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1->"''This is the thing about the historical adventures... they're not even a dead end of ''Series/DoctorWho'' so much as a different show that inadvertently got made under the name of ''Doctor Who''. So that watching them, the major work becomes trying to explain how the heck this story fits in between [[Recap/DoctorWhoS2E1PlanetOfGiants giant ants]] and whatever comes next week.''"
2-->-- '''''TARDIS Eruditorium''''' on the ''Series/DoctorWho'' story "[[Recap/DoctorWhoS2E6TheCrusade The Crusade]]"
3
4Genre Roulette is what the name suggests: A single work that switches between distinct story genres, seemingly at ''random'', e.g. a TV show switches from ''Comedy'' then ''Romance'' into ''Horror'' in just [[ExaggeratedTrope one episode]].
5
6As it's hard enough to write well in ''one'' genre, Genre Roulette can be hard to pull off seriously. Comedies and parodies, on the other hand, usually don't raise any eyebrows when they do this, [[RuleOfFunny provided they continue to bring the funny]].
7
8Musical Genre Roulette is closely related to GenreMashup. The difference is that a Genre Roulette album can have a country song followed by a punk song, while an GenreMashup album will have a song that's country ''and'' punk at the same time. (For the curious, that genre actually exists and is known as cowpunk.) Making matters more complicated is that it is possible to write a song that ''fuses'' country and punk (which is GenreMashup) and a song that ''suddenly shifts'' from country to punk mid-song (which is probably more an example of Genre Roulette). For this reason it's often difficult to define where one trope ends and the next begins, especially since some bands liberally use both techniques.
9
10When applied to video game genres (i.e., the style of gameplay), it's GameplayRoulette. When you are changing genres despite having worked exclusively with only one before, it becomes a GenreShift. Compare/Contrast with GenreBusting, which has its story genres established from the very beginning, whereas Genre Roulette will continuously switch between genres as the story progresses. See also Main/GenreProlificCreator when it's applied to
11different works made by the same person.
12
13----
14!!Examples:
15
16[[foldercontrol]]
17
18[[folder:Anime & Manga]]
19* The ''Anime/ExcelSaga'' anime played this with pretty much every episode being a parody of a certain genre. Everything from War Movies, to Dating Sims, to Sports, to Variety Shows to Post-Apocalyptic is given a once over. ''Excel Saga'' made a point of this, opening ''every episode'' with manga author Koshi Rikdo giving his (reluctant) approval to give the series a Genre Shift. The style and weirdness remained consistent enough despite this, however.
20* ''Anime/MagicalShoppingArcadeAbenobashi''. It starts off with a parody of {{R|olePlayingGame}}PGs, follows up with a sci-fi/Giant Mech parody (including a mind-boggling time paradox involving a miscolored Gurren Lagann), and keeps juggling genres from there...
21* ''Anime/BrigadoonMarinAndMelan'' is a sci-fi adventure drama, but it's also a middle-school SliceOfLife show, a comedy with occasional parodic elements, and a teen romance. One minute you're in the middle of a serious political discussion at an alien council, and the next minute, the aliens are trying to settle their dispute with a pie fight. Serious MoodWhiplash may result.
22* ''Manga/{{Gintama}}'' cycles between being a gag manga, completely serious battle manga, and heartwarming slice-of-life (well, as close as it can get in AlternateUniverse historical Edo, anyways). According to WordOfGod each chapter is its own genre.
23* ''Anime/CowboyBebop'' seamlessly combines the SpaceWestern, FilmNoir and {{Yakuza}} genres, among others.
24* The ''Deadly Sins of Evil'' {{Light Novel|s}} series all have different kinds of stories for the respective arcs they detail in Music/{{mothy}}'s ''Music/EvilliousChronicles'' franchise. ''Literature/TheLunacyofDukeVenomania'' is a twisted romance, ''Literature/EvilFoodEaterConchita'' is a tragic horror story, ''Literature/GiftFromThePrincessWhoBroughtSleep'' is a mystery novel, etc.
25* ''Manga/AhMyGoddess'' has [[LongRunners been around for a while]], and it goes through quite a few arcs that shake up the usual screwball RomanticComedy for more serious fare. The classic OutOfGenreExperience was the Lord of Terror arc, where Urd shifted from [[PrettyFreeloaders Pretty Freeloader]] to world-threatening menace, and several later arcs were also more fantasy adventure or romantic ''drama'', to say nothing of several arcs focused around [[AuthorAppeal motorcycle racing]]. These gradually became more common, until by the Niflheim arc, it was a full-fledged fantasy adventure series with a romance-focused premise, largely because Keiichi and Belldandy's relationship had been frozen at a middle-school level for so long that there was really nothing more that the author could do with it.
26* ''Manga/JoJosBizarreAdventure'' is told in different parts, with each part featuring a different member of the Joestar family as its protagonist, and often times a radically different plot. The stories of each part can range from [[Manga/JoJosBizarreAdventurePhantomBlood a Victorian drama about fighting vampires]], to [[Manga/JoJosBizarreAdventureDiamondIsUnbreakable a more comedic school life story about tracking down a serial killer]].
27* ''Anime/SpaceDandy'' tells a different story with every episode, which can span a wide range of story structures and tones. It incorporates the multiple genres well, which is largely due to the fact that, [[spoiler: with the exception of the finale,]] each episode is a self contained story, and nothing that happens in one episode (even literally everyone dying) will affect the next episode.
28[[/folder]]
29
30[[folder:Comic Books]]
31* ''ComicBook/TheLeagueOfExtraordinaryGentlemen'' goes, in order of publication, from SteamPunk thriller to Victorian AlienInvasion to a combination of 1950s spy thriller and {{Zeerust}} (with multiple other genre pastiches inside a [[ShowWithinAShow Book Within a Book]]) to musical set in the 1910s to psychedelic occult story set in the 1960s to a BlackComedy parody of [[spoiler: Franchise/HarryPotter]] set in 2009. And we don't even know what all the final volume will get into by the time it's done. Seeing as how it's setting contains characters and elements from all genres of fiction, this is probably to be expected.
32* Creator/GrantMorrison's ''ComicBook/SevenSoldiers'' does this deliberately with each of the miniseries exhibiting the traits of a particular style of comic genre. ''[[ComicBook/BatmanGrantMorrison The Return of Bruce Wayne]]'' and ''ComicBook/TheMultiversity'' are also set up the same way, with each issue being a different genre based on the setting (time in [=RoBW=] and the worlds in Multiversity).
33* ''ComicStrip/FrankAndErnest'' lands in a lot of different situations.
34* ComicBook/{{Aquaman}} can be this at times; while most of the iconic DC heroes have their own niche, Aquaman is constantly reinvented. At one point he went from warrior king, to exiled BarbarianHero, to MessianicArchetype, to Street Level Crimefighter, to [[spoiler: mentor to]] a HeroicFantasy-inspired LegacyCharacter in the span of ''30 issues''.
35* ''Heroes For Hope'', an ''ComicBook/XMen'' charity one-shot from the 80s, has '''twenty credited writers''', including comic book luminaries like Creator/StanLee and Creator/AlanMoore and famous authors like Creator/StephenKing, Creator/GeorgeRRMartin, and Creator/HarlanEllison. While you can't fault the pedigree or the good intentions, considering each writer is swapped out every two to three pages, the story is all over the map. Within ten pages, the book goes from a morose Magneto nightmare about famine zombies with "dead babies still clinging pointlessly to dead breasts" to Storm getting a PieInTheFace.
36* In keeping with Moore's (and Dr. Gull's) view of history as a complex multi-faceted structure that can be viewed and understood from multiple angles and perspectives, ''ComicBook/FromHell'' sometimes seems to shift genres depending on whose viewpoint we're seeing. To whit: from Abberline's perspective, the story comes off as a more-or-less standard PoliceProcedural following the heroic detective pursuing the evil {{serial killer}}; from the prostitutes' perspective, it's a gritty crime drama following the daily struggle to survive in the seedy underbelly of London; from Walter Sickert's perspective, it's a personal drama about middle-class Victorian life; and from Gull's perspective, it's experimental {{speculative fiction}} incorporating concepts like mysticism, predestination and [[spoiler: time travel]]. [[note]] Note that the fantastical elements are never seen from anyone's perspective other than Gull's, leaving open the possibility that he was an UnreliableNarrator.[[/note]]
37* ''Franchise/WonderWoman'' [[ComicBook/WonderWoman1942 Vol 1]]: In the Golden Age the book was a Superhero story foremost, but issues focusing on [[Characters/WonderWomanAllies Steve Trevor]] were SpyFiction, issues focusing on [[Characters/WonderWomanAllies Etta Candy]] were generally [[TheWestern Westerns]], Holliday Girl issues were TeenDrama [[MysteryFiction Mysteries]], and rather often the characters would travel to a different world, sub-dimension or time to allow for an issue of ChivalricRomance, HeroicFantasy, or an adventure on the high seas. There was even a [[BaseballEpisode baseball issue]], that was mixed with SpyFiction as a Steve Trevor focused tale.
38* ''ComicBook/CloneWarsAdventures'' covers a wide emotional spectrum of genres in each new issue (more than one CosmicHorrorStory, Jedi on spy missions, slapstick ArmedFarces tales, WarIsHell stories, etc.).
39[[/folder]]
40
41[[folder:Fan Works]]
42* The first half of ''Fanfic/{{Sluagh}}'' reads like a hard-boiled detective story, morphs into a war epic, then into eldritch horror around the Battle of Druim Cett, and then turns into high fantasy (complete with mythic landscapes and Gods), all of which clashed quite a bit with Rowling's brand of UrbanFantasy. Also, there are shifts within the shifts and they occur with little to no warning.
43* ''Fanfic/{{Hivefled}}'' started off as a soap opera, descended into {{Gorn}}, then went into action thriller, then into a light-hearted adventure, then back to the action until the two stories met, upon which the genre did a 180 and became a wacky comedy, though now it's becoming a dramedy.
44* ''Fanfic/TheVinylAndOctaviaSeries'' essentially jumps genre with each new story in the series, although primarily it's a comedy. At time of writing, we have: an action-adventure (with little comedy), comedic slice of life, romance, murder mystery, courtroom drama, and prison break as the different genres in the series.
45* ''Fanfic/TheRacketRotterChronicles'' seems to change genre with every new Arc; It starts off as a SliceOfLife Romance with comedic overtones (Arc 1), then becomes more of a dramedy (Arc 2), then turns into {{Gorn}}/Horror (Arc 3), and is now currently a sort of horror/friendship hybrid (Arc 4).
46* ''Fanfic/TheInfiniteLoops''. Even ignoring the MegaCrossover of the premise, individual snips ''within the same chapter'' can range from comedic, to surreal to horrifying to romantic to philosophical. It helps that there are over a dozen authors... per story.
47* ''Fanfic/TheVictorsProject:'' While the dystopian setting remains constant, the tone and style of the story vary from chapter to chapter, going from NoirEpisode, to tales of LaResistance, to family drama, to the pure comedy gold of Dido's chapter.
48* ''[[https://archiveofourown.org/works/30275454/chapters/74614986?view_adult=true Arcadia]]'' is ultimately [[PornWithPlot a harem smut fic]] but it goes back and forth between TeenDrama, conspiracy thriller, UrbanFantasy, Romance and elements of Horror as well.
49[[/folder]]
50
51[[folder:Films -- Animation]]
52* ''Anime/MillenniumActress'' becomes many genres, including Romance, Drama, War, Action and Sci-Fi, all reflecting the acting career of its protagonist.
53[[/folder]]
54
55[[folder:Films -- Live-Action]]
56%%* The 1968 [[Music/TheMonkees Monkees]] romp ''Film/{{Head}}''. And...''how''.
57* ''Film/{{Cloverfield}}'': The three installments of the franchise are horror, but it jumps from one horror genre to the other. The first movie is a FoundFootage deconstruction of {{Kaiju}} movies (as in, how awful would it be to be in a city attacked by a giant monster), the second is a PsychologicalThriller in which three people are trapped in an underground bunker, and the third is a SciFiHorror in which a space station experience goes haywire.
58* ''Film/{{Daredreamer}}'' has Winston and Jennie's daydreams run the gamut from a punk-rock robot apocalypse to a gentle ballet, with the filming style shifting to accommodate the different genres.
59* ''Film/ManOfTheYear'' does this, shifting between comedy, thriller, drama, and mystery all the time.
60* ''Film/PracticalMagic'' switches between Horror, Romance, and Comedy.
61* ''Film/{{Xtro}}'', which constantly jumps all over the place.
62* ''Film/BrotherhoodOfTheWolf'' is a mystery, martial arts film, monster horror film, drawing room drama, spy film and historical epic depending on the scene.
63* ''Film/SaveTheGreenPlanet'' has some regular MoodWhiplash, from slapstick comedy to creepy psychological horror, with the odd martial arts scene thrown in.
64* ''Film/SuckerPunch'' goes from Fantasy, to Thriller, to Action to Horror. The soundtrack also goes from industrial beats and screaming to acoustic ballads with a sole voice to heavy rock songs to rap. The various parts of the movie also experiment with many genres and throw the most interesting ideas together.
65* Seen through Western eyes, this is one of the defining characteristics of UsefulNotes/{{Bollywood}} films.
66* ''Film/CloudAtlas'' is composed of six interwoven stories, each taking place in a different time period and different genres: a 19th century HistoricalFiction/sea story, a [[GenteelInterbellumSetting 1930's]] drama about a [[StarvingArtist gifted but troubled composer]], a 1970's mystery/political thriller, a dark comedy set in a present-day nursing home, a {{Dystopia}} in the future and a second ScienceFiction story set AfterTheEnd set further in the future.
67* The Indiana Jones series has pivoted quite a bit over the course of just four movies. The first is an action-love story, the second is an occult thriller, the third is a buddy comedy with a father and son, and the fourth has supernatural and alien overtones reminiscent of ''Film/CloseEncountersOfTheThirdKind''
68* ''{{Film/Troll|1986}}'' can't decide whether it wants to be a horror film or a fantasy adventure. ''Film/Troll2'' can't decide whether it wants to be a horror comedy or straight up horror.
69* ''The Millennium Bug'' goes back and forth between a HillbillyHorrors SlasherMovie and a {{Kaiju}} BMovie. Most of the movie detailing a family surviving the former, until the title beast awakens.
70* ''Film/DetectiveDee'' is a {{wuxia}} movie, historical drama, film noir detective story, political thriller, or absurdist comedy? Being that this is a Tsui Hark work, [[MathematiciansAnswer yes]].
71* Showing the negative effects of this trope, a common criticism of ''Film/{{Joy2015}}'' is that it switches back and forth between slapstick comedy and gritty biopic.
72* In the ''Franchise/MarvelCinematicUniverse'', each installment is basically the superhero take on a given genre. ''Film/CaptainAmericaTheWinterSoldier'' is a conspiracy thriller, ''Film/AntMan1'' is a heist flick, ''Film/SpiderManHomecoming'' is a ComingOfAgeStory, ''Film/ThorRagnarok'' is an 80s-style PlanetaryRomance, etc.
73* The Franchise/{{Godzilla}} series does this frequently. Though every film is of course a {{Kaiju}} movie at heart, other genre elements are dropped into most installments both for the sake of variety and to cash in on current trends in the Japanese film industry. Many of them could be described as "X but with monsters."
74** ''Film/Godzilla1954'' and ''Film/GodzillaRaidsAgain'' are essentially black-and-white horror films where the monsters are played entirely for scares and great emphasis is put on the death toll caused by their rampages.
75** ''Film/KingKongVsGodzilla'' is a "salaryman comedy" and partially a spoof of the earlier Kong and Godzilla films, with the monsters presented more as annoyances than legitimate threats and more emphasis placed on humor.
76** ''Film/GhidorahTheThreeHeadedMonster'' is a [[SpyFiction spy movie]].
77** ''Film/InvasionOfAstroMonster'' is half SpaceOpera and half AlienInvasion film.
78** ''Film/EbirahHorrorOfTheDeep'' and ''Film/SonOfGodzilla'' are IslandOfMystery-based tropical adventure films.
79** ''Film/AllMonstersAttack'' is a SliceOfLife ComingOfAge story about a bullied child who looks up to Godzilla like a superhero. Godzilla only appears in dream scenes.
80** ''Film/DestroyAllMonsters'', ''Film/GodzillaVsGigan'', and ''Film/GodzillaVsMechagodzilla'' are all alien invasion films.
81** ''Film/GodzillaVsHedorah'' is a surreal horror film with hallucinogenic animated portions.
82** ''Film/TerrorOfMechagodzilla'' is a spy film ''and'' an alien invasion flick, pitting Interpol agents against the secretive invaders.
83** ''Film/GodzillaVsKingGhidorah'' is a TimeTravel story and a UsefulNotes/WorldWarII movie.
84** ''Film/GodzillaAndMothraTheBattleForEarth'' is an ''Franchise/IndianaJones''-esque adventure film.
85** ''Film/GodzillaVsSpaceGodzilla'' is a {{Yakuza}} film.
86** ''Film/GodzillaFinalWars'' is an almost unclassifiable fusion of futuristic sci-fi, alien invasion, superhero film, martial arts film, and self-parody.
87** ''Film/ShinGodzilla'' is a dark political satire that uses Godzilla's attacks as a means of critiquing the modern Japanese government's ineffective responses to disasters like the Fukushima incident in 2011.
88* ''Film/HappyDeathDay'' and its sequel ''Film/HappyDeathDay2U'' are both supernatural murder mystery romcom slasher horror dramas, with the latter having a healthy dose of science fiction thrown in for good measure.
89[[/folder]]
90
91[[folder:Literature]]
92* ''Literature/TwentySixSixtySix'': The Part about Archimboldi is this. It has bildungsroman, war, science-fiction, romance, satire, picaresque, mythical landscape and horror.
93* ''Literature/GravitysRainbow'', HistoricalFiction overall skips between ScienceFiction, war, romance, pornography, family tragedy, horror and slapstick comedy. Pynchon does this a lot. It's even more blatant in ''Against the Day''.
94* ''Literature/NakedLunch'': ScienceFiction, an undercover look at drug culture, raunchy porn, biting social satire, and some hard boiled noir thrown in for good measure.
95* ''Literature/HaruhiSuzumiya'' is known for regularly switching between comedy, science fiction, romance, fantasy, mystery, and regular school life. As a whole though, you can probably put it into MagicalRealism, though every piece has its own defined genre.
96* ''Literature/HouseOfLeaves'' is horror. No, wait, it's a satire on literary criticism. No, wait, it's incomprehensible TrueArt. No, wait, it's a love story...
97* ''Literature/CloudAtlas'', which skips between genres with merry abandon.
98* Literature/TheBible, when taken as a whole, is this. It contains at least 66 books of different genres, like history (e.g., the books of Samuel and books of Kings), poetry (e.g., the book of Job), legal codes (e.g., Leviticus), devotionals (e.g., the Psalms), or even letters (the Letters of St. Paul et al).
99* Literature/{{Discworld}}: Is it a {{Deconstruction}} or a {{Reconstruction}}? An AffectionateParody of ''Film/LawrenceOfArabia'' or a [[MysteryFiction Whodunnit]]? About a BunnyEarsLawyer trying to make the best out of being a BoxedCrook, or is the protagonist a CosmicPlaything that falls from one WackyWaysideTribe into the other, or a ''Film/DirtyHarry'' {{Determinator}} who must fight for his family's survival? Silly or played straight? Pratchett goes all over the board with his books.
100* ''Hyperion'', the first installment in ''Literature/HyperionCantos,'' does this with the pilgrims' tales, which include a gritty sci-fi war story, a ''Künstlerroman'', an account of a trek up a RiverOfInsanity, a tragic family drama, and a detective story.
101* In ''Literature/ASongOfIceAndFire'', the genre can vary depending upon the individual character's story. Although the series could loosely be described as Fantasy HouseOfCards, there are many more genres. Ned's story in the first book is a dark noir detective genre. Anytime magic itself shows up in the series, it's usually supernatural horror. Euron's role in the story becomes eldritch horror, while his nephew Theon's story is more psychological horror. Jon Snow's fake defection to the Wildlings has the trappings of a spy genre struggling to play the part without BecomingTheMask. His oldest sister Sansa is living in a Prison Break story, except she's stuck at the mercy of an feudal tyrant, has no (real) allies, and is limited to the skills of a 12 year-old. Even when someone does "break her out", the reader knows that she has just traded her physical shackles for psychological ones. And there are more genres beyond this.
102* The anthology series ''Literature/TalesFromTheYearBetween'' is this on two counts. Not only is each of its volumes in a different genre (and a different world, created from scratch by the contributors of that volume), but the individual pieces within each volume bounce around wildly. The first volume alone includes (among other things) erotic pieces, comedic plays, academic essays, horror short stories, and recipes.
103* In ''Literature/{{Ulysses}}'', every section is in a different genre.
104* ''Literature/SkulduggeryPleasant'' has, according to Word of God, a slightly different genre for each book:
105** Book 1: Adventure Story
106** Book 2: Monster Story
107** Book 3: Crime Story
108** Book 4: Vengeance Story
109** Book 5: Landy´s version of Invasion of the Body Snatchers
110** Book 6: Superhero Story
111** Book 7: Sci-Fi Story
112** Book 8: War Story
113** Book 9: Apocalypse Story
114* Lord Dunsany's "Fifty-One Tales" takes a style suited to describing nature or fantasy settings, and uses it as a bitter satire on contemporary city life. For instance, religious creatures writing advertisements, or the rich woman who wishes to import the fantastic sphinx:
115-->"There was a woman in a steel-built city who had all that money could buy, she had gold and dividends and trains and houses, and she had pets to play with, but she had no sphinx."
116: : Needless to say, [[spoiler:the sphinx kills her by the end]].
117* Creator/{{Wildbow}} does this in all his works. Each work has a primary genre, but as serials published online, there's plenty of time for each story to switch genre for a few chapters before returning.
118** ''Literature/{{Worm}}'' and it's sequel ''Literature/{{Ward}}'' are both superhero stories, but frequently veer into {{Horror}} territory with plenty of BodyHorror. Additional genres explored include DetectiveDrama, TheCaper, HighFantasy, and by the end of Worm and into Ward, [[spoiler:[[AfterTheEnd post-apocalyptic]] and AlienInvasion fiction]].
119** ''Literature/{{Pact}}'' is an UrbanFantasy with frequent forays into [[DarkFantasy horror]], and heavy use of {{Mythology}}.
120** ''Literature/{{Twig}}'' is BioPunk with frequent (you guessed it) horror moments, set in an AlternateHistory 1920s reminiscent of the [[GaslampFantasy turn of the 20th century]], but it also occasionally works as a PsychologicalThriller and has some FantasticComedy moments courtesy of the quirky EnsembleCast.
121[[/folder]]
122
123[[folder:Live-Action TV]]
124* ''Series/TheAfterparty'' is a ''Film/{{Rashomon}} style murder mystery where every story is told in the style of a different genre; one is a rom-com, one is a stylized action film, one is a musical, one is a horror film, one is a surreal animated story etc.
125* While ''Series/TwinPeaks'' started as a DetectiveDrama, it manages to alternate comedy, science-fiction and horror elements from one scene to another.
126* One episode of ''Series/MontyPythonsFlyingCircus'' keeps flipping between genres, as {{lampshade|Hanging}}d by the captions:
127-->TODAY IN PARLIAMENT HAS NOW BECOME THE CLASSIC SERIAL\
128THE CLASSIC SERIAL HAS NOW BECOME THE TUESDAY DOCUMENTARY\
129THE TUESDAY DOCUMENTARY HAS BECOME "CHILDREN'S STORY"\
130THE CHILDREN'S STORY HAS GONE BACK INTO THE TUESDAY DOCUMENTARY\
131NO IT HASN'T\
132NOW IT'S BECOME A PARTY POLITICAL BROADCAST\
133NO, SORRY, "RELIGION TODAY"
134* ''Series/DoctorWho'' pushes the line between this trope and outright GenreBusting. It did so even more in the era of Creator/WilliamHartnell, who played the First Doctor, before the series had quite settled into its format.
135** In Season 2, with William Hartnell, at a point after the writers had started experimenting but before they settled into a format, you get: a whimsical children's story with a GreenAesop with the cast trying to bring justice to a murder, a rather dark and violent AlienInvasion BMovie-like story with Daleks set AfterTheEnd, a claustrophobic BottleEpisode and {{Deconstruction}} of [[UnbuiltTrope the modus operandi the series would eventually have]], a goofy but morbid BlackComedy featuring Emperor Nero, an almost dreamlike PlanetaryRomance featuring four races of InsectoidAliens with unique psychologies and cultures, a [[Creator/WilliamShakespeare Shakespeare]] pastiche CostumeDrama dealing with religious prejudice with GratuitousIambicPentameter, a tongue-in-cheek story involving JustOneSecondOutOfSync time travel paradoxes, an ''extremely'' silly Dalek serial involving WackyWaysideTribe sequences and Dalek slapstick, and a WhamEpisode featuring the first appearance of another member of the Doctor's race.
136** Season 3 - a ''Series/StarTrekTheOriginalSeries''-like allegorical story about [[BeautyEqualsGoodness beautiful evil aliens and hideous good aliens trying to get off a dying planet]], a BottleEpisode with no Doctor or companions about a couple of space cadets dying miserably in a Dalek-infested jungle, a {{Bathos}}-filled comedy about the Trojan War, a SpaceOpera featuring Daleks, recurring villains, multiple planets, ancient Egypt and the FamilyUnfriendlyDeath of [[AnyoneCanDie two companions]], a historical deconstructing the companion's trust of the Doctor set amongst an [[FinalSolution unspeakable real-life atrocity]], a whimsical children's horror with evil clowns and dolls, a comedy MusicalEpisode with [[CowboyEpisode cowboys]], a PlanetOfHats deconstructing the Doctor's modus operandi, and an evil computer trying to take over (then) modern-day London.
137** As showrunner Creator/StevenMoffat put it: "Sometimes it's comedy, sometimes thriller, sometimes horror, sometimes children's stories, the silliest stories you've ever seen. Sometimes it's all that in the same episode". In Series Five of the reboot alone we had a thriller, a dystopian rebellion, historical ScienceFiction with Churchill, a horror-adventure, a comedy romp with vampires, a DreamWithinADream mystery, a political intrigue with reptile people, AVerySpecialEpisode about Vincent van Gogh and depression, a comedy, and a WhamEpisode.
138** Series 6 had a conspiracy thriller, a madcap pirate romp, a fantasy laden with horrors, a sinister clone saga, a {{Deconstruction}}, an assassination plot, a horrifying episode about dolls, a romantic drama, a WhatDoTheyFearEpisode, a buddy comedy, and a wedding.
139** Series 7 had the concept that 'every episode was a different genre of blockbuster movie' with movie posters for each story. In 7A, there's: a conspiracy thriller, an AnachronismStew family sci-fi, a SpaghettiWestern, a blockbuster alien invasion, a NoirEpisode, and a ChristmasSpecial. In 7B, there's a HollywoodHacking plot, PlanetaryRomance with [[EldritchAbomination Lovecraftian elements]], an [[FanWank old-school Second Doctor-style]] "Base Under Siege" story with one of Two's most iconic monsters, an old-school Fourth Doctor-style GothicHorror (set during the time Four was the Doctor in real life), [[BottleEpisode indie]] sci-fi horror with [[TimeyWimeyBall time paradoxes]], and a Victorian BlackComedy. (And some {{Wham Episode}}s that don't fit this template.)
140* ''Series/{{Community}}'': that is all. It's gone through just about everything on the {{Episodes}} page, along with plenty of more original ideas. Even the {{Paintball Episode}}s (yes, there's more than one) parody different genres.
141* ''Franchise/SuperSentai'', and by association ''Franchise/PowerRangers'' in its yearly theming, in addition to its {{Toku}} base genre. This also applies with the ''Franchise/KamenRider'' series as well. Episodes can run this line in all these series.
142* Despite the title implying a clear-cut DomCom, ''Series/FamilyMatters'' had this in spades. It really was more of a DomCom, or at least a SitCom than anything else; but Steve Urkel suddenly began inventing new forms of AppliedPhlebotinum that would have been totally out of place in the show's original concept. Some episodes turn so [[CerebusSyndrome serious in tone]] that they it's hard to see them as funny episodes of a comedy show. [[OutOfGenreExperience And a few, but only a few, episodes involved Carl's job as a police officer to such an extent that they seem unusually close to the genre of police or action shows.]]
143* The Creator/AdultSwim short ''Film/TooManyCooks'', which starts as a parody of ''Series/FullHouse'' and other 90s sitcoms, then becomes (among other things) a gritty CopShow, a SlasherMovie, a SpaceOpera pastiche of ''Franchise/StarWars'' and ''Franchise/StarTrek'', a ''Franchise/GIJoe''-like cartoon, a political thriller involving lots of assassinations, and a MedicalDrama, as well as featuring a giant anthropomorphic cat that can [[EyeBeams shoot lasers out of its eyes]] (and is really a ''Franchise/{{Terminator}}''-like robot in disguise). It's so meta that at one point, there is what looks like a ''literal'' ResetButton.
144* ''Franchise/StarTrek'': War movie, hospital drama, gumshoe noir, political thriller, gothic romance, wacky comedy. This franchise has done it all, and that's not even counting the holodeck episodes. (''Series/StarTrekStrangeNewWorlds'' even contributes the franchise's first MusicalEpisode.)
145* ''Series/StrangerThings'': Every group of characters (though some of those groups are only a single person) has its own genre. As the show progresses and their stories converge, some of these genres begin to bleed together, especially among the main characters.
146** The kids are in a DarkFantasy ComingOfAgeStory. When their friend goes missing, they look for him, only to find a girl their age who seems completely socially unaware. They continue looking for their friend, fighting to keep the adults from getting involved, and dealing with the tension caused by their repeated failures on every front.
147** Joyce is in a PsychologicalHorror. Her son goes missing, and everyone initially assumes she lost track of him. She begins to believe that her son is talking to her by making lights blink, but they never do it when anyone else is around. Everyone in town--including the sheriff who lost a child of his own--assumes she is losing her mind due to stress. This gets worse when [[spoiler:her son's body is discovered]], and she still refuses to believe it.
148** Hopper is in a ConspiracyThriller. He's living in a sleepy little town and a kid goes missing--the first major crime in decades. Then a local commits suicide after having been seen in the company of a kid. When he goes to investigate, the government gives him the runaround. When he [[spoiler:investigates the body, he discovers it's a fake]], and the government dump him at home surrounded by pills to make him think it was all a dream. His house even gets bugged. [[spoiler:In the end, he makes a deal with the government to get them to leave the town alone.]]
149** Nancy and Jonathan are in a monster-based supernatural {{Horror}}, complete with friends getting picked off. They join forces to find the creature, one of them gets a face-to-face with the monster, and they barely survive. They then set a trap in order to finish it off once and for all, in a sequence reminiscent of the climax of ''Film/{{Alien}}''.
150** Steve is in a coming-of-age TeenDrama. He's known for one-night stands, but finally finds a nice, intelligent girl that he wants to spend time with. He gets her to come to a party, and they consummate their relationship, only for her to turn distant. He mistakenly believes she is cheating on him, and when he tells his friends, they start slut-shaming her around town. He eventually dumps his friends and starts making up for the things he let them do, then goes to apologize to his girlfriend... only to find that she's ''actually'' in the monster movie discussed above.
151** Mrs. Wheeler is in a SoapOpera. She's having a nice and normal life then one day, her son's friend goes missing and her daughter starts acting distant. Any attempts to connect with these family members backfire miserably, and the suspicion only increases when her son's friend's mom starts acting off as well and suddenly throws her out of the house. Then, her daughter reveals that she slept with her boyfriend, and she learns that her son is harboring a dangerous individual underneath her nose.
152** Mr. Wheeler is in a {{Sitcom}}. When everyone else storms out of the dinner table, he even looks at the little girl like he's expecting a cute one-liner.
153** The genres the characters find themselves in are shaken up in subsequent seasons. For example, in Season 2 Joyce and Hop participate in the sci-fi horror as they struggle to understand what's going on with Will; Steve and the kids gradually find themselves in the sequel to the monster movie, only unfortunately for them it's now become ''Film/{{Aliens}}'' instead of "just" ''Film/{{Alien}}''; Jonathan and Nancy take over the GovernmentConspiracy plot-line with exposing Hawkins Lab; and Eleven goes on an epic quest to find out who she truly is and how to control her powers, similar to Luke in ''Film/TheEmpireStrikesBack'', but which plays out in practice more like an UrbanFantasy reinterpretation of a grim urban TeenDrama based around urban decay in the inner city a la ''Literature/TheWarriors''.
154** Switched up yet again in the third season. Nancy and Jonathan take on a more horror-ridden storyline once more. Steve and Dustin's group, and then Joyce and Hopper, handle different elements of the conspiracy surrounding Starcourt Mall. Mike, Eleven, Max, Will, and Lucas are thrust into a teen-drama, which begins to take the thriller/horror path after a few episodes.
155** Hopper, Joyce, and Murray remain in the conspiracy track in season 4. The conventional horror is handled by the Hawkins teens, while Eleven is dealing with sci-fi. Meanwhile Will, Mike, Jonathan, and Argyle find themselves in a road trip movie.
156* ''{{Series/Charmed|1998}}'' tended to vary in the tone of its genre depending on what season it was on:
157** Season 1 was very gloomy and similar in tone to ''Film/TheCraft''.
158** Season 2 heavily downplays the witchcraft and focuses mainly on the sisters' personal lives.
159** Seasons 3 and 4 are more action-packed, with darker arc-based storylines. These seasons best evoke SupernaturalSoapOpera.
160** Seasons 5 and 6 go LighterAndSofter to veer into HeroicFantasy.
161** Seasons 7 and 8 are something of a mixture of all the previous seasons, being darker in tone than 5 and 6 but still lighter than 3 and 4.
162* ''Series/BlackMirror''. Although it is primarily speculative science-fiction with a dash of social commentary, every story is self-contained and the genre changes with each episode. Just taking Season 3 as an example, you have RoadTripPlot ("Nosedive"), PsychologicalHorror ("Playtest"), romance ("San Junipero"), war story ("Men Against Fire") and NordicNoir PoliceProcedural ("Hated in the Nation").
163* ''Series/{{Riverdale}}'' can switch between genres within a single episode (partly due to having an EnsembleCast in multiple simultaneous plotlines). It can go from being a TeenDrama ComingOfAgeStory to a AmateurSleuth DetectiveDrama to a CriminalProcedural and back again, with an occasional dose of TheMusical and all with a heavy FilmNoir influence. It isn't surprising to learn one of its main inspirations was ''Series/TwinPeaks'', which is also on this list.
164* ''Series/LegendsOfTomorrow'' has different focuses by season, and a number of episodes pay homage to different genres depending on their setting.
165* ''Series/NowAndAgain'' was ostensibly a sci-fi show, but no two episodes were the same. Superhuman Michael Wiseman was a miscellaneous man for hire when he wasn't a lab rat, countering threats ranging from spies to killer insects. Wiseman's wife and daughter provided some family dramedy as well as they tried to get on with their lives in the wake of Michael's apparent death.
166* ''Series/SearchParty'' starts off as a BlackComedy with some drama and mystery elements in the first two seasons, before adding some LawProcedural elements in Season 3 and a PsychologicalThriller in the fourth season. All of the seasons are highly satirical however.
167* ''Series/ShadowAndBone'' falls under the fantasy umbrella as a whole, but switches between different genres/sub-genres depending on whose storyline we're currently following. As mentioned in its GenreMashup entry, the lines between them get increasingly blurred as the three main plotlines intersect more; by the end of the first season it's less Roulette and more Mashup.
168** The A-plot involving Alina and Mal is a more typical HighFantasy ComingOfAge story; plucky orphan Alina finds out she's TheChosenOne, attends magic school and uncovers the dark truth behind the evil that threatens her home, while Mal goes on a quest to find a magical creature and be reunited with Alina.
169** The B-plot about Kaz, Inej and Jesper is more of a LowFantasy take on TheCaper about a group of anti-hero criminal masterminds plotting to kidnap Alina and smuggle her over the border while avoiding the authorities and rival crims.
170** The C-plot about Nina and Mattias is a survival story combined with an "enemies to lovers" romance, with a dash of ParanormalRomance considering Nina's powers; the two start out as sworn enemies until they get shipwrecked and must rely on each other to get back to civilisation, developing feelings for each other along the way.
171[[/folder]]
172
173[[folder:Music]]
174* Music/FrancoDeVita: The album ''Simplemente la verdad'' (Simply The Truth) provides several songs that are played in a particular musical genre each; examples include "Cántame" (Sing For Me) which is strongly inspired in Joropo music, "Callo" (I'm Silent) which combines salsa with a tropical flavor, "Diez años y un día" (Ten Years And One Day) which is rock-based, and so on.
175* Music/JohnZorn encompasses every possible musical genre you can imagine and he switches back and forth between styles almost as if someone was playing with a remote control. Name '''any''' music and he's performed it: {{Jazz}}, AvantGardeMusic, ClassicalMusic, {{Rock}}, PunkRock, SurfRock, ProgressiveRock, ElectronicMusic, {{Ambient}}, Klezmer, {{Improv}}, {{Hardcore}}, {{Grindcore}}, DeathMetal, {{Reggae}}, movie soundtracks, ...
176* Country music legend Ray Price did this within his own country music genre. He performed straight-ahead standard honky tonk in his earliest releases in the early 1950s, before adding his signature 4/4 shuffle and waltz sounds by the mid-1950s. By the early 1960s, his music began to evolve as he added strings and backing vocals to fully embrace the Nashville Sound. By the late 1960s, his style was pure country pop, and the best example of this was his top 15 ''pop'' crossover hit "For The Good Times" in 1970. He continued having success with a style and instrumentation that was not unlike pop crooner Perry Como through the mid 1970s. And then by the late 1970s, he began slowly folding traditional country back into his sound. Until his retirement shortly before his death in December 2013, the "Cherokee Cowboy" continued to perform music from all eras of his musical career, which spanned more than 60 amazing years.
177* In [[Music/{{Bjork}} Björk's]] 1995 album, ''Music/{{Post}}'', she switches from [[https://www.youtube.com/watch?v=jPeheoBa2_Y Industrial Rock]], Dance, Jazz, Trip Hop, [[BaroquePop Chamber Pop]], {{Ambient}}, and other genres. This is typical for her, really.
178* Canadian indie band Islands' debut album ''Return to the Sea'' featured a [[https://www.youtube.com/watch?v=Wq3-98XJCfw ten minute epic]], [[https://www.youtube.com/watch?v=KoRmTMjksfM synthpop]], catchy indie-pop and a rap interlude.
179* Music/JCChasez's album ''Shizophrenic'' traversed the gamut from urban pop to {{techno}} to [[NewWaveMusic New Wave]] and {{reggae}}.
180* Music/FiveIronFrenzy's album ''All the Hype that Money Can Buy'' switches between ska-punk, ska-salsa, ska-hip-hop, ska-synth-rock, and ska-HairMetal. They take it [[ExaggeratedTrope Up to Eleven]] the end of the ''Quantity is Job One'' EP, with These Are Not My Pants: The Rock Opera, where every one of 8 band members sings a part, each in a different musical style; Latin, Piano ballad, Country, Rock, Jazz, Reggae, Rap, and something only described as "Weird".
181* Music/TheDingees play [[Music/TheClash Clash]]-inspired punk, roots reggae, and first-wave ska songs on their first three albums.
182* The band WHY? switch between alternative hip-hop, indie rock, folk, R.E.M.-inspired jangle pop and bizarre combinations of these genres. Their 2008 album ''Alopecia'' for instance, wobbled in between the band's various genres. Compare the first single, alternative rap song "[[https://www.youtube.com/watch?v=6ikWDmCatKA A Sky For Shoeing Horses Under]]" to the third single, indie rock song "[[https://www.youtube.com/watch?v=o5BQfC78Q4g Fatalist Palmistry]]". The second single from the album, "[[https://www.youtube.com/watch?v=QqcckeKtSU4 The Hollows]]", is somewhat of a meeting point between the band's two main genres.
183* ''Peergynt Lobogris'' switches between ambient rock, new age and jazz music.
184* Music/{{Origin}} went this route on ''Entity''; while it contains plenty of examples of their typical sound (Expulsion of Fury, Conceiving Death, Swarm, Saligia, Consequence of Solution), they toss in deathgrind (Purgatory, Fornever, Banishing Illusion), straightforward brutal death metal (Evolution of Extinction), and an [[ExaggeratedTrope incredibly]] [[HellIsThatNoise bizarre]] [[BrownNote and]] [[ScareChord unsettling]] noise-grind track (Committed). Hell, even the songs done in their usual style on the album occasionally pull this; Expulsion of Fury, for example, starts with a frantic tapping riff more akin to Brain Drill or Anomalous before transitioning right into a thick groove right out of the Bolt Thrower playbook.
185* ''Music/TheWhiteAlbum'' by Music/TheBeatles switches from SurfRock, to Acoustic, to Ska, to random banging on a piano, to [[GenreMashup Bluesy Doo-Wop Hard Rock]] to Pop to Folk to Country to Hard Rock to Proto-Metal to Blues to Avant-Garde to ballad. The Beatles in general did this a lot over the course of their career.
186* Played with by Music/ReelBigFish on ''Our Live Album Is Better Than Your Live Album'' with "S.R. (The Many Versions Of)" where they played the entire song or parts thereof several times, picking new genres after each variation and commenting on the crowd's reaction as they included ska-punk, punk rock, blues, disco, death metal, a "sensitive and tender emo song", old school rap and more. The verdict was "play more country, the people love it!" Also their song "Party Down" contains ska, disco, death metal, dance, reggae, and country breakdowns, all over a basic garage rock and horns structure.
187* Music/BillyJoel has done this, from pop to Southwestern funk to soul to Music/AaronCopland-like ballads to a ''classical music'' album. He even emulated Music/TheBeatles in the B side of the ''Nylon Curtain'' album. He also stated that "We Didn't Start the Fire" was going to be a ''rap'' song, but thought better against it.
188* Nobody quite knows what to call Music/BoardsOfCanada genre-wise. Each album contains some consistency; their evolving discography can be referred to as ambient/ambient techno, "IDM", downtempo and yet the labels will be simultaneously close and miles away in terms of describing their sound. The closest anyone has come to naming their genre is probably "Boards of Canada".
189* Music/XJapan. Heavy metal and hard rock with more than a pinch of punk sensibility becomes symphonic metal becomes beautiful rock ballads AND progressive rock with a metal sound. They're all over the map and bring the same level of skill to all of it.
190* Music/{{Beck|Musician}} almost always, although he sometimes mixes them. Country, hip-hop, jazz, anti-folk, rock, experimental, tropicalia, electronic...
191* Music/FrankZappa played numerous genres throughout his career: rock, progressive rock, jazz, fusion, classical, experimental... the list goes on and on. He even had a doo-wop album (''Music/CruisingWithRubenAndTheJets'').
192* Music/PearlJam's changed style on every album: arena rock/grunge --> straightforward rock --> experimental --> world/folk-rock --> garage rock/post-grunge --> space rock --> punk/folk/art-rock --> straightforward rock (again) --> New Wave --> punk (again) --> New Wave/post-punk
193* Music/TheBlackCrowes are most easily classified as a {{hard rock}} band, but their specific sub-genre shifts with each album. While their first two albums were pure hard rock, from there they did GarageRock --> PsychedelicRock --> {{soul}}-influenced rock --> BluesRock --> SouthernRock --> {{folk|Music}}[=/=]{{country|Music}} rock. There's a reason they're nicknamed "the most rock n roll rock n roll band in the world."
194* Music/AmandaPalmer made a career out of this. Compare her songs [[https://www.youtube.com/watch?v=wWZu6NWJkHw Guitar Hero]], [[https://www.youtube.com/watch?v=rWSLJszH70o A Campaign of Shock and Awe]], [[https://www.youtube.com/watch?v=NvSuLUd0vS0 Mandy Goes To Med School]], [[https://www.youtube.com/watch?v=CKwLtzAvYSg Slide]], and her cover of [[https://www.youtube.com/watch?v=Ek5ZNgw8Vdk Creep]]. She's also covered songs by/from Music/BlackSabbath, Music/KurtWeill (in German), Britney Spears, Sonny & Cher, ''The Sound Of Music'', ''Film/TheRockyHorrorPictureShow'', Tchaikovsky and Rihanna.
195* Music/LinkinPark's album ''Minutes to Midnight'' switches from cathartic AlternativeMetal to synth-tinged adult contemporary ballads with a PoliticalRap song in between.
196* Scissor Shock. What makes this even more awesome is that all of those genres are GenreBusting.
197* S.C.I.E.N.C.E. album era Music/{{Incubus}} not only varied genre from song to song, but sometimes from verse to bridge to chorus. Witness 'A Certain Shade of Green', with it's funk verse, metal chorus and disco bridge.
198* This could be said of many of Music/{{Radiohead}}'s albums, but ''Music/{{Amnesiac}}'' fits this trope particularly well. Its tracks include the gloomy {{jazz}} of "Life in a Glasshouse," the twitchy electronic "Like Spinning Plates," the relatively straightforward rock of "Knives Out," and the indescribable "Pyramid Song."
199* Music/EltonJohn was known for this at the height of his popularity; ''Music/GoodbyeYellowBrickRoad'' alone switches from ProgressiveRock ("Funeral for a Friend/Love Lies Bleeding") to melodic piano ballads (the title track) to minimalistic glam-rock ("Bennie And The Jets") to Stonesy rockers ("Saturday Night's Alright For Fighting") to [[Music/TheBeatles Beatle-esque]] numbers ("Harmony") to soft rock ("Candle In The Wind") to reggae ("Jamaica Jerk-Off") to boogie blues-rock ("Dirty Little Girl") to proto-disco-soul ("Grey Seal") to pseudo-doo-wop ("Your Sister Can't Twist [But She Can Rock 'N Roll]") to country ("Roy Rogers"; "Social Disease") to '20's jazz ("Sweet Painted Lady") to cinematic pieces like "The Ballad Of Danny Bailey" and the [[ExactlyWhatItSaysOnTheTin aptly-named]] "I've Seen That Movie Too".
200* Suicide Machines go back and forth from ska punk and ska-core (Destruction by Definition, Battle Hymns) to pop punk (Suicide Machines, Steal This Record) and back to a mix of hardcore and ska punk for their last two albums (A Match and some Gasoline, War Profiteering is Killing Us All), sometimes switching back and forth from ska to hardcore every other song.
201* ''Music/{{Gorillaz}}'', with only three albums, have managed to present genres like Alternative, dub, hip hop, rock and electronic, and the last song ("M1 A1") features sounds and clips from ''Film/DayOfTheDead1985'' in [[Music/GorillazAlbum the first album]]. ''Music/DemonDaysAlbum'', the following album, followed a similar pattern, but with a darker and somber sound, along some dance/synth (DARE), some acoustic dark tunes (El Mañana), and even a choral ("Demon Days"), along with another horror film sample, from the film ''Film/DawnOfTheDead1978'' (Intro). The third album, ''Music/PlasticBeach'', can only be described as "crazy", what with mixing in one song the Lebanese National Orchestra for Oriental Arabic Music with hip hop, and all the album has all over sounds of soul, electro, rock, pop, and even [[ArsonMurderAndJaywalking seagulls and sea sounds and a breakfast commercial]]. Of course, Damon Albarn is clearly doing a good job, so it's not risky business.
202* Music/{{Melvins}} may be known for playing slow, but they never really stuck to one particular sound. Their music ranges from alternative metal, to [[DoomMetal sludge metal]], to avant-garde rock, to just straight up hardcore punk.
203* Music/YokoKanno, goddess of anime soundtracks, can write ''anything''. Compare the classic orchestral soundtrack for ''Anime/TheVisionOfEscaflowne'' to the power-ballad-laden ''Anime/WolfsRain'' to the techno epics of ''Anime/GhostInTheShellStandAloneComplex'' to the jazzy music in ''Anime/DarkerThanBlack''. Her work on ''Anime/CowboyBebop'' (paragon of the CultSoundtrack that is) covers all of these ''by itself''. And then [[GenreMashup she starts combining them]]…
204* Music/DirEnGrey are especially fond of this, to the point that their sound is mostly unclassifiable apart from being some kind of metal. It's extremely uncommon for two songs on their recent albums (especially starting with ''Uroboros'') to sound anything like each other, and there are often rapid stylistic shifts within the songs themselves (Music/{{Kyo}}'s penchant for throwing in all kinds of screams in songs where it wouldn't otherwise be expected is no doubt a major contributing factor to this). Styles the band has played or been influenced by include PowerMetal, NoiseRock, TechnicalDeathMetal, {{Deathcore}}, AlternativeRock, AlternativeMetal, NuMetal, and even HarshNoise. They have managed to avoid the {{Scrappy}} status often associated with NuMetal and {{Deathcore}} through the sheer variety of their music and their instrumental prowess. Two examples of the band using this trope can be found [[https://www.youtube.com/watch?v=z_llwjp60XE here]] and [[https://www.youtube.com/watch?v=hysCqjnHHZ4 here]].
205* In contrast with Music/MrBungle's straight out GenreBusting, Music/MikePatton's other 90's band Music/FaithNoMore were a bit more into genre roulette, especially starting with ''Angeldust''. For instance, ''King For A Day, Fool For A Lifetime'' had a few of their heaviest songs (e.g. "Cuckoo for Caca"), but also threw in country ("Take This Bottle"), seventies style funk/soul ("Evidence", "Star AD"), laidback bossanova ("Caralho Voador"), and even a gospel ballad ("Just A Man"). It also has the "The Gentle Art Of Making Enemies" which is a sort of theatrical thrash-goth song, which becomes very dramatic due to Patton using a different character voice for each section of the song (low crooner for first verse, LargeHam supervillain for first half of bridge, death growler for second half of bridge and operatic crooning for chorus).
206** Mr. Bungle actually did quite a bit of this too, but it was more noted by extreme stylistic shifts within each individual song, which oddly tended to have the effect of making the entire album's style seem a bit more unified, because it wasn't so much one song being followed by another song of a different genre as it was each song's genre being ''entirely unclassifiable''.
207** Secret Chiefs 3, a project helmed by Mr. Bungle guitarist Trey Spruance, eventually started crediting songs on their albums to seven different "satellite bands", each with their own loosely defined style. So far two "satelite bands" have had spinoff albums of their own - Ishraqiyun's ''Perichoresis'', a collection of songs influenced by various types of Afghani music, and Traditionalists' ''Le Mani Destri Recise Degli Ultimi Uomini'', {{Music/Goblin}}-inspired pieces presented as the soundtrack to a non-existent {{Giallo}}.
208* Cursor Miner's styles are all over the map, jumping between breakbeat, techno, electro, synthpop, IDM, trip-hop, and industrial.
209* The only genre that will definitely be on a Music/WeirdAlYankovic album is polka, and it'll probably be a medley; the others can be just about anything. Given that he's a prolific parody artist, this shouldn't be too surprising, but his band can play ''any'' genre well.
210** If you want a non-medley that contains this trope, consider "Genius in France", his style parody of Frank Zappa (see above) from 2003's ''Poodle Hat''.
211* Music/TheClash, especially the album ''Music/{{Sandinista}}'', tend to switch between genres all the time. ''Sandinista!'' contains the first ever rap song released by a rock band, as well as songs influenced by dub, reggae, and funk, a song with a children's choir, and a song with elements of twee pop. To consider them just a punk band is hardly fair.
212* Music/BlindGuardian is ostensibly a HeavyMetal band, but their repertoire runs the gamut from [[FolkMusic Folk Songs]] to HeavyMithril to {{Pop}}. Also Music/{{Ayreon}}, in the same vein.
213* Music/EnterShikari in general, but most notably on their second album ''Common Dreads''. [[https://www.youtube.com/watch?v=qYa_Un5DrDg ''The Jester'']] takes this [[ExaggeratedTrope Up to Eleven]] by switching between von Clownsticket solos, the band's standard synthesizer-heavy post hardcore and a trance instrumental.
214* Japanese BlackMetal band Music/{{Sigh}} does this a lot, frequently within the same song. It's particularly blatant on ''Imaginary Sonicscape'', where there are oddities like disco and dub reggae breaks thrown into the middle of almost every song. Not to mention the obligatory classical snippet (Music/FryderykChopin's Minute Waltz, if you're curious) overlaid with what appears to be several hundred samples of giggling babies that closes the album. Of course, Sigh frequently invoke GenreBusting as well. It's difficult to define exactly where their use of one trope ends and the other begins.
215* Music/{{Queen}} went from hard glam rock to pop to funk to '30's swing to power ballads to skiffle-folk to ProgressiveRock over the course of an album. Or over the course of one album side.
216** Queen's first few albums were fairly straightforward, fusing elements of ProgressiveRock and HeavyMetal. But their fourth album, ''Music/ANightAtTheOpera'' has virtually no two songs in the same genre (and some of the genres are quite atypical for pop bands - British Music Hall style, anyone? - and most of their subsequent albums up to their 1984 album ''The Works'' (nine songs, nine genres) continued this pattern. The only real exception in this era was their score to ''Film/{{Flash Gordon|1980}}''.
217** Queen's most famous hit, "Bohemian Rhapsody" is a Genre Roulette all by itself. There are five very distinct portions, including at one point going from a slow ballad ("Mama...just killed a man") to an up-tempo ''operetta'' ("I see a little silhouetto of a man") to a powerful hard rock piece ("So you think you can stone me and spit in my eye!")
218* Music/KyleDennis: HarshNoise, industrial, rock, tape music, experimental, drone, even mixtapes.
219* Music/{{Gackt}} is a rock artist, but what genre of music is going to be on his albums and singles is random at best. Some songs such as Cube, Oasis, Uncertain Memory and Secret Garden don't even resemble any discernible genre. Songs like these are simply referred to by fans as "Gackt rock".
220* ChristianRock performer Carman did this constantly during his career. Pop, rock, rap, something vaguely like folk, adult contemporary, a pastiche of '50s rock and roll, and his famous rhyming sermons put to music. He often recorded with guest performers, and even then he might defy the genre they are typically known for; for example, "Our Turn Now" features then-metal band Music/{{Petra}} but is the kind of rap-rock that Music/DCTalk would eventually be known for.
221* Music/{{Drake}} does a mild version of this in his albums. He usually has typical BoastfulRap songs, but occasionally does pop/R&B ballad-type songs, such as "I Get Lonely Too" and "Find Your Love". In fact, one of the things he is praised (or criticized) for is his ability to switch from boastful raps to self-examining ballads. From ''Views'' on, he has started having more of a dancehall reggae influence on his songs, most obviously "One Dance" and "Controlla" (which even features dancehall artist Popcaan). His next album, ''More Life'' continues in this vein, even throwing in some {{afrobeat}} for good measure.
222* Conor Oberst Music/BrightEyes exhibits this tendency with his {{Side Project}}s.
223* Music/{{Ulver}} IS this trope - They began as a mix of atmospheric black metal and folk metal and then went dark folk and then a harsher, more lo-fi black metal. On their 4th album they became practically industrial metal and on their 5th they became a mix of trip hop, ambient and breakcore. They now have gone towards a general experimental rock style.
224* Music/DJShadow's early works were heavily trip-hop influenced while his last album encompasses indie rock and 'hyphy' influences.
225* Music/GuniwTools jump from jazz-rock to folk to punk to electronic music on several of their albums.
226* Music/TheVeronicas went from single acoustic rock pop (Heavily Broken) to RNB-Eletronic-Faux-Rap (Cold) in three albums. Two albums in and have done pop, pop-rock, pop electronic, dance pop, classical pop, 80's inspired pop and RNB.
227* Music/BritneySpears and her album ''Music/{{Circus}}'' is a mix tape as such and an example of this.
228* Amorphis has run the gamut from [[https://www.youtube.com/watch?v=HV5xVPFKDuM straightforward Death Metal]], to a more melancholy Death/Doom style, to [[https://www.youtube.com/watch?NR=1&v=adfaixBsbZE Alternative Rock]], to [[https://www.youtube.com/watch?v=8qjiWb1O_L4&ob=av3e Gothic Metal]], to vaguely Opeth-ish Progressive Death Metal, and even [[https://www.youtube.com/watch?v=iUbk1Kp8xGc&feature=relmfu acoustic ballads]].
229* Music/SkinnyPuppy's ''[=hanDover=]'' runs the gamut from straight industrial(Vyrisus) to industrial metal(Village) to EBM(Icktums) to IDM(Ovirt) to ''breakcore''([=NoiseX=]).
230* Music/AmyGrant has recorded in MOR/Adult Contemporary Christian Pop (her early career), Southern and Bluegrass Gospel (her hymns albums), mainstream country-folk (''Tennessee Christmas'' among others), folk-rock (her ''Lead Me On'' and ''Behind The Eyes'' albums), mainstream AC/top 40 pop (much of ''Unguarded'', ''Heart In Motion'', ''House of Love'' and ''Simple Things'' albums, the duet with [[Music/{{Chicago}} Peter Cetera]] called "The Next Time I Fall" being the most notable) and ChristianRock (the ''In Concert'' albums and certain songs from her early career) among others.
231* Music/NineInchNails' discography began with a synthpop-kinda-EBM-kinda-Gary Numan style new wave meets Depeche Mode meets Al Jourgensen on diazepam, and then the Ministry/Skinny Puppy influence led to Broken which....industrial ro...meta...no, rock/metal...Downward Sp...yeah, alt/industrial rock. [[MoodWhiplash The Fragile]]..........alt...ambient...I mean ~DARK~ ambient, which Still would......well, broadly the band is...broadly...post-industrial? Goddamn, just go listen to it.
232* Music/SoundHorizon is, in theory, a SymphonicMetal band. In ''theory''. The fact that [[Website/{{Wikipedia}} The Other Wiki]] has them listed under nine genres should tell you something about how they work.
233* Music/VanessaAmorosi: "Somewhere In The Real World" was a jazz (Something Emotional), rock (Kiss Your Mama!), pop (Perfect), swing (My House) and contemporary (Who Am I?) album...to say the least.
234* The Music/FooFighters were usually alternative rock with a SurprisinglyGentleSong every now and then. Then with ''In Your Honor'', a DistinctDoubleAlbum with an acoustic disc, it became more common.
235-->'''Dave Grohl''': "I eventually want it to get to the point where when people ask me what kind of band I'm in, I say: 'I just play music'. It's not one specific genre of music, it's not one specific style. I'm just a musician. I can play all these different instruments, I can write a bossa nova, I can write a thrash tune."
236* Music/VanillaIce's music has elements of NuMetal, Jazz, Country, Hip-Hop, GangstaRap, Funk, AlternativeRock, etc.
237* Crotchduster embodies this to the max. They switch between Power Metal, Death Metal, Grindcore, Synth-Pop, Comedy, Electronic, self made audio samples, Classic Rock, Blues, Jazz, A Cappella, etc. etc. You name it, they've used it at some point. And they only have ONE. FUCKING. ALBUM.
238* Music/SteveTaylor liked to play around with a bunch of different genres, although he was nominally just a Christian Rock musician.
239* Music/TheSmashingPumpkins' Big Damn Double Album ''Music/MellonCollieAndTheInfiniteSadness'' was ''notorious'' for pushing this trope [[ExaggeratedTrope to the limit]] at a time when popular music was already cashing in on it. In addition to the fuzzy AlternativeRock from the previous record, you had: {{Grunge}} ("Jelly Belly", "Bullet With Butterfly Wings"), HeavyMetal ("Zero", "Bodies", "X.Y.U."), Symphonic ("Tonight, Tonight"), ProgressiveRock ("Porcelina of the Vast Oceans", "Thru the Eyes of Ruby"), {{Thrash|Metal}}/{{Hardcore}} ("Tales of a Scorched Earth"), {{Industrial}} ("Love"), {{Pop}} ("1979"), SynthPop ("We Only Come Out at Night, "Beautiful"), Classic Folk ("Cupid de Lock", "Take Me Down", "Lily"), and... [[BuffySpeak whatever the hell some of those other songs were]].\
240\
241Their follow-up, ''Music/{{Adore}}'', was similar in this respect, though mostly shuffling between {{Pop}}, {{Electronic|Music}} and {{Folk|Music}}, as opposed to ''Mellon Collie'''s dozen plus genres.
242* Music/KellyClarkson likes to record different styles of songs for her albums and sing different styles for her shows.
243* Music/KanyeWest's trademark is incorporating many genres (usually, but not always by {{sampling}}) into hip-hop. He genereally changes which genre every album or two, going from neo-soul and 50s/60s/70s R'n'B on his debut and sophomore, to electro and dance music on his third. His fourth album, ''808s and Heartbreak'' was a [[NewSoundAlbum straight-up synthpop record]], whilst ''Music/MyBeautifulDarkTwistedFantasy'', as well as his albums with Music/JayZ and GOOD Music are this trope to a T. This was praised by many as the defining strength of MBDTF, with influences ranging from classical music to dance-pop to rock'n'roll.
244* ''VideoGame/TheWitcher: Music Inspired By the Game'', one of two soundtracks packaged with the [[LimitedSpecialCollectorsUltimateEdition Enhanced Edition]] of the game, runs the gamut from Celtic-style folk music (e.g., [[https://www.youtube.com/watch?v=1pnWs_iodDU "Skellige" by Duan]]) to folk-rock ([[https://www.youtube.com/watch?v=cLHLjkru13E "Sapphire Waters" by Village Kollektive]]) to rock ([[https://www.youtube.com/watch?v=51sZeFI-3Dk "Running Away" by Skowyt]]) to heavy metal ([[https://www.youtube.com/watch?v=xrHqLmAU19c "Sword of the Witcher" by Vader]]) to just plain damn weird ([[https://youtu.be/cCxTt881T2U "They Want to Suck" by LAL]]).
245* Music/TheBeeGees get in on this too. They employed [[BaroquePop many]] [[{{Disco}} musical]] [[{{Soul}} styles]] through their whole career, but of particular note is their last ever album as a group, ''This Is Where I Came In''. Witness the understated acoustic rock of [[https://www.youtube.com/watch?v=hW2tGPvsR2E the title track]], the 90s-tinged Eurodance of [[https://www.youtube.com/watch?v=hboINwXeT8I "Embrace"]], the legitimate rock-out session of [[https://www.youtube.com/watch?v=p_opGRxMa8M "Voice in the Wilderness"]], the AwardBaitSong-esque [[https://www.youtube.com/watch?v=2KAqmvIdEAc "The Extra Mile"]], and weirdest of all, [[https://www.youtube.com/watch?v=pHvwp6uKZTM "Technicolor Dreams"]] - a Tin Pan Alley ditty that seems lifted straight out of TheThirties...
246* ChristianRock group Music/ThousandFootKrutch certainly qualifies. They perform everything ranging from metal, alt-rock, hard rock, contemporary Christian, acoustic rock, pop, and even hip-hop.
247* Music/LeonardBernstein's ''Mass: A Theatre Piece for Singers, Players and Dancers'' recklessly mixes together various styles of classical and popular music. In less than half-hour, it goes from an experimental quadraphonic piece to a smooth ballad to cool jazz (with {{Scatting}}) to marching band music to a round to a folk instrumental to an a capella hymn in neoclassical style to an atonal oboe solo followed by pounding hexachords which segues to blues rock.
248* Music/TheMonkees, in the Don Kirshner era, spun between bubblegum pop, proto-punk, Mike Nesmith's country-rock, and novelty songs. After overthrowing Kirshner, they added folk rock, psychedelic rock, Broadway-flavored tunes, Latin influences, and hints of R&B to the roulette wheel, removing some of the bubblegum and almost all of the novelty stuff in the process. Michael Nesmith's solo career incorporated at various times: country-rock, big band, straight country, straight rock, samba and tango, new wave, tropical music,....
249* ''Volume One'' by Fear Of Pop, a side project of Music/BenFolds: Among other things, the album features Big Beat ("Root To This"), jazz-funk ("Kops"), Creator/WilliamShatner doing spoken word over lounge music ("In Love"), and an apparent Music/TalkingHeads style-parody ("I Paid My Money")... Basically everything but the piano pop he's known for (although the intro to "Rubber Sled" features a comically sped up sample of Ben Folds Five's SignatureSong "Brick").
250* Creator/CirqueDuSoleil's ''Amaluna'' soundtrack is a mix of contemporary genres, including pop ballads ("Hope" and "Run"), ska-punk("Burn Me Up"), trip-hop (middle of "Enchanted Reunion"), drum & bass ("Fly Around" and last part of "Enchanted Reunion"), tribal (first half of "Creature of Light"), R&B ("Elma Om Mi Lize" and "O Ma Ley"), dark {{ambient}} ("Whisper"), breakbeat ("Running on the Edge" and "Mutation"), and even {{industrial metal}} ("Tempest").
251* Long-running American experimental group Music/ControlledBleeding ran the gamut of punk, {{progressive rock}}, {{harsh noise}}, dark ambient, dub, {{industrial}}, modern classical music, folk, free jazz, and pretty much everything in between. Generally they had the decency to limit themselves to a few genres per album, but the results can still be incredibly jarring, particularly on early albums like ''Knees & Bones'' where the music will suddenly shift from shrieking power electronics to trippy yet soothing guitar instrumentals to strange pieces halfway between the two at the drop of a hat.
252* Music/EinsturzendeNeubauten gradually calmed down from the metallic percussion and noisy intensity of ''Kollaps'' in exchange for increasingly quiet conventional styles while maintaining the usage of custom musical instruments built out of found objects. Nonetheless, they still showcase a wide range of textures.
253* Alex Skolnick, along with playing lead guitar for Music/{{Testament}}, leads a jazz trio.
254* Music/JimSteinman's ''Bad for Good'' album. Wagnerian orchestra, country & western, spoken word, rock ballad, goth, bubblegum... you name it. In particular, "Dance In My Pants" shifts from country rock to something rather occultish.
255* Music/TheAvalanches' debut album ''Music/SinceILeftYou'' switches between Trip-Hop, Ambient, and HouseMusic, and even then these songs [[GenreBusting can't easily be identified as a single genre.]] Hell, even before their first album, they dabbled in experimental RapRock and Trip-Hop. Their follow-up ''Music/{{Wildflower}}'' adds on to this with some heavy influence from soul, rap, and children's music.
256* The Music/BlueOysterCult's first album wobbled between country music with a hard rock edge, to "pure "heavy rock. The ''Mirrors'' album revisited the country music theme with ''In Thee'', a track that would not be out of place in the Eagles' soft country-rock repertoire, and for good measure even added the disco-influenced ''Dr Music''.
257* Music/VanMorrison generally stays within the bounds of blues/jazz fusion, but has at one time or another dabbled in just about every musical genre imaginable, with the exception of heavy rock and reggae.
258* Irish band the Music/{{Horslips}} practically invented Celtic Rock, fusing traditional themes, rhythms and Irish instruments with hard guitar-edged rock music: they even set a traditional song, ''An Bratach Ban'', to a reggae beat.
259* Music/TheCherryPoppinDaddies attempt to do this with each of their albums. While most of their albums feature a primary focus on swing and ska with a small handful of odd-genred tracks, the roulette is most prominent on ''Rapid City Muscle Car'' (1994) and ''Susquehanna'' (2008), in which the band has stated the intention was to make each track a different genre.
260** ''Rapid City Muscle Car'' includes, in order, rockabilly, ska punk, psychedelic rock, swing, funk, swing, baroque pop, jazz, hard rock, an accordion ballad, alt-rock, country, hard rock, big band and lounge.
261** ''Susquehanna'' features, in order, Latin rock, rockabilly, ska punk, reggae, punk swing, glam rock, flamenco, ska, calypso, swing jazz, bossa nova and acoustic soft rock.
262* Music/BeastieBoys' discography defines this as well as ''anyone.''
263** They abruptly dropped hardcore punk in the early 80s and jumped to hip-hop, becoming one of the most controversial, and commercially successful, bands of their time with ''Music/LicensedToIll.''
264** In the 90s, they picked up their instruments again and played hip-hop alongside alternative rock, funk, jazz and hardcore punk, making two albums (''Check Your Head, Ill Communication'') that went back and forth between each genre almost at random.
265** They then returned to hip-hop by teaming with Mixmaster Mike for 1998's ''Hello Nasty,'' which sported a new, futuristic sound.
266** In 2007 they put out an instrumental album, ''The Mix-Up,'' filled with funk/soul/jazz workouts.
267* Any of the Music/{{Vocaloid}} voice synthesizers can and will sing songs of any genre their owners have a mind to producing.
268* The Music/DonnaSummer song "''Queen For a Day''"" from 1977's ''Once Upon a Time'' starts out as proto-electronica, then halfway through the song, abruptly switches to all-acoustic disco. Milder forms of this would become a recurring theme in composer Music/GiorgioMoroder's later recordings.
269** Summer more explicitly covered this trope on the 1977 concept album ''I Remember Yesterday'', and her 1981[[note]]unreleased until 1996[[/note]] double-album, ''I'm a Rainbow''.
270* Music/{{Santana}}'s 2002 album ''Music/{{Shaman}}'' is one of popular music's best examples of this trope. Over the course of the album's 16 songs you not only get the band's signature Latin rock style, but you also get influences from contemporary R&B ("Nothing at All"), neo-soul ("You Are My Kind"), teen pop/rock ("The Game of Love"), instrumental hard rock ("Victory Is Won"), hip hop soul ("Since Supernatural"), nu metal ("America"), blues/folk ("Sideways"), post-grunge ("Why Don't You & I"), borderline britpop ("Feels Like Fire"), jam ("One of These Days"), and even ''opera'' ("Novus").
271* Information Society have experimented with countless electronic genres over the years, including freestyle, house, Eurodance, darkwave, EBM, electro, and most recently, dubstep.
272* Music/ZacBrownBand is equally capable of doing mainstream country ("Chicken Fried"), smooth country-pop ballads ("Goodbye in Her Eyes"), bluegrass ("The Wind"), jam band ("Keep Me in Mind"), Music/JimmyBuffett-esque beachy tunes ("Knee Deep", which even features a guest vocal from Buffett), and Southern rock ("All Alright"). Turned [[ExaggeratedTrope Up to Eleven]] on ''Jekyll + Hyde'', which has electro-pop ("Beautiful Drug"), jazz ("Mango Tree"), hard rock ("Heavy Is the Head", "Junkyard"), reggae ("Castaway"), and soul ("One Day") in addition to the above.
273** Not to mention, the multiple genres of music and artists they cover live regularly, ranging from Music/TheWho, to Music/{{Queen}}, and even Music/{{Metallica}} and Music/NineInchNails. Among many others.
274* Poland's BlackMetal band Lux Occulta have been prone to this in later years. ''The Mother and the Enemy'' contains several detours into trip-hop. ''Kołysanki'' largely sees them abandoning metal altogether.
275* Japanese band ''Music/PuffyAmiYumi'' has this as their signature style. They have flirted with many genres, from PopPunk, Shibuya Kei, Electropop, AlternativeRock, Soft Rock, {{Disco}}, Teen Pop, to Pop Rock, CountryMusic, Rumba, Bossa Nova and even DoomMetal. They have collaborated with a wide range of songwriters, and their constant jumping from genre to genre is part of their appeal.
276* While this trope is expected in ProgressiveRock to begin with, Music/GentleGiant really took things above and beyond the call of duty on their first eight albums. It doesn't hurt that nearly every member of the band was a classically-trained multi-instrumentalist, and they wanted to show this off to the fullest extent possible, so a given Gentle Giant song may display influence from modernism, hard rock, jazz, medieval music, baroque counterpoints, or any given other style that they felt like. They have a reputation as being one of the most "difficult" prog bands for this reason, but in truth their music is generally quite catchy and they also tend to have shorter songs than most other prog groups, with only a handful of songs passing the six-minute mark and none of their studio compositions exceeding ten (though live, they often tended to group them together in lengthy medleys which were often even more impressive examples of this trope; an example of this can be heard on their ''Playing the Fool'' album). They dialed down these tendencies for their last three albums, which are almost universally considered weaker for this reason and others.
277* Music/AphexTwin ''loves'' this trope, and he's known for having possibly the most inhumanely diverse discography in electronic music history. He's done ambient pieces (''Music/SelectedAmbientWorksVolumeII'', "Fingerbib"), piano pieces (most of which are on ''Music/{{Drukqs}}''), generic dance music (''[[Music/SelectedAmbientWorks8592 SAW 85-92]]'', which only sounds generic since it's been copied and mirrored the world over), straightforward IDM (his main forte), extremely aggressive, beat-sliced techno ("Come to Daddy", "Ventolin"), and even ''cartoony''-sounding music ("Goon Gumpas", "Logan Rock Witch"). For the most pristine example of this trope on one of his albums, check out the ''Music/RichardDJamesAlbum''.
278* Music/DiabloSwingOrchestra is a frequent user of this trope, with several of their songs shifting genres several times over the course of the song. Even more generally, most of their songs fall into completely different genres.
279* Music/{{Rihanna}} is supposedly an RAndB singer but has done everything from electronic (including techno, house, EDM, trap, and dubstep), reggae, folk, dance-pop, new wave, hip-hop, synthpop, latin music...
280* The central gimmick of OptiganallyYours is their use of the Optigan and Talentmaker, toy keyboards from TheSeventies that held discs of prerecorded riffs that could be controlled using the chord buttons. The discs available spanned a fairly wide variety of genres, from blues to country to Latin to Polynesian and even big-band swing. Each song they've written uses a different disc. You do the math.
281* The music on [=MilkCan=]'s ''Music/MakeItSweet'' runs the gamut of different styles of rock music, from basic {{rock and roll}} ("BABY BABY!!") to {{country rock}} ("CASINO IN MY HAIR") to [[JPop J-pop]] ("TASTE OF TERIYAKI") to {{ska}} ("KEEP YOUR HEAD UP!!") to even ''{{thrash metal}}'' ("FRIGHT FLIGHT!!").
282* Music/TheTurtles' 1968 album ''The Turtles Present: The Battle of the Bands'' is a one-album example of this trope. In here, the Turtles pretend to be 11 separate competing bands, and cover as many genres as possible, including surf rock ("Surfer Dan"), sunshine pop (Top 10 hit "Elenore"), and even faux-Hawaiian novelty with suggestive lyrics. ("I'm Chief Kamanawanalea" - try saying that slowly!)
283* Music/MichaelJackson is mostly known as a pop singer, but he liked to make songs from several different genres for every album. So he could make rock songs ("Beat It", "Dirty Diana", "Give In to Me") as well as gospel-flavored songs ("Man in the Mirror", "Will You Be There?", "Keep the Faith"). And he also did experiments like "Liberian Girl" (which is done in a very "tropical" style) and "Money" (where he does his own rapping).
284* The second half of Music/{{Outkast}}'s ''Music/SpeakerboxxTheLoveBelow'' is Andre 3000 playing around with this trope. One cut from this project, the 60's-esque "Hey Ya", became a BlackSheepHit for the group.
285* Finnish AlternativeRock band Music/PoetsOfTheFall can play a wide variety of styles, ranging from metal to hard rock to symphonic, and make note in interviews that they {{Invoke|d}} this to keep their music fresh.
286* Music/DavidBowie practically built his entire career on this trope. While commonly classified as a rock singer, Bowie's dabbled in a surprisingly wide variety of genres over the years, with at least two [[NewSoundAlbum new sound albums]] per decade. Among other things, the man's discography has explored novelty rock, psychadelic folk rock, '''very''' early heavy metal, glam rock, proto-punk, blue-eyed soul, electronic proto-post punk krautrock, post punk with Gothic new wave flare, dance rock, synthpop, hard rock, acid jazz, industrial electronica, drum & bass, art rock, alt-rock, and jazz fusion. A GreatestHitsAlbum alone can make listeners question whether all of these songs are by the same guy.
287* Whenever members of Website/FourChan's /mu/ board get together to make an album, the results are usually as eclectic as the board's highly opinionated tastes. Songs and titles are often chosen by post numbers ending in double digits. An album could contain folk songs right next to chiptunes and harsh noise, all with deliberately strange and vulgar titles. When bothered to actually put their work in a genre, /mu/tants give their albums [[SelfDeprecation pretentious and obscure-sounding]] categories like "Post-Avant Jazzcore" and "Progressive Dreamfunk".
288* Music/TheAquabats: Their album ''Charge!!'' has an InUniverse example, in the form of the movie (movies?) from the song "Stuck in a Movie!". The narrator, i.e. the guy stuck in a movie, describes it as a mish-mash of action, horror, and fantasy where none of the pieces seem to be connected to each other. It gives the impression of a montage.
289-->''Comin' after you, and it's getting dark\
290[[MyCarHatesMe You're fumbling your keys and your car won't start]]\
291[[Film/TheShining There's a kid talking backwards, drawing crazy words]]\
292[[MentorArchetype There's a kindly old wizard]] [[GiantFlyer on the wings of a bird]]''
293* Soularflair's discography spans an incredible variety of disparate genres, including ambient, art rock, chillwave, dream pop, IDM, industrial metal, neoclassical, tech-house, and trance.
294* While Music/{{BTS}}' early work is mainly HipHop and RAndB, the range of genres they've covered has gotten wider and wider over the years. So far, they've also done NeoSoul, moombathon, Latin-inspired pop, ElectronicMusic, ballads, Rock, ElectronicDanceMusic, TrapMusic, {{Jazz}}, among others. ''LOVE YOURSELF: Tear'' alone has half of the genres previously mentioned and more.
295** The ''LOVE YOURSELF'' series (being most noticeable in the compilation album ''LOVE YOURSELF: Answer'') makes use of this versatility to tell a self-contained story of falling in love, becoming a StepfordSmiler in order to retain that love, the relationship collapsing after the mask falls apart, and slowly learning that you need to accept yourself to truly be happy. This musically goes from genres such as electro-pop, EDM and neo-disco (''Her'') to dark NeoSoul, a mix of Trap and {{Rock}}, ballad, and HipHop with a symphonic track (''Tear''), to a PowerBallad and a mix of gcom and ''samul nori'' (the additional final tracks in ''Answer'').
296** BTS member RM defies the notion of being a one-genre-only group; one of the reasons he gave for changing his StageName from "Rap Monster" to "RM" is that the old name limited him in the kind of music he wanted to make. He has even said through the lyrics of "Do You" (from his ''RM'' mixtape) that genre is "a trap", refusing to stick to one label:
297--->''I'm not pop, I'm not rock, I'm not funk, I'm not R&B or hip hop''
298* Helix, the {{supergroup}} of Tom Shear (Assemblage 23) and Mari Kattman, explores, in addition to A23's signature [[{{Industrial}} Futurepop]], DarkWave, Chillwave, UsefulNotes/{{Synthwave}}, old-school EBM, HouseMusic, and TripHop.
299* 100 gecs have reached notoriety on the internet for their extremely unorthodox style of experimental pop that slices and dices many genres into a chaotic maelstrom of sounds. Their debut album, ''Music/ThousandGecs'', is a display of this trope in full force and a half as it is influenced from popular genres from the 'noughties and new tens like hip hop, nightcore, drum and bass, bubblegum pop, crunkcore, emo, synthpop, EDM and even third-wave ska, all layered on top of Laura Les's heavily {{autotune}}d vocals.
300* Xenomania's production style involves composing short musical snippets, then stitching them together to create larger songs. Thus, many of the songs they've produced over the years embrace this trope. For just one example, Music/GirlsAloud's debut single, "Sound of the Underground", seamlessly switches between DrumAndBass, ContemporaryRAndB and SurfRock. [[Administrivia/TropesAreTools Tropes Are Not Bad]], as this style has been praised for helping to elevate what could have otherwise been throwaway pop music.
301* Gerard Joling's styles range from DooWop to Latin {{Jazz}} to PowerPop to ItaloDisco to ContemporaryRAndB to [[ElectronicDanceMusic EDM]].
302* Russian singer Elvira T's music style ranges from pop to hip hop to genres that can't easily be defined, with the themes and feels of her songs ranging from [[https://youtube.com/watch?v=_BUMXsgg4y4 a cute pop song about being in love]] to [[https://youtube.com/watch?v=N6mR1PT9CCQ an emotional ballad about being in a toxic relationship]].
303* The trope is present in most of Music/{{Regurgitator}}'s albums. They've tackled indie rock, hardcore punk, rap-rock, Spaghetti Western, musak and dub, and that's just their debut.
304* Victoria Celestine's core style is SynthPop with hints of {{New Wave| Music}} and CountryMusic, but she has also dabbled in [[ElectronicDanceMusic Big Room]] ("Let Go"), TripHop ("Favorite Daydream"), {{Power Ballad}}s ("Here I Am"), DrumAndBass ("It's OK"), RAndB ("Moontan"), [[HouseMusic Tropical House]] ("Pending"), and {{Dubstep}} ("Your Subconscious Mind").
305* Aika Kobayashi of ''Franchise/LoveLive'' idol group [[Anime/LoveLiveSunshine Aqours]] has gone on record stating that [[ShapedLikeItself the group's genre is "Aqours".]] At one point the group released an Arabian electro song, a rock song, a tokusatsu opening, an EDM song, a marching band-style song, and a eurobeat song, in that order, in the span of ''four singles.''
306* One of Creator/CartoonNetwork's "[[WesternAnimation/CartoonNetworkGroovies Groovies]]" was [[https://www.youtube.com/watch?v=JvQY6tLMdL0 this rendition]] of the ''WesternAnimation/JosieAndThePussycats'' theme in disco, punk rock, country, metal, and techno.
307* ''Music/{{Ween}}'' have been know to do several genres of music (eg. hard rock, pop, country, etc.) with NSFW lyrics.
308* A.G. Cook of Music/PCMusic's debut album, ''7G'', has 49 full-length tracks and manages to cover a lot of ground. Broadly an {{Electronic|Music}} album, [[DistinctDoubleAlbum it's split into 7 discs and each predominantly overtaken by an instrument]], with genres including straightforward {{Pop}}, DrumAndBass, {{Glitch}}, IDM, {{Ambient}}, and {{Techno}}. It also includes a few oddities like [[SurprisinglyGentleSong acoustic guitar ballads]], neoclassical piano pieces, and {{Spoken Word}} passages.
309* Music/TheChalkeaters are a trio known for making songs about video games and gaming memes, with many of them having completely different genres from each other. Notable entries include "Bowsette" (chiptune rock with rap), "It Just Works" (big band jazz), and "Count to Three" (electro swing).
310* Music/LivingColour's debut album ''Vivid'' saw them switching between HairMetal, FunkRock, FunkMetal, HipHop, {{Funk}}, {{Soul}}, {{Pop}} and {{Jazz}} at random.
311* The band Music/DogPolice had an album of mostly very weird pop songs with unconventional topics such as discovering your date is a dog, mail order products and butch women, only to indulge into other genres - a bossa nova about middle-class people! A church-like tune about burgers! A prog rock about [[HeavyMeta recording music]]!
312* Music/FloorJansen is best known as a SymphonicMetal singer (mainly for Music/AfterForever and Music/{{Nightwish|Band}}), but she also loves HardRock and is trained in classical singing and musical theatre. Her collaboration ''Music/{{Northward}}'' with Jørn Viggo Lofstad ranges from PowerPop to TraditionalHeavyMetal depending on the song, and in her appearance on the Dutch music competition show ''Beste Zangers'' she performed everything from "Theatre/ThePhantomOfTheOpera" to [[Music/LadyGaga "Shallow"]].
313* Music/ThreeEleven has covered a wide array of styles of rock music, including rap rock, funk rock, reggae rock, hard rock, nu metal, ska punk, pop punk, progressive rock, jazz rock and more. Most of these can be found on the 21-track ''Transistor''.
314* Music/KirstyMacColl: Even her small number of hit singles are all quite diferent in style, encompassing rockabilly, pop, balladry and hip-hop. That's before getting into the rock and Cuban influences evident on her albums.
315* Music/PaoloNutini's biggest hit is "Pencil Full of Lead", which is a fast, jazzy, humorous piece. His other best-known songs include "Candy", a much slower song which is practically Scottish folk, "Last Request", a melancholy love song, and "New Shoes", an upbeat pop track.
316* Music/LimpBizkit's ''Results May Vary'' was made with the very intention of experimenting with several different genres. Among them are shoegaze, dream pop, trip hop, pop rap and post-grunge. Their usual nu metal and rap metal styles are still present in some songs.
317* American rock band Music/FaithAndTheMuse's music encompasses a wide variety of genres from folk music to dark wave and even punk rock. Their influences include dark alternative, gothic rock, Celtic, and other folk influences. Additionally, Welsh and Irish mythology have often served as inspiration to many of their songs.
318* Music/TenggerCavalry's discography is mostly FolkMetal but includes a significant number of acoustic songs as well, and on live tours they sometimes opened with an acoustic set and then followed it with a metal set.
319[[/folder]]
320
321[[folder:Radio]]
322* This is the central concept of Creator/TheBBC radio comedy-drama ''The Attendant''. Each episode has late night petrol station attendant Alex have to deal with ''something'' weird that interferes with his attempts to get to know regular customer Ella, and the episodes are all titled after the genre of said weirdness: "Frankenstein", "The Western", "Zombies", "Sci-Fi" and "The Action".
323[[/folder]]
324
325[[folder:Tabletop Games]]
326* ''TabletopGame/{{Rifts}}'' was designed to blend as many genres as humanly possible, with new books/settings adding/combining genres not previously covered. Not many other games allow you to play a medieval knight on a robotic horse alongside an alien cyborg cowboy toting a BFG and a wizard with a magical jetpack and literal LightningGun.
327[[/folder]]
328
329[[folder:Theatre]]
330* ''Theatre/ExitPursuedByABear'': It's billed as a comedy, but there's a plenty of psychological trauma to go round, and much of it is PlayedForDrama.
331[[/folder]]
332
333[[folder:Toys]]
334* ''Toys/{{Bionicle}}'''s exact genre depends on which comic/book/online serial you read or which animation/movie you watch. Its tone also shifts from kid-friendly fables that teach AnAesop at the end to highly violent, messed up, borderline-horror stories that make you wonder how in the world they could possibly have gotten Franchise/{{LEGO}} to approve them.
335[[/folder]]
336
337[[folder:Video Games]]
338* Because the story is being generated on the fly by an AI, ''VideoGame/AIDungeon2'' tends have a single story cycle through multiple genres in a playthrough. One moment you could be a hard-boiled detective in 1920s New York on a case and the next you could find yourself fighting a Dracolich with a laser gun.
339* All of ''Franchise/StarCraft'' is made of this, dependent on which races are shown interacting.
340** When only Terrans are present, it's a heavily character-focused UsedFuture SpaceWestern.
341** All Zerg interaction with the other races is the {{Horror}} genre, from monsters bursting out of the ground, to the grotesque [[BodyHorror infested Terrans]], to a monstrous alien queen stalking through a spaceship and slowly consuming the crew.
342** The minute the Protoss enter the picture, it's HighFantasy ([[JustForFun/RecycledInSpace In Space]]), with visions, [[PropheciesAreAlwaysRight ancient prophecies]], psychic links and the like.
343* The ''VideoGame/{{Fallout}}'' series constantly plays with different genres, both in terms of gameplay and story/tone. Overall, the series is a ScienceFiction WideOpenSandbox WesternRPG series set AfterTheEnd in an AlternateHistory that heavily satirizes Cold War-era Americana.
344** The first few games created under Creator/InterplayEntertainment[=/=]Creator/BlackIsleStudios feature turn-based combat and 2D graphics through an isometric perspective. Starting with the series being bought by Creator/{{Bethesda}}, the series has undergone a GenreShift to now being 3D first/third-person shooters with real-time combat (making them {{Action RPG}} hybrids by consequence).
345%%** Each of the [=DLCs=] for ''VideoGame/Fallout3'' have widely different tones and genres.
346%%*** This can also be seen in ''VideoGame/Fallout3'' --
347%%** ''VideoGame/FalloutNewVegas'' is more or less a planet-bound SpaceWestern. Each of its [=DLCs=] (all of which are bound together in a MythArc) is a completely different genre -- ''Dead Money'' is a
348* Every game in the ''Franchise/FarCry'' series is a FirstPersonShooter, but the setting and genre changes each game.
349** ''VideoGame/FarCry1'' is an action/science fiction game.
350** ''VideoGame/FarCry2'' is a grim, realistic shooter with no unnatural elements.
351** ''VideoGame/FarCry3'' is another action movie style shooter like ''Far Cry'', more serious than ''Far Cry'' but less serious than ''Far Cry 2'', with several [[MushroomSamba hallucinogenic-laced]] MaybeMagicMaybeMundane moments.
352*** ''VideoGame/FarCry3BloodDragon'' is an AffectionateParody of AfterTheEnd ScienceFiction action films of the 1980s, and 80s pop culture in general.
353** ''VideoGame/FarCry4'' is the least different ''Far Cry'' game, compared to ''Far Cry 3''. It is also an action movie style shooter like ''Far Cry 3'', though perhaps less serious than ''Far Cry 3'', and with a ton of [[UsefulNotes/{{Buddhism}} Tibetan Buddhist]] inspired MaybeMagicMaybeMundane moments that are possibly [[MushroomSamba hallucinogenic-laced]].. but are so overtly magical that it is hard to believe that they ''aren't'' really magic (well, unless the hallucinogenics are just ''that'' strong and are everywhere).
354** ''VideoGame/FarCryPrimal'' takes place in prehistoric times, and as such probably has the least amount of action and is the closest to having real magic. Also while it is probably the second most serious game after ''Far Cry 2'', it is also the most optimistic game in the series.
355* ''VideoGame/{{Undertale}}'' starts out looking like a kid friendly game where you try to get "friendliness" pellets, but moves within five seconds to a dark, definitely not kid-friendly bullet hell. Then, it's tone shifts from standard, light-hearted puzzle game, to quirky RPG parody, straight to tear jerking deconstruction of said RPG. And that's all in the first Area!
356** Additionally, depending on how many enemies you kill, the game can shift between a once-more quirky character comedy, to a bittersweet story about a lone child in a harsh world, to ''[[VideoGame/SpecOpsTheLine Spec Ops: The Line: The RPG]]'', to "[[SerialEscalation Genocide Simulator 2015]]".
357* ''VideoGame/{{Marathon}}'' and its sequels are as much a novella as they are shooters and much of the player's time is spent reading in-game.
358* The ''Persona'' series are all UrbanFantasy games, but each game has a distinct style of store.
359** The original ''VideoGame/{{Persona|1}}'' and ''VideoGame/{{Persona 2}}'' are mainly UrbanFantasy.
360** ''VideoGame/Persona3'' is an UrbanFantasy CosmicHorrorStory.
361** ''VideoGame/Persona4'' is an UrbanFantasy [[MysteryFiction Whodunit]].
362** ''VideoGame/Persona5'' is an UrbanFantasy PhantomThief story.
363* ''VideoGame/TheHex'' switches game genre constantly, even mixing them together at points.
364* ''VisualNovel/{{Machi}}'' features seven routes, each in a wildly different genre (Keima's route is a humorous DetectiveDrama, Ichikawa's route is [[ParanoiaFuel pretty much horror]], Yoshiko's route is slapstick, etc). Notably there's no overarching plot at all, and compared to ''[[VisualNovel/BansheesLastCry Kamaitachi no Yoru]]'' (where the player could at least choose a route and play that until the end), in ''Machi'' the player has no choice but to jump between routes all the time in order to make progress, so the genre shifts become all the more noticeable.
365* ''VideoGame/{{Bugsnax}}'' is a helluva thing to describe. It's not for nothing that [[Creator/BenCroshaw Yahtzee Croshaw]] described the game in his ''WebAnimation/ZeroPunctuation'' review as "''Series/FraggleRock'' [[JustForFun/XMeetsY as directed by]] Creator/DavidCronenberg". While taking place from a strict first-person perspective (as "The Journalist"), the game manages to be:
366** A MonsSeries, thanks to the Bugsnax collecting element.
367** A puzzle game, as you have to come up with creative ways to capture Bugsnax.
368** A first person action-adventure game, in the various sidequests and challenges.
369** A suspense horror game, which develops into Cronenburg-esque BodyHorror as you learn more about the island.
370** And finally, relationship counselor training, because of how much of the game's content is intertwined with you figuring out the neuroses and emotional baggage of the ''deeply'' damaged cast of [=NPCs=] and helping them deal with their issues.
371** And just to top it all off, the game's cast consists of fuzzy Muppet-like monsters eating insect-creatures made of snack foods, making the game come across as a parody of something that would normally be fairly inoffensive.
372* ''VideoGame/LiveALive'' is essentially a [[VignetteEpisode Vignette Game]] featuring seven relatively short chapters that each take place in wildly different settings, with different genres ([[GameplayRoulette and sometimes gameplay]]) to match:
373** The Prehistoric chapter is a comedy featuring cavemen and irreverant humor.
374** The Imperial China chapter is a classic sendup of martial arts movies and stories.
375** The Twilight of Edo Japan chapter is a historical drama featuring ninjas, a clear Oda Nobunaga {{Expy}}, and a potential StealthBasedMission.
376** The Wild West chapter is, naturally, a SpaghettiWestern.
377** The Present Day chapter is a massive sendup to [[FightingGame Fighting Games]] which were popular at the time of the game's release.
378** The Near Future chapter is an amalgamation of {{Cyberpunk}} and Mecha anime tropes.
379** The Distant Future chapter is a science fiction story, though later in the chapter it turns into a SurvivalHorror game.
380** Completing all seven chapters unlocks the Middle Ages chapter, which harkens to classic EasternRPG[=s=] and HighFantasy. [[spoiler:That is, before swerving hard into DarkFantasy territory in the leadup to its TwistEnding.]]
381* While every season of ''VideoGame/CriminalCase'' has the basic premise of solving murders to advance levels and continue with the story, each installment brings a different theme to the overall plot and setting where the player has to solve the underlying [[MysteryFiction mystery]] surrounding the narrative.
382** ''VideoGame/CriminalCaseGrimsborough'' is a standard PoliceProcedural set in a ViceCity with mostly self-contained stories in each district, though the last few cases shift the plot to a ConspiracyThriller focused on an AncientConspiracy.
383** ''VideoGame/CriminalCasePacificBay'' is another PoliceProcedural set in a [[BeachEpisode coastal city]] and with a DarkerAndEdgier approach, as a good chunk of the main characters are either {{Hardboiled Detective}}s, {{Anti Hero}}es, or both. In addition, the last few arcs shift focus to a full-blown ScienceFiction {{Thriller}}.
384** ''VideoGame/CriminalCaseWorldEdition'' is a WorldTour with SpyFiction elements.
385** ''VideoGame/CriminalCaseMysteriesOfThePast'' is a HistoricalDetectiveFiction.
386** ''VideoGame/CriminalCaseTheConspiracy'' is a ConspiracyThriller with heavy emphasis on [[ScienceFiction sci-fi]].
387** ''VideoGame/CriminalCaseTravelInTime'' is a TimeTravel story focused on the SetRightWhatOnceWentWrong category. In addition, the different eras and time periods visited during the journey basically makes the main characters {{Tour Guide Detective}}s.
388** ''VideoGame/CriminalCaseSupernaturalInvestigations'' has the primary premise of {{Paranormal Investigation}}s where the main characters are also {{Amateur Sleuth}}s, and spices things up with the theme of FamilyOfChoice.
389** ''VideoGame/CriminalCaseCityOfRomance'' [[RevisitingTheRoots goes backs to the series' roots]] and becomes another standard PoliceProcedural as a way to conclude it with a GrandFinale.
390[[/folder]]
391
392[[folder:Visual Novels]]
393* ''VisualNovel/ChoicesStoriesYouPlay'' is a collection of multiple visual novels that all have rather different genres, themes, settings and tones.
394* ''VisualNovel/HigurashiWhenTheyCry'': It starts out looking like a generic story about some youths (potentially a ComingOfAgeStory or part of the HaremGenre) before abruptly switching into PsychologicalHorror. Then the second arc begins, repeating the cycle. Over the course of the series, it becomes clear that the story is actually a {{Mystery|Fiction}} as well, and the last arcs add a dose of action.
395[[/folder]]
396
397[[folder:Web Animation]]
398* The ''WebAnimation/CPUChampionshipSeries''. With rulesets changing every season, you never know what to expect.
399** Season 1 featured 4 Stocks, and all stages with hazzards off.
400** Season 2 featured 5 Stocks, items, and casual stages with hazzards on, and stage morph on.
401** Season 3 featured 3 Stocks, no items, and competitive stages with hazzards off.
402* ''WebAnimation/RedVsBlue'': The [[ShowWithinAShow in-universe movie trilogy starring Sarge]] (as featured in the non-canon [=PSAs=]) gets this during its second installment, thanks to Sarge and Donut trying to reach a broader audience. It starts out as the same kind of dramatic action movie as the first, before becoming a buddy cop movie when Tucker is introduced, then a romantic movie (Sarge ships himself with Lopez), then Sarge and Tucker have to go about SavingChristmas from the terminal disease that is the ZombieApocalypse... and there's a musical in there somewhere.
403[[/folder]]
404
405[[folder:Webcomics]]
406* ''Webcomic/DinosaurComics'' parodies this. After T-Rex comes up with [[http://www.qwantz.com/index.php?comic=1183 the ultimate disaster movie]], [[http://www.qwantz.com/index.php?comic=1184 he realizes how he can make a nigh-infinite number of sequels]]: By [[POVSequel showing the same series of events from different perspectives]], he can shoehorn his story into any genre imaginable.
407* ''Webcomic/TheDreamer'' jumps from historical fiction to YA lit in a matter of pages.
408* ''Webcomic/{{Housepets}}'': The comic switches genres often depending on which characters are the subject. Tarot, King or the Celestials will be a SupernaturalSoapOpera, the [=K9PD=] will be a PoliceProcedural or ParanormalInvestigation, Tarot and Peanut or King and Bailey will be a RomanticComedy, the forest will contain WoodlandCreatures stories, Imaginates will be adaptations of classic fiction, and Spot (Superdog) will be StylisticSuck comic book parodies.
409* ''Webcomic/SluggyFreelance'' tends to change its genre with every StoryArc. Compare the fantasy epic shown in [[http://sluggy.com/comics/archives/weekly/041120 these]] strips from 2004, to [[http://www.sluggy.com/comics/archives/weekly/050618 this]] {{Sitcom}}-style BrokeEpisode from 2005, to [[http://sluggy.com/comics/archives/weekly/061014 this]] crime thriller from 2006, to [[http://sluggy.com/comics/archives/weekly/070818 this]] FantasticComedy from 2007. The only consistent trait is that most strips have some sort of joke in them, but even that's [[CerebusSyndrome not always the case]].
410* ''Webcomic/RustyAndCo'' The Belt of Genre Changing does this.
411* ''Webcomic/ASrGrafoInTime'' starts out as a gag series with no continuity, then starts developing continuity while still being mostly comedic, then takes a turn for the dramatic with the arc about the main character and his mother, then becomes a {{zombie apocalypse}} story, then a sci-fi time travel story.
412* ''Webcomic/StandStillStaySilent'': The story can easily move from ZombieApocalypse induced AfterTheEnd, to comedic character interaction, to horror, to pulling on the reader's heartstrings, to (intentionally) SadlyMythtaken fantasy, to "here's a page almost entirely dedicated to the TeamPet".
413[[/folder]]
414
415[[folder:Web Original]]
416* Given the nature of the Website/SCPFoundation, a catalogue of all sorts of detained paranormal phenomena, it's bound to end up as this. The website started towards it being more orientated towards horror, which is the common way to describe the site, but SCP entries are very varied in tone to reflect that the weird isn't always traditionally scary. The variation of the site includes SCP entities that are:
417** Conventional horror SCP entities (as in the ones that are scary via a shock image or WhamLine) are what the site is mainly known for and are present in the likes of SCP-173, 087, and 106.
418** Lovecraftian SCP entities that are scary via NothingIsScarier or through sheer ideas would include 093 (a universe gone horribly wrong due to the return of either God or an EldritchAbomination posing as God) and 055 (an entity that makes you forget what it is and when you think of it).
419** Straight up weird SCP entities [[MindScrew that leave you more confused than anything]], like 500 (pills that have miraculous healing properties) or 447 (an otherwise seemingly useful substance with minty-fresh properties, but will have potentially world-ending consequences if it somehow ever physically interacts with a dead body).
420** Then there are the comedic SCP entities like 1171 (an EldritchAbomination that hates humans in a ''not'' Nazish way, but rather RacistGrandpa way) or his friend 2662 (a parody of Cthulhu that ''wants'' to be contained because he can't stand his own [[StopWorshippingMe cults]]). Let's not forget 261, a vending machine that can dispose anything with silent passive aggressive DeadpanSnarker tendencies.
421** The site also has heartwarming SCP entities like 999 (an insanely friendly and harmless BlobMonster that loves to tickle people) and 2295 (a healing teddy bear made by a benevolent witch for her dying grandson).
422** Finally, we have SCP creatures that are pretty much everything at once like the infamous hard to destroy lizard that is 682. It's straight up scary visually, scary in a Lovecraftian sense due to its invulnerable nature and murderous hatred... and pretty darkly funny since its testing logs just ''reek'' of Foundation desperation and bad ideas.
423[[/folder]]
424
425[[folder:Web Videos]]
426* In his videos on [[https://www.youtube.com/watch?v=Ev8EhqVbJaY Christopher Hitchens]] and the comedian [[https://www.youtube.com/watch?v=ZGDDKlXl488 Bill Maher]], Creator/BishopBarron notes that Literature/TheBible, when taken as a whole, is an example of this trope. After all, there's histories like the Literature/BooksOfSamuel, poems like the Literature/BookOfJob, and legal codes like [[Literature/BookOfExodus Leviticus]].
427-->''"The Bible is not ''a'' book, the Bible is a library. So the question is 'Do you take the library literally?' Well, it depends on what section you're in!"''
428* A RunningGag in the ''Those Aren't Muskets'' skit, [[https://www.youtube.com/watch?v=nxl-ZwrbZLo "The Drama Queen"]]. The titular drama queen keeps changing the genre of the clips she's in. One moment she's in the Victorian era, the next she's a rocker chick. This causes her boyfriend to break up with her.
429* Due to the random nature in which events occur in ''WebVideo/TwitchPlaysPokemon'' and the fact that its plot comes from trying to interpret those events into something coherent, it has run the gamut of genres. Some things that it has been:
430** [[WebVideo/TwitchPlaysPokemonRed Reli]][[WebVideo/TwitchPlaysPokemonCrystal gious]] [[WebVideo/TwitchPlaysPokemonHeartGold story]]
431** [[WebVideo/TwitchPlaysPokemonEmerald Police drama]]
432** [[WebVideo/TwitchPlaysPokemonFireRed Nature documentary]]
433** [[WebVideo/TwitchPlaysPokemonPlatinum Soap opera]]
434** [[WebVideo/TwitchPlaysPokemonBlack2 Reality]] [[WebVideo/TwitchPlaysPokemonX show]]
435** [[WebVideo/TwitchPlaysPokemonRedAnniversary Cosm]][[WebVideo/TwitchPlaysPokemonCrystalAnniversary ic Hor]][[WebVideo/TwitchPlaysPokemonBrown ror S]][[WebVideo/TwitchPlaysPokemonPrism tory]]
436** [[WebVideo/TwitchPlaysPokemonAlphaSapphire Spy thriller]]
437** [[WebVideo/TwitchPlaysPokemonSun Political drama]]
438* Each episode of ''WebVideo/TheHire'' has a different tone, genre, and style, due to each episode being helmed by wildly different directors infusing their unique SignatureStyle into the episode they're writing and directing. As such, the series has run the gamut from serious dramas to lighthearted slapstick to sci-fi. The only consistent elements that all the episodes share are the Driver and his BMW.
439[[/folder]]
440
441[[folder:Western Animation]]
442* ''WesternAnimation/SamuraiJack'' switches between a samurai movie, a spaghetti western, then a buddy comedy, silent movie slapstick, horror, crime drama, ''Franchise/IndianaJones''-esque pulp adventure, a gladiator flick -- sometimes all in the same episode!
443* ''WesternAnimation/{{Gargoyles}}'' can be any genre it wants, at any time. Is it a fantasy story full of magic today? Yes! Is it a science fiction story with a man being resurrected from the dead as a cyborg? Yes! Is it a cop show with mob drama? Yes!
444* ''WesternAnimation/TheAmazingWorldOfGumball'': Its default genre is a kids-in-school/family animated sitcom (''a la'' seasons one and two of ''WesternAnimation/TheSimpsons'' or ''Literature/DiaryOfAWimpyKid''), but it constantly slips into other genres:
445** "The Pizza" is a post-apocalyptic adventure.
446** "The Mirror," "The Joy," and "Halloween" are horror.
447** "The Tape" and "The Sweaters" are cheesy sitcoms.
448** "The Kids" and "The Shell" are coming-of-age stories.
449** "The Lesson" is a prison drama.
450** "The Countdown" is a time travel story.
451** "The Routine" is a high fantasy.
452** "The Comic" parodies a superhero origin story.
453** "The Bus" is a high-octane crime adventure, parodying ''Film/{{Speed}}''.
454** "The Detective" is a mystery/noir.
455** "The Others" is a 90s teen dramedy.
456** "The Agent" is a Bond-style secret agent story.
457* While ''WesternAnimation/StarWarsTheCloneWars'' primarily remained true to the ScienceFantasy SpaceOpera-genre of the movie saga, it also weaved dosens of other genres in. Just a few examples:
458** The large battle-centric episodes/arcs are often straight-up mini-MilitaryAndWarfareFilms, most notable of which is the Umbara-arc.
459** The Mortis-trilogy, "Nomad Droids", a large portion of the Darth Maul-storyline, and the Yoda-arc are pure {{Fantasy}} stories set in space.
460** "Senate Spy", "Duchess of Mandalore", "Pursuit Of Peace", "Senate Murders", the Season 4 Obi-Wan undercover-arc, the Season 5 Fugitive Ahsoka-arc, and the Season 6 Fives-arc are {{Conspiracy Thriller}}s.
461** The Zillo-duology is a [[AttackOfThe50FootWhatever Monster movie]].
462** "Legacy of Terror", "Brain Invaders" and "Massacre" edge on being {{Horror}} episodes.
463* ''WesternAnimation/PennZeroPartTimeHero'' is about three kids who travel to other dimensions, each one a different genre (and some of them a mix of genres). One episode could be TheWestern where people [[HorseOfADifferentColor ride dinosaurs]], another a fairy-tale musical, and another a ''Film/SilenceOfTheLambs'' parody with cereal mascots.
464* The ''Franchise/ScoobyDoo'' franchise has never been shy about dipping its fingers (paws?) in multiple genres, which may be why it's managed to last so long. [[WesternAnimation/ScoobyDooWhereAreYou The 1969 original]] was a rather capricious blend of kid-friendly horror, comedy and mystery, with even the occasional science-fiction episode. [[note]] Most notably "Foul Play in Funland", which cast a robot as the MonsterOfTheWeek.[[/note]] Following in its footsteps, later shows and movies tend to emphasize just one of those genres per story, depending on where the Mystery Machine ends up. For example, any story with a [[ScoobyDooHoax costumed crook]] tends to emphasize the mystery, while stories with real monsters (like ''WesternAnimation/ScoobyDooOnZombieIsland'') emphasize the horror, stories with more overtly mystical elements (like ''WesternAnimation/ScoobyDooAndTheWitchsGhost'') emphasize the fantasy, stories with tech-savvy villains (like ''WesternAnimation/ScoobyDooAndTheAlienInvaders'' and ''WesternAnimation/ScoobyDooAndTheCyberChase'') emphasize the sci-fi, and stories that play up Scooby and Shaggy's antics (like ''WesternAnimation/ScoobyDooAndTheReluctantWerewolf'' and ''WesternAnimation/ScoobyDooAndTheGhoulSchool'') are pure comedy.
465* ''WesternAnimation/LoveDeathAndRobots'' is comprised of several animated shorts that vary wildly in genre and mood, although as the title suggests, the most common themes are science fiction (sometimes verging into ScienceFantasy), horror and romance.
466** Sonnie's Edge" is a gritty action-heavy {{Cyberpunk}} RapeAndRevenge story served with a side of FeministFantasy. A tough-as-nails rape survivor gets revenge on powerful and dangerous men in a grim future Britain where BeastlyBloodsports using genetically engineered {{Kaiju}} is entertainment.
467** "Three Robots" is a lighthearted comedy where a trio of [[DeadpanSnarker very snarky]] robots comment and speculate about humans [[HumanitysWake by travelling through a ruined city after the humans are long gone]].
468** "The Witness" is a trippy and surrealist thriller that combines live-action and animation, where a man and a woman are trapped in a GroundhogDayLoop, taking turns to murder each other.
469** "Suits" is an action packed mix of country scenery and Mecha Anime, where tough, determined space hicks take on alien devourers ''a la'' ''Franchise/{{Starcraft}}''.
470** "Sucker of Souls" ditches Sci-Fi elements in favour of a DarkFantasy action-horror tinged episode about a team of modern mercenaries who have to deal with Dracula after their expedition stumbles onto his resting place.
471** "When The Yogurt Took Over" is a lighthearted and odd Sci-Fi comedy that is also a commentary on the dangers of artificial intelligence and how it could quietly make humanity irrelevant.
472** "Beyond The Aquila Rift" starts out as a strange thriller set in outer space that eventually turns into a CosmicHorrorStory.
473** "Good Hunting" is a Miyazaki-esque SteamPunk romance story set in an alternate Qing-era China ("Silk Punk" if you will), with themes of Chinese identity and anti-imperialism. Liang, a Chinese GadgeteerGenius and Yan, a ''[[AsianFoxSpirit huli ying]]'', both have to adapt in a rapidly-changing world.
474** "The Dump" flips the switch often between BlackComedy and horror elements, with a lot of FanDisservice.
475** "Shape-Shifters" is an action-oriented military story with werewolves and little to no comedy.
476** "Helping Hand" is a LifeOrLimbDecision, done by a space janitor as she's busy fixing a satellite.
477** "Fish Night" is a trippy animation about a GhostStory, or depending on who you ask, an UrbanFantasy retelling of the story of Icarus.
478** "Lucky 13" is a MaybeMagicMaybeMundane sci-fi story about an "unlucky" dropship, its new SpaceMarine pilot and their bond.
479%%** "Zima Blue" is a deconstruction. A journalist is invited to the private island of a secretive robot artist about to complete and unveil his final work, but she is shocked to discover the true story of his past...
480** "Blind Spot" is an action-packed HeistEpisode featuring slick {{cyborg}} thieves and a TraintopBattle.
481** "Ice Age" is a comedy featuring live-action actors, a young couple who are [[DullSurprise stunned]] to find a tiny developing civilization in their freezer.
482** "Alternate Histories" is about progressively more ridiculous alt-history predictions made by a phone app.
483** "The Secret War" is a brutal DarkFantasy action-horror short about brave Soviet soldiers in 1943 [[{{Ghostapo}} defending their motherland from flesh-eating ghouls summoned in Siberia]].
484** "Automated Customer Service" is a futuristic DarkComedy about a [[KillerRobot malfunctioning robot vacuum cleaner]] that tries to kill an old woman and her dog.
485** "Ice" is a teen drama that takes place in a distant mining colony on an arctic exoplanet, where nearly everyone is [[BioAugmentation heavily bio-augmented]], the protagonist is [[FantasticRacism derided as an "Extro"]], an unaugmented human with baseline abilities, competing for the respect of his older brother's friends.
486** "Pop Squad" is a somber story set in a dystopian future where humans learned the secret to {{Immortality}} and came up with a [[WouldHurtAChild terrible solution]] to the ImmortalProcreationClause - having unauthorized children is a crime, and police track them down and kill them to keep the population in check.
487** "Snow in the Desert" is an action-packed sci-fi story about an [[AlbinosAreFreaks albino immortal]] on a desert planet, hunted by alien bounty hunters.
488** "The Tall Grass" is a supernatural thriller where a train passenger (with an uncanny resemblance to Creator/HPLovecraft) is mesmerized by dazzling lights in the grass and nearly dragged into the hereafter by [[HumanoidAbomination ravenous pale monsters]].
489** "All Through The House" is a ChristmasEpisode, where two children meet Santa... [[{{Santabomination}} and quickly wish they never did]].
490** "Life Hutch" is a MilitaryScienceFiction piece about a downed space fighter pilot trapped in a confined space with a KillerRobot.
491** "The Drowned Giant" is a sad UrbanFantasy about a small seaside community that finds a giant has washed ashore, and how the giant initially causes a buzz around town, but is soon desecrated and forgotten.
492** "Three Robots: Exit Strategies" is a SequelEpisode, the first of the series, seeing the snarky robot trio return to speculate further on how the humans came up with strategies to survive the apocalypse.
493** "Bad Travelling" is a GothicHorror set in a ''VideoGame/SunlessSea''-esque OceanPunk world, where an UnscrupulousHero sea captain [[VillainousValour must use all his guile and cunning]] to deal with a titanic crab monster and [[TheMutiny his own treacherous crewmates]].
494** "The Very Pulse of the Machine" is a MaybeMagicMaybeMundane trippy thriller about a female astronaut stranded on an alien moon with a declining oxygen supply.
495** "Night of the Mini Dead" is a comical diaroma-esque playout of a ZombieApocalypse, [[{{Bathos}} with squeaky-voiced miniatures]].
496** "Kill Team Kill" is a MilitaryScienceFiction romp in the same vein as Franchise/GIJoe, where foul-mouthed, gung-ho soldiers are pitted against a {{Cyborg}} bear.
497** "Swarm" is an introspective CosmicHorrorStory about human scientists discovering an alien colony, confident they can exploit the Swarm, they soon learn their true place in the universe.
498** "Mason's Rats" is a BlackComedy about a Scottish farmer who finds out that rats, granted sapience through GMO wheat, are developing a medieval-level civilization in his barn. He orders a KillerRobot to destroy the rats, but the machines' [[TheresNoKillLikeOverkill brutal efficiency]] leaves him questioning his motives...
499** "In Vaulted Halls Emtombed" is a MilitaryScienceFiction that quickly turns into a ''TabletopGame/DeltaGreen'' adventure, where a squad of American soldiers uncover a vault where a Cthulhu-esque EldritchAbomination awaits the chance to be free...
500** "Jibaro" is a mindbending trip where a sultry EnthrallingSiren covered in gold and jewels meets her match in a deaf knight, and he meets his match in her.
501* Though ''WesternAnimation/CodenameKidsNextDoor'' is at its core a show about groups of kids adventuring or fighting bad guys, nearby every episode is written as an AffectionateParody of some genre of some media. One episode might be about finding a missing child in a pile of his own clothes and is depicted like a dangerous climb up a snowy mountain (complete with "blizzards" of socks), while another episode might be about homework thieves on the school bus and is depicted like a train robbery in the Old West.
502* ''WesternAnimation/TheNewAdventuresOfWinnieThePooh'' does this. The series is just as likely to be adventure as it is slice of life, and while a lot of episodes are straight comedy, others get pretty dark or dramatic. Specific episodes dip into all kinds of genres, including:
503** Horror, with its many subgenres, including parodies of [[BMovie B-Movies]] ("Pooh Oughta Be in Pictures"), {{Ghost Stor|y}}ies ("Things That Go Piglet in the Night"), GothicHorror ("The Monster Frankenpooh"), and {{Slasher Movie}}s ("Sorry, Wrong Slusher").
504** TrappedInAnotherWorld fantasy, whether it's an EldritchLocation ("Cleanliness is Next to Impossible"), a MagicalLand ("All's Well That Ends Wishing Well"), a WorldInTheSky ("Pooh Skies"), or a MedievalEuropeanFantasy ("A Knight to Remember").
505** Crime fiction (The episodes featuring the Pack Rats or Stan and Heff).
506** Mysteries ("Tigger, Private Ear", "Eeyore's Tail Tale", and "Sham Pooh").
507** Westerns ("Paw and Order" and "The Good, The Bad, and the Tigger").
508** SportsStories ("Prize Piglet" and "What's the Score, Pooh?").
509** PirateStories ("Rabbit Marks the Spot").
510** SuperheroStories ("The Masked Offender").
511** War stories ("To Bee or Not to Bee").
512** FracturedFairyTale ("Three Little Piglets").
513** Coming-of-age/family drama ("Find Her, Keep Her").
514** Sometimes, an episode can't even make up its mind what it wants to be. In "Pooh Moon", some characters think they're in a ghost story and others think they're in an outer space sci-fi, while "To Catch a Hiccup" starts as a lighthearted slapstick comedy but shifts partway into horror.
515* ''WesternAnimation/HazbinHotel'': Not the show itself, which is mostly just a BlackComedy horror musical but rather its soundtrack, which constantly switches style in almost every song.
516** "Inside of Every Demon is a Rainbow" is PopPunk.
517** "Happy Day in Hell", "You Didn't Know", and "Finale" are Creator/{{Disney}}-esque musical numbers.
518** "Hell is Forever" is HardRock.
519** "Stayed Gone" is swing with a dash of {{Horrorcore}}.
520** "Respectless" is PopRap reminiscent to ''Theatre/SixTheMusical''.
521** "Whatever it Takes" is a PowerBallad with the instrumentation of early 2000s AlternativeRock.
522** "Music/{{Addict}}" and "Poison" are electro dance pop.
523** "Loser, Baby" is jazz rock.
524** "Hell's Greatest Dad" is electro swing.
525** "It Starts With Sorry", "More Than Anything", and "More Than Anything (Reprise)" are acoustic ballads.
526** "Welcome to Heaven" is BaroquePop.
527** "Out for Love" is Latin dance pop.
528** "Ready for This" is a Theatre/LesMiserables-style rallying song mixed with {{Vaudeville}}.
529[[/folder]]
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