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

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- Arrow EXCLUSIVE Clip + Behind-the-Scenes (DCAA 211):

https://www.youtube.com/watch?v=V-haJOmGAOU

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- Primicia sobre los secretos desvelados de Arrow ¿Cómo reaccionará Laurel? ¿Quién es Isabel? ¿Y cuál es el trato de Thea? (TVLine):

Primicia sobre los secretos desvelados de Arrow ¿Cómo reaccionará Laurel? ¿Quién es Isabel? ¿Y cuál es el trato de Thea?
por Matt Mitovich 14 de Abril, 2014 09:00 AM PDT

The CW’s Arrow dropped not one, not two, but three bombshells as it entered its two-week micro-hiatus, raising big questions about the season’s final five episodes (kicking off this Wednesday at 8/7c).

First and foremost: After (briefly) kidnapping Thea and before slinking back into the shadows of Starling City, Slade Wilson made a very special delivery to Laurel’s doorstep: the truth about her billionaire ex-beau’s alter ego, The Arrow.

What will Laurel do with this jaw-dropping intel? As executive producer Andrew Kreisberg previously teased for TVLine, viewers stand to be “very surprised” by the beleaguered ADA’s reaction. Now elaborating on that, he notes, “Laurel’s been through a lot of ups and downs, and a lot of what these last five episodes are about is her becoming a whole person by really healing from everything that happened not only in the past two seasons, but also in the backstory, before Oliver left.

“Fans of Laurel are going to be really excited by her trajectory in these last episodes,” Kreisberg promises.

Prior to looping in Laurel on Oliver’s crimefighting mission, Slade also dropped some knowledge on the aforementioned Thea — that Malcolm Merlyn is her biological father. Once freed from the Aussie’s clutches, Thea promptly confronted her mother and brother about the well-kept paternity secret, yet directed most of her anger at Oliver. Why target him, if Moira’s the one who concealed the truth for so long?

“Thea expects Moira to be a liar at this point,” Kreisberg explains. “And she even said [to Oliver in Episode] 17, ‘You’re the one person who never lies to me, so for him to be keeping this secret hurt her more than anything else.

“Thea looked up to Oliver and felt like she could always count on him,” the EP continues, “so it’s kind of a sad thing because that’s how Oliver always felt about his mother — and then he discovered The Undertaking. Everyone is experiencing the same family dynamic that none of them can quite snap out of.”

The third and final eye-opener that Arrow let loose with in the “Deathstroke” episode concerns Oliver’s business partner Isabel Rochev (played by Summer Glau), who as part of Slade’s grand plan orchestrated a takeover of Queen Consolidated, busted out some martial arts on Oliver and made a conspicuous reference to “the sins of the father.”

Is the TV show tapping into DC Comics lore by making Isabel an ex-mistress of sorts of Robert Queen’s? Or could she be Slade Wilson’s offspring, Rose Wilson? (Those who condone long-lens paparazzi photography may have spied a clue as to the direction Arrow is pointed; if you don’t, please allow yourself the surprise.) “There are always two ways to go,” Kreisberg hedges. “But you will get a lot more about her backstory and her motivations in the next episode.”

http://tvline.com/2014/04/14/arrow-prev ... -identity/

- Andrew Kreisberg sobre lo que Laurel sabe, un increíble final y más ("tvfanatic):

Andrew Kreisberg sobre lo que Laurel sabe, un increíble final y más
Por Jim Halterman 15 Abril, 2014 9:00 am.

Here’s where we left things at the end of Arrow Season 2 Episode 18:

Thea found out she’s a Merlyn; Mirakuru-filled Roy left town; Ollie learned Isabel is working with Slade and Laurel discovered - from Slade, of course - that Ollie and the Arrow are one in the same.

As all Arrow Fanatics can guess, Arrow Season 2 Episode 19, “The Man Under The Hood,” picks up where all those delicious nuggets left off - and TV Fanatic had a front row seat at a special screening at The CW offices yesterday to watch both this installment and Arrow Season 2 Episode 20, “Seeing Red.”

As an added bonus, Executive Producer Andrew Kreisberg sat down to answer questions, so here are some high points of what you’ll see in Wednesday’s all-new episode and beyond.

With Laurel finally knowing Ollie’s alter ego, she will definitely be a changed woman, which harkens back to another character finding out last season.

“It’s funny because it was sort of the same experience with Colin Donnell’s character,” Kreisberg explained, “where once he knew it changed his character so much. There was just so much more you could write for him and just the way he looked at everything in the world, every scene just became super charged, even if it was small scene that didn’t have anything to do with the main plot.”

Scenes moving forward with Ms. Lance will have a much different feel, he previewed.

“With Laurel, now that she knows, whatever she’s doing, whenever she’s in a scene with someone, her world view has shifted and it’s different and I think Katie [Cassidy] has really risen to it and it’s real exciting to see how it plays out in the last 3 episodes.”

The Flash characters Caitlin and Cisco show up in this episode, as was previously announced, but play a very important part, Kreisberg teased.

“It was actually Keto Shimizu, one of our writers, who, when we were talking about the idea of the cure, said ‘What if Star Labs is the one who starts trying to figure out the cure?’ and it became Cisco and Caitlin coming to the show.

"It just felt like a fun way to bring up Barry, remember where he’s at and give a little taste of the show.” Kreisberg did confirm that this is the only time we’ll see Caitlin and Cisco on Arrow this season.

Poor Thea. She’s been put through the ringer lately with Roy breaking up with her and the revelation of her true parentage so, without giving too much away, be warned that she’s not going to be in a good place anytime soon.

And, if you follow John Barrowman’s Twitter account, you already know that he is going to be back on the show as Malcolm Merlyn in the very near future.

We now know that Isabel Rochev is working with Slade, so she’s definitely on the bad side of things. Did Kreisberg and the other writers always know that she was a baddie?

“Isabel was the one thing that we weren’t entirely sure about as we were developing the season,” Kreisberg admitted. “Truthfully, there was a very early iteration of the series where Sara started the season as Ravager and then we switched over..."

Kreisberg also explained why Ms. Rochev was off the canvas for a lot of the recent episodes.

“Part of the reason Isabel disappeared for awhile was we still weren’t sure which way to go whether she should be an ally or a villain and we’d kind of written it where it could turn out either way.”

Also, Kreisberg revealed that Summer Glau was very happy to find out Isabel was going to be on Team Slade so she could finally kick some rear end.


Also, concerning Isabel, since she’s now essentially taken over Queen Consolidated, expect the Queen’s financial woes to be a big part of the story moving forward.

“That plays out in the last five episodes,” Kreisberg said. “And we’re going to start Season 3 with Oliver in very different circumstances than he’s been before, which, obviously, him being in different circumstances changes the circumstances of his paid bodyguard [Diggle] and his paid assistant [Felicity] since he can no longer pay them.”

Kreisberg also said Arrow Season 3 will have a different feel than previous seasons, comparing it to classic series like Buffy The Vampire Slayer and Angel where you can now tune in for different seasons and see the varied feel and tone to them.

And, yes, he also mentioned there will be new sets in the third season, too.

For those of you Arrow Fanatics wanting Oliver with Laurel in a romantic sense, don’t give up hope.

“It’s Oliver and Laurel! It’s Lois and Clark!” Kreisberg said to the question about their romantic future. “They can break up, get together, sleep together, break up, get married, get divorced, she forgets him…the one thing success has enabled us to do is to slow play some things and I think that we’ve really adopted this mantra of we give people what they need even if that’s not what they want.”

He added: “Having Oliver and Laurel get together in Season 1 was, I think, that’s what people needed then and then they needed to go on a break so Oliver could have his storyline with Sara for this season, which is what felt right to us.”

Of what the future holds for the former lovers, he would only tease: “Laurel is always going to be one of the closest people to him whether that’s romantic or not.”

Kreisberg also said that the last episodes of Arrow Season 2 would be mostly in real time.
And while we have a handful of episodes before the May 14 finale, Kreisberg did say that he’s seen dailies of the episode and practically giggled in delight when he said that the finale is “F***ing insane!”


http://www.tvfanatic.com/2014/04/arrow- ... z2yy4S1xGL

- ¿Revelará Laurel que sabe el gran secreto de Oliver? (TVGuide):

¿Revelará Laurel que sabe el gran secreto de Oliver?
Por Natalie Abrams 15 Abril, 2014 09:32 PM ET

With Slade Wilson (Manu Bennett) determined to ruin Oliver Queen's (Stephen Amell) life, the last thing Arrow's billionaire playboy-turned-vigilante needs is more people learning the truth about his extra-curricular activities. Unfortunately, that's exactly what Slade had in mind when he showed up at Laurel's (Katie Cassidy) door to tell Ollie's former love the truth about the emerald archer. But that doesn't mean Laurel will believe Slade.

Naturally, the inquisitive ADA will set out to uncover the truth for herself in Wednesday's episode (8/7c, The CW), which finds her slowly putting the puzzle pieces together in more ways than one. The truth, of course, could also set her father free since Det. Lance (Paul Blackthorne) was thrown in jail for working with the vigilante and refusing to give up his name. But would Laurel be as kind if placed in the same position?

"When Slade told Laurel, he thought that was going to be yet another devastating death charge into Oliver's life," executive producer Andrew Kreisberg says. "She's not just taking it at face value, but being smart about it, and then her emotional reaction to the news is surprising. Most people assume she's going to react one way and that she reacts a different way is great."

Despite a lot of criticism for the character from fans, Kreisberg says Laurel learning the truth about Oliver is a good thing. "There's been a subset of fans who have questioned our sanity and our talent for making some of the decisions that we've made over the course of last year and this year," he says. "Somebody is always going to be upset, but I think a lot of the things that we've done have been leading up to what we're doing in the finale and moving that forward into Season 3."

Kreisberg points out that when Tommy (Colin Donnell) discovered that his best friend was the vigilante, the storytelling was much richer and fuller. "The way he looked at everything in the world, every scene suddenly became super-charged with him, even if it was a small scene that didn't have much to do with the main plot," he says. "With Laurel, now that she knows, whenever she's in a scene with somebody, her world view has shifted and it's different."

But even with Laurel in the know, that doesn't necessarily bring her closer to Oliver, who is unaware of Slade telling her the truth. Though Oliver and Laurel may be destined to be together, Ollie has been spending his nights with her sister Sara (Caity Lotz), the one woman who knows him better than anyone since she was also on the island. For now, that means it'll be a while before fans of Laurel and Oliver are happy. "We've really adopted this mantra of we give people what they need even if that's not what they want," Kreisberg says. "Having Oliver and Laurel get together in Season 1 was what people needed then, but then they needed them to go on a break, so Oliver could have his story line with Sara for this season, which is what felt right to us. He has women in his life, he has Laurel, he has Felicity [Emily Bett Rickards]. Helena's [Jessica de Gouw] doing a 10-to-20 stretch. I think that Laurel will always be one of the closest people to him whether that's romantic or not."

http://www.tvguide.com/News/Arrow-Laure ... 80562.aspx

- Andrew Kreisberg dice que la reacción de Laurel a la noticia bomba de Oliver es 'Sorprendente' (THR):

Andrew Kreisberg dice que la reacción de Laurel a la noticia bomba de Oliver es 'Sorprendente'
Por Philiana Ng 7:00 AM PDT 4/16/2014

Last we left off on The CW comic-book drama, Slade Wilson (Manu Bennett) dropped an Arrow bombshell, revealing to Laurel that her former lover/friend Oliver Queen (Stephen Amell) is actually the Arrow -- a calculated move on his part to weaken Oliver's world.

"Laurel obviously has had a very rough year. When Slade told Laurel, he thought that that was going to be yet another devastating death charge into Oliver's life," executive producer Andrew Kreisberg said.

But life is more complicated than that and Laurel's reaction to the news isn't as simple as Slade may have hoped.

"I think that Laurel's reaction to finding out the news -- for one, not just taking it at face value, but being smart about it -- her emotional reaction to the news is surprising. I think most people assume she's going to react one way," Kreisberg said, alluding to her past days spent popping pills and drinking excessively. "That she reacts in a different way is great."

Kreisberg compared Laurel's entry into Oliver's Arrow universe to that of Tommy Merlyn (Colin Donnell), who found out about his best friend's vigilante life in season one.

"Once he knew, it changed his character so much," Kreisberg said. "There was so much more you could write for him and the way he looked at everything in the world. Every scene suddenly became supercharged with him, even if it was a small scene that didn't really have anything to do with the main plot."

"With Laurel, now that she knows, whatever she's doing, whenever she's in a scene with somebody, her world view has shifted and it's different. Katie has really risen to it and it's really exciting to see how it plays out," he added.

http://www.hollywoodreporter.com/live-f ... ver-696155

- 'Arrow' Season 2: El crossover con 'The Flash', la reacción de Laurel y la malvada revelación de Isabel (zap-2-it):

'Arrow' Season 2: El crossover con 'The Flash', la reacción de Laurel y la malvada revelación de Isabel
Por Laurel Brown 16 de Abril, 2014

There's so much happening in the final group of "Arrow" Season 2 episodes, and most of it brings up more questions than answers. How will Laurel react to Oliver's secret? Can the world of "The Flash" sneak into the "Arrow" world? Where did the idea for an evil Isabel Rochev come from?

Fortunately, executive producer Andrew Kreisberg has some of the answers.

Two 'Flash' characters come to visit

One of the highlights of episode 19, "The Man Under the Hood," is the arrival of two characters from the spinoff series, "The Flash." Caitlin Snow (Danielle Panabaker) and Cisco Ramon (Carlos Valdes) show up for a brief but important scene in the episode.

Why are they there?

"We knew a lot of the fans had been looking forward to seeing a little bit of 'The Flash' in this season, and we felt obliged to fulfill that promise," Kreisberg told reporters recently. "It just felt like a fun way to bring up Barry [Grant Gustin], where he's at and give a little taste of the show."

There's even a slightly more science-fiction element to the "Flash" characters' appearance that's meant to give "a little glimpse into the type of things the Flash will be up more against."

Is someone else going to be let in on the secret?

At the end of episode 18, Slade Wilson tells Laurel Lance that Oliver Queen is secretly the vigilante that has been roaming Starling City for the past two years. Does she believe him? How does she react? These are two big questions coming into play for Laurel in "The Man Under the Hood."

"Laurel has obviously had a very rough year," Kreisberg says in an understatement. "When Slade told Laurel, he thought it was going to be another devastating death charge into Oliver's life."

Whether this is the result or not, the "Arrow" producers wanted to let Laurel know about the secret for the variation in character this knowledge brings. "It was sort of the same experience with Colin Donnell's character, Tommy [in Season 1]," explains Kreisberg. "Once he knew, it just changed his character so much, just the way you looked at him, every scene suddenly became super-charged with him -- even if it was just a small scene that didn't really have anything to do with the main plot."

Fans can expect the same to happen with Laurel in upcoming episodes.

From Isabel Rochev to Ravager

Isabel has emerged as one of the true villains of "Arrow" Season 2, but her route to an evil reveal and the apparent new identity of Ravager (a villain from the DC comics who always seems somehow related to Slade Wilson) was never a given.

"Isabel was the one thing that we weren't entirely sure about as we were developing the season," Kreisberg says. "Part of the reason Isabel disappeared for awhile was, we still weren't quite sure which way to go -- whether she should be an ally or a villain. We had kind of written it so it could turn out either way."

What made the decision? "As it was coming down, the scene I was picturing was Isabel, Sebastian and Slade, all in Oliver's office as the triumvirate of evil," the producer says. "And once that happened, there was no way she wasn't going to be Ravager."

http://www.zap2it.com/blogs/arrow_seaso ... al-2014-04

- Andrew Kreisberg Habla sobre la evolución de la Isabel Rochev de Summer Glau (greenarrowtv):

Andrew Kreisberg Habla sobre la evolución de la Isabel Rochev de Summer Glau
Por Craig Byrne 16 Abril, 2014

One of the first big “gets” that was announced for Arrow Season 2 was the casting of genre fan favorite Summer Glau (Firefly, Terminator: The Sarah Connor Chronicles) as Isabel Rochev, a character we learned a whole lot more about with tonight’s show. However, earlier this week at a press Q&A, Arrow Executive Producer Andrew Kreisberg admitted to us that the plan for Isabel was not always fully planned out or set in stone.

“Isabel was the one thing that we were’t entirely sure about as we were developing the season,” Kreisberg admitted to reporters on Monday morning. “Truthfully, there was a very early iteration of this [season] where Sara started the season as Ravager, and then we switched over. We always had that paradigm of Slade having [that role] in the back of his mind. Obviously, we didn’t want to make her Rose and have that trajectory. Part of the reason Isabel disappeared for a while was because we still weren’t quite sure which way to go – whether she should be an ally or a villain. We had written it so that it could turn out either way; just, as we were coming down, the scene that I was picturing was Isabel, Slade and Sebastian in Oliver’s office – like the triumvirate of evil – and once that happened, there was no way she was not going to be Ravager.”

“It is funny, because when Summer took the part, I was up there on set with her, and she’s like ‘I’ve never done anything like this. I feel much better if I’m kicking somebody!’ And I’m just like ‘You’re so good; you should give yourself more credit! We wanted you because you are a good actress and you feel amazing in this part, not because you can kick ass.’ And then I got to call her and say ‘Hey. We changed our minds. You get to kick ass.’ In 18, when she does [kick ass], it’s like ‘oh yeah’,” Kreisberg enthused.

“One of the things we’re most proud of with the show is the casting – obviously the regulars are amazing, but I feel like our guest cast, between Caity Lotz, and Katrina Law, and Kevin Alejandro, and Summer… the show is constantly populated with these great people who are also bringing with them their baggage. I don’t mean that in a bad way, I mean it in a good way,” Andrew continued. “As soon as you see Katrina Law, you’re like ‘Oh yeah! I should be afraid of her, because she’s from Spartacus’!” As such, Andrew knew right away that the audience would take to Summer kicking ass, considering her previous on-screen experience doing that on several other shows. “It worked out really well, and now that she’s got the evil juice in her, as we call it in the writers’ room, it’s amazing,” he said.

http://www.greenarrowtv.com/arrow-andre ... chev/16840

- Andrew Kreisberg sobre la decisión de Laurel, el futuro de Laurel y Oliver, y más (givememyremote):

Andrew Kreisberg sobre la decisión de Laurel, el futuro de Laurel y Oliver, y más
Por Marisa Roffman 16 Abril, 2014

ARROW’s Laurel finally knows the truth that Oliver is the man behind The Arrow’s hood, but, for now — thanks to a heart-to-heart with her father, who was willing to go to prison to keep the mysterious man safe — she’s keeping that knowledge to herself.

“Laurel makes the very classy decision to keep Oliver’s decision in this episode, because she knows that what he needs to right now is not knowing that she knows,” ARROW executive producer Andrew Kreisberg told reporters. “She will discover, later on, there is a time when he does need to know [she knows].”

And while Laurel sought out Oliver to show him (platonic) support at the end of the episode, Kreisberg wouldn’t rule out a romantic future for the duo.

“It’s Oliver and Laurel,” he pointed out. “They can break up, sleep together, break up, get married, get divorced, she forgets him[, etc.]. The best part about the success of the show is it’s always our desire to speed through story…[but] on the other hand, one thing success has enabled us to do is to slow-play some things.”

“We’ve really adopted this mantra of, ‘We give people what they need, not what they want,’” he continued. “Having Oliver and Laurel get together in season 1, I think that’s what people needed then. But then they needed them to go on a break so Oliver could have this storyline with Sara for this season, which is what felt right to us. He has women in his life; he has Laurel, he has Felicity, Helena is doing a 10-20 stretch [in prison]. Laurel will always be one of the closest people to him, whether that’s romantic or not. And that’s why it’s so powerful to us that in his darkest hour, Laurel is the one who pulls him out of it.”

One of the other big moments of the hour was when Oliver discovered that Roy, not Slade, was hooked up to the machine that would take his blood and reproduce the effects of the Mirakuru on the army Slade is building. (And had it been Slade, Team Arrow had hoped Oliver would be able to defeat a weakened Slade.) But, according to Kreisberg, Roy wasn’t always supposed to be whom Oliver found in the machine.

“We were actually going to have him disappear for a couple of episodes and really feel his absence,” Kreisberg admitted. “We were going to have Slade in the machine, and have [Isabel] step out, and she was save him, but I don’t remember who said it, but they said, ‘It should be Roy in the machine. Make that a great twist.’”

http://www.givememyremote.com/remote/20 ... 5EqKH.dpuf

- Andrew Kreisberg sobre el último episodio de Arrow teñido de "Flash" ():

Andrew Kreisberg sobre el último episodio de Arrow teñido de "Flash"
Por Albert Ching 17 de Abril, 2014

As "Arrow" nears the conclusion of its second season, the pace is expectedly picking up -- contributing to that speed in this week's episode, "The Man Under the Hood," was a dash of "The Flash."

Carlos Valdes and Danielle Panabaker both inaugurated their roles as S.T.A.R. Labs researches Caitlin Snow and Cisco Ramon, two of the main characters of "The Flash" pilot, considered a strong contender for a series spot on The CW's 2014-2015 scheduled. In the episode, they're enlisted by Felicity Smoak (Emily Bett Rickards) to help find a cure for the power-giving but soul-corrupting Mirakuru serum.

"Arrow" executive producer Andrew Kreisberg sat down with select media outlets, including CBR News, to talk the debuts and the other major developments from the episode, directed by Jesse Warn with a story by Greg Berlanti and Geoff Johns, and teleplay by Kreisberg and Keto Shimizu.

On the repercussions of Laurel (Katie Cassidy) now knowing Oliver (Stephen Amell) is the Arrow:

Andrew Kreisberg: Laurel obviously has had a very rough year. When Slade told Laurel, he thought that was going to be yet another devastating death charge into Oliver's life, and I think that Laurel's reaction to finding out the news -- for one, not just taking it at face value, but being smart about it, and then her emotional reaction -- is surprising. I think most people assume she's going to react one way, and that she reacts a different way I think is great.

It's funny, because it's sort of the same experience with Tommy -- once he knew, it changed his character so much. There was so much more you could write for him, and every scene suddenly became super-charged with him, even if it was a small scene that didn't really have much to do with the main plot. With Laurel, now that she knows, whatever she's doing, whenever she's in a scene with somebody, her worldview has shifted. I think Katie has really risen to it, and it's really exciting to see how it plays out.

On the debuts of Cisco and Caitlin, and why this episode was the right place to introduce the characters:

Kreisberg: We knew a lot of the fans had been looking forward to seeing a little bit of "The Flash" in this season, and we felt obliged to fulfill that promise. But then also for ourselves, it's been one of the fun things of the show, especially early in the season, when we were constantly mentioning the particle accelerator. It was actually Keto Shimizu, one of our writers, when we were talking about the idea of the cure, who said, "What if S.T.A.R. Labs is the one who starts trying to figure out the cure?" and it became Cisco and Caitlin coming into the show. It just felt like a fun way to bring up Barry, remember where he's at, and give a little taste of the show. Even Doctor Light's gun -- it's not something we typically do on "Arrow," it's a little bit more sci-fi-y -- but for us, it felt a little bit more like you got a glimpse into what kinds of things "The Flash" will be up against, more than it was coming into our world.

What's next for Isabel Rochev (Summer Glau), shot by Diggle (David Ramsey) but revived at the end of the episode due to the Mirakuru?

Kreisberg: Isabel was the one thing that we weren't entirely sure about as we were developing this season. Part of the reason Isabel disappeared for a while was we still weren't quire sure which way to go, whether she should be an ally or a villain. We'd kind of written it so that it could turn out either way. As we were coming down, the scene that I was picturing was Isabel, Slade and Sebastian in Oliver's office -- like the triumvirate of evil -- once that happened, there was no way she was not going to be Ravager.

When Summer took the part, I was up there on set with her, and she's like, "I've never done anything like this. I feel much better if I'm kicking somebody." And I'm just like, "You're so good. You should give yourself more credit. We wanted you because you're a good actress, and you feel amazing in this part, not because you can kick ass." Then I got to call her and say, "Hey -- we changed our minds. You get to kick ass."

On Laurel's decision to keep Oliver's secret:

Kreisberg: Laurel makes the very classy decision to keep Oliver's secret, because she knows that what he needs right now is not knowing that she knows. And she will discover later on that there is a time when he does need to know.

Given the comfort Laurel provides to Oliver at the end of the episode, is there any chance for further romance between the two?

Kreisberg: It's Oliver and Laurel. It's Lois and Clark. They can break up, get together, sleep together, get married, get divorced, she forgets him... It's always our desire to just speed through story -- I think the fans appreciate that. Not, "Well, we'll do that in season 4." No, we'll do that now. On the other hand, the one thing success has enabled us to do is to slow-play some things. We've really adapted this mantra of, "We give people what they need, even if that's not what they want." Having Oliver and Laurel get together in season one, I think that's what people needed then, but then they needed them to go on a break, so Oliver could have his storyline with Sara for this season, which is what felt right to us.

He has women in his life. He has Laurel, he has Felicity. Helena's doing a 10-to-20 stretch. I think Laurel will always be one of the closest people to him, whether that's romantic or not."

http://www.comicbookresources.com/?page ... e&id=52225

[Shelby]

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

https://www.youtube.com/watch?v=JxSBWa2zM0k



- Arrow 2.19 "The Man Under the Hood" Producer´s Preview:

https://www.youtube.com/watch?v=jjxH-yyLEng

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- Arrow 2.20 "Seeing Red" Promo (HD):

https://www.youtube.com/watch?v=G8v3W8ftw_g


- Arrow 2.20 "Seeing Red" Extended Promo (HD):

https://www.youtube.com/watch?v=lGKo9zhqVDo




- Arrow 2.20 "Seeing Red" Stills:






- Nueva imagen BTS de Caity Lotz y Emily Bett Rickards (16-04-14):



(Thanks to @caitylotz)





Añadidos los enlaces y rátings del 2.19 "The man under the hood". Podéis encontrarlos AQUÍ

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- Descripción oficial del 2.22 “Streets Of Fire”:

2.22 “Streets Of Fire”: MALCOLM MERLYN REGRESA — Oliver (Stephen Amell) reúne a su equipo cuando los soldados de Slade (Manu Bennett) atacan la ciudad. Felicity (Emily Bett Rickards) recibe una llamada de los S.T.A.R. Labs con las nuevas noticias y Thea (Willa Holland) tiene un cara a cara con su padre – Malcolm Merlyn (la estrella invitada John Barrowman). Nick Copus dirige el episodio escrito por Jake Coburn & Ben Sokolowski (#222).

http://www.greenarrowtv.com/arrow-stree ... urns/16836

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- Imágenes BTS del rodaje del episodio 2.22 "Streets of Fire" (31-03-14):



http://canadagraphs.weebly.com/9/post/2 ... stars.html

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- Arrow 2.20 "Seeing Red" Clip:

https://www.youtube.com/watch?v=7pxRb2sekAs


- Arrow 2.20 "Seeing Red" Clip #2:

http://www.comicbookmovie.com/fansites/ ... s/?a=98667

[Shelby]

- Caity Lotz adelanta el debate del Team Arrow sobre 'Matar a Roy' (TVLine):

Caity Lotz adelanta el debate del Team Arrow sobre 'Matar a Roy'
Por Matt Mitovich 22 Abril, 2014

Caity Lotz admits, “I didn’t really come in with huge expectations” when she was recruited by The CW’s Arrow last July, to play presumed dead Sara Lance aka crime-fighting Canary. Even so, the opportunity has proven to be “a lore more than I ever expected,” she shares with TVLine. “It’s a lot of fun to be a part of this show.”

Helping matters, no doubt, is the warm welcome the San Diego-born actress received by many of the show’s viewers – never an easy feat given how discriminating comic book fans can be when it comes to on-screen adaptations.

“They can be very protective, which is cool, because it shows that they’re involved,” Lotz notes. “So I guess I’ve been lucky that they’ve accepted me into their ‘crew.’”

‘RED’ ALERT | Reflecting on her run thus far – which as of Wednesday at 8/7c totals 20 episodes – Lotz appreciates the depth afforded Sara, who in addition to kicking ass alongside Arrow (played by Stephen Amell) and rekindling a once-illicit romance with Oliver enjoys rich relationships with the female characters as well, including estranged sis Laurel, Arrowcave colleague Felicity and, yes, the enigmatic Nyssa al’Ghul. In that respect, “The writers have done a really good job with Sara,” she affirms.

This week on the CW hit, the episode “Seeing Red” pits Team Arrow against one of their own, when Mirakuru’d Roy is perceived, by some, to be too great a threat to their cause, if not Starling City at large. Sara is at least one voice suggesting that Arrow’s super-strong sidekick needs to be snuffed.

“Sara and Oliver have seen this before, and Roy is just too far gone, so Sara thinks he needs to be put down, definitely,” Lotz previews. “She’s like, ‘He’s done. We’ve got to kill him.’ Boom!” — a stance that, of course, conflicts with Oliver’s particular vigilante policy. “He’s got the big ‘no killing’ thing, so yeah, that comes into play.”

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- Andrew Kreisberg habla sobre ARROW y el próximo Episodio “Seeing Red,” el cortar algunas escenas de Roy, el hacer malabares con algunas historias y la venganza de Isabel y Slade (collider.com):

Andrew Kreisberg habla sobre ARROW y el próximo Episodio “Seeing Red,” el cortar algunas escenas de Roy, el hacer malabares con algunas historias y la venganza de Isabel y Slade
by Christina Radish 23 de Abril, 2014

In Episode 20 of The CW series Arrow, entitled “Seeing Red,” the Mirakuru is sending Roy Harper (Colton Haynes) into an uncontrollable rage that he unleashes on the city. When Oliver Queen, aka The Arrow (Stephen Amell), realizes the Mirakuru has taken over Roy completely, he must figure out a way to stop him, and do so before Sara (Caity Lotz) kills him.

During this recent interview to talk about the events of this episode and what’s still to come this season, executive producer/writer Andrew Kreisberg talked about managing what happens to those who get injected with Mirakuru, why some of the Roy Harper scenes have gotten cut, the challenge of juggling so many storylines, why Slade Wilson’s revenge is about more than just the Mirakuru, how Isabel Rochev (Summer Glau) evolved into Ravager, and how once you start down the dark path, it consumes your destiny. Check out what he had to say after the jump, and be aware that there are some spoilers.

Question: What were the conversations like in the writers’ room, as far as how long to play out the Rage Roy story arc?

ANDREW KREISBERG: The hardest thing to manage in the writers’ room is what happens to you when you get Mirakuru’d. Some people are like, “If it’s been two months, you’re at this level. If it’s been three months, you’re at this level. What’s Slade at, after five years?” We’ve done our best. We tend to go with what’s right for the episode. At the end of the day, they’ve both been injected with sci-fi magic super-evil juice. I don’t know how that works.

Unfortunately, there were actually a couple more scenes with Roy, in that stretch where it felt like he disappeared. In Episode 13, “Heir to the Demon,” he actually took on Nyssa and her minion. That’s where we actually discovered the pit viper venom. She actually darts him and, after they fight, he passes out and she says, “Wow, you’re strong. Most people would be dead from that.” But time wise, with that episode, it had to come out. And there was another scene where Roy was part of things. I know there was some time where it felt like he came in and out. We were actually going to have him disappear for a couple of episodes and really feel his absence. When you have a big cast and you’re juggling all of these storylines, some things have to get put on the backburner for a couple of episodes.

So, what guidelines do you use for the Mirakuru then?

KREISBERG: The interesting thing about the Mirakuru is that we always talk about it like Angelus. When Angel became Angelus, all the things he was saying hurt Fred and Gunn and Wesley because he was telling them the truth. It was all the things we don’t normally say. And Roy was right in Episode 18 when he said, “You’re all just blindly following him and doing what he says, while he’s making all the wrong choices.” Roy was right, even though he was on psycho evil sci-fi juice.

In the finale, there’s a line where Slade says, “You think it’s the Mirakuru, why I hate you. I hate you because Shado is dead because of what you did.” And he’s not wrong. It’s not necessarily Oliver’s fault. I don’t think Oliver chose Sara over Shado. I think, if he’d put the gun to Shado and was about to pull the trigger, Oliver would have dived in front of Shado. He was about to kill one of them, and Oliver dove in front. He didn’t pick one over the other. But, everyone is the hero of their own story. From Slade’s POV, he loved a girl, and this other guy failed to save her life. And sci-fi evil juice isn’t what’s fueling that.

What can you say about this new version of Isabel Rochev, now that she’s been given Mirakuru?

KREISBERG: Isabel is the one thing that we weren’t entirely sure about, as we were developing the season. Truthfully, there was a very early iteration of the series where Sara started the season as Ravager, and then we switched over. We always had that paradigm of Slade having that, in the back of his mind. We didn’t want to make her Rose from the comics, and have that trajectory. Part of the reason Isabel disappeared for awhile was because we still weren’t quite sure which way to go, and whether she should be an ally or a villain. We had written it so that it could turn out either way. As we were coming down to it, the scene that I was picturing was Isabel, Slade and Sebastian in Oliver’s office, as the triumvirate of evil. Once that happened, there was no way that she was not going to be Ravager.

What was Summer Glau’s reaction when she learned about that arc for her character?

KREISBERG: It’s funny because when Summer [Glau] took the part, she was like, “I’ve never done anything like this. I feel much better if I’m kicking somebody.” And I was like, “You’re so good, you should give yourself more credit. We wanted you because you’re a good actress and you feel amazing in this part, and not because you can kick ass.” And then, I got to call her and say, “Hey, we changed our minds. You get to kick ass.” So, in Episode 18 when she does kick ass, it’s like, “Oh, yeah!”

One of the things we’re most proud of, with the show, is the casting. Obviously, the regulars are amazing, but I feel like our guest cast, with Caity Lotz, Katrina Law, Kevin Alejandro and Summer Glau, is amazing, too. This show is constantly populated with these great people who are also bringing with them their baggage. And I don’t mean that in a bad way. I mean that in a good way. As soon as you see Katrina Law, you think, “Oh, yeah, I should be afraid of her,” ‘cause she’s from Spartacus. With Summer, some of the writers were like, “When she just starts kicking ass, aren’t people going to be like, ‘What the fuck?’,” and I was like, “No. They’re gonna be like, ‘Why wasn’t she doing this sooner?’ It’s Summer Glau. That’s what she does.” I think it worked out really well. Now that she’s got the evil juice in her, she’s Ravager.

We’ve heard Sara talk about how, once you let the darkness in, it takes over. Will that be something she continues to struggle with?

KREISBERG: As Yoda taught us, once you start down the dark path, forever it will consume your destiny, and that goes for all these people. “Once you let the darkness is, it never comes out,” could almost be the subtitle for Season 3.


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- Andrew Kreisberg sobre la Evolución de la Isabel de Summer Glau (givememyremote):

Andrew Kreisberg sobre la Evolución de la Isabel de Summer Glau
Por Marisa Roffman 23 Abril, 2014

Summer Glau may be best known for her kick-ass roles on shows like TERMINATOR: THE SARAH CONNOR CHRONICLES, but when she landed the role of Isabel Rochev on ARROW, the writers weren’t entirely sure if they would be writing to those strengths.

“It’s funny, because when Summer took the part, I was up there on set with her, and she was like, ‘I’ve never done anything like this. I feel much better if I’m kicking somebody,’” ARROW executive producer Andrew Kreisberg told reporters last week. ” And I’m just like, ‘You’re so good. You should give yourself more credit. We wanted you because you’re such a good actress and you feel amazing in this part. Not because you can kick ass.’ And then [later] I got to call her and say, ‘Hey, we changed our minds. You get to kick ass.’ But in 18, when she does, it’s like, ‘Oh yeah.’”

And now that Slade revived Isabel at the end of the last episode with what Kreisberg has dubbed “the evil juice,” Glau’s Isabel will become Ravager, a character who originally introduced in the DC Universe. (Though ARROW is putting its own twist on the character.)

“Isabel was the one thing we weren’t entirely sure about as we were developing the season,” Kreisberg admitted. “Truthfully, there was a very early iteration of the series where Sara (Caity Lotz) started the season as Ravager and then switched over…Part of the reason Isabel disappeared for a while was because we didn’t know which way to go, whether she should be an ally or a villain. And we…had written it so it could turn out either way. It just, as we were coming down, the scene that I was picturing was Isabel, Slade, and Sebastian in Oliver’s office — the triumvirate of evil. Once that happened, there was no way she was not going to be Ravager.”

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- Andrew Kreisberg sobre la devastadora pelea de ‘Seeing Red’ (givememyremote):

Andrew Kreisberg sobre la devastadora pelea de ‘Seeing Red’
Por Marisa Roffman 23 Abril, 2014

ARROW’s Slade has been a lot of talk and little real action in his vendetta against Oliver (revealing to Thea’s her true paternity and unmasking The Arrow to Laurel, aside), but in tonight’s episode, he delivered his cruelest blow yet: Slade made Oliver choose between saving the life of his mother or his sister. When Oliver struggled with the decision, Moira volunteered herself for death to spare her daughter, and Slade praised her bravery…and then killed Moira.

“The decision was, first of all, just with [losing] Colin Donnell (Tommy) [last season], was difficult,” ARROW executive producer Andrew Kreisberg admitted. “Susanna [Thompson (Moira)] has been with the show since the beginning. She was one of our big gets early on that really signaled to the audience and to the reviewers, this wasn’t your average CW show. This wasn’t your average superhero show. And like with Colin Donnell, these last few episodes were her pinnacle. This is as good as anything that’s on television. And unfortunately, because of the kind of show it is, won’t be recognized as such. And truthfully, you see all those scenes with her and Stephen [Amell (Oliver)], her importance to the show — in helping Willa and Stephen go from solid actors to amazing actors is due to sharing screen time with her. But the decision, it really was, just like with Tommy, [was] where is her trajectory going?”

“In season 1, she had this incredible secret: that she was a part of The Undertaking,” he continued. “And she suffered for it, and went to jail for it, and then we discovered she had an even better secret, which was that Thea is really the daughter of Malcolm Merlyn . And when that secret was discovered, it split the whole family apart. And obviously, we’ve been taking steps to bring people back together again, and when we were talking about the future, and knowing we had wanted Slade to — it was only going to be powerful if Slade really changed the game by doing something truly monstrous. And if Moira wins the mayorship, if she makes up with her kids, what is she? And what is Moira without a giant secret? And if they all forgive her, and there’s another giant secret, for us, it sort of felt like we were becoming a soap opera. Where it was, ‘Yes, you tried to blow up the city, and yes, you lied about this, and now you lied about this other thing!’ It really just felt like, in a way, she could die a hero’s death, and die this person who was conflicted, because even as she was saying, ‘We have to tell the truth,’ we’re seeing she’s kept this other horrible secret. You literally can’t change her. She goes to the grave, despite the fact that she sacrifices herself for her children, which is amazing, and truly is — there’s a line in the next episode where Walter says to Thea, ‘Your mother showed she loves you in a way few parents can’ — and yet she was still lying. And that was the essence of her character. Ending it at this time left you with this great feeling of what an amazing character she was, rather than let her become a caricature. And that was the math. Just like with Tommy, it was horrible math, it was tearful math, but her death — just like with Tommy — has a profound impact on everyone on the series. It’s certainly what’s going to drive Oliver in these last three episodes, and it’s going to drive Thea, not just in these last three episodes, but also into season 3. Sometimes the worst thing you can do personally is the best thing you can do professionally.”

Speaking of Moira’s latest secret, viewers learned tonight that Oliver actually has a kid out there — a storyline that won’t be dropped, despite the fact that the one (regular) character who knows the truth is now dead.

“I think that like we did with season 1, the seeds for season 2 were planted in season 1,” Kreisberg teased. “And again, the best part of the success the show has had was knowing we’re going to make more, and knowing we could drop these things in, and pay them off later…and this is something that will be paid off in season 3.”

But Moira keeping Oliver from finding out about her kid wasn’t the only secret that was revealed in “Seeing Red”: Moira told her son that, surprise (!), she actually knew he was The Arrow.

“We had always talked about the idea that Moira knew Oliver was The Arrow, and there’s actually been a couple of places where we were like, she should let him know,” Kreisberg revealed. “Because we felt like one of the great things about ‘Sacrifice,’ last year’s season finale, was that when Oliver came in to talk to her, he’s not Oliver Queen, he’s The Arrow. And she’d have to be borderline low IQ if she wasn’t like, ‘Wait a minute…’ But we always liked that she never told him. Everything felt like it all came together in this one episode how yes, secrets are a tough thing. It’s one of the most interesting things about writing this show is when are secrets good, and when are secrets bad? Even for Oliver, he hasn’t told Laurel. And he had an idea in his head that she shouldn’t know. And I think you guys will all see, he was wrong. He was wrong not to tell her, because she could handle it. But there was no reason for Thea to ever know Malcolm was her dad.”

“It’s a complicated thing,” he continued. “We love that we have a superhero show where the heroes are doing the wrong thing a lot of the time. And making bad decisions, even with the best of intentions. And I think that’s the thing about Moira: we’ve always said she’s doing the wrong thing for the right reasons. And everything she does, she does because she loves and wants to protect her children, even if that means blowing up a city, lying to them, and I think one of the most interesting things for us was realizing our villain, Moira, and our hero, Oliver, were essentially doing the same thing. And Thea called them out on it. It’s been the best part of the success of the show — not that I’m comparing us to [STAR WARS' sequel] THE EMPIRE STRIKES BACK, but STAR WARS introduces us to the characters and they’re very much archetypes, and EMPIRE STRIKES BACK, they’re able to go deeper and darker. That’s the fun thing of a sequel: once the characters are established, you get to take them to different places. We always looked at season 2 as the sequel to season 1. And we do feel like things have gotten richer and deeper, and these decisions that we made are what allowed that.”

As for where the characters go now, Kreisberg teased that “the next episode opens up with Moira’s funeral and Oliver’s missing.” Uh oh. And things are only going to get crazier from here.

“It’s a race against the clock, these last few episodes,” Kreisberg previewed. “Act 5 of [episode] 21, the show pretty much runs in real time from that point on for the last two episodes. For Roy, it’s will Roy be strapped to a table with snake venom in him for the rest of his life, or are they going to come up with the cure? And the cure is not only the means to salvage Roy, but it’s also the means to stop Slade…[and] maybe Slade didn’t just kill Moira to piss Oliver off. And maybe someone realizes that.”


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- Susanna Thompson Habla sobre el Shock de Starling City (tvfanatic):

Susanna Thompson Habla sobre el Shock de Starling City
Por Jim Halterman 23 de Abril, 2014

Did you see that coming?

While most of Arrow Season 2 Episode 20 was based around the crazy exploits of Roy Harper, the ending sent a shock through the system of all loyal viewers:

Slade - taking his vengeance against Oliver to new heights - forced Oliver to choose between the lives of his mother and sister. Before he could do so, however, his mother made the ultimate sacrifice. RIP, Moira Queen.

Below, TV Fanatic has the exclusive first interview with Susanna Thompson, who has played Moira Queen since the very first episode of this CW smash.

And while her character's death was a tear-filled stunner, the actress reminded us that it also will propel the stories of Oliver and Thea forward in new and fascinating ways...

TV Fanatic: Though I’m not happy that Moira is gone, I have to say the way it was done was very fitting for the show and where the storylines have been heading all season.

Susanna Thompson: Yes. And also just the investment that you as an audience member have, it’s a similar vibration to the emotional journey particularly that Thea and Oliver have been on with their mother. And so I think that’s what’s interesting to me, too, is how it lands for them, it could be a very similar way as how it’s landing to the audience. It catapults Oliver’s story, then Thea’s story in many ways.

TVF: Talk to me about that conversation when you found out this was what was going to happen.

ST: Those conversations are mixed. In the back of your mind one never knows in a show like this who’s next. So there’s that. And then when you hear that it’s going to be your character, there’s a sense of shock. There’s a sense of sadness and there’s a sense of acceptance as well. I think particularly for Moira. If you looked at the current journey, the comic book journey for her, I think Oliver was five when she died in the African safari. I used to joke with people like David Ramsey that once we hear that Moira’s got a ticket to Africa, then we know what’s going to happen.

But even with the joking, you’re never ready for that moment. And I have to tell you, the biggest impact is saying goodbye to people. I mean, because I’ve been around the industry for a while and you say goodbye to shows. And this is the first time I’ve been involved in a show where my character actually died. So that was different.

TVF: What was the final scene that you shot? Was it that last scene with Slade, Oliver and Thea or maybe one of the flashbacks?

ST: The very very last scene was one of the first scenes of the episode. It was when Thea comes in and interrupts my interview. That was the last scene that I filmed.

TVF: I thought the flashback story with Oliver’s unexpected pregnancy was so fitting because it really showed Moira being a mother to Oliver.

ST: I think if I were a mother I would do things a lot differently than Moira does but you get a sense in those flashbacks of the secrets that perhaps she’s already keeping, just in terms of what she’s negotiated already to that point with Robert, that he doesn’t know and Oliver doesn’t know. And she’s, of course, had to put out fires with his teenage years.

But this is the biggest one by far at that point in flashbacks. And I really do believe, as I was talking to [Executive Producer] Marc Guggenheim, I really do believe that she was trying to hold onto a hopeful future for him. And I don’t know that they intended it, but I also think, yes, she’s putting out a fire that she hopes Oliver will not discover. But I also think she’s very sincere in many ways when she says ‘this is my first grandchild.’

TVF: I’m sure all those scenes were tough for you to shoot but was there a difference in that flashback because it really showed the emotional connection you were having with Oliver?

ST: I’m telling you, it was to me, I think, and I think that Stephen would say the same thing. It was a very gratified, satisfying way to end with Moira. To really go in to her love and her ease with Oliver. The two of them really get each other and you see that in a flashback. And for Stephen and I to be able to go there as actors in those scenes was really, to me, very satisfying and, at times emotional.

The last scene where he tells her that Sandra lost the baby. In the flashback, the ‘my beautiful boy’ line from the pilot. I mean, it’s a beautiful way that Marc wrote that in. And I already knew that when I read it. But it’s not until I was actually filming it did Stephen and I started to really feel the depth of that, because it takes you back to the pilot, the beginning of all this as actors, not only just the character stories but as actors, our developing of these characters, it takes you all the way back there.

But, as we were filming it, it hit me at one point. Like my cellular memories remembered in the pilot that I also gave him a kiss and I did that and it was almost like I had to really reel in the flood gates to get through the scene. And Stephen had his own emotional journey we couldn’t talk to each other in between takes on that final scene because we were going in these very, very different places, both very emotional.

TVF: And Moira tells Oliver in the present day that she’s known for a while that he’s the Arrow.

ST: I loved it.

TVF: And you always said, even from probably the first season when we’ve talked, that Moira probably knows more than she’s letting on.

ST: Exactly. And of course, logistically, when and where did she know? I often said in [Arrow Season 1 Episode 14], ‘she would recognize his chin! She would recognize him!’ But you know, you suspend that and you move on. You go, ‘okay, she doesn’t [know].’

But when does she find out? And I think they were smart about when they decided. And I then tracked it to just during that scene that Moira and Oliver have in [Arrow Season 1 Episode 21] when he says, ‘Somebody’s got to do something.’ And I was thrilled and so was Stephen that that was coming out because we had often talked about that. And I wasn’t sure if it would. I wasn’t sure if they would logistically be able to do it.

Oliver and Moira had been very parallel. They’re characters that know each other and they are characters actually that maneuver in the world very similarly. You could go back and forth between their stories and what they’re hiding and what they’re doing and who they’ve become.

TVF: In the car crash scene, Moira was about to say something about Malcolm and I’m curious if you knew what she was going to say or…?

ST: The script said Malcolm, dot dot dot. If you’re an actor and you read that and you’re watching this episode, you could pretty much guess, I think, what is she talking about? It’s time to turn a new page. And she’s talking about her lying. So you could only guess, and I can’t tell you, but you can guess. I think it’s clear. If I were just an audience member I would know exactly what she was about to say and it’s perfect that she doesn’t get it out.

TVF: And now let’s talk about the death scene. Were you on a stage or were you actually outside? It must’ve taken awhile to shoot.

ST: Yes, it was outside, it was in the park in Vancouver, in the cold, in the rain. I knew what the physical conditions were going to be. I didn’t know about the rain. But I also knew that I had everybody’s support. We shot that scene the second day of filming in the episode and I was actually glad when it was over because we could get down to business, because we weren’t anticipating it anymore.

Stephen is so kind and, in many ways, protective of us as actors, but to me playing his mother, he said, ‘I just want you to know that if there anything you need for that scene, please speak up. If you want to be filmed first, you just say what you need.’ And I said, ‘thank you, sweetheart.’ But I knew that whatever happened that night it was going to be fine. And I took my contacts out and just went into a zone. And Willa went with me. And Stephen was going to go there. And we did one rehearsal and then Willa came over and just started hugging me and I said ‘we can’t go there right now.’

It was emotionally draining for all of us and the director (Doug Aarniokoski) barely talked to me during the rehearsal and during the filming of it. He barely mentioned anything, because we all came with everything. And I knew it. It was electrically charged and the crew didn’t speak. Everyone just stood there and there was very little chit chatting and frivolity. None of that.

TVF: And in that final scene we see Moira both as a mother and also as a hero with her sacrifice. Do you see it that way?

ST: I clearly do, Jim. Absolutely. And the fact that she knows who Oliver is. And they originally had that line, ‘There’s only one way tonight can end.’ They originally had, in the script they had [Moira] standing up, turning, and saying that whole line to Slade but with the logistics of the scene and the getting up in heels and the slowness of it and she’s staring right at Oliver the whole time. I knew that line had to go to Oliver. And in doing that, it recalls the knowingness between Oliver and Moira. I mean, he knows what she’s saying that to him, it landed even deeper for him, that sacrifice. And truly that is, that is the mother being the hero there. And in many ways, not just for her children but for the bigger landscape of what she knows he is now.

TVF: My last question would only be what’s next for you? Have you recovered from all this?

ST: Well, I think I’ve recovered. I won’t really recover until the season has aired. And then you never know. I might be visiting them, who knows, if there are flashbacks or what not. I know that they were very happy with the flashbacks. But moving on from Arrow, auditions but currently I’m just very excited. My husband is going to be teaching in Slovenia and we’re piggy backing a trip to Paris. We’ve never been to Paris and I’m so excited. I think the trip will be a great transition for me, and when I get back I’ll be ready then to work again, I think.


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- Susanna Thompson sobre la salida de su personaje: 'Ella tenía más cosas que hacer' (THR):

Susanna Thompson sobre la salida de su personaje: 'Ella tenía más cosas que hacer'
Por Philiana Ng 12:00 PM PDT 24/04/2014

Arrow pulled off a mother of a twist last night.

Queen matriarch Moira sacrificed her life in exchange for her children, Oliver and Thea, dying by sword at the hands of Slade. The episode, "Seeing Red," was initially billed as a Roy Harper-centric hour, but the other major bombshells also had to do with Moira: 1) She knew Oliver was the Arrow since (at least) the Undertaking. 2) She paid off a girl to lie about losing Oliver's baby and leave town. 3) She was thisclose to spilling a secret about Malcolm.

Executive producer Andrew Kreisberg detailed just how "difficult" the decision was to kill off Moira, even crediting Susanna Thompson -- the producers viewed her as a huge "get" in the beginning -- for elevating Stephen Amell and Willa Holland's performances.

For Thompson, who has yet to see the episode (she was vacationing in London; the day before, she and Colin Salmon, aka Walter, had a "sweet" reunion), Moira's final scene was "quite emotional, but satisfying," she tells The Hollywood Reporter. "I saw that beautiful crane shot of them pulling back from the death scene and that was almost like film noir to me. It was beautifully filmed."

In a chat with THR, the veteran actress opens up about Moira's shortened arc, the other Oliver-related bombshells and if she felt her character had more places to go.

When were you first informed that Moira would die?

At the end of January, actually. The writers have a wonderful trajectory of where they think they’re heading and as Marc Guggenheim said to me, “We don’t take these types of storylines lightly.” They come in with the possibility and then they sit with and sit with it and make sure it’s the right path. And I know it was hard for both of them [Guggenheim and Andrew Kreisberg]. It was Andrew who had the unfortunate job of chatting with me and telling me what was going to happen in the story. We all know that any one of us could be in the situation as characters on a TV show based on a comic book, but that doesn’t stop the initial impact of it.

What was that conversation with Andrew like?

I was told I needed to chat with him about another episode and then the information came out. They had to get me in the room basically. I think everyone was awkward about not knowing how to do that because they care for me and I do believe that they did not want to say goodbye to me but this was the best trajectory for Oliver’s character. Andrew said, “This is hard to say...” and as he said that, I said at the same time he did – “You’re going to kill Moira.” Then it landed in the room and the two of us talked it through. I asked “Why?” It wasn’t an emotional meeting -- it wasn't in terms of tears – but it was emotionally being felt inside of me and in Andrew. Then you go away and you start processing it. There were a couple of days where it stung, but they gave me a beautiful episode to dig into and work hard with Willa and Stephen and little bits of Paul Blackthorne and say my goodbyes.

Do you think Moira’s arc ended at the right time or did she have more to do?

To be honest, I do feel like she had more to do. But this TV show is called Arrow and I think the writers – I’m not sure – didn’t want too many satellite stories right now and that was discussed with me. To give Moira her full weight, you would really have to give her these satellite stories. You’d have to give her a world. She’s too big of a character not to give her a world to live in besides being Oliver’s mother and worrying about him. You can’t keep playing the same in those stories. I think that they went down certain paths – I don’t know if maybe they were not satisfied with the path of mayor. The Moira that I met in the pilot, in my heart as an actor, lived in a much bigger world and we got to see a good majority of that but I know there was more to explore personally. But they have more of a story to tell elsewhere and that’s probably why.

Was her death the way you pictured it?

It's a beautiful Shakespearian moment. Here's what I was most happy about and the most satisfied about: [The producers] had talked to me at the start of the series that her motivation is her love for her children so to go out standing in front of that sword so that her children could be saved, yes, that satisfied me because at least it completed that particular part of that story. It showed her true strength.

I imagine the last day of filming was tough...

That last scene was filmed on the second day. My last day of filming was tough for other reasons because that's saying goodbye to the community. I was surprised we were filming the death scene so early but I have to tell you the truth, when we finally finished it and we were satisfied with it, it was relief that that was over and we could get to the rest of the episode. No one wanted it to happen.

It was a huge Moira-Oliver episode...

It was, wasn't it?

Another Moira-Oliver reveal came in the form of a pregnancy, with Moira using money as incentive to have the girl disappear and worse of all, lie about losing the baby. Was that moment surprising to you when you first read it?

It wasn't surprising. The producers like to create these unexpected Easter eggs. You find these eggs in different areas hidden way and a lot of them are in Central City it feels like. (Laughs.) As Marc talked to me about the episode, what he liked about that particular bit of it was it allowed the audience to see how her brain works. She is still protecting her son and a grandchild. Yes, she is asking the young woman to go away and yes, she is paying her off. But the way I wanted to play it, I did truly want Moira to feel sincere about helping that child out.

How do you think Moira would have handled the repercussions of Oliver's secret child had she stayed alive?

It would have been interesting, in creating my own backstory for her and my possibilities of the future had she lived, was that she had probably at different times had reached out to this child or at least kept an eye on them.

What are your thoughts on Moira knowing about her son's Arrow life for at least a season?

Stephen and I have often played and felt that Moira knows. I don't know that Stephen played or built it into Oliver that he knew that Moira knew. (Laughs.) But Stephen and I have talked about that Moira has always believed that somewhere in the middle -- I thought it was a little bit earlier [than the Undertaking]. I harken back to the pilot. There's a piece of Moira that I feel knows much more than the audience realizes she knows and much more than Oliver realizes. Moira and Oliver live a very parallel life in the first two seasons.

It's safe to say Moira's death shatters Oliver and Thea's worlds. How do you think this affects their trajectories?

What we're left with in this episode is that Moira and Oliver are starting to mend their relationship. Thea and Moira haven't quite gotten there. For Moira to die in the middle of healing actually rising [with Oliver] and healing that hasn't happened yet [with Thea], I think we've got possibly two different trajectories there and the impact and the guilt and the pain or the release of that that might be felt from either one of these characters.

What will you miss most?

I had a certain role as a senior actor on the show and you set an example for people and you welcome people into your home and you rally people to work hard and go forward and you challenge people – writers, producers, crew members, other actors – to do the best work they can. Saying goodbye to all of that was the hardest part.


http://www.hollywoodreporter.com/live-f ... ath-698517

- Susanna Thompson sobre el giro descorazonador, su línea improvisada, lo que fue cortado y más (givememyremote):

Susanna Thompson sobre el giro descorazonador, su línea improvisada, lo que fue cortado y más
24 de Abril, 2014 by Marisa Roffman

ARROW’s Moira Queen may not have been the most honest person in the world, but the one consistent aspect of her character was she would do anything in her power to protect her children. (Whether they wanted it or not.) And when Oliver was faced with the choice of having to choose between Slade killing his mother or his sister, Moira took the decision out of her son’s hands and volunteered herself to die in order to spare her children.

In light of Moira’s (devastating) death, I spoke with Susanna Thompson (Moira) about her character’s demise, why she opted to improvise a key element of her final scene, Moira’s secrets, what she’ll miss, and more…

When did you find out that Moira would be dying?
Susanna Thompson: I found out back at the end of January, so it gave me a couple of episodes to get ready for the end of Moira and to process it. And to actually have some time with the cast and crew, because when you work outside the city you live in, you create a tighter community, and we certainly have on ARROW. A great cast and wonderful crew.

Did you have to keep it a secret from your castmates?
ST: Here’s the thing: I think [ARROW executive producers] Andrew [Kreisberg] and Marc [Guggenheim] honored me in telling me early on, because it was the beginning of pilot season, really, and if anybody wanted to have me come in audition, they were honoring that. They of course didn’t want me to tell anybody, but they told myself and my manager and my agent, so if there was work out there, they would have a heads up. It was respectful of them.

But I also knew with such advance notice, things are leaked through the grapevine. The last thing I wanted was the cast members, in particular, that I worked with the last few years to find out through the grapevine, so I wanted to be the one to tell them. And I was at least able to do that. I think Andrew and Marc were a little nervous about that, but I assured them, and my manager assured them, that I would not be telling the public. I wanted to be able to tell those that were close to me. And the cast has been around; they know what the game is here. We can’t go out and leak this information. It’s not good for the show to do that.

How was it filming Moira’s death scene?
ST: Everyone showed up ready to honor the scene, honor the character, and make sure I was OK as an actor. Willa [Holland (Thea)], too, and Stephen [Amell (Oliver)]. It was very emotional for the family, in particular. And to get there, I sort of had to tune out a lot of the external. I think Willa did the same. I think Stephen and Manu [Bennett (Slade]] did the same. And the director was incredibly respectful, as was the crew. Everybody stayed really quiet, really focused, and we got through it. It was not easy. But we got through it, and I think we brought more to it, maybe than even people expected. I personally wanted it to be as truthful as it could be. And that’s not always easy watch.

And you improvised the “close your eyes” comment to Thea, correct?
ST: I did. I knew — there were a few more lines, Marisa, I think were cut from the scene. Where I had to tell Oliver to protect [Thea], protect each other, you take care of her Oliver, you protect each other. I think those lines were cut. But when they were in the script, I needed to bridge the gap between [thinking] both my children will live — which is displayed — and then having to get out the rest of what Moira had to speak. And Thea’s there screaming, “What are you doing, Mom?” and Oliver’s saying, “Please don’t do this” and I knew he could shoot Moira at any time. And the last thing I wanted was for Thea to see that. And she’s right there. And I was just going over it and over it in my head, prior to getting to the set several days in advance, and I thought, “This is what she would say. And I’m not going to tell anybody, I’m just going to do it.” And the first rehearsal I said it, Marc Guggenheim told our script supervisor, “Keep it, keep it, I love it. Keep it.”

It felt very painfully authentic.
ST: It was. But I knew she had to. She had to connect mother to daughter there.

That type of subtly and layering of story and emotion, it takes a collaborating. You have story, and you have the actors, and you have the director and the crew. And we — I, though I know Stephen also loved working with him — loved working with Doug [Aarniokoski], the director. It was the first time [on ARROW] for him, and I’m sure they’ll bring him back, but he was open to having a meeting with me before we started the episode. He shared with me some ideas, I shared with him some ideas, we’d go away into our corners and start working. And his truth barometer and his taste for not overdoing or overplaying was impeccable. So I have to give a shout-out to him.

Moira also had a lovely scene with Oliver earlier in the episode where she told Oliver that she knew he was The Arrow. Andrew told us that the writers had discussed for a bit that Moira had that knowledge, but did they actually fill you in on that piece of information?
ST: You know, they don’t tell you a lot. [Laughs] The writers like to talk about a lot, but then they don’t necessarily tell the actors. Stephen Amell and I had chatted about the fact that it was quite possible Moira knew and when. And in chatting with Stephen about that, and creating your own character arc, and waiting to have it either validated or sent in another direction based on any given episode, you throw out ideas. And then you have conversations with writers. I know they had talked about it, but it wasn’t being brought up to the table, it wasn’t being put in an episode. And as this [death] was coming closer, we were certainly hoping, Stephen and I, it would happen. We thought it might happen prior to the last episode, but we were very happy it was in the last episode.

Of course, there’s also the delicious reveal in the hour that as truthful as Moira’s trying to be, she’s also paid off a woman to keep Oliver’s kid from him. What was your reaction to finding that out?
ST: It’s in keeping with who Moira is and all the secrets. This was a season of redemption for her, and her dying, and the way she dies — in protecting her children — is the ultimate of redemption as I looked at it, and I know Andrew and Marc look at it that way as well. However, she goes to her grave with yet another lie. A secret; not necessarily a lie, but a secret.

It’s interesting, because it happens in the flashbacks earlier than all the heaviness and the weight of having lost Oliver for five years. So you see a younger, fresher Moira, but you get to see the consistency of how her brain works, and how she protects her family. How she protects her status in the world.

But I do believe, and it was my intention, that she truly was concerned about this child. She loves her children, and here is her first grandchild, about to be born, and she’s not going to be able to have a role in this child’s life, except from afar. She’s going to make sure she has a part in it, regardless. And in that way, she’s not only hold on to Oliver’s hope for his future, [but] she’s trying to give a piece of hope to this child that she doesn’t know yet. There’s honor in that, but it does take a bit of looking at it from different angles to understand it.

What will you miss most about the show?
ST: Relationships. It was a lovely group of people. I adore Vancouver, but the cast and the crew, really lovely group of people.

I’m certainly going to miss the character I got to play, but there’s only so many ways the story can go out in these different pocket stories. And I don’t think they can go too far from that main story. And unless they were going to take Moira out to a bigger world, a satellite world, and weave pieces of that back into Oliver’s story, then great. But I don’t think we would have enjoyed just constantly seeing Moira concerned about Oliver. If we’re not going to go into government, which is where they were taking her, I always wanted to see her in a bigger world. In a bigger Starling City world. I think that’s a different show than what they’re seeing. But I will miss the cast and crew tremendously. But I know I will also see many of them.

And they’ll have you back for flashbacks.
ST: I’m glad you have confidence in that! [Laughs] Who knows. We’ll see — I have no idea!


http://www.givememyremote.com/remote/20 ... lLqJd.dpuf

- Susanna Thompson Habla sobre el giro de Moira Queen (accesshollywood):

Susanna Thompson Habla sobre el giro de Moira Queen
24 de Abril, 2014 03:37 PM EDT

“Arrow” delivered a heartbreaking twist on Wednesday night, when one of the show’s most beloved characters was killed off.

The CW show said goodbye to Susanna Thompson’s Moira Queen who was killed by Slade (she sacrificed herself for her children).

Her exit left her cast crushed. Stephen Amell (Oliver Queen) Tweeted, “Tonight’s episode broke my heart,” and Colton Haynes wrote on Instagram that Susana is “one of the most incredible” people he’s met “over the years.”

In a new interview with AccessHollywood.com, the classy and elegant Susanna spoke about “Arrow’s” big Season 2 twist and her final scenes.

AccessHollywood.com: I was so sad when I saw what happened.
Susanna Thompson: I know. You’re not the only one. I haven’t seen it yet… but I’ve been – you should’ve been on set. That was hard.

Access: I do a lot of interviews about a show that is very well known for killing off characters — ‘Game of Thrones’ — and based on those conversations, it made me wonder how they structured your exit on ‘Arrow.’ Was this your last day [the death scene]?
Susanna: No, no, they didn’t and unfortunately I don’t know the ‘Game of Thrones.’ David Nutter, our pilot director, was like aghast that I’m one of the few people that don’t watch it and I knew early on that I wouldn’t watch it because of the gore, but David was saying, ‘Oh, it’s right up your alley, Susanna. You would love it. You should be on it.’ It’s like, ‘No, that’s okay. I don’t need the violence in my life, thank you.’ But that’s interesting. I didn’t know that they killed characters off quite regularly.

Access: They do and in one instance, shooting the death scene was, sadly, the last scene one actor did on the show.
Susanna: Everything is based on schedule with ‘Arrow,’ everything with the filming and Mark Bunting, the [Assistant Director] for that particular episode, said, ‘Susanna, I’m sorry, but we have to film it the second day.’ And I said, ‘Well, at least it’s not the first day, Mark.’ And it was at the end of the day on the second day of filming and it was dark and rainy and wet and muddy and late and it was all very fitting for that particular scene and everybody came ready to play, everybody sort of treated it very sacredly, actually. There was a sense of… honoring me, as an actor and what we were all about to do for this character.

Access: What was your last scene?
Susanna: I had two last scenes. I was wrapped from the main unit on [the] Friday and my last day on the main unit was with [actress] Anna Hopkins, and so that’s where I pay off [the woman carrying Oliver’s child, who Anna was playing]. She’s a lovely actress. … She had no idea that it was real. She read the script, but she didn’t believe that they were killing me until the whole crew surrounded me with flowers and clapping and applause and she was in shock, apparently. She wrote me a long email when she got back to her hotel room saying, ‘I had no idea, and one of the reasons I was doing the show is I wanted to work with you and I was so happy that I was going to get to work with you.’ And, she just wished me the best. … And then, I wrapped second unit with Thea interrupting my press interview in the house and so Willa [Holland] … she was with me my last scene and when Mark Bunting whispered in her ears that it was sort of the window shot, she burst into tears, and I was like, ‘Oh dear. Mark, why did you do that?’ and then again more flowers. My hotel room looked like a hospital room. It was crazy, and I kept telling people, ‘No more. No more. I can’t travel with them.’ So, it was very nice and the cast and various crew members took me out to dinner. And, you know, it’s two years of relationships and when you work in a different city than your home, you create bigger relationships.

Access: You and Stephen had that great scene where Moira told Oliver she knew his secret. That had to have been tough.
Susanna: Oh, that was a beautiful, beautiful. … You just get to certain places in the character and in various episodes where your guard is completely down and the truth has to come through and they had already gotten there in [the episode] where Thea was kidnapped, and so Moira, just the truth of who she is and talking about her impact, you know, ‘you’re always worried what the world’s going to do to your children, but you don’t think about what you’re going to do to your children.’ And so that place was already like opened up and now, you get to this other place, where she expresses what she knows. We were both excited because both Stephen and I believed that Moira knew for a while. The writers weren’t convinced of it, I don’t think, and they had to make sense of it… they had to go back and piece it together and figure out where she could have known. And that’s what they came up with for that scene. But I think the most emotional scene for Stephen and I was the flashback scene up on the landing.

Access: Where he gets emotional and he’s like, ‘I’m not ready to be a dad.’
Susanna: Yep, because not only is it what’s happening for Oliver, the two actors, also, are going back to the pilot, which was intentional to have those words be spoken again of, ‘My beautiful boy.’ And she spoke that when she saw Oliver for the first time after him being rescued. So it was on many levels — it was character and actor, actors experiencing this. And I really couldn’t talk to him because I would have just lost it. I couldn’t talk to Stephen as a person. I had to just keep focus because I was having different sensorial memories, and then adding that to the scene and Doug [Aarniokoski], our director, was just so happy with it. He felt like it was just this tiny, tiny, private, private little moment that we were all getting a chance to glimpse.

Access: So true.
Susanna: I think what’s satisfying for Stephen and I, is that we’ve always believed — and the writers created this — that Oliver and Moira have had this genuine connection with each other from day 1, and it’s all these different life moments that sort of put these obstacles in there for them. But this is a moment where you get to see how close they are.

Access: How do you feel about Moira going out a hero? Some people want to say she’s a villain, but I’ve actually just seen her as troubled.
Susanna: I have always thought of her as troubled as well. Her choices are definitely not the choices I would have made as a person, but the writers had talked about a season of redemption and I think this was the ultimate [moment] of redemption. It really was and they didn’t know how they would have her die and when Andrew [Kreisberg, ‘Arrow’s’ Executive Producer] and I were chatting, when he first let me know what was happening, he was throwing around a couple of ideas to me and I said to him, ‘Just please listen to me — you’ve said for two years now that everything she does is motivated by the love of her children. Please let her go out saving her children and not some other character, or make it a storyline where she could at least embrace the image of motherhood because that’s where you have written her. At least honor that motherhood part of her.’ And they did. They did it beautifully.

Access: Obviously they set it up that you could come back in flashbacks…
Susanna: I guess anything’s possible (laughs). They haven’t come ringing my bell yet, so I guess anything’s possible on this show. This is a first for me, having a character die, but it also is clearly a show that has flashbacks, so who knows.

http://www.accesshollywood.com/arrow-qa ... qImBB58.99

- Andrew Kreisberg Detalla la sorprendente muerte del personaje (CBR):

Andrew Kreisberg Detalla la sorprendente muerte del personaje
Por Albert Ching 24 de Abril, 2014

See that spoiler warning up there? It's not for decoration -- if you're behind on "Arrow" and avoiding spoilers, this isn't the article for you.

Those who did see this past Wednesday night's "Arrow" installment know that an already significant episode featuring Roy (Colton Haynes) on a deadly Mirakuru-fueled rampage finished with Slade (Manu Bennett) dealing his unkindest cut yet to the Queen family -- fatally stabbing the ethically challenged Moira Queen (Susanna Thompson) as she heroically sacrifices herself to save her kids Oliver (Stephen Amell) and Thea (Willa Holland).

The episode, directed by Doug Aarniokoski and written by Wendy Mericle and Beth Schwartz, left fans with quite a bit to freak out about. (We didn't even mention the revelation that Oliver fathered a child years ago, and Moira manipulated him into falsely thinking said child was lost during the pregnancy.) "Arrow" executive producer Andrew Kreisberg talked to select media outlets, including CBR News, at The CW headquarters in Burbank to process the latest happenings on the DC Comics-inspired series.

What prompted the decision to kill Moira?

Andrew Kreisberg: I don't want to give the impression that we sort of [said], "Well, somebody has to die, let's spin the wheel. Bad luck, Moira." Just as with Colin Donnell, it was difficult. Susanna has been with the show since the beginning. She was one of our big gets early on that I think really signaled to the audience and to reviews that this wasn't your average CW show, it wasn't your average superhero show. Like with Colin Donnell, these last episodes are her pinnacle. This is as good as anything that's on television -- and unfortunately, because of the kind of show it is, probably won't be recognized as such. Truthfully, you see all of those scenes with her and Stephen, and her importance to the show in helping Willa and Stephen go from solid actors to amazing actors.

It really was, just like with Tommy, "Where is her trajectory going?" In season one, she has this incredible secret, that she was part of The Undertaking. She suffered for it, and went to jail for it, and then we discovered she had an even better secret -- that Thea is really the daughter of Malcolm Merlyn. When that secret blew up, it split the whole family apart. Obviously, we've been taking steps to bring people back together again, and knowing it was only going to be powerful if Slade really changed the game by doing something truly monstrous, it was, "Well, if Moira wins the mayorship, if she makes up with her kids, what is she?" What is Moira without a giant secret? And if they all forgive her, and then there's some other giant secret, for us it sort of felt like we were becoming a soap opera.

In a way, she could die a hero's death, and also die this person who was conflicted, because even as she's saying, "Hey, we have to tell the truth," we're seeing that she's kept this other horrible secret. You just literally can't change her, despite the fact that she sacrifices herself for her children -- which is so amazing, yet she was still lying. We felt like ending it at this time left you with that great feeling of what an amazing character she was, rather than let her become a caricature. That was the math, and just like Tommy, it was horrible math, and it was tearful math, but her death, just like with Tommy, has a profound impact on everyone on this series. It's certainly what's going to drive Oliver in these last three episodes, and it's going to drive Thea, not only in these last three episodes, but also into season three.

On Moira knowing that Oliver is secretly "The Arrow":

Kreisberg: We had always talked about the idea that Moira knew that Oliver was The Arrow. There's actually been a couple of other places where we were like, "Oh, this is where she should let him know." One of the great things about last year's season finale was, when Oliver walks in to talk to her, he's not Oliver Queen. He's the Arrow. She'd be borderline low IQ if she wasn't like, "Wait a minute…" We always liked that she had never told him, and everything just sort of felt like it came together in this one episode.

Secrets are a tough thing. It's one of the most interesting things about writing this show -- "When are secrets good, and when are secrets bad?" Even for Oliver, he hasn't told Laurel, because he had an idea in his head that she shouldn't know. He was wrong, and he's going to find out that he was wrong not to tell her, because she could handle it. We love that we have a superhero show where the heroes are doing the wrong thing a lot of the time, and making bad decisions, even with the best of intentions. I think that's ultimately the thing about Moira. We always said she's doing the wrong thing for the right reasons, and everything she does, she does because she loves and wants to protect her children. Even if that means blowing up a city, lying to them, hurting their feelings -- I think one of the most interesting things for us was realizing that our villain, Moira, and our hero, Oliver, were essentially doing the same thing.

On the secret Moira was about to reveal in the car:

Kreisberg: I think what she was about to tell them is going to play out sooner than you think.

How will Moira's death affect Thea?

Kreisberg: All hell is going to break loose in the city, and Thea will find herself in a precarious predicament, and she will be saved by her father -- and Malcolm is going to offer her what she doesn't have anymore.

That was part of our math with killing Moira. If we were going to send Thea in that direction, she needed to have nothing pulling her back here. And now she has a brother who lied to her, and has done something unforgivable, and no mother. On the flipside, she has Malcolm Merlyn, saying, "I will never lie to you, Thea."

What does Moira's death mean for the Starling City mayoral race, now that one candidate is dead and the other is evil?

Kreisberg: I think the politics of Starling City are probably less important than the fact that there's going to be supervillains running around the city. [Laughs] The one thing you don't get from this episode is that maybe Slade didn't just kill Moria to piss Oliver off, and maybe somebody realizes that.

How significant will Roy killing a cop during his rampage be to the character going forward?

Kreisberg: That is also something that is going to play out in season 3. When Roy wakes up, he doesn't remember anything that's happened to him in the last seven episode. We sort of say in this one he kind of went "full Mirakuru." When he wakes up, it's, "Did anything happen while I was asleep?" Now it's, "Do we tell Roy that he killed somebody," because that wasn't him. Yet again -- secrets, secrets, secrets. These crazy kids never seem to learn their lesson.

How permanent are the Queen family's financial problems?

Kreisberg: We're going to make it a thing. That plays out in the last five episodes, and we're going to start season three with Oliver in very different circumstances that he's been before -- obviously him being in different circumstances changes the circumstances of his paid bodyguard and his paid assistant, since he can no longer pay them.

We are really proud that season 2 had a substantially different look, and the sets felt different, and the circumstances felt different, and there was different casting -- for season 3, we really want to continue that. You'll see that some of our standing sets from season 1 and 2 that we've come to know and love as being "Arrow' are going to be retired for reasons that will become apparent. We've already seen designs for some of the new sets for season 3, which are amazing. We want the show to constantly feel like it's evolving and changing and growing.

How significant will Oliver's knee injury be to the final episodes of season two?

Kreisberg: His mother is dead, his sister hates him, he blames himself, Sara's gone, his knee hurts, Roy's in a coma. We literally were like, "How bad can we make this?" And we have. He really is coming from the lowest point he could come. The arc of his season is, "Is Oliver Queen a killer, or is he a hero?" He's been trying to be the Arrow, and now he's had everyone and everything he loves taken away from him. He's been hobbled. His team is in shambles. He's lost his company. His mother is dead. What is Oliver Queen going to do? Is he going to be that guy on the island, or is he going to be something else?

Is there a character name for the woman who was pregnant with Oliver Queen's child in the flashback?

Kreisberg: (coyly) … no. The best part of the success that the show has had is knowing that we were going to be able to make more, and knowing that we could drop these things, and pay them off later. That experience is something that will be paid off in season three.

Will Sara (Caity Lotz) be back before the end of the season?

Kreisberg: Sara will be back.

On how the next episode, "City of Blood," starts:

Kreisberg: The next episode opens with Moira's funeral, and Oliver is missing.


http://www.comicbookresources.com/?page ... e&id=52373

[Shelby]

- Arrow Stills del 2.21 "City of blood":






- Arrow 2.21 "City of blood" Promo:

https://www.youtube.com/watch?v=9bhcGiSlvqw



- Arrow 2.21 "City of blood" Extended Promo:

https://www.youtube.com/watch?v=11Hv30Vnnww




Añadidos los enlaces y rátings del 2.20 "Seeing Red". Podéis encontrarlos AQUÍ

[Shelby]

- Descripción oficial del episodio final 2.23 "Unthinkable":

2.23 "Unthinkable": OLIVER DEBE DECIDIR DE UNA VEZ POR TODAS SI ES UN ASESINO O UN HÉROE — Slade (Manu Bennett) sigue adelante con su plan de matar a una persona más de la vida de Oliver (Stephen Amell). Mientras que Oliver ha luchado durante todo el año por ser más que el asesino que una vez fue, cuando Slade secuestra a alguien cercano al corazón de Oliver, éste se ve empujado al límite y se da cuenta de que a veces hay que hacer lo impensable para detener al monstruo. Mientras tanto, Diggle (David Ramsey) se enfrenta a Amanda Waller (la estrella invitada Cynthia Addai-Robinson) con un poco de ayuda de parte de unos amigos, y Thea (Willa Holland) acude a Roy (Colton Haynes) en su momento de necesidad. John Behring dirige el episodio con historia de Greg Berlanti y guión de Marc Guggenheim & Andrew Kreisberg (#223).

http://www.greenarrowtv.com/arrow-seaso ... able/16982

[Shelby]

- Nuevas imágenes BTS del rodaje del episodio 2.22 "Streets of Fire" en downtown Vancouver (29-03-14):



http://canadagraphs.weebly.com/9/post/2 ... -guys.html

[Shelby]

- Arrow 2.21 "City of blood" Sneak Peek:

https://www.youtube.com/watch?v=qN2elwxi-_Q



- Arrow 2.21 "City of blood" Sneak Peek #2:

http://insidetv.ew.com/2014/04/30/arrow ... exclusive/



- Nueva imagen bts (30-04-14):



(thanks to @mguggenheim)



- Confirmado el regreso de 'Nyssa' para el epsiodio final 2.23 "Unthinkable" y primera imagen oficial:

Según se ha confirmado hoy, Nyssa (Katrina Law) está de regreso en el final de la segunda temporada de Arrow, ya que Sara ha ido en su búsqueda para conseguir refuerzos es la batalla contra Slade.

“[Sara] fue a conseguir ayuda, porque cuandi estás luchando contra un ejército, necesitas un ejército”, comenta Andrew Kreisberg. “Va y consigue a Nyssa, y ella regresa con la Liga. Es Arrow, Canary, Roy y la League of Assassins vs. Slade y su ejército de Mirakuru por la ciudad.”

Kreisberg, se siente muy positivo sobre el final de Arrow de esta temporada: “¡El final esuna locura!” dice entusiasmado.

http://www.greenarrowtv.com/the-first-o ... uest/17017

[Shelby]

- Paul Blackthorne: sobre la relación de equipo con el vigilante y si sabe el secreto (zap2it):

Paul Blackthorne: sobre la relación de equipo con el vigilante y si sabe el secreto
Por Laurel Brown 30 de Abril, 2014

As "Arrow" comes to the end of Season 2, the tension is rising along with the number of people who know Oliver Queen's secret identity. Both of those factors come into play in the upcoming "City of Blood" episode.

One of those most affected by the events in these final episodes is Officer Quentin Lance, played by Paul Blackthorne. Zap2it spoke with the actor about what might be coming, Lance's relationships with his daughters (especially that one who favors black leather) and whether or not the cop knows the true identity of the Arrow.

What can you tease about the final episodes of Season 2?
Paul Blackthorne: Everything's the end of the world on 'Arrow.' We're really good at end-of-the-world moments. We're obviously building towards the finale now, and it's a rather amped-up, supercharged finale on every front. To me, it's not two or three episodes -- it's just one big finale. With Slade's army on the move and all hands on deck, no matter what universe you're from, we're all in it together. We've got a handful!

Thanks to his daughter's threats, Lance is out of jail. How does he reenter the fight against Slade Wilson and Sebastian Blood?
Lance, yeah, he's back on his feet, thanks to Laurel's fine stand there. She did her dad well there, absolutely!

Lance is back on his feet, he's out of prison, he's back in the precinct. And of course Laurel comes along with some rather interesting news about Sebastian Blood, which definitely changes the way we feel about him -- to say the least. Of course, Laurel has been after this guy, but we all thought she was crazy because she was on the drink and the drugs. And here we are now starting to believe it, especially when she presents some hardcore evidence. There's a little twist and turn going on there. Then, by the end of the episode, all hell breaks loose. We're really, really, really see what we're facing here in Starling City. It's not looking pretty, and we're going to need a good couple of episodes to get our heads around it. It's going to be a big one!

Will Lance still want to work with the Arrow, or has his prison time made the cop warier?
His relationship with the vigilante, the Arrow as he wants to be called these days, is very positive now. They've been together for the whole season, really. The odd couple is doing quite well, assisting each other whenever they can.

It's all about the bigger picture for Lance. But in the system he realizes things are a little bit skewed and he's wearing a badge and he's part of it, but he's stepping outside of it for the good of Starling City. And if he has to do that with the Arrow, he will do. He's comfortable with that. As he said in 'The Man Under the Hood,' in the scene in the hospital bed, if he's got to do time for this guy, he'll do it. Because he's doing everything for the good of the city, and ultimately he knows the same applies to the Arrow. He'll take the rap for the Arrow if he has to, and as long as that guy is still serving the city, he's fine with that.

At the end of 'Seeing Red,' Sara Lance skipped town with no warning. How is Lance going to react to his long-lost daughter disappearing again?
To be honest, she's been doing that since she was about 12. Myself and Laurel -- I mean Katie, the two Katies -- we talk about our family history quite a lot. While Laurel had her head in the books, Sara was the one who was always off somewhere, disappearing and being the naughty little rebel that she was. It's interesting -- she still is that person.

But the thing that makes Lance strangely content is that ultimately it's played out in the way that it has, they are both still serving the city -- just in two very, very different ways. Laurel's again, still with her head in the books and Sara's running around, kicking butt in that leather costume. So ultimately, my girls are OK! They're all right.

To see her disappear is not good -- of course he cares and it's going to give him a sleepless night. But at the same time he knows what Sara's like, and it's a bit of a shoulder-shrug moment. But it's not out of character and he knows it -- especially in these days of leather costumes!

One thing that Lance has noticed is that she does seem to be able to take care of herself. So that lessens the concern somewhat.

Lance has insisted that he doesn't know and doesn't want to know the identity of the Arrow. Is he lying, living in denial or just really unobservant?
He of course has his suspicions. He wouldn't be a human being really, and of course he's running around Starling -- he has his suspicions as to who it might be.

But on two levels, the two things that affect him are as follows. Firstly, as he said in the hospital, he doesn't want to get too close emotionally to this guy. He's a compassionate person, Lance, and he's going to care about this guy. So he doesn't want to get too emotionally close to him. Really, he needs this to be a very functional character in his life, one that helps with the city and he uses in a very practical way. So he doesn't want to know who he is, because he might get to care about him. And then secondly, the more he knows about him, the more he's not revealing himself, the more he has to lie. He's still in the system, and although he's working with this guy, he doesn't want to know so much that he has to ... If he knows his identity, then he's going to be in a position where he has to reveal this guy.

As I said, knowing that this guy serves the city more than anybody else around here can, he doesn't want to reveal the guy! But given the position that he's in, if he does know it, he really would have to. So I tell you what: Let's all stick our heads in the sand, we'll put our fingers in our ears and go 'No! I don't want it! Don't tell me! Don't tell me!' 'Cause the way things are now, kind of neurotic and skewed and peculiar, it works.

http://www.zap2it.com/blogs/arrows_paul ... et-2014-04

- Blackthorne dice que en los episodios del final de la Temporada 2 de "Arrow" "Todos tienen que arrimar el hombro" (cbr):

Blackthorne dice que en los episodios del final de la Temporada 2 de "Arrow" "Todos tienen que arrimar el hombro"
Por Albert Ching 30 Abril, 2014

This week's episode of "Arrow" sees Slade (Manu Bennett) poised to unleash his army of crazed, superpowered and Mirakuru-infused criminals on Starling City as part of his multifaceted revenge-fueled plot. So what could a police officer like Quentin Lance (Paul Blackthorne), even one on close terms with the Arrow (Stephen Amell), have to offer?

Looks like quite a bit, according to Blackthorne. The actor told CBR News that the final three episodes of "Arrow" second season contain major tests for the Starling City Police Department -- and talks about his character's journey over the past year, Quentin's desire to not know the Arrow's secret identity and what he'd like to see for Lance in Season 3 and beyond.

CBR News: Paul, based on last week's episode, it doesn't look like "Arrow" is a safe place for parental units -- are you nervous about what might be next for your character?

Paul Blackthorne: I don't think it's a safe place for anybody, is it? [Laughs] If you're a parent or a non-parent, I think it's pretty perilous whichever corner you turn.

That was terribly unfortunate, to see Moira go. Lance had an up and down relationship with her over the years, but it was pretty devastating to see a woman like her go out like that -- especially as their relationship was warming somewhat, and there she was running for mayor, and she seemed authentic. Terribly sad to see her go.

Losing Susanna Thompson as part of the cast had to be a blow.

That's absolutely the case. One has to maintain the stakes in good television -- if there's death-defying stuff and nobody ever dies, it kind of loses its ring a bit. Unfortunately, it does mean that these things occur, and it was very sad to lose Susanna, absolutely -- she's a fantastic actor. And how amazing was she in the episode?

We're almost as the end of Season 2, and it's been a tumultuous one for Quentin Lance -- demoted right at the start, then certainly lots of family turmoil, and he was even in jail for a while. How have you enjoyed your character's arc this season?

I think for Lance, as tumultuous as it seems, he's actually been in a place of relative peace in his own mind. Although within the system he's been demoted, within his own mind, he knows he's done the right thing. His relationship with the Arrow is one that's better for Starling City -- that's what he cares about most, other than his daughters. As skewed as the relationship is, given that he's doing it from within the system, he knows that this guy makes Starling City a better place, or certainly tries to make it a better place. As tumultuous as it's been, he's actually been in a much better place than he was last season.

Speaking of that relationship with the Arrow -- two weeks ago, there was a pretty meaningful scene between Quentin and Laurel when she was about to tell him who the Arrow is, and he said he didn't want to know. How significant do you see that scene in representing what Quentin Lance is?

Lance doesn't want to know who this guy is for a couple of different reasons. He wants to maintain, as he talks about in that scene, the emotional distance between them, because Lance can't help but care about people. He is a compassionate guy. He is there to protect and serve, as it says. He knows that if he starts caring about this guy, he might not be able to interact with him in the same way that ultimately helps the city the most. So he's got to keep that emotional distance from him.

Also, he doesn't want to put himself in a position whereby if he does know his identity, he's going to have to reveal that to the police force, because obviously, that's ultimately going to be detrimental to Starling City. So the less he knows the better, and the more he can operate in this skewed, neurotic way that he does. As crazy as that is for him to do it in that way, he knows that ultimately it serves the city. "I don't want to be in a position where I'm going to have to give up this guy's identity. I may have my suspicions as to who it is, but to be honest, I don't want to know, and if you know, don't tell me." It's all ultimately for the good of Starling City, because that's what he knows this guy serves best. That's the reason.

The show has found success with an obvious mix of the more grounded, human drama with the big comic book-y action, and you've been a part of both. What's that been like, and how rare of an opportunity is that for an actor to do both at the same time?

That's what's kind of great about "Arrow," isn't it, because although it is set in that comic book context, the writing enables great characters and great character development. Within these fast-moving stories, there is still an importance on [character]. People care about human beings. Things could be exploding -- arrows and bow staffs, goodness knows what could be going on -- and that's all fabulous, but ultimately, people care about the characters in whatever world they're operating in, whether it's sci-fi, comic book or kitchen sink drama. And that's one thing the writers have obviously given great care and attention to -- making the audience care about these characters.

We're in a very fortunate position, because we do get some nice, human stuff there, seeing people just trying to get by in life, whether it's within themselves, or within their families, or within their city. Just watching people in the struggles that we have try and do the right thing by themselves, by their family, by their city -- that's very intriguing to watch. They write this stuff brilliantly.

In this season, the show in general has gotten a lot bigger -- the world has expanded, there's more characters, the action has escalated -- and it looks like it's about to get even bigger by the end of the season. You've been a part of the show from the beginning -- what's it been like to watch the evolution of a show?

It's just that, isn't it? It's evolution, and you can't just sit on what you've got. Watching the mythology of this world get bigger and bigger is fascinating to watch. It's great writing, and it's important that the show does that, and it does it successfully.

This week's episode, "City of Blood," looks to have Slade basically deploying an army of what's essentially supervillains on Starling. How big of a role does your character play in the final episodes of this season?

With these supervillains, as you put it, Slade's army trouncing all over Starling City, this is not just a situation for the leather-clad superheroes. This is clearly affecting all of Starling City, so the police department's very much involved with it.

There's a little twist, as well, in the relationship between not just Lance and the Arrow, but the Starling City Police Department and the Arrow. Because, let's face it -- we're all in this together, with this army coming upon us. It's all hands on deck.

Not to look too far into the future, but we know "Arrow" has already been renewed for a third season. Presuming Lance makes it out of these last few episodes intact, do you have any idea of what you might like to see next for the character?

I don't really think about what I would like to see so much, because to be honest, what these guys come up with episode after episode, now beginning to be season after season, it's fantastic -- seeing where they take the story, the characters, the development, all around. I just look forward to seeing those pages each week when the new script comes out. It's always pretty interesting.

Having said that, I think Lance could do with a woman in his life, don't you?


Yeah! It was sad to see him with Dinah, where he thought things were going one way and they clearly were not.

I know, There he was -- he was all amped up, he thought he was all back on board with Dinah, and then she goes and brings "Jeffrey" up. Who the hell is Jeffrey?

But the one thing that it did do, of course, with Lance, was bring closure to the Dinah situation. Which, again, sort of put him in a much better place than he'd been before. So you never know -- maybe Lance has already put some love in his life. That'd be nice.

That's an interesting perspective to hear, that Lance is in a better place in life, even though just a couple of weeks ago he was getting beaten in jail.

He was enjoying the break up until then!

http://www.comicbookresources.com/?page ... e&id=52500

- Paul Blackthorne sobre la nueva cruzada de la familia Lance; además, un juego de 'Laurel o Sara' (ew.com):

Paul Blackthorne sobre la nueva cruzada de la familia Lance; además, un juego de 'Laurel o Sara'
Por Sandra Gonzalez 30 Abril, 2014 at 6:15PM

Our favorite Starling City residents are reeling in tonight’s episode of Arrow.

Following the death of Moira in the last new episode, Team Arrow is down for the count in a major way and, according to Paul Blackthorne, experiencing, “a little bit of a shock to the system.” “Lance and Moira obviously weren’t bosom buddies, but there was some respect and their relationship was warming up in recent months,” says the actor. “And, obviously, the effect it has on this daughter — particularly Laurel — is huge for Lance. It’s a sad moment.”

But even in the group’s grief, there’s a major threat to be dealt with, as Slade Wilson is on the run. And while Oliver certainly has his sights set on his nemesis, Det. Lance is on a slightly different — but, unbeknownst to him, related — trail. “Laurel approaches Lance with this news that she thinks Sebastian Blood is involved with it, and sort of painting him as a bad guy — just as she did a few months ago when she was all doo-daddley on the drugs and the drink,” he says. “So for Lance to sort of have faith in her again is a bit of a leap for him, but considering where they’re both at right now between the two of them, she’s in a much cleaner purer, better state than before, he can just sense there’s something going on here and she’s on to it.”

And as the pieces of that evil puzzle come together in the final episodes of the season, Blackthorne says there’s a lot to look forward to in the finale itself, which, as EW reported earlier this week, will feature a big return. “There’s an interesting turn in the relationship between the police department in general and Arrow with Lance as the catalyst in between,” he says. “We all realize there’s a threat in the city and we’re all in this together and we’ve all got to deal with it together.”

In an unrelated (or slightly related) matter, EW asked Blackthorne to play the inaugural game of something we like to call “Laurel or Sara?” — something as simple as it sounds. One scenario. Two daughters. One choice. And he was up for the challenge! Read below:

ENTERTAINMENT WEEKLY: Scenario: You’re arrested again. Which daughter would you call first?
PAUL BLACKTHORNE: Without a doubt Laurel because she has a pretty good track record of getting me out of sticky situations. So with the track record she’s got, Laurel all the way.

Helena escapes custody. Who would you call?
I think I have to say Sara on that one. With the way in which Helena operates, I think Sara would be more [able] to deal with her on a physical front.

You get to invite one person with you to grab a free burger at Big Belly Burger. Who’s going?
Felicity.

Nice!
Lance’s got interesting thoughts on Felicity and again, neurotic as ever, but I think Lance would secretly love to sit down and have a burger with Felicity and get to the bottom of who that girl is. But with respect to the game we’re playing, sitting down with Laurel or Sara for a burger? Absolutely, without a doubt, it would have to be both of them. I refuse to make a choice. I’m taking both of my girls to dinner.

Who would you trust to be your matchmaker?
Laurel. [laughs] Again, she’s got some track record on that, hasn’t she? She’s the one who did accommodate the ill-fated dinner with Dinah that one time. She was the one who understand why Lance wanted to give that a go. She got that together. She did a bit of matchmaking on that occasion. So she’s got the history and the track record.

Last one: Who would you want dating Oliver Queen?
No one with the surname Lance.

HAHA!
Having said that, he’s improved in Lance’s mind. Lance has definitely warmed to him somewhat over the last year. And if one of his daughters decided to do that, he’d understand. He’s respect that. But preferably, let’s just find someone else, shall we?

http://insidetv.ew.com/2014/04/30/arrow ... d-preview/

- Paul Blackthorne Revela un sorprendente giro en la guerra de Deathstroke (mtv.com):

Paul Blackthorne Revela un sorprendente giro en la guerra de Deathstroke
Por Alex Zalben 30/04/14

Paul Blackthorne hasn’t been having an easy season on “Arrow,” playing the part of former detective Quentin Lance. He got knocked down to beat cop, then beaten up, then arrested. And the whole time, he’s been struggling with one daughter who was addicted to alcohol, and another who was a secret superhero.

Add in the shocking twist at the end of the last episode, which found Queen family matriarch Moira killed by villain Deathstroke, and Quentin is the last adult standing. So what’s left for him to fight for?

“The sisters, they’re the ones I care about,” Blackthorne said when we talked to him by phone. ” And behind them, the city.”

Adding insult to injury, his daughter Sara (Caity Lotz) left town in the last episode without saying goodbye.

“It’s a bit of a shrug, honestly,” Blackthorne said on the abrupt departure. “Sara has always been likely to do that sort of thing, where Laurel has always been the sensible one. It’s a here we go again moment.”

So while that may not change his character too much, one thing that will is the war coming to Starling City. In the final few episodes of the season, Deathstroke is building his army, while The Arrow is building one of his own. Stuck in the middle is regular ol’ Quentin Lance.

“There are great little one-liners that the writers come up with,” Blackthorne noted, “Which is sort of Lance trying to wrap his head around, this men and women showing up in their exotic outfits. For a man with a badge and a gun is hard to deal with. But he cares about the city, and does whatever he can. If it’s a threat, it’s a threat and he’ll deal with it, whatever they’re wearing.”

One of those costumed threats is Sebastian Blood (Kevin Alejandro), who is a mayoral candidate and sometimes-boyfriend of Laurel by day, monstrous supervillain Brother Blood by night. Though Quentin has championed Blood in the past, on “City of Blood” evidence emerges about Blood’s murderous past that throws the detective for a loop.

“Starling City has to deal with betrayal once more,” Blackthorne said about the twist. “Lance is loving the idea at one point that a blue blood like Sebastian was making good.”

Instead of getting bummed out, though, Lance finds that Laurel had the right idea about Sebastian being a creep all along.

“Once again, my faith in my darling daughter is renewed,” Blackthorne said.

But just because Quentin is back in his daughter’s good graces doesn’t mean they’ll survive the experience. War is coming, and things are about to get very, very bad.

“This whole pumped up army [will be] taking over Starling City,” Blackthorne said. “It’s not just affecting the superheroes world, it’s affecting the city. Therefore the police department is crazy involved in it.”

For the past two seasons, The Arrow and the Starling City police have very much been at odds — to the point that they’ve occasionally hunted the hero. Now, as the season draws to a close, that relationship will definitely change.

“Lance has had a working relationship with The Arrow over the course of the season,” Blackthorne said. “Now as we head toward the finale, there’s a little turn in how the whole Starling City Police Department is working with the Arrow. Because let’s face it, we’re all in this together.”

So will we see the police take up bows and arrows to be just like Oliver Queen?

“You got it, we don’t need guns anymore!” Blackthorne said, laughing. “Everyone is training on the bow and arrow.”

http://www.mtv.com/news/1818256/arrow-p ... rokes-war/

[Shelby]

- Arrow 2.22 "Streets of Fire" Promo:

https://www.youtube.com/watch?v=LfkBkV9grOI


- Arrow 2.22 "Streets of Fire" Extended Promo:

https://www.youtube.com/watch?v=Xlj-1_3DRLc



Añadidos los enlaces y rátings del 2.21 "City of Blood". Podéis encontrarlos AQUÍ.

[Shelby]

- Stills del 2.22 "Streets of Fire":