Monday, May 23, 2016

Grimm Season 5 Finale Review: 
Everybody Into the Doomsday Bunker
I wanted to hate this episode. I wanted to hate it so much. With the finale out of the way, let the record officially show that I hated 98 percent of this messy trainwreck of a season—up to and including the first half of this two-hour gauntlet—so much that the mere idea of it sapped any of my will to live this week. I want a drink named after me. A bitter one. And a statue, like the Rocky statue, except with no pants on because I can only endure so many awful things at one time. 
With that said.. when everything was over, Diana finally used her Corpse Bride voodoo dolls for something awesome instead of something I'd expect from the neckbeards losing their shit over the new Ghostbusters (apparently we can reboot the Hulk and Spiderman 50 times over while adding nothing new to the story but heaven forbid we put boobs on a Ghostbuster). Diana is still creepy, but like that kid who sent everyone to the cornfield on The Twilight Zone, as long as she likes you, you get to live. Sucks to be Daddy's mistress. Sucks to be Daddy's mean friend. Grimm also killed off Meisner and kinda sorta made Eve people again, so I guess we're back to the merry-go-round of woe-mance with Juliette, Renard, Adalind, and Nick. And babies. So many babies. At least one of those babies is currently cooking in our darling Rosalie and thus is officially the only child I care about on this show as we crawl slowly toward the wreckage of this series' end. 
Also: I totally called it. Women don't get to barf on TV unless they're preggers. 
"The Beginning of the End" was a prophetic choice of a title given the precarious state ofGrimm's shortened sixth season. Together, both halves of the breakneck bloodbath served to up the tension of Renard's election victory even higher while also trimming a lot of the extra crap from a series that, underneath all the excess, had good bones and a strong foundation. 
Without Meisner and Bonaparte heading their respective factions (R.I.P.), the lines drawn between Hadrian's Wall and Black Claw have been blurred. Renard and Adalind's plight no longer looks hopeless and the immediate threat to Nick and everyone he holds dear has been neutralized—for now, at least. I'm sure someone will step up to take Conrad Bonaparte's place as Wesen Hitler when Season 6 premieres, but by eliminating Hadrian's Wall as an organized underground resistance, Grimm returned part of it's focus to it's original last hope/Grimm messiah. Grimm has a lot in common with USA's Suits when it comes to keeping the focus tight and occasionally failing to resist the urge to go bigger, bigger, and bigger. 
Both series have a strong core and both have a history of biting off more than they can handle, spending an entire season being terrible, and then pulling it together with a quick and dirty field amputation. The second half of the finale took all the garbage that piled up during this long and tired season and incinerated it. It was tightly written, and while the threat that Black Claw represents is still huge and global in scope, Grimm has returned to keeping the focus on its core characters. It can still tell its epic cultural drama, but is now doing so through the quirky individuals we've grown attached to. The spy games of Hadrian's Wall and the political machinations of Black Claw only matter as much as their influence reaches the individual level. That Rosalie frets over the kind of world her child could be born into—that Monroe is ecstatic regardless—this is how the best battles between good and evil are told. 

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