By John Keegan and Gregg Wright

I hadn't really realized until just this episode how much of a chore it's become for me to watch "The Walking Dead". Anymore, my appreciation of the show seems to be more a matter of begrudging respect than actual enjoyment. I tried to ask myself why this was, but the answers didn't come easily. What next came to mind was the realization that this has been the case for much longer than I would previously have been able to admit. "The Walking Dead" has coasted for a long time the sheer novelty of being a well-produced TV zombie saga. But does that mean that "The Walking Dead" is bad?

By John Keegan

On the heels of the previous episode’s fiery and bloody massacre, marking the apparent mid-point of the season thus far, it makes sense to take a step back and explore the depths of the fallout. In the process, the writers remind us of the cardinal rule of the “Spartacus” franchise: underneath all the sex and violence, the strength of the series is the character development.

By John Keegan

Those familiar with the game know that new television series, especially those for traditional broadcast networks, are generally given an initial 13-episode order. Based on the strength of those initial episodes (primarily in the ratings, if we want to be honest), the network can then pick up an option for the “back nine”. While “Grimm” received that honor earlier in the season, it’s pretty clear that the producers didn’t do much to adjust the original plans for the initial order.

By John Keegan and Henry Tran

It's easy to like "Awake" for its intriguing premise: Detective Michael Britten (Jason Issacs) is experiencing two different realities following a car accident. In one, his wife survived the accident, but his son did not. In the other, the reverse is true. Such a complicated overall plot could invite confusion from the audience. Judging from the pilot, that isn't a problem.

By John Keegan and Gregg Wright

One of the more well-known elements of Arthurian legend is the forbidden romance between Sir Lancelot and Guinevere. Given the generally family-friendly nature of "Merlin", this story isn't something I ever expected to appear in the show. But "Merlin" continues to surprise me, from time to time, with its unexpected forays into more mature subject matter. Still, I was a little apprehensive about how well they could handle this storyline and make it work.

By John Keegan and Henry Tran

This is just more preparation for the coming war that's about to befall the characters on this show. More threats are doled out, pieces get moved into place, and some information gets clarified.

By John Keegan and Henry Tran

This show has settled into a particular pattern that strangely discards what makes for a compelling mystery in lieu of throwing out a bunch of twists that make little sense. This has been a consistent problem throughout the bulk of the season so I don't want to sound like I'm repeating myself. Both the plot and characters are completely lifeless, so it's hard to care about what happens in an episode. In fact, the episode caps off with a reveal that completely changes a core facet about a main character. It's jarring, and it put into question who I should even root for now to succeed on this show.

By John Keegan and Gregg Wright

As the final episode of season 3 begins, a question clearly comes to mind. Will Neal's sentence be commuted? Or will Neal be stuck with the anklet for another two years? It all seems pretty clear cut. Even with Kramer involved. Agent Kramer doesn't trust Neal, so presumably, he wants things to stay exactly as they are. The stakes don't seem particularly high. Either Neal sticks around and solves cases with Peter, or he sticks around and solves cases with Peter while wearing an anklet. Still, the season and mid-season finales pretty much always impress on "White Collar", so my expectations were fairly high.

By John Keegan and J.M. Graham

"The River" has been one of the more confounding viewing experiences so far this season. Despite some pretty subpar writing, mediocre acting and a dubious central conceit, it has somehow managed to be very entertaining and watchable. One might even say that the show has a certain magic to it, if one wanted to pluck the low hanging fruit. So on the heels of a decent episode that brought up some concerns about the urgency around the search for Emmet but still suffered from all of the foundational issues plaguing "The River", viewers are suddenly and without warning treated to an absolute knockout of an episode that for an hour manages to get almost everything right.

By John Keegan and Edmund Boys

After shaking things up for a few episodes, “Person of Interest” was taking it easy this episode. Its players moved around the chess board, lulling observers with a pleasing, if conventional, mid-game. But then, the minor pieces move aside, and, like a discovered check, expose the attack of a much more powerful player. It was another 'Gotcha' moment, and one of Grand Master proportions.