Download Soap Opera Episodes |BEST|
Mufid Bonnet
A soap opera, daytime drama, or soap for short, is typically a long-running radio or television serial, frequently characterized by melodrama, ensemble casts, and sentimentality.[1] The term "soap opera" originated from radio dramas originally being sponsored by soap manufacturers.[2] The term was preceded by "horse opera", a derogatory term for low-budget Westerns.[citation needed]
BBC Radio's The Archers, first broadcast in 1950, is the world's longest-running radio soap opera.[3] The longest-running current television soap is Coronation Street, which was first broadcast on ITV in 1960,[4] with the record for the longest-running soap opera in history being held by Guiding Light, which began on radio in 1937, transitioned to television in 1952, and ended in 2009.
According to Albert Moran, one of the defining features that make a television program a soap opera is "that form of television that works with a continuous open narrative. Each episode ends with a promise that the storyline is to be continued in another episode".[5] In 2012, Los Angeles Times columnist Robert Lloyd wrote of daily dramas: .mw-parser-output .templatequoteoverflow:hidden;margin:1em 0;padding:0 40px.mw-parser-output .templatequote .templatequoteciteline-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0
Although melodramatically eventful, soap operas such as this also have a luxury of space that makes them seem more naturalistic; indeed, the economics of the form demand long scenes, and conversations that a 22-episodes-per-season weekly series might dispense with in half a dozen lines of dialogue may be drawn out, as here, for pages. You spend more time even with the minor characters; the apparent villains grow less apparently villainous.[6]
Soap opera storylines run concurrently, intersect and lead into further developments. An individual episode of a soap opera will generally switch between several concurrent narrative threads that may at times interconnect and affect one another or may run entirely independent to each other. Episodes may feature some of the show's current storylines, but not always all of them. Especially in daytime serials and those that are broadcast each weekday, there is some rotation of both storyline and actors so any given storyline or actor will appear in some but usually not all of a week's worth of episodes. Soap operas rarely conclude all the current storylines at the same time. When one storyline ends, there are several other story threads at differing stages of development. Soap opera episodes typically end on some sort of cliffhanger, and the season finale (if a soap incorporates a break between seasons) ends in the same way, only to be resolved when the show returns for the start of a new yearly broadcast.
Evening soap operas and those that air at a rate of one episode per week are more likely to feature the entire cast in each episode and present all current storylines. Evening soap operas and serials that run for only part of the year tend to bring things to a dramatic end-of-season cliffhanger.
In 1976, Time magazine described American daytime television as "TV's richest market", noting the loyalty of the soap opera fan base and the expansion of several half-hour series into hour-long broadcasts in order to maximize ad revenues.[7] The article explained that at that time, many prime time series lost money, while daytime serials earned profits several times more than their production costs.[7] The issue's cover notably featured its first daytime soap stars, Bill Hayes and Susan Seaforth Hayes of Days of Our Lives,[8][9] a married couple whose onscreen and real-life romance was widely covered by both the soap opera magazines and the mainstream press at large.[10]
The main characteristics that define soap operas are "an emphasis on family life, personal relationships, sexual dramas, emotional and moral conflicts; some coverage of topical issues; set in familiar domestic interiors with only occasional excursions into new locations".[14] Fitting in with these characteristics, most soap operas follow the lives of a group of characters who live or work in a particular place, or focus on a large extended family. The storylines follow the day-to-day activities and personal relationships of these characters. "Soap narratives, like those of film melodramas, are marked by what Steve Neale has described as 'chance happenings, coincidences, missed meetings, sudden conversions, last-minute rescues and revelations, deus ex machina endings.'"[15][16] These elements may be found across the gamut of soap operas, from EastEnders to Dallas.[15]
In many soap operas, in particular daytime serials in the US, the characters are frequently attractive, seductive, glamorous and wealthy. Soap operas from the United Kingdom and Australia tend to focus on more everyday characters and situations, and are frequently set in working-class environments.[17] Many of the soaps produced in those two countries explore social realist storylines such as family discord, marriage breakdown or financial problems. Both UK and Australian soap operas feature comedic elements, often affectionate comic stereotypes such as the gossip or the grumpy old man, presented as a comic foil to the emotional turmoil that surrounds them. This diverges from US soap operas where such comedy is rare.[5] UK soap operas frequently make a claim to presenting "reality" or purport to have a "realistic" style.[18] UK soap operas also frequently foreground their geographic location as a key defining feature of the show while depicting and capitalising on the exotic appeal of the stereotypes connected to the location. As examples, EastEnders focuses on the tough and grim life in the East End of London; Coronation Street and its characters exhibit the stereotypical characteristic of "northern straight talking".[19]
Romance, secret relationships, extramarital affairs, and genuine hate have been the basis for many soap opera storylines. In US daytime serials, the most popular soap opera characters, and the most popular storylines, often involved a romance of the sort presented in paperback romance novels. Soap opera storylines weave intricate, convoluted and sometimes confusing tales of characters who have affairs, meet mysterious strangers and fall in love, and who commit adultery, all of which keeps audiences hooked on the unfolding story. Crimes such as kidnapping, assault (sometimes sexual), and even murder may go unpunished if the perpetrator is to be retained in the ongoing story.
In soap opera storylines, previously unknown children, siblings and twins (including the evil variety) of established characters often emerge to upset and reinvigorate the set of relationships examined by the series. Unexpected calamities disrupt weddings, childbirths, and other major life events with unusual frequency.
Stunts and complex physical action are largely absent, especially from daytime serials. Such story events often take place off-screen and are referred to in dialogue instead of being shown. This is because stunts or action scenes are difficult to adequately depict without complex movements, multiple takes, and post-production editing. When episodes were broadcast live, post-production work was impossible. Though all serials have long switched to being taped, extensive post-production work and multiple takes, while possible, are not feasible due to the tight taping schedules and low budgets.
The first daytime TV soap opera in the United States was These Are My Children in 1949, though earlier melodramas had aired in the evenings as once-a-week programs. Soap operas quickly became a fixture of American daytime television in the early 1950s, joined by game shows, sitcom reruns and talk shows.
Many long-running US soap operas established particular environments for their stories. The Doctors and General Hospital, in the beginning, told stories almost exclusively from inside the confines of a hospital. As the World Turns dealt heavily with Chris Hughes' law practice and the travails of his wife Nancy who, tired of being "the loyal housewife" in the 1970s, became one of the first older women on the American serials to enter the workforce. Guiding Light dealt with Bert Bauer (Charita Bauer) and her alcoholic husband Bill, and their endless marital troubles. When Bert's status shifted to caring mother and town matriarch, her children's marital troubles were showcased. Search for Tomorrow mostly told its story through the eyes of Joanne Gardner (Mary Stuart). Even when stories revolved around other characters, Joanne was frequently a key player in their storylines. Days of Our Lives initially focused on Dr. Tom Horton and his steadfast wife Alice. The show later branched out to focus more on their five children. The Edge of Night featured as its central character Mike Karr, a police detective (later an attorney), and largely dealt with organized crime. The Young and the Restless first focused on two families, the prosperous Brooks family with four daughters, and the working-class Foster family of a single working mother with three children. Its storylines explored realistic problems including cancer, mental illness, poverty, and infidelity.
The American soap opera Guiding Light (originally titled The Guiding Light until 1975) started as a radio drama in January 1937 and subsequently transferred to television in June 1952. With the exception of several years in the late 1940s, during which creator Irna Phillips was involved in a dispute with Procter & Gamble, Guiding Light was heard or seen nearly every weekday from 1937 to 2009, making it the longest story ever told in a broadcast medium.
Originally serials were broadcast as 15-minute installments each weekday in daytime slots. In 1956, As the World Turns and The Edge of Night, both produced by Procter & Gamble Productions, debuted as the first half-hour soap operas on the CBS television network. All soap operas broadcast half-hour episodes by the end of the 1960s. With increased popularity in the 1970s, most soap operas had expanded to an hour in length by the end of the decade (Another World even expanded to 90 minutes for a short time from 1979 to 1980). More than half of the serials had expanded to one-hour episodes by 1980. As of 2012, three of the four U.S. serials air one-hour episodes each weekday; only The Bold and the Beautiful airs 30-minute episodes.
9738318194