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KnightWing

The Flash

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I know nothing about Flash continuity. All I know about the Reverse Flash is that he wants to make Barry the best hero he can be but has a

really twisted way of going about it.

I'm assuming the Professor is the Reverse Flash because (1) he's using a wheelchair when he doesn't have to (2) he's looking at newspapers from the future (3) He killed someone to protect Barry.

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The stuff in the spoiler tag below is spoilers for the comics, which could potentially be the show's future. So beware.

Going off the comics storyline Flash: Rebirth (which the TV series is borrowing heavily from thus far), Reverse Flash hates Barry but needs him to stay alive, at least for a while. The thing is, all the various Flashes across all time and space tap into the same power source, the Speed Force, which was created when Barry was struck by the lightning bolt. Reverse Flash traveled back in time and killed Barry's mom to torment him, but had to leave Barry himself alone otherwise the Speed Force would never exist.

So if either Eddie Thawne or Harrison Wells are Reverse Flash, they're probably just waiting until Barry runs around enough to properly charge up the speed force, then it's open season on Flash-hunting.

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So Wells is Reverse-Flash who has gone back in time to trigger the accident that gives Barry his powers so that Barry can create the speed force so that Wells in the future can become Reverse-Flash and go back in time to trigger the accident and oh no I've gone cross-eyed.

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Loved the bit with Barry using his powers to "confess" to Iris without her actually hearing him. Am I the only one who got a huge Spider-Man 2 vibe from the episode? Problems with the powers, problems with the secret identity, everyone dumping on him. Not saying that's all solely exclusive to SM2, but it felt like Andrew Kreisberg and Geoff Johns just got done re-watching that movie.

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Spider-Man is arguably the singular archetype for "young superhero with real-world/relationship problems," so yeah, with Barry being a tad bit younger in this version, it's going to feel rather Spider-Man-esque.

One thing I do enjoy about Barry here, though, is how he doesn't wallow in self-pity and grief all the time like Peter Parker. He has complications to deal with, but he stays positive and determined.

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So Wells is Reverse-Flash who has gone back in time to trigger the accident that gives Barry his powers so that Barry can create the speed force so that Wells in the future can become Reverse-Flash and go back in time to trigger the accident and oh no I've gone cross-eyed.

"People assume that time is a strict progression of cause to effect, but actually from a non-linear, non-subjective viewpoint, it's more like a big ball of wibbly wobbly.. timey-wimey...stuff."

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If any episode of a new TV show tends to be more rough than the pilot, it's the second episode, where everyone feels the need to spend the hour recapping the pilot. Otherwise, though I enjoyed this quite a bit. Everyone's settling in, we get some good Barry moments, and Jesse Martin is fucking killing it.

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Jesse L. Martin's a HUGE draw for me, as he was possibly my favorite character from Law and Order. The script was pretty shaky, but he sold every line.

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Credit to them for bringing in The Mist, I can't see any of the other superhero shows using a character like that.

They can chill a little with the speed puns, but hey, they worked in that Flash Museum reference pretty naturally.

I'm glad that they didn't drag out Iris and Eddie's relationship being secret (kissing in the police station? You guys are terrible liars).

And yeah, Wells is looking more and more Zoom-ish, huh?

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^Totally he is. I too liked the very subtle, natural reference to the Flash Museum.

Got a certain kick out of seeing John Wesley Shipp react to the Flash. The Post-Crisis Superman face-blurring was cool.

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The face-blurring thing was awesome. That's a Jay Garrick trick, right?

The first time I ever saw it was when John Byrne had Superman doing it immediately post-Man of Steel, and then it was applied to Jay Garrick retroactively. Before that the explanation i always head for Jay's ID being kept secret as A) he moves so fast all the time and never stands still, so no one ever gets a look at him anyway, and B) even if they did, who the hell would recognize Jay Garrick?

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The face-blurring thing was awesome. That's a Jay Garrick trick, right?

The first time I ever saw it was when John Byrne had Superman doing it immediately post-Man of Steel, and then it was applied to Jay Garrick retroactively. Before that the explanation i always head for Jay's ID being kept secret as A) he moves so fast all the time and never stands still, so no one ever gets a look at him anyway, and B) even if they did, who the hell would recognize Jay Garrick?

Mandatory.

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Wentworth Miller was a great Captain Cold and him going after a diamond was so Silver Age; loved it. Also, the save in the train car is probably one of the best scenes of superheroics I've seen.

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During the train crash, my brain kept telling me that there was no way this was a weekly TV series. The fact that they were able to pull off that level of awesomeness with the CG was incredible. Of course, Flash and Arrow are both very smart with how they use their stunt and VFX budgets. Sort of the polar opposite of Smallville, where you'd often have Matrix bullet time for no actual necessary reason.

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Jesse Martin's damn near the best thing about the show. He's brilliant.

Wentworth Miller's Captain Cold stole the show. He played it so gleefully straight. I loved his head-nod of amusement when Cisco called him Captain Cold.

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It's funny, because, Jesse Martin has been in so many things and never really stood out to me (maybe it's because I fucking hate RENT), but goddamn if he isn't great in this show. Grant Gustin is very, very good too.

It shocks me to say this, but this show is better than Gotham, and it's a damn sight better than the Constantine pilot.

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Jesse L. Martin is the man who was able to stand next to Lenny Fucking Briscoe and still make an impact.

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I think what I love so much about this is that it's unapologetically a comic book show. It's not Gotham, which is a police procedural, crime show, with comic book elements. It's not Arrow, which is a gritty retake on a comic character (though, I hear it's improving), it's not even the DC movies, that feel the need to darken everything up. This is pure, Silver Age with modern sensabilites. It's really, really great to see.

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