"ARROW" Nueva serie de la CW para TV basada en Green Arrow

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- HQ Stills del 2.18 "Deathstroke":





- Arrow 2.17 "Birds of Prey" Promo (HD):

https://www.youtube.com/watch?v=d8d3N3t_B2w


- Arrow 2.17 "Birds of Prey" Extended Promo [HD]:

https://www.youtube.com/watch?v=q2mP4k6Zbgc




- Revelado el título y créditos del episodio 2.21:

El productor Marc Guggenheim ha revelado el título y créditos del episodio 2.21.

El episodio 2.21 se llamará "City of Blood", está escrito por Holly Harold y dirigido por Michael Schultz.

https://twitter.com/mguggenheim/statuse ... 7207395328

Añadidos los enlaces y rátings del 2.16 "Suicide Squad". Podéis encontrarlos AQUÍ



- Scan de TVGuide sobre el episodio 2.17 "Birds of Prey":

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- Arrow 2.17 "Birds of Prey" Sneak Peek (HD):

https://www.youtube.com/watch?v=5YAoUKFV9Jw

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- Arrow 2.17 "Birds of Prey" Sneak Peek 2 (HD):

http://www.tvguide.com/News/Arrow-Video ... QVGqejHn4D


- Arrow 2.17 "Birds of Prey" Sneak Peek 3 (HD):

http://www.spoilertv.com/2014/03/arrow- ... ak_26.html



- Arrow 2.17 "Birds of Prey" producer´s preview (HD):

https://www.youtube.com/watch?v=Xsm-G_QRx7I

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- ¿Podríamos ver las Birds of Prey Originales en Arrow? ¿O un Spin-Off? (greenarrowtv):

¿Podríamos ver las Birds of Prey Originales en Arrow? ¿O un Spin-Off?
Por Craig Byrne 25 de Marzo, 2014

At this time twelve years ago, a pilot was being shot for a WB Network television series called Birds of Prey. The series featured a Huntress, a computer genius with glasses, and a sort-of Black Canary… and ultimately ran as a series for 13 episodes.

This Wednesday on Arrow, we get a new televised “Birds of Prey” in an episode that uses that title. We’ve got a Huntress, a fully-formed Black Canary, a maybe-someday Black Canary, and a computer genius with glasses. Jessica de Gouw makes her first return appearance on the show in a year, and the Lance sisters get involved in the action as well.

Last week, we spoke to Arrow Executive Producer Marc Guggenheim about the episode, and joining him was “Helena Bertinelli” herself, Jessica de Gouw. While there, a reporter asked Guggenheim & de Gouw if there’s any possibility that we could see some actresses from the original Birds of Prey show on Arrow at some point.

“We’re always talking about that,” Guggenheim admits. “I think the fact that they cast John Wesley Shipp in the Flash pilot, I think, sort of opens the door.”

While not commenting directly on the Birds of Prey of it all, there is someone connected to the Green Arrow mythos that Guggenheim has been thinking about. “I’ve always wanted to [have], say, that if they made a movie out of Oliver Queen’s life, and the actor Justin Hartley played Oliver Queen, that would be fun. But you never know,” Guggenheim says.

“That would be kind of brilliant, I think,” Jessica de Gouw adds about the notion of having her come face to face with someone from the original BOP series. “I think we’re also very different. I’ve seen some of the original stuff, and they’re such different shows as well.”

“They are [different],” Guggenheim agrees. “That’s the thing. Smallville and Birds of Prey and Arrow are all very, very, very different shows, and I think it’s always fun to do this sort of thing in a way that’s one for the fans. It’s like Sean Connery being Indiana Jones’ father. Like, of COURSE James Bond is going to be Indiana Jones’ father.”

With all of the attention on the butt-kicking females in Wednesday night’s Arrow, is there any chance we’ll get a Birds of Prey spinoff series?

“Series? I think anything is possible. Way above my pay grade,” Marc Guggenheim admits, though he does have an idea for some things he’d like to do to with the Helena character. “One of the things we would love to do at some point is do an episode where you’ve got Black Canary, Felicity, and the Huntress working together. That’s on our show bucket list,” he says.

Guggenheim also reveals that he has talked to DC Comics about doing a Huntress comic book story exploring the year that was spent between “The Huntress Returns” and “Birds of Prey” – but “from her perspective, traveling the world and hunting for her father.”

“You never know,” he says. “All things are possible, as long as we’ve got Jessica’s willing participation.”

http://www.greenarrowtv.com/could-we-se ... -off/16661

- Caity Lotz ade4lanta el encuentro de Black Canary con The Huntress en el episodio de las Birds of Prey (IGN):

Caity Lotz ade4lanta el encuentro de Black Canary con The Huntress en el episodio de las Birds of Prey
Por Eric Goldman 25 de Marzo, 2014

Since her debut early in Season 2, Caity Lotz has become an important part of Arrow, as her character Sara Lance, AKA Black Canary, has been integrated into Oliver Queen’s inner circle and begun to fight alongside him on a regular basis - not to mention their romantic reconnection.

This week’s new episode is a big one for Sara, with an episode title, “Birds of Prey”, that should immediately garner the interest of comic book fans. Yes, Huntress (Jessica De Gouw) is back, bringing the Arrow incarnations of the two DC heroines together for the first time. However, rather then working together, the two are adversaries, after Huntress — in the wake of her father’s arrest — takes hostages at Starling City’s courthouse, including Laurel Lance (Katie Cassidy), Sara’s sister.

I spoke to Lotz about the “Birds of Prey” episode and the Canary/Huntress dynamic, along with her thoughts on the possibility of superpowers, Sara’s history with her former lover, Nyssa al Ghul (Katrina Law), and more.

IGN TV: The name Birds of Prey means a lot to comic book fans, but it seems pretty clear that in this episode, Huntress and Black Canary are not starting out as pals.

Caity Lotz: I think you're assuming in the right direction!

IGN: Well, she does nab Sara's sister…

Lotz: That and she's kind of messing with her boyfriend too. [Laughs]

IGN: There’s that too! So what does she know about Huntress in this episode? Does she kind of learn it all as this crisis begins?

Lotz: Yeah, she knows nothing really of the Huntress. She's never heard of her, so she has to get filled in on who this mystery woman everyone keeps talking about is.

IGN: What does Sara make of her?

Lotz: I think in terms of Oliver, she's not really a jealous girl. She thinks it's kind of funny that Oliver would have this kind of psycho ex-girlfriend. [Laughs] So I think Sara is a little amused by the whole situation, because she also doesn't feel very challenged. She's a strong chick, so she's not really worried about this other girl, you know… until Laurel gets involved. Then, all of a sudden, everything changes. It's a big entrance when they [Canary and Huntress] get together. It's got a nice little bang to it.

IGN: There’s been a lot of back and forth between Sara and Laurel in their relationship and Laurel doesn't know about her sister's secret identity. Is Sara just set on keeping her from finding out?

Lotz: She definitely doesn't want Laurel to know at all. I think for her this whole Canary thing… Even though she's doing good things now, sometimes she still feels like Canary's kind of an assassin; she joined the League of Assassins, not Heroes. She doesn't feel like a hero. So she definitely doesn't want Laurel to know that side of her, because she feels like it's a lot of darkness and something unlovable.

IGN: Is Laurel maybe coming a little closer than she'd like to finding out?

Lotz: I don't think so. The Canary goes to great measures -- she uses the voice thing -- so yeah, I don't think Laurel at this point knows externally what's going on. She's not even in her imagination thinking that, "Oh, this could be my sister." That's so far removed from even a possibility.
Katie Cassidy as Laurel Lance and Caity Lotz as Canary in Arrow.

IGN: In the comics, of course, Huntress and Black Canary are teammates, and Birds of Prey is them uniting together. Right now, the Huntress that we've seen is pretty unstable, but do you think there's any hope in the longterm that things could get a little more on the same wavelength for these two?

Lotz: You know, I could see it happening. Who knows, maybe they both could turn out to be bad. [Laughs] You never know. The Huntress is also kind of a redeemable character. We'll see what this episode will bring for her. In terms of closure, I don't know, or the evolution of her character... But I do think they'll work together one day, or maybe it's just because I want to, because I really like Jessica [De Gouw]. She's so much fun to work with.

IGN: It's been an interesting season for the show, because you've come in, and Roy is now part of the group too. As we go into the later episodes, what's the evolution of this much bigger Team Arrow and you all working together?

Caity Lotz: I think there will definitely be some bumps in the road. Sara's kind of a lone wolf. Working in a team is I think going to be a little bit difficult for her. She also kind of has a leader personality, and Oliver is very much the leader of that group. That is not going to change. I think Sara's used to doing things her own way, and she has a little bit of a different way of doing things than Oliver does. So it'll be a challenge for her to fit into the pack. So there will definitely be some challenges -- and some good parts of it too, I think. There'll be some fun moments that you get from not having to work alone all the time.

IGN: And what about her and Felicity? We’ve seen the looks of Felicity's had regarding Oliver. It's been a bit difficult for her, with everything going on. How do the two of them getting along?

Lotz: I think they start to get more and more of a friendship. They both really like each other, and me and Emily [Bett Rickards] really like each other in real life -- maybe that helps. [Laughs] I know Sarah really likes Felicity. She's smart, she's fun, she's innocent, but she's still strong, and I think Sara’s really attracted to her, even on a friendship level. I think Felicity admires Sara too in the way that Sara admires Felicity. Hopefully there will be some good stuff there, especially now that they've gotten through some of the drama.
Katrina Law as Nyssa al Ghul and Lotz as Canary in Arrow.

IGN: We know we're going to see Nyssa again at some point. Is that something she's completely put in the past, or could that be an obstacle for her and Oliver going forward?

Lotz: I would definitely love to find out more about their relationship. I found that the chemistry she and I naturally had was really interesting. It ended up being not just like, "Oh, it's my crazy ex-girlfriend that's back and wants revenge." It was more than that. It was kind of complicated, and there were still a lot of emotions and feelings between the two of them. So we'll see what happens with their relationship, and I hope that we get to explore that a little bit more.

IGN: We're getting to a potentially notable point with the flashbacks, because we know that Oliver at some point is going to think you die and then presumably you split off from him. Do you know if there's a possibility of maybe following Sara in her own flashbacks -- maybe exploring some of that relationship with Nyssa -- after she splits away from Oliver?

Lotz: I have no idea. I have read the script that we're working on now, and that's it. I was on the plane the other day with Paul [Blackthorne], and I was asking him, "Paul, do you know what happens in the finale? Do you know what's going on?" Paul was like, "I have no idea." It's all top-secret even to us right now! So we'll see what happens.

IGN: We're seeing the universe of Arrow expanding, and obviously Barry Allen's introduction is one of a couple different elements that's bringing superpowers into this world. Sara’s got the electronic version of the Canary Cry, but do you think there's any chance that we might see her actually get that power? Is that something you'd like to see happen?

Lotz: I don't know if I think it's necessary. I kind of like how Arrow's been more grounded in reality with things. It's just kind of a different style, which I think, you know, the Flash will be there to satisfy that more supernatural, superpower thing. But I always kind of liked that Arrow -- I know that we introduced Mirakuru this season -- but I like that it's been more grounded in the reality that we know now. But I wouldn't mind it. It'd be kind of cool. I'd get to scream on set and things would shatter!

IGN: The last time I talked to you was shortly after you were introduced on the show. So what's it been like the last few months seeing the fan reaction, and how tied into this universe your character's become?

Lotz: It's a lot of fun. It's such a great show and it's fun to be able to communicate with the fans and gauge everyone's reaction. Sometimes there will be some kind of Twitter feud going on that I'll just have to skip through. [Laughs] But it's just so cool to be a part of something that everybody's so excited about.

http://www.ign.com/articles/2014/03/25/ ... a14200004d

- Productor ejecutivo y les estrellas de 'Arrow' adelantan el tormentoso regreso y el objetivo mortal de The Huntress (THR):

Productor ejecutivo y les estrellas de 'Arrow' adelantan el tormentoso regreso y el objetivo mortal de The Huntress
Por Philiana Ng 7:00 AM PDT 26/03/2014

In Wednesday's "Birds of Prey" episode, Helena is lured back to Starling City to exact her revenge after her father is arrested. Laurel is handpicked to serve as lead prosecutor on the case, putting her in the middle of the crossfire at the city courthouse after Helena discovers there is more to her father's arrest than meets the eye. Meanwhile, Sara risks her Canary identity to keep Laurel from harm's way.

In Wednesday's "Birds of Prey" episode, Helena is lured back to Starling City to exact her revenge after her father is arrested. Laurel is handpicked to serve as lead prosecutor on the case, putting her in the middle of the crossfire at the city courthouse after Helena discovers there is more to her father's arrest than meets the eye. Meanwhile, Sara risks her Canary identity to keep Laurel from harm's way.

"We had been talking throughout the year about bringing Helena back under a variety of different scenarios," executive producer Marc Guggenheim said of Helena's return. "This is the episode where Laurel gets her groove back. We knew that we wanted to return Laurel to the D.A.'s office and we knew that Laurel by the end of the episode had to be in a good emotional place."

"When you're talking about bringing her back to the D.A.'s office, you naturally start thinking about, 'Well, what case is she prosecuting?' " Guggenheim added. That led to Guggenheim, executive producer Andrew Kreisberg and the other writers pitching different elements of the episode. One of those elements features Laurel (Katie Cassidy) and Sara (as Canary) spending a significant amount of time together after Laurel is taken hostage.

"It brings its own tension to the situation," Caity Lotz told THR. "I think they save each other a little bit -- there's definitely that aspect of Laurel helping the Canary. There's tension with Arrow not wanting Laurel to know [about Canary's identity], in addition to Laurel battling her demons and the external situation."

It's been more than a year since the last time Helena appeared on Arrow and there was curiosity over what she's been up to during her time away. "What's Helena been doing for a year? What mental state is she in? What emotional state is she in?" Guggenheim said.

When Helena returns, she is more lethal and hardened from her experiences abroad. "She's been all over the world chasing her dad to no avail thus far," Jessica De Gouw said. Then she "comes back to Starling where it all began. Not only does she have to deal with her father again, but also encountering Oliver and Laurel and this town that she was, at one point, thriving in. She's a little different this time around." The new Helena also has "an ease to her, as well as that darkness," the actress said. "She's let go of a lot. She's let go of all these complications and she's got a very focused aim."

When Sara first meets Helena, the two don't exactly get off on the right foot. "In the beginning she underestimates the Huntress a little bit," Lotz said. "The whole situation is a little bit funny to her, 'What do you mean Oliver, there's another superhero ex-girlfriend you had?' "

Producers are already planning a Helena-centric episode for the new year. "We definitely have an idea for a season three episode with the Huntress," Guggenheim hinted. Added De Gouw: "I think the way this episode ends puts her in such a different position and a different headspace as well. It's opened up a whole new set of possibilities for her."

When asked about the realistic chances of a Birds of Prey TV series, Guggenheim joked, "Way above my pay grade." But he has his eye on a future teamup: "One of the things we would love to do at some point is do an episode where you've got Black Canary, Felicity and the Huntress working together. That's on our show bucket list."

Guggenheim believes Huntress' temporary absence from Starling City is great fodder for for a future show: "One thing I've talked to DC Comics about is doing a Huntress series where we cover the year she spent between episodes 1x17 and 2x17 from her perspective traveling the world and hunting her father," he said. "You never know, all things are possible."

http://www.hollywoodreporter.com/live-f ... dly-691123

- 'Birds of Prey' ofrece a una Huntress herida, el regreso de Laurel ... ¿y un spin-off? (TVLine):

'Birds of Prey' ofrece a una Huntress herida, el regreso de Laurel ... ¿y un spin-off?
Por Vlada Gelman 26 Marzo, 2014 06:30 AM PDT

The Huntress returns to Arrow tonight (The CW, 8/7c) on a mission of revenge, and she’s also aiming… to score her own show?

An off-shoot is certainly on the wish list of executive producer Marc Guggenheim. But first, Helena reemerges in Starling City this week and takes Laurel — among others — hostage just as the recovering alcoholic lawyer is finally starting to get her mojo back at work. Enter: The Canary (aka little sis Sara)!

Read on as Guggenheim and guest star Jessica De Gouw, aka The Huntress, share six things to know about the action-packed hour.

IT’S A SISTER ACT | Episode 17 “was very much designed to be a Laurel and Sara story using Helena as the fulcrum in that relationship, and Oliver definitely does take a little bit more of a back seat,” previews Guggenheim.

IT’S A COMEBACK STORY | “This is the episode where Laurel gets her groove back,” reveals the EP. “We knew that we wanted to return Laurel to the D.A.’s office and we knew that Laurel, by the end of the episode, had to be in a good emotional place. So we wanted to emotionally and professionally reestablish her.”

IT’S A BLAST FROM THE PAST | “Obviously, when you’re talking about bringing [Laurel] back to the D.A.’s office, you naturally think about, ‘OK, what case is she prosecuting?’” Guggenheim says. “The scenarios that resonate best with us are, ‘What’s a case that could affect a character who we care about?” And that led [executive producer] Andrew [Kreisberg] to pitch the idea, ‘What if Frank Bertinelli is being prosecuted and The Huntress comes back to town?’”

THE HUNTRESS IS A DIFFERENT BEAST | “She’s, literally, been off the show for a year,” notes Guggenheim. “What’s Helena been doing during that time? What mental state is she in? What emotional state is she in? We definitely went into this with [the idea], ‘We’ve got to wrap up the whole Helena and her father storyline.’” Adds De Gouw: “There’s an ease to her, as well as having that darkness. I think she’s let go of a lot. She’s let go of all these complications, and she’s got a very focused aim.”

IT WAS A WELCOME CHANGE | “Look, [on NBC's Dracula] I was running about in a corset for a long time, so coming back and fighting people was all I could’ve possibly [wanted],” says the actress with a laugh. “I got to do something entirely different to what I was doing — worlds, worlds apart.”

IT COULD LAUNCH A NEW SHOW… MAYBE | Although Guggenheim admits any decision about a Birds of Prey spin-off is “way above my pay grade,” he does have some ideas on how to keep it alive. “One of the things we would love to do at some point is an episode where you’ve got Black Canary, Felicity and The Huntress working together,” he says. “That’s on our show bucket list. As far as what becomes a series, what doesn’t become a series, one thing I’ve talked to D.C. Comics about is, I’d love to do a Huntress series – I mentioned this to Jessica – where we cover the year that she spent between Episodes 117 and 217, from her perspective, traveling the world and hunting for her father. You never know, all things are possible, as long as we’ve got Jessica’s willing participation.”

http://tvline.com/2014/03/26/arrow-seas ... -comeback/

- Caity Lotz hace ruido cuando la Black Canary de "Arrow" choque contra the Huntress (comicbookresources):

Caity Lotz hace ruido cuando la Black Canary de "Arrow" choque contra the Huntress
Por Bryan Cairns 26 de Marzo, 2014

DC Comics readers know Black Canary's secret identity as Dinah Lance, so while it was somewhat expected that the character, traditionally linked to DC's Green Arrow, would eventually appear on The CW's "Arrow," most presumed actress Katie Cassidy's character, Laurel Lance, would assume the superhero mantle.

However, the "Arrow" creative team threw viewers a major curveball by introducing Dinah's sister Sara as Oliver Queen's (Stephen Amell) fellow costumed vigilante instead. Over the course of the second season, Sara's origins and relationships have been developed as part of the series' constantly evolving mythology. Tonight's episode, aptly titled "Birds of Prey," not only thrusts Black Canary into the spotlight, but serves as a shout out to the comic book of the same name by pitting Canary against the television counterpart of her one-time comics teammate, the Huntress (Jessica De Gouw).

Caity Lotz, who brings "Arrow's" Black Canary to life, spoke with Comic Book Resources about her character's upcoming slugfest with Huntress, Sara's conflicted relationship with Dinah and what other potential comic book ties the series may have in store for fans as the season winds down.

CBR News: Tonight's "Arrow" episode title, "Birds of Prey," is a big deal for longtime Black Canary fans. What did it mean for you?

Caity Lotz: Well, I was really excited about it because it meant more female bad-assery. I knew there was going to be some cool girl fights. And, then of course, everybody seems so excited about it and that makes me excited, just knowing the fans are into it.

Obviously, Black Canary and Huntress butt heads in the episode. What brings them into conflict? And how would you compare their fighting styles?

There is the fact Helena is Oliver's ex-girlfriend, which I think makes Sara underestimate the Huntress. She thinks it's funny that Oliver has this crazy ex-girlfriend -- and then this happens. Things get serious when Laurel gets kidnapped. Any time someone is threatening her family, Sara gets real serious, real fast.

Neither one of them are super-stylized martial artists. They are very practical -- it's about winning the fight. They are both well trained and pretty vicious. They have different weapons, but they go hand-to-hand.

Was the fight choreography difficult to pull off?

We had one scene we shot outside, and it was freezing cold. We're in our costumes, and we're trying to film this fight scene when we could barely move because it's so cold. It was a lot of fun. I don't usually get to fight girls, so that was a nice little change.

Does protecting Laurel throw Sara's game off or make her work even harder?

I think it throws her game off a little bit, at least in the beginning. Any time family is involved, it triggers some issues.

Sara's father, Quentin, knows about her ties to the League of Assassins. Why hasn't she come clean with Laurel?

She believes Laurel wouldn't understand. Sara doesn't want anyone to know about this other side of her. It would also be dangerous for Laurel to know more. Sara thinks Laurel might be ashamed of who she is. Canary came from the League of Assassins, not the League of Heroes.

Traditionally, in the comic books -- and the short-lived TV series -- the Birds of Prey have consisted of Black Canary, Huntress and Barbara Gordon/Oracle. What are the chances of there being a nod to that third member or the formation of a team?

I have no idea. I know a lot of fans would like that. It would definitely be fun if they went there, but we don't have an Oracle on the show yet -- or if we do, we don't know who it is. We have a little ways before that happens, but you never know.

Felicity would be an interesting choice for Oracle.

I've heard a lot of talk about that on the fan boards. That's something running around. I think it would be cool. Felicity needs a cool superhero name, so I'd be happy about it.

Black Canary is nobody's sidekick. What have you enjoyed about the way the writers have handled her?

I like that they've kept her so independent and kept some of her demons. It's not like all of a sudden she comes back and everything is great and she's perfect. They really kept in mind the history of where she came from, and that her coming back to reality is a process. I'm happy they've respected that, and kept her strong. Of course she's vulnerable, but not in damsel-in-distress moments. She's only vulnerable when it makes sense. It's more character-driven than plot-driven.

What else can you tease about Sara's role in the back end of the season?

Maybe what I was mentioning about some of her demons. She still has to deal with stuff, finding her place and who she is. She's still a little lost. There are some interesting developments with her relationship with Oliver.

Slade Wilson/Deathstroke has started to make his presence felt in Starling City. Why does he pose such a threat to Oliver and, possibly even more so, to Sara?

Slade wants to take down the entire city, which is where Sara's family is. Laurel is there. Her dad is there. She also doesn't want innocent people to die, and she knows Slade. There's a personal connection she has to him. There's a responsibility over who he is and who he's become. She's a little bit responsible for that, so she feels the need to help.

Whether she's facing Huntress or Deathstroke, Sara has one major ace up her sleeve: her sonic Canary device. Why doesn't she use that card more?

I've always wondered the same thing. I would use it all the time. I guess they tend to save it for some key moments. Maybe Sara only wants to use it when she really needs it and most time she feels she can handle the situation without it.

Lastly, in what ways do you think your upcoming movie "The Machine" will appeal to "Arrow" viewers?

If you're a fan of sci-fi, that's exactly what "The Machine" is. It's an awesome sci-fi movie. There's a lot of action in it. It almost feels like "The Machine" is a comic book character. There could totally be a "Machine" comic. If you're into that kind of world, you'll like this movie. I'm so proud of it. It's the coolest film I've ever worked on.

http://www.comicbookresources.com/?page ... e&id=51721

- Jessica De Gouw y Guggenheim adelantan “Birds of Prey” (thetvaddict):

Jessica De Gouw y Guggenheim adelantan “Birds of Prey”
Por Tiffany Vogt 26 de Marzo, 2014

The Huntress is back! After the big showdown in Season 1, where Oliver Queen (Stephen Amell) stopped Helena Bertinelli (Jessica de Gouw) from killing her father, fans have wondered if and when the Huntress would return. Well, this is it. All of Oliver’s worst fears are realized when Helena returns and she will literally stop at nothing to get her prey – even if it means taking out someone Oliver loves in the process.

This week’s episode “Birds of Prey,” puts both Laurel (Katie Cassidy) and her sister Sara (Caity Lotz) right in the crosshairs of the Huntress. This was absolutely the worst time for Laurel to decide to go back to work, the same week that Frank Bertinelli is caught and Helena catches wind of his arrest; and Laurel being Laurel is way too stubborn to know when she is over her head. Fortunately, stubbornness runs in the Lance family as both Lance (Paul Blackthorne) and Sara race to keep Laurel from harm while Oliver continues to chase his own prey, the elusive Slade Wilson (Manu Bennett).

During last week’s press conference, special guest star Jessica de Gouw and executive producer Marc Guggenheim shared a few insights about “Birds of Prey”:

Why did you want to bring back the Huntress now when Oliver has so much going on with Slade?
MARC: We love Jessica and we love the character of Helena Bertonelli and we had been talking about bringing the Huntress back under a variety of different scenarios. . . Episode 217 is the episode we called “Laurel gets her groove back.” We knew that we wanted Laurel back in the D.A.’s office and we knew that Laurel had to be in a good emotional place. So we wanted to professional and emotional reestablish her. Obviously, when you talk about bringing her back to the D.A.’s office you start talking about what case is she prosecuting. . . and that led to: what if Frank Bertonelli is being prosecuted and the Huntress comes back to town? [Helena's] last episode was 117 and this is 217, so she’s literally been off the show for a year. So what’s Helena been doing for a year? What mental state is she in? What emotional state is she in? We went into this with the thought that we need to wrap up this whole Helena and her father storyline. We wanted to close that chapter of Helena’s life and start a new chapter.

And where has Helena been?
JESSICA: It’s been a year and she’s been chasing her dad to no avail, then comes back to Starling where it all began. She not only has to deal with seeing her father, but also Oliver and Laurel and this town that she once upon a time thrived in, and of course, she’s a little different this time around. . . So there’s an ease to her and the darkness as well. I think she’s let go of a lot. She’s let go of all these complications.

Also Felicity gets a great moment in the episode when she tells Sara to not hesitate to kick the Huntress’ ass. It makes for a nice bonding moment against a common enemy – who just happens to be Oliver’s ex.

Then not to be left out of the action and just as vital to the team, is Roy (Colton Haynes), whose continuing dance with danger poses a risk for Thea (Willa Holland). With Roy having to face the fact that his condition makes him a threat to the one person he loves most, Roy must come up with a fool-proof way to keep her safe – even if the option is not one he likes.

Huge theme of the night: “Once you let the darkness in, it never gets out.” Watch closely for that. Just who says this and under what circumstances is going to be a surprise.

Finally, everyone’s jaws are going to hit the floor once they see who is the ultimate person in jeopardy in tonight’s episode. It’s guaranteed to make fans scream, “Nooooo!” at their television sets. So remember to only throw pillows and not electrical devices.

Another fun reappearance in this episode is made by D.A. Adam Donner aka Hot Paul for ORPHAN BLACK fans (Dylan Bruce). That is sure to get fans’ heart racing.

http://www.thetvaddict.com/2014/03/26/a ... s-of-prey/

- Discusión sobre Birds of Prey con Marc Guggenheim y Jessica de Gouw (comicbook):

Discusión sobre Birds of Prey con Marc Guggenheim y Jessica de Gouw
Por Russ Burlingame 26 Marzo, 2014

In tonight’s episode of Arrow, titled “Birds of Prey,” The Huntress returned for the first time in a year, still hunting her murderous father, and is caught between Arrow, Canary and the law when she takes a courtroom, including Laurel Lance, hostage en route to her revenge.

Last week, Executive Producer Marc Guggenheim and guest star Jessica deGouw, who plays Helena Bertinelli (The Huntress) in tonight’s episode, joined ComicBook.com and a group of other reporters for a discussion about the episode:


What’s different this time around from when we saw The Huntress in Arrow‘s first season?

Marc Guggenheim: What’s Helena been doing for a year? What mental state is she in? What emotional state is she in? We definitely went into this with [the idea that] we have to wrap up the whole Helena-and-her-father storyline. The one thing we were very agreed-upon in the writers’ room from the get-go is that Frank could not surivve the episode–that we had to end that story and really sort of close that chapter of Helena’s life so that we can start a new chapter for her.

Jessica deGouw: She’s let go of all these complications and she’s got a very focused aim, which if you’ve seen it, she succeeds in doing what she wants to do but it’s never really what you want.

It seems that she’s starting to figure out that vigilantes have a purpose but it’s not always a dark purpose. Is that something we might see explored in the future?

Guggenheim: I think for us, the advantage of bringing the Huntress back at this point in the season, in Oliver’s arc, is really that last scene between oliver and Helena. It gave us a chance to articulate how far Oliver has come in his evolution that if he met Oliver today, at this point, maybe there even wouldn’t be a Huntress. Maybe he would have solved the problem of her vendetta in a different way. Back in episode 7 or 8 of last season, he was trying to channel her into some more positive direction — her anger and her vengeance. I think left to his own devices now, he would have tried a different way. I think the tragedy of ["Birds of Prey"] is, just as he’s sort of developed this clarity within himself that he could then pass on to her, Helena of course is in jail.

Where would you like to see her in a year?

Guggenheim: We definitely have an idea for a Season Three episode with The Huntress. I’m not going ot pitch it here, obviously. [Laughs] You’ll just have to tune in to Season Three.

deGouw: I think that the way this episode ends just puts her in a whole different position and a different head space as well and I think it’s opened up a whole new set of possibilities for her. She was so set on one path for such a long time and now it’s been realized and it’s not what she wanted and so it just frees her up for an entirely different life.

With Thea now in Slade’s clutches, when can we expect to see that play out?

Guggenheim: As always, things will happen sooner rather than later on Arrow. I will say that Thea learns something pretty massive in Episode 18, and it will cause a tectonic shift in her relationship with Oliver.

What kind of danger is Thea in?

Guggenheim: She’s in phsyical danger and emotional danger and sort of the Sword of Damocles that’s hanging over her in episode 18 is a double-edged words, both physical and emotional. And I can guarantee that by the end of 18, one of those edges is going to cut her.

How sane is Slade?

We try not to use the “I” word, as it were. He’s clearly not in his right mind and I think that episode 18 will give you a lot more idea of what’s going on in his head. Episode 18 is called “Deathstroke” because we really do, I think, get a much greater sense of Slade’s agenda, where he’s coming from, but also what’s going on in his head. So episode 18 hopefully will answer that or at least give you a big, new insight.

What’s behind the idea of separating Roy and Thea when she seems to be the only thing keeping him in check?

I think that was really the reason was to upset the apple cart with Roy. She is the only thing that keeps him grounded. It was also, if we’re going to place Thea in jeopardy, we wanted Roy to feel some sense of complicity in that. And episode 18, it deals with a lot. It’s a very big episode; we sort of wrote it as a mid-midseason finale and in fact when we turned Episode 18 into the network, they were like, “You do know you’ve got to do five more episodes, right?” Episode 18 really could play as a season finale just in terms of the number of things that happen and the number of cliffhangers that we’re left with, and one of those things is Roy dealing with his own sense of responsibility — basically, had I not broken up with Thea in the previous episode, she might not be in Slade’s clutches right now. And how does Roy deal with that?

Usually when there’s a question that has to do with “Why did we do X?” It’s usually becuase it gave us a lot more character and emotion and story to mine from it and that was certainly the case with breaking up Roy and Thea before Thea ends up in Slade’s car.

With the amount you’re promising for the next couple of episodes, what’s left for the finale?

It’s funny: I would say quite a bit. Truth be told, those five episodes post-18, we had a lot of story that we still had to get to. We always knew how this season would end and we knew the moment that we were building up to, and we knew a good chunk of moments that we wanted to have. And trying to figure out how to cram them all into the remaining five episodes was a bit of a trek. So we’re very much on this rocket ride from 19 to 23.

You know, we always talk about about the season being chapters in a book. 18 closes one chapter and then the final chapter is 19 through 23.

Do you know what you want to do on the island in Season Three?

We do. We know exactly what we’re going to do. We actually have more clarity on what’s going to happen in the flashbacks for Season Three than we did at the beginning of Season Two. We actually have a very cool storyline in mind. I will say that one of the things that we’ve started to talk about when you get a third season is, “Well, he was on the island for five years. Is it possible the show will go past Season Five?”

Then what do we do? And by that point, we probably will have run out of money so the flashbacks in Season Six will be of [Episode] 101, 102, 103. They’ll be flashbacks and we’ll save money that way. We’ll do a clip show!

http://comicbook.com/blog/2014/03/26/ar ... a-de-gouw/

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- Arrow 2.18 Promo "Deathstroke" (HD):

https://www.youtube.com/watch?v=M0Y10lIFuUY


- Arrow 2.18 Extended Promo "Deathstroke" (HD):

https://www.youtube.com/watch?v=kmsSyXULdxw

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- Descripción oficial del 2.19 “The Man Under The Hood”:

2.19 “The Man Under The Hood”: DEATHSTROKE GOLPEA A OLIVER EN CASA — Oliver (Stephen Amell), Canary (Caity Lotz), Diggle (David Ramsey) y Felicity (Emily Bett Rickards) regresan a la guarida y descubren a Slade (Manu Bennett) esperándolos. Estalla una batalla épica y uno de los mirmbros del Team Arrow es enviado al hospital. Thea (Willa Holland) llega a su punto de ruptura, pero justo cuando Oliver está a punto de alcanzarla, Slade interviene y Oliver se enfrenta con una elección – su battala con Slade o su familia. Mientras tanto, Laurel (Katie Cassidy) se debate con un nuevo secreto. Jesse Warn dirige el episodio con historia de Greg Berlanti & Geoff Johns y guión de Andrew Kreisberg & Keto Shimizu (#G219).

http://www.greenarrowtv.com/new-arrow-s ... hood/16732

- Desvelado el título y créditos del episodio 2.22:

Una semana más, Marc Guggenheim nos ha desvelado el título y créditos completos del penúltimo episodio de la temporada:

El episodio 2.22 se titulará "Streets of Fire". Está escrito por Jake Coburn y Ben Sokolowski y dirigido por Nick Copus.

https://twitter.com/mguggenheim/status/ ... 9497581568

Añadidos los enlaces y rátings del episodio 2.17 "Birds of Prey". Podéis encontrarlos AQUÍ

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- Imagen BTS del episodio 2.16 "Suicide Squad":



(Thanks to @captain_rowe)

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- Arrow 2.18 "Deathstroke" Producer´s preview:

https://www.youtube.com/watch?v=qlRsq9jmMmc



- Arrow 2.18 "Deathstroke" Sneak Peek:

http://tvline.com/2014/04/01/arrow-seas ... athstroke/

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- Productor ejecutivo adelanta el primer golpe de Deathstroke, su complicado juego final y el sorprendente enemigo de Oliver (TVLine):

Productor ejecutivo adelanta el primer golpe de Deathstroke, su complicado juego final y el sorprendente enemigo de Oliver
Por Matt Webb Mitovich 01 Abril, 2014 01:26 PM PDT

Inside a dramatically lit Vancouver night club, Arrow‘s Manu Bennett repeatedly pitches himself backwards into the air, landing with a resonant thud in a leather chair that had just moments before been serving as cocksure villain Slade Wilson’s “throne.”

The actor will do this again and again for nearly 10 minutes before the cameras start rolling, determined to execute the move just right, seeing as it caps a pivotal scene in the Season 2 episode “Deathstroke,” airing this Wednesday at 8/7c on The CW.

“Manu does not do anything halfway,” affirms Arrow executive producer Marc Guggenheim, who, like TVLine, was on set in mid-February to help the cast celebrate the early Season 3 pick-up. “He is such a force of nature, such a force of talent…. He takes his craft very, very seriously and really embodies the role. And in between takes he’s feeling all those emotions. He makes this personal sacrifice to really get into character, and that can be hard to shake.”

Shortly after the intense scene is filmed, TVLine invites Bennett to reflect on the investment he makes. “I feel a huge responsibility with these characters,” he says, citing Spartacus‘ Crixius and the Hobbit films’ Azog as other examples. “Not necessarily being a person who was brought up on comic books, the necessity to get the characters of Slade Wilson and Deathstroke right has made me invest even more emotion into making him, into making every twist and turn, psychologically real.”

Surveying his alter ego’s motivation — the tragic death of Shado, plus whatever else subsequently transpired as Slade held Oliver captive on the freighter — Bennett cites the old saw of how no villain sees himself as one. “When you have empathy for a character, regardless of whether he’s the good guy or the bad guy, that’s when the story gets really rich,” he posits. “That’s when the audience can be put right on the edge, wondering which way this story will go.”


DEATHSTROKE STRIKES
Ever since Oliver’s onetime island ally-turned-fiercest foe resurfaced in Starling City, he has kept the ever-agile Arrow on his toes. First, he enlisted “Brother” Sebastian Blood in a scheme to experiment with the Mirakuru serum on local grunts. Then, in a quite audacious play, he sashayed into Oliver’s home, escorting Moira around on his arm unde the guise of a dashing political backer.

But when we last tuned in, Slade made his first inscrutable action, luring Oliver’s sister Thea into his town car. And it’s not to offer her a ride to Forever 21.

“Episode 17 ended with Thea getting kidnapped by Slade, and 18 deals with all the ramifications of that,” Guggenheim previews. “It’s basically about the manhunt for Slade, the search for Thea and the high stakes of what Slade is going to do. The episode is called ‘Deathstroke’ because this is the first huge move that Slade Wilson is going to make in his plan to exact revenge.”

The oh-so-dark details of said sinister plan have yet to be revealed – but this week’s episode will shed the first light on what all Slade has in store.

“His endgame is actually pretty complicated. It’s not one move, it’s several, and he hits a few of them in this episode,” Guggenheim allows. “At this point, Oliver knows that Slade’s plan is to basically take away everything and everyone he loves, including his city, and then kill him. DeathstrokeBut what Oliver doesn’t know are the specifics of how that plan will be enacted. And in this episode, he learns that the way Slade is planning on destroying him is completely unexpected.

“Oliver thought he was facing one kind of enemy,” Guggenheim teases, “but the truth is he’s facing a very different kind, and that enemy will really surprise him.”

OUT WITH A ‘BITTERSWEET’ BANG…?
With Arrow targeted for a one-week break after “Deathstroke” is unleashed — the next episode, “The Man Under the Hood” (featuring characters from the Flash pilot), airs April 16 — the plan was to end the hour ”with a real bang,” Guggenheim says. “We wrote it to function almost as a season finale. Obviously, we’re doing five episodes past this, but this one is really, really epic.”

Asked to describe the episode’s denouement – while on set, we were witness to not just the aforementioned Slade/Arrow confrontation, but also a police station/media circus scene — Guggenheim first offers up the word bittersweet. “There are victories and there are losses,” he goes on to explain. “The victories are very unexpected, and the losses are equally unexpected. Moments that feel victorious are tinged with a kind of sadness, and even the sad moments, quite frankly, try to have a glimmer of hope.

“I’m really happy with the tone that we strike at the end of this episode, because it really does make you lean in for the final [run],” he continues. “You may think, ‘How can they possibly do five more episodes?’ But just wait and see. There’s a lot of story we have left to tell.”

http://tvline.com/2014/04/01/arrow-seas ... e-episode/

- Willa Holland sobre el 'Oscuro' Camino de Thea: Este es el principio de su caída en picado (THR):

Willa Holland sobre el 'Oscuro' Camino de Thea: Este es el principio de su caída en picado
Por Philiana Ng 7:00 AM PDT 02/04/2014

On Wednesday's Arrow, Slade makes his move against Oliver and the repercussions are big. While Oliver scrambles to protect his family, namely Thea, whom Slade has in his clutches, a member of Team Arrow starts to doubt Oliver’s decisions.

"Thea learns something pretty massive in episode 18 and it will cause a tectonic shift in her relationship with Oliver," previews Arrow executive producer Marc Guggenheim, hinting that Oliver's sister finds herself in physical and emotional danger.

"It's a double-edged sword," he adds. "I can guarantee that by the end of [the episode], one of those blades is going to cut her."

"Deathstroke" is the first of many showdowns between nemeses Slade and Oliver and provides "a lot of insight into what's going on in [Slade's] head," Guggenheim says. The episode, which he calls the "mid-midseason finale," offers viewers a better understanding "of Slade's agenda" and "where he's coming from.

"The circumstances are really scary and thrilling, in the sense that Thea has no idea what's happening -- all of a sudden, she gets kidnapped," Willa Holland tells The Hollywood Reporter. "She's not being tortured by Slade physically; he's mentally toying with her and with Oliver. It's an intense episode for Thea, especially towards the end."

When Thea made the ill-timed decision to get into Slade's car at the end of last week's episode, the youngest Queen was left reeling after Roy's abrupt breakup, unaware that her family members were, and are, keeping vital secrets from her -- notably Oliver's superhero life and the identity of her biological father.

"There's a lot going on in Thea's life that she's aware of and that she's not aware of," Holland says. "This episode and the next few episodes are detrimental for a lot of characters -- they're bringing to light a lot of things that [can destroy] them all. This episode is the start of Thea's somewhat downfall."

The aftereffects of Roy's abrupt breakup will a major impact on both characters moving forward. "She is the only thing that keeps him in check because she keeps him grounded. If we were going to play Thea in jeopardy, we wanted Roy to feel some sense of complicity in that," Guggenheim says.

Not only that, the Queen family secret over Thea's biological father, Malcolm Merlyn, will continue to loom large. "The secret that Moira and Oliver have been keeping from Thea will be casting a very long shadow for the rest of the season. It will play a very big role all the way up to the finale," Guggenheim hints.

If and when Thea finds out about her father, Holland posits that things won't be pretty -- rightfully so. She "would handle it the same way most people would handle it -- if you found out something that is detrimental to your livelihood, you would probably freak out a little bit," Holland hypothesizes.

And should Thea uncover Oliver's Arrow identity -- brother and sister already have a "long history of problems with trust" -- their relationship may never be the same again. "She's starting to finally come to a place where she can trust him and he is the only one who she can trust," Holland says, hinting that Thea isn't "too satisfied with her life at the moment."

Coy about the remainder of the sophomore season, the actress teases that the final six episodes bring her character "to a place we definitely did not see coming." Either way, Thea is in for a world of hurt: "Either road she takes, it's pretty dark and dim."

http://www.hollywoodreporter.com/live-f ... ark-692621

- Marc Guggenheim sobre Slade vs. Oliver, Thea, y Más (givememyremote):

Marc Guggenheim sobre Slade vs. Oliver, Thea, y Más
por Marisa Roffman 02 Abril, 2014

ARROW has a lot of storylines up in the air, but most immediately, Slade has Thea, and there’s no way Oliver is going to handle that well.

ARROW boss Marc Guggenheim recently spoke with reporters about what’s to come with Thea, Slade vs. Oliver, Oliver’s secret, and more…

On Thea:

Now that Thea (accidentally) walked straight into harm’s way by taking a ride from Slade at the end of episode 17, she won’t be great shape when the show picks up in episode 18.

“I think she’s in physical danger and emotional danger,” Guggenheim previewed. “And the Sword of Damocles that being held over her in episode 18 is a double-edged sword: it’s both physical and emotional. And I can guarantee, by the end of 18, one of those blades is going to cut her.”

And the fallout from that, Guggenheim teased, could impact one of the most important relationships in Thea’s life.

“Thea learns something pretty massive in episode 18,” he teased. “And it will cause a tectonic shift in her relationship with Oliver.”

On Slade vs. Oliver:

Oliver and Slade have been circling each other — sometimes knowingly, other times, not — for much of the season, and that won’t lessen as the season heads towards its end point.

“You will definitely see a series of showdowns, that are not repetitive,” Guggenheim shared. “Their confrontation in episode 19 is a very unexpected one; the way it unfolds is very unexpected. But this whole season has been about Oliver versus Slade…so I don’t think it’ll be a surprise to say the conclusion of their story won’t happen until the final episode of the season.”

On Slade:

While there’s no question Slade isn’t all there, mentally, Guggenheim balked at calling him outright insane.

“We try to not use the ‘i’ word as it were,” he said. “He’s clearly not in his right mind. And I think episode 18 will give you a lot of insight to what’s going on in his head. Episode 18 is called ‘Deathstroke’ because we really do get a feel for his agenda, where he’s coming from, but also what’s going on in his head. But hopefully episode 18 will at the very least give you a big insight [into him].”

On people knowing Oliver’s secret:

The ARROW writers are aware some fans think too many people know Oliver’s secret, but Guggenheim teased that additional people will learn what’s going on before the season ends.

“I would say it’s going to go up,” Guggenheim said. “By the finale, more people will know. We talk about this a lot in the writers’ room: are there too many characters that just know, and does it diminish the secret identity. What we’ve come from is the philosophy that when people know, when members of our cast of characters know, it draws them into Oliver’s world, and it draws them into the show more. So we tend to get more story out of people knowing versus people not knowing.”

“And you can say too many people know, but we kind of use THE DARK KNIGHT trilogy as our gold star or gold compass: a lot of people knew, particularly by the third movie, that Bruce Wayne was Batman,” he continued. “And it doesn’t diminish my enjoyment of watching those stories unfold. Obviously different philosophies and different points of view. I know I wrote that line in episode 12, ‘How many people know? Too many people.’ as a nod to all the fans who have been complaining, even since episode 16 of last year when Tommy [was told the truth] as a nod to those fans who do feel like it’s too many. But for us as writers, I think we’ve proven this, we always go for what gives us more stories and interesting story. And for now at least, certain people knowing is more interesting than certain people not knowing.”

On Malcolm:

Malcolm popped up earlier this season — and Oliver and Moira are still keeping Thea’s true paternity from her — but Guggenheim was coy about whether John Barrowman (Malcolm) would play a part in the rest of the season.

“The secret that Moira and now Oliver have been keeping from Thea will cast a long shadow over the rest of the season,” Guggenheim allowed. “That will play a pretty big role up until the finale.”

On Sara and Oliver:

Oliver may be personally happier than he has seemed in a bit, but don’t expect the temporarily smooth sailing for his romance with Sara to stick.

“I don’t think anyone is ever in a good place for too long on ARROW,” Guggenheim pointed out. “I will say, where they are right now is not where they will end up by the end of the year — either personally or professionally.”

On what happens next:

A lot of stuff has gone down on ARROW recently, but as the show heads to it final episodes of the season, the pace doesn’t slow down at all.

“Truth be told, those five episodes beyond 18 pack a lot of story we still had to get to,” Guggenheim said. “We always knew how this season would end, and we knew the moment we were building up to, and we knew a big chunk of moments we wanted to have, and to cram them all into the remaining five episodes was quite the trick. So we’re on a rocket ride from 19-23, post-18. We always talk about the season as being chapters in a book: 18 closes one chapter, and the final chapter is 19-23.”

http://www.givememyremote.com/remote/20 ... 1h763.dpuf

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- Arrow 2.19 "The Man Under the Hood" Promo:

https://www.youtube.com/watch?v=oEC_8YXaLV4


- Arrow 2.19 "The Man Under the Hood" Extended Promo:

https://www.youtube.com/watch?v=r8p_ef2uazM



- Arrow 2.19 "The Man Under the Hood" Stills:






Podéis encontrar los enlaces y rátings del 2.18 "Deathstroke": AQUÍ

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- Descripción oficial del 2.20 “Seeing Red”:

2.20 “Seeing Red” (23/04/14): ROY ESTÁ FUERA DE CONTROL — El mirakuru manda a Roy (Colton Haynes) a una ira incontrolable y él se desata en la ciudad. Después de una pelea mortal de Roy con un oficial de policía, Oliver (Stephen Amell) se da cuenta de que el mirakuru se ha apoderado completamente de Roy y debe de descubrir una manera para detenerle. Las cosas se complican aún más cuando Sara (Caity Lotz) declara que Roy se ha marchado hace mucho y que la única manera de detenerle es matándole. Mientras tanto, Thea (Willa Holland) cree que puede llegar hasta Roy así es que se pone ante la cámara en la campaña de Moira (Susanna Thompson) para hacerle que vaya a Verdant. Su plan funciona pero después de que Roy ataque a Thea, el Team Arrow se lanza sobre él. Doug Aarniokoski dirige el episodio escrito por Wendy Mericle & Beth Schwartz (#220).

http://www.greenarrowtv.com/arrow-2-20- ... tion/16777

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- ¿Se confirma que Summer Glau será finalmente "Ravager"?:

“Streets Of Fire” es el nombre del episodio 2.22 que actualmente está grabándose en Vancouver y, parece ser, que de nuevo algunos ávidos fotógrafos han conseguido algunas imágenes que parecen confirmar lo que algunos fans de "Arrow" han estado especulando, especialmente tras el capítulo de esta semana ("Deathstroke").

Como podéis ver, se puede ver a una mujer con el traje de "Ravager":



"Ravager" (Rose Wilson), es en los cómics la hija de Slade Wilson. Usa un traje muy parecido al de su padre.



Pero, si miramos con detalle, la mujer de las fotos guarda un gran parecido con Summer Glau, quien interpreta a Isabel Rochev en la serie. ¿Podría esto significar que Isabel es Rose? O al brindarnos Arrow una versión de Deathstroke anterior a Slade Wilson, ¿podría ser tan sólo la primera Ravager?

Después de todo, en los cómics el primer Ravager fue el hijo de Slade, "Grant".

El estudio y la cadena siguen sin hacer ningún tipo de declaración al respecto, así es que lo único que tenemos por ahora son meras especulaciones.


https://twitter.com/PUNKD_Images/status ... 71/photo/1
https://twitter.com/PUNKD_Images/status ... 76/photo/1

- Nueva imagen BTS del elenco (05-04-14):

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- Títulos y créditos del episodio final de la temporada 2.23:

El episodio 2.23 tendrá por título "Unthinkable", con historia de Greg Berlanti y guión de Marc Guggenheim & Andrew Kreisberg y será dirigido por John Behring.

http://www.greenarrowtv.com/greenarrowt ... e-is/16802

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- Descripción oficial del episodio 2.21 “City of Blood”:

2.21 “City of Blood”: OLIVER CONSIDERA SUS OPCIONES CONTRA SLADE — Después de que Slade (Manu Bennett) amenace a Oliver con quitarle todo lo que quiere (Stephen Amell), Oliver decide que la manera más rápida de detener más derramamiento de sangre es rendirse a su enemigo. Sabiendo que la rendición llevará seguro a la muerte de Oliver, Diggle (David Ramsey) y Felicity (Emily Bett Rickards) toman medidas extremas para evitar que Oliver se enfrente a Slade. Mientras tanto, Thea (Willa Holland) considera dejar la ciudad, y Laurel (Katie Cassidy) reanuda su cruzada contra Sebastian Blood (la estrella invitada Kevin Alejandro). Finalmente, Slade desata su asalto a Starling City. Michael Schultz dirige el episodio escrito por Holly Harold (#221).

http://www.greenarrowtv.com/arrow-spoil ... tion/16807

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- Nueva imagen bts del elenco rodando su último episodio de la S2 (09-04-14):