By John Keegan

"True Blood" has suffered a bit in the past couple seasons, even if the fourth season was a step in the right direction. The third season was all over the map, notoriously ending with little or no resolution to any of its plot and character threads. The fourth season was more abrupt, promising some massive changes to the status quo. Of course, with Alan Ball still in charge (for now), the usual spinning of wheels is hardly avoided.

By John Keegan and Gregg Wright

It took a while, but "Eureka" seems to be finally giving us an indication of what the overall season (or half-season) direction will be. What I'm discovering now is that I underestimated the actual importance of the whole "Matrix" situation. It's leading me to think that the writers were more clever than I'd thought, and had an intriguing story arc in place from the start. My first reaction to the Matrix situation was that it didn't matter at all, because it was just some arbitrary simulation of what some program believed was a believable future version of "Eureka". But I was wrong.

By John Keegan

Mostly an episode devoted to setting up the events to come in the finale, this installment explores the fallout from the debacle at Forli and Lucrezia's attempt to capitalize on her seductive talents. Both plot threads lead to strife between brothers that will hardly come to a good end.

By John Keegan and Henry Tran

There was bound to be consequences to Lane Pryce's choice to embezzle funds from the company several episodes ago. Due to his lone status as the money man as well as a foreigner seemingly lost in a country that has never fully accepted him, Lane resorts to the most horrifying and final choice left to him. His fellow co-workers are now forced to deal with his shocking suicide head-on instead of sweeping events aside like they've been doing for much of the season.

By John Keegan and Gregg Wright

This was definitely this season's most difficult episode to review. "Blackwater" was a break from the norm, in that it told a more self-contained story and worked as a climactic season finale. "Valar Morghulis" is, in most respects, a return to the norm. Some developments feel like major turning points and undoubtedly well-suited for a season finale (and we'll discuss that more later), but like most episodes of "Game of Thrones", it feels like just one small piece of a much larger story. It's a lot harder to gauge my personal reaction to something like that.

By John Keegan and Paul Pearson

For the first time this season, "Lost Girl" has managed to deliver two solid episodes in a row. It's not a one-two knockout like most of the other quality episodes of season two, but all the pieces are in play and working well to deliver the kind of fun, character-driven storytelling one hopes to find on any given instalment of the show.

By John Keegan

"Touch" has always been a show with potential. It could have been something very interesting. Instead, it quickly became apparent that Tim Kring was using this show to promote a lazy brand of spiritualism that predicates itself on the human tendency to find patterns in the noise. All too often, the writers force connections to imply that there is a grander scheme of things, and it shows. This season finale is no different.