I'll admit it: As soon as the credits rolled for "Meta Fiction," I hated it. I didn't hate it with the venom reserved for "Season Seven, Time for a Wedding," or "Taxi Driver," but I hated it.
"Tested" turned out to be one of those Glee episodes that actually manages to be funny and enlightening without being awful or preachy—even with the show's patented weird anti-sex core at the center of everything.
"Big News" ushered in a decidedly ensemble-driven remainder of the season and I'm really starting to feel like New Girl's gonna end on a high note.
In a way, "Endless Terror" fell short as a premiere, though I'll admit that it was mostly the knowledge of this being Warehouse 13's final season that raised my expectations so high.
With the temporary sorta conclusion to the Monster Baby storyline, Grimm has regained its momentum and then some.
"No Way Out" made some bold moves.
I jumped on the phone with the man behind tortured babe-magnet vampire Aidan Waite for an in-depth chat about the series' final days.
"Bash" was a surprisingly mediocre episode after a string of refreshingly good ones, falling into some of Glee's old exploitative-ish patterns of relegating actual big storylines to the back burner for the sake of RACHEL OMG RACHEL SO PERF.
What did you think of how it all ended?
This week, Mary Elizabeth Mastrantonio reprised her role as Nick’s mom to help slip Adalind and Monster Baby out of the Old Country, across the pond, and back to Portlandia so that Adalind could reclaim her place as HBIC.
Glee made its full-time move to the Big Apple this week, and Ohio's newest refugees are finding themselves in surprising places. The result is a show that suddenly feels exciting, fresh, and BIG.
"House Hunting," despite sagging a bit in the middle, brought it so hard, just the way the penultimate episode of a TV series ought to.
"Heartburn" was a surprisingly self-aware episode; its copious weeping felt sincere, and once Suits decided to go with the Pearson-Specter "family" angle, well, that explained a lot.