Good catches, both of you!

There was the one musical cue in the first few minutes, but that split second was a mark of great restraint, I agree.

And because it was too long to fit into the review, the full lyrics of "Bomb Song" by Reggie Watts (feat. Tears for Fears):

Yes! And here's her rant, which is delicious and almost but not quite nonsensical: "Look before you! Listen! Listen! Listen! The thunder of fallen men, great men, our fathers forfeiting their world, their legacy, not for their sons, for their wives, for their mothers, for their daughters. And when disappearing men die…

the Hebrew form of Joshua, Yehoshua, is a variant of Yeshua, the Hebrew form of Jesus

Obviously Ramse has had more pressing things to do than read Carol Dweck's research on mindset

Agreed! And there's also character potential in a grieving father who's perfectly happy to seduce (or be seduced by) a woman who looks so much like his dead daughter that even his boss notices it. But so far, Dig isn't (sorrynotsorry) digging into these acts and traits as the complexities they are.

In both versions of the pilot provided to me by USA, Emma Wilson is found dead the morning after Peter spends the night wandering Jerusalem with her, having been killed after they leave the archaeological site and part ways, giving them a chance to be captured on CCTV together. If the broadcast version tells a…

I agree that's the only possible interpretation, and the show uses misdirection rather than outright cheating, but it feels like a cheap move for a show that's been so deft about conveying even the trickier aspects of time travel so far.

The absurd thing is, that top photo is an official promotional image; in the episode itself, I didn't notice any frames where the anachronistic lights are remotely that obvious.

The silly part is that I knew it was just a image shown during the briefing. It wasn't until well after my last viewing of the episode (which I watched more than once for the review), while pondering the possible consequences of timeline corruption and varying sources for the virus, that my memory failed me.

If you're in the U.S., you should be able to see it on PBS until the 15th at this link. You can also register (it's free) for higher quality video streaming.

Right, good point! For a second there, my brain unconsciously confused the PowerPoint image of the now-destroyed vault corpse with a second, independently obtained corpse.

In "The Night Room," The Pallid Man (Noonan) describes the corpse from Markridge's vault as being centuries old… but that corpse was destroyed in the big burn, and I assume this is a different one. (They could still both have been Cole's corpses from different timelines.)

Not even kidding: next time a server at a party offers me "a" skewer of something, I'm going to have a hard time not sweeping them all up in a big bouquet.

The show is inspired by the film, but not following the same plotline. Even the characters are substantially different. I outlined some of the initial differences in my review of the first episode, if you want to check them out. At this point, I think it's safe to say that watching the film wouldn't ruin the series…

That would make me so, so happy.

To be fair, the one time Cole really tried to make plans, crouched behind that car with Aaron, it went so spectacularly badly—Aaron set off the car alarm, then shot him!—that I laughed out loud and started sympathizing with his fly-by-the-seat-of-his-pants mentality.

No question: It's a tattoo of a monkey encircled in its own exaggerated tail.

What if Isis, that loving and faithful creature, pushed Green into the street? She knew her best days were behind her, and she wanted to do the most possible good with the life she had left. WHAT A GOOD DOGGIE! GOOD GIRL!