By John Keegan and Henry Tran
I should give credit where it's due: Catherine is a much better schemer and master manipulator than Siobhan ever was. All Siobhan ever wanted was to get money to run away with her lover, and maybe stick it to her twin sister and ex-husband as she leaves their lives permanently. Catherine has much clearer motives, goals, and methods.

By John Keegan and Edmund Boys

One of my all-time favorite films is “The Stunt Man”, Richard Rush's defiantly independent paean to film-making and the blurry line between fantasy and reality (hmmm, sound familiar?). So, the announcement that Barbara Hershey, that film's female lead, would play Regina's mother, Cora, was one I greeted with great relish and anticipation. What I didn't anticipate was an episode where the show's creators, Edward Kitsis and Adam Horowitz, step in and take a major corrective yank on the show's tiller. After the mid-season doldrums, there's promise of much smoother, swifter sailing ahead.

By John Keegan

It looks like the writers for “Grimm” are trying to step back and reintegrate concepts and plot threads from earlier in the season, and the result is a largely stand-alone episode that doesn’t quite have the same punch as more recent offerings. There are some signs that Adalind’s presence will finally amount to something, but this is very much a transitional episode, rather than a payoff.