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Social Media and Behind the Scenes: AKA Everything Else Not "News and Media"

Zalyn

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in Arrow

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tv echo

tv echo

(edited)

Done to raise money for BLM...

The Plague Nerdalogues: David Ramsey as Annie Wilkes
It's Komplicated    Jul 6, 2020

The Plague Nerdalogues: Grant Gustin as Steve Rogers
It's Komplicated    Jul 6, 2020

The Plague Nerdalogues: Caity Lotz as A Jewish Barber 
It's Komplicated    Jul 6, 2020

The Plague Nerdalogues: Eugene Byrd as V
It's Komplicated    Jul 6, 2020

FYI: To watch other actors' monologues for free, go to The Plague Nerdalogues website.

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The Plague Nerdalogues began in May 2020 as a way for actors of all stripes to flex their geek muscles during a specific moment in time: The two-pronged assault on the status quo by the coronavirus and the uprising against systemic racism. Those performances -- nerd actors doing monologues from beloved nerd media -- were used to raise money, first for No Kid Hungry, then for Black Lives Matter.

The intent was always to make these monologues available to the public, free of charge, after a certain amount of time ... and so we are.

If you are so moved, feel free to donate to Black Lives Matter, but it is not necessary.

 

Edited by tv echo
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dtissagirl
dtissagirl

What bugs me is the implication that if you are not patient, you're watching it wrong. Naw, son. You don't get to tell me how I watch TV. I'm an actual pro at doing it.

WindofChange
WindofChange

Oh wow, Emily. I'm impressed because this is really brave and I'm really proud that she said this in such an eloquent way.

dtissagirl
dtissagirl

Ha. Reading those stage directions, and realizing how EBR went the opposite way [curious and skeptic rather than faint by hot guy] makes me understand 100% how fucking lost they were at that time, and

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tv echo

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Some Arrow-related comments...

Kat McNamara’s Message To The ‘Shadowhunters’ Fandom
SweetyHigh   Jul. 7, 2020

-- Interviewer: "In the event that [the Green Arrow & The Canaries spinoff] does happen, what would you like to see your character Mia get up to? What do you think she's going to get into?"
KM: "You know, I think it'll be very interesting to see, because what made the Green Arrow - the spinoff - so fun is that we have - we have two versions of Mia that're now colliding into one. You know, so before the Crisis, Mia grew up in a 2040 on her own, very isolated from people and - and growing up as a fighter and being trained to - to fight and kill, basically. Um, so she was very closed off and very rugged but an ace fighter. And then we have the new Mia that was in the post-Crisis reality that she grew up with her mother and her brother and having this beautiful relationship and sort of being a socialite and having all of these social skills. But in both versions of Mia, what you have looming over her is the legacy of her father and that's something that, you know, still weighs on Mia, now that she has her memories back and she has both of these dueling realities, it makes her a stronger character in that she has her fighting skills and her social skills to be able to blend to become a better hero. But yet, the biggest thing she has to overcome was the fact that she barely had any time with her father. She finally now understands why he made the sacrifices he did and what it really means to me and to be a vigilante. And yet it was ripped away from her before everybody before you knew what even to do about it. Living up to that legacy and - and really feeling worthy and ready to be that hero, it's a big hurdle that she'll have to overcome, if it goes forward."


Katherine McNamara Instagram Live with Seth Herzog - July 7th
Golden Warrior   Jul. 8, 2020

-- Seth Herzog: "Some people are asking if you miss Arrow."
KM: "I do miss Arrow. I was watching some old clips of, uh, Mia Smoak the other day and it just made me miss everybody... I got to see Ben at a social distance, who plays my brother William on the show, um, and JoJo, who plays - um, and my other counterpart. You know, we're like the Future Team Arrow, as it were... They're just such great individuals and when you get to work with people that you care about so much, it just makes the job so much better. And I - I give so much credit to the writers because they took such good care of Mia throughout that process, being a character that doesn't exist in the comics and a character that is, you know, the child of two characters and of a relationship that was so beloved. They made her arc so deep and nuanced and gave me so much to do... I loved every [unintelligible word] of it."

Edited by tv echo
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From DC Universe's Live Q&A with Andrew Orloff, Creative Director of Zoic Studios - I've quoted a few of his replies below (go to link to read other replies)...
https://community.dcuniverse.com/t/live-q-a-with-andrew-orloff-creative-director-of-zoic-studios-aka-fx-for-stargirl-arrow-flash-more-wednesday-7-08-2pm-pt-5pm-et/1181837

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Add your questions in the comments below, and come back Wednesday, July 8th to read Andrew’s answers LIVE!
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DeSade-acolyte:
Hello Mr Orloff,
Visual effects would seem to operate on the “lots of money up front to create the object/effect, but that would mean that the more it gets used, the lower the relative cost would be. Economies of scale and all that.

So what effect has given you and your team the biggest “reuse/bang for the buck”? (Either DC shows or any show you’ve done.)

Great question. The way that we handle re-usable CG elements for shows is a big part of making VFX Budgets work for TV shows. We call re-usable characters, sets, vehicles etc. “asssets”. The largest asset we built for Stargirls was STRIPE. We used him in nearly every episode and he was really fun to create and bring to life. It took our team moths to work out all the details right down to the “Made in Detroit” emblem on his boot. The coolest part about stripe is we sent our 3d files to a company called Legacy Effects and they built a 16 ft full scale version of STRIPE from our 3d files. You can see that amazing prop in scenes in Pat’s Garage.
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SupesFan:
If you could work on the VFX for ANY DC character in a future project, who would you choose and why?

I would say that I would love to get my hands on The Green Lantern. So many cool things to make and do with the power ring. Would be a great storytelling device for sure.

I’ve also always wanted to do effects for TV based on Neil Gaiman’s Sandman. The mood of the comic is so creepy and great VFX would really bring it to life.
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karking2017.50229:
Hello! Thanks for all the hard work you put into these shows. Is there a special effect that we may have seen on one of the CW shows that we may not have realized was a special effect? Maybe an arrow being shot in Arrow or a part of Barry’s suit in The Flash?

I think yuo hit the nail on the head when you mentioned Arrows. There never was a real arrow shot for the entire series!
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Bat6212020.78861:
Hello, Mr.Orloff
What is the hardest show or movie to input VFX?

Every show has there own challenges but It is particularly difficult to do what we call “invisible effects” those are the shots or shows where it’s absolutely important that the audience not know that there is an effect at all. Like making a CG building look like it’s actually a set peace or a vehicle that just has to look like the real thing. Those can be very tricky and take a lot of time to pull off.
*  *  *

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KM_726:
If you have time for another question, how much time did it take to plan everything for the Crisis On Infinite Earths crossover?

A lot of planning went into that one especially since some of the shows are shared between VFX facilities. We started R&D on signature effects like the Time Wave and Anti-Monitor a couple of months before shooting. There was a lot of work for those shows and production team and studios give us the time that needed to get it all done.

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Comic-Con@Home (SDCC's 2020 virtual event) is now posting their daily programming schedule, one day at a time - Thursday's panels include two former Arrow writers and SA's cousin...

Thursday, July 23:
11:00am PDT - Hollyweird Science: Creativity, Correctness, and Collaboration - panelists include Deric A. Hughes
Watch When Available: https://youtu.be/DpVK5T0G5hI
2:00pm PDT - Amazon Prime Video: Upload - panelists include Robbie Amell
Watch When Available: https://youtu.be/aXtiv76Y1ZQ
6:00pm PDT - The League of Extraordinary Scientists and Engineers: More Science in Your Fiction - panelists include Jeane Wong
Watch When Available: https://youtu.be/bfthnGYdQao

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tv echo

tv echo

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Friday schedule for Comic-Con@Home (SDCC's 2020 virtual event) has been posted - Friday's panels include a former Arrow writer and SA's cousin...
https://www.comic-con.org/cciathome/2020/friday
Friday, July 24:
4:00pm  PDT - Sinless, Fearless, Ruthless - A look at science and social science in a YA sci-fi book - panelists include Sarah Tarkoff
6:00pm PDT - TV Guide Magazine Fan Favorites - panelists include Robbie Amell

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tv echo

tv echo

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Saturday (July 25) schedule for Comic-Con@Home (SDCC's 2020 virtual event) has been posted - I do not see any DC TV or CW show panels listed (I guess they're saving all their stuff for the DC Fandome in August)...
https://www.comic-con.org/cciathome/2020/saturday

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tv echo

tv echo

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Schedule for virtual panels during WrapWomen's 2020 BE Conference, July 20-24, 2020, has been posted - the 2020 Speakers & Mentors include Katherine McNamara and Maisie Richardson-Sellers...
https://beconferences.com/
 Schedule-graphic-for-web-v11.jpg

ETA: Updated schedule on July 19, 2020.

Edited by tv echo
tv echo

tv echo

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Sunday schedule for Comic_Con@Home (SDCC's 2020 virtual event) has been posted - Sunday's panelists include two former Arrow writers...
https://www.comic-con.org/cciathome/2020/sunday
Sunday, July 26:
1:00pm PDT - Writing for TV: From First Draft to Getting Staffed - moderator is Spiro Skentzos
2:00pm PDT - Super Asian America - panel includes Deric Hughes

ETA: The only CW shows with SDCC panels this year appear to be Pandora (on Friday) and The 100 (on Sunday). Of course, the panels are all virtual and pre-recorded this year.

Edited by tv echo
tv echo

tv echo

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New podcast interview with James Bamford...

Positive Solace with Attika Choudhary
In Conversation with Filmmaker James Bamford
July 7, 2020
https://www.stitcher.com/podcast/positive-solace-with-attika-choudhary/e/74942959

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This week, BBC's Attika Choudhary is joined by Hollywood director/producer and stunt coordinator James Bamford. The two discuss a range of current issues the world is grappling with right now, from racism to Covid-19 and television and film production. James, who has directed episodes of TV smashes, Arrow and Batwoman, had an early career as a Juvenile Corrections Officer in Canada, before switching to film and TV through his love of martial arts. He touches upon his work in Bollywood with film stars Salman Khan and Katrina Kaif and shares, very candidly, his responsibilities as a father and as a filmmaker and the importance of diversity and equality. The two share the joys and pains of life right now with sensitivity and a smile.

-- Attika Choudhary: "Listen, I fell in love with Arrow eight years ago when it came out. Um, the message is that you - the writers and people that put the program together - there are hidden messages in there. I mean, you'd have to be so obvious about them. But there are special messages about family, about love, all sorts of messages about you being united, despite the obstacles. And, I'm not even joking you, on my WhatsApp, there was a quote that - I think it was Diggle - there's a scene between Diggle - I think it was episode 3. I made that my quote. 'No one knows the future. All we can do is enjoy the time we have with the people we love and make our choices from a place of strength, not fear.'(*) I made that like my WhatsApp status. It connected with me.  And things like that - words are so powerful through a medium that we do use, through TV. And, I mean, right now, I think what I'm connecting to is watching TV and watching films, because that's what's keeping me going, away from the news environment that I work in, every single day having to hear about deaths. What you're creating is some sort of positivity through that."
James Bamford: "We can only hope... You know what's funny about that? Is that David Ramsey himself is that person. He's been that person for me. You know, you have a lot of acquaintances in this business and just in life, period. You can really count on your hands how many real friends you have. And that man is - is one of those people. For sure. He will call you and tell you, 'hey, uh, you know, I heard about this or whatever, are you alright?' Or, you know - he's somebody who will check up on you. He's somebody who will go to bat for you. He's that guy. That - that character was made for him. He's Yoda. He really is... He's really into astrology, as my wife is. They've had different conversations regarding that. But he's very spiritual. He's very together. And I'm proud to call him my friend. We were texting last couple of days, um, you know, just checking up - as all of us have been...  We miss each other. And those guys are in Los Angeles, you know, closer to what's going on in that country - not to say that the rest of the world doesn't have its problems."

(* According to IMDb, it was Lyla who said these statements to Diggle in 8x03-Leap of Faith.)

-- James Bamford: "That conversation we were talking about David Ramsey before, you brought a quote from his character, and he is that guy who checks in and is very kind and very - he leads by example, which is wonderful. But lots of the people on my show have been that way as well. I mean, I've had lots of great conversations about different life-changing things with Stephen, with Emily, with Juliana, Katie Cassidy, Caity Lotz, um, Katrina Law, different actors on our show, that - that are - not just because they're actors, because they're people... When you get to know people outside work, you know, you're just on set. Rick Gonzalez, uh, you know, Echo Kellum, you know. Uh, you name it."

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This July 20th panel included Arrow's Katherine McNamara, LoT's Maisie Richardson-Sellers and Black Lightning's Madison Bailey (as well as On the Block's Jessica Marie Garcia and moderator, TheWrap's Jennifer Maas)...

BE Conference | Confidence & Empowerment: Owning Your Inner Superhero
TheWrap    Streamed live on July 20, 2020

-- Mod Jennifer Maas (TheWrap): "What makes for a superhero in a character to you on screen? And if there's some examples, I know some of you but not all of you have played superheroes, um, but you can use examples that aren't your characters."
Katherine McNamara: "I think something for me that's always attracted me to characters that I've looked up to, growing up and then even now, are characters that have the - the balance between strength and vulnerability. They - they have - strive for the best and yet they make mistakes along the way, but it's about how they recover from those mistakes and how they learn from them. So, you know, Sandra Oh's character on Grey's Anatomy and, you know, even all the way to Viola Davis' character on How to Get Away with Murder, and Mulan and Pocahontas, if we're talking Disney princesses, you know, throughout my life I've always sought out these characters. And to have had the pleasure to have played a few that are in that vein as well, it's been a real honor."
Maisie Richardson-Sellers: "Definitely. I think, you know, the simple acts of greatness, be that within the superhero realm where you are literally saving the world or, you know, for me the heroes I love are often sort of, um, real life stories that are told in films, like Martin Luther King in Selma or, you know, Frida Kahlo in Frida. Like, these films whereby you see someone who is thrown from normality into an extraordinary situation, and how they deal with that and how they put themselves sort of second to the cause they're trying to lead is what for me is the most inspiring kind of hero."
Jessica Marie Garcia: "I mean, at least for me, I haven't had the pleasure of playing an actual like crime fighting superhero, but for me I feel a superhero is - is being one's authentic self and not apologizing for who they are and - and what they're not. And for me that's like - that's watching Poise. That's watching Insecure. Like, just seeing, you know, every side and every dimension of a human and having them, you know, fully embrace who that is and be proud of who they are, I feel like that, uh, that to me is a superhero."
Madison Bailey: "Absolutely. Definitely on somebody who is being their true self and being so unapologetic for who they are and owning their space and not being afraid to take up room and overcoming obstacles with their head held high."

-- Mod JM: "Getting the opportunity to play women like this, I want to know how it affects you in your personal life. And if you feel like having the opportunity to play these women who have confidence and empowerment gives you that strength you think in your own personal life when you're not on screen. (Pause) Anyone?"
KM: "I'll jump in - oh, go ahead."
MRS: "No, no. I was gonna say, I personally - it makes me really step it up, you know, because, you know, you see this strength of these women and just, you know, like you're saying, how unapologetic they are, how inspiring they are, but also how all of that is second - second to the actual - the cause, the purpose. Um, and I think that's a really good way to live your life, whereby, you know, the work and using your platform in a way that is informative and, you know, helping the movement of like social progression is so important, rather than it ever becoming about you. Um, so I think it's been a really humbling experience for me. Um, and also through being lucky to play a superhero, I've met so many real-life superheroes as well along the way, among the fandom, like hearing the incredible stories that people have been through and what they've triumphed through and, you know, the way they've inspired and moved so many people. So it's given me the opportunity to grow and become better, I think."
KM: "I completely agree. It comes with a sense of - of, you know, to quote Spider-Man, responsibility, in that you have these people - getting to travel and meet all of the incredible fans at the comic cons and - and hear all of their stories. They - they look to these characters as examples. And so now that, you know, a lot of us live very public lives on social media and everything else, it is a sense of responsibility to - to use that platform to talk about things that matter and to try and, if nothing else, spread a little bit of positivity in the world. Also, physically, I have had to train for a lot of these roles, which is something that - I was always a dancer, but I never actually trained or did martial arts or any of that before these jobs. And having that sensibility completely changed my life for the better in a health standpoint. So getting to talk about that as well, it's - it's sort of just changed my entire world in - in so many ways and exposed me to amazing people and incredible stories and opportunities to try and spread some good."
MB: "I think it's really special to be able to play such a confident and strong character, because I get to bring my own confidence and bring my own strength to that character and make her twice as strong. And I know she is a - I play a young character on screen and it's important - I think it's really awesome to see such a strong character on the show and then people be able to follow me and then see my platform and see that translated into real life and to see that confidence in how that shapes my character, not just my character but who I am."
JMG: "Absolutely. I know that, um, when - whenever, uh, I get the opportunity to play Jasmine, I feel like I'm holding so many young girls on my shoulders, because I get these messages all the time that are just like, I finally feel like I - I see myself in a character, and I get to be a love interest, and I get to be a lead in my own story. And I think for so many of us, this is the first time we're actually seeing ourselves on screen. So it is a lot of responsibility that we take on in order to - to make sure that we're telling these stories authentically and that, you know, we're making - that we're making people proud of what we're doing. And, um, yeah, it's - it's - it's kind of nerve-wracking, but also it's very empowering. And I think I've become a more confident person through playing Jasmine."

-- Mod JM: "I want to know if there are significant differences between the characters that you all have had an opportunity to play during your career and the way you saw similar roles growing up or before your time, uh, and what those changes are for the better maybe for you guys, what you think, how they're written now versus what maybe you saw when you were younger, and changes that you see and who you get to play versus who might have been in a [unintelligible word] drama or superhero drama when you were watching them younger."
JMG: "I thought I could jump in. Is that okay?"
Mod JM: "Go ahead, yeah."
JMG: "I know for - I know for me, um, I - I grew up watching, you know, 90's TV shows and there was always like, you know, that geeky, nerdy girl or boy who, you know, everyone thought was annoying and then they're like, oh, this person, and then they would, you know, say something and leave, like, your Kimmy Gibblers, your, uh, your Screeches, your Urkels. And - and then for me I was always like, oh, yeah, they're the annoying character, even though I secretly loved them more than anybody. And then now getting an opportunity to play a character that so many thought was, you know, maybe, uh, loud or obnoxious or annoying, and now they get to see different sides of her. And not many shows have allowed you to, you know, really go home with those characters and see that these are real personalities and these are real souls that, you know, are dealing with a lot at home and that's why they, you know - you know, they portray these characters in order for you not to, you know, break those walls they've built up. So I'm - I'm just incredibly thankful that, you know, we're doing that now. We're exploring those stories. You know, there are no side characters in our shows and I'm really proud of that."
KM: "That's amazing... I always know - I always know for me I'm - I'm a tiny human. I grew up doing ballet and all of these things and I always - I never thought for a person my size that I could ever be physically strong as well. And then coming into these shows and playing these characters, I was encouraged by and taught by the trainers how to train for my body and how to achieve something physically that I never thought possible. And then to play these characters that can take down the guy who's 6'4 and can stand up with the people that look physically strong and still fight like the rest of them and be a hero in the same way. And you're - you're no longer bound by what you look like or what people perceive of you on the outside as to what is possible for you to achieve. And that's something you didn't - I always sought out those characters as a kid but didn't always find them. And now there's such a plethora in every genre, in every medium of entertainment. We're seeing these really strong, powerful, complex women that are carrying these stories that were never - never existed before. And it's so gratifying to be a part of that."
MB: "I think, uh - for me personally the characters that I saw on TV when I was growing up, the confident girls were always the mean girls. The girls that were like powering through with that strength were always so rude and cruel to other people. And I felt like I was like, yes, this is my character, and then I see the way that they're interacting and I'm like, no, that's not my character. Or they're - they're drawing from different strengths. I feel like a lot of the characters I saw growing up, their strength as a woman was coming from a man or coming with permission from other people. And it's important to see these characters that are strong on their own, from their own story."
MRS: "What's interesting at the moment is, you know, we are seeing more diversifying of characters, especially within the superhero world, actually, and the inclusion of like LGBTQ+ people as well. But one thing that needs, I think, a lot more attention is what's going on behind the camera, because so often we're having these, you know, these great characters written, but they're not being written by people with authentic experience of that person's life. So I think the next step is really diversifying writers rooms and, you know, people who are choosing what programs are going to be put on, the people who from the top down are setting the tone of diversity. And I think that will take the characters that we are seeing represented to the next level."
JMG: "That. Everything she just said, underline that, times a hundred."

-- Mod JM: "That brings me to my next question, which was: we've come so far, but where do you guys think... we need to go still? Because you guys have all among you, uh, done projects across The CW and Netflix, which are well known for their diversity and, um, everything that they bring to the table with their shows, but where d you guys think things need to go still?"
JMG: "Whoo."
KM: "I would agree with Maisie, in that there's so many people behind the camera that we're just now seeing opportunities for directors and producers and writers and people in these positions that were normally always held by men, now filled by so much diversity in every aspect of humanity. And that - I - I've had the pleasure of working with a lot of female directors in the last several years, and it changes the perspective in such a way that it - you know, every episode has kind of an ebb and flow and getting as many different voices allows the show to really grow and have its own voice. And I think that's ultimately our job is as artists, is to hold a mirror up to the human experience and question our previously conceived notions and perspectives, and go: what stories haven't been told, and what perspectives haven't been seen, and what would make this story be the - to its richest, as we can tell it, and it's most authentic and its most true? So that audiences can experience it in a way that they may not have otherwise. And that's - you know, that's sort of what our job is, and it's so great to see that the industry is moving forward and is starting to ask these questions. Maybe that's the one advantage of 2020."
MB: "I think something that would help all of that is, when casting, how to move forward in casting with inclusivity, without tokenizing. And I think the way you do that is write these characters and when you say you have nobody specific in mind, actually try not having somebody in mind. Um, like you can write a story and the lead can be black or queer and the story doesn't need to be about that, you know, is about diversifying the story and knowing that you don't have to change the story. Like, I've talked about this multiple times and I was like, well, when you read this script, did you picture any - did you picture the lead being anything but a straight white man? No. It's like, you can cast - you can write the same script and then cast more diversely without making - like, if you're making it a black story, you don't have to include every black stereotype that there is in existence. You can just have a black person in a movie and it doesn't need to be a full thing. So I think that's the way you can do that with women, with queer characters, and stop making them 'character' and just cast the best person for the role."
MRS: "One hundred percent. You know, we are - like, film and TV is so powerful in normalizing thins, you know, because a lot of people don't have daily exposure to people from different walks of life, different genders, different sexualities, different ethnic groups. So the only way that they're experiencing diversity is through the shows that they watch. So I think we have a responsibility to be a couple steps ahead of what is happening in society, so that we can help move social consciousness along and sort of develop more - going beyond just acceptance and breeding like love, um, and appreciation of our differences and celebrating those differences. Um, but I love what you were saying, Madison, as well, because so often, you know, being queer, I see this queer sad story and it's like, you know, yes, it is hard being queer, yes, coming out is often a struggle, but for once, it's nice to just watch a show and just see a happy queer person where that's not the only factor of their identity that's explored. And that is really inspiring and I think it really pushes the movement forward in terms of normalizing things."
MB: "Absolutely. I think we've definitely told our trauma story and we've shown a lot of hard parts about coming out and the struggles of being black. We've shown that and now it's time to celebrate it. We - we can now be like - because for me personally, I came out and my mom was like, okay, my dad was like, cool, whatever... And I think we need to show that so that we're not scaring these young queer people into thinking it's so traumatizing, because it can be, but there's also a lot of joy and there's a lot of reason to have pride in these things."
MRS: "Definitely. And like, The L Word literally changed my life, because it was the first time I saw, you know, like queer women being happy and, you know, being successful and having friends and like, it just blew my mind when I was 16. And I was like, oh, okay, this isn't something I have to just sit in my shame over, like, I can use this to empower me. And that was what triggered me going out to finding my community. So like that is how important it is to show positive stories as well as the pain of our experiences as well."

-- Mod JM: "When discussing personal things like that, do you think being in the spotlight and having the roles that you had and having the fan bases that you do and having the focus on you has made it harder to do those things or did it in some ways make it easier or did you feel some sort of responsibility to be part of that conversation, rather than step away fro it?"
MB: "Definitely can be harder. You can feel a lot of pressure, especially if it's something that you're confused about. It's hard to speak out when you need to have a cohesive message for people who are also confused. But I think it's important. For me I find a lot of power in doing every side of what I'm feeling. I've shown my power, I've shown my weaknesses, and I think it's important to show that balance and to humanize myself, so that other people don't feel the same for struggling. Like, I think no matter where you're at, it's important to speak up. You don't have to have it all figured out to be an activist. You don't have to have it all figured out to be a voice of power. I think it's important to be like, hey, I'm also confused, but we can talk about that, too. And here's where I'm at, here's where I'm trying to go. And have that message as well."

-- Mod JM: "When it comes to playing very confident and empowered women having these strong roles, you all have also experienced though playing weaknesses and their vulnerability, because that's an important part of showing a well-rounded character. So I want to know, when you're doing those sides of it, do you feel a specific responsibility or a way that you want to handle that, so that you're still honoring the character by showing them as a well-rounded person who is allowed to be weak and allowed to be vulnerable in being this strong person at the same time?"
KM: "I mean, I find it to be one of the most important aspects of a character who's strong. I think you have to earn it in a sense, because everyone is - you know, even if we're playing a superhero or a supernatural creature, we're all still ultimately human at our core and we're all flawed. And that's what's the most important thing to show, is that, yes, everybody makes mistakes, everybody has faults, everybody has insecurities. But it's how you deal with them and how you choose to react to the world and how you process them and the choices that you make, that make you a hero. So, yeah, we're all going to fall on our faces a million times and make a million mistakes and mess everything up. But if you can choose to do the right thing and choose to move forward and learn from it, that's what ultimately makes you a hero. And when you're playing a hero or - or creating a character that is, you know, following that hero's journey, that's almost the best part, is when it's the phoenix rising from the ashes, and you can see this person be triumphant, even from their darkest moment."
MRS: "I mean, you said it perfectly. I second all of that."

-- Mod JM then asked the panelists about what they have been doing during cv quarantine. 
KM talked about the horror movie that she made during quarantine with filmmaker Nick Simon and five other actors. 
JMG said that she's been writing a lot. 
MRS said that she just finished the Warner Bros. Director's Program (two-week course, 7 hours a day over Zoom), that she just got her production company off the ground (Barefaced Production), which finished their first short film right before quarantine and which will focus on marginalized stories. 
MB said that she's been "hanging out."

-- Mod JM then asked specific questions of the panelists. 
MB talked about what's going on with Outer Banks. 
JMG talked about what's going on with On the Block (she doesn't know anything). 
MRS talked about her role in The Kissing Booth 2. 

-- Mod JM asked KM about the status of the Arrow spinoff, Green Arrow & The Canaries, and also asked: "Where do you see The CW going this year... with the superhero universe that has built around Arrow? This will be the first season where it doesn't have Arrow, but it still has the Arrowverse, which it is strongly continuing."
KM: "Well, what's so great about the legacy of the Arrowverse is that, yes, it started with the Green Arrow and built from there, but now there's such a huge, diverse cast of - of heroes, it's our league of heroes, as it were, that all work together and all have become a family, both on and off screen. Uh, what's great about, um - you know, we'll see what happens with Green Arrow & The Canaries. But even the fact that we got to shoot our pilot as the penultimate episode of Arrow and it was such a kickass, female-driven, you know, cooperative effort between all of us, with a female director, and it was - it was really fantastic. I mean, we had such a fun time shooting it and people seemed to love it on-air, so that will live on in - in the Arrowverse, regardless. ... I got to be part of the crossover this year and getting to see so many different folks that are such amazing heroes in their own right. We had the best time collaborating and working together. And, you know, like Maisie was saying, you don't have to pit women against each other, and men and women don't always have to be romantic. There's so many different kinds of relationships to be explored. It - it just leaves all of the opportunities open for that legacy to continue."

-- Mod JM asked MB about whether she might have a chance to reprise her role on Black Lightning. 
MB said that she has "no idea."

-- Mod JM asked MRS about playing two characters on LoT and leaving that show. 
MRS said that it was fun and the two characters, Amaya and Charlie, could not have been more different from each other. She also said that she left LoT so that she could spend more time with her production company and that she couldn't do both with their schedule, but that she'd "happily" return if they ever need her "for a mission."
KM: "That's the great thing about the Arrowverse, is that, you know, there's always opportunities. Any of us are always like, we'll jump in for a mission, we'll be there. Because it's such a great family."
MRS: "I love that, it's true."

-- Mod JM asked MRS more about her production company. 
MRS said that she has always been "intrigued" by directing. She added that she was always waiting for projects to tell the kinds of stories she wanted to tell, but got tired of waiting, so she got together with other people to produce those stories.

-- Mod JM asked and JMG talked about her role of Willow on the Disney series, Liv and Maddie.

-- Fan Q: "Is there anything you learned from your character(s) about being confident and empowered that you applied in real life to yourself and that helped you?"
KM: "I think, one thing that I learned is that, you know, in Shadowhunters, I played a character whose journey very much paralleled my own. You know, she was a young girl thrown into an entire new world, an entire situation, and had to form a family from the people around her. And being thrown into a TV show based on a book at 19 years old, I felt very much the same. And being surrounded by the family and learning from them, as well as learning that it's okay to make mistakes and that those mistakes make you human and that those mistakes help you grow and that, you know, by - by making mistakes, you can reach heights that you never ever thought possible, by being willing to learn from them, that balance helped me a lot in - in just growing up and becoming an adult."
Mod JM (after long pause): "Do you guys have an answer, or do you want to go to the next one?"
MRS: "I mean, that was perfect. I think that's such a huge lesson that, you know, finding your confidence and knowing that it's okay to mess up, showing - another one for me was leaning into my vulnerability and knowing that vulnerability is strength. Being able to be vulnerable and honest is just as valid as any other display of strength. Um, and that's something which, you know, every superhero has to go through that dilemma as part of the superhero story, um, and that's something which I've also worked on in my own self a lot since then."

-- Fan Q: "Who is your acting inspiration?"
JMG mentioned Barbra Streisand and John Leguizamo. MB said that her family inspired her acting, and KM agreed. MRS said that her mom is an actress and is her biggest acting inspiration.

-- Fan Q: "How do you build up your confidence when you're feeling down?"
Panelists' responses included: finding time for your self-care (ranging from putting on makeup to taking a walk to doing meditation); figuring out where your lack of confidence stems from (internal or external cause); and opening up to people who you trust.

-- Fan Q: "I have a question, from what you've learned by playing all of your powerful characters, what would you say to your sixteen-year-old self?"
Panelists' responses included: stop caring so much; care less about what other people say; sit back and relax; "your differences are going to become your superpower"; no 16-year-old has all the answers; "leave your eyebrows alone"; and it'll be okay.

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FYI - as of July 22...

Comic-Con’s 2020 Souvenir Book Available Now
https://www.comic-con.org/cciathome/comic-con-2020-souvenir-book

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It just wouldn’t be Comic-Con, @Home or otherwise, without our yearly Souvenir Book!

Our 260-page 2020 Comic-Con Souvenir Book is now available as a FREE PDF download.

Click here to download your copy!
*  *  *
What’s in this year’s Souvenir Book? Artist William Stout—famed for his illustrations and murals depicting dinosaurs, and his comics and movie poster work—once again graces the Souvenir Book with one of his incredible covers, this one saluting the centennial of famed author Ray Bradbury, one of Comic-Con’s most beloved guests over the years. Stout is also one of the very few people to have attended every Comic-Con, as a special “Cover Story” feature reveals in this year’s book. Learn the “Easter Eggs” Bill worked into this cover, plus his process of creating this amazing illustration, along with his past association with Bradbury.

CCI2020_SouvBookCover.jpg?itok=mULFt47I

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VARIETY "STRICTLY BUSINESS" PODCAST: CW Chief Mark Pedowitz on TV’s Year of Disruption
Variety   Jul. 22, 2020
https://strictlybusiness.libsyn.com/cw-chief-mark-pedowitz-on-tvs-year-of-disruption

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CW chairman-CEO Mark Pedowitz discusses how the network has revamped its fall launch plans amid the upheaval caused by the coronavirus pandemic. The executive who moved CW into the ad-supported streaming area nearly a decade ago also weighs in on the fate of linear TV, the growth of on-demand competition and why the end of CW’s output deal with Netflix has been a good thing for the network. And he gets a little sentimental about the final bows of stalwart CW series "Arrow" and "Supernatural."

-- Mark Pedowitz: "We select shows for Seed based on the ability we believe that our viewers watch our library content. We select shows for CW based on what we believe will work on both the linear and the digital, and hope that we're right. And we also select shows based on what our parent companies, I think, they perceive their needs to be. Because as a JV [joint venture], what makes it really work is that we help kick-start the ecosystem for them in terms of sales and their product."

-- MP: "And the losing of Arrow and Supernatural at the same time, two shows that helped launch my real start at The CW, is - is bittersweet. And Arrowverse - the Arrow - who would've thought that show, [unintelligible words] October 2012 in Arrow, would spawn what it spawned across the whole industry, in terms of superhero programming, particularly The CW franchise and everything else that goes with it? ... Kudos to Berlanti, the studio, and all the people involved... Yeah, I'm gonna miss it. But again, we're in a business where change is inevitable."

-- MP: "We elected for January to go with stability, because I think the audience wants stability at this point. So that's why we didn't make a whole lot of change to our schedule."

-- After Variety's Cynthia Littleton praised The CW's efforts toward increasing diversity and launching so many female showrunners, MP: "We made a choice, uh, back when I first got there to actually alter the perception of The CW [unintelligible word]. We made a conscious choice on a development, on a current basis, to push the studios, the showrunners, who have been incredibly cooperative, to change what the writers' rooms look like, who's directing, who's behind the camera, [unintelligible words]. So we have strived for that... To answer your question, how best to do this? You do it. It's nice to have a lot of words on a piece of paper. You have to listen. You have to learn. You have to find ways to implement things in challenging times... when people say 'no.' And now it's even more challenging... So it's about continuing to push. It really is... I think what you can do, more than anything else, is provide job opportunity. It's about jobs. And make sure that you have representation and inclusion across the board. So we strive to do that. And in this trying time, even as good as we've been, we could be better, both as a corporation and as a - as a provider of content. So we work with our partners to do that. Black showrunners, I have personally have done that, to find out what we could do better, how do we protect our talent on social media, which - back then, we didn't successfully do it. We didn't do it well enough... So there were things that we had to take a hard look about ourselves and have the - have the willingness to change. But you gotta do it. A piece of paper is great. People have to be forced into doing it... Well, 'forced' is the wrong word. People have to be led. If they're led into doing it, and it becomes part of your culture, it's hard to break it - it's hard to break it back down."

Variety article about this podcast:
CW Chief Mark Pedowitz on Streaming, Stacking and ‘Supernatural’: Listen
By Cynthia Littleton    July 22, 2020
https://variety.com/2020/tv/news/cw-mark-pedowitz-supernatural-stargirl-streaming-strictly-business-1234713193/ 

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Just posted recently, but this interview was recorded during the 2012 SDCC - Sci-Fi Talk podcast titled "Byte Blake Neely"...

Listen to podcast:
https://www.spreaker.com/user/scifitalk/byteblakeneely_1

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Composer of Arrow talks scoring the series back in season one.

-- Blake Neely: "I'm excited about it... It's a cool project. It's another genre for me. It's exciting. It's got an instant fanbase that we can easily lose if we don't do it right... But it's very exciting."

-- When asked about his impressions of the new Green Arrow when the project first started, BN: "When I read the script, I thought, this is a great script, and the writers are brilliant. Um, but my thought was, you still were in 2012 and you've got a guy running around the city carrying a bow and arrow. There's a chance this could be campy as hell. And so you worry like, are they gonna laugh at this? What's he gonna dress like? What's he gonna look like? I mean, the comic book, you know, sometimes he dressed like Robin Hood and sometimes he was in this cool hoodie... So I didn't know, until I saw it. But I knew the script was good and I knew the director, David Nutter, was gonna do a fantastic job. He had a vision for it. I saw some early footage. And then once I got it, I thought, yeah, this is gonna be a really interesting show with lots of layers and lots of ways they can go. Plus, the DC universe is so big. I mean, you can bring in - if you're ever lagging in ratings, just bring in a big villain character and you're golden."
Interviewer: "Or a super ally... You never know."
BN: "Yep... Exactly... Which is what's exciting about it. I mean, they tease you with quite a few in the pilot... his best friend and his - just all these different characters that could turn into someone that you're not sure of."

-- When asked how he musically approached scoring this kind of TV series, and whether he ignored the superhero element and focused on the characters or whether he incorporated the superhero element, BN: "No, I think - I think we kind of have a responsibility after all these many years of great, great superhero themes and scores - there's an obligation to - the audience is expecting a certain sound. You can modernize it, you can change it and make it your own, but there's a certain sort of, um, you know, way of doing comic book characters. So I don't ignore that, because otherwise I'm going to come in and do something really esoteric, like harpsichord for a badass superhero, which I can't do. So, you know, you listen to a lot of superhero themes. I've grown up with them. I loved - I always loved Williams' Superman theme. Um, but it's all orchestral, maybe a little old-fashioned now for CW. I've loved Danny Elfman's Batman theme. I loved the [unintelligible word] Avengers theme by Silvestri. And Horner's done it again with Spider-Man. So you just kind of take a little bit from each thing as your ingredients for your new recipe. Um, and then it becomes the more selfish part of, I want to do it my own way. So, take in all that and then try to throw out as much as you can. Keep the aesthetic and run with it... And also I loved Hans Zimmer's Dark Knight theme, which is - which is a totally new way of doing it. So, there's a - a lot of that."

-- When asked if he actually wrote a theme for the main character in Arrow, BN: "Yeah... He definitely has a theme. It's a very short theme, which I wanted to make, hopefully - well, definitely short, but hopefully memorable, so that, uh, it becomes a device you can use, even when he's not on screen. You can hint at the theme and the audience says, oh, I know what - what's at play here. So that was part of it. And then just the overall sound and style of it, um, what instruments to use, what not to use. Uh, I wanted to bring in a very synthetic, electronic element for the - to modernize it a bit. And it's a very urban show - urban in the sense of city. And then, of course, the orchestra's always what I turn to for the power and the emotion. So it's sort of a blend of all that."

-- When asked if he enjoyed using "textured" and meshed musical elements, BN: "I love hearing - when I hear something that I don't know what made that sound, I love it. I love when I can tell, oh, that's an oboe and it's a beautiful melody. But when I can't tell what - what created that sound, it's something that I try to achieve, whether it's with a blend of real instruments or electronics or, um - so I try to do that."

-- When asked if he manipulated any sounds for Arrow, BN: "Yeah. We've played with - my assistant and I played with actually recording the sound of bows and arrows, and detuning them and slowing them down and processing them, but at some - you know, you can use that as a - as a layer, but it's not really something that can work all the way through. Um, but I've worked on this one sound for his - for whenever he uses an arrow. And you never know what you're gonna use and what sound effects you're gonna use. So it's just a collaborative effort, a combination of all."

-- When asked if Arrow was a "grittier" show than what we've seen on The CW before, BN: "Yeah. It's pretty dark. It's not - it's not a happy 90210.  I mean, there's still the teen aspect of it and everyone's sleeping with everybody, but, um, it's pretty dark. I mean, he was - the origin is, he was stranded on an island for five years and comes back to everyone's - the world has gone to pot and everyone's turned on him. So it's a dark concept. It's very emotional."
Interviewer: "He's got to get his mojo back."
BN: "He's got to get his mojo back. He's figured out that he's got some superpowers. He can create some really cool - you know, he's like Batman in the way that he creates really cool weaponry. Um, he's got a lair that he goes to when he makes his arrows... In the pilot, there's this great work - training sequence, as I call it - and he's doing this workout that I'm sure every trainer in America's gonna do now. I mean, it's really cool."

-- When asked how many episodes he's had to score so far, BN: "We've just done the pilot episode. They're shooting episode 1 as we speak. And I'll get to see the first - the next episode sometime next month. And then we start in vigorously, week by week. I'll get a show like on a Tuesday and have to score it by the next Tuesday. So it moves fast."
Interviewer: "That's television."
BN: "Yeah. You go with your [unintelligible word], your original idea."
Interviewer: "You got to go with your gut feeling."
BN: "You have to. And hope it aligns with everyone else's. And oddly, this is the first one where there's that - there's that trepidation about the fans, too. I've never done a show where there's a built-in fanbase. It's always, bring the fans to you. But this one, you've got - you know, everyone here in this hall downstairs is wanting not to be disappointed. So that's - adds to the pressure. I don't know how the writers are doing it, but if they can do it, I can do it."
Interviewer: "Well, me too. I don't want to be disappointed. I liked Arrow and I liked Justin Hartley's performance and I liked the animated comics. Of course, I have expectations. But, you know, I'm also willing to see a little experimentation. Those characters have been interpreted and reinterpreted thousands of times."
BN: "And that's the great thing about TV, too, is, you've got, in one season, 22 episodes to get it right, whereas with a movie, you've got two hours. Yeah. But you can - and in this day and age, you can sort of gauge on, oh, people didn't really like that episode, let's not bring that character back, let's explore a different side. So it's pretty - it's fun that way."
Interviewer: "There's more leeway for character development and actually musically, too. It gives you a lot of freedom to incorporate other things."
BN: "Yeah."

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Former Arrow writer Spiro Skentzos moderated this Sunday panel...

Writing For TV: From First Draft to Getting Staffed | Comic-Con@Home 2020
Comic-Con International  Jul. 26, 2020

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Moderator Spiro Skentzos (Arrow) along with Bob Goodman (Elementary), Niceole Levy (Cloak & Dagger), Jaime Paglia (Eureka), and Letitia Baylor (manager, scripted content, NBCUniversal Networks) discuss navigating the TV spec terrain—including beginner’s mistakes, what they look for in a writer and what it takes for you to write a killer spec that will stand above the crowd.

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Former Arrow writer Deric Hughes participated in this panel...

Super Asian America | Comic-Con@Home2020
Comic-Con International   Jul 26, 2020

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From blockbuster productions like Mulan and Shang Chi to streaming hits like The Half Of It, Asian Americans continue to make strides in media and representation. With race at the forefront of the national consciousness, from anti-racism protests to the rise in anti-Asian hate crimes in a post-COVID world, it's a poignant time to assess the state of Super Asian America. Join Racebending for our 10th annual (and first virtual) discussion of all things Super Asian American, featuring Peter Shinkoda (Daredevil), Deric Hughes (The Flash), Joy Regullano (White Fetish) and Bao Phi (Sông I Sing).

 

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Wow - just published yesterday...

Wizard World Virtual Experiences Presents: From the Cast of Arrow
July 31, 2020, at 1:00pm PT
Katie Cassidy, Echo Kellum, Katrina Law and Kelly Hu
https://wizardworld.com/index.php/comiccon/from-the-cast-of-arrow-1 

Also...

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Again, I wish AP's Dante had been given more screen time than just three episodes in S7...

July 25th, 2020 Patron [Patreon] LIVE Q&A with Adrian Paul
THE SWORD EXPERIENCE    Streamed live on Jul 25, 2020

-- When asked what research he did for the role of Dante on Arrow, Adrian Paul: "Dante was an interesting character. I did a lot of research for Dante because, um, I looked at Dante Alighieri, who was the Italian poet. Uh, he - for those of you who don't know who Dante Alighieri was, he was basically Shakespeare of Italian literature. He was responsible for the Italian language becoming what it was. He was a brilliant writer. And I looked at all the things that he would do, that what was the - the nuances. Why would he, uh, behave a certain way? What he saw in his artistry. Because, you know, Dante was a guy that controlled things, as - as the character I was playing... But he also had - there's a certain - when you play a character like him, you can't play a bad guy. You have to play a guy who believes in what he's doing, which, Dante believed in what he was doing. And he also believed in the beauty of what he did, in - in the - in the - what's the word? - the artistry of it, but also the cleanliness of it. Uh, if you noticed his, um - when I - when I did action stuff, I wanted it to be a little different, because I was - I was very, um, precise about what a character does in action based on who he is. Dante was very direct. One or two hits was what it was with him. Two or three hits, that's it. And I looked into, uh, pressure points, a lot of pressure points. So when the people that I struck, they were hit in certain areas so they would disabilitate them for enough for him to get away or to put them down, so he didn't have to deal with them anymore. And that's what Dante was. So when I looked at that, a lot of the stuff that I saw in the script, for instance, gave me who he was. And then from that, I studied Dante Alighieri, the - the martial techniques, uh, on that. And then, you know, obviously coming from that, you then are able to create. And, uh, when I did that, if you listen to - if you look at the show in, I think, it was the third episode I was in, uh, there was a whistle I created, uh, and it was a whistle that came from an actual piece of music done for, uh, Dante's Inferno, that I fashioned into a whistle, which kind of - everybody on set were like, 'Oh my God, that's so creepy.' But it wasn't for him, it wasn't creepy, it was like, da, da, da, he's created this masterpiece, you know, even though he's torturing somebody, it's a masterpiece. So those things were things that came from the research, and that's what happens as an actor. A great director - a great acting teacher said to me, 'A great actor is a great detective.' And that's what I was doing with - with, um, that. I was - I was trying to find out what Dante - who he was, and from that, I could grow his manners, his behavior, what he liked, what he disliked, you know, all those things. And, you know, the, uh, the writers took it on and - and said, 'Yeah, that's a great idea, let's use that.' I'd like to have gone longer with it, but unfortunately that didn't happen, uh, because, I think, the series was, uh, ending, and, uh, their storylines needed to go towards that to - to finish those storylines. And, you know, Dante's role in it was not part of that, so he got killed - or so it looked like. But in Sword Experiences, he's still alive."

-- When asked for some of his favorite audition stories, AP: "When I got Dante at, uh, for Arrow, that - that whole casting office also did, uh, Supergirl and a couple of the other, um, comic book... uh, action genres.  And therefore, when I went in there, they liked what I did on one audition. And I remember going in for Supergirl and I almost got the role on that one. And I - I was put on hold for - because what they do is, usually when you go into an audition, they'll give you the role to do and then they'll put you on avail - an availability check. So that that means they're interested in hiring you, but they might have another four or five people to look at, who then - it goes through the process of choosing that. So I was put on that for two or three times before I got Dante. Um, in doing it, so I would always go through that casting office and really love it."

ETA: From the program description of one of AP's 2019 Sword Experience events, where he taught fight choreography inspired by his Dante character in Arrow:
https://swordxp.com/event/boston-massachusetts-september-7th-2019/

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Interesting Fact: Dante’s character was taken from the famous Italian poet Dante Alighieri who wrote The Divine Comedy. In it, he talks about the various stages of hell. Adrian Paul based many of the character choices around the story of Dante, even the whistle he tuned during the torture scene in Seasons 7 Ep 19 came from the classic Franz Listz’s “Dante Symphony”. Dante is one of the original founders, along the Robert Queen, of a clandestine terrorist group called the Ninth Circle, an extremely dangerous international criminal Secret Elite Society Organization Villains Bank Team based out of The City of Seattle. They have Board of Director Members, executives from varying multinational corporations, who have their meetings wearing masks to prevent any of them from betraying the others, should they get caught. The Ninth Circle has a private army called the Burned, who are created through baptism in lava and turned into mindless servants.

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Three of these panelists were on Arrow first...

GalaxyCon's Legends of Tomorrow Live Experience (Live Streaming for Free)
Saturday, August 1, 2020, at 1:30pm ET
Caity Lotz, Brandon Routh and Neal McDonough (also Jes Macallan and Courtney Ford)
https://galaxycon.com/august-1st-legends-of-tomorrow/

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Here are my rough notes from watching live "Wizard World Virtual Experiences Presents: From the Cast of Arrow" panel on July 31 (today)...
https://www.twitch.tv/wizardworldvirtual
https://www.youtube.com/watch?v=C6aw4sXOUwY

Panelists: Katie Cassidy, Juliana Harkavy, Ben Lewis, Katrina Law, Kelly Hu

-- Katie Cassidy said that she and Kelly Hu were in acting class together a long time ago.

-- Ben Lewis and Juliana Harkavy both commented that Katherine McNamara had watched every Arrow episode in preparation for her role, which made them feel unprepared in comparison.

-- KC answered a mod question about preparing to play Laurel Lance. She didn't want to jump ahead because she only wanted to know what her character knew at the time. KC: "They didn't always stick to the comic book story in our show, but that's just television."

-- JH answered a mod question about joining the show as Black Canary after KC had just played Black Canary. JH said that she just treated her character as someone completely different, which worked for her. JH: "I fangirl over Katie still."

-- Katrina Law made a comment about the show having many strong female characters and how well the female cast members got along off set, regardless of one character taking over another character's role. KC said they were all a team and "you take one for the team."

-- KL joked that she wasn't hired until after KH left. KH responded that KL is like 15 years younger than her. KL said that KH still looks like she's about 12 years old. KL: "You're Asian! You don't crack." (KL is 34, while KH is 52, believe it or not.)

-- In response to mod question about the GA and the Canaries spinoff, KC: "We don't know." JH: "I think everything is on hold right now."

-- KC said that she's writing a pilot right now.

(My video cut out for a few minutes at this point/)

-- BL joked that he wasn't in the crossover or in the series finale.

-- KC said that she always loved that Arrow brought families together and that it had a "family story" in addition to Oliver's story.

-- BL said that he was "intimidated" when he first got cast because the show was in a genre that he didn't see himself fitting in. However, he liked that he was able to bring so much of himself into the character of William. He also said that there are many different ways of "being heroic" and that Felicity was a good role model for him to follow.

-- Mod commented that KC got to see "the evolution of Felicity" from the beginning, because Felicity started as a one-off character and ended up being a "mainstay" of the show. KC said that EBR brought a "refreshing" lightness to the show that it needed and that EBR "made Stephen smile" when you never saw him smile. KC said that it was awesome to see a "young girl" evolve into "the female lead" of the show.

-- KC said that it was more fun to play E2 Laurel than E1 Laurel.

-- The panelists were asked who they would've wanted to add to Arrow. Responses included: Batman, Alfred, Joker (female version).

-- In response to mod question, KL said that she would've wanted to have KC's character arc on the show and play two different people. KC responded that the writers wrote "very well" for her and that she was "never bored." JH said that she would've liked to have played Diggle, with that Green Lantern hint at the end.

-- BL said that he's also doing a lot of writing during the pandemic. He also said that he's written two movies (in different stages of development right now). He's also doing a lot of tie-dying, like the shirt he's wearing.

-- KH talked about the tee shirts that she's making under the "33 Edge" brand name. KC commented that she's 33 years old. KH joked that she's old enough to be KC's mother.

-- Panel ended with messages to the fans. KH gave a huge "thank you" to the fans. JH thanked the fans for being "loyal" and "loving." KC thanked the fans for being "loyal" and told them to "please, please wear masks." BL asked fans "to keep taking care of yourselves." KL put on her mask: "You gotta wear a mask, you might as well look cute." KC and JH then also put on their masks.

ETA: I'll do a more accurate transcription once I have the opportunity to watch the video recording of this panel.

Edited by tv echo
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