Nina Dobrev will not be returning to her supernatural roots — at least not on the small screen, says;

Some fans had hoped that Dobrev, who starred as Elena Gilbert (and her doppelgängers) on The CW’s The Vampire Diaries might reprise her role in the fifth and final season of the show’s spin-off, The Originals. But the actress squelched those hopes during a recent interview with EW, saying, “No, I will not be on The Originals, no.”

Asked if she would ever want to head back to Mystic Falls, Dobrev says she has her eye on other projects, “We literally just wrapped a few months ago. I doubt that would be in the books for me,” she says. “But, yeah, no, I’ve been so busy with all kinds of other things going on right now that I don’t know that I’d be able to sign on.”

And she has another reason. “I’m not a young twenty-something anymore. I don’t think I could play a vampire,” she adds, laughing. “I’m getting old.”

Back in March, Julie Plec, who served as showrunner for both Vampire Diaries and The Originals, suggested the possibility of a revival in the distant future. “I could see our universes coming together in five years, 10 years, when people miss the shows,” Plec told EW. “There’s still stories to be told for The Originals that our characters here very smoothly and seamlessly fit into, so if we don’t get to do that while The Originals is still on the air, I think that one day, if somebody wanted it badly enough, it could exist.”

At least fans will be able to catch Dobrev on the big screen this fall; she stars in the remake of the 1990 paranormal film Flatliners, alongside Ellen Page, Diego Luna, and James Norton. Flatliners opens in theaters on Sept. 29.

“The Originals” Season 5 won’t premiere until next year, but fans are already getting some details on what to expect in the new season — or more accurately, who to expect. It seems the eight-year time jump means that the Mikaelsons will have lots of new friends and enemies. While the incoming cast members have not been announced, several descriptions of the new characters have been released. IBTimes has the details about those four new characters;

Margot: Another sexy vampire is coming to New Orleans. Margot is described as “calculating” and an accomplished vamp, according to TVLine. She has a history that goes back to 1920s Europe, and it seems like Margot will have a few things in common with Klaus (Joseph Morgan) and his siblings. She has an “almost zealous devotion to her family.”

Declan: At San Diego Comic-Con, showrunner Julie Plec told Entertainment Weekly that there will be the new man in Hayley’s (Phoebe Tonkin) life in “The Originals” Season 5. “Hayley’s got a friend with benefits,” Plec revealed. “Hayley’s getting some.”

Thanks to TVLine, we have a little more information. Declan is a charming flirt but he also has a red hot temper. Perhaps that’s why Hayley knows she can’t keep secrets from him for long. Though he has no knowledge of the supernatural side of New Orleans when he meets Hayley, Declan will be introduced to the Original family “by the woman he loves.” That description makes it sound like Hayley and Declan are a lot more than friends with benefits.

Roman: Plec revealed that Hope (who will be played by teenager Danielle Rose Russell in Season 5) will get a love interest. A special boy will catch her eye while she’s at the Salvatore Boarding School for the Young and Gifted. He recently became a vampire and he’s very charming. He and Hope will bond over their messed up families, according to EW.

Antoinette: It isn’t clear if this vampire is friend or foe yet. Knowing the Mikaelsons’ complex relationships, she could be a little of both. Antoinette is a free-spirit but also an “old-school vampire.” Like most of the Originals, she’s charming and intelligent, and she uses that to hide her dark past. Could this be one of Margot’s family members?

After spending eight years in the supernatural world of The Vampire Diaries — and directing five episodes of the series — Paul Wesley decided to stop through New York to visit the arguably more supernatural world of Shadowhunters. Wesley directed Monday’s episode, which sees Clary and Jace embark on a mission while Simon contemplates telling his family the truth about what he is. But before Wesley could step behind the camera, he had to brush up on the new, very complicated Shadow World. sits down with Paul Wesley to talk about the differences between directing Shadowhunters and The Vampire Diaries;

“They sent me a PDF with a bit of backstory on all the characters,” Wesley tells EW. “Then, honestly, I went on the Wikipedia page and looked at that.”

Unlike his past experiences on TVD, he not only had to get to know a new world on Shadowhunters, but he also had to get to know the actors. “I don’t know their mannerisms and I don’t really know any of these cast members very well. On The Vampire Diaries, I sort of understood how the actors functioned, so I was able to direct them and guide them,” Wesley says. “There was a bit of an advantage there. With this, it was more acquired knowledge. That was the biggest difference. It was actually, I thought, really refreshing to have to learn a new set of skills.”

One of those skills was directing an hour with a lot of green screen, which required Wesley to put his trust into the digital effects department. Another skill? Directing with the flu. “I was sick,” Wesley says. “I had like a 103-degree fever while I was shooting all those exterior scenes. All these pictures came out where I look like an Eskimo and literally I had a massive flu. It was like -10 out. And it was my first show that I directed outside of the series I had been on and I really wanted it to come out well.”

Shadowhunters airs Mondays at 8 p.m. ET on Freeform. confirms that Danielle Rose Russell is set to play Hope Mikaelson as a teenager for The Originals’ fifth season;

The Originals’ fourth season kicked off with a five-year time jump, which introduced viewers to a 7-year-old Hope Mikaelson, played by Summer Fontana. And in the show’s fifth season, there will once again be a time jump and, along with it, a new Hope.

EW can exclusively reveal that 17-year-old Danielle Rose Russell (Wonder) will play a teenage Hope, joining the cast as a series regular for the fifth season. But could there be more to Hope’s future?

There have been rumors of a potential spin-off for the character, who ended season 4 by attending Alaric and Caroline’s school. And even though there’s no official word on that front, showrunner Julie Plec told EW back in March — when Vampire Diaries ended — that although she couldn’t make any promises, they purposefully left a few things open-ended. “While I love the world of the boarding school and all that it represents, that would be an entirely new show that I haven’t even begun to think about, but the doors were not left open unintentionally,” Plec said. “They’re open with a hope, not a promise.”

Spoiler alert: This post contains plot from the season 4 finale of The Originals.

It finally happened. Something was able to separate the Mikaelsons for good (or at least until season 5).

When Vincent came up with a plan to defeat The Hollow in the season 4 finale of The Originals, the decision was simple: Lose Hope forever, or allow Vincent to put The Hollow into all four siblings, after which they’d have to scatter and never see one another again (lest The Hollow get free). So, after saying their goodbyes, Klaus, Rebekah, Elijah, and Kol all left New Orleans (and their family behind).

But one sibling took things a step further. Elijah, knowing full well that his commitment to his brother wouldn’t allow him to stay away, asked Marcel to compel him. And so Marcel compelled Elijah to forget the “always and forever” vow, to forget his siblings. In other words, he erased the most fundamental aspect of Elijah.

In the episode’s final moments, Rebekah and Marcel reunited in New York, Kol ordered an engagement ring for Davina in San Francisco, and Elijah found a new home in France, where Klaus paid him a quick visit (though Elijah didn’t recognize him). And although the show has another season, this was the final episode for executive producer Michael Narducci, who penned the hour. talked to Narducci about the episode and saying goodbye.

ENTERTAINMENT WEEKLY: From the beginning, there’s been talk of this show being about Klaus’ redemption. I loved the way you all addressed that, in this finale, particularly Elijah saying the idea of redemption was nothing more than a “wonderful sentiment.”
That was an idea that we had very early on in the season, and we just kept that idea alive in the room. I knew at some point somebody was going to speak those words. We really wanted that statement to be made — that it’s just not valid to say you do one good thing and all of your past evils are forgiven. You have to choose every day to do right, and even then, you have to live with what you’ve done. I think that’s a tough sentence for vampires who are 1,000 years old and who have committed a lot of evils, so there is no easy peace, and there is no easy redemption. But in this episode, they did what they had to do to do the right thing, even though that meant sacrificing this sacred vow and having to leave each other. They made a very painful sacrifice, but they did it for the right reasons. So while I can never forgive them all of the bad things they’ve done, in that moment, I have to give them credit for what they were able to do.

I’m so interested in the decision to have Elijah basically erase who he is. How did that come about?
I think it was episode 316 last year where Finn wants the White Oak to not be destroyed because he someday may want to use it to end his miserable existence. And the look on Elijah’s face [in that moment] says to me that he, too, has contemplated a quiet, peaceful end. We’re talking about suicide right now, and I think that’s a very touchy subject, but when you imagine 1,000 years of a tortured, tormented existence where you’re not fulfilled, I think that that’s on the table for these characters. And I think Elijah commits a form of suicide in the finale of season 4. He amputates the most important thing in his life, the thing that had given him at least a modicum of solace — his commitment to these brothers and sisters. Will that be a good decision for him or a bad decision? Will he find himself enlightened, or will he spiral into madness without his siblings? That remains to be seen, but I like the glimpse of him playing the piano.

His very first words on the show, in our pilot voiceover, he says, “Over the course of my long life, I have come to believe that we are bound forever to those with whom we share blood. And while we may not choose our family, that bond can be our greatest strength or our deepest regret. This unfortunate truth has haunted me for as long as I can recall.” The idea that that’s what’s causing him so much pain, this unfortunate truth — what if he could just forget it? The idea of the red door, that he has sublimated his grief and his most violent tendencies and put them behind that red door — what if he could sublimate even more? And when Klaus says to him in the finale, “I’m going to go crazy without you and without my daughter, but we can never be together again, so when you see that I’m going crazy, don’t come find me,” Elijah says, “I will not come find you,” but the only way for him to keep that promise is to do what he then does. I thought that that’s as close to a heroic act as a 1,000-year-old vampire killer is capable of.

Speaking of Elijah moments, I loved the line this season where Hayley said she was hesitant to be with Elijah, not because of the horrible things he’s done, but because she was worried Hope would see that she’s okay with them.
Hayley would be a hypocrite if she called Elijah a monster and said he was evil. She herself has done a lot of monstrous and evil things, but there’s that ability to say “I want to change” and “I want to be better.” Hayley has embraced that concept, and I think Elijah, to an extent, knows that that may be impossible for him and, in fact, is impossible for him. Hayley got to see that firsthand by going into his mind and seeing the core aspect of who he is. It’s a very frightening thing to bear witness to, and I really like how we took those characters from there.

Did a part of you write this thinking it might be the series finale?
Realistically, we were aware that we had not been picked up for a season 5, and I knew as I wrote this that it was going to be my last episode with the show and with these characters. I’ve been writing Klaus’ character since the first time he appeared in Vampire Diaries episode 218 when he was inside Alaric’s body and threatening Elena and Bonnie at the 70’s decade dance. It was the end of a long run for me, and I quite love these characters, and I love our cast, and so there was a poignancy there. But to be honest, I never thought that this was the end of the entire book on the Mikaelsons. They have a thousand years of story. There’s so much to explore, and I’m very happy that Julie [Plec] and the team get to continue. I think season 5 will be the best season yet. I’m excited to be a fan and to watch it.

I’m interested in the timing of the decision to have Hope attend Alaric and Caroline’s school. Was that something you knew would happen all season?
No, I think that that was a discovery that we made over the course of the season. I’m pretty sure that Julie had a strong opinion that that school was going to exist, and wouldn’t it be great if that school were a place where Hope could find not only mentorship but also something that has kind of been denied her, which is companionship from people her own age. It’s really tragic in a beautiful way that she refers to Marcel as her friend. I love that they’re friends, but she’s a 7-year-old witch, and he’s a 200-plus-year-old vampire, so she needs maybe some friends that are a little bit more on the same age level and are dealing with some of the same things. When Julie pitched that idea, I think I just sat back in my chair and smiled. I wanted throughout the season to protect Hope and to make sure that she had a great ending, and I think this is a great ending for that character for now.

With this being your last episode with the show, is there anything else you want to say?
It has been a great run for me, and I really love the people I have collaborated with. It has been a true pleasure. The fans have been fantastic. I met a lot of them at Comic-Con and different places, and I love the idea that people will watch this show with their brothers and their sisters and their moms and dads, and they cry, or they really love it, or they get mad at some of our choices, and then they turn the show off, and then they talk to the people in their lives about the show, and, in doing so, they realize it’s a TV show, it’s a story. And hopefully it’s given you some entertainment and maybe a hint of empathy for these people and their bizarre and fantastical lives, and perhaps it’s given some perspective on your own life and makes you love your brother a little bit more, love your sister a little bit more, love your parents, love your children. Or at least know that life is short and we should make the most of it because we’re not necessarily always going to be together.

Are the Mikaelsons seriously considering separating?! The Originals finale promos have me worried. — Dana
Let’s put it this way: They will do anything to save Hope, and if that’s their only option, they’re definitely going to consider it. But regardless of what decision they make about how to fight the Hollow, it won’t be the only big decision of the hour. By the end of the finale, a main character will completely change their life.


Anything for next season of The Originals? — Nelson
By now you’ve heard that The Originals is looking to do yet another time jump that would age up Hope next season. Well, I hear that aging comes with some new perks in the form of a love interest. The show is currently casting for a devilishly charming, recently-turned vampire named Roman, who finds a common bond with Hope over their dysfunctional families.


Last season, Joseph Morgan, who plays the deposed king of New Orleans Klaus, made his directorial debut on The Originals. Now, it’s time for Charles Michael Davis, who stars on the CW drama as Marcel, Klaus’ surrogate son and current ruler of the city, to do the same.

Davis stepped behind the camera for Friday’s episode, an intense hour in which Freya (Riley Voelkel) traps Klaus, Hayley (Phoebe Tonkin), and their daughter Hope (Summer Fontana) in the compound for their own safety. Ahead of the episode, EW hopped on the phone with Davis to talk about how he prepared to take on this new role on the show, discovered his directing style, and his favorite parts of the episode.

ENTERTAINMENT WEEKLY: So let’s start from the beginning: How did it come about that you were going to direct an episode this season?
It all started from finding out that Paul Wesley had directed [on The Vampire Diaries] and just chatting with Paul. This was when I first moved to Atlanta. So this was season 1 of when we were shooting and they were still in season 4. But it just sparked the idea and I just started asking around. People told me the best way is to shadow and to show up at meetings and soon enough people will start talking about your episode and, “I can’t wait to be a part of your episode.”

I shadowed for about two seasons, two years, and I would fly back to L.A. from Atlanta to sit in the writers’ room for two or three days. Later in the year, I’d fly back and sit in with the editors for about three days. Then I even came back and sat in on a sound mixing session, and then I would also follow directors around on set. I would go on the set of Containment and go onto the set of Vampire Diaries and see how certain directors operated. Then we got to talking about it, and they gave [Joseph Morgan] an episode in season 3, and he did very well. So, it opened up the door for me and Daniel [Gillies].

Which directors did you shadow on The Originals, The Vampire Diaries, and Containment?
Chris Grismer, I shadowed on all three, and I shadowed Michael A. Allowitz. I shadowed Matt Hastings a lot because he was our creative director and always on set. And Jeff Hunt, it was great to get his process.

What did you learn from shadowing these directors? Did you learn something new about your show after seeing it from a different perspective?
Yeah, I talked to the [directors of photography], too, and learned from their perspective about what the rules of the show were. That was the most interesting thing. It helped me because there were particular camera moves or certain lighting setups that we would stay very close to. So it made my choices for me. But before, there’s this phase when it seems like this big daunting task. Then, when you learn the rules, it’s like the rules of soccer: Here’s the field, you just can’t use your hands, you can kick the ball forward, and don’t go off sides. You’re like, “Oh I can handle that. I can work with that.”

Each director was different. Jeff Hunt, he was the Steadicam operator, so he had this very lyrical and smooth movement of how he liked to connect his shots. He taught me a lot about transition. Matt Hastings, he loved suspense so he taught me a lot of suspense, and he loved insert shots. So, he taught me the value of insert shots. Grismer had a very free-flowing style because he had so much experience that he was just very calm in the pocket no matter what was going on. He kind of showed me that you could also creatively come up with something or trust your actors. But what they all taught me is that they have their particular styles. So I knew I would be ready when I could come in and say, “This is my style. This is what I like,” as opposed to, “This is what we should do. This is what so-and-so did.” They were all fully realized as directors with their own style. Hunt even joked around that they called certain transitions, [where] you knew you were going to fade into black or go behind something, his trademark. I was like, “Oh, that’s really cool. I gotta figure out what my trademark is.”

And, did you figure out what it was?
Yeah, I did. I took a look back at some of the things I’d done and shot, and I loved rhythm. I also loved to move the camera with a certain flow and a pace, and I also leaned more towards the sentimental undercurrent. So I was really glad Carina [Adly Mackenzie] was writing my episode, because she loves a really good Act 6 — like, she just wants tears flowing by the time we get to Act 5 or 6. And I like sound transitions, so I had her work in some audio transitions.

It’s interesting that you mentioned rhythm, because the last time we spoke, you said you were taking ballet classes and djembe drumming lessons. Did those skills inform your directing?
Oh yeah, very much so. I’m still obsessed with rhythm. I was just chatting with a painter and I said, “What exactly does it mean when a painting is lyrical?” And I’m here in New York studying Shakespeare. So rhythm was everything for me. Alejandro Iñàrritu, in an interview, said directing is all about rhythm. If you’ve got good rhythm, you can be a good director. So I put a lot of weight into that. When I went back into editing my episode, I was very aware of the rhythm of when you get into a scene, how many seconds before you cut, how fast certain actors talked. We even paired sort of the older characters who speak a little bit slower with younger characters so that the scenes could move forward with a certain rhythm. It was a very, very conscious thing and something I still explore to this day.

What did you think would be the most challenging part of the episode when you first read the script?
Oh, all of it. I actually texted Carina afterwards and I said, “You’re joking, right?” I said, “For one, the script is really long, and two, there’s fire elements and there’s death and there’s new characters.” I was like, logistically, I can’t even wrap my head around [it]. I go, “Is there lighting everywhere? Is there rain everywhere? You guys realize this is my first episode?” She goes, “Oh no, Charles, I’m not holding back. I love this episode.” I was like, “So, you’re serious, this is my episode?” Then from there, I knew we would have to pare some things down and maybe remove some scenes and then work with the producers about how we were going to shoot this, logistically. I knew that time and money were also constraints.

How did you learn to handle to those fire elements and other big effects?
Preparation, that’s what a lot of people told me: as long as you’re prepared and you have an idea of what you want to do. So, I walked the sets and I imagined it in my mind. We have a great, great crew of people in their departments. They’re all true artists, so they really stepped up and they had a lot of suggestions about how we could do something, how we could make it work. [For example], the logistics of, is there a makeshift altar out in the cemetery? No? Then, what are we going to make this out of? I don’t know. But, Bill [Eigenbrodt], can you help me out? And he did, and he made it work for the camera and he knew we would probably want to shoot in this direction. Things started to fall in place. But, like I said, the script and the show itself already set the rules. It was just my job to fit everything in like it was a puzzle, like a little Tetris design just to make it work and keep that in mind and keep communicating it to everyone, like, “I only need this for the shot. I know we got fire and we got wind, but all I need for you to do is stand up and then we’re out of the shot and we can move on.” Just turning it into sizable pieces that we could really digest.

As you mentioned before, Joseph directed for the first time last season. Did you get any advice from him?
Yeah, he said, the politics will probably amaze you most of all, because you don’t really prepare for the politics of it. I got to really discover what that really meant. You know, different departments, by nature, are at odds with each other. So, it was about making decisions and moving forward. He also said the best advice he got from someone was, “Make a decision — any decision — even if it’s the wrong decision. You just don’t want to be standing there looking like a fool,” because then the crew loses confidence in you and the whole thing just goes to s—. After he said that I was like, “Okay, so where are we going? You wanna go? Are you going to walk out? I’m going to go grab my—” And he goes, “Charles, make a decision — any decision — even if it’s the bad one.” I just go, “Right, okay.”

What was it like directing your fellow actors?
It was great because they treated me like a director. They really trusted me. They looked to me in a way that was very open and receptive to direction. They cared for my opinion. They didn’t fight me at all or anything like that. And I would just go up and whisper in their ear. I would just make a few little suggestions here and there, but I would always speak to them very intimately. When I liked something, I mean, everybody knew I liked it. I would just cheer. My job was also to be everyone’s biggest cheerleader. So when the cameraman really hit a moving shot in two takes, you know, I was there yelling, “F— yeah! Way to go Ian [Forsyth]!”

When Yusuf [Gatewood] does this thing where he sets the skull down and turns it and he starts to chant up to the sky, I was just like, “That is an iconic shot. Hopefully that shot will be forever remembered. I will always seek to recreate that shot in anything I ever do again.” I didn’t even direct him. I was about to yell cut because I thought he wasn’t going to turn the skull forward, but he did it in this beautiful rhythm. So, I actually got to talk to him as if I was a fan, which I am. I really got to express that through direction.

Part of this episode involves Freya trapping Klaus, Hayley, and Hope in the compound for their own protection. How did you approach that storyline? Did you try to go for something more claustrophobic, for example?
I just had to look at it in comparison to the other plotlines to see what the other characters were going through. I had to find their arc. First Klaus discovers he’s going to be grounded and then he tries to deal with that frustration, and then it all comes boiling out between him and Hayley. But, it’s nice because now you see a different side of Hayley and Klaus’ relationship. I wanted people to really see that they’re really good parents and maybe that they could actually work together and be together. And the actors are really intelligent. So, they knew how to bring out those levels. It was nice because it was all on the stage and it was all in one room and it grew in its intensity. Yeah, that was one of my favorite ones to shoot.

Tune in for an all new episode tonight! We’re desperate for a fifth season. <3 has posted an article about this fall’s TV Pilots and it looks like Claire Holt’s “Doomsday” and Matt Davis’ “Las Reinas” have been picked up!

In the aftermath of 9/11, the U.S. government instituted a secret think tank composed of the most creative minds in science and entertainment, tasked solely with dreaming up man-made disaster scenarios and their possible solutions. The ideas they invented were so dangerous that the list was sealed and the program shut down. But when a catastrophe ripped from the pages of the missing doomsday book occurs, the team is brought back years later to prevent the disasters of their own making.
Team: Mark Bianculli and VJ Boyd will write and executive-produce with Carol Mendelsohn and Julie Weitz.
Cast: Dan Byrd, Jack Davenport, Rochelle Aytes, Rachelle Lefevre, Taye Diggs, Claire Holt, Justin Chatwin.

Las Reinas
Detective Alex De La Reina (Daniella Alonso) is forced to confront her past when a case compels her to reconnect with her estranged family – the most powerful criminal outfit in Miami. Thrust back into the world she thought she had left behind, Sonya must walk the murky line between the law and her family and question her true destiny as a De La Reina.
Team: Dean Georgaris will write and executive-produce with Mark Gordon.
Cast: Daniella Alonso, Sonia Braga, Shalim Ortiz, Matthew Davis, Amanda Warren, John Corbett, Eric Winter.

The Originals’ Phoebe Tonkin sat down with to talk about this season’s new big bad and of course Hayley and Elijah’s future;

Hayley is about to get everything she’s wanted for the past five years. After last week’s successful mission to rescue Klaus, the Mikaelsons are back together, and Hope is going to get to know her father (along with her aunts and uncles). Plus, Hayley has the man she loves back, so what could go wrong? Well, on The Originals, the answer is usually: everything.

EW caught up with Phoebe Tonkin to talk about the family reunion, her character Hayley’s future with Elijah, and the little fact that her daughter could have a mystical evil coming after her.

ENTERTAINMENT WEEKLY: After five years, the family is finally reunited. What does that mean to Hayley?
It’s relief, and a little bit of closure. All Hayley’s ever wanted was family and then she had to say goodbye to her family. All she’s done for five years is be on the run with her daughter and I think she got this massive relief because she can finally stay in one place hopefully, and she can give her daughter somewhat of a normal life hopefully. There’s a little bit of a weight off her shoulders now because that’s what she’s done for five years, but then obviously it’s not that calm for too long.

Were you curious about those five years? Did you talk to the writers about what Hayley had been up to?
I did ask them. I was like, “Maybe she went on a few dates or does she have some weird girlfriend that she made friends with?” [Laughs] She was very serious about making her focus just about the family and making sure that they were going to come back into her life and her daughter’s life. I think she spent a bit of time with grandma Mary, so I think grandma Mary was her friend over the last five years. I don’t know what else Hayley would’ve probably been doing besides looking for ways to get the Mikaelsons back and keeping a low profile.

Keeping a low profile despite driving a tractor trailer everywhere.
Exactly. [Laughs] I also want to know what they would listen to in that truck. I wonder what Hayley and Hope were jamming along to.

Right. It’s kid’s music and then Hope falls asleep and it’s…
Smashing Pumpkins. [Laughs] Or Hayley’s been learning French in the truck on like, what’s that…

Rosetta Stone?
Yeah! She’s been Rosetta Stoning. She’s been learning Spanish.

We also have this new big bad. Hayley has worked so hard to keep Hope safe. How is she going to react when her daughter is potentially part of something she can’t control?
That’s what’s so terrifying about the big bad of the season is that they don’t really know much about it: They don’t know why it’s here; they don’t know what it wants, and once it starts to feel like maybe this is something directly affecting or directly targeting Hope, that’s when everything gets serious. Once you’re talking about protecting a 7-year-old who doesn’t understand her powers yet or anything, that’s when the stakes become very high.

Are Hayley and Elijah on solid ground at this point? After five years apart, I feel like they deserve a moment of happiness.
Yeah, I think having not seeing him for five years there’s probably been five years of dreaming about the day that she would see him again, so I think the first time that they get to spend time with each other is hopefully this magical moment because it’s all she wanted. I think they love each other very much but you know as the season goes on, it becomes very clear that Hayley’s priority is being a mom and protecting her daughter.

And this week, I heard something about a disagreement with Freya. I assume that has to do with Keelin.

Yes. Hayley and Freya both have very similar back stories in that they have been without family, so when they finally did get family, they’re super protective of them. But it doesn’t necessarily mean that their ways for protecting their family are always going to align. There’s a couple of conflicting opinions between Hayley and Freya, but at the end of the day, they’re family and they have the same intention which is to protect each other and protect their family, and especially protect Hope. But they just sometimes have differing ideas of how to do that.

The Originals airs Fridays at 8 p.m. ET on The CW.

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