Grimm Is Back — Meet the Next Generation of Grimm

Grimm is officially coming back, and this time, the next generation of monster hunters is stepping up to carry on the family business. After six seasons, a hundred and twenty-three episodes, and one of the most satisfying finales in supernatural TV history, Peacock is developing a Grimm reboot movie that could launch an entirely new franchise. And if you remember how that finale ended, you already know exactly where this story is headed.

For those who need a refresher, Grimm premiered on October twenty-eighth, twenty eleven, on NBC. It followed Portland homicide detective Nick Burkhardt, played by David Giuntoli, who discovers he’s a Grimm, the latest in a bloodline of guardians sworn to keep the balance between humanity and creatures called Vessen. Think Brothers Grimm fairy tales, but the monsters are real, they’re living among us, and somebody has to keep them in check.

Now here’s the thing. the way This show came together is honestly kind of legendary. The two creators, David Greenwalt and Jim Kouf, met at a poker game over thirty years ago, introduced by Daniel Petrie Jr., who was basically working as a secretary to an agent at the time. Their first writing credit together was a nineteen eighty-two horror spoof called Wacko, and they got paid fifteen thousand dollars for it. Fast forward a couple decades, and Greenwalt has co-created Angel with Joss Whedon, Kouf has written Rush Hour and National Treasure, and then producer Todd Milliner takes a shower in twenty oh-six and starts wondering what classic stories need a modern TV update. That shower led to a meeting with Greenwalt, NBC said they wanted the main character to be a cop, Greenwalt called Kouf, and Grimm was born.

The show launched on Friday nights, which is traditionally where networks send shows to die. But Grimm didn’t just survive there. It thrived. From day one, Grimm had this identity that set it apart. It wasn’t just another cop show or fantasy series. It was this weird, beautiful hybrid that turned Portland, Oregon into a living fairy tale where big bad wolves ran spice shops and hexenbiests became love interests.

But all good things come to an end, and Grimm wrapped up in March, twenty seventeen, with a finale called “The End.” And what a finale it was. The show didn’t just close the book on Nick Burkhardt’s story. It opened a brand new one. In the final moments, we got a twenty-year flash-forward showing Nick’s son Kelly, now grown up, as a full-fledged Grimm. Standing beside him was his half-sister Diana, also grown. And the line that launched a thousand fan theories came from adult Diana herself: “Mom and Dad are waiting. We got Vessen to kill. The triplets are coming too.”

The triplets. Monroe and Rosalee’s kids. All grown up and ready to fight. The show literally handed us the next generation on a silver platter and then rolled credits. It was a promise. A setup. A torch being passed.

Now, getting from that finale to an actual continuation hasn’t been a straight line. Back in October twenty eighteen, NBC announced a female-led Grimm spinoff was in development, written by Melissa Glenn, who’d worked on Iron Fist and Citadel. That project never made it past development and was officially declared dead by June twenty twenty-one. So fans waited. And they kept watching. The show found new life on streaming platforms, and the fanbase actually grew. Tulloch has credited the show’s multiple streaming homes for keeping interest alive and building.

Then, on January sixth, twenty twenty-five, Deadline dropped the news everyone had been waiting for. Peacock is developing a Grimm reboot. Not a remake. Not a disconnected reimagining. A reboot movie written by Josh Berman, the creator of Drop Dead Diva, with the original creative team of Greenwalt and Kouf executive producing alongside Sean Hayes and Todd Milliner’s Hazy Mills Productions and Universal Television.

By February twenty twenty-five, Peacock officially confirmed the project. And then the updates started flowing.

In August twenty twenty-five, Elizabeth Tulloch confirmed that a script was actively being written and that David Giuntoli had already met with the creative team. Her exact words: “I know there’s a script being written, and I know that David met with them. I don’t think they would do a reboot or a spinoff or whatever it’s going to be without David’s involvement.” That’s significant. Nick Burkhardt is essential to whatever comes next.

By September twenty twenty-five, Tulloch revealed even more about the plan. The initial project would be a movie. If that movie works, it becomes a series. She said, “There is a writer who’s working on a reboot right now. All I’ve heard is that it would initially be a movie and then if the movie works, it would be a series.” When asked about her own return, she kept it real: “I think it would depend on the script. Yeah, what their vision is for the character.”

Now, the exact premise is being kept under wraps, but here’s what we know. The movie will have ties to the original series for longtime fans while being accessible enough for new viewers who’ve never seen a single episode. It’s introducing new mythology and new characters. And in success, it launches a franchise.

This is the legacy sequel approach. Think Jurassic World. You bring back beloved characters, you introduce new blood, and you expand the universe. Given how the original finale set up Kelly, Diana, and the triplets as the next generation of Vessen hunters, it’s hard to imagine the reboot not picking up that thread.

Oh, and here’s a fun detail that makes the potential return even more interesting. David Giuntoli and Elizabeth Tulloch? They’re married in real life. Nick and Juliette, together on screen and off. If both return, and it sounds like the door is wide open for that, the chemistry won’t exactly be a problem.

Now, there are legitimate questions about whether this actually gets made. Peacock has been hemorrhaging money for years, losing billions. Does the streamer believe a Grimm movie and potential franchise brings enough value to justify the investment? That’s the billion-dollar question, literally. And some fans have strong opinions about what a reboot needs to succeed. The consensus is pretty clear: if there’s a Grimm reboot, it needs the original cast. A lot of reboots completely miss the mark because they ditch what made the original special. For Grimm, that means Giuntoli, Tulloch, Silas Weir Mitchell as Monroe, Bree Turner as Rosalee, and the rest of the Scooby gang need to be part of this.

If everything moves forward at full speed, cameras could potentially roll before the end of twenty twenty-six, putting the earliest possible release somewhere in twenty twenty-seven. That’s a decade after the original finale. A decade for Kelly and Diana to have grown into exactly the hunters that final scene promised they’d become.

Portland’s dark forests and rain-soaked streets are waiting. The Vessen are still out there. And somewhere, a new Grimm is opening the book and reading those words for the first time.

The bloodline continues. And honestly? It’s about time.

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THE NEXT GRIMM