10 Pointed Facts About Arrow

The CW
The CW

In 2012—more than a decade after Smallville had introduced the world to an adolescent Superman—Arrow brought a new brand of super heroics to The CW. Focusing on the adventures of Oliver Queen as the Green Arrow, the hooded vigilante from DC Comics, the show was originally conceived as a realistic superhero yarn in the same vein as 2005's Batman Begins. But since its second season in 2013, the series has changed course and expanded into the centerpiece of the network's colorful take on the DC Universe, featuring spin-offs like The Flash and Legends of Tomorrow.

Starring Stephen Amell as the emerald archer, Arrow is set to begin its sixth season this October. To get better acquainted with the story behind the Green Arrow, his ever-expanding supporting cast, and the other denizens of Star City, here are 10 facts about Arrow.

1. THE SHOW WAS INSPIRED BY THE DARK KNIGHT TRILOGY.

In the mid-2000s, the Green Arrow was languishing in Hollywood’s famed development hell along with the rest of the DC Universe, but he did come tantalizingly close to becoming a movie star. At one point, he was going to be the center of the DC movie Green Arrow: Escape From Super Max, which was to focus on a wrongfully incarcerated Oliver Queen’s struggle to break out from a prison designed to hold the world's most dangerous super villains. Though that idea never came to be, it was the success of the Caped Crusader that helped Green Arrow come to live-action.

Director Christopher Nolan’s grounded take on Batman’s origins was the perfect template for Arrow creators Greg Berlanti, Marc Guggenheim, and Andrew Kreisberg to base their show on. Both stories star spoiled rich kids who turn themselves into hardened vigilantes, and they even share a grudge against the villainous Ra’s al Ghul. The comparisons are hard to ignore.

In an interview with The Huffington Post, Kreisberg explained why Nolan’s Batman was so important to them:

“We were heavily influenced, obviously, by Chris Nolan’s take on Batman, especially the second movie, The Dark Knight. If you pull Batman out of that movie you’re essentially left with Michael Mann’s Heat. It really is just a crime thriller. Truly, the only fantastical thing in it really is Batman. That’s the way we approached this material.”

In an interview with Comic Book Resources, Guggenheim stated that the show's first two years were covering similar ground to the origin story told in Batman Begins:

"This was always sort of the trajectory we planned. This has always been the first two years of Batman Begins."

2. THE FIRST SEASON TAKES NUMEROUS CUES FROM MIKE GRELL’S GREEN ARROW COMICS.

In the comics, the Green Arrow is more of a left-wing quipster than the brooding vigilante from the show. But his dour demeanor in Arrow does have some comic book inspiration, specifically from writer and artist Mike Grell’s take on the character.

In the ‘80s, Grell did everything he could do to make Green Arrow virtually unrecognizable to comic book fans. He took away the mask, put him in a hood, moved him to Seattle, and stripped him of all his gadgets and trick arrows. Just like in the early seasons of the show, he’s not even called “Green Arrow”; instead, he’s just a vigilante who goes after a more realistic crop of criminals like drug peddlers and human traffickers.

When asked about Grell’s influence on the show, more specifically the comic miniseries Green Arrow: The Longbow Hunters, Guggenheim told Huffington Post:

“Yeah, well Longbow Hunters, it was seminal for several reasons. But what it really did was it grounded Green Arrow and Oliver Queen in a way that hadn’t been done in the comic books before. He was always with the boxing glove arrows and the Arrow Cave ... That was all well and good. But what Longbow Hunters did was it stripped Oliver Queen and the character down to his bare essence and introduced the idea of this primal hunter, and the hood [he wears]. That was sort of a seismic shift for the character that we’re working off of.”

3. OLIVER QUEEN’S MANSION HAS A SURPRISING SUPERHERO PEDIGREE.

The Queen family may live in a spacious mansion on the outskirts of Star City, but they’ve got some super-powered company in there with them. The show uses establishing shots of Hatley Castle in Victoria, British Columbia as the setting of the family’s home, and they’re far from the first comic book family to take up residence there. Most notably it’s used as Professor Xavier’s mansion in 1996’s Generation X, X2: X-Men United, X-Men: The Last Stand, and Deadpool; and for the Luthor family mansion in Smallville. It can also be seen in The Killing, The Boy, and The Descendants.

4. FELICITY SMOAK WAS ONLY SUPPOSED TO BE IN ONE EPISODE.


The CW

Emily Bett Rickards’s breakout role as Felicity Smoak on the show wasn’t planned to be anything more than a one-off. Rickards told Comic Book Resources that the character was originally written to be a "'possibly recurring' role,” which she admits rarely, if ever, actually happens.

But her performance impressed everyone so much that, going into season six, she’s one of the principal members of the cast, and the character has even been reintroduced into the comic books in recent years.

5. STEPHEN AMELL REALLY PERFORMED THE “SALMON LADDER” ON HIS OWN.

Stephen Amell gets into legitimate superhero shape for the role of Oliver Queen, and a lot of the training montages you see on the show are all him. This includes that dizzying “salmon ladder” routine he does in the pilot.

“It’s one of the most talked about moments in the pilot,” Guggenheim told The Huffington Post. And for good reason: The thing looks incredibly hard—even for a superhero. Amell does the whole workout for real, foregoing a harness in order to give the camera crew the freedom to shoot him however they want.

Amell has become such a salmon ladder master that he even performed it on American Ninja Warrior without a problem (easy for us to say).

6. ORIGINALLY, NO ONE WAS SUPPOSED TO HAVE SUPER POWERS.

Arrow was originally pitched to be completely free of the super powers, magic, and mysticism that have since become a regular part of the series. Leading up to the season one premiere, the words “grounded” and “realistic” were tossed around with impunity by the cast and crew during interviews.

“We tried to make him as real as possible. The character doesn’t have any superpowers. Nobody on the show has any superpowers,” Amell told IGN in preparation of the show’s first season.

Having annual team-ups with The Flash or Constantine would have been completely unthinkable; now they’re the norm. (Whether or not that’s a good thing we’ll leave to the message board crowd.)

7. THE ARROW FOLKS NEEDED CHRISTOPHER NOLAN’S PERMISSION TO BRING THE FLASH ONTO THE SHOW.

In the wake of his tremendously successful Dark Knight trilogy, there was a thought that Christopher Nolan would be the shepherd of anything DC-related at Warner Bros. It started with helping Batman Begins writer David Goyer successfully pitch Man of Steel to the studio, and for a time it even crossed over into the TV universe.

Nolan’s influence was so all-encompassing at one point that the production team at Arrow had to get the director’s approval to introduce The Flash and his subsequent super-powered world onto the show. During a Fan Expo Canada panel in 2013, Amell said:

“I will tell you this. I know that when I found out about Barry Allen appearing on the show, one of the executive producers told me for Barry Allen to appear on the show, we had to get approval all the way up to Christopher Nolan. Because he’s Christopher Nolan, and he’s the czar of all things Warner Bros. and DC. And he likes the show and approved of Barry Allen approving. So I would say that’s a very good sign.”

8. THE SERIES IS SOAKED IN DC COMIC BOOK REFERENCES.

Though the show initially tried to downplay its comic book roots, there were—and still are—plenty of Easter eggs for longtime fans to discover. In the pilot episode, artist Mike Grell provided the police sketch for Green Arrow—then just known as “The Vigilante.” And many of the streets and locations on the show are named after comic writers and artists, including the cross streets of Infantino and Adams (for artists Carmine Infantino and Neal Adams) and “Gail Street and Simone” for Birds of Prey writer Gail Simone.

Another constant Easter egg that you’ll now never be able to unsee is how often the show uses the number “52,” such as for fictional TV stations and Quentin Lance's call sign. It might sound odd, but that’s an important number in the DC Universe, as it’s the number of different multiverses in the company—each with its own alternate, and sometimes bizarre, version of Earth.

9. WILLA HOLLAND WAS DISCOVERED BY STEVEN SPIELBERG.


The CW

Willa Holland’s career started off about as well as anyone could ever dream: with a personal endorsement from Steven Spielberg. It all happened when Holland, who is the stepdaughter of director Brian De Palma, was over at Spielberg’s home.

Holland may have thought she was simply playing at a friend’s house while Spielberg was “filming little wedding scenes and doing home videos,” but when the famed director spoke to her parents later on, he said, “You’ve got to put her in front of a camera.”

Roles in The O.C. and Gossip Girl followed, but her big break came when she was cast as Thea Queen—Oliver’s sister—on Arrow.

10. AN ARCHERY EXPERT HELPS KEEP THE BOW ACTION AUTHENTIC.

To get the Green Arrow right, you need to start with the bow. Arrow employs an archery technician and coordinator named Patricia Gonsalves, who makes sure they get things right.

She works with anyone on the show who touches a bow—and there are a lot of them—and explained to Archery 360 that, “For safety reasons, the actors must have a lesson in safety before they can shoot a bow.” Usually that training lasts a couple hours, but for Amell, that meant two months of archery lessons.

In addition to hands-on work with all of the archer actors, Gonsalves also helps determine which bow fits each character best.

“I’ll get a first draft of the script for an episode and will form an idea of what bow will work for that character or episode. I’ll choose a few bows that will work for the character and then the production department makes the final choice.”

10 Forgotten Rankin/Bass Christmas Specials

A scene from Rudolph's Shiny New Year (1976).
A scene from Rudolph's Shiny New Year (1976).
Rankin/Bass Productions

If you're prone to picturing your favorite Christmas characters as stop-motion puppets, you can thank Rankin/Bass. The production company founded by Arthur Rankin Jr. and Jules Bass found success in transforming holiday songs and myths into fully-developed television specials in the 1960s, '70s, and '80s. Their most popular specials, like Rudolph the Red-Nosed Reindeer and Frosty the Snowman, are still staples of holiday programming decades after they first aired.

But not every holiday film that played under the Rankin/Bass banner was an instant success. After adapting the most beloved Christmas stories, the company broadened its definition of holiday material, with varying degrees of success. Some films were forgettable, and others were so strange and unsettling that young viewers forced themselves to forget. Here are some Rankin/Bass specials that may be missing from holiday television marathons this year.

1. Rudolph’s Shiny New Year (1976)

Scene from Rudolph's Shiny New Year.
Rankin/Bass Productions

After the stressful events of his 1964 Christmas special, Rudolph deserved a vacation. In Rudolph's Shiny New Year (1976), the red-nosed reindeer barely has a day to rest before being sent on his next adventure. When Santa Claus and his reindeer return home to the North Pole after delivering presents on Christmas, they learn that Happy the Baby New Year is missing. It’s up to Rudolph to bring him home before midnight on New Year’s Eve or else the calendar will be stuck at December 31. And because it wouldn’t be a Rankin/Bass cartoon without a terrifying villain, a vulture named Eon the Terrible is racing to catch Happy first so he can live forever. Thankfully, Rudolph has a caveman, a Medieval knight, and Benjamin Franklin on his side.

2. The Little Drummer Boy, Book II (1976)

Scene from The Little Drummer Boy, Book II.
Rankin/Bass Productions

The Little Drummer Boy from 1968 ends with the birth of Jesus Christ, a.k.a. the events of Christmas. This meant that Rankin/Bass’s most overtly religious Christmas special wasn’t an obvious choice for a follow-up, but the studio still released one in 1976. The Little Drummer Boy, Book II is inspired by "Silver Bells"—a song whose lyrics have nothing to do with the first Christmas at Bethlehem. In the sequel, the drummer boy Aaron and the wise man Melchior join forces to protect silver bells made for baby Jesus from the Roman soldiers plotting to steal them.

3. Nestor, the Long-Eared Christmas Donkey (1977)

Scene from Nestor, the Long-Eared Christmas Donkey.
Rankin/Bass Productions

By the late 1970s, it was apparent that Rankin/Bass was running out of Christmas myths to expand into television specials. Nestor, the Long-Eared Christmas Donkey, their 1977 stop motion film, tells the story of an outcast donkey who experiences a series of traumatic events during the Roman Empire. After being bullied by other animals, left for dead by his owner, and suffering the loss of his mother, Nestor becomes a hero by carrying a pregnant Mary to Bethlehem, where she gives birth to Jesus. Needless to say, Nestor, the Long-Eared Donkey didn’t have the same cultural impact as Rudolph the Red-Nosed Reindeer.

4. The First Christmas: The Story of the First Christmas Snow (1975)

Scene from The First Christmas.
Rankin/Bass Productions

It may have a happy ending, but The First Christmas (1975) is the bleakest movie on this list. An orphaned shepherd named Lucas is taken in by a group of nuns after he’s blinded by lightning. When snow falls during the abbey’s Christmas pageant, Lucas miraculously regains his eyesight and sees snow for the first time. The story swaps Rankin/Bass's signature humor and fantasy for heavy-handed sentimentality, which may be why it didn’t land as well with kids as the company’s other holiday specials. One highlight is a voice performance by Angela Lansbury as the narrator.

5. Jack Frost (1979)

Scene from Jack Frost.
Rankin/Bass Productions

So this film from 1979 is technically a Groundhog Day special, but its connection to winter means it’s usually lumped in with the rest of Rankin/Bass’s Christmas programming. A groundhog named Pardon-Me-Pete (voiced by Buddy Hackett) narrates the story of Jack Frost. After Jack Frost falls in love with a woman on Earth, Father Winter agrees to make him human, with the catch that Jack will turn back into a sprite if he fails to obtain a house, a horse, a bag of gold, and a wife by the first sign of spring. The special is notable for its weird characters, including a villain with a clockwork horse and henchmen. And—spoiler alert!—because Jack doesn’t get the girl at the end, it’s one of the few Rankin/Bass films that doesn’t have a happy ending.

6. Rudolph and Frosty's Christmas in July (1979)

Scene from Rudolph and Frosty's Christmas in July.
Rankin/Bass Productions

In 1979, Rankin/Bass gave two of its most iconic Christmas characters—Frosty the Snowman and Rudolph the Red-Nosed Reindeer—their own movie. The studio was so confident in the product that Rudolph and Frosty's Christmas in July even had a brief theatrical release overseas. But the film has failed to take the place of the original specials in the public consciousness—maybe because seeing snow snakes terrorize Rudolph and watching an evil wizard transform into a tree were too much for younger viewers to handle.

7. Pinocchio's Christmas (1980)

Scene from Pinocchio's Christmas.
Rankin/Bass Productions

The story of Pinocchio may not be the first thing that comes to mind when you think of Christmas, but that didn’t stop Rankin/Bass from turning the classic Italian fairytale into a holiday special. Pinocchio's Christmas (1980) features many of the same themes and characters as The Adventures of Pinocchio—only this version of the tale centers around the puppet’s first Christmas. Santa Claus even makes a cameo appearance.

8. The Stingiest Man in Town (1978)

Scene from The Stingiest Man in Town.
Rankin/Bass Productions

Charles Dickens’s A Christmas Carol is one of the most widely adapted stories of all time, so of course it shows up in Rankin/Bass’s filmography. An insect named B.A.H. Humbug narrates this musical retelling from 1978, with Walter Matthau starring as Ebeneezer Scrooge. The Stingiest Man in Town joins Frosty the Snowman as one of the few Rankin/Bass Christmas productions made with traditional 2D animation instead of stop-motion.

9. The Leprechauns' Christmas Gold (1981)

Scene from The Leprechaun's Christmas Gold.
Rankin/Bass Productions

Rankin/Bass’s streak of mashing up Christmas with other holidays reached peak weirdness in 1981. That’s when the studio released The Leprechauns' Christmas Gold—a story that follows a young Irish sailor who helps a clan of leprechauns protect their gold from an evil banshee named Old Mag the Hag. By trying to create a special that could air around Christmas and St. Patrick’s Day, the filmmakers ended up with something that made little sense at any time of year.

10. The Life and Adventures of Santa Claus (1985)

Scene from The Life and Adventures of Santa Claus.
Rankin/Bass Productions

In 1970, Rankin/Bass explored how Kris Kringle became Santa Claus with Santa Claus Is Comin’ to Town. Fifteen years later, the studio produced a film that provided an alternate origin story for the character, based on L. Frank Baum's 1902 children's book of the same name. This second special wasn’t as well-received as the first. It starts with an antler-sporting sorcerer called the Great Ak finding an abandoned baby in the forest. The child is taken in and raised by wood nymphs, eventually growing up to become a jolly man who delivers toys to children—all while fighting monsters called Awgwas on the side. It ends with a council of mythical beings granting Santa Claus immortality. What was arguably Rankin/Bass’s most unusual Christmas special was also the last to use stop-motion animation.

2020 Golden Globes: The Full List of Nominees

Andrew Scott stars in Fleabag.
Andrew Scott stars in Fleabag.
Steve Schofield/Amazon Studios

Awards season is officially upon us and we're all rushing out to the movie theater—or, more frequently, our own couches—to load up on some of the year's biggest movie and television titles.

Now that the 2020 Golden Globe nominations have been announced, it's clear that Netflix's investment in original content like Martin Scorsese's The Irishman and Noah Baumbach's Marriage Story, which scored the most nominations with six, was a wise decision.

On the television side, streaming emerged victorious as well; The Crown landed a total of four nominations while Phoebe Waller-Bridge's Amazon hit Fleabag earned three, including one for "Hot Priest" Andrew Scott, who was a notable Emmy snub. Amazingly, Game of Thrones was nominated for just a single award: a Best Actor in a Drama Series nomination for Kit Harington.

Below is the full list of nominees for the 77th annual Golden Globe Awards, which will take place on January 5, 2020.

Best Motion Picture, Drama

1917
The Irishman
Joker
Marriage Story
The Two Popes

Best Motion Picture—Musical or Comedy

Once Upon a Time in Hollywood
Jojo Rabbit
Knives Out
Rocketman
Dolemite Is My Name

Best Motion Picture—Foreign Language

The Farewell
Pain and Glory
Portrait of a Lady on Fire
Parasite
Les Misérables

Best Director, Motion Picture

Bong Joon Ho, Parasite
Sam Mendes, 1917
Todd Phillips, Joker
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time … in Hollywood

Best Screenplay—Motion Picture

Noah Baumbach, Marriage Story
Bong Joon-ho and Han Jin-won, Parasite
Anthony McCarten, The Two Popes
Quentin Tarantino, Once Upon a Time in Hollywood
Steven Zaillian, The Irishman

Best Original Score, Motion Picture

Alexandre Desplat, Little Women
Hildur Gudnadottir, Joker
Randy Newman, Marriage Story
Thomas Newman, 1917
Daniel Pemberton, Motherless Brooklyn

Best Original Song—Motion Picture

Beautiful Ghosts, Cats
I'm Gonna Love Me Again, Rocketman
Into the Unknown, Frozen II
Spirit, The Lion King
Stand Up, Harriet

Best Actor in a Supporting Role in Any Motion Picture

Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood

Best Actress in a Supporting Role in Any Motion Picture

Kathy Bates, Richard Jewell
Annette Bening, The Report
Laura Dern, Marriage Story
Jennifer Lopez, Hustlers
Margot Robbie, Bombshell

Best Actor in a Motion Picture—Musical or Comedy

Daniel Craig, Knives Out
Roman Griffin Davis, Jojo Rabbit
Leonardo DiCaprio, Once Upon a Time in Hollywood
Taron Egerton, Rocketman
Eddie Murphy, Dolemite Is My Name

Best Motion Picture—Animated

Frozen II
How to Train Your Dragon: The Hidden World
Missing Link
Toy Story 4
Lion King

Best Actor in a Motion Picture—Drama

Christian Bale, Ford v Ferrari
Antonio Banderas, Pain and Glory
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Best Actress in a Motion Picture—Drama

Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Best Actress in a Motion Picture—Musical or Comedy

Awkwafina, The Farewell
Ana de Armas, Knives Out
Cate Blanchett, Where'd You Go, Bernadette
Beanie Feldstein, Booksmart
Emma Thompson, Late Night

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television

Christopher Abbott, Catch-22
Sacha Baron Cohen, The Spy
Russell Crowe, The Loudest Voice
Jared Harris, Chernobyl
Sam Rockwell, Fosse/Verdon

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television

Kaitlyn Dever, Unbelievable
Joey King, The Act
Helen Mirren, Catherine the Great
Merritt Wever, Unbelievable
Michelle Williams, Fosse/Verdon

Best Television Limited Series or Motion Picture Made for Television

Catch-22, Hulu
Chernobyl, HBO
Fosse/Verdon, FX
The Loudest Voice, Showtime
Unbelievable, Netflix

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Patricia Arquette, The Act
Helena Bonham Carter, The Crown
Toni Collette, Unbelievable
Meryl Streep, Big Little Lies
Emily Watson, Chernobyl

Best Performance by an Actor in a Television Series, Drama

Brian Cox, Succession
Kit Harington, Game of Thrones
Rami Malek, Mr. Robot
Tobias Menzies, The Crown
Billy Porter, Pose

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Alan Arkin, The Kominsky Method
Kieran Culkin, Succession
Andrew Scott, Fleabag
Stellan Skarsgård, Chernobyl
Henry Winkler, Barry

Best Television Series—Drama

Big Little Lies, HBO
The Crown, Netflix
Killing Eve, AMC
The Morning Show, Apple TV+
Succession, HBO

Best Performance by an Actress in a Television Series, Drama

Jennifer Aniston, The Morning Show
Olivia Colman, The Crown
Jodie Comer, Killing Eve
Nicole Kidman, Big Little Lies
Reese Witherspoon, The Morning Show

Best Television Series—Musical or Comedy

Barry, HBO
Fleabag, Amazon
The Kominsky Method, Netflix
The Marvelous Mrs. Maisel, Amazon
The Politician, Netflix

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