‘Grimm’ Review: “The Wild Hunt”
Well, it looks like Monroe and Rosalee are going to make it official, which means this could be the lightest episode of this season of ‘Grimm.’ But as the couple have been sidelined for much of the season, they deserve a good episode.
The episode opens with the quote “Come back in the evening, I’ll have the door locked to keep out the wild huntsmen.” as we see a speeding car. It’s chased by the highway patrol, while Monroe waits for Rosalee to come down the stairs. She’s looking good and he’s planned an expensive dinner, which Rosalee senses means something. At dinner they talk about their first time… wesening out. The speeder stops, and the highway patrol checks on the car, when he’s attacked by the driver, who’s a wesen. Back at Monroe’s, he wants to show Rosalee a clock, which proposes marriage. Monroe gets on his knee and asks, and she says yes. The speeding wesen scalps the patrolman, and says he was worthy.
At Nick’s, Juliette and Nick are going through their taxes. Juliette asks about Nick’s mom when he gets a call from Hank about the dead highway patrolman, and so he goes off after telling Juliette she can contact his mom if she wants to. While in bed, Rosalee and Monroe plot their wedding, and they’re both exceptionally happy about things, until they discuss inviting Nick to the wedding — which could be a problem for their wesen friends. Rosalee brings up that she needs to meet Monroe’s parents, which makes him nervous. At the crime scene, Nick and Hank check out the body, while Monroe sweats out calling his folks. He calls and his parents act like parents, intentionally and unintentionally needling him. Renard gives a presentation about the slain trooper to the Portland PD, and notes that there’s been two other victims, as we see the killer driving on.
Back in Austria, Adalind meets with Sebastian and is warned to be cautious about her next meeting with Viktor. In another room, Viktor is made aware of the resistance’s recent activities, when Adalind is brought in. She’s asked to look at pictures of the resistance, and is asked if she saw Sean. She says no, and says the note Sean left suggested that Nick killed her mother. Adalind leaves, and Viktor is informed that the baby might be Sean or Eric Renard’s baby, and wants to know who the father is. Monroe goes to the spice shop and tells Rosalee about his parents and that they know. He says there’s no rush to meet the parents, but then he gets a phone call from his mom, who says they’re going to spend the whole weekend with him. Sebastian calls Renard to warn him, while Adalind touches her stomach and sees her baby leaving impressions on her skin.
A military man gets off a bus as the speeder sees him walking, the speeder pursues and the two get in a fight, but the killer’s wesen powers give him the advantage. Rosalee and Monroe prepare for his parents and stress out, while Nick comes home and finds that Juliette got in contact with his mom. Nick is worried that this could hurt Juliette, but she’s happy to be involved. Nick and Hank get called in about the military man, but they have nothing new to go on. Back at the precinct, they get notice of the car being found, while in Vienna Adalind has labor pains.
At a Portland apartment, the killer is prepping his scalps when he’s warned by the management that what he’s doing smells terrible. The killer sees his car being checked out and heads downstairs and asks the manager if he has a car. Nick and Hank find the manager, find out about his stolen car, and check out the killer’s room, where the killer has been tanning the hides. Adalind consults with a witch about her pains and is told that she might give birth shortly. Back in the precinct they find out about twenty-seven more possible victims. Outside, the killer strolls up the precinct. Nick and Hank go to the camper and find out about a possible wesen match that are nicknamed berserkers. It turns out the killer is looking for Nick.
Monroe and Rosalee make dinner when his parents show up. It’s Dee Wallace and Chris Mulkey playing his parents, which is awesome. Rosalee is scared, but Monroe introduces them. His parents freak out because she’s a Fuchsbau, which makes Rosalee storm out. The family fights, and then Nick shows up, which freaks out his parents even more, and they plan to attack when the screen goes black and the text “Oh #*@%!!!” comes up.
The creeping sensation that this was a two-parter could be felt by about the thirty minute mark, which — considering the previews spoiled the Nick/Monroe’s parents confrontation — was inevitable but frustrating. That said, the show hasn’t spent much time this year on hiatus, and with NBC about the begin broadcasting the Winter Olympics, it’s understandable. But it’s going to be hard to remember much about the killer of the week in a month, as the more exciting stuff is what’s going on with Monroe and company.
Generally when an episodic does this sort of cliffhanger thing, it throws the show’s internal rhythms out of whack, and that’s definitely felt here. The good part is that you get a little more breathing room in the story, while the bad is that you only get to spend time with some of the supporting cast for moments in ways that feel forced, on top of more scenes feeling like filler. I wish the show would be okay with totally backgrounding a player or two during an episode, but that hasn’t happened yet, and here some of the cast’s involvement felt perfunctory.
I did a little research, and couldn’t find a film where Chris Mulkey played a werewolf, but Dee Wallace did in ‘The Howling,’ and Mulkey appeared in a number of low budget horror films in the past (including the excellent ‘The Hidden’) so it was good stunt casting, on top of the duo being really good actors. Unfortunately their involvement was essentially kept to two phone calls and the final scene, which makes the wait for ‘Grimm”s return that much harder. With cliffhangers the relative worth is determined by the conclusion. This set up some interesting things, and we’ll see if it delivers in five weeks. The stakes are personal, and it plays with the strongest metaphor ‘Grimm’ has, in that it’s about our evolving culture in terms of how we deal with the other/outsiders. But the ball is on the tee now, let’s see if there’s good follow through.