Contributor: John Keegan
Written by Alan DiFiore
Directed by Darnell Martin
It can be difficult for any procedural to deliver a compelling and logical twist at the end of an episode, especially when the circumstances of the crimes being committed are tied to a particular ability, curse, or unusual trait. This is something that “Fringe” has struggled with from time to time, and “Grimm” has done better at focusing less on a twist and more on the links to the mythology.
I mention this because I felt that this was a strong example of how to do it right. There will always be some members of the audience who will immediately suspect the innocent looking kid when things are going horribly wrong, but the construction of the episode was such that all the blame was naturally on the father. The usual camera tricks used to imply gore and violence on network television were used, quite effectively, to mask the true killer.
Even so, the case was only the backbone around which the true gems in the episode were arranged. This season continues to make the case for why bringing Hank into the Scooby Gang was so vitally important. Hank’s continuing education in the ways of the Grimm is just a joy to behold. Not only does it expand the number of characters that Nick can interact with once the case turns to its inevitable Wesen connection, but it gives Hank a lot more to do as a character. And making him aware of Monroe’s role in saving his life, back in the first season, is a great way to tighten the team dynamic.
Speaking of Monroe, his relationship with Rosalee continues to reap unexpected dividends. On the surface of it, Monroe’s subplot is more or less filler. It really doesn’t do much more than provide a loose comedic counterpoint to the “A” story. On the other hand, it is a perfect way to use the growing number of supporting characters to flesh out the Wesen world. That’s an important part of capitalizing on the potential of the series, and Monroe is a good enough character to carry a subplot of his own.
Adalind is coming back into the equation as well, which should serve to give Captain Renard some room to grow as well. Renard has become a strong element of the show, given his questionable goals and loyalties, and his connection to Juliet is definitely going to cause some major problems when the truth comes out. At the same time, he is fighting behind the scenes to help Nick in his long-term mission to gather the Keys and uncover whatever secret the map will reveal, so I can’t help but wonder if his ultimate direction will bring him into the Scooby Gang in a Spike-like capacity.
Whatever the case, this is another winner for the second season, and I am in full agreement with those who feel that the series has improved dramatically since the stumbling early days of the first season. The writers have a lot more tools in their belt, and they are using them effectively. It’s the direction we said they needed to take from the very start, and now that they have, it’s gratifying to see how well it’s coming together.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Score: 8/10
