History Main / RomanticPlotTumor

30th May '16 4:19:53 AM VoxAquila
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* In ''Film/BramStokersDracula'' (but not in ''Literature/{{Dracula}}'', by Bram Stoker), Dracula isn't after Mina Harker because he's an undead embodiment of evil, a monster seeking to feed on the blood of the innocent. It's because he's in love with her. Awww. And she loves him, because destiny says so. And Dracula wasn't cursed by God to be a vampire because he was an evil bastard who deserved eternal torment. No, Dracula willingly became one as a RageAgainstTheHeavens because his wife committed suicide and her soul couldn't be redeemed. Never mind that none of this was in the book, or that the forced romance between Drac and Mina leaves her acting like a complete and unsympathetic bitch to everyone around her, especially her loving husband. Unsurprisingly, the Dracula and Mina subplot only exists because of ExecuteMeddling, as they didn't think a straight horror film would sell tickets.

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* In ''Film/BramStokersDracula'' (but not in ''Literature/{{Dracula}}'', by Bram Stoker), Dracula isn't after Mina Harker because he's an undead embodiment of evil, a monster seeking to feed on the blood of the innocent. It's because he's in love with her. Awww. And she loves him, because destiny says so. And Dracula wasn't cursed by God to be a vampire because he was an evil bastard who deserved eternal torment. No, Dracula willingly became one as a RageAgainstTheHeavens because his wife committed suicide and her soul couldn't be redeemed. Never mind that none of this was in the book, or that the forced romance between Drac and Mina leaves her acting like a complete and unsympathetic bitch to everyone around her, especially her loving husband. Unsurprisingly, the Dracula and Mina subplot only exists because of ExecuteMeddling, ExecutiveMeddling, as they didn't think a straight horror film would sell tickets.
30th May '16 4:16:03 AM VoxAquila
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* In ''Film/BramStokersDracula'' (but not in ''Literature/{{Dracula}}'', by Bram Stoker), Dracula isn't after Mina Harker because he's an undead embodiment of evil, a monster seeking to feed on the blood of the innocent. It's because he's in love with her. Awww. And she loves him, because destiny says so. And Dracula wasn't cursed by God to be a vampire because he was an evil bastard who deserved eternal torment. No, Dracula willingly became one as a RageAgainstTheHeavens because his wife committed suicide and her soul couldn't be redeemed. Never mind that none of this was in the book, or that the forced romance between Drac and Mina leaves her acting like a complete and unsympathetic bitch to everyone around her, especially her loving husband.

to:

* In ''Film/BramStokersDracula'' (but not in ''Literature/{{Dracula}}'', by Bram Stoker), Dracula isn't after Mina Harker because he's an undead embodiment of evil, a monster seeking to feed on the blood of the innocent. It's because he's in love with her. Awww. And she loves him, because destiny says so. And Dracula wasn't cursed by God to be a vampire because he was an evil bastard who deserved eternal torment. No, Dracula willingly became one as a RageAgainstTheHeavens because his wife committed suicide and her soul couldn't be redeemed. Never mind that none of this was in the book, or that the forced romance between Drac and Mina leaves her acting like a complete and unsympathetic bitch to everyone around her, especially her loving husband. Unsurprisingly, the Dracula and Mina subplot only exists because of ExecuteMeddling, as they didn't think a straight horror film would sell tickets.
22nd May '16 10:55:01 AM Reika
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** Graystripe/Silverstream -- Whether their romance was tragic or over-dramatic, Graystripe will forever be associated with this relationship, and almost everything in the series involving him is somehow tied in with Silverstream and his love/obsession with her.
14th May '16 7:33:26 PM cdrood
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* The 2015 storyline with [[RusevAndLana Rusev, Lana]], Wrestling/DolphZiggler, and Wrestling/SummerRae. It was already this and then RealLifeWritesThePlot where Lana's injury and then real engagement between Wrestling/RusevAndLana only served to extend things.
13th May '16 6:51:02 AM Darth_Rasputin32898
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* The Olicity ship on ''Series/{{Arrow}}'' has resulted in a significant BrokenBase, best demonstrated by {{Website/Tumblr}} and ''{{Website/Reddit}}'''s polar opposite community perspectives.

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* The Olicity ship on ''Series/{{Arrow}}'' has resulted in a significant BrokenBase, best demonstrated by the fandom polarization you can find on {{Website/Tumblr}} and ''{{Website/Reddit}}'''s polar opposite community perspectives.{{Website/Reddit}}.
13th May '16 6:50:06 AM Darth_Rasputin32898
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* The Olicity ship on ''Series/{{Arrow}}'' has resulted in a significant BrokenBase, best demonstrated by {{Website/Tumblr}} and ''{{Website/Reddit}}'''s polar opposite community perspectives.
7th May '16 6:59:57 AM TheOneWhoTropes
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* ''Series/DoctorWho'''s GenreShift between the Classic and New series from a NoBudget children's horror-comedy serial to a reasonably-budgeted flagship export under the BBC's "Original British Drama" imprint means that the show focuses a ''lot'' more on romance now than in the old days, for better and for worse. A lot of this was [[ExecutiveMeddling necessary to get the show made at all]] -- in 2005 the BBC was not making science fiction shows ''or'' family shows and everyone with experience making them had left the industry. Creator/RussellTDavies had to pitch the revival by associating it with the SoapOpera that was the 'family show' of the time. This did help [[OldGuardVersusNewBlood boost the show's popularity]] and achieve a similar MultipleDemographicAppeal as the show had had during its '60s and '70s heyday, but ''every'' season arc ends up having romance and ThePowerOfLove as a key, if not overwhelming, focus, which [[SelectiveSquick many Classic series fans find alienating]] (they'd long been used to NoHuggingNoKissing), and even many non-Classic fans find cheesy and poorly executed. Creator/StevenMoffat's dislike of villains and fondness for relationship development possibly exacerbated this once he became showrunner with Series 5:

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* ''Series/DoctorWho'''s GenreShift between the Classic and New series from a NoBudget children's horror-comedy serial to a reasonably-budgeted flagship export under the BBC's "Original British Drama" imprint means that the show focuses a ''lot'' more on romance now than in the old days, for better and for worse. A lot of this was [[ExecutiveMeddling necessary to get the show made at all]] -- in 2005 the BBC was not making science fiction shows ''or'' family shows and everyone with experience making them had left the industry. Creator/RussellTDavies had to pitch the revival by associating it with the SoapOpera that was the 'family show' of the time. This did help [[OldGuardVersusNewBlood boost the show's popularity]] and achieve a similar MultipleDemographicAppeal as the show had had during its '60s and '70s heyday, but ''every'' season arc ends up having romance and ThePowerOfLove as a key, if not overwhelming, focus, which [[SelectiveSquick many Classic series fans find alienating]] alienating (they'd long been used to NoHuggingNoKissing), and even many non-Classic fans find cheesy and poorly executed. Creator/StevenMoffat's dislike of villains and fondness for relationship development possibly exacerbated this once he became showrunner with Series 5:
5th May '16 11:09:56 AM skidoo23
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** A shorter-term example [[BrokenBase arguably]] turned up in Series 9, which had the Doctor and Clara as PlatonicLifePartners. In the final three episodes of the season, Clara [[spoiler: is Killed Off for Real]] and the remainder of the season deals with the Doctor temporarily becoming a WoobieDestroyerOfWorlds in response. The problem was that this dovetailed with the resolution of one of the revival's longest-running story arcs: [[spoiler: his quest to return to his home planet of Gallifrey]]. Many fans felt this event warranted the central focus of an episode and became TheyWastedAPerfectlyGoodPlot in favor of wrapping up the story of the Doctor and Clara's relationship.

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** A shorter-term example [[BrokenBase arguably]] turned up in Series 9, which had the Doctor and Clara as PlatonicLifePartners. In the final three episodes of the season, Clara [[spoiler: is Killed Off for Real]] and the remainder of the season deals with the Doctor temporarily becoming a WoobieDestroyerOfWorlds in response. The problem was that this dovetailed with the resolution of one of the revival's longest-running story arcs: [[spoiler: his quest to return to his home planet of Gallifrey]]. Many fans felt this event warranted the central focus of an episode and became TheyWastedAPerfectlyGoodPlot in favor of wrapping up the story of the Doctor and Clara's relationship. It should be noted, however, that this doesn't actually follow the definition of this trope because excising the romantic aspect of the final three episodes renders the finale trilogy of Series 9 without substantial plot.
20th Apr '16 12:40:40 PM ThomasVeggieDramaFan
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** ''The Ridonculous Race'' also had Stephanie/Ryan. Unlike with Carrie/Devin, the reaction to them is about as negative as previous ''Total Drama'' examples (if not, worse) due to many finding their immaturity to be very insufferable (most of their post-breakup conversations boils down to them yelling and screaming at each other) as well as dodging elimination '''three''' times due to most of them conveniently falling into the "Non-elimination episode if an important character loses" trap that the original series was guilty of.
8th Apr '16 3:48:03 AM VoxAquila
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*** Sarah Michelle Geller herself is partly to blame for both points above. She's so invested in their relationship (which some fans say is fuelled by her strong friendship with David) that she completely forgot (or ignored, take your pick) what would be best for Buffy's growth as a character. Moving beyond her first love in a mature manner is growth. Clinging onto him like a blind, love-struck child is not.
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