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resolved calling out a harm you haven't inflicted yet Live Action TV
Dialogue trope I've seen a couple times on TV shows. Alice mentions some kind of injury or harm that Bob has suffered, Bob interjects that he hasn't, and Alice inflicts the injury.
- Straight example: Burn Notice S1E9 - "Hard Bargain": Michael tells Lucio to tell his boss Reyes that he was late getting back because he broke his foot on the stairs at the mall. Lucio replies he didn't break his foot. Fiona immediately breaks it.
- Played with: A Knight Rider episode where a Dirty Cop pulls Michael over claiming KITT has a busted taillight. Michael says he doesn't. Cop says he does and kicks KITT's taillight, only to find that KITT's taillights are just as tough as the rest of him.
resolved Giving you a chance to turn yourself in. Live Action TV
Is there a trope for where Character A offers Character B chance to reveal their big secret or hand themselves over to the authorities, with the threat that if B doesn't do it, A will spill the beans?
resolved The band from the show? Live Action TV
A common resource in some teen TV shows and telenovelas, where some characters end forming a pop band and even make a tour as the group in Real Life, such as happened in telenovelas like Rebelde or Alcanzar una Estrella (where Ricky Martin had a shot forming Muñecos de Papel)... do we have a trope for that?
resolved Didn't Go to the Funeral Live Action TV
Alice is mad at Bob because Bob didn't show up at Charlie's funeral - usually, this is serious enough to have the two of them not speak for years.
When they do reconcile, Bob explains he wasn't being disrespectful by not going, he was just so sad about Charlie's death he was in denial.
What's the closest trope to that situation?
resolved Middle Eastern Terrorists Live Action TV
A Sister Trope to Western, African, South Asian, and Far East Asian Terrorists, Middle Eastern Terrorists are terrorists who are
resolved Not Missing but Dead All Along Live Action TV
Dead All Along seems to involve characters who were ghosts or projections the whole time, but is there a specific trope for when a character's who thought to have run away and broken off all contact with their family is revealed to have been murdered, with the killer(s) having tricked the deceased's loved ones into thinking that they were simply living somewhere else and just didn't want to be found.
It's like I'm in some kind of... TV Tropes...
resolved Oh, [character]! Live Action TV
Stock phrase that I'm pretty sure is mostly used in older sitcoms. A character says "Oh, [character name]!" when they do something funny or stupid.
Edited by c1beat7per9minuteresolved Looking for a definition Live Action TV
Character supposedly has a happy ending. Character friends supposedly has a fulfilling life and archive great things. But they exist in the past and a future event is coming that cannot be changed that calls into question if it such a happy ending .Like character manages open a successful business in 1940s Hiroshima and fix the crumbling infrastructure in his neighborhood just prior to WW 2 occurring.
Edited by Tuvokresolved Inexplicably Attractive Character Live Action TV
Is there a trope for when a character seems to attract a lot of romantic attention from people even though they don’t have much to recommend them? Not a Kavorka Man because in the show I’m thinking of, all the main characters including this one have a baseline level of TV-character-attractiveness. But this particular character just seems pretty boring personality-wise when all the people who are into him are much more charismatic and dynamic to the point that it’s hard to understand why they’d be interested in him.
Edited by SuperTroperresolved Took it literally Live Action TV
I almost added this example to Answers to the Name of God, but it isn't that. Is it Comically Missing the Point, or something else?
- In The Jeffersons, Bentley brings his telescope to the Jeffersons' apartment to look at stars from their balcony. Louise walks in as George is using said telescope to watch an attractive woman in a different apartment. Of course, he doesn't want her to know what he was looking at, so he moves the telescope slightly, claims he was looking at a church, and offers to let her have a look. When she does, she ends up witnessing a murder.
Louise: (focusing) Well, I don't see a church. I see.... (pulls away, horrified) My God!
George: Boy, that must be a strong telescope!
resolved "Obvious" evidence of editing an interview (for length/clarity) Live Action TV
For a specific case, there was an interview for a news show with a person, done through Video Call, and because of where the interviewee was located (they were 'in detention', read jail), there was an on-screen notification for "XX minutes left". The entire segment was only about 5 minutes, but the timer went from 18 minutes to about 7 minutes by the end; of course there were some jump cuts (which is expected, even for cases without an on-screen timer) back and forth between the interviewer asking the questions and the person being interviewed, with the timer being notably shorter after some of them.
Edited by CurledUpWithDakkaresolved Animated interlude in live-action work Live Action TV
A live-action work has a segment that's animated, often as part of a Dream Sequence or Art-ernate Universe.
resolved Alleyway blocked by fence Live Action TV
A chase scene in a dense urban environment. The characters run through an alleyway between tall buildings, and suddenly they come to an alley blocked by a metal grate or a chain link fence.
Is this a trope?
Are alleys blocked this way common in real life? I haven't spent much time in dense cities and I've never seen it. It doesn't seem safe in case of emergency, so is it something that is far more common in fiction than real life?
resolved Overwhelming visions Live Action TV
In this scene from The Expanse, Holden unlocks the Ring Station archives for the Investigator. In the process, he is treated to incredible visions of what happened to precursors who created the protomolecule. These visions cause Sensory Overload.
Is there a trope for visions like this?
Edited by ginsengaddictresolved Back by popular demand Live Action TV
A character is originally going to leave for good, but is brought back due to being a fan favorite.
resolved No one makes an appointment to see this important character Live Action TV
OK, I've only seen this twice done serially, usually it's one offs. Basically, an important character like Da Chief, the leader of a faction or even an antagonist very regularly has other characters angrily storm into their office making demands or accusations. To the point it seems they either have no secretary, security, door locks, or simply have an "open door policy" that lets everyone in, no questions asked.
I first noticed it in Smallville where Lex had just about everyone do this to him. But more recently in Land of the Lustrous where the hero at least twice storms into the office of the head antagonist / frenemy during their explicit off hours to discuss things.
resolved Scope Creep Live Action TV
This could be for other things besides TV, but that's where I've seen it the most obviously. The tone doesn't shift, the genre doesn't shift, the character motives are still largely the same, but things go from focusing on small-stakes, inter-personal drama and action to large stakes, "we have to save the world!" action. Kinda a MCU-ification of the show's direction.
A couple of examples spring to mind. Penny Dreadful starts out as a gritty, realistic depiction of Victorian England mixed with occult, where the focus is on the characters dealing with supernatural threats and the very mundane threats of a restrictive society and its own burdens/expectations. But by the last season everyone has super powers and they're on a quest to save the world from being swallowed by demons or what have you.
Firefly/Serenity also does this. The show starts out with a 'not exactly smugglers' crew struggling to make ends meet while dealing with their personal struggles and history, but by the end of the show (the movie), they are on a quest to uncover a secret, and basically topple the government / start a new revolution.
The MCU up to the Avengers Endgame movies is like this, too; the first few movies are pretty independent, with (bizarrely) low emphasis on the superpowers and magic. They focus on smaller villains that are a lower-stakes, personal challenge/threat to the hero. Eventually everyone has superhuman abilities (explained in-universe or not), flinging spells and lasers and whatever in a big battle to save not just the universe, but every alternate universe as well!
The tropes in Tone Shift don't really fit, because there is no change in the genre, or adding magic where there wasn't before, or anything like that. Fantasy Creep is the most overlap that I can see, like the entry for John Wick, but a lot of shows start out with a imho more interesting premise that is explored in the early seasons but as the characters become more powerful, and defeat all their lesser foes, bigger foes and greater stakes move in and the show changes from the initial premise to "we must save the world from existential danger!"
I feel like this is already on here but I can't find it!
resolved Romance out of nowhere Live Action TV
Is there any particular trope - might be YMMV, I don't care - for situation where out of the blue Alice and Bob decide that yep, they are suddenly a thing, despite spending past 15 years of a Long Runner as Friendly Enemy at best, just enemies on average? There is no build up, no chemistry, no nothing, the characters just suddenly fall for each other in the middle of the final season. For added bonus, it's not even the creators bending down to fandom demands or similar, it just happens, because.
Edited by Tropiarzresolved The Truth Will Set You Free Live Action TV
Is there a trope for this concept, rather than than just citing it specifically as part of As the Good Book Says...? Like, characters discovering the truth or making the truth more widely known has some sort of liberating effect on their situation. There may or may not be some turmoil involved.

The help is not coming. There is no rescue. This is a death trap, and the oxygen will probably run out too once the scrubbers get full.
And now Bob face a choice: commit a quick and relatively painless suicide and be done with it, or painfully, slowly dying from starvation and the fact he has an open fracture that nobody is going to put together.
No, I'm not looking for Driven to Suicide. I'm looking for this choice of going out in a specific way: quick and easy, or pointlessly struggling much longer, but still being doomed to die.
Edited by Tropiarz