By John Keegan and Henry Tran

Three episodes in, and I still think the show is trying to find itself. It's still in the process of world building so we have to give it time. In the meantime, character development should come to the forefront. I just don't think it's happening that much across the entire cast. Episode by episode, one character stands out as a favorite, and while Captain Neville took that title in the first two episodes, "No Quarter" made Miles more than the cynical, disillusioned swordfighter. That was in part due to the curious decision to sideline Captain Neville in his little subplot.

By John Keegan

The entire arc of the season has been leading to this episode, and it certainly manages to deliver on its promises. Evil Artie is just as nasty as one would expect. He has the full knowledge of the Warehouse at his disposal, and a thirst for death and destruction. And the worst part of all is the realization, early in the episode, that this is not a matter of possession; it’s just that the astrolabe brought all of the things already inside of Artie to the surface.

By John Keegan

After the past two episodes, with their soul-crushing final moments, it’s not surprising that the writers would need to take a step back, as the season arc pivots on this moment of transition between complication and resolution. Dani’s death proves to be a pivotal moment for many of the characters, as they deal with the reality of mortality in their own specific ways.

By John Keegan

The third season of “Haven” arrived with a head-scratcher of a premiere, so it makes sense that the writers would use the follow-up episode as an opportunity to take a step back and contemplate the new status quo. Naturally, the best way to do that is with a pack of humanized dogs with a hefty appetite, and the arrival of a lovely therapist.

By John Keegan and Gregg Wright

It may come as no surprise to hear this, but storytelling is an art of deception. The aim of good storytelling is to sell the viewer on the believable nature of unfolding events, and also to ensnare the viewer on an emotional and intellectual level. Of course, behind the scenes, stories are planned. The extent of that planning varies, depending on the storyteller. But generally speaking, the better the planning, the better the story. But this is also where you run the risk of problems.

By John Keegan and Henry Tran

There is a striking amount of familiar material with this season premiere of "The Good Wife". I feel like I've seen these storylines on the show before. It's almost as if the writers were checking off a list in order: The firm is having money problems because the firm always has some kind of money problem. Peter is in a race for governor that's heating up with every passing day. Kalinda has to deal with associates of her psycho ex-husband. Topping it off is one of Alicia's kids running into hot water once again.

By John Keegan and Edmund Boys

“Person of Interest” returns from its triumphant freshman season with some urgent business still at hand, Root’s abduction of Finch. But, first, we need to spend some time getting to know the newest cast member, freshly promoted from its behind-the-scenes supporting role, the Machine itself. Using the show’s signature blend of flashbacks and present-day procedural, it soon becomes clear that Finch has indeed created the first artificial intelligence. It is equally clear that, at best, it has reached the stage of petulant adolescent. Given that still malleable state, the implications of what might happen if Root does liberate it are truly chilling.

By John Keegan

Only time will tell if the gambit of airing four episodes as a “preview”, then waiting almost a month to resume, will help or harm the ratings. The numbers for those first few episodes were relatively good for a returning series, and I’m sure that the increase in quality overall will help matters. But I have never been a fan of pulling a show off the air, especially when it’s important to build momentum.

By John Keegan

To say that this episode moves quickly is an understatement. Launching directly out of the end of “Letters of Transit”, the writers are clearly intent on telling an intricate and detailed final tale in the “Fringe” universe. Few shows are this ambitious, and it speaks to the dedication of everyone involved in the production of the show that this leap to the future actually works well as the final chapter to the narrative.