By John Keegan
 Various events and relationships are coming to a head in this episode, and darkness is creeping into each and every character’s life. It’s the preamble to the season finale, and there’s nothing better than seeing how assumptions and arrogance mix to make a touchy situation so much worse. Oliver is about to find out that ending the mission is not nearly as simple as he thinks.
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By John Keegan and Edmund Boys
It is a rare and wonderful thing when just seeing the cast list ramps up the excitement for an episode. For Person of Interest, it’s a testament to two seasons of world- and character-building, now coming to a head. The previews had already headlined Shaw and Root’s returns, but discovering Nathan and Grace were (flashing) back, with Greer, Terney and the Special Counsel lurking as well, upped the ante to dizzying levels. After the more introspective meditation on responsibility and retribution of the previous episode, this one careens through a story that tells us so much about The Machine and the Irrevelants, just as we might be losing both.
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By John Keegan
When it comes to brutality against its main characters, Supernatural ranks up there at the top of the list. This episode delivers blow after blow, and if there was any doubt that the demon/angel tablet plot arc is driving to a conclusion, it should be resolved at this stage. I don’t want to see them go to the usual well and have Sam die, but at the same time, I’m not sure that it would be less than a mercy killing.
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By John Keegan
Kicking things up a notch as the season arc rushes towards its conclusion, Arrow delivers resolution for a number of lingering mysteries while eschewing flashbacks to the island for flashbacks to the days leading up to the fateful voyage that led to Robert Queen’s death and Oliver’s experience on Purgatory. It’s effectively the origin of “The Undertaking”, and while there are few surprises regarding those origins, it still manages to whet the appetite for the main event.
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By John Keegan
The late-season slump curse for Grimm continues. While the drop in overall quality and momentum isn’t nearly as severe as it was for the first season, there seems to be a distinct lack of progression here at the end. The awkward manner in which the mythology elements were crammed into this episode shocks me, when there was plenty of opportunity to replace the surprisingly boring Wesen situation with something of more importance.
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By John Keegan and Gregg Wright
If there’s one theme in Game of Thrones that has been more prominent than any other, it is the question of what happens when “honor” is pitted against, well… reality. Is it some ideal that should be held to no matter what the cost, as the Starks tend to believe? Or does it crumble under the weight of pragmatism? “Kissed by Fire” seems to bring all of this very much to the forefront again, and throws in some very interesting new character dynamics as well.
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By John Keegan and Henry Tran
A viewer comes into a season finale with certain expectations depending on the show. Most often, finales give closure to the myriad of storylines and maybe set up one or two storylines as a cliffhanger for next season. The Good Wife is not short on storylines that need to wrap up. The main one in the finale being Peter winning the battle for the governorship against Mike Kresteva. The legal case that occupies much of the episode’s time is devoted to voting patterns for the gubernatorial race. Stewing in the background are primarily Cary ramping up efforts to start his own firm and the lingering romantic sparks between Will and Alicia. Surprisingly, the season finale chooses not to close any of these storylines. Instead, there is a great deal of time spent setting up the pieces on the chessboard for next season.
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By John Keegan
It’s been a while since Warehouse 13 was on the air, and it’s absence has been keenly felt. The first half of the fourth season explored the ramifications of Artie decision to use the astrolabe in the third season finale, and it all culminated in Evil Artie unleashing a plague on the world and Claudia stabbing him in the heart with an artifact to excise the “Brother Adrian” personality from him.
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By John Keegan and Henry Tran
 This episode was just a little off-kilter. There was something about it that I couldn’t readily identify. The show is set as a legal procedural so much so that one becomes used to certain patterns and a rhythm within a particular episode. For much of this one, that rhythm feels disrupted. Personally, I think it’s the prospect of losing a case. The firm has been winning for so long that they fear losing. They can’t handle it, at least not without some outside help.
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By John Keegan and Henry Tran
 In an ideal world, everyone in life would strive to find the right balance between their personal and professional lives. Be happy at work and come home to a loving family. The “American Dream”, as it were. That’s the goal for everyone here. Unfortunately, there are a lot of obstacles that stand in the way of that goal. Whether it be pleasing or cajoling clients one at a time, or an extramarital affair, there are costs to the decisions being made here. Don has made the decision to cheat on his wife before. It hasn’t happened with Megan in multiple instances like with Betty, but this affair with Sylvia has hit closer to home than previous ones.
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