It bodes well for Ramsey's own evolution, as he inevitably grows in power and becomes a more direct antagonist to Team Flash. There's something scary to this image of a lumbering biker goon who's more dark matter zombie than man. While not a particularly action-heavy episode, "Dead Man Running" does make good use of Shawn Stewart's Mitch Romero character as a secondary threat. And is Barry truly right to give in and accept his death as inevitable, especially when he refused to do the same when Iris' life was supposedly fated and sealed? Ramsey's methods may be evil, but his instinct for survival isn't.
#The flash season 4 episode 3 series#
This episode neatly voices the fundamental conflict between the two characters - is it more courageous to accept death or fight it until the very end? And to its credit, the series doesn't treat it that as a black and white question.
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Where Barry is resigned to his imminent death and content to share these last few months with his loved ones, Ramsey is almost completely alone and obsessed with prolonging his life. His arc neatly parallels that of Barry's. This episode also justifies why now is the perfect time to introduce Ramsey. There's far less room to dawdle, meaning we've already seen Ramsey take major steps from grieving son to corrupted metahuman lunatic. More than anything else, the Ramsey/Bloodwork storyline makes a strong case for the season's split structure. "Dead Man Running" also does a lot to cement and flesh out the dynamic between Barry and his latest nemesis, Dr. Relive the debut of Harrison "Nash" Wells in the video clip below. Between that and the Book of Destiny from "Elseworlds," I'm holding out hope we might see some Sandman characters in the Arrowverse before it runs its course. The simple fact Nash Wells seems to be carrying the dream-manipulating ruby of Morpheus is pretty darned cool. Plus, it's easy to see where this character might feed directly into the Crisis buildup. And at least Tom Cavanagh is giving us a more natural performance rather than adopting a silly accent and playing a Wells caricature. The idea of recasting Wells as a cocky, Indiana Jones-style treasure hunter seems amusing. It's obviously too early to tell where Harrison "Nash" Wells will fall on the spectrum, but he's already less off-putting than Sherloque.
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At some point, is the series just perpetuating the tradition for the sake of perpetuating it? There's been a clear case of diminishing returns on the Wells front lately, with last season's Sherloque Wells really calling into question whether the series still needs a Wells at all. Well, not so much "grows" as "replaces that Harrison Wells-shaped hole in the room." Here's another area where the series could have stumbled. The focus remains on one main villain, and not every character is forced onto center stage just for the sake of it.Īnd it's just as well, because the cast grows by one more member this week. But this week, "Dead Man Running" eases off the gas a bit. "A Flash of the Lightning" seemed intent on giving every single character their time in the spotlight, to the detriment of the episode as a whole. As promising as the first two installments of Season 6 were, they also felt a little crowded. The series makes another important leap forward this week when it comes to structure. Here, The Flash has finally found its sense of balance again. That's in stark contrast to Seasons 4 and 5, where the humor often felt forced and overdone, as if in self-conscious response to the criticisms of Season 3's Flashpoint/Savitar storyline. The series is dark when it needs to be dark, but it's also careful to balance out the more dramatic elements with goofier subplots. Not necessarily in terms of it being lighter or darker, but simply more confident and consistent.
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There's been a noticeable shift in the general tone of the series this season.