By John Keegan

I had a feeling what we were in for when the episode began with a flashback to happier times for Elena. And given my prediction in the review for the previous episode, as events continued to converge, I began to wonder how much was real and how much was in Elena's mind. On that note, I'm still not clear, but the end result was one of the most lyrical season finales I've seen in a long time.

By John Keegan
I'm now caught up with "Touch", and I still think that the show has a number of problems. It's nice, though, that they are trying to incorporate a larger story arc to the series. So far, they're being about as subtle as a brick to the face, but at least they seem to be trying.

By John Keegan and Paul Pearson

(Note: It has come to our attention that the Syfy version of this episode is significantly altered from the Canadian original cut. Reviews for “Lost Girl” have been, and will continue to be, based on the Canadian originals.)

The sophomore slump is officially averted as "Lost Girl" delivers the best episode of its second season and possibly the entire show. Every element gels, every actor is on top of their game and from beginning to end the episode is equal parts riveting and fun and not to be missed.

By John Keegan and Henry Tran

The show chooses to highlight the struggles between men and women in the face of change among other things. A tug-o-war is occurring everywhere you look, from inside SCDP to the New York suburbs and even in the presence of crucial clients needed for business to continue. All of the characters on this show can't handle change the way they should.

By John Keegan and Edmund Boys

Did you ever have a moment in your past when things got out of control, when you went a little too far? Many of us have, and, for most of this episode of “Person of Interest”, it looks like John Reese is careening towards his. Finch certainly makes that assumption, trying to keep Reese away from a case that hits a little too close to home. It makes for the most powerful melding of past and present to date, as the stories start to converge on the season finale.

By John Keegan and Gregg Wright

As expected, "Eureka" takes a step back and delivers the first experiment-gone-wrong-of-the-week (EGWOTW?) of the season. And alongside it, the episode mixes in a bit of light drama surrounding the Astraeus crew's difficulties with settling back into the real world, including the beginnings of Fargo's recovery from Holly's death. I can't remember if it's always been this way, but I like that the standard operating procedure for "Eureka" is to explore the characters' current mental states during the downtime from the myth-arc episodes. Even if it doesn't always work as well as it should, the intent behind the idea is greatly appreciated.

By John Keegan

For various reasons, I got behind on "Touch", but part of it was the simple fact that it has fallen very far towards the bottom of my priority list. The underlying "message" of this show is just a bit too facile for my liking, and I don't like it when writers modify real information or fake significance to prove a point. Especially when they know it's a point that many will accept without any level of critical thinking.

By John Keegan

After a string of solid episodes, I can't help but think that Jordan slipped back into some bad habits with this one. It wasn't terrible, by any means, but it felt a bit overwrought when events culminated in bloodshed. It's also possible that the shift in directors had something to do with it, but whatever it was, it was noticeable.

By John Keegan

This felt like a callback to the earliest episodes of the series, when the stories were more blatantly inspired by classic fairy tales. The "Cinderella" vibe was palpable from the very start, especially once the gorgeous Lucinda stepped into the room. Immediately the stakes were established: why wouldn't Arnold do anything to keep a lovely and frisky young woman like that happy?