By John Keegan and Henry T.

Pete Campbell has everything anyone could ever ask for. A successful job, a doting wife, a child, a house in the suburbs. So why is he looking for more instead of accepting how good he really has it? It probably has something to do with his stunted growth and adaptation to his adult personality. He is, in essence, a spoiled rotten child in an adult body.

By John Keegan and Henry Tran

One of the things I really dislike about seasonal television is the tendency to employ the "Reset Button Plot." Season premieres are the most prominent offenders of this. Returning the plot to the current status quo and essentially rendering the events that occurred in the episode moot can make it so that the viewer stops investing in what happens to the characters, plots, the very heart of the show itself.

By John Keegan and Gregg Wright

This ought to be the first episode of the second-to-last season of "Eureka", preceding a final six-episode season. But as most "Eureka" fans know, this was not to be. The impression I got was that the fifth season was virtually all "in the can" when the cancellation news hit, so there was a very real danger that "Eureka" would end without a real ending. Only one additional episode was produced to make up for this. It's a paltry victory, but it's better than no ending at all.

By John Keegan and Henry Tran

The whole of this episode did not quite gel as I would have normally expected from this show. I think it's that everyone waited until near the end of this season to decide on the direction of Peter's gubernatorial race. The show hasn't spent a lot of time building to the decision made at the end of the episode so while I found it interesting to see where it goes, there's something of a hollow feeling behind it.

By John Keegan and Paul Pearson

"Lost Girl" returns for its second season and slips back into its groove like no time has passed. And that's a good thing: too many shows return for their second season (or just a new season in general) and it feels as though they've lost momentum, like people are dragging their feet. The best premieres carefully tread the line of throwing audiences right back into the action and adjusting to some kind of new status quo, and "Something Wicked This Fae Comes" really nails it.

By John Keegan

After a bit of a lackluster start, which honestly felt like Neil Jordan trying too hard to get the ball rolling again, “The Borgias” bounces back with a strong follow-up to events from the first season. While Lucretia continues to be the weakest link of the show, Juan Borgia finally comes into his own.

By John Keegan and Gregg Wright

Apart from the ending, this is still a relatively low-key episode. Much of what we've seen so far has been the forebodings for the massive conflict that is soon to ensue in Westeros. War is here already, but the scope of the conflict expands with every episode, as one new player after another is introduced. And seemingly all of them want the Iron Throne for themselves, except for Robb Stark. His fight is one of vengeance and independence, which currently makes him the easiest one to root for, at least in my opinion. However, I'm sure that viewers all have their own favorite team. The pre-season marketing blitz cleverly capitalized on this team-based division of the characters, so I'm sure plenty of interesting viewer data resulted from that.

By John Keegan

As the season drives towards the season finale, the writers are definitely trying to improve on their game. While one of the core criticisms of the show is still left unresolved at the end of the episode, other factors balance that out and more, so the overall impression is that the show might finally be finding a solid direction.