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It’s a comedy of errors on an entertainingly goofy Grimm

Bitsie Tulloch, Silas Weir Mitchell (Image: NBC)
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Because The A.V. Club knows that TV shows keep going even if we’re not writing at length about them, we’re experimenting with discussion posts. For certain shows, one of our TV writers will publish some brief thoughts about the latest episode, and open the comments for readers to share theirs.

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  • I said a couple of weeks ago that Grimm tends to spend most of its time in darker places, and it seems that this final season is determined to prove that statement wrong. “Blind Love” is easily one of the most outright comic episodes that the series has ever put forth, reminiscent of a Buffy or Angel one-off episode where they’d introduce an odd idea for the episode and see how that weirdness played out within the established framework. And not coincidentally, it’s also one of the best stand-alone episodes that the show’s done in a long time.
  • The conceit of a love spell is one that Grimm touched on back with “Kiss Of The Muse,” but writer Sean Calder expands it to the full team, and creates a perfect domino effect of attractions and obsessions. You eagerly anticipate the next flash of light and musical cue to indicate the next spell has taken hold, because it just means the chaos will be amplified exponentially. And thankfully it doesn’t dwell too much on hurt feelings and misunderstandings, which can drag down stories of this type: everyone’s too busy falling for other people to feel pained by their lover’s betrayal, and it takes Rosalee barely a minute of heartbreak to identify the magical origin.
  • Of course, the high point of it all is Hank drinking his own champagne and going the Narcissus route. Russell Hornsby clearly drew the long straw when they were putting this script together, as Hank flirting with and serenading his own reflection with “Let’s Get It On” is goofy in all of the best ways.
  • The conceit behind the episode is so much fun that it’s almost disappointing they don’t take it further. I’d have loved to see Hank’s drinking two glasses of champagne make him fall in love with both himself and another person, and some same-sex attractions would have added a whole different layer to the process.
  • One point in all the romantic mishaps that had a glimmer of resonance beyond the spell: Julievette accusing Adalind of having the child with Nick that should have been hers. They’ve been playing around with hints of resentment as Julievette remains mired between her two personalities, and if this is the route they want to explore I’d appreciate some more interaction between the two that displays that tension, rather than the two just managing to be cool with each other and trading coffee brewing duty. Or even better, they decide that a polyamorous relationship with Nick is the solution to all their problems.
  • After so much time seeing our team under the gun, it’s almost a little jarring to see everyone in a casual setting, exchanging hugs and laughs and brushing aside all of those times that they may have tried to kill each other. It once again speaks well of the fact that Grimm’s managed to retain the same cast since the beginning, and they genuinely do seem to enjoy each other’s company.
  • Amongst the stories that come up over drinks: Nick and Monroe’s first time meeting each other, the moment Monroe fell for Rosalee, and the couple’s first kiss. And Grimm answers one of its longest outstanding questions: Nick did indeed pay for that window. (Man, David Giuntoli’s haircut was terrible in those early episodes)
  • Back in Portland proper, Diana’s kidnapping gladly sidesteps any of the cliches of such a scenario, given that people need protecting from her and not the other way around. One of the best moments is Renard freaking out once he realizes she’s been kidnapped, starting to dial, then pausing when he realizes that he’s got the night off and a plate of cookies he doesn’t have to share.
  • Less amusing for Team Grimm, Diana’s terrible at keeping secrets and Renard’s curiosity about the mysterious symbols is awoken.
  • After so much desperate Renard, it’s a treat to see confident Renard pop back up as he takes Grossante’s call. “Listen, I’ve got a couple of things to take care of, but I’ll be there as soon as I can.”
  • Julievette’s stop on the other side continues to resonate, as the mirror in Nick’s loft transforms itself into what looks for all intents and purposes like a death portal. The effect of the mirror transforming was handled well, and there was a nice ominous shading to the skull.
  • On the opposite side of the CGI coin though, the image of Randy falling to his death was also a comedic element but was probably not intended that way.
  • “I feel the dawn of a crystalline new day in your voice and your hair is more exuberant than ever!” Of course Monroe waxes poetic when under the effects of a love spell.
  • “I’m the man your daddy stabbed in the back.” “No, that was Mr. Bonaparte.”
  • “I’m going to get the manager.” “Can he marry us?”
  • “ROSALEEEEEEEE!!!!!”
  • CLOCK CAKE!
  • This Week In Portland: The Columbia Gorge Hotel gets some free publicity this week, as director Aaron Lipstadt does a good job of making it look like a hotel worth checking into when the waiters aren’t trying to murder you.
  • This Week’s Epigram: “Love looks not with the eyes, but with the mind/And therefore is winged Cupid painted blind.” A Midsummer Night’s Dream, from which this episode takes many of its cues. A real opportunity missed for a donkey wesen if they wanted go for full-bore homage.
  • Know Your Wesen: After some confusion in Lt. Grossante’s first appearance, his Löwen heritage comes through loud and clear. And we also get an appearance of the were-Wu to come to Holly’s rescue and break the spell.
  • Apologies for the shift in format this late in the game. I’ll be doing discussion posts for the remaining handful of episodes, and will return to a full review for the series finale.

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