Grimm

You Have Been Watch­ing…

SFX: The Sci-Fi and Fantasy Magazine - - View Screen -

Less Grimm now, more Su­per­nat­u­ral…

Grimm “Blimey, is that still go­ing?” shows. Yes it is, and its US rat­ings are healthy if not spec­tac­u­lar. And it’s still pretty much the same as it was when we all tuned in for the pre­miere and thought, “Not much point in­vest­ing time in this one… It’s got ‘ Axe Me’ writ­ten all over it.’”

So, yes, it’s still a mon­ster- of- the- week show with a mythol­ogy- based arc story and a huge dol­lop of do­mes­tic melo­drama. It still has some of the sil­li­est – and shod­di­est – look­ing crea­ture ef­fects on TV that make it look like a lav­ish pro­duc­tion of Toad Of Toad Hall. Th­ese mon­sters – We­sen – still live among us in hu­man form, and can only be seen by a “Grimm” – though only some­times by him and

is one of those

some­times ( un­der stress or when they al­low it or when it’s handy to the plot) by all hu­mans. The rules still don’t make sense. Nick Burkhardt is still a cop and a Grimm, and David Gi­un­toli – who plays him – still has the ex­pres­sion of man who only half un­der­stands the dia­logue he’s given.

In sea­son four, some things have changed but not much – all the changes are familiar tele­fan­tasy de­vel­op­ments. More peo­ple know Nick’s se­cret. Par­ents are be­ing in­tro­duced all over the place. More char­ac­ters with the same “man­tle” as the lead char­ac­ter are ap­pear­ing. Sea­son four starts with Burkhardt pow­er­less

bonus fea­tures

Best Gag In The Mak­ing: Ep seven, “The Grimm Who Stole Christ­mas”, has this ex­change be­tween Renard and Nick: “I don’t want my mother to kill your mother.” “And I don’t want my mother to kill your mother.” Quite how that didn’t de­scend into a se­ries of “Your mum is so evil…” gags we’ll never know.

In- Joke: Two con­sec­u­tive episodes fea­ture hos­pi­tal rooms that have the same num­ber as the episode’s pro­duc­tion code: 404 and 405.

Best Line: El­iz­a­beth ( when Nick dis­cov­ers that to re­gain his Grimm pow­ers he needs to have sex with his wife while she’s been mag­i­cally al­tered to look like Adalind): “I would sug­gest a very dark room.” and tu­tor­ing a new young Grimm. She’s ac­tu­ally a great char­ac­ter, but don’t get too fond of her…

And now that the show has ap­par­ently run out of cred­i­ble an­i­mals to We­sen- ise ( clearly Ar­madillo Man and Naked Mole Rat Man are too silly even for this show) it’s shame­lessly go­ing down the Su­per­nat­u­ral ur­ban myth route with Golem and Chu­pacabras. There’s also a won­der­fully bonkers sub­plot in the early episodes of the sea­son with evil We­sen Adalind sub­jected to Wes Craven’s take on Alice In Won­der­land. There are some lovely macabre touches here that the show should use more of­ten.

So how has a show that’s lit­tle more than a smor­gas­bord of clichés sur­vived so long and de­vel­oped such a loyal fol­low­ing? Per­haps be­cause it doesn’t ac­tu­ally care that it’s a smor­gas­bord of clichés. It just does what it does ef­fi­ciently. Although the mon­sters are laugh­ably poor, the rest of the pro­duc­tion val­ues are high, the act­ing is solid, the char­ac­ters are like­able. Sea­son four is not go­ing to make any new con­verts, but nei­ther is it go­ing to alien­ate cur­rent fans. Dave Golder

SFX’s Twit­ter and Face­book fol­low­ers spout on the Marvel show’s sec­ond sea­son [ MI­NOR SPOIL­ERS]

Is that David Gi­un­toli’s “where was I?” face?

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