August 27, 2012

Armchair Showrunner Series: GRIMM

When I was a younger man, I wanted to be a real writer. Someone who would sell a screenplay to Hollywood and win an Oscar. Obviously, that never happened, but the creative juices still flow from time to time, and since I'm a TV junkie now, I've decided to take a shot at coming up with some story ideas that I'd like some of my favorite shows to implement in a series that I'm calling Armchair Showrunner.

Now, these write-ups are merely a way for me to share some thoughts that I've been having and are just for fun. They're in no way a suggestion that these shows need "fixing" per se, and I wouldn't be so bold to think I could fix any of them. That said, we've all come up with things that we'd like to see happen on our favorite shows, and these are mine.

The first show up is NBC's Grimm, which was a show that I expected very little from and was happily surprised by. Keep in mind that these are my opinions, and I haven't really researched any information on what's going to happen during this season. Any similarities are coincidental. OK, let's get started.

Quick Pitch: Nick finds out that the Grimm gene is part vampire, and some event triggers this side of him. He goes on a killing spree but soon finds his humanity. After being kicked off the police force, he moves into an old hotel and starts a private investigation company with Monroe, Rosalee, Hank and some random British guy.

So, that sounds an awful lot like Angel because that's pretty much what this show is (thanks to Whedon alum David Greenwalt) but without the luxury of being spun-off from a cult favorite. Over the years, I've found that supernatural/gothic procedurals can become stale when they stick too closely to a monster/fae/fairy tale creature-of-the-week set up (see Angel, Supernatural and others), but it's a gimmick that works. Right now, Grimm has that hook but it's further ham-strung by the fact that Nick's a cop. For his true Grimm-iness to shine, he needs to break free and start up his own version of Angel Investigations, the Scobby Gang or the Winchesters. While I don't expect, or even want, Grimm to become Angel: City of Roses, it could benefit from having a similar take on the whole sub-genre.

Also, Nick needs higher stakes. Up 'til now, his mission as a Grimm has been pretty tame, but that all changed when Juliette was put in danger. The damsel in distress is literally a tale as old as time, so I shouldn't be shocked that Grimm went there, but it too can run out of steam quickly. The only way for it to work is for Juliette to be in real peril and not just a victim of a memory loss potion. I'm sure we're in store for some serious stakes to be thrown at Nick, but the threat of loss needs to be real, and it needs to come to fruition. In short, Juliette has to die.

I felt that Juliette had worn out her welcome and played her role by the end of Season 1, and I was expecting her to be killed off. Instead, we got this whole insomnia storyline which feels a little cheap, but I'm hoping that it's the first step down a darker path. Having Nick lose it because of her death could be what triggers his departure from the Po-Po and his need to start up his own Wesen hunting agency. Will Juliette die sometime before the end of Season 2? Probably not, but it wouldn't be out of the realm of possibility since Grimm's not afraid to go extremely... well, grim.

Really, I've been happy with what Grimm's given viewers over it's first season, and so far Season 2's been a step above its predecessor, so I don't think Greenwalt and his team need to worry about what I think (because they're totally reading this blog). I'm fairly confident that I'll continue to be happy with the show unless Rosalee somehow gets knocked up by Nick's long-lost son and it turns out to be some crazy goddess. I'd have to draw the line there.


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