Grimm’s return after the holiday hiatus, Game Ogre, seems to be the episode where the series has solidified its identity as a supernatural procedural.
A series of brutal murders lay a trail leading to Detective Hank Griffin (Russell Hornsby) and an escaped convict Oleg Stark (Eric Edelstein) bent on revenge. Oh, and the escaped convict happens to be a Siegebarste. The kicker: Siegebarstes don’t feel pain and have incredibly dense bones.
Scripted by Cameron Litvak and Thania St. John, the episode draws together the different threads of Nick Burkhardt’s professional, private, and Grimm lives. As Nick Burkhardt (David Giuntoli) asks Eddie Monroe (Silas Weir Mitchell) for help with evidence, fianceé Juliet (Bitsie Tulloch) has to intervene when Nick (and their home) are being destroyed by the Siegebarste, and Monroe has to act as a Grimm-by-proxy when Nick is hospitalized, it becomes very clear that it’s impossible to keep those lives separate.
Game Ogre is a straightforward cop-confronting-murderous thug plot, but it works within the context of the series, which has often suffered from a lack of balance in its narrative. Hornsby is given a little more screentime, although his dialogue is trite, he delivers it with a sense of urgency that makes it believable. Silas Weir Mitchell’s Monroe is unmistakeably the breakout character of Grimm, fast becoming the pivotal audience proxy, exposition mouthpiece and the ethical heart of the show.
The further Monroe is drawn into Nick’s activities as both cop and Grimm, the more we see the moral grey areas that should be part of Nick’s narrative, handed over to the series’ resident Blutbad.
Can Grimm maintain the sense of itself that this episode establishes? We’ll see.