By John Keegan
The resolution phase of the season arc kicks into gear as several moments of transition arrive in Bon Temps and the rest of the world of "True Blood". At the end, though, there's just as much lack of direction in evidence as there has been all season (and since the start of the third, for that matter). I'm still left wanting more out of the potential that still remains in the main storyline.

By John Keegan

This season of "Covert Affairs" started with a shift in perspective and approach that provided some hope that the producers and writers had seen the weaknesses within the show and were dedicated to making substantial, necessary changes. And there were plenty of hints within the first three episodes that this was a long-term strategy. So why does it feel like this episode is one big excuse to hit the reset button?

By John Keegan and Paul Pearson

"School's Out" has all the hallmarks of a typical case-of-the-week episode. There are some undercover shenanigans, red herrings and blatant allegories, and were it not for a very humorous, light-hearted approach to the material this episode would've dropped into the lower percentile of average like a wet stone. As is, it winds up being the good kind of typical "Lost Girl" fare, which is welcome in a very inconsistent season.

By John Keegan and Edmund Boys

Leading up to the latest “Newsroom”, a couple of factors had conspired to lead me to the conclusion I should give the show a bit of a break. Aaron Sorkin went on NPR’s Fresh Air and openly admitted it was a fantasy, an “aspirational” show about how he wished the news was presented. Then, during our podcast discussion, I was reminded of something I’d commented on in the pilot. We’re watching this story from its raw beginnings, with a group of deeply flawed characters who will (presumably) grow into the surreal, hyper-intelligent competence we expect in a Sorkin cast. So, I was prepared to ease up on my kvetching about unreal office politics and give the characters some time and space to develop.

By John Keegan and Gregg Wright

It's fitting, perhaps, that Sara Ellis would make her return to the show just when Neal is sent undercover to woo a beautiful heiress. The episode doesn't really milk the tension of this situation, but I found that more refreshing than disappointing. Sara remains extremely professional about the whole situation. And though Neal does confront Sara about what little tension does seem to have arisen between them, Sara is quick to explain that it's not Neal's fault. She has a personal reason for being bothered about Neal's departure.