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The answer, then, is that the writers aren’t very good at writing a romance when they feel it needs to be the*focus*of the story; Diggle & Lyla and Roy & Thea were always subplots, forming part of something larger. Here, with*‘Olicity’, it takes centre stage - largely at the expense of other characters, who recieve limited screentime as a result of this.
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The writers shouldn't have to be good at writing romantic arcs when they need to be the focus of the story. The focus of the story should NEVER be the ****ing romantic arcs. That is the central problem.