By John Keegan
Talk about bad timing. Sally’s possession by her own Reaper persona takes place at the worst possible time, as Josh is about to turn during the full moon and Aidan needs a fix of human blood. For Sally’s part, she has fallen into that beloved trope of an internal fantasy world, as the Reaper personality seeks to keep her Sally personality happy and distracted.
Talk about bad timing. Sally’s possession by her own Reaper persona takes place at the worst possible time, as Josh is about to turn during the full moon and Aidan needs a fix of human blood. For Sally’s part, she has fallen into that beloved trope of an internal fantasy world, as the Reaper personality seeks to keep her Sally personality happy and distracted.
The formula of "Lost Girl" is starting to show the tell-tale signs of wear and tear around the edges, in that way most shows do by the time they hit double digits. Nonetheless, the writers are still good at breathing life into things and there's plenty of character and mythology ground to be covered, as "The Mourning After" demonstrates aptly by following up on the most intriguing threads of previous stories.
If not for the emotional components that hooked viewers, this latest episode of "Awake" would be a little ordinary. I mean, I understand giving a backstory for Michael to connect to Rex's abduction, but the resolution is too obvious. If you didn't see that it was his former partner who was behind everything, then you haven't been watching many police procedurals over the years.
Tonight Syfy will air episode 1.10 of Lost Girl, "The Mourning After," where fans will be introduced to the character of Saskia, played by Inga Cadranel, who has a unique connection to Bo. 
With Dean still not sure where his mind is at, and Sam dealing with a very chatty and empowered Lucifer in his head, I suppose that it was the perfect time to revisit the Leviathans and Dick Roman’s plans for the human race. And sure enough, it’s more than just an excuse to find new and hilarious ways to toss out Dick jokes.
“Spartacus” is usually that kind of series that delivers unexpected reversals of fortune, to the point where it becomes almost impossible to imagine that much of an episode would be devoted to a plot device that is so overused as to be laughable. So it’s surprising that the writers would go with something like a “Trojan Horse” scenario, even if they did try to frame it in a way that illuminates Glaber’s character.
"The Hunter's Heart" is a fairly good representation of "Merlin's" typical approach to blending an episodic story with the needs of an over-arching story, with the larger story taking a slightly heavier priority in this season than in any previous one. Most of the time, I've felt that the episodic storytelling detracts from the show's attempts to tell a serialized story, and that the connection between the two story layers was disappointingly thin. But at least in this case, the merger of the two stories feels relatively organic.
I love that this show's plot is so versatile that it will highlight certain characters in one episode, yet that doesn't take away from other characters. Here, Limehouse and Boyd get the spotlight. That doesn't mean Quarles is forgotten. Quarles is now Raylan's primary concern.
Apparently, Siobhan's goal now is to get Andrew to kill her sister and then she can go to the police or the SEC to expose his business Ponzi scheme, make sure he's in prison, then run off to happiness with Henry. At least, I think that's what her plan is. It changes on the fly so often and is dependent on a lot of contrivances to move from point to point.