“No man chooses evil because it is evil;
e only mistakes it for happiness.”
It took five seasons but, for the first time, Grimm touches on one of the most classic of monsters—that of the Frankenstein’s monster. Throw in a bit of magic mirror action involving Julieve and the Reddish Skull from last and Renard doing his own research into the magic symbols as we hit the back third of Grimm’s final season.
Our Grimmsters are doing more research into the Pleiades Cluster and what it foretells, getting a lot of information about the cluster’s history but no real grasp on what’s coming. Renard gets in contact with Dasha, a Russian woman who apparently has a bit of experience with this type of stuff. Very similar to Nick and the gang, her warnings are very generic, with no specifics of the what, the when, or the how that’s coming. Only that it could be very bad and Diana is most probably involved in some way, shape, or form.
As we’re talking about forms, the A storyline tells the tale of four scientists, led by Dr. Victor Shelley, doing something that science should never propose to do: play the part of God. If you didn’t know by the name, Shelley’s creation is none other than the Frankenstein monster, more specifically that of his son, killed in a car accident. Turns out that each scientist chipped in, using the body parts of dead criminals and puzzling them together to bring the boy back to life. Other than the extreme questions of morality, the scientists get quite the surprise when, after charging the creature with life, each of its four limbs woge into a different Wesen trait.
Now, we all know how things will end: after the cobbled monster kills two of the scientists, Shelley, the boy’s father, kills the creature and that’s pretty much it. If you can’t tell, this A story, though it had the makings of a decent tale, falls a bit flat with its too rushed climax and resolution. It’s another case of a Grimm procedural that showed promise but falls on its face in light of a jam-packed hour of goings on.
The more interesting aspect of “The Son Also Rises” is Julieve’s second confrontation with the man in the mirror. This time she’s alone when he appears and the Skullish brute gets a bit hands on, reaching out to choke the life from her. With no other way of escape, Julieve woges for the first time since being healed by the Stick. Monrosalee finds her unconscious. She spends most of the episode in the hospital and unconscious, while Nick remains at her side.
So why is this interesting? For the first time in a season or more, Nick calls her “Juliet”, a slip that Hank picks up on right away. Coupled with his thoughts back to days gone by, it seems that Nick may be reconnecting with his past feelings with Juliet. Where that will lead is anyone’s guess but with Adalind still in the picture, the destructive Diana probably not taking kindly to Nick hurting her mom, and whatever disastrous event is waiting for them in the near future, does our resident Grimm actually have time to entertain the complications a rekindling romance would bring?
No, probably not. But it would make for such good TV drama.
Grimm: “The Son Also Rises”