2) Da Vinci’s Demons

It took Da Vinci’s Demons three seasons to get to the point. But thankfully, they did. The showrunners have brilliantly the narrative while making concessions to reveal more of the mythology, which has created increasingly complicated backstories worthy of the characters they are attributed to.

Tom Riley completely embodies the protagonist, and watching him settle into the role has been a marvellous viewing experience. He has created a versatile lead who struggles to contend with societal pressures to conform to what Lorenzo (Elliot Cowan) and the Medici regime demands, while still pursuing his own personal agenda. An agenda which has never been more clouded than at the close of this season, with the reveal of his mother on the head Ottoman ship.

The search for the Book of Leaves is premeditated by Da Vinci’s desire to find answers to questions that are beyond even his comprehension and in turn took him on a dynamic, multi-episode adventure. Along the way he convinces his companions of the necessity of this acquisition, while convincing himself of its legitimacy.

This season of Da Vinci’s Demons offered each character a chance to take on a more deliberate role within the framework of the show, expanding on their previous utility. Although season three lacked the charisma that Giuliano (Tom Bateman) brought to the table, his departure gave way for a shift in power within the Medici hierarchy. And, let’s face it, much to my occasional chagrin, change makes for good television.