Doctor Who: A Town Called Mercy

Doctor: 'Yes, I wear a Stetson now.'

If I'm honest, I was expecting Rory and Amy's final adventures to focus more on them, yet despite only having two episodes left, this story could quite easily done without them. That's not to say that it was a dud—it was a typically solid, dependable, Toby Whithouse effort—it just didn't have the shock factor of 'Asylum of the Daleks', or the fun of 'Dinosaurs on a Spaceship'. It did, however, have a horse called Susan.

Doctor Who: Dinosaurs on a Spaceship

Doctor: 'I know! Dinosaurs! On a spaceship.'

A decidedly kid-friendly episode, with something for everyone—providing your interest in Who isn't restricted to Moffat's more adult oriented, time twisting high jinks. This felt like Jurassic Park in space, with lots of running around, ineffectual camp robots, and more ham than the Hammer House of Horror wrapped in bacon. There was some nice foreshadowing regarding Amy's departure, too. Of course, now the Doctor and Rory are kissing buddies, we needn't worry too much about Rory being alone. And I dare say there'll always be a place for him around the Weasley table.

Doctor Who: Asylum of the Daleks

Oswin: 'Run, you clever boy. And remember.'

Well, there goes the fourth wall, and a big hello to television's best kept secret. You remember the horse manure they've been feeding us all summer about Jenna-Louise Coleman's debut being in the Christmas Special? Well it was all a big, beautiful, pepperpot shaped lie. Not only did she turn up within the first five minutes, she also managed to flirt with Rory, poke fun at the Doctor's chin, and then save the whole bally lot of them. Brilliant! Now, if I could fathom out how they're going to bring her back.

WIGS, Geek and Sundry, and the Show Which Must Not Be Named

In an era of changing viewing habits, economic cuts, and poor career opportunities for women actors (unless it's porn), it should come as no surprise that there's been a shift recently towards alternative methods of product delivery. As genre TV junkies, we're already familiar with webisodes. (Even if we're not really sure what to do with them, where they fit in, or even if there's any point to them.) What some are now attempting to do is probably the next logical step in that evolution: exclusive online content, created by top drawer writers/directors/producers/actors, available to view when and where you want.

Being Human: The War Child

Annie: “Hal isn’t a living thing.”

It’s official: Being Human has been renewed for a fifth season. Despite a slight dip in ratings (compared with season three), fans appear to have taken to the new line-up like a duck to l'orange. Season five will be a shorter season – six episodes instead of eight – but that may not be such a handicap. In the past, extra minutes have translated into filler. Thankfully, tonight's episode was mostly useful, and saw the departure of Annie, our last surviving original character. Can a show survive with none of its original cast members? If this season's proved anything (apart from disco's not dead), the answer is probably yes.

Being Human: Making History

Cutler: “Softly softly, massacre monkey.”

It seems strange that after six weeks of theorising over Cutler’s plans and motivations, it all comes down to Hal. Since 1950, he's been a malign influence in Cutler's life. (Despite being presumed dead for most of it.) In fact, this whole season’s been about Cutler trying to live up to his sire’s expectations. As well as conditional immortality, he wants historic immortality too. He wants statues erected in his honour. He wants Brazil. He wants the world to know that the defeat and mass conversion of humankind was all his idea. In short, he's disappeared up his own megalomaniacal arse -- and it's all Hal's fault.

Being Human: Puppy Love

Emrys: “When your time comes, remember: it might not be a good thing you have to do.”

Now there’s a tantalising piece of dialogue. Whether we’re supposed to interpret it as a piece of general advice, or as a portent of things to come, I’m not altogether sure. Annie offing Kirby two weeks ago does seem to have changed her attitude towards killing. But didn’t Annie get rid of her unfinished business when she solved her own death back in season one? I was under the impression her continued existence on earth was more to do with free choice than it was her being stuck here. I hope this isn't a hint Annie will be leaving the show at the end of the season.

Being Human: Hold the Front Page

Adam: “We’re both trapped. We should be trapped together.”

This felt like the episode where Being Human finally reclaimed its mojo. The first half of the season has been guilty of pushing the tomfoolery way beyond what is acceptable. Tonight the humour was played to perfection. Tom Grieves did a splendid job of adding some much needed depth to Adam’s previously one-dimensional character. In fact, by the end of the episode, I actually found myself liking him. And then being disgusted by him. And then liking him again. Add an unlikely love story, a new supernatural, and some great character development, and this was my favourite episode of the season so far.

Being Human: A Spectre Calls

Kirby: "Evil is like travelling first class. Try it once and you can never go back."

The frustrating thing about Being Human is that no matter how good an episode is, there always seems to be something to complain about. I mostly tend to overlook its minor shortcomings. Life's too short to go mental over every detail. But tonight, some of the weaknesses (or what I perceived to be weaknesses) impacted directly on both the tension and plausibility of the narrative, and as a result, partially undermined what was probably the show's weirdest, most disturbing story to date. They didn't kill it entirely, but they certainly didn't do it any favours.

Being Human: The Graveyard Shift

Tom: “I don’t think we need this any more. I’ve got your back, mate.”

Despite offering up a few morsels of main arc development, tonight’s story took a break from the ongoing War Child saga, and focused on the private lives of our supernatural trio. Being Human's always been about the small things, so it's no surprise Jamie Mathieson managed to find some great character moments in the minutiae. Finally, Honolulu Heights is starting to feel like home again. The gang even have a new TV show to obsess over. It may not be The Real Hustle, but it's a start.

Being Human: Being Human 1955

Pearl: “Over fifty five years and I’ve never had to change my line-up.”

If last week’s episode felt like a season finale, then "Being Human 1955" felt like a season première. It introduced us to Leo, Pearl and Hal; established a strong group dynamic; explained interpersonal dependencies -- then sent two of them packing to the afterlife. Despite Leo and Pearl being relative newcomers, their deaths were surprisingly affecting; as was Hal’s almost defection to the dark side. I guess his self control isn’t as strong as we thought. With Leo and Pearl gone, will Hal be able to put the mask back on? Or does Honolulu Heights have a new loose cannon on its hands?

Being Human: Eve of the War

Woman: "I'm going to save the world. I'm going to kill that baby."

I’m not sure how I feel about tonight’s episode. On first watch, I hated it. Second time through, I actually quite liked it. Following last year's finale was always going to be a challenge. Season three was to Being Human what "Children of Earth" was to Torchwood. Mitchell's death was always going to leave a void, but to give Toby Whithouse his due, he threw virtually everything at this episode to fill it. He gave us a vampire apocalypse, supernaturals galore, glimpses of a dystopian future, and a mysterious war child prophecy written on nipply parchment. On the downside, he gave Arthur Weasley a job, killed off half the cast, and replaced them with suspiciously familiar surrogates.

Sherlock: The Reichenbach Fall

Moriarty: “Every fairytale needs a good old fashioned villain.”

After 'The Blind Banker' and 'The Curse of the Black Spot', I was less than optimistic about Steve Thompson's chances of scripting a gripping finale. Yet as soon as I saw Watson struggling to cope with his grief in that psychiatrist's chair, I knew that I was going to love this episode. Not only did Thompson create an intriguing and ultimately compelling season conclusion, he also managed to achieve the impossible—he made me love Moriarty. Which is some achievement considering the frosty reception I gave him last season.