#arrow fandom

Olicity and Barry Allen

Full disclosure I did not know Barry Allen was The Flash when Grant Gustin guest starred on Arrow. I missed every foreshadowing moment of the forthcoming spinoff because I barely knew who The Flash was and really didn’t care.

The husband, of course, filled me in and oddly enough it didn’t tick off in my brain that they were pairing FELICITY SMOAK with one of the most famous comic book characters – a character even more popular than the Green Arrow. This is not something you do if the female character is simply comic relief. (No, I am never letting that Katie Cassidy comment go. Should I move on? Yes. Will I? No.) Season 2 Jen wasn’t that smart y’all. Bottom line, if Season 2 is a chess game, then Felicity Smoak’s pawn will become a queen. 

There is a break in a Queen Consolidated warehouse and this is where Oliver, Diggle, Captain Lance and Felicity first meet Barry Allen.

Lance: Who the hell are you?

This is one of Oliver’s all-time best comedic lines. Stephen Amell is bringing humor to Oliver’s blinding jealously, which is a lot of fun. It also offsets Oliver’s egomaniacal hypocrisy and makes him far more tolerable. Good choice, Mr. Amell!

Barry: I’m Barry Allen. I’m from the Central City Police Department. I’m with the Crime Scene Investigation unit. We’re working on a case with some similar unexplained elements to Central City. So, when the report of your robbery came over the wire, my captain sent me up here.

I bought his story. Oliver does not.

Barry is convinced it’s one guy who broke down a door of reinforced titanium and the security footage seems to support his theory. Also, the bruising pattern on the dead guard’s neck suggests someone used one hand to break it.

Barry: I’m guessing you don’t know how hard it is to break someone’s nec.

Oliver: Hmm? No. No idea.

Barry also figures out what was stolen – an industrial centrifuge (it separates liquid), which is a very big and heavy machine the thief ripped out of the ground.  Felicity offers some explanations, and Barry adds his two cents and soon these two adorable nerds are sparking off all the science.

Felicity: What did you say your name was?

Barry: Barry. Allen.

Felicity: Felicity. Smoak.

Source: @buffysummers

Barry looks at Felicity for about 1.2 seconds too long and Oliver gives him THE LOOK. Let’s keep those eyes on the centrifuge, Mr. Allen. I’m cackling. Jealous Oliver is one of the best Olivers.

The thing is Barry’s theories are based on evidence and Oliver is taking them very seriously because he knows exactly what can produce that kind of strength in one man.

Both Diggle and Felicity find additional evidence (and video footage!) that proves Barry Allen is dead on. The pup has some smarts! He arrives at Queen Consolidated at Felicity’s invitation. I just love that this young buck is popping up on Oliver’s turf and annoying the crap out of him.

Source: @oliver-and-felicity

Barry makes Felicity laugh and Oliver finds this puzzling. Felicity enjoys laughter and not a simmering pile of brooding man pain??!!

Felicity is socializing with another male. This cannot be born. Oliver gently pulls Felicity toward him, and more precisely away from Barry Allen, to ask a very important question.

Source: @kurtweller

The way Stephen’s voice rises to a full soprano is flat out hilarious. I accept no other interpretations.

Felicity accurately points out that forensic science is not really her thing, and she could genuinely use Barry’s help to figure out this latest mystery. Oliver agrees, and boy he is not happy about it, but all he can do is make sad puppy eyes as Felicity flounces off with her new “friend.”

Felicity and Barry gather evidence, and this is the first time Emily Bett Rickards has an equal sparring partner to banter with. The reason Barry and Felicity click so much is because they are basically the same person.  That said, inviting Barry into the home office is putting him precariously close to Oliver and team’s nighttime activities and, just like Felicity, Barry is no dummy. He’s done his research on The Vigilante, and it is safe to say that Barry Allen is a fanboy.

Source: @lyricalarrow

Barry: Green. That’s interesting, right? I mean, why green? Black would be better for stealth and urban camouflage, but personally I think that he trained in some sort of forest or jungle environment and the green is a nod to that.

I love Grant’s reading of this line because no detail is too small for Barry – he’s fascinated by Felicity’s attempt at monosyllabic. But more worrisome for Felicity is Barry, once again, is dead on.

Felicity: I don’t give the vigilante much thought.

Oh girl. You are so bad at lying.

Barry: Police reports show that he uses carbon arrows, but if he switched to an aluminum carbon composite, he would have far better penetration.

Source: @eddiethawne

This inadvertent sexual innuendo is almost as bad as “It feels really good having you inside me.”

Barry is also convinced that the vigilante has partners. Ok, so let’s just give the kid a job and call it a day. I do like that the writers acknowledge all the obvious things the police should figure out about the vigilante through Barry Allen’s obsessive fanboy investigation. In this way, I feel a kinship to him.

Felicity is curious as to why Barry is so curious, which gives us his character’s back story. His mother was murdered. They never caught the guy who did it and maybe the vigilante would. Barry Allen is looking for a hero. (SAD PANDA)

Barry and Felicity found the truck that stole the centrifuge, and it was just used to rob a blood bank. Oliver pressures Barry for more information about his “similar case” in Central City, but Barry is equally as bad of a liar as Felicity. Actually, he’s worse. Oliver is done with the close proximity to Felicity and the lies.

Oliver: I want you to look into this Allen kid. There’s more to him than he’s letting on.

Diggle: His intentions seem pretty clear to me.

This is why I love Diggle, and he will forever be the number one Olicity shipper. He will nudge Oliver about Felicity when necessary. This teasing remark is also a direct message to Oliver, without flatly calling him out. Barry is being clear about his feelings for Felicity and Oliver is not. Diggle lets Oliver know he has some competition and it’s time to get in the game. But Oliver, no matter how much he knows Diggle is right, is nowhere near ready to do that. Hence, his absolute dejection.

Source: @oliver-and-felicity

This is why Barry Allen is so necessary. It’s been quite a run of Olicity episodes thus far. First, we have the Russia debacle, with Oliver sleeping with Isabel and Felicity was hurt and jealous. Oliver also takes the opportunity to tell Felicity that even though he feels something for her he will never be with her. It’s a pretty definitive slamming of the door on any potential relationship between these two, except these feelings keep brimming to the surface.

Oliver heroically saves Felicity from the Count like a scene straight out of a romance novel. Nothing bonds two people like shared trauma. Oliver also tells Felicity that he will always choose her because nothing is more important to him. I mean honestly this man set the swoon standards.

But these are also some very frustrating episodes – for both Felicity and the viewers. He clearly has feelings for her, will die for her, will kill for her, betray his code for her, but refuses to be with her. So… where the hell does that put them? Oliver and Felicity are in a very murky gray zone.

Oliver knows Felicity wants to be with him. Even if she was trying to hide it (like she is in this episode).

Source: terushimasyuuji

The pain of the Russia debacle made Felicity’s feelings clear.  Even Oliver isn’t that stupid, which is what prompted the “I have feelings for you, but I’m going to let you down easy because I’m a selfless hero who is also the dumbest of pine trees to ever exist.” Of course, Oliver likes all Felicity’s attention and concern (because he’s in love with her even if he won’t freaking admit it). Whether they want to admit it or not, there is a serious power imbalance between the two of them. Oliver is calling all the shots.

But it's Felicity's life too. Felicity is asserting her independence with Barry. She is taking Oliver at his word. Ok, you don’t want to be with me? Fine. I will move on. Felicity isn’t trying to make Oliver jealous. In fact, I don’t think she notices he’s jealous at all. I think there’s a large part of her still feels, despite all the moments she’s shared with Oliver and the things he’s said, that he will never feel for her what she feels for him.

Felicity’s feelings for Barry are genuine, which is why it’s driving Oliver crazy. He’s been able to enjoy all the emotional benefits of a relationship with Felicity, without actually being with her. Barry Allen a big bucket of cold water on all the warm fuzzy feelings.  He’s also a flashing red warning sign. Oliver needs to understand there is a shelf life to all this “I must suffer because I am undeserving of love.” His trauma will cost him Felicity.  She will not wait forever for him. 

And there was some part of Oliver, deep down, that thought Felicity would wait forever for him. This is where the egotistical hypocrisy comes in. It’s okay for Oliver to have girlfriends and sleep with whoever he wants when he wants, but Felicity so much as looks at another man, and Oliver is ready to break his neck with his bare hands.

Felicity is a hot ticket. Some guy will absolutely cut in front of you to be with her. This is so Dawson Leary. Yuck. Take it away Pacey Witter.

Pacey: Look at that girl, Dawson. Just take a good look. She's a freaking goddess, man. How long did you think it was gonna be before some guy comes along and is interested in her? I mean, really, dude! And when that happens, what are you gonna do?

Dawson: I'm just gonna take it all as it comes.

Pacey: You're gonna take it as it comes. Oh great, well perhaps you should start figuring out right now because the guy that comes along is not gonna be your best friend and he's not gonna ask for your permission. The guy that comes along is gonna take one look at that woman and just cut right in on ya.

So, am I that bothered that Oliver gets the crap beaten out of him a couple times? Nah. Not really. He had it coming. Maybe the Mirakuru soldier can knock some sense into his concrete head.

Source: @olicitygifs

This was so overly dramatic. Oliver is an enormous man child with muscles. He’s not upset Felicity was a little rough with the medical tape. Didn’t this man use to suture his own bullet wounds, but he can’t handle Felicity’s soft womanly hands against a little scrape? Boy, please. He can’t yell at her about Barry, so he yells about her nursing skills.  

Oliver decides to come clean with what he knows about the super strength thief. He tells Felicity and Diggle about the serum on Lian Yu designed to create human weapons. Oliver assures them that Ivo and anyone injected with the serum are dead (spoiler alert Oliver, jeez) and he burned the last of it on the island.

Oliver asks Felicity to analyze the blood on the bent arrowhead.

Felicity: Barry and I will get right on it.

Diggle: I think our Miss Smoak is smitten.

Both statements cause Oliver physical pain. The man can barely breathe. Alright, I’m starting to feel a little sorry for him.

Diggle confirms that Oliver’s suspicions are right about Barry. He’s not being honest about who he is. A very pissy Oliver comes in hot, pumped up on jealousy, testosterone filled overprotection and raging hypocrisy, to confront Barry for lying about who he is – in front of Felicity. Naturally.

Barry immediately confesses the real reason he’s in Starling City. His father is in prison for his mother’s murder. Barry knows his father is innocent because he witnessed the crime. A blur with a person inside killed Barry Allen’s mother. Nobody believes him because that’s crazy. So, he seeks out the crazy cases like a super strength thief in the hopes it will lead to his mother’s real killer and freeing his father. He’s so damn earnest and hopeful, it’s like watching Oliver beat the crap out of a fluffy bunny. This is not a good look when trying to show your not-wife what a douchebag her new boyfriend is. Barry leaves town, which also costs Felicity her date to Moira’s welcome home party Oliver randomly decided to throw.

Instead of immediately apologizing to both Barry and Felicity, Oliver doubles down and defends what he did. Apologizing is not really his forte, so this is not unexpected.

Source: @owenelliots-blog1

I love my unproblematic queen who can acknowledge the mountain of hypocrisy Oliver is standing on. YEAH, BIG GUY. YOU LIE ABOUT YOUR IDENTITY EVERY DAY AND USED TO KILL PEOPLE ON THE REGULAR. TAKE SEVERAL SEATS.

The party for Moira is a disaster. Shockingly nobody shows up to celebrate the freedom of the woman who helped kill hundreds of people in Glades. What a shocker. I love you Oliver, but you are so out of touch sometimes with normal people. Also, the elitist rich of Starling City don’t want to be tainted by associating with the Queen family.

Oliver has thought about his actions and acknowledges he overreacted about Barry.

Source: @dianaclairmonts

I love that she doesn’t let him off the hook right away. Felicity is mad and she has every right to be. Barry shouldn’t have lied. I agree with Oliver on this one small point. But both he and Felicity know it wasn’t all nobility, like he’s some standard bearer for the truth, that made Oliver confront Barry like he did. Oliver was trying to obliterate any potential “something” growing between Felicity and Barry – and they both know it.

Source: @o-rigamii

My kingdom for these two to dance. Let us not speak of how long we had to wait for it to happen. YEARS, people. YEARS.

Oliver: I know. That’s why I called him. They will card him at the bar.

Awww. He called Barry. Oliver is trying to make it right. I’m even going to allow the snark because it was hilarious. Did you notice Oliver immediately racing to the bar and downing a shot with Isabel to avoid watching Felicity dance with this kid? I did.

Oliver’s acknowledges he has no right to interfere in any relationship Felicity wants with Barry, primarily because he refuses to give her one with him. Oliver is trying to be the better man, to stand back and allow Felicity the happiness he feels he cannot give her. But all I want is for Oliver to cut in. Diggle is right. He needs to get in the game!

Whatever may be happening with Barry – it’s going to be long distance because he needs to go back to Central City, or he’ll be fired. He leaves without kissing Felicity. They are both wistfully hesitant. Interesting.

Is it too soon for a kiss? Yes, especially in the land of television. I like Barry, but I don’t actually want Felicity to end up with him. He’s the third point in the love triangle and that’s all. He’s a mechanism to get Oliver’s ass in gear. I don’t need to see them make out. Also, Barry Allen has always been a little asexual to me.

For Felicity, it’s one thing to say you’re moving on. It is another thing to actually do it. Maybe it’s not so easy for Miss Smoak to put Oliver behind her.

Source: @oliverqueenz

Barry and Felicity determine the sedative in the thief’s blood is Ketamine. (Isn’t that shit for horses?) The only place that has enough for the centrifuge is an ARGUS disaster bunker. It’s time for Oliver to suit up, but Felicity is not sure he should go.  The simple fact is the thief’s muscle mass is the same as concrete. Oliver is going to be punching a literal brick wall.

Source: @oliverqueenz

Oliver is a little taken aback. It’s not like Felicity not to believe in him. But this is not lack of belief, it’s a legitimate concern when faced with a scientific reality. Sure, Malcolm Merlyn was bad, but he wasn’t made out of concreate. You can push those romantic feelings as far down as possible, but they will always rise to the surface when the person you love is about to face mortal danger.

Like it or not, Oliver Queen is the Arrow. It is his responsibility to stop guys like this, so he faces off with the super soldier – and gets his ass handed to him on a platter. This guy bounces Oliver around like a ping pong ball. Oliver was also injected with an unknown substance during the fight.

Source: @mrsmaudlin

Diggle and Felicity find him unconscious, but don’t know how to save him because they don’t know what substance he’s poisoned with. Diggle is ready to call 911 and blow the whole vigilante cover to smithereens, but Felicity has another idea. One that can save Oliver and protect his identity – if this person will keep his secret.

Source: @bifelicitys

One second Barry Allen is waiting at the train station and the next he’s waking up in the Arrow cave, with Felicity begging him to save Oliver.

And Oliver is not going to be happy with this turn of events.

Slade and Shado

Slade is in serious trouble. He’s burned half to hell and fading fast. So, is it a little odd that Shado chooses NOW to question Oliver about his romantic life? Yes, but a girl’s gotta do what a girl’s gotta do.

Shado: How do you know that girl?

The girl in question is Sara. ISN’T THAT SUCH AN INTERESTING QUESTION OLIVER? Yes, please do explain to Shado how you know Sara.

Oliver: Sara was on my father’s boat… with me.

Shado: What about the girl in the picture? Laurel. The girl you told me you were in love with.

Oliver: Sara is her sister.

Shado is disgusted, which is the natural and appropriate reaction to anyone finding out about Oliver cheating on Laurel with her sister. This is a canon event, Shado. We can’t interfere. You must realize for yourself why it is impossible to ship Oliver with either Laurel or Sara. I bet Slade isn’t looking so bad right now.

Sara: I guess a lot happened in the last year.

Shado finding out about Sara. Sara is finding out about Shado. Oh, what a tangled web Ollie weaved. Honestly, he was just so slutty.

Just imagine you are Sara. I’m choosing Sara since she’s known Oliver longer, but Shado has every right to be angry too. But imagine you are Sara, and you betrayed your only sister for a guy who hooked up with someone else after you’ve been barely “dead” a year. We know Oliver didn’t forget about Sara, but that’s exactly what it feels like. Such a mess. I can’t imagine Sara loving the choices she made right now.

Did you notice Shado said, “The girl you WERE [Laurel] in love with.” That’s past tense my friends and Oliver doesn’t correct her. Now, Shado might believe Oliver is in love with her (although neither has said these words in a year). Oliver might not want to correct Shado in front of Sara. There could be lots of reasons. It’s difficult to juggle three love interests at the same time. But I don’t think this past tense reference is a small thing. 

Team Flashback is on the run and looking for a way to save Slade. Eventually they find the serum and must decide if Slade should take it. They don’t have all the necessary ingredients for a successful super soldier, however.

Oliver: What happens if we give it to Slade without the sedative?

Sara: He’ll die for sure.  

Shado: He’s going to die anyway.

That was dark Shado. Dark but true. Ultimately, it’s Slade’s call and he tells Oliver to inject him with the serum. But before he does, Slade uses his last moments to apologize to Shado.

Slade: I’m sorry. For not telling you how I really feel.

Then he touches her hair. SOB. I know some people think this storyline with Slade and Shado came out of nowhere, but I don’t agree. They built this relationship since Season 1, and it makes absolute sense that Slade fell in love with Shado. And it makes absolutely sense why he hid his feelings for so long.

Oliver is SHOCKED by Slade’s confession. At least he is consistently clueless about love in all timelines. What I love more than anything else is Shado doesn’t give two shits about Oliver’s reaction. Her focus is on Slade and only Slade. See? She’s making better choices too.

Slade’s reaction to the serum is violent, complete with bleeding eyes, and then he dies which was slightly anticlimactic to be honest. Oliver and Shado have barely begun to mourn him when Ivo shows up and kidnaps all three. This guy is like a bad case of herpes. He just won’t go away.

Moira and Malcolm

Malcolm is back and he wants Moira to tell Thea who her biological father is.  

Moira: You killed Tommy. You killed your son. You cannot have my daughter.

Murdering your child should disqualify you from ever parenting again – I feel like that should be a law. We need to ask why Malcolm cares about Thea now when he never did before? Well, he’s a sociopath so there’s that. Malcolm is all about his “legacy” and now that Tommy is gone – Thea is it. Not that he was ever happy with Tommy in the legacy department, but Thea isn’t replacement Tommy. You don’t swap one child for the other. Doesn’t work that way.

But this isn’t the Moira of Season 1. She’s done fearing Malcolm. When his villain monologue reveals he trained in Nanda Parbat, Moira makes a couple calls. She notifies Rha’s Al Ghul that Malcolm is in Starling City.  Since he’s alive, this allows Rha’s AL Ghul the pleasure of killing Malcolm for the Undertaking betraying their code.  Is this the first Rha’s Al Ghul mention? The Batman fan in me is geeking out.

Moira: So, my advice to you, Malcolm… run.

I am here for bad ass Moira not taking any more shit. She still doesn’t tell Thea about Malcolm and quite frankly I’m fine with it. I don’t want Thea to know.  Can the Queen family just be happy for five minutes?

Stray Thoughts

If you are wondering where the pink in my blog comes from – it’s this dress. I think the only dress I love more than this one is the 3x01 red dress.

Oliver and Felicity looked so good this episode. Oliver in suspenders is a lot. I am amazed at their self control.

Felicity: Is it ok to laugh because I was ordered to say anything about you being in prison just to avoid any awkward exchanges.

Oliver: Like that one.

I would die for her.

“Why couldn’t you be marooned in Aruba?” Felicity is so real for this. I’ve been to Aruba. I would love to be marooned there.

“Oliver is a good son, if not the best judge of character.” SHOTS FIRED!! Moira vs Isabel is the Bitch Off I’ve been waiting for.

Put the purse down, Felicity. You aren’t going to get ripped off while dancing with Barry at the Queen mansion.

Sara learned all the science last year. I guess she didn’t have cable tv, so I’ve chosen to find this believable.

Roy is getting a little too close to this Max/super soldier thing and Oliver wants him to back off for his safety– especially since Thea is involved. When Roy refuses, because he’s Roy, the Arrow shoots him. I love Oliver’s Season 2 problem solving skills.

Listen to the Watchover podcast reaction to 2x08!

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The Supercorp shippers grew increasingly aggressive as the show progressed without affirming their desired relationship. They bombarded social media with demands for "their" couple to become the central romance, often targeting the show's cast and crew. The intensity of their campaigns grew from hopeful fan art and thoughtfully crafted analyses to vicious personal attacks on those who disagreed with their perspective. The actors, who had once engaged with fans with grace and enthusiasm, began to withdraw from social media, citing the overwhelming negativity. The writers, caught in a crossfire of expectations and creative vision, were vilified for their narrative choices, regardless of the complexity and depth they sought to imbue into their characters. The atmosphere grew so toxic that any deviation from the Supercorp narrative was met with accusations of queerbaiting and betrayal, silencing any nuanced discussion about the show's themes of friendship, redemption, and identity.

When Tyler Hoechlin's Superman, a symbol of truth and moral fortitude, appeared to give his blessing to the burgeoning romance between Kara and Mon-El, the fury of the Supercorp shippers was unleashed like a torrent. They saw it as an affront to their own version of the story, a storyline they had grown so invested in that it had begun to overshadow the very essence of the show. The character they had once revered as a paragon of virtue was now vilified, his every action dissected for signs of "anti-Supercorp" sentiment. Hoechlin, known for his portrayal of the stoic and noble Man of Steel, found himself at the center of a maelstrom, his personal life and professional credibility questioned by a fanbase that had grown to resent his very presence on the show. The backlash was swift and unforgiving, with some going so far as to claim that his portrayal was intentionally sabotaged to diminish the Supercorp narrative.

Melissa Benoist, who brought Kara Danvers to life with a blend of earnestness and charm, faced a similar plight. Her portrayal of the heroine's journey was no longer appreciated for its complexity, but rather scrutinized under the unforgiving lens of the shippers' obsession. When she dared to express excitement over the show's new developments, she was met with a deluge of anger and accusations of being complicit in the "erasure" of the Supercorp relationship. It was a stark contrast to the early days of the show when her interactions with the fandom were characterized by mutual admiration and joyful exchanges. Now, every smile and every word of hers was twisted into a weapon to be used against her, a testament to the tragic transformation of a community that once championed love and inclusivity into one that embraced hostility and division.

The situation came to a boiling point when Jeremy Jordan, known for his role as Winn Schott, dared to perform a light-hearted song at a Comic-Con event, poking fun at the intense shipping culture surrounding the show. The song, which playfully affirmed Kara and Lena's friendship without romantic undertones, was intended to be a moment of levity amidst the intense fan debates. However, the reaction was anything but amusing. The Supercorp shippers took his jest as a declaration of war, and Jordan soon found himself on the receiving end of a barrage of death threats, his inbox flooded with messages that were far from the love and support he had once known from his fanbase. The line between passion and obsession had been crossed, and the consequences were dire for all involved.

Mehcad Brooks, who played James Olsen, became the next target of the Supercorp shippers' wrath when his character entered into a relationship with Lena Luthor. Despite his character's longstanding friendship with Kara and the natural progression of his story arc, the mere existence of a romantic option outside of the Supercorp pairing was seen as an affront. The racial undertones of the backlash against Brooks were impossible to ignore; a Black man daring to pursue a romantic interest with a white character was met with a deluge of racist vitriol. The harassment was relentless, with some fans even going so far as to digitally manipulate images of Brooks to vilify him further. The joy and camaraderie that once defined the Supergirl community had been replaced by a toxic brew of entitlement and hate.

The showrunners, too, were not spared from the wrath of the Supercorp shippers. When James and Lena's relationship grew stronger, the show's creators faced a barrage of accusations that they were "forcing" a narrative to appease a non-existent "anti-Supercorp" agenda. The creators' inboxes were flooded with threats and demands to change the course of the show. The once-celebrated diversity and inclusivity of Supergirl's cast and storylines were now weaponized against them, with the show's very ethos of fighting for justice and equality being twisted into a narrative of oppression and exclusion. The irony was palpable, yet the toxic shippers remained unmoved by the harm they were causing to the very fabric of the fandom they claimed to love.

Chris Wood, who portrayed Mon-El, found himself an unwilling participant in a sordid drama that reached beyond the confines of the screen. As Kara's romantic interest, he became the object of the Supercorp shippers' scorn, with many accusing him of being a homewrecker who had stolen Melissa Benoist away from her ex-husband, Blake Jenner. The accusations grew increasingly personal and spiteful, with some fans even going so far as to claim that Wood was the reason for Benoist's divorce. This spiteful narrative painted Wood as a villainous figure, a heartless usurper who had dared to stand in the way of the "true" love between Kara and Lena. Little did they know that the real-life events were far more complex and tragic than their fictional grievances.

Years later, Melissa Benoist bravely came forward with her harrowing story of abuse at the hands of a former relationship who is believed to have been Blake Jenner. Her revelations sent shockwaves through the fandom, shattering the illusions that had been so meticulously crafted by the Supercorp shippers.

In the aftermath, a disturbing pattern began to emerge as it was discovered that almost immediately following Benoist's public disclosure, certain factions within the Supercorp fandom had twisted her personal tragedy into a twisted narrative that served their own purposes. These shippers took to the digital realm, crafting fanfictions that painted Mon-El, and by extension Chris Wood, as the abuser, rather than the supportive partner and friend he had been in the show. It was a macabre display of how deeply their obsession had distorted their moral compass, using real-life pain to fuel their fictional vendetta against a character they perceived as a threat to their preferred narrative.

The new fanfics spun a sordid tale of Kara, the quintessential heroine, being saved not by her own strength and resilience but by the love of Lena, a narrative that not only trivialized Benoist's experiences but also reinforced harmful stereotypes about women in need of saving by other women. The audacity to appropriate such a sensitive and deeply personal revelation was met with disgust by many, particularly Karamel shippers. Yet, these toxic shippers remained steadfast in their belief that their imagined reality was more important than the actual lives and well-being of the actors who had brought their beloved characters to life.

Chris Wood, now cast as the villain in their warped narratives, faced a new wave of abuse. His social media accounts were inundated with messages that not only vilified him as Mon-El but also claimed that he had been the one responsible for Benoist's suffering. The leap from fiction to reality was a chilling one, and it illustrated the extent to which the Supercorp shippers had lost touch with the distinction between the show and the personal lives of its cast. The once-supportive environment had become a cesspool of projection and spite, with the actors' personal lives being used as fodder for their fanatical fantasies.

In an effort to maintain their sanity and protect themselves from further harm, both Melissa Benoist and Chris Wood made the difficult decision to turn off comments on any Instagram posts that mentioned the other. It was a silent declaration of the boundaries they had to enforce, a digital barricade to shield themselves from the relentless tide of harassment. The vibrant conversations that once filled their social media feeds with excitement and camaraderie had become minefields of toxicity, and the joy they once found in connecting with fans had been tainted beyond recognition, even on posts about their engagement, wedding, pregnancy and birth of their son.

Katie McGrath, who played Lena Luthor, had always been an advocate for fan expression and a vocal supporter of the Supercorp ship, appreciating the passion and creativity of the fandom. However, as the harassment grew, she found herself caught in the crosshairs as well. Her genuine support for Benoist and Wood's relationship was twisted by the toxic faction into a tacit endorsement of the abuse they were facing. The irony was not lost on her; the very essence of the ship she had championed, the love and friendship between Kara and Lena, had been corrupted into a tool for attacking the very people who brought those characters to life.

When McGrath was one of the many Supergirl cast members to model for Wood's mental health help organization, I Don't Mind, it was a gesture of solidarity that highlighted the importance of mental well-being and the need to break down stigmas surrounding mental health. Yet, even this act of kindness and advocacy was not immune to the distortion of the toxic Supercorp shippers. Some fans, blinded by their obsession, claimed that her participation was a covert declaration of love for Wood's character, thereby "betraying" the sanctity of Supercorp. The twisted narrative grew more convoluted as they accused her of using her platform to promote an "anti-Supercorp" agenda and asking if Wood forced McGrath to help campaign, despite the clear intentions of her involvement in the campaign. The very essence of I Don't Mind, which sought to foster an environment of openness and support, was hijacked by a vocal minority who could only see the world through the lens of their own narrow desires.

Jeremy Jordan, who had been a staple of the show since its inception, decided to take a step back from the series after his character, Winn Schott, was written off. The decision was met with mixed reactions from fans, with many questioning the timing and whether it was due to the relentless pressure from the Supercorp shipping community. His exit was not just a loss for the show, but also a symbol of the destructive power of toxic fandom. Jordan had once been a beloved member of the cast, his performances celebrated for their humor and heart. But as the show progressed and the shipping wars intensified, he had become a pawn in a larger, uglier battle that had nothing to do with his own artistic choices or the story he was helping to tell. His departure was a stark reminder that even the most well-intentioned creators and performers could not escape the wrath of those who felt entitled to dictate the course of the narrative.

Chris Wood's exit as Mon-El was perhaps the most contentious of all. His character had been a polarizing figure among fans, with many feeling that his relationship with Kara detracted from the perceived "true love" between her and Lena. As the abuse grew more vicious, it was evident that Wood's experience on the show had been deeply affected. His decision to leave was met with both relief and anger, with some Supercorp shippers claiming victory while others lamented the loss of a character who had grown so much since his introduction. For Wood, the experience had undoubtedly left its mark, a testament to the power of fandom to shape not just the narrative but the lives of those involved in the storytelling.

Mehcad Brooks faced a similar fate when his character, James Olsen, was written out of the show. Despite being a founding member of the cast, Brooks' portrayal of James had often been sidelined in favor of the Supercorp narrative. His character's growth and development were often overshadowed by the fervent desire for Lena and Kara to become romantically involved. When the showrunners allowed James to find love and success outside of the Supercorp dynamic with his relationship with Lena, it was seen by the toxic faction as a betrayal. The joy of his character's evolution was lost in the sea of anger and entitlement. Brooks' exit was not just a loss for the show but a stark reminder of the way in which toxic shipping can diminish the contributions of actors of color, reducing them to mere props in a white-centered romance.

The show's cast and crew, once a tight-knit group who reveled in the love and support of their fanbase, now found themselves navigating a minefield of accusations and hostility. The Supercorp shippers had become a force to be reckoned with, capable of turning any positive interaction into a battleground. The atmosphere at conventions and press events grew tense, as actors and creators alike were forced to tiptoe around the subject of their characters' relationships. The joy of collaborative storytelling and fan interaction had been tainted by the relentless pursuit of a single narrative, leaving a bitterness that was palpable both on and off-screen.

As the final season of Supergirl approached, the anticipation of the Supercorp shippers reached a fever pitch. They were certain that the showrunners would finally succumb to their demands and make their ship a reality. Yet, as the episodes unfolded, it became clear that the show had a different ending in mind. The narrative arc that the writers had been carefully crafting over the years culminated in a finale that saw Kara and Lena's friendship not just endure but flourish. It was a poignant reminder of the show's core message: that love comes in many forms, and that friendship is one of the most powerful and enduring bonds of all.

Everybody lost their minds when Supergirl's series finale didn't give the Supercorp shippers the ending they had so fervently demanded. The fallout was swift and brutal, with the toxic faction of the fandom unleashing a new torrent of abuse and anger. The cast and crew, who had worked tirelessly to bring the story of Kara Danvers to life, were vilified for not bending to the will of a vocal minority of toxicity. The actors who had dedicated years of their careers to the show were vilified, their personal relationships and mental health dragged through the mud by fans who claimed to love them. Yet, amidst the chaos, there was a sense of relief among the show's broader fanbase, who had watched with horror as their community had been hijacked by toxicity.

The Supercorp shippers screamed their grief into the digital void, feeling betrayed by the very show they had claimed to champion. The irony was not lost on the rest of the fandom; here was a group that had claimed to fight for representation, yet when it was given to another character in the form of Alex Danvers marrying a woman, it was deemed invalid. The cries for diversity and LGBTQ+ inclusion had been weaponized, wielded like a cudgel to bludgeon anyone who didn't adhere to their narrow vision of what that representation should look like. The reality was that Supergirl had been a bastion of LGBTQ+ visibility since its inception, with characters like Alex, Nia Nal and Maggie Sawyer paving the way for more nuanced and complex portrayals of queer relationships in mainstream media. Yet, the Supercorp shippers could only see the world in terms of their own desires, dismissing the value of any narrative that didn't conform to their narrow viewpoint.

In stark contrast, the introduction of Nia Nal, played by the charismatic Nicole Maines, was met with an outpouring of love and acceptance from the majority of the Supergirl fanbase. Nia, a transgender woman with the power of dream manipulation, brought a new dimension to the show's ensemble, embodying hope, strength, and courage in a way that resonated deeply with viewers. Maines, the first transgender superhero to appear on a CW show, became a beacon of representation and a symbol of progress in a genre that had often fallen short in this regard. Her portrayal was met with applause and admiration, not just for her acting chops but for the authenticity she brought to a character that was so much more than a token gesture towards inclusivity.

But not all were as welcoming. On Tumblr, a transphobic radical feminist Supercorp shipper, unable to reconcile their narrow worldview with the show's evolving narrative, lashed out. They posted a blog entry questioning Nia's identity, using hateful language and misgendering her as a "him." The post was a blatant act of disrespect, not just to the character but to the entire transgender community. It was a stark reminder that even within the LGBTQ+ spectrum, there were those who sought to diminish and erase the experiences of others.

Evidently showing that while racism and bullying was okay for Supercorp shippers, transphobia wasn't a card they were willing to play, the backlash against the transphobic blogger was swift and severe. The Supergirl fandom rallied together in defense of Nia Nal and Nicole Maines, using their collective voice to drown out the hate. Fans from all corners of the spectrum, including those who had once shipped Supercorp, banded together in a display of solidarity that was truly inspiring. They recognized the importance of genuine representation and the impact it had on the lives of transgender individuals. The incident served as a stark reminder that while the love for a fictional couple could be intense, it should never come at the cost of real people's identities and experiences.

The IMDb trivia section for the 2021 Mortal Kombat film, in a bizarre twist, had become an unexpected battleground for the Supercorp saga. Twice listed as a "fun fact," Mehcad Brooks' name was associated with being "toxic and rude."

Why is this interesting? Because the Supercorp fandom was shocked when Mechad Brooks snapped at Supercorp shippers on his Instagram when one of them told him to stay away from Katie McGrath. The fandom exploded with accusations of his rudeness, which spread like wildfire across social media. It was a rare moment where a celebrity broke the fourth wall and addressed toxic fandom behavior directly. But what's even more intriguing is the persistence of the narrative. Despite Brooks' portrayal of James Olsen on Supergirl being widely praised for his charm and grace, his name is now tarnished with a label that seems to stick like a stubborn piece of gum on the sole of a shoe. The IMDb trivia section, typically reserved for light-hearted anecdotes and behind-the-scenes tidbits, had been appropriated by a faction of Supercorp shippers to perpetuate their grievances. It was as if they had claimed a piece of internet real estate to broadcast their discontent to the world.

Hayley, known online as Redkrypto, was one of the most notorious Supercorp shippers. Her digital footprint on Tumblr was a minefield of anger and bitterness directed at anyone who dared to support the Karamel or Guardiancorp ships, which involved Kara with other characters. Her blog was a toxic stew of accusations, manipulation, and harassment. She had a knack for turning the most innocuous interactions into fodder for her crusade against perceived threats to her preferred ship. Her followers, a small but vocal group, eagerly lapped up her rhetoric, creating a echo chamber of negativity that spilled over into the wider Supergirl community. The line between critique and bullying had been crossed, and the effects were palpable.

Following the comic con "incident" as discussed above, Jeremy Jordan suffered severe food poisoning following lunch at Chipotle with the rest of the cast and was hospitalized, Redkrypto "joked" that someone who worked at the restaurant was a Supercorp shipper. Whether she was legitimately joking or being serious is unknown but this could've gotten the employee fired if the joke went too far. Hayley's digital crusade had grown so pervasive that even the most innocent of events were now seen through the lens of her toxic worldview.

The situation grew more alarming when Redkrypto took her rhetoric to new lows. In a series of blog posts, she launched a scathing attack on asexual fans, claiming they "belonged in the sewer". The irony of her words was lost on her devoted followers, who echoed her sentiments with a fervor that was both disturbing and disheartening. The Supergirl fandom, which had once been a haven for all, had become a battleground where even sexuality was a point of contention. Her diatribes grew more extreme, as she began to target bisexual fans who dared to date men, insisting they were "straight-washed" and not truly part of the LGBTQ+ community. The division she sowed grew wider, fracturing the once unified fanbase into a fragmented mess of accusations and spite.

The toxic environment that Hayley had created was not limited to social media. Her influence had seeped into the real world, where her words had tangible consequences. Conventions, once a place of refuge for fans to come together and share their love for the show, had become battlegrounds where alliances were drawn in the sand. Panels were no longer about celebrating the show but about interrogating the cast and crew on their personal relationships and narrative choices. The joy of the event was replaced by tension as actors and creators tried to navigate a minefield of hostile questions and accusations, all while maintaining the façade of a happy, inclusive community.

When the final season of Supergirl aired, Hayley's anger grew with each episode that did not bend to her will. Her blog posts grew longer, her words more caustic, and her accusations more personal. The showrunners, actors, and even fellow fans who dared to disagree with her were vilified in a relentless stream of vitriol. It was clear that for Hayley, the ship had become more than just a fictional romance—it was a battleground for her own identity and self-worth. The validation she sought in the arms of her "OTP" had consumed her to the point of obsession, and the realization that she may not get the ending she craved was unbearable.

As the finale approached, Hayley's digital presence grew increasingly erratic. She posted feverishly, crafting elaborate conspiracy theories about the show's narrative choices and the motives of the cast and crew. Her followers grew more desperate, clinging to her every word as if it were a lifeline in a sea of disappointment. The tension grew so thick that even the most devoted Supercorp shippers began to feel the strain, some questioning if the fight was truly worth the cost.

The night of the finale, Hayley's blog remained eerily silent. The anticipation in the fandom was palpable, with fans across the globe waiting for her reaction. As the credits rolled and the reality sank in that Supercorp was not to be, the digital silence was deafening. The Supergirl community held its collective breath, waiting for the storm that was sure to come.

A few Supercorp shippers turned on her for getting their hopes up for years only to watch them crumble before their eyes. Some accused her of being a "sellout," while others claimed she had lost touch with the "true essence" of the fandom. The accusations stung, but Hayley remained steadfast, her resolve to fight for her ship unwavering. Yet, deep down, she couldn't ignore the nagging doubt that whispered she had gone too far, that her obsession had turned from a labor of love into something dark.

Whether her blog was forcibly deleted by Tumblr for the harassment or her ego being damaged for the show not bending to her will, Redkrypto's account was deactivated shortly after the finale. The absence of her toxic voice was a relief to many in the fandom, but the scars she left were not so easily erased.

Part of me feels bad for the shippers who genuinely didn't bully anyone in the cast or crew or fandom and wanted Supercorp to be canon, who had their love story validated. They're the true victims here. They didn't deserve the toxic behavior from Redkrypto and her ilk. The damage done by a few radicals had cast a pall over their innocent love for a TV couple.

But the aftermath of Supercorp's end was a reckoning for many. Fans who had been swept up in the ship war took a step back and reflected on the community they had become. The joy of shipping, of rooting for a couple, had been twisted into something ugly and harmful. The cast and crew had become pawns in a game that had grown out of control, and it was time to dismantle the toxic structures that had been built.

Looking to other fandoms, one could not help but draw parallels to the Olicity and Snowbarry ships. In Arrow, the tumultuous relationship between Oliver Queen and Felicity Smoak had once been the epicenter of fan adoration. Yet, as the showrunners wove a narrative that didn't always align with the shippers' desires, a toxic undercurrent emerged. The Olicity fandom, much like Supercorp, had become a force to be reckoned with, their influence extending beyond the confines of fanfiction and into the lives of the actors and creators. The relentless pursuit of their "endgame" led to a frenzy of entitlement, with any deviation from their desired plotline vilified.

Credit to the Olicity fandom, their ship was canon and remained the main couple until the end of the series but at the sacrifice of Laurel Lance and her actress Katie Cassidy's relationship with the show and fandom. The Snowbarry shippers, on the other hand, faced a rollercoaster of emotions with the on-again, off-again romance between Barry Allen and Iris West, hoping that would lead to Barry getting with Caitlin Snow.

In the Arrowverse, the Olicity shippers had their way, often at the cost of the show's narrative coherence. Storylines were manipulated, characters were sidelined, and any potential romantic competition was vilified. The once-promising character of Laurel Lance, who had been an integral part of the show's foundation, was reduced to a tragic plot device to fuel the Olicity relationship. The toxic rhetoric grew so intense that Katie Cassidy, who played Laurel, found herself in the crosshairs of the fandom's rage, her every move scrutinized and criticized, no matter how much she tried to rise above it.

When Laurel was controversially killed off in the show's fourth season, the Olicity shippers celebrated, viewing it as a clear path for their preferred couple. Yet, the fallout from this narrative decision was profound. The Arrow fandom was irrevocably split, with many feeling betrayed by the showrunners for sacrificing a beloved character to serve a romantic plotline. The death of Laurel Lance became a symbol of the toxicity that can fester within a fandom when the desire for a specific romantic pairing overshadows the integrity of the show's storytelling and character development. The subsequent treatment of Katie Cassidy, who was vilified for playing a character that had been written to challenge the Olicity narrative, served as a stark reminder of the real-life consequences of fandom entitlement.

For those who had invested themselves in the Laurel-Oliver relationship, known as "Lauriver" shippers, the loss was particularly acute. Laurel's canonical last words to Oliver, urging him to be with Felicity, felt like a slap in the face. It was a narrative twist that seemed to cater directly to the Olicity fanbase, a knife twisted in the heart of those who had rooted for the original pairing. The anger was swift and decisive; a boycott of the remaining episodes of the season was organized, with hashtags like #NoKatieNoArrow and #NoLaurelNoArrow trending on Twitter as fans rallied around their fallen heroine. The boycott was not just a statement of dissent but a declaration of war, a battle cry against the perceived tyranny of the showrunners.

The CW network, noticing the seismic shift in fan sentiment, stepped in and instructed the Arrow showrunners to bring Laurel back. But the damage had already been done. The trust between the show and its viewers had been shattered, leaving a fractured fanbase in its wake. The showrunners, in an attempt to appease the disenchanted, brought back Katie Cassidy not as the beloved Laurel Lance but as Earth-2's villainous counterpart, Black Siren. The move was met with more fury than relief, as it felt like a cruel twist of fate to those who had invested so much in the original character's journey.

The decision to rebrand Black Siren as the new Black Canary was a strategic one, a move that sought to rekindle the love lost by the Olicity narrative. The transformation was a slow burn, with Katie Cassidy delivering a powerful performance that showcased the character's complexity. Initially, her character remained a villain, a constant thorn in Team Arrow's side, but as the seasons progressed, she began to grapple with the echoes of the Laurel they had lost. The writers delicately wove a narrative of redemption, one that allowed her to embody the essence of the hero they had so fervently loved without betraying the integrity of the original character arc.

Through a series of heart-wrenching episodes, Laurel's doppelgänger faced the consequences of her actions and the weight of her identity. She was forced to confront her past as a villain and the pain she had caused, particularly to Oliver Queen. The dynamic between them grew taut with tension, a dance of regret and resentment that slowly evolved into something more. It was clear that the writers were treading a fine line, not wanting to diminish the memory of Laurel Lance but also eager to give the character a second chance at heroism. The journey was fraught with emotional turmoil, as the fandom watched with bated breath to see if this new iteration of their beloved character could truly atone for her past sins.

The transformation of Black Siren into the new Black Canary was not instantaneous. It was a meticulously crafted arc that showcased the depth of Katie Cassidy's acting and the writers' commitment to redemption. Each episode was a delicate balance of light and shadow, revealing the humanity beneath the hardened exterior. The moments of vulnerability she shared with the team, particularly with her father Quentin Lance, served as a poignant reminder of the love that once existed in her heart. The scenes of her training, her struggle to control her powers and find her moral compass, were a testament to the complexity of the human condition and the endless capacity for change.

What does this have to do with Supercorp? Because it shows what happened when the writers of a show listened to the fandom about a popular ship. It was a cautionary tale that Supergirl's showrunners had to navigate carefully. The aftermath of Laurel's death and the subsequent fan revolt was a stark reminder that the pursuit of "endgame" happiness could come at a steep cost. They had to balance the desire to appease the vocal minority with the need to serve the story and its diverse cast of characters.

In the end, the shipping wars in the Arrowverse proved that the ultimate fate of a couple on a CW show was not the be-all, end-all of a character's story. Characters evolved, relationships grew, and even the most steadfast of ships could change course. The real beauty of these shows was not in the romance but in the friendships, the growth, and the journeys of self-discovery that each character embarked upon. Supergirl, like its sister shows, had a multitude of narratives to explore beyond romance, from Kara's development as a leader to the complexities of Lena's redemption arc.

Maybe the Supercorp fandom will eventually be deader that Clark Kent and Lois Lane after their finale of Superman and Lois, but for now, the wounds are still fresh. The shipping wars had left a gaping chasm in the heart of the Supergirl fandom, one that threatened to swallow any semblance of unity and camaraderie whole. Yet, amidst the ruins of the fractured fanbase, a quiet revolution began to take shape.

Some fans, tired of the toxicity, started to re-evaluate what they truly loved about the show. They turned their focus back to the themes of empowerment, friendship, and family that had drawn them in from the beginning. They found solace in the unbreakable bonds between Kara and Alex, the Danvers sisters' unconditional love serving as a beacon of hope amidst the chaos. They celebrated the nuanced portrayal of Lena Luthor's moral compass and her struggle with the weight of her family name. They even dared to explore other relationships, like Kara's blossoming romance with Mon-El and Lena's partnership with James Olsen. It was as if the fog of shipping had lifted, revealing a rich tapestry of narratives that had been obscured by the obsession with one ship.