Episode 518: “Good to the Bone”
Written by Martin Weiss
Directed by Peter Werner
[recap by Maia Ades]
Four more episodes of this season. Four more. Where do we stand in all our various storylines? We’ve got a ways to go. First off, kudos to the folks doing the Foley work for this episode! This was a gross out fest and your work with the sound effects sold it! I’ve never heard a human body being driven over by a large van repeatedly, but I’ll guess that it sounds like that.
We haven’t had a Grimm episode with this much grossness in some time. Did I mention that I’m not fond of gross stuff? Well, now you know.
I’m not going to give you a blow by blow of the plot. If you saw it you know. If you didn’t, I’ll give you the essence of what happened. We’ll start with the police case(s). This is not really the order that it happened but, it gives you the story and what you need to know. Charlie is a sort of vulture like Wesen. Sort of. Vultures eat the entire corpse. This Wesen liquifies the bones and sucks them out through the mouth, leaving behind a flat body. For the record, Monroe (Silas Weir Mitchell) is wrong, Charlie does kill the victims. Not only are they still alive when he runs them over, they’re still alive when he starts to suck out their bones. I’m not sure that losing your bones is lethal. Well, maybe it is. I guess you need them to keep all your organs in place and not squishing each other.
Gag, I’ve never had to think that sort of thing through.
I’m not sure what Charlie eats. Apparently the liquid bone slurry is just for his parents, who have insatiable appetites. Really, how much food do these old birds need? Not only are they denying their son his own life, their consuming the lives of others. They’re like giant walking, talking parasitic birds.This Wesen is attracted by the smell of imminent death. I didn’t know there was a specific smell to that stage of life, but apparently it stinks really bad. Our team comes up with an idea to attract and catch this Wesen. Rosalee (Bree Turner) makes up a batch of this stuff that mimics the scent of imminent death. Monroe is volunteered to be the bait. Nick (David Guiltoli), Hank (Russell Hornsby) and Wu (Reggie Lee) will lie in wait to apprehend their perp.
As with most plans it doesn’t go exactly as they expected. Wu gets distracted by a stray dog, woges and runs off after the dog. Somehow he trips and hits his head on a rock outcropping. Now, it becomes Wu that attracts the Wesen, Charlie. Of course Nick and Hank come to his rescue only to send the fleeing Charlie into the path of a truck. The irony in this story, Charlie becomes a meal for his parents, who consume him in the morgue. Yes. It’s gross.
The rest of the episode is where I want to spend my time in this post. I’ll save the biggest issue for last. That means we’re talking about Adalind (Claire Coffee), Renard (Sasha Roiz) and Diana. Sigh. What has Renard gotten them all into? He was reunited with Diana in the last scene of last week’s episode and this week he brings Adalind into the fold.
Adalind does two smart things. First she finally confides in Nick that Renard contacted her about Diana. And second, she leaves Kelly in the very capable arms of Rosalee. Which is a really good thing since she’s abducted and taken somewhere to meet Diana. And that’s all we got on this story.
Eve (Bitsie Tulloch) has a brief . . . conversation with Rosalee. In which Eve gets some clarification about who knows that Adalind is gaining her Hexenbiest powers. She sort of warns Rosalee that Adalind is not at full power but she will. And there’s something else in their exchange, there’s a bit of Juliette peeking through.
Eve also gets some kind of intelligence on Diana. I didn’t quite understand what it meant. Something about two people being dead. Maybe that’s just me. I’m not in the intel business. Perhaps what was on her big Hadrian’s Wall screen was clearer to others.
Which brings me to my biggest gripe, the whole Wu story. This is driving me bonkers. If Grimm hadn’t set up specific rules about what a werewolf is and how someone becomes one, I wouldn’t be so livid. But, they did. And they’re completely ignoring what they set up. There’s a huge difference between werewolves of lore and the werewolves of Grimm. Episode 14 “Lycanthropia” explained that werewolf is a recessive genetic trait in Blutbads. Genetic as in, is inherited. Like werewolves of lore, this genetic trait manifests during the phase of the full moon. The person is taken over by this genetic mutation and becomes an uncontrollable killer. Apparently a killer of humans, not dogs.
Now we have Wu off running in his sleep and attacking dogs? I’m not sure what kind of fur that was that Wu pulled out of his mouth. But, he does go all Blutbadish and runs off after the stray dog in the park when he’s supposed to be covering Monroe. You can see the conflict going on in Wu, till he woges and then there is no conflict. He’s off and running.
It seems that this is some kind of extreme sleep walking. If sleep walking means running through a forest in your bathroom and attacking animals that you later hack up bits of while brushing your teeth. Since when do Blutbads or werewolves attack dogs?
The other really big question is why won’t he confide in his friends? What, they haven’t seen odd stuff before? He doesn’t trust them? He’s afraid they’ll judge him? Or maybe he’s afraid they’ll hunt him? I don’t know. I can’t figure out why he’s lying to Nick and Hank. When he has the episode in the police station, why didn’t he say something to them in private? Why cover up what’s going on? Like, it’s going to get better on it’s own? How’s that working for you, Wu?
I know I’m being a grump about this. I want consistency in the way the writers deal with what they themselves set up. Don’t tell me that being a werewolf is genetic in one episode and then have a character become one from a scratch in the next episode. That just doesn’t jive. I’ve said it before, when you set up a fictional world, you ask the audience to buy into it. You’re asking them to suspend the reality that they know and go along with you on a journey you’re leading them on. When you then go and mess up that reality by continually changing the rules, the fictional world breaks down. The audience can’t rely on how this world works. Don’t muck up the world of Grimm for your audience. They are why you got a sixth season.
Grimm airs Friday nights at 9/8c on NBC.