Television’s infamous guilty pleasure, soap operas, often receive criticism from both self-proclaimed egalitarians and staunch Love Island enthusiasts. But lifelong fan Roslyn Dee defends the genre, arguing that soap operas mirror the messy reality of our lives and were ahead of their time in showcasing strong female characters. “You don’t watch those trashy shows?” my friends would say dismissively whenever I brought up Coronation Street or Fair City. And yet, they would later engage in animated conversations about Love Island or some other mind-numbing reality show that bore me to tears.
In the world of Weatherfield, where Coronation Street is set, audiences are introduced to the life and crimes of Stephen Reid, a serial killer who epitomizes the new, edgier direction that 21st-century soap operas have taken. While Glenroe may not have had its fair share of murderers back in the day, soap operas have undoubtedly upped the ante. Just a few years ago, Kerri-Ann Bishop, the fluttery-eyed, seemingly innocent character played by Jenny Dixon, was convicted of murder in Fair City. Her character met a grisly end when she was stabbed to death by her victim’s mother. Soap operas have come a long way from the days of innocent couples like Miley and Biddy, Charlene and Jason, or Vera and Jack Duckworth.
Whether you love it or hate it, soap operas have been a fixture in radio and television for more decades than most of us can remember. I can still hum the theme tune to Crossroads, the tea-time soap opera from my school days, and characters like Minnie Caldwell and Len Fairclough from the earlier episodes of Coronation Street are still vivid in my mind’s eye. And of course, there’s Emmerdale Farm, which shed its rural roots and became simply Emmerdale.
When it comes to opinions on soap operas, acclaimed writer Stephen King has a clear stance. He dismissed Mad Men as “basically soap opera,” disregarding its Emmy-award-winning status. On the other hand, the late British Poet Laureate John Betjeman compared Coronation Street to The Pickwick Papers, praising its charm. Soap operas are often deemed too lowbrow, not just by King, but by many people who claim to never watch them, yet somehow know the names of characters and recent plot twists. It’s a peculiar form of denial.
Soap operas have been burdened with the lowbrow label due to their origins. They first appeared on American radio before crossing the Atlantic to radio (The Kennedys of Castleross premiered on Radio Éireann in 1955) and then to television in 1954 with The Grove Family on the BBC. Early American soaps were sponsored by brands like Proctor & Gamble and used as a platform to advertise cleaning products and detergents. In the US, they were daytime shows primarily targeted at housewives.
According to American media academic Elana Levine, the lowbrow association comes from the genre’s strong association with women. Soap operas give female characters prominent voices and have always explored issues that concern women. “Soaps revolve around interpersonal relationships, family, questions of trust and honesty, treasured and private secrets. All humans care about those things, but culturally, they’ve been feminized,” says Levine.
Initially, soap operas were purely character-driven, but they gradually shifted to become more plot-driven. These captivating storylines have taken center stage, featuring grittier and more violent narratives. Though, it must be mentioned that at times, these storylines tend to drag on for too long.
However, it’s the characters that have me hooked. Even if the brilliant Maureen Lipman’s character, Evelyn Plummer, simply lounged on the sofa in every Coronation Street episode, eloquently dissecting life, death, and the universe, I’d still tune in. Evelyn isn’t a character who needs to “do” things; she simply needs to “be.” The same can be said for characters like Roy Cropper in Corrie or Cass Cassidy in Fair City. That’s where the magic lies.
Soap operas have always been bold in tackling social issues and challenging societal norms. Remember the infamous lesbian kiss between Beth Jordache and Margaret Clemence on Brookside in 1994? Social and health matters have taken precedence nowadays, giving various soap operas a platform to address different issues at different times. Whether it’s David Platt’s male rape in Corrie, Damien Halpin falling victim to domestic abuse in Fair City, or featuring transgender characters like Hayley Cropper in Corrie or Matty Barton in Emmerdale, soap operas have become a medium for delivering understanding to viewers that a one-off documentary could never achieve.
Again, it all comes back to the characters and our ability to relate to them. The current storyline in Coronation Street with Paul Foreman, who has been diagnosed with motor neuron disease, hits close to home for me after losing a dear friend to the illness six years ago. It’s difficult to watch, but I’m captivated by the poignant and authentic portrayal of the disease through one of the soap’s beloved characters.
When soap operas succeed, they truly captivate audiences. Yet, skeptics often ask, isn’t it just melodrama? Yes, often it is melodramatic, but it’s melodrama with a nugget of truth grounded in reality. Let’s face it, our own lives can be melodramatic at times.
Soap operas always provide solutions to problems, even if it takes a while. And who among us doesn’t seek resolution or closure? There’s comfort in knowing that violence will eventually face retribution, murder will be met with justice, and contrition will beget redemption.
When I think of my soap opera heroes, it’s not the long-serving characters that first come to mind. It’s someone like Kylie Platt. Over her six years in Coronation Street, the character’s journey from a troubled, reckless individual with a drug-filled past, who sold her own child and engaged in an affair with her brother-in-law, to a woman who found redemption through marriage to David Platt was truly inspiring. Kylie’s wild story eventually led to her untimely death, as she was stabbed while trying to protect her friend.
Ultimately, soap operas demonstrate that behind the theatrics and clichés lie relatable characters and compelling storylines that resonate with audiences. So perhaps it’s time to put aside our preconceptions and embrace the hidden depth and truth within the world of soap operas.
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