Continuing our catch-up of “Penny Dreadful,” now that it’s recently become available for purchase, we discuss the second episode, “Séance,” and dear lord this episode is powerful. It’s a stunningly intense hour, primarily due to two of gothic literature’s greatest characters: Frankenstein’s Monster and Dorian Gray.

In “Séance,” Sir Malcolm Murray continues his search for his missing daughter Mina. This includes further research of the vampire corpse from “Night Work,” which brings Victor Frankenstein back into the company of Murray and Ives as well as gives Ferdinand Lyle (Simon Russell Beale), the flamboyantly magnificent Egyptologist, much more desired screen time. Meanwhile, Ethan Chandler generally does nothing of real importance. His moments in this episode serve the storyline only to introduce Irish prostitute Brona Croft (Billie Piper) and very subtly heighten the intrigue on his mysterious past (and present for that matter). Perhaps most importantly, “Séance” introduces the viewer to a major force and popular literary character, Dorian Gray, who completely seduces this episode. And last but not least, the story takes a considerable amount of time to delve into Frankenstein’s Monster.

One cannot describe “Séance” without discussing the titular scene: a (wait for it) séance held by Lyle. It’s a lively event that ends on an insanely demonic note. The problem occurs when the medium conducting the séance (from whom you get the impression is simply a source of entertainment and not legitimate) is overcome by a dark presence claiming that there is “another here” referring to Ives and the possible dark presence residing within her. Then, for nearly six minutes…all hell breaks loose and Eva Green gives one of the most evocative and chaotic performances for a television audience. We’re talking six minutes carried completely by Green. Too much is revealed or hinted at during this scene for me to talk about it explicitly. But I will say that it deals greatly with Mina and some serious family issues. And also, it’s super not safe for work. Unless you work in a place where it’s okay to say the word “cunt” a lot. A lot. This is the type of performance that does not leave you any time soon. It’s also the type of performance that is difficult to watch more than once, so watch close and listen well the first time.

As I mentioned in my “Night Work” review, the darkness of Ives’ soul is constantly called into question, and this episode reveals a great deal about her “darkness.” Especially in a scene where Lyle analyzes the vampire hieroglyphics. The scene is a follow up to Frankenstein’s earlier analysis that the hieroglyphics—that cover the vampire’s body from head to toe—are from the Egyptian Book of the Dead. They deal with the Egyptians’ goal of transmutation to an “afterlife of something more profound—eternal life.”

As with the Frankenstein analysis, Lyle’s look into the markings is also extremely brief yet a lot of information is revealed. Frankly, those types of scenes always annoy me. Yes, this is a paranormal/supernatural horror but there are still parts that need to remain practical and when things are “figured out” too quickly, credibility seems to blow away like a wisp of hair. Regardless, Lyle comes to some hard and fast conclusions about both the hieroglyphics and Ives. Both dangerous and both extremely important to the mythology of “Penny Dreadful.” Upon realizing the extreme threat that Murray is dealing with, Lyle delivers a swift warning to stay away from whatever it is he’s after.

This scene with Lyle might be my biggest grievance with the episode. Aside from the fact that it was a complete info dump, his parting words to Murray are very presumptuous and have little ground to stand on. It’s as if the writers gave way to practicality for the sake of moving the story along quickly. Things are muddied; the markings on the vampire corpse start to fuse with Ives and at this point we simply have no clue of knowing where that’s headed.

The time spent with Frankenstein and his monster, Proteus, is magnificent. It’s exactly the type of slow burn drama this show needs to balance out the horror and sexuality. Treadaway offers an eager, fascinated portrayal of Frankenstein. He completely nails the essence of Mary Shelley’s young doctor and the raw curiosity that got him into so much trouble. Proteus portrays The Monster in a beautifully sad performance. The necessary intimacy between him and the doctor is palpable. His emotions are exposed to the viewer and are very potent. He captures the childlike wonder of The Monster without losing the underlying fear.

Dorian Gray, both in literature and in his depiction in “Penny Dreadful” is the essence of psychosexual horror. He is first introduced to us by way of Croft as he takes nude photographs of her and later engages is some emotionally disturbing sex with her. There is no way to describe how sexually charged and horrifying this initial scene becomes. Perhaps I’ll just drop a quote to encapsulate the heavy shit we’re getting into, “I’ve never fucked a dying creature before. Do you feel pain more deeply?” For some viewers, Reeve Carney might take some getting used to as Dorian Gray, but I absolutely adored his interpretation. He’s brash and arrogant, but sexy, compassionate, empathetic, and lovely. There’s inquisitiveness in him that I find so inherently attractive. Some might find him too “deep” compared to the Gray from literature who’s definitely more selfish. But I think it played out splendidly.

Overall: fantastic episode. It’s bookended by two extremely gruesome and shocking scenes, is filled with profoundly haunting performances, lighted occasionally by the lovely Croft and Proteus’ lust for life, and sizzles with Green’s unspeakable sexual energy.

What did you think of “Séance”? Is this show faring well for you thus far? Worth the purchase?