By John Keegan

By the time this episode was over, I was completely befuddled. Not by the plot; that was simple enough that Jordan had plenty to opportunity to focus on the more important element of character development. Not by the complete rewrite of history; the show had long since deviated from the historical record, so why not take it even further? No, the real confusion was why this episode was so much better than almost anything “The Borgias” has done to date.

By John Keegan and Henry Tran

I think the fact that this episode had four credited writers kept it from being very focused. There is a lot going on here and the show felt the need to check in on all of it. The central theme is something that has been explored on this show a lot: Lawyers are corporate and evil and bloodthirsty. It takes a judge going off the bench to get defended against prosecutorial misconduct to see that. It's really nothing new.

By John Keegan

Considering the fact that I was ready to give this show up for good, I was surprised to see that this episode might have actually delivered a legitimate game-changer. Unfortunately, this is where the reputation of the showrunner can be a distinct disadvantage: having seen Tim Kring fail utterly at long-form storytelling with “Heroes”, is there reason to trust him to do better this time?

By John Keegan and Gregg Wright

The war rages on, as we so clearly see in the opening scene of the episode. It's understandable that "Game of Thrones" tends to cut away during the actual battles, given the budgetary constraints of the medium. "Thrones" has typically done a pretty satisfactory job of working around these constraints, to the point that I don't even feel bothered when I don't get a full-blown battle sequence. The battles aren't really where the most important story developments occur, anyway (though I'll admit that I wouldn't mind seeing at least one actual on-screen battle at some point during the season). More important than the battle is the chance meeting between Robb Stark and a rather attractive battlefield nurse the next morning.

By John Keegan and Paul Pearson

The funny thing about disappointment is that it only has the most tangential relationship with whatever it is people are actually disappointed in. The follow-up to this season's strong premiere drops the ball in terms of delivering on some of the most interesting plot threads introduced in "Something Wicked This Fae Comes", and it can very easily colour the episode in a negative light, but on the whole "I Fought the Fae (And the Fae Won)" delivers a very strong A-story and introduces some cool new characters that can be overshadowed by the smaller beats of disappointment.

By John Keegan and Henry Tran

From one episode to another, things on this show are never what they appear to be. They change so often, it could be seen as a whiplash effect on the show's plotlines. Thankfully, the show is so layered and the characters so rich that it can compensate for anything that could be considered strange.

By John Keegan

The deepening of the “Grimm” mythos continues with this episode, as the writers really start pulling the threads together. I think we received more background on the Grimms and the organization of the Wesen culture than we’ve seen all season, and it goes a long way towards explaining why Nick is seen as something of a maverick among his people.

By John Keegan

With only a handful of episodes left to resolve the Leviathan problem, as one would assume they plan to do, it’s hard not to feel like they took a bit more time than necessary to delve into Bobby’s spectral status. Sure, it clarified quite a bit when it comes to how ghosts are supposed to work within the “Supernatural” mythos, but other than delivering a tale that harkens back to the olden days of the series, I’m not sure what it accomplished.