The Introduction of a Genius The episode opens in 1477 Florence. We are introduced to a twenty-five-year-old Leonardo da Vinci (Tom Riley) in a prison cell, sketching the details of a fly's wing with charcoal—a motif that establishes his obsessive, observational nature. Through a series of flashbacks and interrogations by a mysterious figure, the story unfolds.
Leonardo is depicted as a brilliant but chaotic apprentice in the workshop of the renowned artist Andrea del Verrocchio. He is plagued by insomnia and strange, prophetic visions which he medicates with a "tea" made from embedded substances (later revealed to be cocaine). He is a man ahead of his time, designing prototypes for machine guns and diving suits, yet constantly frustrated by the technological limitations of his era.
The Commission and the Conspiracy Leonardo’s talents attract the attention of the ruthless ruler of Florence, Lorenzo de' Medici (Elliot Cowan). Lorenzo is under immense pressure to secure an alliance with the Duke of Milan to protect Florence from the encroaching armies of the Pope, Rodrigo Borgia. To secure this alliance, Lorenzo needs a gift of immeasurable value. He commissions Leonardo to create a masterpiece: a massive bronze statue of a horse for the Duke's father.
However, the political landscape is treacherous. While scouting a nunnery for a portrait subject, Leonardo encounters Lucrezia Donati (Laura Haddock), the Duke of Milan's mistress. He becomes instantly infatuated, using his knowledge of anatomy and observation to seduce her. This liaison, however, puts him in the crosshairs of the Medici family's enemies.
The Mystery of the "Hanged Man" The central mystery of the episode begins when Leonardo witnesses the public execution of a monk by hanging. His keen eye notices something odd: the monk was already dead before the noose tightened. Leonardo uses his invention—an early form of a hang glider—to soar above the city, observing the scene from above and later stealing the body to perform an autopsy.
During the autopsy, Leonardo discovers a golden key hidden in the monk's stomach. This leads him to a hidden vault beneath Florence. Inside, he finds evidence of the "Sons of Mithras," an ancient cult protecting the "Book of Leaves," a mystical tome said to contain the knowledge of the universe. The discovery triggers one of his intense "flashes," hinting that his own missing father may be connected to this secret society.
The Cliffhanger As the episode concludes, Leonardo is left with more questions than answers. He has defied Lorenzo de' Medici by delaying his work on the horse statue to pursue the mystery of the Book of Leaves. The final moments see him confronting the implications of his discovery, realizing that his quest for knowledge has drawn him into a dangerous game of power between the Medicis, the Vatican, and a shadowy, ancient order.
Da Vinci’s Demons Season 1, Episode 1 is not a great historical drama. It is a great action-fantasy-mystery that happens to be dressed in historical clothing. It understands that the audience came for two things: the spectacle of genius and the sexiness of forbidden knowledge. It delivers both in spades.
For viewers who want their historical figures venerated, look away. For those who want to see Leonardo da Vinci punch a Pope’s assassin, then sketch a tank, then seduce a Medici’s mistress—all before the opening credits roll in episode two—this pilot is a perfect machine.
Rating: 8/10 (as a genre pilot; 10/10 for sheer audacity)
“The Hanged Man” is streaming on Starz, Amazon Prime, and Blu-ray. da vincis demons season 1 episode 1
In the series premiere of Da Vinci's Demons , titled " The Hanged Man ," we meet a 25-year-old Leonardo da Vinci
—a restless, brilliant artist and inventor living in Renaissance Florence
. Struggling with his own "demons"—fragmented childhood memories and an insatiable mind—he seeks to prove his worth to the powerful Medici family. Key Story Beats A Political Spark
: The episode begins with the assassination of the Duke of Milan, which leaves Florence vulnerable to the Vatican's influence. Lorenzo de' Medici and his brother Giuliano need a way to assert their power. The Medici Commission
: Leonardo is commissioned to create a spectacular "Columbina" (mechanical dove) for an Easter carnival. He uses this opportunity to pitch more ambitious designs: advanced war machines like tanks and cannons to help protect Florence. The Mysterious Turk
: Leonardo encounters a cryptic figure known as Al-Rahim, "The Turk," who speaks of a "Book of Leaves" containing ancient, forbidden knowledge. This sets Leonardo on a season-long quest to uncover secrets hidden from history. Love and Espionage : Leonardo becomes infatuated with Lucrezia Donati
, Lorenzo de' Medici's mistress. Unbeknownst to him, Lucrezia is a double agent secretly working for Girolamo Riario , a ruthless enforcer for the Vatican and Pope Sixtus IV. The Carnival Display
: The episode culminates at the carnival, where Leonardo’s mechanical pigeon successfully flies. However, the triumph is shadowed by the revelation of Lucrezia's betrayal, as she reports Leonardo's secret weapon designs back to Rome. Key Characters Da Vinci's Demons, Season 1, Episode 1: The Hanged Man
In the series premiere of Da Vinci's Demons, titled "The Hanged Man," viewers are introduced to a hyper-stylized Renaissance Florence where historical facts are secondary to a "historical fantasy" narrative. Written and directed by David S. Goyer, the pilot episode sets the stage for a series that blends political intrigue, mystical quests, and the restless genius of a young Leonardo da Vinci . Plot Summary: Ambition and Intrigue
The episode opens in late 1476 with the assassination of the Duke of Milan, an event that threatens the stability of Florence and enrages Lorenzo de' Medici . Meanwhile, Leonardo da Vinci (Tom Riley) is portrayed as a brilliant but arrogant 25-year-old polymath, struggling with inner demons and a strained relationship with his father, Piero da Vinci . The Introduction of a Genius The episode opens
The Medici Connection: Seeking recognition and funding for his inventions, Leonardo secures a commission from the Medicis to create an Easter spectacle for Florence. However, his ambitions go beyond art; he eventually convinces Lorenzo to hire him as a war engineer to defend Florence against the looming threat of Rome.
The Turk and the Book of Leaves: Leonardo encounters a mysterious figure known as Al-Rahim (the Turk), who hints at a deeper destiny and the existence of the Book of Leaves , a legendary source of forgotten knowledge.
A Web of Betrayal: The episode concludes with a shocking revelation: Lucrezia Donati (Laura Haddock), Lorenzo's mistress and Leonardo’s new love interest, is actually an agent for Girolamo Riario and the Vatican. Key Characters and Cast
The premiere establishes a core group of characters who balance Leonardo’s eccentricity with grounded loyalty or calculated malice. Role in Episode 1 Leonardo da Vinci Tom Riley
The "restless genius" and protagonist seeking the Book of Leaves. Lucrezia Donati Laura Haddock Lorenzo's mistress who secretly spies for the Vatican. Lorenzo de' Medici Elliot Cowan The ruler of Florence facing political pressure from Rome. Count Girolamo Riario Blake Ritson
The ruthless nephew of Pope Sixtus IV and the primary antagonist. Nico & Zoroaster Eros Vlahos & Gregg Chillin Leonardo's loyal friends and assistants. Historical Accuracy vs. Creative License
Reviewers often note that the show treats history as a starting point rather than a rulebook. For instance:
The episode blends historical references (Lorenzo de’ Medici, Florence politics) with invented conspiracies and fantastical elements. While grounded in period aesthetics, the show takes liberties with timelines, personalities, and technological plausibility to dramatize Leonardo’s genius and to build an episodic mythology (e.g., the Book of Leaves and secret societies).
The episode opens not with a brush, but with a jailbreak. Within the first three minutes, we see Leonardo da Vinci (Tom Riley) escaping Florentine guards using a crude grappling hook and a smirking contempt for authority. Goyer’s thesis is immediate: What if Leonardo was the world’s first superhero?
This is not the dour, methodical genius of The Agony and the Ecstasy. This Leonardo is 25 years old—vain, volatile, and haunted. The pilot wastes no time establishing the central conflict of the entire series: the war between the Church’s dogma and the Enlightenment’s curiosity. When Leonardo dissects a human corpse by candlelight, he whispers to his apprentice, “Knowledge is the only thing that is truly holy.” It is a line that functions as the show’s thesis statement. The episode accomplishes what all great pilots should:
In the current landscape of prestige TV, Da Vinci’s Demons is often overlooked. It’s not as gritty as Game of Thrones or as clever as The Great. But its pilot episode remains a masterclass in efficient world-building. Within 55 minutes, we understand:
The episode accomplishes what all great pilots should: it ends with more questions than answers. Who are the masked riders who took Leonardo’s mother? What is the Book of Leaves? Can Leo truly trust Lucrezia? And why does the hanged man’s horse statue look exactly like the one Leo has been sketching for years?
"The Hanged Man" is an explosive start to the series. It is loud, fast-paced, and occasionally campy, but it is anchored by Tom Riley’s magnetic performance. By the end of the episode, the stakes are raised from local politics to a globe-spanning mystery. It successfully invites the viewer to look past the history books and imagine the young man behind the legend—flaws, failures, and all.
"The Pencil and the Sword: Rebuilding a Renaissance Man"
The opening episode of Da Vinci’s Demons, titled “The Hanged Man,” does not waste time on dusty biography. Instead, it hurls viewers into a muddy, violent, and intellectually electric 15th-century Florence that feels more like a comic-book panel than a history textbook.
From the first frame, this is not your grandfather’s Renaissance. Creator David S. Goyer (of Blade and The Dark Knight fame) introduces us to a young Leonardo (Tom Riley) who is equal parts genius, hedonist, and action hero. He is already an accomplished artist, inventor, and swordsman—but he is bored. The episode’s central conflict is not external (though there is plenty of Medici vs. Pazzi conspiracy) but internal: Leonardo’s insatiable, almost manic hunger for knowledge versus the church’s stranglehold on truth.
The plot moves at a breakneck pace. Within an hour, Leonardo debunks a fake miracle, beds a Medici mistress, invents a rudimentary diving bell, and gets himself tangled in a murder investigation. The standout sequence involves a dare: Leonardo must steal a page from Verrocchio’s studio to prove his skill. He does so using a pulley system and sheer audacity, only to be caught and challenged to a duel. It is ridiculous, anachronistic, and utterly entertaining.
However, the episode struggles with tone. Riley’s Leonardo quips like a Marvel hero, which undercuts the genuine danger of 15th-century Italian politics. The violence is sudden and brutal (a man’s throat is slit in a confessional), but the dialogue often feels too modern, too slick. The mystical subplot—Leonardo’s obsession with the “Book of Leaves” and his dead mother—feels grafted on, a TV mystery box where historical curiosity should be.
Visually, the show is lush. Florence is a labyrinth of mud, marble, and shadow. The costumes are gritty, not pristine. The camera loves Leonardo’s sketchbooks, swirling from charcoal lines to moving machinery in a signature effect that sells his genius as a form of magic.
In the end, “The Hanged Man” succeeds as a pilot because it asks a bold question: What if the greatest mind in history was also a reckless, horny, twenty-something rebel? It sacrifices accuracy for energy, but it finds a genuine truth—Leonardo was, above all, a man who refused to stop asking “why.” And for one hour of television, that restlessness is a thrill to watch.
Verdict: A messy, ambitious, and stylish start. Not for purists, but irresistible to anyone who ever wanted to see Leonardo da Vinci swing a sword and smirk about it.