Sounds like quite the grueling process.

I agree with that sentiment. I'd be interested to see how the show could be adapted to a colder, possibly sub-zero climate (somewhere in British Columbia or Alaska, perhaps?). It would present a completely different set of challenges to the contestants, playing up the importance of fire for warmth and requiring them…

So many great shots in this episode. The slow reveal of Mike's beat up face in the opening scene. The live-action chiaroscuro effect achieved on Mike when he settles up with Nacho at the end of the episode (one half of his face obscured in shadow, the other half lit by moonlight and beaten to a pulp). The closing shot…

Wouldn't it be more of a lurchtrack?

I think the end of this episode would have been a lot more affecting if it had come as the payoff to a stronger character arc for Heatwave. As it is, it feels as though the writers decided they needed to raise the stakes by having Heatwave turn against the rest of the team and have his long-time partner in crime take…

At the very least, you'd think there would be some kind of camera feed from inside the shuttle.

They tried to soften the blow by having Rip Hunter tell Miranda Coburn that he'd been planning to resign so that she could fulfill her career ambitions (openly admitting that she was the better of the two), but it certainly didn't come across well on-screen.

When that thing showed up onscreen I just couldn't keep it together any longer and burst out laughing. I realize Z Nation is played for camp, but damn…

*OB/GYN recoils in horror, dropping sonogram device*

Artist (to fetus): Don't move! You'll ruin it!

One of the biggest issues with the show is that so few of the character moments feel earned. Characters antagonize and make up with each other solely because the plot dictates these actions should happen instead of having these moments arise naturally from the events unfolding over the course of the episode.

At least she didn't remind us that she used to be a barista this time around.

At least we're getting a Deadwood film on HBO at some point, which will presumably bring a greater sense of closure to the story (not exactly a high bar to clear, I must admit).

If that's the case (and the source is definitely credible), this season is retreading some familiar territory. Once again, we're dealing with a villain who feigns the loss of his powers (Wells in his wheelchair last season, Jay Garrick's "lost speed force" this season) in order to get closer to the Flash and…

*skull explodes, showering blood and brain matter across the room*

I thought Joe and Iris' reactions to having their house destroyed by King Shark was absolutely priceless.

It could have been be a lot worse, she might have been forced to sleep on a futon. *shivers*

I think their intention was to make Wally seem more intelligent than he did upon his first impression (which presented him as a stereotypical street racer, more street-wise than book smart). As you mention, however, this does little to humanize Wally or endear us to his character (although I'd argue a large part of…

Equally valid.

Or in an anticlimactic twist ending, Wally's biofuel-powered rocketcar crashes into Zoom during his villain monologue, killing him instantly (a la Bane in The Dark Knight Rises). At that point, Wally would emerge from the vehicle with a shit-eating grin on his face and say: