A soap opera (also called a daytime drama or soap) is a genre of a long-running radio or television serial, frequently characterized by melodrama, ensemble casts, and sentimentality. The term soap opera originated from radio dramas' original sponsorship by soap manufacturers. The term was preceded by horse opera, a derogatory term for low-budget Westerns. Some authorities exclude short-running serial dramas from their definition.
BBC Radio's The Archers, first broadcast in 1950, is the world's longest-running soap opera. The longest-running television soap opera is Coronation Street, which was first broadcast on ITV in 1960.
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". In 2012, Los Angeles Times columnist Robert Lloyd wrote of daily dramas: 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.
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 independently of each other. Episodes may feature some of the show's 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 seldom conclude all their storylines at the same time. When one story thread ends, there are several others at differing stages of development. Soap opera episodes typically end on some sort of cliffhanger, as does the season finale (if a soap incorporates a break between seasons), the tension 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 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 to maximise advertising revenues. At that time, many prime time series lost money, while daytime serials earned profits several times more than their production costs. The issue's cover notably featured its first daytime soap stars, Bill Hayes and Susan Seaforth Hayes of Days of Our Lives, a married couple whose onscreen and real-life romance was widely covered by both the soap opera magazines and the mainstream press at large.
Origin and history of the genre
The first program generally considered to be a "soap opera" or daytime serial by scholars of the genre is Painted Dreams, written by and starring Irna Phillips, which premiered on WGN radio Chicago, on October 20, 1930. It was regularly broadcast in a daytime time slot, where most listeners would be housewives; thus, the shows were aimed at – and consumed by – a predominantly female audience. Clara, Lu, 'n Em would become the first network radio serial of the type when it aired on the NBC Blue Network at 10:30 p.m. Eastern Time on January 27, 1931. Although it did not make the move until February 15, 1932, Clara, Lu 'n Em would become the first network serial of the type to move to a weekday daily timeslot; as such, it also became the first network daytime serial.
Plots and storylines
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". 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.'" These elements may be found across the gamut of soap operas, from EastEnders to Dallas.
In many soap operas, in particular daytime serials in the United States, 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. Many of the soaps produced in those two countries explore social realist storylines such as family discord, marriage breakdown or financial problems. Both British 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 American soap operas where such comedy is rare. British soap operas frequently make a claim to presenting "reality" or purport to have a "realistic" style. British 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".
Romance, secret relationships, extramarital affairs, and genuine hate have been the basis for many soap opera storylines. In American 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.
Australian and British soap operas also feature a significant proportion of romance storylines. In Russia, most popular serials explore the "romantic quality" of criminal and/or oligarch life.
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.
As in comic books – another popular form of linear storytelling pioneered in the United States during the 20th century – a character's death is not guaranteed to be permanent. On The Bold and the Beautiful, Taylor Hayes (Hunter Tylo) was shown to flatline and have a funeral. Once Tylo reprised her character in 2005, a retcon explained that Taylor had actually gone into a coma.
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.
United States
Daytime serials on television
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.
In 1988, H. Wesley Kenney, who at the time served as the executive producer of General Hospital, said to The New York Times:
I think people like stories that continue so they can relate to these people. They become like a family, and the viewer becomes emotionally involved. There seem to be two attitudes by viewers. One, that the stories are similar to what happened to them in real life, or two, thank goodness that isn't me.
Many long-running American 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.
In contrast, Dark Shadows (1966–1971), Port Charles (1997–2003) and Passions (1999–2008) featured supernatural characters and dealt with fantasy and horror storylines. Their characters included vampires, witches, ghosts, goblins, and angels.
The American soap opera Guiding Light (originally titled The Guiding Light until 1975) started as a radio drama in January 1937 and subsequently began transitioning to television in June 1952; the television and radio editions of the serial continued to broadcast concurrently until the latter version ended production in 1956. 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 2025, four of the five American serials air one-hour episodes each weekday; only The Bold and the Beautiful airs 30-minute episodes.
Soap operas were broadcast live from the studio, creating what many at the time regarded as a feeling similar to that of a stage play. As nearly all soap operas were originated at that time from New York City, a number of soap actors were also accomplished stage actors who performed live theater during breaks from their soap roles. In the 1960s and 1970s, new serials such as General Hospital, Days of Our Lives, and The Young and the Restless were produced in Los Angeles. Their success made the West Coast a viable alternative to New York-produced soap operas, which were becoming more costly to perform. By the early 1970s, nearly all soap operas had transitioned to being taped. As the World Turns and The Edge of Night were the last to make the switch, in 1975.
Port Charles used the practice of running 13-week "story arcs," in which the main events of the arc are played out and wrapped up over the 13 weeks, although some storylines did continue over more than one arc. According to the 2006 Preview issue of Soap Opera Digest, it was briefly discussed that all ABC shows might do telenovela arcs, but this was rejected.
Though American daytime soap operas are not generally rerun by their networks, occasionally they are rebroadcast elsewhere; CBS and ABC have made exceptions to this, airing older episodes (either those aired earlier in the current season or those aired years prior) on major holidays when special event programming is not scheduled or because of last-minute deferrals of scheduled episodes to the following day because of breaking news coverage. (Temporary production stoppages caused by the COVID-19 pandemic similarly resulted in CBS and ABC airing older reruns of The Young and the Restless, The Bold and the Beautiful and General Hospital during the Spring and Summer of 2020 in order to ration first-run episodes and, eventually, to fill airtime after the programs ran out of new episodes to broadcast; Days of Our Lives, which produces its episodes roughly eight months ahead of their initial broadcast, did not resort to airing older episodes during this time as it had a larger first-run episode backlog.) Early episodes of Dark Shadows were rerun on PBS member stations in the early 1970s after the show's cancellation, and the entire series (except for a single missing episode) was rerun on the Sci-Fi Channel in the 1990s. After The Edge of Night's 1984 cancellation, reruns of the show's final five years were shown late nights on USA Network from 1985 to 1989. On January 20, 2000, a digital cable and satellite network dedicated to the genre, Soapnet, began re-airing soaps that aired on ABC, NBC and CBS.
Newer broadcast networks launched since the late 1980s (such as Fox) and cable television networks have largely eschewed offering soap operas on their daytime schedules, instead running syndicated programming and reruns. No cable television outlet has produced its own daytime serial, although DirecTV's The 101 Network took over existing serial Passions, continuing production for one season; while TBS and CBN Cable Network respectively aired their own soap operas, The Catlins (a primetime soap that utilized the daily episode format of its daytime counterparts) and Another Life (a soap that combined standard serial drama with religious overtones), during the 1980s. Fox, the fourth "major network", carried a short-lived daytime soap Tribes in 1990. Yet, other than this and a couple of pilot attempts, Fox mainly stayed away from daytime soaps, and has not attempted them since their ascension to major-network status in 1994 (it did later attempt a series of daily prime time soaps from 2006 to 2007, which aired on newly created sister network MyNetworkTV, but the experiment was largely a failure after disappointing ratings).
Due to the masses of episodes produced for a series, release of soap operas to DVD (a popular venue for distribution of current and vintage television series) is considered impractical. With the exception of occasional specials, daytime soap operas are notable by their absence from DVD release schedules (an exception being the supernatural soap opera, Dark Shadows, which did receive an essentially complete release on both VHS and DVD; the single lost episode #1219 is reconstructed by means of an off-the-air audio recording, still images, and recap material from adjacent episodes).
Performers
See List of longest-serving soap opera actors
Soap opera performers in the United States are typically divided into two main groups: primary characters (sometimes referred to as "contract players" – as their portrayers signed contracts of employment – or leading characters) and secondary characters (sometimes referred to as recurring characters). These two groups of characters make up the vast majority of the people who appear on any given soap. There are also characters who appear only for a short time as dictated by a specific storyline, and even characters who may only get a first name and no fleshed-out character history with little dialogue (these are sometimes referred to as "under-5s" since they receive under five lines of dialogue in each episode).
Due to the longevity of these shows, it is not uncommon for a single character to be played by multiple actors. The key character of Mike Karr on The Edge of Night was played by three actors.
Conversely, several actors have remained playing the same character for many years, or decades even. Helen Wagner played Hughes family matriarch Nancy Hughes on American soap As the World Turns from its April 2, 1956, debut through her death in May 2010. She is listed in the Guinness Book of World Records as the actor with the longest uninterrupted performance in a single role. A number of performers played roles for 20 years or longer, occasionally on more than one show. Rachel Ames played Audrey Hardy on both General Hospital and Port Charles from 1964 until 2007 and returned in 2009. Susan Lucci played Erica Kane in All My Children from the show's debut in January 1970 until it ended its network television run on ABC on September 23, 2011. Erika Slezak played Victoria Lord #3 on One Life to Live from 1971 until the show ended its network television run on ABC on January 13, 2012, and resumed the role in its short-lived online revival on April 29, 2013.
Other actors have played several characters on different shows. Millette Alexander, Bernard Barrow, Doris Belack, David Canary, Judith Chapman, Keith Charles, Jordan Charney, Joan Copeland, Nicolas Coster, Jacqueline Courtney, Augusta Dabney, Louis Edmonds, Don Hastings, Larry Haines, Vincent Irizarry, Lenore Kasdorf, Teri Keane, Lois Kibbee, John Loprieno, Lori March, Maeve McGuire, Robert Milli, James Mitchell, Lee Patterson, Christopher Pennock, Antony Ponzini, William Prince, Rosemary Prinz, Louise Shaffer, Mary Stuart, Richard Thomas, Diana van der Vlis, Mary K. Wells, Lesley Woods and Michael Zaslow, among many others, have all played multiple soap roles.
Evolution of the daytime serial
For several decades, most daytime soap operas concentrated on family and marital discord, legal drama and romance. The action rarely left interior settings, and many shows were set in fictional, medium-sized Midwestern towns.
Social issue storylines were typically verboten when soaps were starting, due to heavy network-imposed censorship at that time, but writer and producer Agnes Nixon introduced these storylines slowly but surely, first in 1962 when the matriarch of The Guiding Light, Bert Bauer, developed uterine cancer (as the actress, Charita Bauer, had been diagnosed with the same illness in real life). The storyline encouraged many women to get pap smears and the CBS mailroom in New York City received a then-record amount of fan mail wishing Bauer (both Bert and Charita) well. Nixon would go on to tell many socially relevant storylines on her soaps One Life to Live and All My Children in the late 1960s and into the 1970s.
Exterior shots were slowly incorporated into the series The Edge of Night and Dark Shadows. Unlike many earlier serials that were set in fictional towns, The Best of Everything and Ryan's Hope were set in a real-world location, New York City.
The first exotic location shoot was made by All My Children, to St. Croix in 1978. Many other soap operas planned lavish storylines after the success of the All My Children shoot. Soap operas Another World and Guiding Light both went to St. Croix in 1980, the former show culminating a long-running storyline between popular characters Mac, Rachel and Janice, and the latter to serve as an exotic setting for Alan Spaulding and Rita Bauer's torrid affair. Search for Tomorrow taped for two weeks in Hong Kong in 1981. Later that year, some of the cast and crew ventured to Jamaica to tape a love consummation storyline between the characters of Garth and Kathy.
During the 1980s, perhaps as a reaction to the evening drama series that were gaining high ratings, daytime serials began to incorporate action and adventure storylines, more big-business intrigue, and an increased emphasis on youthful romance.
One of the most popular couples was Luke Spencer and Laura Webber on General Hospital. Luke and Laura helped to attract both male and female fans. Even actress Elizabeth Taylor was a fan and at her own request was given a guest role in Luke and Laura's wedding episode. Luke and Laura's popularity led to other soap producers striving to reproduce this success by attempting to create supercouples of their own.
With increasingly bizarre action storylines coming into vogue, Luke and Laura saved the world from being frozen, brought a mobster down by finding his black book in a left-handed boy statue, and helped a princess find her Aztec treasure in Mexico. Other soap operas attempted similar adventure storylines, often featuring footage shot on location – frequently in exotic locales.
During the 1990s, the mob, action and adventure stories fell out of favor with producers, due to generally declining ratings for daytime soap operas at the time. With the resultant budget cuts, soap operas were no longer able to go on expensive location shoots overseas as they were able to do in the 1980s. During that decade, soap operas increasingly focused on younger characters and social issues, such as Erica Kane's drug addiction on All My Children, the re-emergence of Viki Lord's dissociative identity disorder on One Life to Live, and Stuart Chandler dealing with his wife Cindy dying of AIDS on All My Children. Other social issues included cancer, rape, abortion and racism.
Several shows during the 1990s and 2000s incorporated supernatural and science fiction elements into their storylines in an attempt to boost their ratings. One of the main characters on the earlier soap opera Dark Shadows was Barnabas Collins, a vampire, and One Life to Live featured an angel named Virgil. Both shows featured characters who traveled to and from the past. In 1995, Days of our Lives featured a storyline in which fan favorite character Marlena Evans was possessed by the devil (which was revisited in 2021 with the devil possessing several of her relatives as well), and in 1998, Guiding Light featured a cloning storyline involving legacy character Reva Shayne.
Traditional grammar of daytime serials
Modern American daytime soap operas largely stay true to the original soap opera format. The duration and format of storylines and the visual grammar employed by American daytime serials set them apart from soap operas in other countries and from evening soap operas. Stylistically, British and Australian soap operas, which are usually produced for early evening timeslots, fall somewhere in between American daytime and evening soap operas. Similar to American daytime soap operas, British and Australian serials are shot on videotape, and the cast and storylines are rotated across the week's episodes so that each cast member will appear in some but not all episodes. British and Australian soap operas move through storylines at a faster rate than daytime serials, making them closer to American evening soap operas in this regard.
American daytime soap operas feature stylistic elements that set them apart from other shows:
A construct unique to American daytime serials is the format where the action will cut between various conversations, returning to each at the precise moment it was left. This is the most significant distinction between American daytime soap operas and other forms of American television drama, which generally allow for narrative time to pass, off-screen, between the scenes depicted. On occasion, a character or characters involved a conversation earlier in that act may appear in a different setting later in the same act.
In American daytime soap operas, scenes often end with a pregnant pause and a close-up on the character. There will be no dialogue for several seconds, while the music builds before cutting to a commercial or a new scene. This kind of segue is referred to in the industry as a "tag".
The traditional three-point lighting set-up routinely used in filmmaking and television production is also used on daytime soap operas, sometimes with accentuated back lighting to lift actors out of the background. This is useful in programs like soap operas, which are shot on videotape in small interior sets. The backlight is frequently more subtle on filmed productions shot on location and in larger sets.
Domestic interiors are often furnished with stained wood wall panels and furniture, and items of brown leather furniture. This is to give a sumptuous and luxurious look suggesting the wealth of the characters. Daytime serials often foreground other sumptuous elements of set decoration; presenting a "mid-shot of characters viewed through a frame of lavish floral displays, glittering crystal decanters or gleaming antique furniture".
Few American daytime soap operas routinely feature location or exterior-shot footage (Guiding Light began shooting many of its scenes outdoors in its final two seasons). Often an outdoor locale is recreated in the studio, although in recent years, The Bold and the Beautiful and General Hospital have taped certain exterior scenes within the grounds of their main soundstages. Australian and British daily soap operas invariably feature a certain amount of exterior-shot footage in every episode. This is usually shot in the same location and often on a purpose-built set, with new exterior locations for particular events.
The visual quality of a soap opera is usually lower than prime time American television drama series due to the lower budgets and quicker production times. This is also because soap operas are recorded on videotape using a multi-camera setup, unlike prime time productions that are usually shot on film and frequently use the single-camera shooting style. Because of the lower resolution of video images, and also because of the emotional situations portrayed in soap operas, daytime serials make heavy use of close-up shots. Programs in the United States did not make the full conversion to high-definition broadcasting until September 2011, when The Bold and the Beautiful became the last soap to convert to the format; One Life to Live was an exception to this, as it continued to be produced and broadcast in standard definition – albeit in the 16:9 aspect ratio – until the end of its run on ABC in January 2012. Beyond the Gates, being the first daytime soap opera to debut in the modern high-definition era, broadcast in HD from its premiere in February 2025.
Soap operas have idiosyncratic blocking techniques. In one common situation, a romantically involved couple starts a conversation face to face, then one character will turn 180° and face away from the other character while the conversation continues. This allows both characters to appear together in a single shot, and with both of them facing the audience. This is unrealistic in real life and is not frequently seen in film or on television outside American daytime serials, but it is an accepted soap opera convention, sometimes referred to as a "two shot West".
Because of the escapist tone of the genre and due to the large number of cast members employed by each program (usually totaling around 30 to 35 actors for hour-long soaps, and 15 to 25 for those lasting a half hour), daytime soap operas have traditionally listed all contract cast members (as well as recurring and guest actors) during the closing credits, instead of the opening title sequence. Until the 1990s, these series listed only a few of the principal actors at the end of the episode in certain episodes airing on Monday through Thursdays. Because of the aforementioned reasons, an extended credit sequence featuring a complete list of the show's cast members, listed alongside the characters they portray, typically airs at least once per week (usually on the Friday show; although since the 2000s, most soap operas, with General Hospital as one of the few exceptions, have randomized the day the cast list is shown). The Young and the Restless became the first American daytime soap to include the names of its contract actors in the opening credits in 1999 (although due to the large number of actors on contract with the show at one time, it utilizes different versions of the title sequence with a randomized list of about nine actors, increased from the seven listed in each version until 2017). The Bold and the Beautiful listed its entire main cast (as well as some actors appearing on a recurring basis) from 2004 to 2017, with General Hospital following suit from 2010 to 2013; Beyond the Gates, beginning with its 2025 premiere, uses a similar alternating title sequence structure as The Young and the Restless, although uniform top billing is given to a handful of its primary lead actors. (As of 2025, The Young and the Restless and Beyond the Gates are the only American daytime soap operas that list the names of their main cast during both their opening titles and extended closing credit sequence.)
Decline
Statistics and trends
Soap opera ratings have significantly fallen in the U.S. since the 2000s. Experts believe that this is due to their failure to attract younger demographics, the tendency of modern audiences to have shorter attention spans, and the rise of reality television in the 1990s. Nevertheless, Internet streaming services do offer materials in the serial format, a legacy of soap operas. However, the availability of such on-demand platforms saw to it that soap operas would never again be the cultural phenomenon they were in the twentieth century, especially among the younger generations, not least because cliffhangers could no longer capture the imagination of the viewers the way they did in the past, when television shows were available as scheduled, not on demand.