The Others: The Ones That Lie in Wait (1.7)

This was the episode that made me fall for this show. Before I even began re-watching the season, this was the episode that had stuck with me the longest, right down to specific scenes that gave me chills years ago. The Ones That Lie in Wait is an uncomfortable ghost story grounded in the simple conceit of a demonic presence stalking the Others one-by-one over the course of a stormy night. It features real character-driven horror as well as a remarkably sinister guest performance from Kristen Cloke, who creates one of the most effective antagonists I've ever seen in genre television.

The X-Files: Orison (7.7)

This is another episode about spiritual faith and the sometimes blurry distinction between good and evil. It marks the return of Donnie Pfaster, one of the squickier X-Files antagonists, and on that front the episode is fine if a little too familiar to entirely work. What makes Orison atypical to regular 'Scully gets terrorized' hours is the insight into spirituality and the acts men commit in response to what they believe is God's will. It's a theme present in Reverend Orison's mission to exterminate incarcerated felons, and it's also in the final coda with Scully. Both are presented powerfully, and raise the bar for what could have been a pretty mundane episode.

Charmed: Sand Francisco Dreamin' (5.14)

This feels like another retread, made even more glaring since the show did 'secret fears' just seven episodes ago. Sand Francisco Dreamin' has a strong premise, the idea of demons hunting down sandmen and the resulting anger created due to the absence of dreams, but it soon falls into familiar trappings: Charmed coasting once again, relying on increasingly stale conceits like sitcom power swaps and one-note demons instead of pursuing interesting new material.

Charmed: House Call (5.13)

You can understand why the writers wanted to do a bunch of comedy episodes after a run of heavy storytelling (for Charmed, anyway) with Cole's machinations and his eventual demise, but this is the point of the series where 'comedic' gets unfortunately confused with 'dumb'. House Call is a pretty terrible episode, the sisters acting insufferably annoying, the special effects worse than ever, and the guest stars perfecting the art of scenery-chewing. Kill me now.

Angel: The Thin Dead Line (2.14)

I always feel like zombies help raise the bar of the episode they're featured in, even episodes that people seem to violently dislike. The Thin Dead Line, for example, is considered one of the weaker season two stories, just like Dead Man's Party garnered almost universal criticism during Buffy's third year. Both episodes feature some awesomely well-choreographed zombie carnage towards the back end of the script, the main cast and a bunch of extras barricading themselves in-doors while the undead launch a full-blown attack. It's exciting and crazy fun. And unlike Dead Man's Party, I actually liked the principal 'bones' of this story. It has some interesting ideas and features strong use of the core cast, which is always great.

Buffy: Crush (5.14)

Spike has had some incredible character work this season. Here we see that he's not totally removed from the bumbling William of Fool for Love, still manipulated and frustrated by the women around him. You've got to feel for the guy. No matter how often he's proved his morality and nobleness, no matter his offer to kill Drusilla, he's still rejected. Spike is stuck in an obvious predicament. He's grown too much as a person to simply return to his blood-lust, while his relationship with Dru is too fractured by her leaving him and the fact that she's... evil. Then there's Buffy, somebody he obviously has a connection with, yet somebody who insists that nothing could ever come of it from her end. It's a really absorbing story, and you have to ask why Buffy is so angry and disgusted over Spike's feelings. She sure is protesting a lot...

Angel: Happy Anniversary (2.13)

There's a great moment towards the end of Happy Anniversary in which Lorne criticizes Angel for losing track of his mission, telling him that his recent decision to cut ties and embark on a road of vengeance is the type of thing reserved for lesser beings, not somebody as noble and heroic as he normally is. It's the strongest representation of what's occurred over the last couple of episodes, Angel for the first time stating his reasoning for firing his employees and attacking back at Wolfram & Hart. He hates those guys, his friends were getting in his way, and he's lost interest in pursuing redemption, considering it an impossible outcome.

Buffy: Blood Ties (5.13)

The forward momentum building from last week continues here, with the truth about the Key finally reaching the ears of the Scoobies and eventually Dawn herself. There are some strong components here, but too many acts of annoyance derailed my enjoyment of the episode as a whole. Crucially, the actress at the heart of the Key storyline just blows. Blood Ties is the debut of Michelle Trachtenberg's shrieky banshee acting ('get out... Get Out... Get Out!!!' is the audio equivalent of nails through my eyeballs), and while the material she's given here would obviously be challenging for any fourteen year-old actor, Trachtenberg bugs.