, we get more wild goings-on, some surprisingly not involving Leo cavorting with Incans.

Leonardo da Vinci (Tom Riley) along with his friend Zoroaster (Gregg Chillin), have come upon the New World in hopes of rescuing their friend Nico (Eros Vlahos). It is no surprise that they are captured by the Incans, who demand they go through a ceremony to choose life or death. Only Leo's quick mind and ability to understand their language quickly do they manage to survive. 

Well, that and the attraction that Ima Kana (Carolina Guerra), the high priestess, has for Leo. She can speak their language, letting them know that other Europeans have been to Machu Picchu before, also in search of the Book of Leaves. Those Europeans also include Nico and Riario (Blake Ritson), their now-frenemy. 

Back in Italy, Lorenzo de Medici (Elliot Cowan) finds himself prisoner of the mad King of Naples, Ferrante (Matthew Marsh), who is essentially insane. Lorenzo finds he has to play a dangerous game to have his audience with the King, who has a bizarre fondness for human taxidermy. While Lorenzo is attempting to survive this and making googly-eyes at his former love, Duchess Ippolita (Jeany Spark) much to her husband Duke Alfonso's (Kieran Bew) irritation, back in Florence the Lady Clarice (Lara Pulver) is fighting to control the Medici Bank.

She has an ally in her half-brother-in-law Carlo (Ray Fearon), bastard son of Cosimo. Carlo plays both sides of the game, but ultimately proves loyal to Clarice. He also proves an excellent lover, for in the "what's sauce for the goose" school, Clarice finally gives in to her own temptations.

There is one issue that I don't think The Sun and the Moon thought much on. That is on the Kaliari challenge the Inca forced the travelers to play. The challenge is to choose from among three objects to see if they lived or died. Two of Leo's companions chose one object, which led to their instant (and rather violent) ends. Leo, however, managed to solve this riddle by using all three objects.

Again, given that in the premiere episode we know Leo will live, the only suspense is in figuring out how he will solve the problem. In reality, the issue is with Riario, Nico and Zita (Estella Daniels). They are prisoners of the Inca, so the issue becomes how they are still alive. Did they have to go through the Kaliari challenge too? Did Riario come up with the same answer and if so, how? 

By presenting such an elaborate (and bloody) situation to end up having other characters just pop up, I felt not exactly cheated but more puzzled as to how one group is still around when more than likely they would have met a grisly fate.

Perhaps I am overthinking things, but that part of the plot just lies there, unanswered.

Still, a lot of The Sun and the Moon manages to make sense, at least in the "Leonardo da Vinci secretly traveled to South America as part of finding a mythical book containing esoteric knowledge" way. The episode also balanced three storylines without skimming on one or the other. 

The smallest and maybe least interesting subplot is the Medici Bank attempted takeover. That was resolved within the episode itself, and one perhaps figured that The Sun and the Moon would play on Carlo's potential double-dealing. The eventual liaison between Carlo and Clarice too is also pretty much a given.

However, credit where it is due, and in The Sun and the Moon we get a nice bit of dialogue between Carlo and Clarice. When Carlo describes his situation as the result of being "a bastard with an unsuitable complexion", she replies that it is almost as bad as being a woman. It is curious that here, we get what might be considered a little commentary on race and gender without it being smashed above our heads.

The Ferrante subplot gives both Marsh and Bew a chance to embrace the cray-cray of the Neapolitan royal family with relish. Both of them show the delight King Ferrante and Duke Alfonso have in their combined cruelty and evil.  

If I had an issue with The Sun and the Moon, it is on something that continues to trouble me: the graphic violence. The sex is surprisingly tame, at least for Da Vinci's Demons. The violence, however, is still too much for my liking. However, this show indulges in that, so I have to accept that it is not going to get any less graphic. 

The Sun and the Moon is a strong episode, adding to the overall craziness of Da Vinci's Demons. Riario and Company somehow surviving aside, this episode moves the plots forward while not skimping on the sex and violence, two of Da Vinci's Demons calling cards.

8/10

Next Episode: The Rope of the Dead

Da Vinci's Demons: The Ends of the Earth

DA VINCI'S DEMONS: 

THE ENDS OF THE EARTH 

Written by: Marco Ramirez

Directed by: Charles Sturridge

Airdate: April 12, 2014

I was both pleased and troubled by The Ends of the Earth. There is a particular moment that, while reflective of evil, was to my mind a bit too graphic for my liking. I understand that Da Vinci's Demons is more graphic sexually and in violence than I like. However, some things are a bit too much for me to enjoy.

The wicked Pope Sixtus IV (James Faulkner) is holding his twin brother, the real Pontiff, hostage. Why not just kill him and be done with it? As children, then Francesco tried, but Alessandro survived and now the imposter thinks the good twin is unkillable. That, however, does not prevent Francesco from killing his own niece in front of her father in a flashback.

At this point, that even the "good" Pope has two daughters is something we need think on.

Lorenzo de Medici (Elliot Cowan) and Piero da Vinci (David Schofield) continue on to Naples in a plan to get aid in reversing the excommunication that Sixtus has imposed on all Florence. They are attacked by criminals and later captured by border troops. 

Over at sea, Leonardo da Vinci (Tom Riley) is working to keep the remaining ex-slaves from thinking they will sail off the face of the earth. He cannot convince them with his evidence of a circular Earth, so he hopes a little astronomy will help. It majorly backfires, leading to tragedy and death. However, it does lead him to find to a major discovery: the Earth revolves around the Sun, not the other way around.

In many regards, The Ends of the Earth is a good, strong episode. You have excellent performances from Riley and Faulkner in particular. Seeing Leo's discovery of the solar system is a particularly strong bit of acting. Equally so is how Sixtus IV goes all Diana Ross by not having anyone look at him, coupled with him being a good and bad twin.

However, we see here at least two things that I did not think well of. First is the whole "good twin, evil twin" bit. I might have gone for a lookalike or impersonator, but did we need to have a literal evil twin? I am not impressed with what can be a bit cliche, even if Da Vinci's Demons is meant as ahistorical. 

I like villains who are villains because they enjoy being villains. To be fair it does give Faulkner a chance to show range, be sympathetic and villainous. However, the "evil twin" bit just feels off. 

Second, and more disturbing, is how we see the fake Sixtus dispatch his niece. For my mind, it was too graphic when an opaquer manner would have worked. I just dislike seeing children up to teens killed. It is curious that the mass deaths on da Vinci's ship and the killing of the bandits that waylaid Lorenzo and Piero were less graphic than the one the imposter Pope committed. 

I am much distressed by the graphic violence not just on Da Vinci's Demons but from past shows like Gotham. That, however, is perhaps for another time. Suffice it to say that for the moment, this brought the episode down.

If not for that, I would have given The Ends of the Earth a higher rating. This is especially true given that it was nice to see Leonardo actually challenged in the firmest of tones by those around him. However, this is the highest score I can muster given what I saw as needlessly graphic violence.

5/10

Next Episode: The Sun and The Moon

Da Vinci's Demons: The Voyage of the Damned

DA VINCI'S DEMONS: THE VOYAGE OF THE DAMNED

Written by: Brian Nelson

Directed by: Peter Hoar

Airdate: April 5, 2014

Things are starting to settle in Season Two of Da Vinci's Demons, with The Voyage of the Damned setting many plots forward. Good performances and threading plots elevate this episode.

It appears that Count Riario is seeking to go against the will of his uncle Pope Sixtus IV by commanding a ship go against its original plans. However, Alfonso, Duke of Calabria (Kieran Bew) is not fooled. Riario is unmasked as Leonardo da Vinci (Tom Riley), trying to pull a fast one. Even though he and his friend Zoroaster (Gregg Chillin) escape, Alfonso still has control of the ship.

No worries for Leo. He creates an early version of the submarine to catch up to it and use the slaves aboard to overtake the ship. Happily helping them is Amerigo Vespucci (Lee Boardman), despite thinking the whole thing mad. Or does he?

For his part, Pope Sixtus IV (James Faulkner) is surprisingly delighted that the Medici family has retained its hold of Florence. He is especially pleased that one of his bishops, Clarice Medici's own brother, was hung for treason. It provides him the perfect excuse to excommunicate all of Florence, which he and Lorenzo de Medici (Elliot Cowan) know will bring Florence to its knees unless the excommunication is reversed. 

As Leo and Zoroaster set out on their way-out plan, Lorenzo begins his own to save his city, much to the dislike of Leo's father Piero (David Schofield). And that's not even counting the sudden appearance of Lorenzo's half-brother Carlo (Ray Fieron), whose plans are still unclear.

One of the positive aspects of The Voyage of the Damned is its opening. It gives Riley a chance to almost spoof Blake Ritson's soft, whispery Riario. Watching, I figured there was something slightly odd about how "Riario" was shot, but the vocal manner is pretty much on the mark. 

Part of me imagines that Riley was having a grand time doing a Riario impersonation; it does also reveal that despite Da Vinci's Demons eccentric world, it is not afraid to have a little fun. 

A lot of The Voyage of the Damned was just that: fun. Boardman's Amerigo Vespucci is fun, always managing to bring enough humor without being cartoonish. James Faulkner is fun. Not in a ha-ha way, but in how he is able to play two characters with equal ease. There is the wicked Pope Sixtus IV and then there is his imprisoned twin brother.

Riley is showcasing his Leonardo as a man who takes glee at his own genius, where even the risk of drowning is more inconvenience than dangerous. Granted, he does show slight fear when his calculations on his submersible are slightly off, but only slight. Besides, knowing that he is going to live, it cannot build up the tension The Voyage of the Damned wants us to have.

We even get Alexander Siddig popping up as "The Turk", though he is the only one not having any fun. The Turk is always such a downer, unable to have a moment of levity. I do also wonder what role Carlo will have, given we have never been given a single clue to his existence. That, however, remains to be seen.

The Voyage of the Damned is a good episode, having action, a touch of danger and even a few laughs. 

8/10

Next Episode: The Ends of the Earth

Da Vinci's Demons: The Blood of Brothers

DA VINCI'S DEMONS: THE BLOOD OF BROTHERS

Written by: Jami O'Brien

Directed by: Peter Hoar

Airdate: March 29, 2014

Now that Da Vinci's Demons has given us a strange destiny for our title character, we can focus back on the violence and sex of Renaissance Florence. The Blood of Brothers gives us surprising twists and even a bit of comedy among the murder and mystical mayhem.

Florence is still in the grips of chaos after the murders in the cathedral and the Pazzi coup d'état. Lorenzo de Medici (Elliot Cowan) is still hovering between life and death, but so is his frenemy Leonardo da Vinci (Tom Riley). Lorenzo and Leo both survive, but the former is both still critically injured and enraged at the latter schtupping his mistress.

Focus, Lorenzo, focus.

As Clarice Orsini de Medici (Lara Pulver) attempts to hold on to her family's power while literally besieged, Leo comes up with yet another brilliant idea to rally the Florentines to the de Medici cause and reject the Pazzi coup. He creates an ability for Lorenzo to broadcast his voice over the people, who instantly rally to their leader and turn violently on the Pazzis.

Lucrezia Donati (Laura Haddock) and Zoroaster (Gregg Chillin) survive walking the plank but cannot stop Count Riario (Blake Ritson) from sailing with the astrolabe and worse, Nico (Eros Vlahos), to a new world to find the Book of Leaves. Riario discovers the art of erotic pleasure with Zita (Estella Daniels), an Abyssinian who finds our dour figure quite desirable. In order to complete his destiny of finding the Book of Leaves and rescue Nico, Leo now embarks to catch him, with a little help from cartographer Amerigo Vespucci (Lee Boardman).

What I enjoyed about The Blood of Brothers is that the show is allowing a little bit of comedy within the crazed metaphysical hijinks. That comes primarily from Boardman's introduction as Vespucci, the man who somehow gave a whole continent a corruption of his first name: America.

Imagine if they'd named the New World "Vespucci". 

Boardman brings a levity in his Amerigo Vespucci, a bit of a rake who fakes his death to get away from creditors. One wonders exactly how many times he has "died" to pull this off. With Boardman on board, so to speak, we can hope to see more of him in future episodes.

In some ways, The Blood of Brothers feels like two episodes tied into one. You have the resolution to the attempted coup with Lorenzo managing to rally to retake power. You then strongly transition to the new journey as Leo begins his race to follow Riario, and I give credit for being able to achieve the shift with little difficulty.

As a side note, I admire how Tom Bateman managed screen credit for appearing as a corpse. Must have been a nice paycheck to get paid for literally playing dead.

Pulver again is a standout here, as Clarice's strength and resolve dominates others who would put her down because she is both a woman and a Medici by marriage. Cowan could be slightly irritating as Lorenzo given how negative and almost coward-like he came across. Ritson is a surprise as Riario as he cavorts with Zita. One would not think he had any emotions or desires, but here he is giving in to the pleasures of the flesh.

I do question how Zoroaster and Lucrezia managed to get to shore given how it looked they were far off at sea, but I'm not going to quibble too hard on this point.

The Blood of Brothers is a step up from the last episode, as like a ship slowly correcting course. Giving us surprisingly less graphic sex than past Da Vinci's Demons episodes with a hint of the violence, I thought well of how the show is slowly moving. 

6/10

Next Episode: The Voyage of the Damned

Da Vinci's Demons: The Blood of Man

DA VINCI'S DEMONS: THE BLOOD OF MAN

Written by: David S. Goyer and Corey Reed

Directed by: Charles Sturridge

Airdate: March 22, 2014

It is a curious thing that the Season Two opener for Da Vinci's Demons kind of flubs it to give us a preview of coming attractions. The Blood of Man has not a terrible start but after the curious opening kind of struggles to get back to where I think it should.

We open with a captured Leonardo da Vinci (Tom Riley) and Count Riario (Blake Ritson) preparing for death in what appears to be a pre-Columbian world. Once we are about to see their killing, we then jump back to the chaos of the murder in the cathedral.

Poor Lorenzo de Medici (Elliot Cowan): dying from his slashed throat but too obsessed that Leo has been schtupping his mistress Lucrezia Donati (Laura Haddock) to care about his impending death. As they escape and fight, Leo comes up with a brilliant idea: a blood transfusion. Lorenzo is in no condition to give his consent (which he probably wouldn't), but Leo gets his way. In his own weakened state, he sees things that yet may be.

The Pazzi family is attempting to complete their coup d'état while poor Zoroaster (Gregg Chillin) and Lucrezia attempt to complete Leo's original mission of sailing beyond the known world. Unfortunately, Riario gets to the ship first and gets them to walk the plank. 

I think I can appreciate what The Blood of Man was going for, but somehow this "Leo and Riario are trapped by Incans" preview cut away from the tension that The Lovers had left off with. I think it is due to knowing that from now until we get this encounter with the New World, we know they will survive. 

As such, part of me no longer feels any worry for whatever travails either of them goes through. I know they will live, so why worry about Leo's health? 

Moreover, there were other aspects of The Blood of Man that I was not following. How did Riario get to the ship first? Why did we have to go forwards six months at all? Why can't Lorenzo be sensible for once and focus on how he is dying and his family may be summarily executed versus caring about whether Leo had sexy-time with Lucrezia?

I should resign myself to knowing Da Vinci's Demons will be violent, but there is something involving an eye in The Blood of Man that I thought went a bit overboard (no pun intended). 

Still, I can't throw the baby out with the bathwater, and I think Da Vinci's Demons still has some strong performances. Riley and Cowan act exceptionally well together, and Laura Pulver as Clarice Orsini de Medici comes into her own. She ensures her daughters' safety while taking command in her husband's absence. James Faulkner is going to have a grand time playing both the wicked Pope Sixtus IV and his imprisoned brother Alessandro. 

The Blood of Man would have worked better for me if it had started when I think it should have: amidst the chaos of the assassinations versus having a slow opening scene of Incan insanity. That weakened the episode for me, but I figure things will work better as we go on.

4/10

Next Episode: The Blood of Brothers

Da Vinci's Demons: The Complete First Season

DA VINCI'S DEMONS: THE COMPLETE FIRST SEASON

If there is one thing about Da Vinci's Demons that can easily be said, it is that it is not very interested in history. Instead, it is using historic figures to present an alternate history, one that has fact and fantasy blend throughout. 

The first season sets up a long thread about the Sons of Mithras, a secret society that tasks Leonardo da Vinci (Tom Riley) to find the mythical Book of Leaves, a hidden source of esoteric knowledge. Da Vinci, an arrogant genius, is more than up to the task. However, he has two issues to contend with.

The first is the machinations of the Vatican, headed by the villainous Pope Sixtus IV (James Faulkner) and his more villainous nephew Riario (Blake Ritson). The second is the machinations of the Medici family, headed up by Lorenzo (Elliot Cowan), whom da Vinci has wormed his way into. Leo has also wormed his way into the bed of Lorenzo's mistress, Lucrezia Donati (Laura Haddock), who happens to be both a Vatican spy and Riario's cousin.

Over the course of eight episodes, Da Vinci's Demons packs a lot of its story within it. I was surprised at how one episode could have so much going on, with only The Devil feeling like a bit of filler. To be fair though, it is hard to have a Dracula vs. Leonardo da Vinci episode without making it sound and play slightly ridiculous.

The sheer lunacy of the various plots and counterplots, blended with magical, mystical elements is what makes Da Vinci's Demons entertaining. It should not be taken completely seriously. Yes, the show wants us to embrace the story and characters, but it also wants us to escape into flights of fantasy.

Da Vinci's Demons is aided by a first-rate cast. Tom Riley seems almost made for the lead role: a brilliant man aware of his own brilliance. His character's habit of moving his fingers as he thinks demonstrates a strong level of method in his madness, and it is almost endearing. Haddock's Lucrezia is sharp, erotic, villainous and sympathetic all at once. Tom Bateman's Guiliano de Medici gives Riley a run for his money as the hunk, but he also makes Giuliano's frustrations at playing second fiddle to his older brother relatable.

Major credit should also be given to Ritson's Riario, who almost never shifts from his calm, sotto voce delivery. His habit of speaking softly and menacingly is what makes his crazed, almost unhinged manner in the Season One finale The Lovers all the more shocking. Faulkner too knows how to use his growling voice to great effect as the Unholy Father, and as a side note, the term "naked homicidal Pope" is one I thought I would never write.

The supporting cast ranging from Gregg Chillin's devoted friend Zoroaster to Allan Corduner's forever harried Andrea Verrocchio, Leo's artistic employer, gives the show welcome bits of light moments. They are not comic relief but do lighten the somewhat esoteric goings-on. 

There are two points in Da Vinci's Demons that I do dislike. The first is the graphic nature of the show in sex and violence. As this is Starz, the show has more leeway in what it can show. However, there were times when the gore was far too much for my own tastes. Second, I thought the nudity was more than I thought necessary. 

The second was in the exposition dialogue that seemed to plague so many Season One episodes. Too often in my view, dialogue was created to move the plot forward, attempting to explain things rather than let the situation and action do that. Again and again we had characters tell us what was going on versus showing us.

I think the latter is not as important as the former in my enjoyment of Da Vinci's Demons. There was particularly in the violence a more graphic tone that I like and am comfortable with. However, I figured this was going to happen here, so I did not go in with eyes fully closed. On the whole, I think Season One of Da Vinci's Demons will appeal to those who like fantasy and history blended.

With a little sex in it, or in this case, a lot of sex in it.

Season Two Episode One: The Blood of Man

Da Vinci's Demons: The Lovers

DA VINCI'S DEMONS: THE LOVERS

Written by: Brian Nelson and Marco Ramirez (Story by David S. Goyer)

Directed by: Michael J. Bassett

Airdate: June 7, 2013

We now conclude Season One of Da Vinci's Demons with The Lovers, getting our first taste of a shocking historic event. 

The search for the mythical Book of Leaves was set into motion long before Leonardo da Vinci (Tom Riley) was born, but the Sons of Mithras have had their eyes set on him. Now that he is a grown man, he must choose to follow the path of esoteric wisdom. This does not, however, bode well for his current patrons, the Medici family. Lorenzo de Medici (Elliot Cowan) is irritated that his younger brother Guiliano (Tom Bateman) has not appeared for the forced engagement party to join the Medici and Pazzi families. 

Lorenzo is unaware that Guiliano has been stabbed by Lorenzo's mistress Lucrezia (Laura Haddock), who is also a spy for the Vatican. Surprisingly, Guiliano survives and stumbles his way back to Florence. He is found by Dragonetti (Ian Pirie), Captain of the Night Guard who appears to be in league with the Pazzi. Is Guiliano safe in his care? What about Vanessa (Hera Hilmar), who discovers she is carrying Guiliano's child? The Pazzi will not wait for Guiliano or Rome. They decide the best thing to do is have a coup d'état and eliminate both brothers simultaneously. This will be accomplished through a blasphemous act: to kill them both at Easter service, with perhaps killing Lorenzo's three daughters and wife Clarice (Lara Pulver) too for good measure.

Will Leonardo sail to unknown lands as instructed by the Sons of Mithras? Or will he sacrifice that to save the Medicis from extermination? It culminates in Florence's own murders in the cathedral, where an enraged Riario (Blake Ritson) joins the slaughter while Lucrezia helps Clarice and her girls to escape. Here, when Lorenzo has seen his brother killed and is himself in mortal danger, he bizarrely focuses on the potential that Lucrezia and Leonardo were lovers, apparently angrier at his artist fooling around with his mistress than with the Pope's nephew about to blow them both away.

It wouldn't be Da Vinci's Demons without some kind of bonkers situation, and The Lovers gives it to us with the Pazzi Conspiracy (though more than likely an ahistorical version). Most of the episode does not flag in its pacing and story, moving things quickly from Guiliano's dilemma to the Pazzi conspiracy and culminating in a wild free-for-all at the cathedral.

We get wild turns all over the place: Leo storming in to save Lorenzo! The mysterious papal prisoner is really His Holiness' own brother! Vanessa tearfully telling a dying Guiliano that his line will continue as she is with child! Riario for once going full-on bonkers! Leo and Lorenzo trapped as the Pazzis and Romans are blasting their way through their safe room!

The Lovers is brimming with action, and it also has strong performances from Riley and Haddock as our thwarted lovers. Leo's fury and Lucrezia's regrets blend perfectly, making this a most tangled romance. Ritson too is released to go all wild, crazed fury, making his rage all the more frightening. For the entirety of Da Vinci's Demons, Ritson has played Riario as a calm figure, rarely if ever speaking above a soft tone. Here, however, he is shouting with manic force, the seething pent-up rage finally allowing him to devour the scenery the way others have.

The Lovers does what a great season finale should do: leave audiences hanging on a wild note. 

8/10

Next: The Complete First Season

Da Vinci's Demons: The Hierophant

DA VINCI'S DEMONS: THE HIEROPHANT

Written by: Sarah Goldfinger and Corey Reed

Directed by: Michael J. Bassett

Airdate: May 31, 2013

As we race towards the end of Da Vinci's Demons Season One finale, we are getting more sex, more violence and more craziness.  

Leonardo da Vinci (Tom Riley) wants to get to the secret in the Vatican's Secret Archives. He knows buried deep within the bowels of the Holy See, he will find the information to locate the Book of Leaves. However, he can't just walk into the Vatican. He can, however, snorkel his way in by essentially inventing a diving bell. Once inside, he literally bursts out of His Holiness' bath. A shocked Pope Sixtus IV (James Faulkner) is forced into the Archives, but Sixtus is a wily figure. He tempts Leo with knowledge, particularly about his mother. Managing an escape (thanks in part through the Spear of Destiny), Leo finds that his friends Zoroaster (Greg Chillin) and Nico (Eros Vlahos) have captured their bitter enemy Riario (Blake Ritson). With both keys now in his hands, Leonardo is close to finding the Book of Leaves.

Meanwhile, Guiliano de Medici (Tom Bateman) is balancing his affair with bar wench Vanessa (Hera Hilmar) and investigating who Rome's spy is. He also has to endure the machinations of his brother Lorenzo (Elliot Cowan), who has pimped Guiliano out to the Pazzis in a marriage of convenience. His investigation has discovered Lucrezia (Laura Haddock) is not just Lorenzo's mistress but said spy. This is also discovered by Leonardo, but unlike him Guiliano does not know the motive behind her actions. Nevertheless, it is a battle for survival when Lucrezia and Guiliano finally see each other, where one may not survive.

The Hierophant is a very esoteric title, deriving from tarot cards. It fits into the episode on so many levels. First, the card is of a sitting Pope, which connects to Sixtus IV's various schemes and wickedness. It also connects with arranged marriages, which Giuliano is facing. It is a sign of the intelligence within this ahistorical episode and series that this balance works.

As a side note, it is only now with such a title as The Hierophant that I realize that Da Vinci's Demons derives almost all if not all its Season One titles from tarot. As each episode title has connected to that episode's plot, it did not occur to me to make that tarot connection until The Hierophant given that for those unaware of tarot, it would be a very obscure title.

The Hierophant is to my mind the best episode of the series. It is breathtakingly beautiful in terms of visuals, particularly when Leonardo is underwater or when we see various dreams and fantasies. It gives viewers perhaps obvious but still shocking moments, such as when Leonardo crashes His Holiness' bath. We even get to see Ritson's firm abs, showing even the villains can be hot.

The Hierophant also has some of the best performances yet from the series. Of particular note is Bateman as Giuliano, who gets to be romantic, intelligent, courageous and tragic all in the course of an hour or less. Heldar too has excellent moments, helped with strong dialogue. When Giuliano tells her she is foolish to describe her digs as better than his palace, she replies, "Your palace is a prison with better linen". Holding her own yet in clearly in love with Giuliano the man, Heldar holds our attention.

The Hierophant balances three plotlines: the Pazzi's conspiracies, da Vinci's investigations and Giuliano's discoveries. Each work well without intruding on the other. With spectacular visuals, strong performances and even a hint of tragedy (this episode ends with mournful music versus the traditional theme), The Hierophant is a fast-paced, thrilling adventure. It is what Da Vinci's Demons set out to be. 

Next Episode: The Lovers

9/10

Da Vinci's Demons: The Devil

DA VINCI'S DEMONS: THE DEVIL

Written by: Brian Nelson and Marco Ramirez

Directed by: Paul Wilmshurst

Airdate: May 17, 2013

The Devil is by no means a bad Da Vinci's Demons episode. However, even by the increasingly bonkers standards of this ahistorical fantasy series, it is hard not to chuckle at the thought of Leonardo da Vinci facing off against Dracula.

Leonardo da Vinci (Tom Riley) now seeks out a cartographer who can help him decipher clues to the mysterious land where the Book of Leaves is hidden. Said cartographer, Solomon Ogbai or The Abyssinian (Shaun Parks) is being held prisoner by Vlad Tepes himself (Paul Rhys), better known as Vlad the Impaler or Vlad, Son of the Dragon.

It is Dracula himself with whom Leo and his friends Zoroaster (Gregg Chillin) and Nico (Eros Vlahos) must match wits with. Dracula, however, will not be so easily disposed of. As he has renounced God, offers toasts to Lucifer and lets his dogs devour prisoners of war, Leo will have to more than match wits with the potentially unholy undead.

Meanwhile, Lorenzo de Medici (Elliot Cowan) has his own issues to deal with. There is his pimping out of his brother Giuliano (Tom Bateman) to marry into the Pazzi family and forge an alliance with their bitter rivals. There is his negotiation with Federico, Duke of Urbino (Vincent Riotta) to join forces and push against Pope Sixtus IV (James Faulkner), who himself is plotting with the Pazzis against the Medici.

Guiliano for his part is investigating who the spy in the Medici household is, bringing him closer to unmasking his brother's mistress Lucrezia (Laura Haddock) as the spy. He also begins his own affair with ex-nun and current bar-wench Vanessa (Hera Hilmar). Sixtus is enraged over how in his eyes everyone around him has bungled things. His wrath spares no one, not even his nephew Riario (Blake Ritson). Lucrezia, no longer useful to Rome, is to be killed.

As for Leonardo, while he cannot save the Abyssinian this time, he does get the clues needed to begin his journey.

As I think on it, the title character in The Devil may not be Dracula himself. I never thought to write the phrase "naked homicidal Pope" but how else to describe His Holiness Pope Sixtus IV as he tries to drown his henchmen in his bath and beats Riario senseless? It is par for the course in the bonkers world of Da Vinci's Demons.

Dracula, however, is not, and while certain liberties can be taken on a show where past, present and future float about at will, Leonardo da Vinci fighting Dracula still looks a little loony even here. 

It is not helped by guest star Rhys' performance. I have to give some leeway into how camp the whole setup is, but Rhys seems to be not bothering to try and make this already crazed idea look remotely rational. Instead, he goes all-in on the cray-cray, camping it up to mad abandon. In fact, I think The Devil let everyone a chance to overact.

Again, "naked homicidal Popes".

The Devil almost delights in being opaque (and yes, I can see a double meaning in that phrase). Even Leonardo comments on this when seeing a vision of himself with Ogbai, wryly commenting that the Sons of Mithras never seem able to give a straightforward answer. 

Perhaps in retrospect, I should be more lenient towards The Devil (again, an odd turn of phrase). However, Leonardo da Vinci literally crossing swords with Dracula and naked homicidal Popes seem a bit much for me.

Next Episode: The Hierophant

5/10

Da Vinci's Demons: The Tower

DA VINCI'S DEMONS: THE TOWER

Written by: Joe Ahearne

Directed by: Paul Wilmshurst

Airdate: May 10, 2013

What's a little sodomy amongst friends? The Tower tackles that most controversial of Leonardo da Vinci topics: his sexual orientation. With clever, shocking writing and some fine performances, The Tower moves quite well.

Leonardo da Vinci (Tom Riley) is imprisoned for the crime of sodomy. This allegation could not have come at a worse time for the Medici, who want the royal patronage of Spanish monarchs Ferdinand (Philip Arditti) and Isabella (Lydia Leonard), along with their confessor, Torquemada (Peter Guinness). The prudish couple finds Florence a cesspool of decadence and debauchery. Therefore, why not entertain them with a performance of the raunchy Decameron? Lorenzo (Elliot Cowan) is horrified, but for once his brother Giuliano (Tom Bateman) wins this battle.

Struggling in his own battle is Leo, who appears to have gone bonkers in isolation. He finds that the charges have gone from mere sodomy to sorcery, and if convicted nothing will be able to save him. The kangaroo antics of the Magistrate outrage even Leo's disapproving father Piero (David Schofield), a stickler for the rule of law and proper order. How will Leonardo escape his prison? Even if he does (hint: he does), how will he escape the charges? 

Simple: by finding something that is worse than sodomy or sorcery. The Magistrate finds himself literally hog-tied, and with that, Leo lives to fight another day.

The Tower tacitly acknowledges what has been speculated but never fully confirmed: that Leonardo da Vinci had varied sexual tastes. Da Vinci's Demons has shown him many times getting hot and heavy with Lorenzo di Medici's mistress Lucrezia Donati (Laura Craddock), but this is the first episode where there is even a hint that Leo may be at the very least bicurious. We see this at the end when Jacobo Salterelli (Christopher Elson) a male model dragged into court over the sodomy charges shows Leo the drawings Leo did of him, drawings of a most erotic nature. Leo tells the model he will find someone else to love and they share a kiss. 

Whether da Vinci in real life was gay, bisexual, bicurious, asexual or all of the above only he knows. I think there was early criticism of Da Vinci's Demons because it did not delve into Leo's private life apart from his almost nymphomaniac humping of Lucrezia, but this is fantasy. As such, I don't see it as an issue, let alone a major one. The Tower, at the very least, leaves the door open for more same-sex schtupping, but that is not the focus of the episode.

Instead, it is on the inventive nature of da Vinci, and The Tower certainly shows a wild side to his inventiveness. Essentially, Leonardo da Vinci invented an early version of the Bat-Signal and photography. The scene where the Magistrate appears to be involved in bestiality may shock, but it does show that a mad (as in angry) Leo may not be far off from a mad (as in crazy) Leo.

The Tower has some fine bits of dialogue, ones that Tom Riley speaks with wild abandon. "I'm desperate, enraged and in need of a good meal, but I'm NOT mad!" he tells his friends when he's escaped. Asked later what he craves, he winkingly replies, "The Magistrate's ass". 

The Tower's dialogue also extends to the secondary plot of the Spanish monarchs visiting. Lorenzo explains to a surprised but interested Ferdinand how their patronage system works. Later on, Ferdinand admits he was forced to marry his unattractive cousin and finds the ability of ordinary people to speak to their leaders fascinating. 

The bawdy nature of the Decameron, and the Medici brothers literally fighting over it also make for good viewing. The sets, particularly the court where the case is being tried, are impressive.

We also see actors doing quite well. Schofield shows a slightly more caring side to Piero. He still disapproves of his son, but he equally disapproves of how the trial is clearly stacked against him. Whatever Piero's faults, he holds the law as sacrosanct, and is outraged at anyone being railroaded.

The Tower moves our story forward while standing on its own. It is a well-crafted, well-acted episode that had some issues (it made little use of Torquemada), but on the whole did well. 

Next Episode: The Devil

7/10

Da Vinci's Demons: The Magician

DA VINCI'S DEMONS: THE MAGICIAN

Written by: David S. Goyer and Jami O'Brien

Directed by: Jamie Payne

Airdate: May 3, 2013

Just when you are sitting on top of the world, you are arrested for sodomy. Such is life, I suppose, and such is the case with The Magician. This Da Vinci's Demons episode builds on its mix of history and supernatural, entertaining while maintaining a strong amount of decadence.

Leonardo da Vinci (Tom Riley) continues to struggle with being the weapons maker for the Medici family. He sees that his weapons, while inventive and useful, will only increase war and death. That, fortunately, is what Rome wants. Pope Sixtus IV (James Faulkner) has allied himself with the Pazzi family, rivals to the Medici, in a secret bargain where the Vatican will use the Pazzi as bankers in exchange for bringing Florence under Rome's heel.

Lorenzo de Medici (Elliot Cowan), convinced that he has uncovered the traitor at Court, still hesitates in killing his old mentor Becchi (Michael Elwyn). Lorenzo's brother Guiliano (Tom Bateman) and even Lorenzo's mistress Lucrezia (Laura Haddock) also doubt Becchi's guilt. Lucrezia knows Becchi's innocent because she is Rome's spy, but she cannot unmask herself. She is a pawn in the hands of His Holiness' nephew Riario (Blake Ritson), who presents terms of surrender to Lorenzo. 

Lorenzo appears to have no alternative, especially when Leo destroys the armory. However, Leo has a few tricks up his own sleeve, saving Florence and with the bonus of humiliating Riario. At a feast to fete the artista, things appear to go Leo's way. He even starts cracking the mystery of the Book of Leaves thanks to clues hidden in plain sight: the painting of Lorenzo's grandfather Cosimo. However, the Officers of the Night, by means of a secret denunciation, arrest the arrogant artist for sodomy, a crime that while tolerated in Florence is still technically illegal.

The Magician gives its lead a chance to show a different, more thoughtful side to our genius. Riley still brings out da Vinci's arrogance and brash self-confidence. However, it allows him to think on the high cost of war. This episode makes Leonardo more contemplative, more aware that if he comes up with a better weapon, inevitably his rivals will find an answer to it. Seeing the cycle of war and ingenuity, Riley brings out a more conflicted man.

That isn't to say he still isn't cocky to the point in insanity. When interrupting Lorenzo's surrender, Leonardo delights in mocking Riario, the joy he has in making his rival look foolish almost uncontrollable. The addition of rain falling on them gives the scene a greater sense of delight.

The Magician also gets points for this bit of dialogue. As Lorenzo celebrates the glories of Florence and Florentine culture, he says that the city "will be remembered for centuries to come as a cynosure of innovation and artistry". Any time the word "cynosure" can be used at all, let alone as something as gleefully and nakedly bonkers as Da Vinci's Demons, should be commended.

For the record, "cynosure" means "a person or thing that is the center of attention or admiration", and yes, I did have to look it up.

There's much witty dialogue in The Magician. The Unholy Father if memory serves right quips at one point, "Resurrection requires death", meaning Florence must die for him to move on his own various agendas. We hear that "The Confraternity of Death are such vultures", again showing more elegance in turning phrases than most television shows. 

While these bits of dialogue are clever, The Magician still has at least one hang-up of Da Vinci's Demons as a whole: making the dialogue serve less as people speaking and more as infodumps to the goings-on. This is especially evident when Becchi is killed off: his final conversation with his assassin is more about giving audiences information about what has and will happen versus the words of a dying man.

To its credit, we do get strong performances from the cast. Of particular note is Bateman, who asks for Lucrezia's help in turning Lorenzo's heart back to Becchi. It shows a quietly desperate man, who knows he is not strong enough politically to go against his brother but who is still loyal to their old advisor. That isn't to say there aren't a few bumps: the scene between Lorenzo and Guiliano is a bit more theatrical than I would think well of, but it isn't terrible.

On the whole, The Magician moves the plot forward and gives us both the now-expected sight of Leonardo's genius but a more vulnerable Leo. That and "cynosure" push The Magician higher in success.

Next Episode: The Tower

8/10