A Grimm Perspective


How do you proceed from a collection and curation of old, orally transmitted, German children’s tales to a television series about a parallel world of Wesen?

The word ‘Grimm’ itself seems to be the main connection.
And of course, the use of German sounding words helps to set the tone.
Yet explaining all cultural history, from ancient Egypt gods over circus acts to Adolf Hitler, based on a Wesen perspective, definitely is a step too far.

The curse, not of the Pharaoh, but of the script writer, is at work here.
A script writer can last only so many seasons before she or he is out of inspiration. Yet for commercial broadcasters, a cash cow has to keep bringing in revenue as long as possible.

The difficulty lies in striking the right balance so that the audience of faithful viewers doesn’t lose interest.
Repeating far too similar situations over and over again, casting the same characters years at an end, incorporating too many flashbacks from previous episodes: the only way to escape this nuisance is by crossing the line into the wildly spectacular.
And by doing so, the series is sacrificed on the altar of the mammon.
End of story.


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