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They've yet to name six of the seven ruling houses nor explain why mystical old world elites converge in the Austrian capital – our evil Grimm-verse sister-city, where tortes presumably arrive in chartreuse boxes and carriage stickers read Save Vienna Propriety. Captain Renard dismisses the extraordinary correlation of creature-on-creature violence within Nick's cases as happenstance – "most crime in most places is wesen related" – but the efforts to shoehorn a monster-of-the-week inside Nick's work also reflects an essential discomfort with the usual trappings of fantasy television.ĭespite the dribs and drabs of an overarching mythology squeezed out with an aching reluctance, we're no closer to learning the true motives of a nefarious royal plot than midway through the first season. And, as late-life beneficiary of ancestral powers that pierce the illusion of humanity cloaking the bestial half-lings known as wesen, the "Grimm" learns most victims (and near all assailants) are something beyond special. Trailing just venerable warhorse Law & Order SVU, Grimm has become NBC's second longest-running primetime drama, and the pairing feels instructive.Īfter all, as a detective in the Portland Police Department, Nick Burhardt (David Giuntoli) spends most episodes solving crimes.
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Photo from the episode “You Don’t Know Jack.” Photo from NBC.įor a show so thoroughly enmeshed within a decidedly upscale and middlebrow shade of local color, it's always a small surprise to remember that Grimm is watched by people outside of Portland – even, perhaps, people not planning an imminent move to Portland, should they still exist – but the program will soon pass its hundredth episode, which is a milestone for any series these days and nothing short of miraculous for its beleaguered network. Photo from the episode "You Don't Know Jack." Photo from NBC. After an episode or three, even the sudden bursts of manimal attacks midst tranquil climes take on a pleasant rhythm. Accompanying a show technically borne upon hamfisted stabs at horror, you might rightly assume the arboreal splendor some sort of strategic counterpoint, but Grimm's supple visuals prove ends to themselves. All condos are green, all offices built from reclaimed-timber, and the seediest underworld shanties lean into a technicolor wink. Where Portlandia zooms-in on the roiling cabin fever of summer camp sprawl, Grimm pulls back to reveal an impeccably-forested subdivision.
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All things considered, given a premise positing puddletown as dampened abattoir crawling with nightmare-fueling beasties of mythic lore, Grimm's a surprisingly effective advertisement for the old backyard. And, much as interminable location shoots disrupt routines, an implicit social contract rewards occasional difficulties parking around home or office with a glimpse of the familiar rendered breathtaking. Old Town Brewing was allowed to market a Wesen Weizen for charity. Its stars appeared together for a Portland Center Stage production this summer. Well into its fifth year of filming around town, Grimm has pleasantly settled into the scenery.