Charlie Higginbotham, this episode’s murderer, is like a killer from an 80s slasher movie. The director shot him from a low angle, never extending the shot past his waist, to show his boots, to focus on the sound of his steps, as a way to add a little horror, tension, and mystery to the case of the week. Charlie did not deserve such an ominous introduction, because he’s a dull, passive character. He has a 80s serial killer back-story: he kills for his parents; he hates himself for killing for his parents; he kills after apologizing to his victims; and he doesn’t really kill because he’s a Barbatus Ossifrage, the vulture of the Wesen world, who comes for the bones of the dying. “Good to the Bone” didn’t seem to intentionally use 80s horror movie iconography. It was padding for the sake of the run time.
The teaser ran eight minutes, half of which set up the simplistic case of the week, and the other half involved Hank running into Zuri, his old physical therapist who’s probably working for Black Claw because Hank’s has the misfortune of Xander Harris in Grimm, and Adalind asking Nick to have sex with her. Claire Coffee and David Guintoli again displayed the chemistry of a butter knife and a gray fox together. Adalind still hasn’t told Nick about her powers returning. Nick didn’t tell her he knows or about what he found in the underground. There’s no drama about them not sharing information. It’s a stall tactic.
“Good to the Bone” is one of those unavoidable late season filler episodes. The wesen of the week is a grayer character than other criminal wesens introduced throughout the series. Monroe defended Charlie after they identified the Ossifrage as the culprit of the flabby corpses. Ossifrages remove a person’s skeletal structure. Monroe offered the vulture comparison—they prevent diseases and do necessary cleanup. Hank retorted that he’s an accessory. Charlie killed people he could’ve saved. Only a few lines touch on the arguable innocence of Charlie, though. Much of the episode is about Hank and Nick investigating the murders. The audience, as always, had more information than the detectives, which makes the case sloggy.
Wu’s werewolf side bridges the case and gives it a personal stake in the last act. Earlier, he coughed up a hairball. Wu seems to chase and eat dogs during the middle of the night. Nick and Hank witnessed his dizzy spells. He ran off from the trap plan, involving Monroe as the bait with the scent of impending death on him, to chase a dog, bumped his head, and nearly ended up crushed and eaten by Ossifrages. Charlie met his end via truck. His parents then ate his bones. Wu’s role in the case enlightened his friends to what’s going on with him, so they’ll have to tame him next week.
The rest of “Good to the Bone” hit the same beats about Black Claw, Eve, Renard, and Diana. Eve will hurt Adalind if she hurts Nick. Rosalee called Eve Juliette after she left. Obviously, Eve’s always been Juliette. One has known this since October. It’s a roundabout character rehabilitation plot. Black Claw needs to Renard in office to control politics, even though they’ve achieved disruption across the world. Nick asked Adalind to let him know when Renard reached out to him agan, but she won’t after meeting Diana. She’ll choose her over anyone. It’ll lead to nonsense for sweeps. Juliette and Adalind will battle once more.
Soon, the stalling will cease.
-Zuri experienced a change of heart upon reflecting on Hank accepting her for who she is. She appeared in “Eyes of the Beholder.” Werner directed that episode too.
-Martin Weiss wrote the episode. Peter Werner directed.