Episode title: “Servant to Two Masters”
Writer: Rebecca Kirsch
Director: Brian Kelly
Previously on “Dracula”
Episode 1.06 “Of Monsters and Men”
After nearly a month off, NBC’s “Dracula” returns for its final four episodes. In retrospective, “Dracula” has been a difficult show in its first six episodes. It’s done too much in some areas, not enough in others, and it continues to subsist on a subpar plot, and characters in terrible need for development.
The Dracula (Jonathan Rhys Meyers) of NBC’s “Dracula” started out as terribly molded hunk of clay, but as the season has progressed, it has been focused more on the finer senses of his vulnerabilities. Meyers has figured out what Greyson/Dracula is supposed to be in the last few episodes, leading to better and deeper performances from him. Opposite him, Mina Murray (Jessica De Gouw), has been everything that all the other female characters fail to be: smart, charming, strong and vulnerable. The writers have done a pretty good job so far balancing all of those aspects of her character – she’s the best character on the show, hands down, aside from Renfield (Nonso Anozie), whom I fear has had his time in the sun so to speak.
“Servant to Two Masters” is billed as a “pursue Mina hardcore” kind of episode, yet it still hangs back from that. You almost want to yell at Greyson through the TV to “s*** or get off the pot!” As vital as the relationship between the two characters is, “Dracula” has failed to emphasize its importance all season long. Beginning with the first episode, we’re told that Mina is the reincarnation of Dracula’s lover Ilona. Every flashback so far has been of Dracula’s post-resurrection life, but why haven’t there been any of his previous life and Mina? Flashbacks, in general on “Dracula,” have sought to add little backstory to the character, instead using them as elaborate set pieces.
This episode marks the first time that flashback scenes enter into that aged window of Dracula’s distant past. They are so brief, they’re barely a memory, seen while he is hooked up to the machine that allows him to walk in daylight. In a way, the scenes of Alexander Grayson walking in daylight, meeting Mina Murray on a bridge, or sleeping with Lady Jayne Wetherby (Victoria Smurfit) is bittersweet. They way the lights clashes against his paleness is almost sickening; his presence in the day feels so unnatural, not because of the person he is, but because of the nature he’s fighting so desperately against. I gave Rhys Meyers a load of crap about his performance as Dracula. Several episodes later, the character feels wholly original. Well, maybe not wholly, but well on his way. His vulnerabilities are even visible now – he sweats! Oh yes, he sweats!
The dance that both Greyson and Mina have in this episode is a complete contrast to the “unnatural dance” they shared in “The Devil’s Waltz.” Here, alone, they dance the waltz together and it feels right, even when Drac feels he needs to vamp out and drink some blood. It’s hard to tell if he’s held back because of his love for her or because he’s trying not to give in.
Greyson has also grown foolish. As of “Servant to Two Masters,” Greyson’s team has perfected the Nikola Tesla rip off, wireless light bulb lighting machine, patent pending. As he progresses though, he shoots himself in the foot when he refuses to feed. All throughout the episode, we see visions of him feeding on the people near him. How long can he keep the urge at bay? Eventually that thirst is quenched in brutalized fashion as he savages an officer that shuts down his electrical demonstration in true Walter Peck fashion. One of his best scenes tonight is with Abraham Van Helsing (Thomas Kretschmann), where he turns his resurrection around on him, branding Van Helsing the monster for granting Greyson the normal life he could never have.
Jonathan Harker (Oliver Jackson-Cohen) is starting to get smarter as the realization that Greyson has him in his pocket more than he may have realized is exposed. He’s set him up as the fall guy to all his shady underhanded deeds Greyson has his money in, and Harker is none too happy about it. Strangely, though, he’s being played from both sides.
Lady Jayne Wetherby has taken a liking to Lucy Westerna (Katie McGrath). In the last episode, “Of Monsters and Men,” Lucy, feeling dejected, is saved by Lady Jayne. The erotic subtext of their relationship is played up rather quickly – oh yay! Two vanilla sex scenes an episode! “Two Masters'” sees the two plotting to have Lucy steal Harker away from Mina. Seeing as how they’ve never done anything for the character, Lucy shows some promise. Some development is better than no development at all.
Renfield’s angle in this episode feels like it’s lifted straight from an episode of “Pawn Stars.” Or maybe “Auction Kings.” He’s sent by Dracula to bid on a painting of his former lover. Of course, the painting is stolen by agents of The Order of the Dragon.
The Order strikes another huge blow in Harker. They kidnap him and offer him the same deal that Greyson did. The only difference is that Harker doesn’t despise the Order, so it’s easy to see whose pocket he’ll be in. It’s nice to see the character not go to waste for once.
Despite the improvements that “Dracula” has made, it has been moving at a snail’s pace. It’s as if the writers have focused on fixing their problems without a thought or care for the plot of the show. Granted, “Servant to Two Masters” feels like an episode that moves the pieces in place, though it still has a lot more of them to move in the remaining three episodes. It’s also hard to place where the plot is going at this point either: what on earth is the Order waiting for now and can they stretch that plot out for three more episodes? I’m sure they can and will achieve it, and it will be painful to watch.
However, “Dracula’s” next steps could be their best yet. They’ve shown with these last three episodes that it has the capability to do great things. For once, I can honestly say, I can’t wait to see what’s next.
