The Hollywood Reporter spoke to outgoing showrunner Michael Narducci, who is exiting for an overall deal at ABC Studios, about writing an episode with plenty of closure, Vampire Diaries crossovers and where the story will go in season five.

The episode provided a lot of closure — does that mean the end of some characters?
I think there’s always more story to tell. This is a family that’s been around for a thousand years, and they’ve had all kinds of turns along the way. We knew we wanted to provide a satisfying season finale. It was not our intention for it to be the series finale, but we also knew that if the worst case scenario did happen, there were some things we wanted to be able to address. So as we approached the writing of the finale and talking about it in the room —and actually, the entire season — we talked about ending a chapter but definitely having there be room for more to come. And I think it’s pretty obvious that there is a lot more story to tell, and I am very excited to see what they’re going to do in season five.

Was the idea always to send Hope to the Salvatore School?
In terms of The Originals, New Orleans is a very important place and it always will be a very important place for their family. But Julie [Plec] and the writers of The Vampire Diaries had this brainstorm to create the school for supernatural children, and she really loved that idea. We have Hope and she is a very, very powerful witch. We’ve talked a lot about how she needs guidance, she needs mentorship. We even chose our villain of this season to be a witch who was so powerful and perhaps did not have guidance. She was a threat who became this grand evil, and the idea was there but for the grace of god go Hope. And so how do you take a child with all this power and provide for her the mentorship she needs? …That felt like a great place for Hayley having to choose to send her to school. It felt like a nice bit of closure.

You’re not involved in the show anymore, but what can you say about where each of these storylines can go?
We knew that we had to provide some type of closure for the fans, but we wanted to not tie it off for good but to tie it off so we had a satisfying season ender. With Hope at the school, it does feel to me like there’s a lot of story to come. What’s going to happen next with Rebekah and Marcel? What’s going to happen next with Kol? Is he going to make good on this idea to propose to Davina? What’s going to happen next with Elijah, who seems to finally be free of this vow that brought out a lot of his worse aspects? And what’s going to be next for Klaus, who, for the first time, is completely unmoored from his family and also his child? There’s a lot there to explore with the family as individuals, and will they ultimately return together? That’s something I definitely, as a fan, want to see.

What can you say about the reports of a potential Originals spinoff?
Every show, as a matter of pride, hopes for success and imagines that their characters are so amazing, that their storylines are so rich and have such depth, that there’s a spinoff element possible. We’ve always joked about what spinoffs we could tell on our show. Certainly, since my days on The Vampire Diaries, we’ve talked about what the show would look like from the werewolves’ point of view or from the vantage point of the witches. Julie and I had had some preliminary discussions and she had pitched me some ideas, but all of that going forward exists in the mind of Julie Plec. I definitely think there’s some amazing potential.

This season introduced a lesbian relationship between Freya (Riley Voelkel) and Keelin (Christina Moses). What was the discussion surrounding that?
Freya was a character who had been unexplored in certain [areas]. We saw her having this great responsibility with her family, and we saw her having a little bit fun, i.e. going to parties and things, but we never saw an intimate dramatization of her romantic life, and at the same time we wanted to get more characters on the show that represented different [supernatural] factions. … Pretty early in the process we had pitched [the story]. We wanted to tell a really good love story.

Is LGBTQ representation something you talk about a lot in the room?
It’s something that matters to us — how to have representation, and then given representation, how to tell the best stories. It’s as simple as that. If you take characters of a diverse nature — gay characters, straight characters, male characters, female characters, characters of different backgrounds and ethnicities, supernatural components — and you put them all together and you just try to tell the best story you can, then you’re cooking with gas.

Klaus has really evolved as a character this season. Do you think he’s finally redeemed himself?
It’s hard to say that about someone who killed Aunt Jenna and killed Mayor Lockwood and tried to kill Elena 100 times, who has done terrible, despicable things throughout his existence, up to and including daggering his own siblings and threatening to throw them in the ocean. He’s not a hero and we have to acknowledge that. I know a lot of fans want to talk about how he can be changed by love, by romance, certainly this affection he has for his daughter. I think those are important things to explore when you’re telling a story. At the end of the day, we took him from a guy who found out he was going to have a kid and didn’t care at all to a guy who was willing to sacrifice himself and did sacrifice himself — he spent five years tortured and in solitude, and then coming out of that experience, while he was still Klaus, he was still capable of doing awful things to his enemies. He had changed and he did very much care about this child up to the point where he gave up the thing that was most important to him, his family, in order to protect her and save her. I do think that’s growth.

A lot of this season hinged on young Hope, who was played by Summer Fontana. Did you worry about that when casting her?
if you take one thing from this interview, please know that with all my heart I believe that Summer Fontana is going to be a big, major star. She was phenomenal. Everything that we gave her to do she was incredible. She exceeded all of our expectations.

[Warning: This story contains spoilers from The Vampire Diaries series finale, “I Was Feeling Epic.”]

“While his death is absolutely tragic for many reasons, there’s also a sense of full circle to his experience,” co-creator and showrunner Julie Plec tells The Hollywood Reporter about that finale death;

After being nearly destroyed countless times throughout eight seasons of The Vampire Diaries, the small town of Mystic Falls, Virginia was saved yet again in the show’s series finale — but not everyone made it out alive.

The evil Katherine (Nina Dobrev) returned to make sure Mystic Falls was engulfed in hellfire, but Bonnie (Kat Graham) devised a way to destroy her once and for all — it just required one of the Salvatores to sacrifice himself too. While Damon (Ian Somerhalder) stepped up to the plate, Stefan (Paul Wesley) decided that because his brother had finally returned to his pre-evil vampire self, he would do it.

Bonnie, after summoning the strength of the Bennett witches, was also able to wake Elena from her slumber. Bonnie set out to travel the world, Elena and Damon got to live happily ever after together, Matt served as Mystic Falls Sheriff (and got a nifty bench, too), Caroline started a boarding school for supernatural children with Alaric’s (Matt Davis) and Jeremy’s (Steven R. McQueen) help, and in the final scene, the brothers reunited with a tearful hug.

Co-creator Julie Plec spoke with The Hollywood Reporter about the finale, including alternate endings for some characters, the importance of callbacks to the pilot, and Dobrev’s big return.

The Original Ending
The plan wasn’t always to have Stefan sacrifice himself so his brother could find happiness. Plec and co-creator Kevin Williamson first came up with an ideal ending back in season two. “There have been so many different versions of that in our mind,” Plec tells THR. “Back then, the show ended with both brothers dying and watching Elena go out and live her life as a human and grow up and be happy and have kids and get married. And all the sacrifices that they had made so that she could be human and safe made it worth it, and they could’ve gone and passed on into oblivion.”

Plec continues, “Then of course we created the Other Side and then Elena became a vampire and then Nina left the show. Once Nina left the show, all the plans of how it would end one day had to shift because ultimately it became less about ensuring Elena’s safety and future and more about the relationships between the brothers themselves and their own path to redemption. There was a pitch on the table that was a very good pitch where Damon didn’t make it to the end, and then ultimately the pitch that made it to the end was, I think, the best one.”

Stefan’s Sacrifice
While Stefan’s immortal life was tragically cut short, Plec says that he was still able to have meaningful life experiences. “For me, Stefan got to have life and happiness. He struggled with his — we’ll call it his addiction — his entire vampire life, but he had his best friend in Lexi, he had true love in Elena, he had the redemption of his brother, and then he got to fall in love a second time and find a partner and a mate in Caroline. And while his death is absolutely tragic for many reasons, there’s also a sense of full circle to his experience that he was the one that sort of got them into this mess and now he’s going to get them out of it.”

Damon’s Redemption
Damon, on the other hand, was “a whirlwind of chaos,” Plec says. “His last moment of innocence, and I would even say sweetness, was when he was still human 160-some-odd years ago. And so for Stefan to be able to give his brother that opportunity to experience the simple peace and happiness of everyday life as a human and with his girl and all the things that Stefan was able to have I think is the greatest gift of all.”

She continues, “Damon’s done a lot of really crappy things in eight years. He has not been a model citizen. He has been extremely, extremely dysfunctional and extremely disruptive. While in no way are we trying to say the lesson is that the bad boy can be changed by the love of a woman, in this case it’s true — and the love of a brother. And so now Damon Salvatore gets to have a second chance at humanity.”

Cutting Steroline Short
Stefan’s death was perhaps most tragic for Caroline, who had approximately one day of wedded bliss before he sacrificed himself to save Mystic Falls. But Plec says that eventually Caroline will be able to move on. “Stefan and Caroline found beautiful best friend partnership marital love, familial love, and everything you wish for as an adult that you want out of a partner,” she says. “And that’s after Stefan had epic first love — fall down the rabbit hole, drown in it, painful love — with Elena. So there’s no reason why Caroline can’t move forward in her life and find a different kind of partner before her currently eternal life is over. I’m not saying it’s going to be Klaus, but it certainly leaves a door open for anybody.”

Bonnie’s Alternate Ending
After spending at least a decade of her life sacrificing herself for the greater good of Mystic Falls and her supernatural friends, Bonnie needed to have a happy ending. “She has earned the right to be happy,” Plec says. “Bonnie needed to survive and to grow up and to live a long life and to have everything she ever wanted. There was a pitch on the table at some point that maybe Bonnie and Matt Donovan would end up together and have children together. There was a pitch on the table that maybe Bonnie takes a series of great French lovers and never has another real relationship again because Enzo is her one true love and she’ll see him again in peace.”

Matt Donovan’s Survival
There was no question in Plec’s mind that token human Matt Donovan (Zach Roerig) would make it to the end of the series alive. “That’s my personal battle,” she says. “I’ve argued with a dozen people over the years about the importance of Matt Donovan remaining alive in this universe. It seemed to me that as the token human, his survival, him going down fighting and being willing to sacrifice himself at any time along the way in the name of the greater good of the town and then to be left standing in that town at the end, it’s a beautiful closure for him and so I really wanted to make sure that he lived to tell the tale.”

The Crow, The Cemetery, and Other Callbacks
Throughout the final hour, Plec and Williamson, who co-wrote the episode, sprinkled in references to the pilot and other key moments in the series — including the shot of Elena writing in her diary in the cemetery with a crow. “The crow was classic Kevin,” Plec says. After being tasked with writing that scene, “he came back with that section with that beautiful voiceover and the crow and Damon coming to meet Elena at the cemetery. And to me, it’s one of the most beautiful moments of the show. That is all him wanting to reflect back on his favorite elements of the first season.”

One of the most personal callbacks for Plec was including music from the pilot. “I have, like, a Pavlovian response when I hear them. I just burst into tears. One of which is the return of the Fray song that ended our pilot. If you watch the [episode] with someone who was a fan in the first couple of seasons and maybe hasn’t watched it since then, there is so much for them to enjoy about it and so many little nostalgic shout-outs — not to mention all the little Easter Eggs for the fans who know the show intimately.”

Family Reunion
The eighth season saw the return of several key characters, and the final episode brought back a few more (including Sara Canning as Aunt Jenna and David Anders as Uncle John). That was important to Plec personally, because the TVD crew is close-knit, but also story-wise.

“This is a show that was borne out of loss and grief. When we met Elena, she had lost her parents and didn’t know if she could continue and didn’t know how she was going to make her way through life under the weight of this loss. And when we end the show, we’re ending the show in peace — which I would go so far as to say is the Vampire Diaries version of what heaven means. These characters, some that were ripped away from us very tragically, some that we weren’t sure what their ultimate destination would be, to be able to show them at peace with themselves and in a version of their own peace, however you want to define it, was the perfect bookend to the grief and the loss that launched the series.”

The Final Scene
The end, which sees Elena reunite with her parents and Jenna and John, “To me, that’s peace and you can define it however you want,” Plec said. “You can define it as closure, you can define it as heaven, you can define it as some sort of spiritual other world. Whatever it is that you want to define it as, that is what peace means to me — which is that somehow you find yourself at peace because you have everything you ever wanted.”

“I see … a future for either ‘The Originals’ or another piece of the franchise to launch off of the end of ‘The Originals,'” showrunner Julie Plec tells The Hollywood Reporter.

[This story contains spoilers from the series finale of The Vampire Diaries.]

he Vampire Diaries has come to an end — The CW hit just aired the final episode of its eight-season run — but that doesn’t mean the story is over.

Co-creator Julie Plec tells The Hollywood Reporter that she already has an idea for another TVD spinoff (The Originals will debut its fourth season on March 17).

Friday’s series finale alluded to “another story” for character Caroline Forbes (Candice King), who ends up opening a school for supernatural children like her own — funded by none other than her former love, Klaus (Joseph Morgan). While the duo will not interact on the upcoming season of The Originals, they potentially could in the future.

“Obviously our timelines did not match up, so Caroline and Klaus are not coming face to face in this season. That being said, we do have crossover elements in the upcoming season of The Originals that’s about to start airing and it all brings it back to what I see as a future for either The Originals or another piece of the franchise to launch off of the end of The Originals. So I look forward to being able to play around in that sandbox and see if I can make something of it.”

While Plec isn’t actively working on it, she does plan to start after she takes a break. “There’s a lot of different things floating around in my head,” she told THR, “and the first thing I’m going to do is not write and take a vacation. And then when I come back on the other side of that I’m going to go back to work.”

The CW president Mark Pedowitz told THR this week that the fate of The Originals is not tied to TVD, so the show could potentially continue beyond the upcoming season. “Look, the show stands on its own. We have not premiered it yet; it’s a week away,” he said. “This will be a decision we make in the May scheduling. But I hope to be able to announce at the May upfront that it’s returning. That’s my hope.”

As for the second spinoff, “Julie and I have only had casual discussions about it. I actually guessed what her plans were in one of our casual discussions. I saw them coming. I think that is a discussion that we can have as we go into development. I think she had it set up the right way.”

To clarify: He’s not ruling anything out.

“I work in show business,” he said. “You can’t.”

The Originals premieres Friday, March 17 at 8 p.m. on The CW.

The Hollywood Reporter wrote a review of The Vampire Diaries;

Recovering from a dismal pilot, Julie Plec and Kevin Williamson’s drama (which comes to an end Friday night) spent several years as one of TV’s most purely entertaining shows.
In 2010 and 2011, in the heart of what we keep calling a Golden Age of TV, there were four shows that made my Top 10 lists in both years.

Three of those shows won’t be surprising. Friday Night Lights completed its run with two classic seasons made possible by an unlikely partnership between DirecTV and NBC. Parks and Recreation continued its evolution after a rough first season by delivering two nearly perfect runs of episodes. And Breaking Bad kept twisting the screws as the third and fourth seasons became its tensest yet.

The fourth show to make my Top 10 in both 2010 and 2011?

The CW’s The Vampire Diaries.


The Vampire Diaries concludes on Friday (March 10) after eight seasons and 171 episodes, and although I haven’t missed an hour, it’s not a show I talk about very much anymore. The show has gone through a qualitative arc that verges on unique — I’d compare it to Sons of Anarchy, but only because I know being tied to a CW supernatural soap opera would cause fans of the FX motorcycle soap opera to go into conniptions — and no matter the level on which it’s going out, it feels right for me to give a nod to a series that really was the most undervalued great drama on network TV for two years.

When The Vampire Diaries premiered in 2009, let’s just say I didn’t like it.

I called Julie Plec and Kevin Williamson’s pilot “a shameless bit of pandering to the fang-banging throngs” and complained of stars Nina Dobrev, Paul Wesley and Ian Somerhalder, “the men all pose more than act and Dobrev only has a shade more expressiveness.”

This was how I described the show’s best-case scenario: “Much more self-consciously silly than Twilight, featuring more rolling fog than an ’80s rock video and driven by a half-dozen of the most stilted performances East of Melrose Place, The Vampire Diaries may emerge as the sort of brainless guilty pleasure The CW hoped its recent Fox retreads might become.”

Somehow, that was enough for me to stick with The Vampire Diaries and for a while, Plec and Williamson were forced to wade through L.J. Smith’s dismal novel and the series was a hammy mess of bad acting and even worse plotting. Don’t make me remind you of those few episodes in which Stefan (Wesley) joined the football team because his vampire powers made him an unstoppable force as wide receiver. This happened and it wasn’t good.

The show’s turning point was not, in fact, the first midseason finale episode, which was titled “The Turning Point.” It came a little bit earlier and it involved the all-too-fast arc in which Vicki Donovan (Kayla Ewell), not-hugely-compelling love interest to Steven R. McQueen’s Jeremy and sister to Zach Roerig’s Matt, was bitten, became a vampire, then became an uncontrollable monster and then was staked permanently, in the space of three episodes.

The arc represented everything The Vampire Diaries would settle into doing so well for the two years that followed. Vicki wasn’t all that good as a human character and Ewell wasn’t all that exciting as an actor, but Vampire Vicki was marvelously vicious and feral and it took exactly two episodes for Ewell to go from an afterthought to my favorite actor in the cast and then just as quickly, she was gone. More than a few shows would have milked this Vicki storyline over 12 episodes or over a season and more than a few showrunners would have, after correctly recognized a strength or asset in Ewell’s ability to play bad, found a way to back away from Vicki’s demise and kept the actress in the fold. I’d venture to say, in fact, that the later version of Vampire Diaries would have made those compromises.

Plec and Williamson laughed in the face of sustainability and audience comfort. For the next two years, you could count on The Vampire Diaries doing two or three absolutely crazy things per episode, going to mid-episode commercials with the sort of cliffhangers or twists most shows would save for the end of a season. To watch The Vampire Diaries in those seasons was to sit with one’s jaw regularly agape as characters died or reversed moral direction and did things that seemed impossible for the writers to fix or live with, but the writers found ways to make nearly every wacky or bizarre choice land. There aren’t many shows I feel the need to watch immediately so as to avoid having the surprises spoiled, but for two years The Vampire Diaries had to be watched live and it was so entertaining, sexy and funny that prompt viewing was never an imposition.

Make no mistake, The Vampire Diaries was, as I’ve said, a supernatural teen soap opera with all of the inherently silly trappings, from high school characters who never attended classes to a sometimes comical adherence to a holiday schedule; every Christmas or Halloween became tied to a Mystic Falls town celebration that then became tied to a fancy-dress gala that then became tied to a flashback.

So what of it? Genres are there for a reason and all creators can do is live up to the highest potential of their genre and The Vampire Diaries was, for a long time, the best darned supernatural teen soap opera it possibly could be. Plot churn is the biggest stumbling block for so many fast-paced soaps and if something like The OC proved it only had engine enough to last one season at Josh Schwartz’s original burn rate, The Vampire Diaries had perhaps three seasons working at this clip. [The Vampire Diaries did not have the same late-series recovery as The OC, but that’s a different story.]

I didn’t initially like the show’s stars, but Dobrev, Wesley and Somerhalder made Elena, Damon and Stefan into a rare love triangle in which all three actors had chemistry of different types, giving Plec and company ample romantic variations to play. Knowing there’s nothing young actors enjoy more than getting to play the same characters in both good and evil incarnations, Plec and the writers made Stefan and Damon into vampires whose humanity could be literally switched on or off and both actors thrived. If I thought Dobrev had limitations as the mopey, lovelorn Elena, the show proved how talented she was with the introduction of Elena’s ultra-wicked doppelgänger Katherine — and then had an indecent amount of fun making Elena pretend to be Katherine and Katherine pretend to be Elena and Katherine inhabit Elena and Elena inhabit Katherine and other character-blending oddities.

The show also found value in parts of its core supporting cast, especially Candice Accola as Caroline, and then, in the second season, gave a great introduction to the “original” vampires in Elijah (Daniel Gillies) and Klaus Mikaelson (Joseph Morgan) and then later in Rebekah Mikaelson (Claire Holt). There were definitely moments in the third and fourth season in which it felt like Morgan, Gillies and Holt were what was holding The Vampire Diaries together, but they were so enjoyable to watch that I didn’t care. That’s around 2012, when The Vampire Diaries didn’t make my Top 10 list, but still was hovering in an honorable mention position.

It would be easy to call the spinning off of The Originals as the point-of-decline for The Vampire Diaries and the last two seasons have, in particular, been a real slog for me, which would then suggest that if spinning off The Originals was the point-of-decline, Dobrev’s departure probably should have been the end. I think the answer is simpler and less precise than that. Shows like this are rarely built for 171 episodes. [“Tell that to Dark Shadows and its 1225 episodes!” you’d be right to protest.]

*** Too many supernatural people. In the beginning, The Vampire Diaries was the story of one human girl who fell for a vampire boy, but step by step by step, everybody on the show other than Matt, the least interesting person on the show, became a vampire, a werewolf, a hybrid or a witch or an enhanced hunter. I can’t point to which was the bridge too far, but it’s somewhere. Humanity was a really good counterpoint to all of the supernatural transpiring and in the absence of humanity, it became a show about who could kill whom with which magical tool.

*** Too many drinking game catchphrases. Man, The Vampire Diaries loved coming up with concepts and giving them brand names and then repeating those concepts over and over and over again. Doppelgänger! Turning off the humanity switch! Hybrids! Originals! Ripper! The Cure! This also ties into how many of the season-to-season big bads were neither big nor bad enough and failed to become bigger or badder when you repeated their names. Travelers! The Gemini Coven! Sirens! Augustine! Oh and going off to college didn’t kill The Vampire Diaries, but like so many high school shows, that was not a journey it made fluidly.

*** Too many intense relationships I didn’t care about or believe in. I didn’t have a preference between Stefan and Damon when it came to Elena’s affections, but I bought into it. As the show went along, though, it kept trying to convince me of too many “true love” situations I didn’t buy. Whether it was Stefan or Klaus or Alaric, I never cared much who Caroline was with, but the show sure did. The show also tried really hard to convince me that Damon and Caroline’s Mom were best friends and then that Damon and Bonnie were best friends and then that anybody would care if Jeremy was finally gone. It got to the point where any time a character was killed or locked in another dimension or even overslept and missed Sunday brunch, it was like the end of the world for another character. Buffy the Vampire Slayer got away with doing this, but not every show with vampires can be Buffy the Vampire Slayer.

*** Enzo. Nah, I’m just kidding. Or am I? An awful lot of the final Vampire Diaries season was about being emotionally invested in Enzo. I wasn’t. Ever.

The Vampire Diaries will end on Friday night and I appreciated that they brought Vicki back a couple times in this last season, which otherwise has been a dull and repetitive cycle of Damon and Stefan both gaining and losing their humanity and various characters arguing over how many of the bad things done during the course of the show they were prepared to forgive each other for.

You’d never know it from the Emmys or Golden Globes or TCA Awards it won, nor from the number of other Top 10 lists it made, but as The Vampire Diaries completes its run, I wanted to check in one last time to remind you: When it was good, it was very, very good.

The Hollywood Reporter confirmed that The Vampire Diaries will end with its eight season;

The news, announced Saturday at Comic-Con, comes after stars Ian Somerhalder and Kat Graham previously signaled that the end of the series was in sight.
It’s official: The CW’s The Vampire Diaries will end with its upcoming eighth season.

Producers made the announcement Saturday during the show’s annual trek to San Diego Comic-Con, though the decision to wrap the series created by Kevin Williamson and Julie Plec comes as little surprise.

Stars Ian Somerhalder and Kat Graham had both signaled that the end of the drama was in sight. Both actors had previously indicated their plans to do one last season of the series, though Somerhalder later retracted the comments.

“We all have discussed it and we’ve made the decision that this is it,” Plec told fans Saturday. “This is going to be the final season of The Vampire Diaries. It’s bittersweet and emotional and we’re all going to be crying in a minute. It’s been a beautiful run.”

While once the cornerstone of The CW, the series based on the books of the same name has, like many other veteran series, begun to show its age. In the past few years, the drama was bypassed as the network’s most-watched show by The Flash as The CW has made DC Comics fare (including Arrow, Legends of Tomorrow and CBS import Supergirl) a priority.

Renewed for an eighth season earlier this year when the network picked up nearly its entire scripted slate (save for Plec’s since-canceled Containment), the series was moved to the typically low-rated Fridays — where, paired with spinoff The Originals, it faced lower expectations from the network. In their new homes, both series ultimately helped improve The CW’s performance on the night year-over-year.

Speaking to THR following female lead Nina Dobrev’s exit in season six, executive producer Plec said her staff had pitched season eight as the series was rebooting itself for season seven.

“We’ve always said as long as we feel like we can keep the show fresh and moving forward, we can keep making it,” she said last May. “We have a lot of actors that love remaining with the show, and we have writers who are thrilled to remain with the show, and crew who would love to keep going. As long as people keep watching, we’ll try to keep making it until we run out of ideas. We run out of ideas or we run out of viewers; whatever comes first. (Laughs.) But we’re really committed to the show. When it is time to end, we all agreed we’ll decide that together, and we want to go out sailing.”

The decision also comes as The CW seemingly has an overabundance of scripted fare with 11 returning series, three new ones and an 11th-hour renewal for Supergirl, which will move from CBS to The CW for season two. That’s 15 originals — one more than the network has already aired this season that also includes the final run of Beauty and the Beast.

Great news for fans of The Originals who might recognize Jason Dohring from ‘Veronica Mars’ and/or ‘Moonlight’. Jason Dohring has been cast as a ‘hot human detective’ for The Originals’ third season;

Jason Dohring is staying in The CW family.

The Veronica Mars alum has landed a recurring role on the network’s Vampire Diaries spinoff The Originals, The Hollywood Reporter has learned.

Dohring — who most famously appeared as Logan Echolls on UPN/The CW’s Veronica Mars, and reprised the role in Rob Thomas’ 2014 film — will make his Originals debut in the third season premiere. He’ll play Detective Will Kinney, who is described as smart and confident with a very clear sense of right and wrong, who is out to bring the forces of evil to justice. And while Kinney doesn’t know exactly what’s going on in New Orleans, he has a strong suspicion that something strange is happening beneath the surface of the city.

Dohring’s Kinney is one of the new faces to expect in The Originals’ third season. Showrunner Michael Narducci recently told THR that season three will find the show exploring the Original siblings’ sire lines, and several of those key people the Mikaelson siblings turned will pop up in present day.

For his part, Dohring also spent time on The CW’s The Messengers, The Tomorrow People, Ringer and Supernatural. He’s repped by Innovative Artists and Joel Stevens Entertainment.


The Vampire Diaries’ Nina Dobrev’s last scene is a beautiful one with Ian Somerhalder;

“My last scene was with Ian Somerhalder, and we were shooting a scene I can’t talk about outside that was very beautiful,” Nina explained to The Hollywood Reporter. “I’m in a gown, we’re outside somewhere, and the last shot, a camera operator came up and said there was something in my hair, was trying to help me, and then he pulled me into a bear hug so I couldn’t escape, while the entire crew got a cake and whipped cream and dumped it all over my body.”

“I couldn’t have been happier for that to be my sendoff,” the actress gushed. “I knew something was coming; I could feel it in my bones. I’m a prankster, I would cake people on set all the time, but no one ever got me. And they got me good this time. If they hadn’t done something like that on my last scene, I would have been really disappointed. That’s how I knew they were my real family. That’s what family does. They don’t tell you what you want to hear, they tell you the truth. And they have fun with you and they make you laugh, and they make you cry, and they see you at your worst.”


The Vampire Diaries’ Michael Malarkey talks about Enzo’s background story: what is his connection to Lily Salvatore and what are Michael’s thoughts on co-star Nina Dobrev’s exit? The Hollywood Reporter has the details;

How much did you know about Enzo’s history before you filmed these episodes?
Not much! They keep it pretty under wraps for us. They had some hints that there would be an Enzo backstory, but I never know anything until I get the episode on my desk.

What can you preview about what we’ll learn about him?
It’s the Enzo origin story. So we see how he became a vampire, how he ended his human life, and his unlikely connection he has with Lily Salvatore (Annie Wersching), who is the one who ended up turning him.

What kind of a man was he as a human?
He’s very different as a human. Enzo was in an orphanage when he was a kid. He didn’t really have a family. … He’s a lost soul. But he basically started off a bit more common, as they say in England. His accent was a little more London, and over the years, he had been trying to better himself. So when we do see him, he’s a little bit more well spoken. He’s a lot more fearful and scared of dying. It’s an interesting dynamic to play him while he’s younger.

Before Lily turned him, what was their relationship like?
Well, he was basically dying of tuberculosis, and he’s trying to get on this passenger ship to New York, which apparently has this doctor on board who claims he can cure tuberculosis. He meets Lily literally on the docks as he’s trying to board the ship. He’s having trouble getting on, and she takes pity on him, and helps him board the ship, and makes these promises to him, and ends up turning him. He’s just met her at that moment, so there’s no relationship before [he’s a vampire].

What is their relationship like post-turning?
It definitely starts off maternal in the flashbacks. He’s very much a victim of circumstance, and she takes him under her wing. And in the present day, he’s confronting her about what happened on the ship, and all that stuff. The relationship they do develop when he finds out the truth of what happens, they develop more of a kinship, as opposed to a maternal thing. I wouldn’t say straight away there’s a romance [angle], but I think we’ve left the door open for it to go any which way. There’s definitely a chemistry there that is deep-rooted.

Damon is one of Enzo’s only friends. How does the fact that this is Damon’s mother impact the preset-day relationship between Enzo and Lily?
We haven’t really had a chance to explore that too deeply. I think Damon’s pretty shocked as it is. But I think that will be one of the storylines we explore in season seven.

Looking at the other Salvatore family members, he’s been on quite the roller coaster with Sarah (Tristin Mays). Where do you see their relationship right now?
It started off as something sinister — he wanted to corrupt her to get back at Stefan. He ended up developing this soft spot for her. She’s an attractive girl and that can’t be disputed. He starts to think about the fact that he’s really been endangering her by all of the things he’s been doing, so he ends up feeling a little bit more remorseful about that. You’ll see what happens at the end of the episode between him and Sarah. It all comes to a head.

How does confronting his own past change the way Enzo moves forward in life?
Basically, all of these deep-rooted feelings of loss and trust issues are pushed to the surface, and he’s forced to endure all of that. It’s all surrounding the situation with Lily. And at the end of the season, we end up seeing how strong their connection is.

The Vampire Diaries co-creator Julie Plec mentioned on Twitter over the weekend that she felt the show “fumbled the ball” on making Enzo so focused on making Stefan (Paul Wesley) miserable. Aside from the backstory arc for Enzo, have you seen his focus shift in what you’ve filmed for the rest of season six?
Julie realized it and Enzo has realized it. (Laughs.) There was a futility to the Stefan debacle. Thankfully, this storyline pushes my character into a different realm of connectedness with the Salvatore brothers, which I’m excited about.

How does this change his relationship with Stefan now that he isn’t purely focused on revenge?
Well, he still thinks Stefan’s a d—, but he’s realized what he was doing was pretty futile and petty. That’s the thing with his situation: He was locked up for so many years, he tends to fixate on small little things like this and vendettas and stuff. That’s [a reaction] to him being so abused in his past, and tortured and all of that. It was justified to a certain extent, but it got to the point where it was like, “We’ve explored it. Let’s move on to something else.”

What is Enzo’s role as the action heats up in the final episodes of the season?
Enzo is still an outsider. He doesn’t turn up for births, marriages, or deaths. … But the thing with Lily is what’s infiltrating him to the group. It’ll be an interesting dynamic now with this strange triangle between him, the Salvatore brothers, and Lily, and the different pulls that are happening to him because of it.

One of the big elements of the show right now is Nina Dobrev’s upcoming exit. Without spoiling how she leaves, what were your thoughts about her decision?
She wants to move on and do films and do other stuff. She’s still young, and I think it’s the right decision for her to go right now. It’s something she had decided she wanted to do ages ago. She knew she had a time on [her run on the show]. There’s been a lot of speculation about why she’s done it, but I know it’s literally just for the same reason any actor would want to leave a show: To move on and do other work. The best thing about our job is we get to live in different characters, in different worlds, and meet new people. That’s exciting. For someone who’s in her position, she’s still young, she’s entitled to do that. We’re going to miss her, but I think it’s the right thing for her.

Paul Wesley will be directing another episode of The Vampire Diaries, The Hollywood Reporter has confirmed;

New details have surfaced on Paul Wesley’s directorial return on The Vampire Diaries.

After Wesley posted a photo on Instagram on Oct. 28, with the cryptic tease “It’s that time of year again,” The Hollywood Reporter has learned the specifics of the season-six episode.

Wesley will put on the director’s hat for the 11th episode, titled “Woke Up With a Monster,” which is slated to air when The Vampire Diaries returns from a brief holiday hiatus in January 2015.
Back in April when THR spoke with Wesley about his directorial debut (season five’s “Resident Evil”), he explained that directing has been of passion of his a while.

“It’s something I’ve always wanted to do ever since I started acting. I’ve always really respected directors. As much as I was interested in acting, whenever I watched a film it was always the directing that really stood out to me,” Wesley said at the time. “I always envisioned doing it at one point or another.”

Boasting. It's that time of year again.

Una foto pubblicata da Paul Wesley (@paulvedere) in data

The Originals’ Executive Producer Michael Narducci and The Vampire Diaries’ Nina Dobrev talk about the upcoming crossover. Nina Dobrev is headed to The Originals’ to play the original doppelgänger Tatia (Remember? It was explained in Season 3 that Klaus and Elijah both fell for Tatia, and history repeated itself with the Salvatore brothers) and The Hollywood Reporter shared some details;

“We want to have these crossovers take place from a point of story. What makes the most sense for our story? “There’s no possible way to tell the story if we didn’t get Nina Dobrev,” co-executive producer Michael Narducci told a handful of reporters at a recent screening. “We basically got on our knees and begged her.”

“She was, to her credit, wonderful,” added Narducci. “We tell a story that will make you understand [Tatia’s] fate, what happened to her, her relationship with both brothers, and why what happened between her and the two brothers is so beautiful and also tragic.”

The writers spent significant time making sure Elijah’s dinner scene in Vampire Diaries, when Tatia is first referenced (Elijah called her “an exquisite beauty”), remained intact. (Watch that scene above.) “We studied every word of that to make sure we were honoring that and I think we do,” Narducci assured.

In fielding obligatory questions about future Originals-Vampire Diaries crossovers, Narducci admitted, “That’s a little bit above my pay grade.” The likelihood of stories in Mystic Falls and New Orleans converging, specifically in reference to Klaus and Caroline’s courtship, seemed slim. “It doesn’t feel like there’s an easy way to make people drop what they’re doing in Mystic Falls and come to New Orleans, and certainly once our story lines get rolling, it’s going to be very obvious that it’ll be very impossible for our characters to take a vacation and go to Mystic Falls,” he explained. “If anything, the last thing [Klaus] would want is to involve someone else in that. There’s a lot of dirty family business to deal with first.”
As for Dobrev, Tatia represented a contrast to the other doppelgangers (see: Elena, Katherine, Amara) she’s played over the years.

“She’s the very first doppelganger so she doesn’t have the history of all the other doppelgangers behind her. She is the purest of them all, she’s the most unaffected, she’s the most regular — almost like how Elena was before all this shit happened,” the actress tells The Hollywood Reporter, laughing at the thought of what has since transpired on Vampire Diaries. “But it definitely catches up to her as any character on this show affected by all these supernatural beings [are]. It doesn’t really go well for her. It’s all about love and happiness until everything goes wrong.”

Remember, The Originals’ second season premieres October 6th!


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