Top 73 Tropes Quotes & Sayings

As a generalization, fantasy writing has leaned more on political storytelling the more it's tried to escape the inevitable influence of Middle-earth, and revise the Eurocentric and Christian tropes that Tolkien's particular worldview bequeathed.

Fear Street' just takes all of those stereotypes and those tropes and flips them on its head. I feel honored to be a part of a community and a trilogy that does that.

The young adult category is particularly interesting to me in terms of science fiction and fantasy tropes.

Do proper homage to thine idol's eyes; But no too humbly, or she will despise Thee and thy suit, though told in moving tropes: Disguise even tenderness if thou art wise.

It's fun playing the judge, because I grew up on all the courtroom stuff in movies and TV. So, you know all the tropes, and you know all the expressions.

What I like about narrative in general is when there is some incongruity between the form and content. Let's say, mixing up the gothic with a coming-of-age narrative. Telling a love story that's also a monster story. Mixing up superhero tropes with your monster tropes. I like category confusion.

Preachers at black churches are the last people left in the English-speaking world who know the schemes and tropes of classical rhetoric: parallelism, antithesis, epistrophe, synecdoche, metonymy, periphrasis, litotes - the whole bag of tricks.

The only way to real mature love is to get past the tropes of what we consider 'romance.'

I love the of dealing with the homoerotic versus the idea of dealing with certain tropes with regards to black masculinity in the world, propensity towards sports, antisocial behavior, hypersexuality - all of these sort of non-truths that I don't exist in but that I see as being fixed in the world's imagination.

Although the civil-rights movement did a lot to change how black life was dramatized on the American stage in the fifties and sixties, white composers and lyricists often still rely on familiar tropes when it comes to representing black women in musicals.

After the horrific massacre Wednesday at the French weekly satirical magazine Charlie Hebdo, perhaps the West will finally put away its legion of useless tropes trying to deny the relationship between violence and radical Islam.

Stereotypical and hurtful tropes about Jews are widely accepted in the African American community.

The best horror walks a line that's completely on a psychological level, not needing the typical tropes of traditional horror filmmaking, then also having to tease out those elements in a way that makes the audience feel like they know what they're in.

Star Wars film is breaking all previous box office records. (Why might we want to revisit those characters, that narrative, those jokes and tropes again, in this way, right now? I wonder what it will turn out to reveal about the economics and politics of this moment.)

By the end of 1982, the game changed. Muller published her second Sharon McCone novel, Sue Grafton introduced Kinsey Millhone in 'A Is for Alibi', and the floor was now open - whether some liked it or not - for more women to claim the tropes of private eye fiction for their own.

I think the idea was to make a horror film that became a science-fiction film with a lot of melodramatic tropes.

I was questioning what it means to be a man. I didn't feel as masculine as I thought I should. I was out of shape, slightly depressed, inactive, and didn't feel like I belonged to something. I started thinking about what the definition of a man is, and realized they're all these archaic tropes.

An imaginative book renders us much more service at first, by stimulating us through its tropes, than afterward, when we arrive atthe precise sense of the author. I think nothing is of any value in books, excepting the transcendental and extraordinary.

One of the things that make Liars so fascinating after five albums, each one so completely different from the others, is that even though they play around with all the classic tropes of art-damaged angst-noise perv-rock, they exude a totally cheery and boyish enthusiasm onstage, goofing around with their keyboards and beatboxes.

I should probably confess that I get bored easily, which explains my reluctance to work with formula, tropes, whatever.

The stories about epidemics that are told in the American press - their plots and tropes - date to the nineteen-twenties, when modern research science, science journalism, and science fiction were born.

Audiences are hungry for something different. With binge-watching, they're hungry for interesting content they haven't seen before, and they want to be entertained. A lot of shows are grim, murky and dark. We wanted to spin away from the obvious, the tropes, the cliches and what people are doing right now, and do something different.

I don't like the tropes, particularly in my industry, that the senior women are mean to the junior staff.

I'm definitely seeking to challenge tropes.

I'm so interested in taking tropes from other movies and putting them on something where it doesn't belong.

When people think girl adventurers, they tend to think of a spunky, plucky tom-boy with a chip on her shoulder. I'm not saying that this makes for a dull character, but I think other types of adventurous girls exist. It's easy to fall into well-established tropes, believing that the tropes of a genre define the genre itself.

There's a lot of ordinariness, and people tend to play to the same regressive tropes - sexism, patriarchy, unkindness to the oppressed. Comedy shouldn't fall into these traps - by its very nature comedy is supposed to be edgy and anti-establishment.

A lot of animated movies in the past have sort of relied on these archaic tropes on what the female characters in those movies can be and who they are.

I think that young women and little girls need to see that they don't have to be the damsel in distress. They don't have to not show their strength. They don't have to be whatever the stereotype is or the tropes that we go to in our minds.

I have a problem with the term 'leading man.' It's so limiting; it involves not upsetting anyone. Obviously, we have anti-heroes now, but if we're talking about the two tropes - character actor and leading man - I would so rather be a character actor. That's why I have a career.

What's so interesting is taking kind of all these horror tropes and really finding black history and American history to layer on top of it.

I always wanted to create a project that would allow me to think about cross cultural relationships and hybridization but did not want to use my personal story or standard tropes of multiculturalism.

I'm interested in visual vocabulary, like Andy Warhol was interested in that vocabulary of advertisements and television and pop culture. I do a great deal of tropes. This past decade has seen a new term, "meme," which is exactly what I'm studying.

Not as many people watch 'Doctor Who' as watch the Super Bowl, obviously, but the tropes that attract nerds are no longer a secret cult. It's a much larger culture, in the specific sense.

My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.

The etymologist finds the deadest word to have been once a brilliant picture. Language is fossil poetry. As the limestone of the continent consists of infinite masses of the shells of animalcules, so language is made up of images or tropes, which now, in their secondary use, have long ceased to remind us of their poetic origin.

There are so many tropes in 'Sex Education'; don't get me wrong. There are lots of formulaic things, but the reason they're in there is because they work, and we can rework them because people recognize them.

I'm a genre writer - I chose to be one, I ended up one, I still am one, and I'm not writing transgressive, genre-blurring fiction. I write 'core SF' - it may occasionally incorporate horror or noir tropes, but it's not pretending to be anything other than what it is.

Teenage girls in television and film, in my experience, oftentimes are portrayed as either the sweet, innocent virgin or the super-sexy, experienced, town bicycle. There never seems to be an in-between. I think most girls are somewhere in between those two tropes.

It would seem as if the very language of our parlors would lose all its nerve and degenerate into palaver wholly, our lives pass at such remoteness from its symbols, and its metaphors and tropes are necessarily so far fetched.

We still have our larynx, we still have our minds and we still have our consciousness. We still have this gift to make things with words and images and get outside these preordained tropes and ways of thinking and the master narratives - what's handed to us.

One of the things I enjoyed when working in manga was when I couldn't tell where anything was going because there weren't narrative tropes and structures I was used to. After doing it for seven years, I got to the point where I did see structures. I did start to learn, but at first I didn't know where it was going. It was very exciting for me.

The title 'Crazy Ex-Girlfriend' is meant to be a deconstruction of a stereotype, and the whole show is about deconstructing the boxes that we're supposed to be put into. We like taking apart the tropes and the stereotypes and explore the nuances, so 'Crazy Ex-Girlfriend' is a label that we go deep underneath to explore.

Jorge Luis Borges was lamenting a variety of Orientalism that was used to measure the alleged authenticity of Argentine and Latin American writers in the midcentury. The Argentine literary tradition was believed by many, including many Argentines, to be concerned with a national imaginary in which the gauchos and the pampas and the tango were fundamental tropes. Borges, in part to legitimize his own Europhilia, correctly pointed out that expecting writers to engage with these romantic nationalist tropes was arbitrary and limiting, a genre that was demonstrative of its own artificiality.

I like to play with tropes.

One of the tropes of our videos is that they were very rhythmic with clipped edits.

I can't change the preconceived notions a reader brings to a work, but I can do my best to be aware of, address, and subvert tropes and expectations that readers may have as best I can and hope I don't screw it up too much.

Some tropes are universal. Boy meets girl. Betrayal and revenge. The search to discover a hidden truth.... A mother's love isn't cliché, it's universal. These things are archetypes. They're the building blocks of myth and legend. They are a big part about what it means to be human.

When we were making 'Teddy Perkins,' we were playing with a lot of horror tropes and things you might've seen in movies before, but we get the ability to subvert expectations or get a comedic element out of a horror moment.

I have a great amount of respect for the audience. They know narrative construct. They know all the tropes.

For someone who is starting out on developing their critical skills, just being aware of its existence is great: it can make the difference between trying to write a story around a cliche or an original idea, and better still, studying it can eventually clue you in on how to breathe new life into tired tropes.

Within the macho-melodrama tropes of the superhero genre, it's fair to say 'Watchmen' stands out for its rich entertainment, its darkness, and its lurid pleasures. Its vividly drawn panels, moody colors and lush imagery make its popularity well-deserved, if disproportionate.

I never realized before this the emotional power of some really simple, corny tropes: people with top hats, people with batons, confetti going off, how important it is to smile.

I just watched so many Westerns as a kid that you end up using archetypes and sort of tropes of that genre, because there's a language there and you can twist it and turn it on its head or play to it or go sideways at any time.

I enjoy turning things on the audience. I really like working in genre because people come into the films with certain expectations. They know the tropes so well that, when you turn on those, it can be shocking because there's a complacency that comes with watching those films.

I love playing into those horror tropes of 'don't go into the basement, you idiot.' I love that, so it's fun to sometimes play into it and sometimes against type and the tropes.

The TV Tropes QC page is every single idiotic comment from my forums distilled into one HTML document.

Technically and logically speaking, actual Victorian science fiction writers cannot be dubbed 'steampunks.' Although they utilized many of the same tropes and touchstones employed later by twenty-first-century writers of steampunk, in their contemporary hands these devices represented state-of-the-art speculation.

If you want to appeal to people of different languages and cultures, you have to move toward tropes that are universally recognized. Games, references, subtleties that only work in your language are hardly useful.

In movies and TV, we tend to fall into tropes about how characters might get out of problems. But when you look at real life, you realize that there is a lot of drama of not being able to get out of the problems.