The teaser for
“Double Date” made little sense. Renard woke covered in blood after a nightmare
about being shot in the chest. He didn’t learn anything about why he woke
covered in blood. Next, the villainous Wesen of the week was introduced in a
bar, crying over a broken marriage, and lulling some dope into a con. They
kissed, ripped off clothing, and then she left for the bathroom. Her husband,
Linus, burst into threaten the future victim for coming to his house with his
wife. The future victim died before the end of the teaser after demanding his
phone and wallet back from Stacy. Stacy responded by killing him.
The twist of the
story is that Stacy/Linus share a body. The ending of the “Double Date” teaser makes
the conclusion blurry and ambiguous, but if that’s not the twist, then the
entire teaser is nonsense without context. It’s the Kouf family and David
Greenwalt thinking, “We’ll start here and see where it takes the story.”
Writing without a clear direction isn’t a mortal or venial sin. It’s not even a
sin. Every writer’s different. Joss Whedon knew where he wanted the story to
go, but the writing staff wouldn’t finish a script until the day shooting
began. Tim Kring had no idea what he wanted Heroes to be, and that was a mess.
Vladimir Nabokov had completed every novel in his mind before he began while
William Gass has said he didn’t know where he wanted to go when he began a
story, adding that’s why he re-wrote however many times needed so that he knew
where he wanted to take the story.
“Double Date”
tried to shroud Stacy and Linus with ambiguity but very sloppily. Stacy yells
at Linus. Linus yells at Stacy. Neither yells at the other in the same room.
Well, I suppose they do, but they don’t face each other-unless Linus had
switched in front of a mirror. It’s silly the way the writers decided to keep
the mystery of Stacy/Linus as one person, a less powered up Glory and Ben. Monroe
went undercover for consecutive episodes to catch Linus. The payoff to Monroe’s
undercover work was a jealous Rosalee. Nick, Hank, and Wu would’ve had no leads
if not for Monroe. The pursuit of Linus and the confusion about the
disappearance of Stacy was comical, because the cops never met a male/female
Wesen. It happened in the second to last act, a Grimm staple, and the guys were
at a loss to catch Linus/Stacy. They chose the right bar soon after and caught
Linus after dosing him with Rosalee’s hormone-made shot.
Nick and
Juliette don’t share a scene in this episode. Juliette goes to Renard’s place
after sleeping in her car. Renard began to help her by using blood rituals. “Double
Date” concluded with a series of scenes, montage style, of the relationship
between Juliette and Nick. It ended with a question, “Do you want to be with
me?” I don’t remember the line verbatim.
Adalind received
one scene after her unexpected positive pregnancy test. The writers wrote off
Viktor in a better way than Renard’s brother, who died in a car explosion.
Viktor hadn’t done an adequate job. Alexis Denisof probably doesn’t have time
to guest on Grimm and be a regular on Finding Carter. Viktor follows a line of
poor, ineffectual, pointless, aimless villains. What did Viktor do since his
introduction? He locked Adalind in one or two dungeons. He failed to develop
any leads on Kelly’s whereabouts. Viktor did take away Nick’s powers for a
stretch that now affects his relationship with Juliette because of magic. So,
yeah, he did that. Adalind will work with another German. Let’s stop with the
Royals. It’s not good, Grimm.
Other Thoughts:
-Briana Lane
portrayed Stacy. She’s among the most beautiful actresses I’ve watched on
television. She’s stunning. I liked the edge she brought to Stacy. I hoped that
the shot would’ve permanently fixed her visage instead dopey Linus.
-Karen Gaviola directed
the episode. Brenna Kouf wrote it.
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