By John Keegan and Gregg Wright

The war rages on, as we so clearly see in the opening scene of the episode. It's understandable that "Game of Thrones" tends to cut away during the actual battles, given the budgetary constraints of the medium. "Thrones" has typically done a pretty satisfactory job of working around these constraints, to the point that I don't even feel bothered when I don't get a full-blown battle sequence. The battles aren't really where the most important story developments occur, anyway (though I'll admit that I wouldn't mind seeing at least one actual on-screen battle at some point during the season). More important than the battle is the chance meeting between Robb Stark and a rather attractive battlefield nurse the next morning.

By John Keegan and Paul Pearson

The funny thing about disappointment is that it only has the most tangential relationship with whatever it is people are actually disappointed in. The follow-up to this season's strong premiere drops the ball in terms of delivering on some of the most interesting plot threads introduced in "Something Wicked This Fae Comes", and it can very easily colour the episode in a negative light, but on the whole "I Fought the Fae (And the Fae Won)" delivers a very strong A-story and introduces some cool new characters that can be overshadowed by the smaller beats of disappointment.

By John Keegan and Henry Tran

From one episode to another, things on this show are never what they appear to be. They change so often, it could be seen as a whiplash effect on the show's plotlines. Thankfully, the show is so layered and the characters so rich that it can compensate for anything that could be considered strange.

By John Keegan

The deepening of the “Grimm” mythos continues with this episode, as the writers really start pulling the threads together. I think we received more background on the Grimms and the organization of the Wesen culture than we’ve seen all season, and it goes a long way towards explaining why Nick is seen as something of a maverick among his people.

By John Keegan

With only a handful of episodes left to resolve the Leviathan problem, as one would assume they plan to do, it’s hard not to feel like they took a bit more time than necessary to delve into Bobby’s spectral status. Sure, it clarified quite a bit when it comes to how ghosts are supposed to work within the “Supernatural” mythos, but other than delivering a tale that harkens back to the olden days of the series, I’m not sure what it accomplished.

By John Keegan

This episode was always going to be controversial. The producers have decided to make the 19th episode of every season a format-busting departure, a pattern that began in the second season with the woeful “Brown Betty”. Each departure has been a love it/hate it moment for the audience, and with the added anxiety over the future of the series, a lot of fans were concerned that this would end up being a needless waste of much-needed resolution time.

By John Keegan and Henry Tran

This episode, "Awake" made full use of its police procedural format. It might be the simplest of episodes the show has aired so far. It's also one that didn't put Detective Britten in the spotlight very much. Instead, there's focus on an accountant for a Russian mobster and his wife. They suddenly need to be protected by the police when the mobster tries to kill the accountant. It's not the worst plot the writers can think of, but I constantly had the feeling of detachment with these people, probably because we're never going to see them on the series again. I also had this nagging feeling throughout that US Marshals should be protecting these people instead of the LAPD. But the episode does seem to further a theory about the show's overall story arc that has been building for some time now.