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

[Sunshine]

The article I just read said most are paid per episode. They are getting paid less because there are so many 10-12 episode shows and writers can't always find more than one show to work on.  They often work more than a week per episode too

We would probably be looking at later starting, less episode shows.

[LeighAn]

Maybe it's changed since then but this article says they are paid per week:

http://m.huffpost.com/us/entry/4473785

ETA But then again the nature of television has changed that 20+ episodes are no longer as common so I guess I understand that they would have to adjust their conditions to batch a change in television landscape I suppose.

Edited April 22, 2017 by LeighAn

[BkWurm1]

There are also restrictions in some cases that would not allow writers to work on more than one series in say six months so they might get paid for work on 10 episodes and then not be allowed to even get more work to fill the rest of the time. 

[Primal Slayer]

TV and film remains very profitable, at least for executives and shareholders. The “Big Six” studios (Fox, Warner Bros., Paramount, Sony, Universal and Disney) reported operating profits of $51 billion last year, twice as much as in 2007. Upfront TV ad rates increased last year to well over $9 billion, as live programming becomes highly valued in an era of ad-blockers and DVRs. Upstarts like Netflix or Amazon have even more riches at their disposal to pay for programming.

Increasingly, scripted shows have shorter and shorter seasons. Sixty-eight percent of all programs aired 13 episodes or fewer last season, according to WGA calculations, rather than the traditional 22. Because writers are compensated on a per-episode basis, that change amounts to a halving of their pay.

You might think shorter runs allow writers to hook onto more shows over their careers. But under current terms, writers sign exclusive contracts, with an option to return to their show if it gets renewed. They can’t stack up three shows in a year to make up for lost wages. And exclusive holds can last a full year, if networks delay in confirming a definitive air date. If the delays last long enough, writers can become ineligible for union healthcare and other benefits.

In the past, writers filled these gaps with residual payments. But networks, fearful of tough competition, air far fewer re-runs now. Instead, they sell entire seasons to video-on-demand (VOD) services. Writers make less money from these formats than from network residuals. For example, a network repeat for a 1-hour show yields a writer more than $24,000, while an ad-supported VOD airing nets just $1,228 for the writer, according to union contract rates.

http://www.salon.com/2017/04/21/little-piece-of-a-very-big-pie-looming-writers-strike-is-about-much-more-than-whats-on-tv_partner/

Get ready for more reality tv just as the last strike helped pave the way for reality to help take over.

[Mellowyellow]

I love cooking shows and everyone has a foodie dream  these days so maybe it'll be more cooking shows!!!!

[tv echo]

More episode script pages (like the ones posted before, there are more pages in the threads)...

Edited April 22, 2017 by tv echo

[statsgirl]

7 hours ago, LeighAn said:

Maybe it's changed since then but this article says they are paid per week:

http://m.huffpost.com/us/entry/4473785

ETA But then again the nature of television has changed that 20+ episodes are no longer as common so I guess I understand that they would have to adjust their conditions to batch a change in television landscape I suppose.

According to that article

Quote

But per the Writers Guild of America minimum rates, a staff writer with a contract for at least 20 weeks, earns $3,703/week, while anyone at a level above a staff writer earns $6,036/week

That's not bad if you're lucky enough to get a job as a staff writer but it's a very precarious business and most shows only have a year or two.  And then you have to start all over again.  It's like acting or any of the creative jobs in TV, it's great when you get paid but you spend more time trying to get work then you do actually working.

Current rates are here.  For a story and teleplay for a 30 minutes show, a writer gets $26,043.  For a 60 minute show, $38,302.  The problem is that if you're not a staff writer,  you may only get a handful of episodes a year to write. 

An added problem is that while more and more shows are going to the 13 episode format, there are restrictions preventing the writer from working on another show to make up for the time they're not earning on the show they're a staff writer for.

[Trisha]

8 minutes ago, statsgirl said:

An added problem is that while more and more shows are going to the 13 episode format, there are restrictions preventing the writer from working on another show to make up for the time they're not earning on the show they're a staff writer for.

That's a big one. If you are working on a 13-episode show you may only work a few months, but you may be unable to work the rest of the year due to the terms of your contract. Also, though it seems like a good time to be a writer because of peak TV and the explosion of content, a lot of the streaming sites pay much less than network (Netflix has a reputation for paying the guild minimum and they don't do residuals). 

I've been reading a lot about it and most articles seem to agree that the writers aren't asking for anything unreasonable. A lot of the sticking points are around things like health benefits. The last strike killed some promising new shows like Pushing Daisies, and turned established shows into a rushed, incoherent mess (like season 5 of Battlestar). As much as I think some network shows, Arrow included, could use a few less episodes, this is not the way to go about it. 

[MaisyDaisy]

14 hours ago, Mellowyellow said:

I love cooking shows and everyone has a foodie dream  these days so maybe it'll be more cooking shows!!!!

I like MKR, and the home Reno competition ones, but all those marriage ones are just horrible.

If it creates a longer hiatus between Arrow seasons, and their PR game is as weak as last seasons break, this could have a negative effect for Arrow retaining the viewers it still has into the next season.

i guess it's more important than ever that they get the 'hook' for the audience to return right this time.

[tv echo]

A few more script pages for 223, 320, 322 and 323 (separate tweets that were not part of previous tweet threads)...

Edited April 23, 2017 by tv echo

[statsgirl]

(3x16) Felicity:  You're one of my best friends.  [The dreaded F-word.  Oliver dying a little inside...]

Yes, Olicity totally came out of nowhere.  Unless you read the script notes.

(3x22) [Felicity's heart plummets. She didn't think things could get any worse. She was wrong...... Ra's stands triumphantly next to Al Sah-him as Felicity and Company are dragged away -- OFF Felicity, her  string to Oliver finally cut --]

sob I really hated that episode.

[bijoux]

I would actually be interested in seeing script notes for Susan's scenes just to see whether the EPs ideas ever went any further than their minds. They certainly didn't materialize on screen, but I am curious if they are in the script.

[tv echo]

[tv echo]

I don't remember seeing this pic before (they look so young)...

[tv echo]

I finally finished reading all of the Arrow script pages that have been posted in this forum, both recently and in the past. I then compared them to the actual aired scenes (for 103, 207, 223, 301, 305, 309, 310, 314, 316, 320, 322, 323, 416).  Here are some of the differences, deletions and directions that I found interesting...

In 103 (Lone Gunmen), the script describes Felicity as both a "social misfit and a genius." It also describes Felicity as "smitten" and at one point like "she could pass out" while talking to Oliver. I much prefer EBR's portrayal of Felicity in the aired episode as someone who is put together and composed, and holding her own with Oliver (not smitten or overwhelmed by him).

(to be continued)

Edited April 24, 2017 by tv echo

[tv echo]

In 207 (State v. Queen), when Oliver gets the phone call from the Count using Felicity's phone, the script says that Oliver "goes ASHEN," which I didn't really see in the aired episode. However, SA did portray Oliver as visibly shaken. Also, the script has Felicity crying and collapsing when Oliver shoots the three arrows into the Count. I much prefer the aired version where Felicity is shaken but not crying and collapsing. (There may be disagreement as to whether or not she collapsed, but I thought she dropped to the floor to avoid the arrows.) And, of course, I like the "His conviction ..." direction after Oliver's line about how there was no choice to make.

(to be continued)

Edited April 24, 2017 by tv echo

[tv echo]

In 223 (Unthinkable) as aired, Oliver & Felicity have this conversation after Quentin tells Oliver he needs to get back in the habit of killing because Slade and his men are monsters that need to be destroyed:

Felicity: “He's wrong.”
Oliver: “He's right. I've lost everything because I'm fighting Slade Wilson with one hand tied behind my back. The man murdered my mother. I have to kill him.”
Felicity: “You told me you had a choice. That years ago, you could have cured Slade but you chose to kill him instead. This isn't happening because you're not willing to be a killer; it's happening because you were one.
Oliver: “You're right. That's how this started. It's how it has to end. The only move that he has left for me is to kill him. I can't cure him, I can't capture him, I can't even out-think him!”
Felicity: “Then don't. Just - make him outthink you.”

However, in the 223 script, Oliver's response is a little different (says he wants to break Slade's "damn neck". as opposed to aired line that he has to kill him). Also, the direction refers to a "flash of the killer inside of Oliver" (interesting in light of S5).

Also, in the aired 223 episode, that scene ends with Felicity's line to "make him outthink you." But in the script, it ends with additional dialogue - Oliver tells Felicity they need to go and, when she asks where, he answers "Home."

And, of course, the most famous deviation from the 223 script is the Queen mansion scene. The script includes Oliver kissing Felicity and also includes some Oliver dialogue about Sara telling him that he deserves someone who can harness the light inside him, both of which were deleted from the aired episode. The script also refers to "this seminal moment in the life of our series."

And, in 223, when Felicity jabs the needle into Slade's neck, the script makes it clear that what was unthinkable was risking Felicity. The script direction also describes Laurel delivering "the HAYMAKER of all haymakers," followed up by a "ROUNDHOUSE KICK" to the soldier holding her (I remember the punch, but I don't remember the kick).

Finally for 223, in the ending Lian Yu beach scene, the script describes an "awkward beat" and neither Oliver nor Felicity knowing what to say next.

(to be continued)

Edited April 24, 2017 by tv echo

[bijoux]

12 minutes ago, tv echo said:

In 207 (State v. Queen), when Oliver gets the phone call from the Count using Felicity's phone, the script says that Oliver "goes ASHEN," which I didn't really see in the aired episode. However, SA did portray Oliver as visibly shaken. Also, the script has Felicity crying and collapsing when Oliver shoots the three arrows into the Count. I much prefer the aired version where Felicity is shaken but not crying and collapsing. And, of course, I like the "His conviction ..." direction after Oliver's line about how there was no choice to make.
 

She falls to her knees when the Count is shot. That's collapsing.

[tv echo]

Hmm... I guess my memory is faulty. Okay, she collapsed and was tearful, but I'll still go with not crying. ;)

[tv echo]

In 301 (The Calm)'s opening scene, the script expressly refers to the chemistry between Oliver & Felicity.

In 301 as aired, Oliver and Diggle have the following conversation:

Oliver: “Last girlfriend, she's in the League of Assassins. My girlfriend before that, she shot my girlfriend before that. I'm not - not exactly a catch at the moment.”
Diggle: “Maybe Felicity will change all that.”
Oliver: “It's - it's not the right time.”
Diggle: “Things are as good now as ever will be, Oliver. And you love her. You even told her so.”
Oliver: “I was trying to fool Slade.”
Diggle: “Yes. Except now the only person you're fooling is yourself.”

However, in the 301 script, Diggle has additional dialogue about the "sparks that've been flying between [Oliver & Felicity] for the past two years", which was deleted from the aired episode (meaning, Diggle noticed sparks as early as S1):

In the 301 scene where Oliver asks Felicity out on a date, the script includes deleted dialogue about Oliver's qualifications (we find out that he may not have graduated from high school), which was apparently compressed into one aired line. Then, when Oliver finally asks for the date, the script direction has Oliver wondering if he just ruined everything. Later, when he first sees her at the restaurant, the script says that he's "caught speechless for a second."

Finally, in the famous 301 hospital corridor scene, when Oliver kisses Felicity for the first time (on screen), the script describes the kiss as "a perfect true love kiss. Two years in the making." The script also says that Felicity loves Oliver back, which "makes this all the more heartbreaking." The script also says that, after Felicity leaves, Oliver "moves to go after her," but is interrupted by Barry's phone call.

(to be continued)

Edited April 24, 2017 by tv echo

[tv echo]

In 305 (The Secret Origin of Felicity Smoak) as aired, after Donna is introduced to Oliver and Diggle, there's this conversation:

Oliver: “Why is Sara here?” 
Diggle: “Lyla's on on assignment in Santa Prisca and the nanny called in sick.” 
Oliver: “But - we can't bring her down there.” 
Diggle: “Why not, Oliver? Who's she going to tell?” 
Oliver: “Well, she - I'm not comfortable with her down there.” 
Felicity: “God help me. My mother loves babies.”
Diggle: “Really?”

However, according to the 305 script, Diggle's last line was supposed to be (to Oliver): "I'll remember this when you have kids."

Also, at the end of 305, when Oliver rescues Felicity and Donna from Cooper but Felicity is the one to take down Cooper, the script says that we expect Oliver to take down Cooper with his arrows "like he did the Count last year" and that Oiver is "impressed" by Felicity.

(to be continued)

[tv echo]

In 309 (The Climb), when Felicity tells Oliver that he has to kill Ra's al Ghul, the script direction is that she says it "without passion or bloodlust," just "Practical." The script also indicates that, when Oliver is stabbed by Ra's, his dying thoughts of Moira, Robert, Thea and Felicity as aired were also in the script in that order.

(to be continued)

[tv echo]

In 310 (Left Behind), when Malcolm tells the team that Oliver is dead, the script describes Felicity's reaction as going "from shock... to heartbreak to... simmering anger." Also, in the ending scene as aired, Felicity says  “You don't get it. There is no ‘this’ without him. It's done. I'm done.” But in the script, she says: “You really don't get it, do you? There is no ‘this’ without Oliver." Period.

(to be continued)

Edited April 24, 2017 by tv echo

[tv echo]

In 314 (The Return), the script direction indicates flashback Oliver's reaction to seeing Felicity.

(to be continued)

[tv echo]

In 316 (The Offer), when Oliver walks in on Felicity with Ray at her office, the script describes his reaction to Felicity calling him one of her closest friends as "dying a little".

Also, in 316 as aired, Oliver talks to Diggle about becoming the new Ra's as follows:

Diggle: “You're not really considering this. Just because Captain Lance is angry and Felicity is momentarily unavailable.” 
Oliver: “It's more than that. I just - John, tell me honestly… what have we accomplished?” 
Diggle: “Oliver –“
Oliver: “All the people that we put away, John, they got out. The city is no better off. The Arrow is not… is not making a difference. And if I just can't be me… and the Arrow isn't enough –“
Diggle: “Oliver.”
Oliver: “Then maybe I should be Ra's al Ghul.”

However, the 316 script has somewhat different dialogue for this Oliver/Diggle scene:

Also, in 316's ending scene when Felicity tells Oliver that as long as he's in her life, she's happy, the script direction wonders if there's "hope for Olicity," but then her phone rings and Oliver watches her "slip away." (I always get a kick out of seeing the word "Olicity" in an Arrow script.)

(to be continued)

Edited April 24, 2017 by tv echo

[tv echo]

In 320 (The Fallen), when Felicity confronts Ra's, the script says that he lets her talk because he thought it might be amusing but is then impressed by her courage, and that Felicity is fierce because love trumped her fear.

The script for the famous 320 Olicity love scene describes the Olicity kiss as "The kiss to end all kisses." Then it describes them as "star-crossed" lovers and the scene as "HOT. PASSIONATE" and "a series moment worth waiting for."

In the 320 good-bye scene on the beach as aired, Oliver & Felicity have this conversation:

(Oliver and Diggle embrace, and Diggle walks away.)
Oliver (to Felicity): “You told me once that life is precious. And that you wanted more from it than I could offer you. Don't give up on that. The only way that I'm going to survive this is if I know that you're out there living your life, happy.”  
Felicity: “We're always saying good-bye to each other. You'd think I'd be good at it by now.” 
Oliver: “Well, let's not say good-bye this time.”  
(They kiss as torchlight glows between them.)

However, in the 320 script, Felicity first has a line about hating herself for leaving him there, and there's also a slight variation on Oliver's line about not saying good-bye.

Also, in 320 as aired, when Felicity returns from Nanda Parbat, thinking that she'll never see Oliver again, she goes to tell Laurel and they have this scene:

Felicity: "Sorry to interrupt."
Laurel: "Is everything all right?"
Felicity: "No. It's not."
Laurel: "Felicity -"
Felicity: "Oliver's... he's gone."
Laurel: "What are you talking about?"
Felicity: "He joined the League. He's not coming back."
Laurel: "Shh." (Hugs her, as Felicity sobs.)

However, in the 320 script, there's a lot of additional dialogue for this Felicity/Laurel scene, and Laurel even talks about Tommy(!) and her sister. (This deleted Laurel dialogue kinda cuts against the ret-conned flashback scene where Laurel is happily making plans with Oliver after Tommy's death.)

(to be continued)

Edited April 24, 2017 by tv echo

[tv echo]

In 322 (This is Your Sword), when the team is taken to the dungeon, the script says that Felicity's "string tied to Oliver [is] finally cut." And when Oliver leaves the team to die, the script says that Felicity looks at him like he's a stranger.

(to be continued)

[tv echo]

The script for 323 (My Name is Oliver Queen) includes Oliver's dream about Felicity while he's on the plane with Ra's, which dream was deleted from the aired episode.

Also, in 323, when Felicity dons the Atom suit and swoops in to save Oliver, the script direction says that Oliver is "stunned, and very much in love."

When Oliver & Felicity drive off into the sunset at the end of 323, as aired, they had this dialogue:

Felicity: “So, where are we going? I'm thinking of a state that can annul a Nanda Parbat wedding.”
Oliver (smiling): “Can I say something strange? (Felicity looks at him) I'm happy.”

However, the 323 script gave Felicity an additional dialogue line.

(to be continued)

Edited April 24, 2017 by tv echo

[tv echo]

In 416 (Broken Hearts) as aired, Oliver's wedding vows are as follows:

Oliver: "Felicity, before I met you, I had a plan. I had a way that I was going to be. But then you walked into my life – or I showed up at your cubicle, and you changed everything. I was in the darkness, but with your kindness, your generosity, your compassion, your intelligence, your wit and your trust, you brought me into the light. You let me know that I deserved it. You were that light. And I don't know if I still deserve that trust, if I deserve you - I probably don't.  But whatever has happened, whatever will happen, the way that you make me feel is the best part of my life. (Takes out ring and puts it on her finger) You can ask me to say that I don't love you, but I will never lie to you again. You are my always, and I just want the chance to be yours." 

However, the 416 script has a different version of Oliver's wedding vows.

[tv echo]

SA will be at the Kentucky Derby again this year (May 5-6, 2017)...

Barnstable Brown announces 'incredible' 2017 celebrity list
Kirby Adams April 24, 2017 
http://www.courier-journal.com/story/entertainment/events/kentucky-derby/celebrities/2017/04/24/barnstable-brown-announces-incredible-2017-celebrity-list/100687460/

Quote

BARNSTABLE BROWN GUEST LIST
*  *  *
Larry David – comedian, writer, actor, playwright and television producer (Seinfeld)
Tracy Morgan – actor and comedian
Katie Couric – journalist and author
Justin Hartley* -- actor (“This is Us”)
Giada De Laurentiis – chef, writer and television personality
Stephen Amell – actor (“Arrow”)
Larry Birkhead – celebrity personality
Justin Cornwell* – actor (“Training Day”)
Josh Henderson – actor (“Dallas”)
Chrishell Stause* -- actress and Kentucky native

[Velocity23]

[Primal Slayer]

Oh arrow always cutting that good Laurel dialogue.

[wonderwall]

It's always interesting to see what changes actors make in scripts. I genuinely believe Stephen/Emily enhance their scenes and this is pretty much proof that they make their scenes flow a lot better by changing up the wording, adding kisses and touches that aren't on the script. They just have great, effortless chemistry which I don't think Stephen has with any other woman on the show. It reminds me of how so many people who work with Emily call her such a 'giving' actress. I can see that now.

Also interesting to see what cuts are made. I think I got the sense of how little Laurel means to anyone in Arrow when they cut off that scene between her and Oliver in 320 - but yeah they really do cut quite a bit of Laurel scenes. I guess it's because they thought of her scenes as disposable/unnecessary which then translated into her death. Can't blame anyone for not caring about this character if no one on the show did. And tbh the show doesn't seem to suffer from this loss - there doesn't seem to be a gaping hole like there would be if Thea or Felicity or Diggle died which goes to show they made the right decision.

Also interesting to see that in the dialogue - Laurel talked about how she didn't know if she could live without Sara/Tommy, and didn't mention Oliver at all... So I really don't know what Katie was smoking when she repeated ad nauseum that Oliver is the love of Laurel's life. Jfc Katie, it's pretty obvious from the scripts that he's not. Which makes me 100% more certain that episode 418-419 was mostly Katie-service and nothing else.

[theOAfc]

Looking at those script pages i realise that arrow would have been 10 times cheesier if it werent for the actors. All those stunts this season and the meaningless one line jokes from newbies are filling up the screentime just fine so the writers wont have to actually sit down and explore the storylines or to write their characers as actual human beings. If it werent for the endless stunts and the masks posing around filling up the screentime ,their writing would be exposed much more ,much like how it was exposed last season. They are just very bad screen writers. Which explains why they keep repeating the same stories again and again until people completely give up.

Edited April 24, 2017 by theOAfc

[way2interested]

3 minutes ago, theOAfc said:

 They are just very bad screen writers. Which explains why they keep repeating the same stories again and again until people completely give up.

You'd be surprised at how many showrunners and writers are actually bad screen writers, even for really good shows/pilots. It's always a collaborate effort to make anything good or bad.

[theOAfc]

2 minutes ago, way2interested said:

You'd be surprised at how many showrunners and writers are actually bad screen writers, even for really good shows/pilots. It's always a collaborate effort to make anything good or bad.

You're not wrong. Many bad scripts are overshadowed by the expensive productions. In cw ,productions are cheap so the scripts are even more exposed. Of course that doesnt change the fact that the arrow writers are a very bad writing team with incapable EPs.  

Same thing happens with actors. Big productions make mediocre actors look emmy worhty  *cough* Game of thrones *cough*

But the script is the most important thing in a show imo. If its bad,its very hard for the show to appear consistently good. 

[Chaser]

3 hours ago, wonderwall said:

Also interesting to see that in the dialogue - Laurel talked about how she didn't know if she could live without Sara/Tommy, and didn't mention Oliver at all... So I really don't know what Katie was smoking when she repeated ad nauseum that Oliver is the love of Laurel's life. Jfc Katie, it's pretty obvious from the scripts that he's not. Which makes me 100% more certain that episode 418-419 was mostly Katie-service and nothing else.

Makes me wonder if KC balked at the dialogue and that's why they cut the scene.

[wonderwall]

3 minutes ago, Chaser said:

Makes me wonder if KC balked at the dialogue and that's why they cut the scene.

How would she know? She doesn't even watch the show lol

[Chaser]

I just mean, I wonder if she saw the script and didn't want any 'Laurel acknowledging  feelings for Tommy' because it goes against her head canon so they just deleted it altogether and she just continued to pretend.

[statsgirl]

I think it's better with the Laurel line cut, just as the 3x23 scene  with Felicity's line cut or the kiss in 2x23 cut.

Laurel's line pulls the focus of the scene away from leaving Oliver with the LoA and into "How do Laurel and Felicity get through a loss like that?"  It's a tighter scene without it, ad a more dramatic emphasis to focus on Oliver being gone.

[Primal Slayer]

I actually submitted several Qs to MG regarding Laurels mind set when it came to Tommy/Oliver upon her death bed but of course be didn't answer it. Or if he could change Oliver cheating with Sara would he.

MG rejected her feelings on O/L so even in killing her off, giving into those thoughts wouldn't make sense. I think they just weren't that interested in showing that side of the character. They seem to cut plenty of scenes that help make sense for the character.

[wonderwall]

52 minutes ago, Chaser said:

I just mean, I wonder if she saw the script and didn't want any 'Laurel acknowledging  feelings for Tommy' because it goes against her head canon so they just deleted it altogether and she just continued to pretend.

She probably did. There's NO other reason why they'd do what they did regarding Laurel's feelings for Oliver unless they knew Katie would blow a gasket and make things more difficult. Why go against canon - why go against your own beliefs then? Yeah - it was definitely Katie-Service. She's the only person on the show who yapped on and on about how Laurel/Ollie were soulmates (whereas MG was vehemently against the idea).

[apinknightmare]

I wish MG had actually dismissed her feelings on O/L. Her death would've been less pathetic, that's for sure.

[wonderwall]

Just now, apinknightmare said:

I wish MG had actually dismissed her feelings on O/L. Her death would've been less pathetic, that's for sure.

He not only made the death pathetic, he destroyed her as a character by entertaining Katie so she wouldn't go out kicking and screaming (no pun intended).

[leopardprint]

I don't get why she couldn't go out fighting saving the whole team. Of course she also ran back to the Glades for papers...they always treated her like a joke. What was the point of that futile love confession? Dude was trying to fake but real marry someone else two episodes before. It was so bizarre unless they wanted to make Laurel so pathetic, everyone would be fine with her death because she was put out of her misery? And if they had to have a deathbed scene, it should have been with Lance! 

Edited April 24, 2017 by leopardprint

[Angel12d]

What's worse is that they obviously didn't want to have Oliver reciprocate the "love of my life" sentiment so they had Laurel mention how she was glad that he had found Felicity and she hoped he found his way back to her, which really didn't help the scene at all. 

Honestly, that whole scene would have been better between Laurel and her father or Sara. Remove the "you'll always be the love of my life" dialogue and there would have been no need to mention Olicity at all. So really, that O/L = soulmates head canon messed up the scene on all levels tbh.

Well, that and her death being so half-assed. 

Edited April 24, 2017 by Angel12d

[leopardprint]

Actually Oliver was the only one who didn't tell her he loved her, literally everyone else did! He could have even said something about how she was his oldest friend and led him home or some other bs, but nope, nothing but notp face. Just so weird! 

Edited April 24, 2017 by leopardprint

[insomniadreams88]

Ideally, they would have had Laurel mention Tommy in that deathbed scene. No mention of O/L since that was dead and buried seasons before, and even a Lazarus Pit wasn't going to bring it back. No mention of Olicity because it didn't belong there ("Hey, you're still the love of my life and I don't even know I'm dying so I'm making things awkward and I don't know what I think this means for the future for us, but I'm glad you found Felicity even though you know how that is right now, but I guess you don't need a reminder of that?"). 

But I guess they really wanted those 4x19 flashbacks in there and they couldn't have Laurel say Tommy was the love of her life when she was planning a future with Oliver a week after he died? I guess they couldn't think of a way for Laurel to have her own photo without them? I don't know. That was just a mess. (And I think the fact that KC was saying LL's dying words in interviews about O/L even after they were over on-screen just made it worse to see it in 4x18. Just my opinion.)

7 minutes ago, leopardprint said:

And if they had to have a deathbed scene, it should have been with Lance! 

This. Always this.

[Chaser]

My biggest issue is that she didn't know she was dying at all and just decided to tell Oliver he was love of her life.

[Primal Slayer]

45 minutes ago, wonderwall said:

He not only made the death pathetic, he destroyed her as a character by entertaining Katie so she wouldn't go out kicking and screaming (no pun intended).

He already told her that l/O weren't getting back together so why care about entertaining it when killing her off? She's allowed to think what she wants but she doesn't write the script so for me the blame lays solely on the writers  for that horrid death. 

I still wish they would've had Laurel be delirious, looking at Oliver but hallucinating that he was Tommy. Wouldve been sooooo much better instead of having her declare her love and have to prop up Olicity all at the same time.