I do love that snap of Miz Laura doin' her thang at that big-ass Seance (sorry, it's Mardi Gras and I'm channelling some withered old Queen who haunts the French Quarter) in the Big House. Big!
But even more do I love the capture of Laura glaring insanely with teeth bared the time Liz interrupted Herself in one of her cozy fireplace moments (I think she was trying to hex someone--maybe Sam?).
The latter occasionally surfaces as a floaty here. It's memorable.
MSC, I agree that Laura is less effective when she's just one occult element in a whole crazy late Victoriana hullaballo of freaks that is the glory of 1897. But I do cherish her return in that storyline because we get the unforgettable joy of her one on one scenes with Quentin (just love the one in the cottage when Q is lying there to all appearances in his death-agony and Laura is purring and cooing with cold, savory malice), Edward, Magda, Minerva, Trask, et al. Diana Millay was always so beautifully focused--even lethally so--in these scenes, and she seemed to bring the series up to a higher level when she was on board.
G.