"I want the people I love to live again!"
I.m sad to see the back of Grimm, satisfying it is to finally complete a series what with all the different telly shows I'm currently juggling. This is an improvement from last week's awfulness, which is a relief, but in spite of a few nice touches it's hardly a worthy finale for the series, which is a shame.
Hank and Wu are confirmed to have died. And slowly Eve, Monroe, Rosalie and Sean are killed by this great big Zerstorer, a big bad we haven't even known for that long. Then there's some guff about the staff of Moses and the ghosts of Nick's late mum Kelly and Aunt Marie help him Trubel to kill Zerstorer in an epic battle... and then a big red sodding reset button is pushed meaning that no one died, including Wu and Hank, and all that we have seen is rendered meaningless. It's a crashing disappointment, however cool the coda with a young adult Kelly and Diana may be.
Still, the epic blood spell is pretty cool. The deaths are dramatic when they happen. But the fact that we had a final episode like this goes to show that a programme that, episode by episode and arc by arc, was rather good, was perhaps not that great at world building in the end.
Showing posts with label Hannah R Loyd. Show all posts
Showing posts with label Hannah R Loyd. Show all posts
Thursday, 11 May 2017
Thursday, 4 May 2017
Grimm: Zerstorer Shrugged
"And the hitch-hiker didn't need some guide to the galaxy. He just needed a Grimm."
Bloody Ayn Rand references. I hate any references to that stupid crank. This gets the episode- the second-to-last ever, remember- off tp a bad start. And it doesn't get much better.
We begin with a rushed resolution to last week's exciting exploits in the Hell dimension (fircthats what it appears to be, according to Monroe's family Bible, Wesen version) in which Nick, Eve and a far more boring and Aryan-looking Zerstorer are removed back to Portland and said baddie predictably ties amok. Yep. The final two episodes ever are going to focus on an apparently mute and very recently encountered Big Bad which has vague connections with all sorts of end-of-the-world myths and is suddenly linked to that prophecy from several episodes ago.
The episode is talky, entirely composed of exposition for most of its length and, frankly, dull. Even Trubel being back with longer hair struggles to evoke any interest. We get a revelation that the Zerstorer is after Kelly as well as Diana (is it me or have the last few episodes forgotten to show Nick's relationship with his son?), Nick and Diana declare their love to each other- ominous- and then we get a scene in which Hank and Wu are suddenly killed, without warning, in a rubbish episode where they've hardly done anything.
Not happy. Not happy at all. The finale better be a big improvement on this.
Bloody Ayn Rand references. I hate any references to that stupid crank. This gets the episode- the second-to-last ever, remember- off tp a bad start. And it doesn't get much better.
We begin with a rushed resolution to last week's exciting exploits in the Hell dimension (fircthats what it appears to be, according to Monroe's family Bible, Wesen version) in which Nick, Eve and a far more boring and Aryan-looking Zerstorer are removed back to Portland and said baddie predictably ties amok. Yep. The final two episodes ever are going to focus on an apparently mute and very recently encountered Big Bad which has vague connections with all sorts of end-of-the-world myths and is suddenly linked to that prophecy from several episodes ago.
The episode is talky, entirely composed of exposition for most of its length and, frankly, dull. Even Trubel being back with longer hair struggles to evoke any interest. We get a revelation that the Zerstorer is after Kelly as well as Diana (is it me or have the last few episodes forgotten to show Nick's relationship with his son?), Nick and Diana declare their love to each other- ominous- and then we get a scene in which Hank and Wu are suddenly killed, without warning, in a rubbish episode where they've hardly done anything.
Not happy. Not happy at all. The finale better be a big improvement on this.
Saturday, 29 April 2017
Grimm: Where the Wild Things Were
"I suppose this is what Alice felt like falling down the rabbit hole..."
So, here we are, at the start of the three part finale, as predicted. It's exciting, highly watchable telly in which you're very much aware that the status quo isn't safe. It's just that, well, another dimension full of prosthetic humanoid monsters, load of trees and mediaeval technology feels awfully similar to the end of the second season of Angel.
It's all go from the start as Nick, Adalind, Monroe and Rosalie work out where Eve has gone, and how. Police work is no longer a focus (and probably won't be), so Hank and Wu are worryingly sidelined but efforts are made to include them, however much they may look like spare parts. Nick is able to follow Eve to the Narnia-like dimension, where permanently woged Wesen lord it over primitive, Teutonic humans. He does so using the stick, but the stick itself does not follow- again echoing the end of Angel's second season.
The most narratively predictable even ever finally occurs as Sean who, despite being active in the first few episodes of the season has been treading water ever since as a character, is finally allowed to actually do stuff as the gang finally inform him of what's been going on for all this time. And they learn some disturbing stuff: that skull thing is Zerstorer, perhaps the Devil, and a prophecy indicates that he is supposed to marry someone who may be Diana (not herself the Big Bad after all- I was wrong) and sire loads of demonic children. Lovely. It's all done well enough to get away with it, and it still good telly, but Grimm seems to be concluding with what feels like a load of recycled Angel tropes.
We have time for an interesting chat between Nick and Eve, seemingly mandated by the need to close off dangling plotlines for this truncated season, as Eve tells him bluntly that she isn't Juliette, in spite of earlier episodes signalling a different authorial intent, she's just too busy with all that Eve stuff, and that "being happy doesn't interest me any more, Nick. Happiness just gets in the way." Wow.
We end, naturally, with a cliffhanger, as a fully woged Eve and Nick come face to face with the Zerstorer...
So, here we are, at the start of the three part finale, as predicted. It's exciting, highly watchable telly in which you're very much aware that the status quo isn't safe. It's just that, well, another dimension full of prosthetic humanoid monsters, load of trees and mediaeval technology feels awfully similar to the end of the second season of Angel.
It's all go from the start as Nick, Adalind, Monroe and Rosalie work out where Eve has gone, and how. Police work is no longer a focus (and probably won't be), so Hank and Wu are worryingly sidelined but efforts are made to include them, however much they may look like spare parts. Nick is able to follow Eve to the Narnia-like dimension, where permanently woged Wesen lord it over primitive, Teutonic humans. He does so using the stick, but the stick itself does not follow- again echoing the end of Angel's second season.
The most narratively predictable even ever finally occurs as Sean who, despite being active in the first few episodes of the season has been treading water ever since as a character, is finally allowed to actually do stuff as the gang finally inform him of what's been going on for all this time. And they learn some disturbing stuff: that skull thing is Zerstorer, perhaps the Devil, and a prophecy indicates that he is supposed to marry someone who may be Diana (not herself the Big Bad after all- I was wrong) and sire loads of demonic children. Lovely. It's all done well enough to get away with it, and it still good telly, but Grimm seems to be concluding with what feels like a load of recycled Angel tropes.
We have time for an interesting chat between Nick and Eve, seemingly mandated by the need to close off dangling plotlines for this truncated season, as Eve tells him bluntly that she isn't Juliette, in spite of earlier episodes signalling a different authorial intent, she's just too busy with all that Eve stuff, and that "being happy doesn't interest me any more, Nick. Happiness just gets in the way." Wow.
We end, naturally, with a cliffhanger, as a fully woged Eve and Nick come face to face with the Zerstorer...
Thursday, 13 April 2017
Grimm: Tree People
"Please tell me we're not going Deliverance on this..."
Oh dear. This is an episode where a blood-eating magic tree and an Ent (only token efforts are made to link any of this stuff to Wesen lore) kill anyone who tries to dump rubbish and/or poach in a forest. It really is as silly as it sounds; the season is clearly treading water now until we can properly start the concluding arc. This is the most awful story-of-the-week for ages. It reminds me of the Buffy episode Go Fish for similar reasons. It's not unusual, I suppose, to find an episode like this in a position like this.
Moving swiftly on, then; after last week it's a relief at least to see a full cast of regulars, with Adalind and Diana both back, although Sean plays only a token role as he continues to talk meaninglessly dramatic crap about Diana with his Russian friend, who unaccountably switches to English halfway through the conversation. Even the arc stuff is badly written this episode.
We get a bit of investigation into the beast from the mirror, but even that is inconclusive. Definitely one to skip and almost certainly written in a hurry.
Oh dear. This is an episode where a blood-eating magic tree and an Ent (only token efforts are made to link any of this stuff to Wesen lore) kill anyone who tries to dump rubbish and/or poach in a forest. It really is as silly as it sounds; the season is clearly treading water now until we can properly start the concluding arc. This is the most awful story-of-the-week for ages. It reminds me of the Buffy episode Go Fish for similar reasons. It's not unusual, I suppose, to find an episode like this in a position like this.
Moving swiftly on, then; after last week it's a relief at least to see a full cast of regulars, with Adalind and Diana both back, although Sean plays only a token role as he continues to talk meaninglessly dramatic crap about Diana with his Russian friend, who unaccountably switches to English halfway through the conversation. Even the arc stuff is badly written this episode.
We get a bit of investigation into the beast from the mirror, but even that is inconclusive. Definitely one to skip and almost certainly written in a hurry.
Friday, 31 March 2017
Grimm: Blind Love
"You know, I hate to admit it- but you are one damn fine-looking man!"
At last we get an episode that isn't an episode of the week- hallelujah. Yes, we end with the reset button being pressed and no deeper character changes as a result- that would have happened in a superior show like Buffy- but who cares? Grimm gives us A Midsummer Night's Dream, and it's perfect, with all the star-cross'd lovers and... Hank. Oh, Hank.
The script and the cast are clearly having a lot of fun here, and it's infectious. There's a bit of arc stuff, too, seemingly presaging Diana's surely inevitable slide into darkness as Sean quite happily allows her to have fun torturing her foolish and unfortunate kidnapper. And she misses her Grandma Kelly- how much longer can she go without understanding what is going on? And I note that she casually slips to Sean that the symbols she's drawing are from the basement.
But all that's for later. This is a last chance to have some real fun with this bunch of characters and is no doubt the precursor to things turning very dark indeed from next week onwards (five episodes to go!) but it's such a joyous thing that this episode exists.
At last we get an episode that isn't an episode of the week- hallelujah. Yes, we end with the reset button being pressed and no deeper character changes as a result- that would have happened in a superior show like Buffy- but who cares? Grimm gives us A Midsummer Night's Dream, and it's perfect, with all the star-cross'd lovers and... Hank. Oh, Hank.
The script and the cast are clearly having a lot of fun here, and it's infectious. There's a bit of arc stuff, too, seemingly presaging Diana's surely inevitable slide into darkness as Sean quite happily allows her to have fun torturing her foolish and unfortunate kidnapper. And she misses her Grandma Kelly- how much longer can she go without understanding what is going on? And I note that she casually slips to Sean that the symbols she's drawing are from the basement.
But all that's for later. This is a last chance to have some real fun with this bunch of characters and is no doubt the precursor to things turning very dark indeed from next week onwards (five episodes to go!) but it's such a joyous thing that this episode exists.
Monday, 20 March 2017
Grimm: The Seven Year Itch
"Check to see if there are any reports of a naked man in a park sometime last night."
"Uh, this is Portland; I might have to narrow that down."
Another story of the week and, while not as good as last week's, it's an interesting idea; an immortal Wesen, 200 years old, who only awakens every seven years to eat a fat person. Lovely. I suspect that this pattern doesn't apply from birth, as that would lead to an awkward childhood. At least this week I was a little less crushingly disappointed to be getting a story of the week. And there's a nice, trope-bending moment at the end when the baddie's putative female victim turns out to be a Wesen and eats him instead. Reminds me of the first ever scene of Buffy. Not sure it's nice to make a larger lady into a hippo though.
There's still good arc stuff, though. Meisner is seemingly determined not just to give Sean a "half-assed haunting". It's confirmed that Rosalie is carrying triplets ("I love you and we can do this" says Monroe), which made Mrs. Llamastrangler cry. And Nick is still tempted by his precious; we all know where that subplot is going.
More disturbingly, it's only Diana's intervention that saves Eve, trapped below the house, seemingly by all the writing that seems to be down there. There's clearly a big reveal coming about the writing, but there's also an interestingly simmering tension between Eve and Adalind.
We end with Sean using his engagement ring as part of a test to see if Meisner's ghost is indeed real- and the results are explosive. Literally.
"Uh, this is Portland; I might have to narrow that down."
Another story of the week and, while not as good as last week's, it's an interesting idea; an immortal Wesen, 200 years old, who only awakens every seven years to eat a fat person. Lovely. I suspect that this pattern doesn't apply from birth, as that would lead to an awkward childhood. At least this week I was a little less crushingly disappointed to be getting a story of the week. And there's a nice, trope-bending moment at the end when the baddie's putative female victim turns out to be a Wesen and eats him instead. Reminds me of the first ever scene of Buffy. Not sure it's nice to make a larger lady into a hippo though.
There's still good arc stuff, though. Meisner is seemingly determined not just to give Sean a "half-assed haunting". It's confirmed that Rosalie is carrying triplets ("I love you and we can do this" says Monroe), which made Mrs. Llamastrangler cry. And Nick is still tempted by his precious; we all know where that subplot is going.
More disturbingly, it's only Diana's intervention that saves Eve, trapped below the house, seemingly by all the writing that seems to be down there. There's clearly a big reveal coming about the writing, but there's also an interestingly simmering tension between Eve and Adalind.
We end with Sean using his engagement ring as part of a test to see if Meisner's ghost is indeed real- and the results are explosive. Literally.
Wednesday, 15 March 2017
Grimm: El Cuegle
"We live in a world full of, you know, people with shoes."
As stories of the week go, this is a good one: a baby-eating Wesen that sees the future and only eats future Hitlers and serial killers. It's just that the last thing we want after the last few episodes of high excitement is to go back to another story of the week. Perhaps, in fact, this isn't a good time for one of the better stories of the week to happen as it's likely to be unappreciated although, I suppose, I can hardly argue for a bad one.
On to the arc stuff, then. Sean gets bollocked by his Black Claw bosses and he takes it out on the newly reinstated Nick, Hank and Wu. This new working relationship is going to be awkward. But Sean is being visited by the (literal?) ghost of Meisner. There are also some awkward explanations to a rather powerful Diana (my money's still on her for the season Big Bad) about the change in domestic arrangements (it's lovely to see Nick and Adalind back together, unless you're Eve/Juliette...). There's also a big reveal: Rosalie is carrying more than one baby. Twins? Or a litter?
We get further development of how Rosalie and Monroe are determined to up sticks to a safer place to raise their children; by the laws of TV this is bound to happen at an awkward moment. Monroe displays, with some help from CGI, his new protective fatherly urges when he discovers that this week's baddie seems to be a baby eater.
That's it for the arc stuff but, to be fair, I would have enjoyed the story of the week stuff a lot more if it hadn't been shown at this point. A good episode on its own terms but not necessarily what we want to see at this point. I suspect next week will be similar, though.
As stories of the week go, this is a good one: a baby-eating Wesen that sees the future and only eats future Hitlers and serial killers. It's just that the last thing we want after the last few episodes of high excitement is to go back to another story of the week. Perhaps, in fact, this isn't a good time for one of the better stories of the week to happen as it's likely to be unappreciated although, I suppose, I can hardly argue for a bad one.
On to the arc stuff, then. Sean gets bollocked by his Black Claw bosses and he takes it out on the newly reinstated Nick, Hank and Wu. This new working relationship is going to be awkward. But Sean is being visited by the (literal?) ghost of Meisner. There are also some awkward explanations to a rather powerful Diana (my money's still on her for the season Big Bad) about the change in domestic arrangements (it's lovely to see Nick and Adalind back together, unless you're Eve/Juliette...). There's also a big reveal: Rosalie is carrying more than one baby. Twins? Or a litter?
We get further development of how Rosalie and Monroe are determined to up sticks to a safer place to raise their children; by the laws of TV this is bound to happen at an awkward moment. Monroe displays, with some help from CGI, his new protective fatherly urges when he discovers that this week's baddie seems to be a baby eater.
That's it for the arc stuff but, to be fair, I would have enjoyed the story of the week stuff a lot more if it hadn't been shown at this point. A good episode on its own terms but not necessarily what we want to see at this point. I suspect next week will be similar, though.
Friday, 3 March 2017
Grimm: Oh Captain, My Captain
"You're not my Daddy!"
Such a brilliant episode for most of its length, this. The asymmetrical battle between Nick's little gang and the all-powerful Renard, backed by Black Claw, seems to be continuing space, with desperate measures being taken against him and both Hank and Wu adapted to life among the unemployed. What a crying shame, then, that all this is so suddenly and unconvincingly overturned at the end, by deus ex machina, to restore the status quo. I hate reset buttons, especially when they come from out of nowhere like this. Looks as though we can expect a few stories of the week, then. How very disappointing.
It's a good episode while it lasts, though. And an early flashback of Nick's mother remind new us that Diana has enormous powers, for good or I'll. I still have my money on her for the season's big bad. Nick's being made by Eve to look like Renard so he can publicly resign as mayor is clever plotting, a superb piece of acting by Sasha Roiz, and a great opportunity for character moments- it's hard not to notice Eve perving at the naked Nick. And it's clever that the two are adds are wearing different coloured ties until the fight at the end, when only Roiz's performance shows us which Renard is which.
So, a good, exciting episode, with one more surprise at the end. Will Renard now reconsider whose side he's on? But it's so very deflating to face more episodes of status quo and one-off tales yet again.
Such a brilliant episode for most of its length, this. The asymmetrical battle between Nick's little gang and the all-powerful Renard, backed by Black Claw, seems to be continuing space, with desperate measures being taken against him and both Hank and Wu adapted to life among the unemployed. What a crying shame, then, that all this is so suddenly and unconvincingly overturned at the end, by deus ex machina, to restore the status quo. I hate reset buttons, especially when they come from out of nowhere like this. Looks as though we can expect a few stories of the week, then. How very disappointing.
It's a good episode while it lasts, though. And an early flashback of Nick's mother remind new us that Diana has enormous powers, for good or I'll. I still have my money on her for the season's big bad. Nick's being made by Eve to look like Renard so he can publicly resign as mayor is clever plotting, a superb piece of acting by Sasha Roiz, and a great opportunity for character moments- it's hard not to notice Eve perving at the naked Nick. And it's clever that the two are adds are wearing different coloured ties until the fight at the end, when only Roiz's performance shows us which Renard is which.
So, a good, exciting episode, with one more surprise at the end. Will Renard now reconsider whose side he's on? But it's so very deflating to face more episodes of status quo and one-off tales yet again.
Monday, 27 February 2017
Grimm: Trust Me Knot
"Whatever happens to Nick is gonna happen to you!"
Wow. Firstly, that was awesome. Secondly, it was clever, with a last minute twist that upends everything. Thirdly, as I suspected, this final short season is blowing apart the tradition of epic stuff for a season's first two episodes and then the arc plot taking a back seat to stories of the week; this episode's climax utterly blows apart the status quo.
The "previously on", by emphasising the fact that Rachel Wood's room had Renard's fingerprints all over it, sort of gives away what Hank and Wu are going to do; dramatically arrest Renard for her mirder and use him as a bargaining chip for Nick's seemingly inevitable reinstatement into the police, with all charges dropped. That this doesn't happen, and that Renard ends up free, powerful and with everything he wants, is deeply unexpected. And the question of how Hank and Wu can continue to work under him is suddenly answered; they're fired. It seems that Grimm is no longer a police procedural.
There's some interesting stuff about the stick, too, and hints at some unholy origins, whether from the symbols hidden on the cloth or the fact that Nick seemed reluctant, Gollum-like, to part with it. More is clearly set to be revealed about the season's MacGuffin. Diana is scary, too; she may be a sweet little girl but she's powerful, and it's only a matter of time until she surely ends up as the season Big Bad. Oh, and Rosalie ends up publicly announcing her pregnancy, in typical TV fashion, at a moment of high danger.
There's a long way to go, though; Nick is still on the run, Hank and Wu are no longer cops, Trubel has buggered off, and the city's establishment is right behind Renard and Black Claw...
Wow. Firstly, that was awesome. Secondly, it was clever, with a last minute twist that upends everything. Thirdly, as I suspected, this final short season is blowing apart the tradition of epic stuff for a season's first two episodes and then the arc plot taking a back seat to stories of the week; this episode's climax utterly blows apart the status quo.
The "previously on", by emphasising the fact that Rachel Wood's room had Renard's fingerprints all over it, sort of gives away what Hank and Wu are going to do; dramatically arrest Renard for her mirder and use him as a bargaining chip for Nick's seemingly inevitable reinstatement into the police, with all charges dropped. That this doesn't happen, and that Renard ends up free, powerful and with everything he wants, is deeply unexpected. And the question of how Hank and Wu can continue to work under him is suddenly answered; they're fired. It seems that Grimm is no longer a police procedural.
There's some interesting stuff about the stick, too, and hints at some unholy origins, whether from the symbols hidden on the cloth or the fact that Nick seemed reluctant, Gollum-like, to part with it. More is clearly set to be revealed about the season's MacGuffin. Diana is scary, too; she may be a sweet little girl but she's powerful, and it's only a matter of time until she surely ends up as the season Big Bad. Oh, and Rosalie ends up publicly announcing her pregnancy, in typical TV fashion, at a moment of high danger.
There's a long way to go, though; Nick is still on the run, Hank and Wu are no longer cops, Trubel has buggered off, and the city's establishment is right behind Renard and Black Claw...
Tuesday, 21 February 2017
Grimm: Fugitive
"You chose the wrong side, Sean."
Things keep on moving fast with no sign of a new status quo emerging; normally we can expect things to settle down after the first couple of episodes of a new season, but this season is both much shorter than usual and the final season. Anything can happen.
Nick is a fugitive with Sean using the full weight of the Portland police force to "shoot to kill". Things don't look good for Nick, especially after the cliffhanger, and a big question mark hangs over both Hank and Wu; how can they carry on as cold when their boss is such a blatant baddie? And yet... there are signs that Sean isn't really sure that he's on the right side. One thing is sure; Adalind is definitely still with Nick.
There are other curiosities; Eve is still Eve but is losing her powers and seems to be getting more and more Juliette-like. And why did Renard shoot Bonaparte instead of Nick at the end of the finale? Could it have been Diana controlled by her own father? That little girl is getting creepier and creepier. And this is a compelling start to the season.
Although apparently the artist formerly known as Bitsie Tillich is now going by "Elizabeth". That's buggered up all my tagging...
Things keep on moving fast with no sign of a new status quo emerging; normally we can expect things to settle down after the first couple of episodes of a new season, but this season is both much shorter than usual and the final season. Anything can happen.
Nick is a fugitive with Sean using the full weight of the Portland police force to "shoot to kill". Things don't look good for Nick, especially after the cliffhanger, and a big question mark hangs over both Hank and Wu; how can they carry on as cold when their boss is such a blatant baddie? And yet... there are signs that Sean isn't really sure that he's on the right side. One thing is sure; Adalind is definitely still with Nick.
There are other curiosities; Eve is still Eve but is losing her powers and seems to be getting more and more Juliette-like. And why did Renard shoot Bonaparte instead of Nick at the end of the finale? Could it have been Diana controlled by her own father? That little girl is getting creepier and creepier. And this is a compelling start to the season.
Although apparently the artist formerly known as Bitsie Tillich is now going by "Elizabeth". That's buggered up all my tagging...
Friday, 20 January 2017
Grimm: The Beginning of the End- Part 2
"Monroe, I'm pregnant!"
We know what Grimm season finales are about by now. Anything goes, the status quo is not safe, some things will be resolved but many won't, there'll be a big cliffhanger and the whole heightened mood will carry over to the first two episodes of the next season n until some kind of status quo is established- although with the much shorter final season to come I suspect we'll be getting a lot of rushed emphasis on the arc stuff, much like the second season of Dollhouse.
Anyway, the quote above gives us what is probably the main bombshell here. But there's so much activity and so many that nag happening; By nap after is desperate to get that book from Prague that Nick has and willing to use his possession of Kelly as leverage, the bastard. There's a big fight between Eve and Bonaparte which leaves Eve seemingly dying, until she's healed by the stick- and, it seems, Juliette again. I can't wait to see how this plays out, with potentially a very awkward love triangle.
The baddies are all coming for the gang at Nick's after finally getting the address from Adalind, but all but Nick manage to escape into the tunnels. And then there's the shock ending- a shootout between Nick and Bonaparte after which Renard shoots Bonaparte to save Nick. Whose side is he on? What's going to happen now? Fortunately, with my inadvertently getting to the second half of the season late (Sky Plus issues back in the Spring), we don't have long to wait...
We know what Grimm season finales are about by now. Anything goes, the status quo is not safe, some things will be resolved but many won't, there'll be a big cliffhanger and the whole heightened mood will carry over to the first two episodes of the next season n until some kind of status quo is established- although with the much shorter final season to come I suspect we'll be getting a lot of rushed emphasis on the arc stuff, much like the second season of Dollhouse.
Anyway, the quote above gives us what is probably the main bombshell here. But there's so much activity and so many that nag happening; By nap after is desperate to get that book from Prague that Nick has and willing to use his possession of Kelly as leverage, the bastard. There's a big fight between Eve and Bonaparte which leaves Eve seemingly dying, until she's healed by the stick- and, it seems, Juliette again. I can't wait to see how this plays out, with potentially a very awkward love triangle.
The baddies are all coming for the gang at Nick's after finally getting the address from Adalind, but all but Nick manage to escape into the tunnels. And then there's the shock ending- a shootout between Nick and Bonaparte after which Renard shoots Bonaparte to save Nick. Whose side is he on? What's going to happen now? Fortunately, with my inadvertently getting to the second half of the season late (Sky Plus issues back in the Spring), we don't have long to wait...
Thursday, 19 January 2017
Grimm: The Beginning of the End- Part 1
"You better get used to it. Because this is a position you can't quit..."
Nearly there now...
I think there's an interesting subtext going on here. Adalind has no choice; she is being forced to undertake the role of trophy wife and mother to show Sean to be a "family values" politician while he carries out whatever policies Black Claw wants him to. This is the episode where the threats get truly explicit; Bonaparte (any relation?) is a very sinister personification of the patriarchy as he makes clear to Adalind that she is to marry Renard and that is that. Men have spoken.
All of this is writ large as Black Claw seek to infiltrate political positions everywhere, a sort of Wesen Militant tendency. And they really are suddenly everywhere, especially in the previously unseen Portland North Precinct. Much of the episode consists of Hank being framed and set up but this quickly unravels into chaos; none of this is done by the book. The targeting and kidnapping of Hank is done purely to distract Nick, Trubel and especially Eve away from HW so Black Claw can attack and carry out one of their signature massacres, and there are no survivors. Not even Meisner. This is shocking, and clearly means war.
After a clearly miffed Diana has Rachel suffocated to death (what a lovely child!), we end with a furious fight between Nick and Renard which ends up with Nick being arrested. And there are Black Claw marks on his cell...
This is awesome stuff, finally getting to pay off various arcs in a season which has had a particularly good season arc even if some individual episodes have been variable. More please...
Nearly there now...
I think there's an interesting subtext going on here. Adalind has no choice; she is being forced to undertake the role of trophy wife and mother to show Sean to be a "family values" politician while he carries out whatever policies Black Claw wants him to. This is the episode where the threats get truly explicit; Bonaparte (any relation?) is a very sinister personification of the patriarchy as he makes clear to Adalind that she is to marry Renard and that is that. Men have spoken.
All of this is writ large as Black Claw seek to infiltrate political positions everywhere, a sort of Wesen Militant tendency. And they really are suddenly everywhere, especially in the previously unseen Portland North Precinct. Much of the episode consists of Hank being framed and set up but this quickly unravels into chaos; none of this is done by the book. The targeting and kidnapping of Hank is done purely to distract Nick, Trubel and especially Eve away from HW so Black Claw can attack and carry out one of their signature massacres, and there are no survivors. Not even Meisner. This is shocking, and clearly means war.
After a clearly miffed Diana has Rachel suffocated to death (what a lovely child!), we end with a furious fight between Nick and Renard which ends up with Nick being arrested. And there are Black Claw marks on his cell...
This is awesome stuff, finally getting to pay off various arcs in a season which has had a particularly good season arc even if some individual episodes have been variable. More please...
Subscribe to:
Posts (Atom)