Arrow recap: Mean Streets

A lot of people do a lot of killing for a lot of murky reasons. Superheroes!
Ep. 18 | Aired Mar 27, 2013

DARK NIGHT Oliver (Stephen Amell) faced off against a band of soldiers and a mad man without a gun -- and he only got shot at once.

Cate Cameron/The CW

Our favorite trio has regrouped at the lair to track The Savior, and with the help of some fancy video research on Felicity’s part plus Dig’s handy memory, they realize that not-Oliver is using Starling City’s old subway tunnels to commit his murders. If you just said the Starling City subway isn’t a thing, the good news is that you and Oliver have one more thing in common. The bad news is that you are wrong.

On the island, Slade pull a gun and orders Fyers to let the girl go but no chance, so the girl has to unveil her own secret fighting skills and save herself. (Yay! is what I wrote in my notes.) Unfortunately, this results in her father being shot and selflessly left behind as she, Slade, and Oliver retreat into the forest.

Deep underground, Oliver makes his way toward the train. The Savior presses Roy, knocked at least four ways to Sunday, for a reason not to die. But Roy — in what will probably become his first pivotal scene — melts under the pressure. “Go on,” he says. “Kill me.” And also: “No one’s going to miss me. I’m just waste.” Not so! Arrow saves him, even swinging through a car window and trading lunatic barbs with an actual lunatic to do so. Bonus moment: the non-verbal cues they trade back and forth — a partnership foreshadowed or wishful thinking?

With a first-last arrow of the episode, The Savior (revealed to be a somewhat nervous man with a video camera) is done away with while Roy, now freed, looks both sickened and awed by his real savior.

But wait: Moira arranges a meeting with Frank on a darkened street to tell him that she had no choice, that Malcolm was already on their trail and that she had to give him someone. So she gave him you, Frank, which means you get a few more arrows in you and one more look of betrayal. For her part, Moira is mostly stunned by her actions, even more so when she negotiates for the life of Frank’s daughter. Like Lady Macbeth, we leave her struggling with her bloody hands.

NEXT: Reunions and resolution

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