A bit of slowing for the holidays, but I'm up in the mid-170s, deep into the Phoenix storyline. One thing I meant to mention as I've watched the series develop quickly like this, is how the Robert Cobert music has finally "gelled" into what I was familiar with. Early on, the music cues seemed loose and sloppy, with them coming in too soon, or not at all, or way too late - even some "wrong" cues used here and there.
The series had a familiar usage pattern of these cues that was well in place for the Barnabas-forward episodes, and I wonder if we can give credit for the way the music was handled to the hiring of Sybil Weinberger. It seems that about the time Sybil Weinberger's name appears in the credits as the Music Supervisor is when thing began to improve dramatically.