Line #36 Main/Soaperizing


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10	->''"@#$%! Teenagers! What the heck is wrong with them?! Just when you're about to get a good snowball fight going, they have to ruin it by talking about '''relationships!'''"''
11	-->-- '''Bode Locke''', ''ComicBook/LockeAndKey''
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13	A non-SoapOpera narrative with special interest in the relationships of the characters rather than their heroic exploits. This trope can apply to any work of fiction: a VampireDetectiveSeries, a HumongousMecha {{Anime}}, a [[HistoricalFiction historical]] {{thriller}}, or what-have-you. Movies and television which invent all-new superheroes quite often take this route (either that or they go the "realistic" route, [[NotWearingTights without costumes]]). Usually it has a [[LighterAndSofter "softer"]] feel and much more screen time devoted to getting to know the characters and their individual strengths and foibles and on their "civilian" activities. Relationships change and develop over time, and much of the show's driving force comes not from plot but [[strike:{{Melodrama}}]] simple interactions.
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15	It's not uncommon for such series to [[{{Filler}} "take a break"]] from the normal heroics to have an episode of pure characterization (ComicBook fans have long nicknamed these "baseball issues", which [[BaseballEpisode inspired a trope name]]) or to eschew the heroics/doctoring/detecting entirely in favor of other soap opera staples like the SoapWheel and FourLinesAllWaiting. In the case of superheroes, part of the drama will derive from separating hero and civilian identities with romantic complications. Anime {{beach episode}}s, when not entirely devoted to {{Fanservice}}, can be a form of this trope.
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17	----
18	!!Examples:
19	[[foldercontrol]]
20
21	[[folder:Anime]]
22	* This is something often mentioned about ''Anime/NeonGenesisEvangelion'' - that it was unusual for a mecha series to be so focused on characters and interpersonal relationships. Maybe it's part of a broader trend?
23	%%%* ''Anime/EurekaSeven'''s first half
24	%%%% * middle section of ''Anime/RahXephon'' also has these traits.
25	* ''Anime/LagrangeTheFlowerOfRinne'' is definitely more about the relationship between Madoka, Lan and Muginami than about outright mecha action.
26	* ''Anime/MobileSuitGundamSEED''; to the point where it was practically formulaic to have one episode with action followed by an episode with nothing but soap.
27	%%%* ''Manga/RozenMaiden''.
28	* ''Anime/CodeGeass''. In there with all that mecha fighting and political intrigue and [[LargeHam overacting]], they manage to squeeze in all sorts of high school drama and comedy, leading to sometimes-incredible MoodWhiplash.
29	* ''Manga/GunslingerGirl'' focusses on the interaction between each cyborg girl and TheHandler they've been assigned, rather than the anti-terrorist missions that are their reason for being.
30	* The LoveTriangle plots that are a staple of the ''Anime/{{Macross}}'' franchise.
31	[[/folder]]
32
33	[[folder:Comic Books]]
34	* ComicBook/CaptainAmerica tends to get all angsty about young sidekicks (particularly regarding Rick Jones) because Bucky "died" (Winter Soldier is a long story for another time) while his sidekick. This also explains his early animosity towards the ComicBook/YoungAvengers. Similarly, Cap's own comic book made commentary on '40s vs. "modern" (whatever time period we're in) American values.
35	%%%* ''ComicBook/SpiderMan'': Peter Parker was the original poster-boy of this, apt considering he's probably the tropemaker.
36	* The ''ComicBook/XMen'' are perhaps the most dramatic case of this in comics, with the X-Men and their related characters carrying on absurdly complex and thoroughly incestuous relationships (usually figuratively, sometimes borderline literally) with one another, some platonic, some romantic, and some somewhere in-between. If you come up with two random X-Men, odds are good that they shared a bed or a relative - and if they didn't, one probably shared a bed with the other's relative.
37	%%%* ''ComicBook/{{Empowered}}'' come to mind.
38	%%%* ''ComicBook/NobleCauses'' is a SoapOpera where the characters just happen to have super powers.
39	%%%* ''ComicBook/{{Runaways}}''. Yes, the plot really is the driving force, but we wouldn't have the whole Nico/Karolina/Xavin subplot if it wasn't at all Soaperheroes.
40	* ''ComicBook/{{Watchmen}}'', although the theme seemed to be "[[NotUsingTheZedWord costumed adventurers]]" didn't have any life outside of fighting crime.
41	* ''ComicBook/GreenLanterns'' devotes one issue to Simon telling his mom he's a superhero, and another to detailing Jessica's everyday struggle with anxiety.
42	%%%* ''Young Heroes in Love'', a short-lived DC Comic.
43	%%%%%%%%%% Exemplified? How so?
44	%%%* Exemplified by Creator/ChrisClaremont's work on the ''ComicBook/XMen''.
45	* ''ComicBook/{{Preacher}}'' had long stretches where the story took a break from the overall RageAgainstTheHeavens plot to focus on the relationships between the three main characters. This is most evident in the arcs later collected in ''Dixie Fried'' and ''All Hell's a-Comin'''.
46	* ComicBook/MarvelAdventures: Avengers turned away from saving-the-world plots to focus more on filling up lazy afternoons with activities like showing up at a country fair, chasing down spammers, dating, and pestering each other. Maybe not melodrama so much as passing the time.
47	* Plenty of ''ComicBook/AstroCity'' stories are more character studies than they are superhero epics.
48	%%%%* ''ComicBook/TheIncredibleHulk'', especially in TheSeventies and early Eighties.
49	%%%%* Done regularly in ''ComicBook/StrikeforceMorituri'', given the character-driven nature of the series.
50	%%%%%%* ''ComicBook/ScottPilgrim'' has a lot of character drama for a mostly action series.
51	* ''ComicBook/SheHulk2022'' is all about this, as Jennifer has quit the Avengers and superheroing in general after a TraumaCongaLine of events that have left her feeling burned out. The book focuses on her attempts to go back into practicing law and having a civilian life hanging out with her gal friends and doing ordinary activities like watching movies on the couch and getting together to eat cake.
52	* ''ComicBook/UltimateSpiderMan'' has several issues that are just focused on Peter's personal life, with little to no costumed crimefighting whatsoever. A few examples are the issue where he tells Mary Jane his secret identity, and another issue that focuses solely on Aunt May talking to her therapist about Peter's [[SecretIdentity odd behavior]] since Uncle Ben's death.
53	* ''ComicBook/TeenTitans'': Having been considered DC's answer to ''X-Men'' since the 1980s, the Titans comics have placed a heavy emphasis on soap opera storytelling, with the characters' familial or romantic relationships often taking as much, if not more precedence over fighting villains. This was present to some degree in the 60s and 70s but really became cemented during the Marv Wolfman run in the 80s and has been prominent ever since.
54	[[/folder]]
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56	[[folder:Fan Fiction]]
57	* ''Fanfic/ChildOfTheStorm'' zig-zags the trope. On the one hand, it's heavily character-driven, with the Avengers and their various associates being cast as a dysfunctional family, and the effects of the plot on the characters being emphasised, and a persistent criticism of the first 30 chapters of the first book is that they're very short on actual action. On the other hand, the grander plot starts picking up speed from chapter 40, with the vast majority of major events (and many minor ones) being revealed as part of a grand chess game being played by Doctor Strange, taking on more characteristics of a superhero epic, while the story (and its author) disdain a number of classic soap opera tropes (particularly of the wacky misunderstanding variety) as ridiculous.
58	* The ''Franchise/{{Pokemon}}'' fanfic ''Fanfic/OlivineRomance''. The usual Pokémon and Pokémon battles are relegated to subplot status while the human's drama and romances take center stage.
59	* In ''FanFic/CardcaptorRad'', there's just as much, if not more, focus on character interaction than action.
60	[[/folder]]
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62	[[folder:Film]]
63	%%* ''WesternAnimation/TheIncredibles1''.
64	%%* ''Film/SkyHigh2005''.
65	* Parodied in ''Film/TheSpecials''. There is no actual super-combat or rescuing on screen at all.
66	* The ''Film/{{Scream}}'' series is notable for this in the {{slasher\|Movie}} genre, with a heavy focus on the characters, their relationships, and their backstories. [[Film/Scream1996 The first film]] actually saw ExecutiveMeddling to add a death to the middle of the film, as outside the two opening kills, there were no deaths for the first hour in the original script.
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69	[[folder:Literature]]
70	%%* ''Literature/SoonIWillBeInvincible''.
71	* ''Literature/WildCards'', in places, took a break from the superhero action to have entire ''stories'' devoted to the relationships between the characters. One of the best-liked novels, ''Ace in the Hole'', was partially political intrigue and partially about the [[spoiler: failed]] reconciliation of the surviving members of the Four Aces.
72	* The third and fourth series of ''Literature/WarriorCats'' have been described this way by fans, since there's really no antagonist and no overarching conflict until the later part of the fourth series.
73	[[/folder]]
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75	[[folder:Live-Action TV]]
76	%%%%* ''Series/{{Soap}}'' of course.
77	%%%* ''Series/{{Heroes}}'', at first anyway. The third season so far seems to be focusing almost entirely on superheroics.
78	* In interviews before the show's premiere, Creator/JossWhedon said the spin-off ''Series/{{Angel}}'' would be a "case of the week"-type show, and not a soap opera like ''Buffy''. It ended up becoming a '''bigger''' soap opera, with multiple love triangles, {{Shot Reverse Shot}}s of people standing around in rooms and rehashing [[YoyoPlotPoint old plot points]], Angel's son going from a baby to teenager and [[spoiler:sleeping with Cordelia]], etc.
79	-->'''Fred:''' Who's Darla?\
80	'''Gunn''': Angel's old flame from way back.\
81	'''Fred''' Not [[{{Series/BuffyTheVampireSlayer}} the one who died?]]\
82	'''Gunn:''' Yeah. --No, not that one, the ''other'' one that died and came back to life. She's a vampire.\
83	'''Fred''': ''(confused)'' [[MetaGuy Do y'all have a chart or somethin'?]]\
84	'''Gunn''': In the files, I'll get it for you later.
85	** Lampshaded by Cordy herself: "''Tell me'' we're not living in a soap opera."
86	** Lampshaded by Gunn as well in "Players": "Listen, I spent most of this year trapped in what I can only describe as a turgid supernatural soap-opera."
87	%%%%* Also ''Series/MyHero2000''. He performs heroics, but never on camera.
88	* ''Series/{{Battlestar Galactica\|2003}}'': Half of its plots revolve around interpersonal relationships, [[ExecutiveMeddling though they went overboard with it in the latter half of season two and third quarter of season three.]] They pulled a few superb conclusions to those seasons to make up for the dip in form luckily enough, and the show was at its best mixing genres and usually had the balance right.
89	** Its prequel/spin-off series, ''Series/{{Caprica}}'', shifts even further in the direction of soap opera / family-based drama, while retaining a penchant for larger dramatic themes. The result is a very different show.
90	%%%* ''Series/StargateUniverse''
91	* While ''Series/TheTick2001'' was more of a sitcom-type than a soap-type, it rarely showed the superheroes fighting, instead throwing them in plots like "meeting new heroes in an abusive relationship" or "suing the magazine that displayed naked pictures of Captain Liberty".
92	* ''Series/TwentyFour''. Whenever there's a couple real-time minutes to fill between Jack's latest action scene or torture technique? You can bet someone in either CTU in the White House be interrupting all their important business to talk about a coworker's feelings.
93	* ''Series/LoisAndClark: The New Adventures of Superman'' caught a lot of flack in its day for being more like "''Series/{{Moonlighting}}'' with superheroes" than other Superman shows, which were traditionally more action-oriented.
94	* ''Series/{{Smallville}}'' has always focused on interpersonal drama to a bit higher degree than, say, ''WesternAnimation/SupermanTheAnimatedSeries''. In later seasons, the story-to-angst balance was tipped ''far'' towards angst, even after [[LoveTriangle Lana]] was PutOnABus.
95	* Parodied on the ''Series/StargateSG1'' episode "200," in which the team [[ImagineSpot fantasize]] about a "[[YoungerAndHipper younger, edgier]]" team replacing them after Martin Wood says some executives are considering going this route for the [[ShowWithinAShow Wormhole X-Treme]] route. While there's ''some'' action, the focus seems mostly to be on using a typical ''Stargate'' plot as a backdrop for the Mitchell-analogue and the Carter-analogue making out, the Daniel-analogue {{wangst}}ing about Mitchell not liking them, and the Vala-analogue randomly announcing her pregnancy. Ironically ''Series/StargateUniverse'' turned out to be a completely straight example of the trope.
96	* ''Series/HarpersIsland'' uses this as a sort of {{Padding}}. Remember, your average slasher film is only about 90 minutes long; this one has some ''13 hours'' to fill!
97	** ''Harper's Island'' producer Jill Blotevogel would later become showrunner for MTV's ''Series/ScreamTheTVSeries'', which got criticized for employing the same trope.
98	* ''Series/TheOfficeUS'' had this especially during Season 4 and early Season 5 what with the drama over Jim and Pam and the Dwight-Angela-Andy LoveTriangle. Season 9 also leaned heavily in this direction, with the Halpert marriage becoming rocky, Angela becoming TheBeard for a gay politician, Dwight suspecting he's the father of Angela's child, and Andy deciding to break into show business.
99	%%%%* On ''Series/{{JAG}}'', this trend began to accelerate in the second and third seasons.
100	%%%* ''Series/NoHeroics''.
101	* ''Series/{{Baywatch}}'' often did this, in order to provide for some variety other than heroic {{Rescue}}s, {{Fanservice}} and {{Montage}}s.
102	* ''Series/LondonsBurning'' was always very character-driven, with much emphasis on the personal lives of the men and [[TheSmurfettePrinciple woman]] of Blue Watch and their spouses and children. Indeed, the pilot movie was written by Jack Rosenthal, a former staff writer for ''Series/CoronationStreet.'' Unfortunately, the last few seasons started spending so much time on this aspect that Blue Watch spent more screentime dealing with the mess their job made of their love lives than actually doing said jobs, and the show suffered for it.
103	* ''Series/DoctorWho'''s revival is much soapier than the classic series, probably thanks to [[Creator/RussellTDavies its initial showrunner]] being a soap writer. The Doctor now had romances with several companions, most notably Rose, there was lots of drama with companions' families, and characters spent a lot of time angsting over the Doctor's role in the universe. Series 1 was probably the soapiest of the revival, with the action quotient increasing as the show went on, especially after Creator/StevenMoffat took over as showrunner, but the soap influences never really went away.
104	[[/folder]]
105
106	[[folder:Newspapers]]
107	* There was an odd short-lived trend in TheSeventies of newspapers introducing daily or weekly serialized fiction, usually set in the city served by the paper, often called soap operas in print, mainly to appeal to young female readers (they often centered around a NaiveEverygirl). Armistead Maupin's ''Literature/TalesOfTheCity'', in ''The San Francisco Chronicle'', was the most successful, eventually spinning off into a book series. Across the Golden Gate, Cyra [=McFadden's=] ''The Serial'' (in the ''Pacific Sun'' in Marin County) was turned into a CultClassic novel (and later a movie starring Creator/MartinMull and Creator/ChristopherLee). But the others like ''Bagtime'' (''Chicago Sun-Times'') and ''Federal Triangle'' (''Washington Star'') faded into obscurity.
108	[[/folder]]
109
110	[[folder:Video Games]]
111	* A ShowWithinAShow in ''VideoGame/CityOfHeroes'' is mentioned that's apparently a soap opera involving superhero characters, called ''The Super Days''.
112	* Techincally, this is part game mechanic for ''Franchise/ShinMegamiTensei'' ''VideoGame/Persona3'', ''VideoGame/Persona4'', and ''VideoGame/Persona5'' as the player goes through an EasternRPG with DatingSim elements. It's become a CashCowFranchise and brought Atlus into the mainstream English videogame market.
113	[[/folder]]
114
115	[[folder:Webcomics]]
116	* ''Webcomic/SuperStupor''. In the words of the writer: 'It's about heroes and villains in their everyday lives. Really, that's it. '
117	* ''Webcomic/EverydayHeroes''. Truth, Justice, and Lawn Care.
118	* ''Webcomic/{{Superego}}'' primarily focuses on the cast's problems cooperating over its slowly revealed JigsawPuzzlePlot.
119	* ''Webcomic/{{Homestuck}}'', especially in act 6. The emphasis on romance (actually called "shipping" in-universe) had started much earlier, but in Act 5 the characters' romantic attractions provided impetus for the plot. By Act 6 it had consumed the storyline, and one of the very last scenes before the GainaxEnding is a tea party date between new characters with no plot relevance whatsoever.
120	[[/folder]]
121
122	[[folder:Web Original]]
123	* ''Literature/InterviewingLeather'' focuses primarily on the interview of the supervillainess rather than seeing her in action.
124	[[/folder]]
125
126	%%[[folder:Western Animation]]
127	%%%* ''WesternAnimation/TheVentureBrothers'', though not precisely superheroes, a mix of {{Deconstruction}}, parody, soaperheroics and BlackComedy.
128	%%[[/folder]]

Context Main / Soaperizing