Ringer: That's What You Get for Trying to Kill Me (1.10)

Regular readers will probably be aware that I've had a complicated relationship with Ringer. There were times when I've thought it was genuinely absorbing and fun, then there were other times when I got entirely bored by the damn show. But as Ringer wraps up the first half of its season, I'm left with that general feeling that it's not exactly terrible. I don't think Ringer will ever be high art, and I don't even think the show is going to hit that stride of soapy awesomeness I really wish it would pursue but, for what it is, the show is fine. There were parts of this episode that really frustrated me, but it had a drive to it that I found weirdly entertaining.

Charmed: The Eyes Have It (5.6)

The Eyes Have It is an interesting exploration into a different culture, along the lines of Dead Man Dating in season one. I'm not sure if the gypsy stuff here is consistent with reality, but I always liked the depiction of other kinds of medicine and folklore on this show, and there were some great moments here like Aunt Lydia showing the sisters the magic of her culture. The story itself was also a lot of fun, with an interesting demonic conceit and strong performances from the genre vet guest stars, including Tobin Bell and Emmanuelle Vaugier.

Charmed: Witches in Tights (5.5)

This is one of those episodes that probably should have been a lot better than it actually was. It's the Charmed Ones as superheroes! Yay-ness, right? There are a couple of cool moments with the sisters dolled up in their multi-colored leather ensembles, but in the end the hour flatlines, full of a multitude of annoying subplots, ridiculous plotting and bad acting. In the A-plot, Kevin's powers are wildly inconsistent, and Arnon was pretty weak as a bad guy considering the genre vet playing him. Fun costumes though, and for seemingly the first time ever it was Phoebe who actually looked the best.

Angel: Guise Will Be Guise (2.6)

It feels a little jarring to be thrown into a comedy episode right in the middle of a dark and dramatic Darla arc, but Guise Will Be Guise still exists as a strong, tightly scripted comedic detour. At the same time, Jane Espenson showcases her knack for making character-driven comedy by giving Wesley some additional depth and strength. He's still a lot of fun, but already his wacky season one persona feels like a million years ago. The episode allows him to evolve from bumbling comic relief to a real hero, saving the day and getting the girl. It took literally becoming somebody else to allow Wesley to discover the confidence and strength of a hero.

Buffy: Family (5.6)

This episode raises an interesting point about Tara. For all the time that she's been around, she's pretty much been depicted as three things: a witch, a lesbian, and kind of insecure. We don't know a whole lot about her as a person, and it's a feeling that both Buffy and Xander discuss when thinking over potential birthday gifts. She's a nice gal, but there's not a whole lot 'there'. Step in Mr. Whedon, who crafts an intriguing backstory for her that goes some way in explaining why she's so awkward and nervous in public.

Angel: Dear Boy (2.5)

Darla is bringing out the spectacular in Angel's writing team. One of the major themes this year seems to be Angel's conscience, and how it can alter and change. During one of their many fascinating conversations here, Darla insists that his 'true' self is itching to get out, and how his natural instincts are just being restricted by his silly little soul. At the same time, Angel's obsession with Darla has been affecting his mindset. He's far more reckless and aggressive when he's around her, not so concerned about doing the right thing or upsetting the apple-cart in his pursuit of her. It's an interesting idea to play around with, getting to the root of Angel as a character.

Buffy: No Place Like Home (5.5)

Watching season five again, I'm surprised at how similar the Dawn concept is to last season's Superstar. Both stories involve things happening that we as an audience know just aren't right. Things have changed, and yet nobody is acknowledging it. It's like an elaborate joke played on the viewer, sitting there waiting for somebody to stand up and ask 'huh?' The revelations about Dawn's true identity are played really well, with the gorgeous vision-quest scene with her presence fading in and out, and later the terrifying-then-quickly-tender monologue where the monk explains what has happened.

The Others: Luciferous (1.2)

Settling into episode two, one of the key attractions that already leaps out at you is how still and silent this show is. The Others is built around atmosphere, and it's usually achieved through slow-paced steady cam, lingering still shots and just a faint scattering of a music score. It's even evident in scenes that aren't filled with foreboding and supernatural phenomena, like the brief scene with Mark at the hospital. It's an emergency room with a dying kid on a gurney, but it's still dark and moody and filled with quiet intensity. It creates something radical and distinctive compared to other series around, but probably sealed the show's fate in the long run, audiences too quick to change the channel and ignore something low-key and atmospheric.