History SeinfeldIsUnfunny / LiveActionTV

7th Aug '16 12:49:50 PM tiiger
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* ''Series/MrRobot'' has an in-universe subversion. Leon has only recently discovered ''Series/{{Seinfeld}}'' and is blown away by tropes that so many people have long since internalized.
23rd Jul '16 12:50:13 PM nombretomado
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** The American version of ''Series/BigBrother'' also gets this said about it, especially since there originally ''was'' no "power of veto" and there were almost ''no'' "twists" to speak of in the first two and three seasons. Considering how radically different it is, it can be very hard to appreciate the concept of the early ''BigBrother'' seasons. And not ''just'' in the American version where it's more competitive. (There was ''some'' degree of competition in the Brazilian ''BigBrother'' still.)

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** The American version of ''Series/BigBrother'' also gets this said about it, especially since there originally ''was'' no "power of veto" and there were almost ''no'' "twists" to speak of in the first two and three seasons. Considering how radically different it is, it can be very hard to appreciate the concept of the early ''BigBrother'' ''Big Brother'' seasons. And not ''just'' in the American version where it's more competitive. (There was ''some'' degree of competition in the Brazilian ''BigBrother'' ''Big Brother'' still.)
21st Jul '16 10:30:46 AM Morgenthaler
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* ''Series/BlakesSeven''. Before there was ''Series/BabylonFive'', ''Series/TheXFiles'', ''Series/{{Firefly}}'', and the DarkerAndEdgier ''Series/{{Battlestar Galactica|2003}}'' reimagining, there was this. In 1978, your sci-fi show protagonists were heroic, and landed firmly on the good morality scale. The villains looked like idiots at the end. Everything was supposed to be shiny, and the future was supposed to be better. Even if you had rebels fighting an evil empire, they were supposed to strike and win! Instead, we had a bunch of criminals, mercenaries, and a failed revolutionary stealing a ship and using it for a personal vendetta. The "rebellion" never got above seven people, the villainess was one of the most DangerouslyGenreSavvy characters to strut across a screen in stiletto heels, and the whole thing ended on [[spoiler: [[KillThemAll one protagonist murdering the other]] and [[BolivianArmyEnding getting a summary execution from the Federation troops]]]]. However, it doesn't seem like anything shocking after gorging on anything made past 1992, where ''every'' sci-fi setting is a CrapsackWorld, the "heroes" are dubious at best, and the best ending you'll manage is a BittersweetEnding.

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* ''Series/BlakesSeven''. Before there was ''Series/BabylonFive'', ''Series/TheXFiles'', ''Series/{{Firefly}}'', and the DarkerAndEdgier ''Series/{{Battlestar Galactica|2003}}'' reimagining, there was this. In 1978, your sci-fi show protagonists were heroic, and landed firmly on the good morality scale. The villains looked like idiots at the end. Everything was supposed to be shiny, and the future was supposed to be better. Even if you had rebels fighting an evil empire, they were supposed to strike and win! Instead, we had a bunch of criminals, mercenaries, and a failed revolutionary stealing a ship and using it for a personal vendetta. The "rebellion" never got above seven people, the villainess was one of the most DangerouslyGenreSavvy cunning characters to strut across a screen in stiletto heels, and the whole thing ended on [[spoiler: [[KillThemAll one protagonist murdering the other]] and [[BolivianArmyEnding getting a summary execution from the Federation troops]]]]. However, it doesn't seem like anything shocking after gorging on anything made past 1992, where ''every'' sci-fi setting is a CrapsackWorld, the "heroes" are dubious at best, and the best ending you'll manage is a BittersweetEnding.
23rd May '16 9:44:11 AM MrThorfan64
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** On a similar level is [[ExtremeOmnisexual Jack Harkness]], the first openly LGBT character on-screen[[note]]the Classic Series companion Ace was implied to be bisexual and the expanded universe already had the openly-lesbian Izzy Sinclair appear in "Doctor Who Magazine"[[/note]], and a scene where he kisses the Ninth Doctor in the Series 1 finale "The Parting of the Ways" in 2005. At the time it was a source of major controversy. However after the mass of more explicit sexual references and humour in the New series, with openly homosexual and bisexual characters Jack's LGBT status doesn't seem such a major thing. The S1 finale scene feels quite subdued, especially as it comes right after Jack kisses Rose in the same way and not much attention is drawn to it.

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** On a similar level is [[ExtremeOmnisexual Jack Harkness]], the first openly LGBT character on-screen[[note]]the on-screen[[note]]there was a lesbian subtext to the Classic Series companion Ace was implied to be bisexual and the expanded universe already had the openly-lesbian Izzy Sinclair appear in from "Doctor Who Magazine"[[/note]], Magazine" come out as lesbian[[/note]], and a scene where he kisses the Ninth Doctor in the Series 1 finale "The Parting of the Ways" in 2005. At the time it was a source of major controversy. However after the mass of more explicit sexual references and humour in the New series, with openly homosexual and bisexual characters Jack's LGBT status doesn't seem such a major thing. The S1 finale scene feels quite subdued, especially as it comes right after Jack kisses Rose in the same way and not much attention is drawn to it.
23rd May '16 9:41:43 AM MrThorfan64
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** On a similar level is [[ExtremeOmnisexual Jack Harkness]], the first openly LGBT character on-screen[[note]]Ace was implied to be bisexual and the expanded universe already had the openly-lesbian Izzy Sinclair appear in "Doctor Who Magazine"[[/note]], and a scene where he kisses the Ninth Doctor in the Series 1 finale "The Parting of the Ways" in 2005. At the time it was a source of major controversy. However after the mass of more explicit sexual references and humour in the New series, with openly homosexual and bisexual characters Jack's LGBT status doesn't seem such a major thing. The S1 finale scene feels quite subdued, especially as it comes right after Jack kisses Rose in the same way and not much attention is drawn to it.

to:

** On a similar level is [[ExtremeOmnisexual Jack Harkness]], the first openly LGBT character on-screen[[note]]Ace on-screen[[note]]the Classic Series companion Ace was implied to be bisexual and the expanded universe already had the openly-lesbian Izzy Sinclair appear in "Doctor Who Magazine"[[/note]], and a scene where he kisses the Ninth Doctor in the Series 1 finale "The Parting of the Ways" in 2005. At the time it was a source of major controversy. However after the mass of more explicit sexual references and humour in the New series, with openly homosexual and bisexual characters Jack's LGBT status doesn't seem such a major thing. The S1 finale scene feels quite subdued, especially as it comes right after Jack kisses Rose in the same way and not much attention is drawn to it.
23rd May '16 9:40:06 AM MrThorfan64
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** On a similar level is [[ExtremeOmnisexual Jack Harkness]], the first openly LGBT character on-screen[[note]]Ace was implied to be bisexual and the expanded universe already had the openly-lesbian Izzy Sinclair appear in "Doctor Who Magazine"[[/note]], and a scene where he kisses the Ninth Doctor in the Series 1 finale "The Parting of the Ways" in 2005. At the time it was a source of major controversy. However after the mass of more explicit sexual references and humour in the New series, with openly homosexual and bisexual characters Jack's LGBT status doesn't seem such a major thing. The S1 finale scene feels quite subdued, especially as it comes right after Jack kisses Rose in the same way and not much attention is drawn to it.
2nd May '16 10:55:44 AM WhatArtThee
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* Almost as much as the TropeNamer, ''Series/TheMaryTylerMooreShow'' has fallen victim to this trope. When it aired during the early 1970s, it made an enormous cultural splash in its depiction of a single 30-something year old woman who was more interested in having a fulfilling career than landing a husband, garnering the outrage of MoralGuardians and significantly contributing to the infamous [[http://en.wikipedia.org/wiki/Rural_Purge Rural Purge]]. The show's critical acclaim and insanely high ratings were even cited as key factors in the rise of UsefulNotes/{{feminism}} during the 1970's. While the series still holds up reasonably well (as opposed to [[Series/MurphyBrown a later show with a very similar premise]]), it may be difficult for modern audiences accustomed to much riskier shows like ''Series/SexAndTheCity'' and ''Series/GilmoreGirls'' to understand just how revolutionary and controversial ''The Mary Tyler Moore Show'' was when it first aired. To see how far network television has come in terms of risky content, one needs to look no further than the ExecutiveMeddling that surrounded the reasoning for Mary being single. The original intent was for her to be newly divorced. However, the network felt such a plot would significantly diminish the show's family appeal (remember, this is when divorce still had a very negative stigma attached to it), so it was retooled to Mary being single by virtue of a broken engagement. Seems pretty quaint, given what women on network television (let alone Cable) are capable of doing today, huh? Another reason the divorcee angle was dropped was because Mary Tyler Moore was coming off a long run on ''Series/TheDickVanDykeShow'' and there were fears that viewers would misinterpret the show's premise as "Rob and Laura got a divorce". (This was one of the reasons Van Dyke himself [[WhatCouldHaveBeen wasn't picked up]] as newly divorced NeatFreak Felix in the film version of ''Series/TheOddCouple''.)

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* Almost as much as the TropeNamer, ''Series/TheMaryTylerMooreShow'' has fallen victim to this trope. When it aired during the early 1970s, it made an enormous cultural splash in its depiction of a single 30-something year old woman who was more interested in having a fulfilling career than landing a husband, garnering the outrage of MoralGuardians and significantly contributing to the infamous [[http://en.wikipedia.org/wiki/Rural_Purge Rural Purge]]. The show's critical acclaim and insanely high ratings were even cited as key factors in the rise of UsefulNotes/{{feminism}} during the 1970's. While the series still holds up reasonably well (as opposed to [[Series/MurphyBrown a later show with a very similar premise]]), However, it may be difficult for modern audiences accustomed to much riskier shows like ''Series/SexAndTheCity'' and ''Series/GilmoreGirls'' to understand just how revolutionary and controversial ''The Mary Tyler Moore Show'' was when it first aired. To see how far network television has come in terms of risky content, one needs to look no further than the ExecutiveMeddling that surrounded the reasoning for Mary being single. The original intent was for her to be newly divorced. However, the network felt such a plot would significantly diminish the show's family appeal (remember, this is when divorce still had a very negative stigma attached to it), so it was retooled to Mary being single by virtue of a broken engagement. Seems pretty quaint, given what women on network television (let alone Cable) are capable of doing today, huh? Another reason the divorcee angle was dropped was because Mary Tyler Moore was coming off a long run on ''Series/TheDickVanDykeShow'' and there were fears that viewers would misinterpret the show's premise as "Rob and Laura got a divorce". (This was one of the reasons Van Dyke himself [[WhatCouldHaveBeen wasn't picked up]] as newly divorced NeatFreak Felix in the film version of ''Series/TheOddCouple''.)



* While ''Series/TheSopranos'' holds up very well to this day (barring a few UnintentionalPeriodPiece moments), it too has fallen victim to this. In 1999 when it came out, it was rather unusual for a television show to feature a morally questionable protagonist, especially a criminal. For instance, ''Series/{{Profit}}'' had also dabbled in the concept just a few years before, but was cancelled after just one season. It was so unusual that David Chase had to fight HBO about whether or not Tony could commit a murder in the fifth episode of the series because HBO was scared of putting off fans. Over the years, series with anti-heroes and villain protagonists have become dime a dozen, with popular series like ''Series/TheShield'', ''Series/{{Dexter}}'', ''Series/{{Deadwood}}'', ''Series/HouseOfCardsUS'', and perhaps most of all, ''Series/BreakingBad'' (which has all but eclipsed ''The Sopranos''[='=] place in popular culture) all featuring protagonists that commit criminal acts up to and including murder on a nearly weekly basis.

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* While When ''Series/TheSopranos'' holds up very well to this day (barring a few UnintentionalPeriodPiece moments), it too has fallen victim to this. In 1999 when it came out, out in 1999, it was rather unusual for a television show to feature a morally questionable protagonist, especially a criminal. For instance, ''Series/{{Profit}}'' had also dabbled in the concept just a few years before, but was cancelled after just one season. It was so unusual that David Chase had to fight HBO about whether or not Tony could commit a murder in the fifth episode of the series because HBO was scared of putting off fans. Over the years, series with anti-heroes and villain protagonists have become dime a dozen, with popular series like ''Series/TheShield'', ''Series/{{Dexter}}'', ''Series/{{Deadwood}}'', ''Series/HouseOfCardsUS'', and perhaps most of all, ''Series/BreakingBad'' (which has all but eclipsed ''The Sopranos''[='=] place in popular culture) all featuring protagonists that commit criminal acts up to and including murder on a nearly weekly basis.



** Even amongst Johnny-come-lately ''Survivor'' fans, it can be difficult to get into the earlier seasons. If you watch ''Borneo'' and ''The Australian Outback'' (the first and second seasons, respectively) you'll notice the game was ''majorly'' different back then than it is now. The Tribal switch was actually seen as the '''big twist''' of ''Africa'' (season 3). Nowadays it's in almost ''every season'' of ''Survivor'', partly because it made things a bit less one-sided at the merge. (The game was dominated by the remnants of one team at the merge in ''Borneo'' and ''The Australian Outback''. When the power shifts, it becomes more interesting to watch.) When one takes into account that there was nothing like hidden immunity idols or Exile Island... the first two seasons were actually kinda bland, weren't they? However, at the time, the main draw of ''Borneo'' and ''The Australian Outback'' [[FairForItsDay was still the premise itself]] (being stranded on a deserted island, being stranded in the wild, et cetera). Since the emphasis wasn't on shocking twists and "blindsides", they can still hold up to the modern viewer who simply likes the adventure and/or voyeur aspects.

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** Even amongst Johnny-come-lately ''Survivor'' fans, it can be difficult to get into the earlier seasons. If you watch ''Borneo'' and ''The Australian Outback'' (the first and second seasons, respectively) you'll notice the game was ''majorly'' different back then than it is now. The Tribal switch was actually seen as the '''big twist''' of ''Africa'' (season 3). Nowadays it's in almost ''every season'' of ''Survivor'', partly because it made things a bit less one-sided at the merge. (The game was dominated by the remnants of one team at the merge in ''Borneo'' and ''The Australian Outback''. When the power shifts, it becomes more interesting to watch.) When one takes into account that there was nothing like hidden immunity idols or Exile Island... the first two seasons were actually kinda bland, weren't they? However, at the time, the main draw of ''Borneo'' and ''The Australian Outback'' [[FairForItsDay was still the premise itself]] (being stranded on a deserted island, being stranded in the wild, et cetera). Since the emphasis wasn't on shocking twists and "blindsides", they can still hold up to the modern viewer who simply likes the adventure and/or voyeur aspects.
2nd May '16 10:54:41 AM WhatArtThee
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** Hell, even ''[[Series/StarTrekTheNextGeneration The Next Generation]]'' hasn't really aged that well. At its time, it was noted for taking everything about the old series and modernizing it (as well as adding some twists of its own). Nowadays, with spinoffs doing the same thing and other shows going further where it could never go, the only thing it has going for it is Creator/PatrickStewart. Also, it's hard to understand how [[WhamEpisode hard-hitting]] and ''terrifying'' the CliffHanger ending of "The Best of Both Worlds: Part I" was since the subsequent Trek spinoffs started making regular use of such endings.

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** Hell, even ''[[Series/StarTrekTheNextGeneration The Next Generation]]'' hasn't really aged that well.Generation]]''. At its time, it was noted for taking everything about the old series and modernizing it (as well as adding some twists of its own). Nowadays, with spinoffs doing the same thing and other shows going further where it could never go, the only thing it has going for it is Creator/PatrickStewart. Also, it's hard to understand how [[WhamEpisode hard-hitting]] and ''terrifying'' the CliffHanger ending of "The Best of Both Worlds: Part I" was since the subsequent Trek spinoffs started making regular use of such endings.



* Many classical ''[[SoapOpera Telenovelas]]'' were kind of edgy at the time, like ''El Derecho de Nacer'' and its oblique references to abortion, the heroines empowering themselves by studying and working like ''Simplemente Maria'' instead of merely marrying into riches like every other one, villain protagonists like ''Rubí'', and "bedroom scenes" consisting on two characters merely embracing together with a ModestyBedsheet (quite scandalous in the era of SleepingSingle). Today, those stories are considered quaint at best, ReactionaryFantasy at worst, and even the actualized remakes show that their plots have not aged well. Many remakes of old ''telenovelas'' have to place the action on rural settings instead of the urban ambient they originally were, because even the broadcasters have to acknowledge that nowadays those are the only places where people would be GenreBlind enough for the plot to work.

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* Many classical ''[[SoapOpera Telenovelas]]'' were kind of edgy at the time, like ''El Derecho de Nacer'' and its oblique references to abortion, the heroines empowering themselves by studying and working like ''Simplemente Maria'' instead of merely marrying into riches like every other one, villain protagonists like ''Rubí'', and "bedroom scenes" consisting on two characters merely embracing together with a ModestyBedsheet (quite scandalous in the era of SleepingSingle). Today, those stories are considered quaint at best, ReactionaryFantasy at worst, and even the actualized remakes show that their plots have not aged well.hardly edgy. Many remakes of old ''telenovelas'' have to place the action on rural settings instead of the urban ambient they originally were, because even the broadcasters have to acknowledge that nowadays those are the only places where people would be GenreBlind enough for the plot to work.
1st May '16 11:37:25 AM TheRedRedKroovy
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** It was the first major sci-fi show, not counting anime, to have major long-term story arcs planned in advance. ''Babylon 5'' was written from a full outline for all five seasons, nearly unheard of at the time.

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** It was the first major American sci-fi show, not counting anime, show to have major long-term story arcs planned in advance. While British and Japanese shows had been working with story arcs lasting multiple episodes for a long time by that point, American sci-fi television still largely hewed to an episodic MonsterOfTheWeek format. ''Babylon 5'' was written from a full outline for all five seasons, nearly unheard of at the time.time, and while [[RealLifeWritesThePlot real-life production difficulties did force some changes]] at various points, by and large it stuck to the plan.



** It gave the DarkerAndEdgier future and UsedFuture, in contradiction to ''Franchise/StarTrek's'' utopia, a heavy boost of popularity (though it was nowhere near first with these).

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** It gave the DarkerAndEdgier future and UsedFuture, in contradiction to ''Franchise/StarTrek's'' ''Franchise/StarTrek''[='=]s utopia, a heavy boost of popularity (though it was nowhere near first with these).



** It intentionally avoided (former trope) "Cute Kids And Robots." In fact, the term was coined in reference to ''B5'' in order to describe what Creator/JMichaelStraczynski was declaring war on within TV sci-fi.
** It pioneered the use of CGI effects, especially for anything involving spaceships. To put it in perspective: the producers of ''Deep Space Nine'' scoffed at B5's CGI and proudly announced that they would continue to use models; when ''Voyager'' launched, it not only used CGI, but used the same production house as B5 to make it. ''Deep Space Nine'' itself also switched from necessity once they started doing mass battle scenes.
*** The main issue for B5's pioneering CGI was that it was early CGI; when compared screen-for-screen with the pure-CGI that turned up later in DS9/Voyager, B5's CGI looks poor (and even looked poor at the time, especially in any sequences involving human-scale interactions). This is the primary reason CGI was disregarded - it needed to come up in quality or the difference from miniature-led effects would've been far too jarring. B5 was a pioneer, but came a little too early for its CGI imagery to be really anything impressive.

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** It intentionally avoided (former trope) the former trope known as "Cute Kids And Robots." Robots". In fact, the term was coined in reference to ''B5'' in order to describe what Creator/JMichaelStraczynski was declaring war on within TV sci-fi.
** It pioneered the use of CGI effects, especially for anything involving spaceships. To put it in perspective: the producers of ''Deep Space Nine'' scoffed at B5's ''B5''[='=]s CGI and proudly announced that they would continue to use models; when models. When ''Voyager'' launched, it not only used CGI, but used the same production house as B5 ''B5'' to make it. ''Deep Space Nine'' itself also switched from necessity once they started doing mass battle scenes.
*** The main issue for B5's ''B5''[='=]s pioneering CGI was that it was early CGI; when CGI. When compared screen-for-screen with the pure-CGI that turned up later in DS9/Voyager, B5's ''DS9'' and ''Voyager'', ''B5''[='=]s CGI [[ConspicuousCG looks poor poor]] (and even looked poor at the time, especially in any sequences involving human-scale interactions). This is the primary reason CGI was disregarded - -- it needed to come up in quality or the difference from miniature-led effects would've been far too jarring. B5 ''B5'' was a pioneer, but came a little too early for its CGI imagery to be really anything impressive.



* Despite now being remembered mostly for its NarmCharm, ''Series/BeverlyHills90210'' actually dealt with some pretty heavy-handed issues for a teen show during the early-90's. While our neighbors in Canada were enjoying Degrassi's honest depictions of teenage angst, we in The States were (at least on television) limited mostly to light and goofy depictions of high school life like ''Series/SavedByTheBell''. 90210, when it premiered, was actually very controversial for the way it sympathetically depicted serious issues like sex and cocaine addiction. As, before then, characters who engaged in such activity on teen television were generally either demonized or made to quit after one episode. Today, given how much high school dramas have evolved ever since, the show is remembered mostly for its hideously dated fashions, blatantly obvious DawsonCasting and heavy amounts of melodrama.

to:

* Despite now being remembered mostly for its NarmCharm, ''Series/BeverlyHills90210'' actually dealt with some pretty heavy-handed issues for a teen show during the early-90's. While our neighbors in Canada were enjoying Degrassi's ''Series/DegrassiHigh''[='=]s honest depictions of teenage angst, we in The States were (at least on television) limited mostly to light and goofy depictions of high school life like ''Series/SavedByTheBell''. 90210, ''90210'', when it premiered, was actually very controversial for the way it sympathetically depicted serious issues like sex and cocaine addiction. As, addiction, as before then, characters who engaged in such activity on teen television were generally either demonized or made to quit after one episode. Today, given how much high school dramas have evolved ever since, the show is remembered mostly for its hideously dated fashions, blatantly obvious DawsonCasting DawsonCasting, and heavy amounts of melodrama.



* ''Series/TheCosbyShow'' suffers greatly from this trope. With all the shows that patterned themselves after it (if not ripping it off outright), younger viewers might openly scoff that this is the show that saved the SitCom format when it debuted ('''especially''' if they've seen only the latter seasons, where SeasonalRot set in).

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* ''Series/TheCosbyShow'' suffers greatly from this trope. With all the shows that patterned themselves after it (if not ripping it off outright), younger viewers might openly scoff that this is the show that saved the SitCom format when it debuted ('''especially''' if they've seen only the latter seasons, where SeasonalRot set in). Nowadays, it's known less for how it revolutionized television and more for [[HarsherInHindsight sitting under the cloud]] of Creator/BillCosby's real-life personal troubles.



** Then you realize that ''{{Quincy}}'' [[OlderThanTheyThink was doing that long before]] ''CSI'' came out, predating both that and ''Series/{{Bones}}'' by decades, just without all the gratuitous gore tossed in.
* The PrimeTimeSoap genre arguably rose to prominence in the 1980's thanks to the success of ''Series/{{Dallas}}'' and ''Series/{{Dynasty}}'', two long-running shows that focused on the power and glamour of being rich, backstabbing, shocking plot twists and lots of sex. While some of their main cliffhangers are still well-remembered (''Dallas'' 's dream season, ''Dynasty'''s Moldavian Massacre), it's difficult for modern audiences to understand what the big deal is when the subject matter looks downright tame and restrained compared to the tidal wave of imitators in the years afterwards that went much further with their shocking storylines and sexual content. Even the teaser trailer for the rebooted ''Dallas'' emphasizes sex scenes with more skin than anything the original series ever showed. Other primetime soaps would get this treatment as well:
** ''Series/CentralParkWest'' was hyped as the most risque and shocking series of the 90's, with more violence and sexual content than any other program on television at the time. Nowadays, it's difficult to look at the series and see what the big deal is, when shows like ''Series/TheOC'' and ''Series/DesperateHousewives'' have done everything ''CNW'' did and more.
* Creator/DavidLetterman. His whole comedic sensibility (Middle American pop-culture-obsessed smartass, with a dash of intellectualism) was incredibly fresh and innovative in the early 80s, and exactly the kick in the pants that the stale TV talk show format needed. These days it's hard to find a talk show '''not''' heavily influenced by Letterman (even his short-lived 1980 morning show has [[SpiritualLicensee Spiritual Licensees]] like ''Ellen''), so people really take him for granted now.
* ''Series/DegrassiJuniorHigh'' (and its sequel series, ''Series/DegrassiHigh'') were critical and commercial darlings when they premiered in the 1980s. ''Degrassi'' was the first TeenDrama that dealt with teen pregnancy, underage drinking, and other such issues without censorship, DeusExMachina happy endings, or the over-the-top melodrama of an After School Special. It also amazed critics that the adults aren't always right, or that when they are, a teen might not listen to the GoldenMoment speech. Plus, it put in just enough Soap Opera and continuity to make you care about the characters. More recent Teen Dramas (largely influenced by ''Degrassi'' itself) go much further with all of this, until the older show looks like a bunch of strung-together moral fables. Fans of ''Series/DegrassiTheNextGeneration'' often find the older show quaint.
** The sequel series ended with a DarkerAndEdgier GrandFinale, "School's Out", that attracted controversy for showing nudity (a single shot) and a famous use of a swear word ("You were fucking Tessa Campanelli?") during pre-watershed hours. In the intervening years, cable television has gone much farther with swearing on television, to the point that anyone watching "School's Out" would fail to see what the big deal is. Better yet, the mature subject matter (exemplified by two of the characters getting into a car crash and a man cheating on his girlfriend with another classmate) has been continually topped by ''Series/DegrassiTheNextGeneration''.
* ''Series/TheDickVanDykeShow'' is a well-written, well-acted classic American sitcom, but modern audiences would probably find major cliches in every episode because every plot involves many major sitcom tropes and conventions. However, those tropes still would have been pretty new in [[TheSixties the early '60s]], and the plots develop the sitcoms tropes a little more than later sitcoms would.

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** Then you realize that ''{{Quincy}}'' ''Series/{{Quincy}}'' [[OlderThanTheyThink was doing that long before]] ''CSI'' came out, predating both that and ''Series/{{Bones}}'' by decades, just without all the gratuitous gore tossed in.
* The PrimeTimeSoap genre arguably rose to prominence in the 1980's thanks to the success of ''Series/{{Dallas}}'' and ''Series/{{Dynasty}}'', two long-running shows that focused on the power and glamour of being rich, backstabbing, shocking plot twists and lots of sex. While some of their main cliffhangers are still well-remembered (''Dallas'' 's (''Dallas''[='=]s dream season, ''Dynasty'''s ''Dynasty''[='=]s Moldavian Massacre), it's difficult for modern audiences to understand what the big deal is when the subject matter looks downright tame and restrained compared to the tidal wave of imitators in the years afterwards that went much further with their shocking storylines and sexual content. Even the teaser trailer for the rebooted ''Dallas'' emphasizes sex scenes with more skin than anything the original series ever showed. Other primetime soaps would get this treatment as well:
** ''Series/CentralParkWest'' was hyped as the most risque and shocking series of the 90's, with more violence and sexual content than any other program on television at the time. Nowadays, it's difficult to look at the series and see what the big deal is, when shows like ''Series/TheOC'' and ''Series/DesperateHousewives'' have done everything ''CNW'' ''CPW'' did and more.
* Creator/DavidLetterman. His whole comedic sensibility (Middle American pop-culture-obsessed smartass, with a dash of intellectualism) was incredibly fresh and innovative in the early 80s, '80s, and exactly the kick in the pants that the stale TV talk show format needed. These days it's hard to find a talk show '''not''' heavily influenced by Letterman (even his short-lived 1980 morning show has [[SpiritualLicensee Spiritual Licensees]] [{{Spiritual Adaptation}}s like ''Ellen''), so people really take him for granted now.
* ''Series/DegrassiJuniorHigh'' (and its sequel series, ''Series/DegrassiHigh'') were critical and commercial darlings when they premiered in the 1980s. ''Degrassi'' was the first TeenDrama that dealt with teen pregnancy, underage drinking, and other such issues without censorship, DeusExMachina happy endings, or the over-the-top melodrama of an After School Special. Series/AfterschoolSpecial. It also amazed critics that [[ParentsAsPeople the adults aren't always right, right]], or that when they are, a teen might not listen to the GoldenMoment speech. Plus, it put in just enough Soap Opera SoapOpera and continuity to make you care about the characters. More recent Teen Dramas (largely influenced by ''Degrassi'' itself) go much further with all of this, until the older show looks like a bunch the very sort of strung-together moral fables.Afterschool Special it was rebelling against. Fans of ''Series/DegrassiTheNextGeneration'' often find the older show quaint.
** The sequel series ended with a DarkerAndEdgier GrandFinale, "School's Out", that attracted controversy for showing nudity (a single shot) and a famous use of a swear word PrecisionFStrike ("You were fucking Tessa Campanelli?") during pre-watershed hours. In the intervening years, cable television has gone much farther with swearing on television, to the point that anyone watching "School's Out" would fail to see what the big deal is. Better yet, the mature subject matter (exemplified by two of the characters getting into a car crash and a man cheating on his girlfriend with another classmate) has been continually topped by ''Series/DegrassiTheNextGeneration''.
* ''Series/TheDickVanDykeShow'' is a well-written, well-acted well-acted, classic American sitcom, but modern audiences would probably find major cliches in every episode because every plot involves many major sitcom tropes and conventions. However, those tropes still would have been pretty new in [[TheSixties the early '60s]], and the plots develop the sitcoms tropes a little more than later sitcoms would.



** [[Recap/DoctorWhoS5E1TheTombOfTheCybermen Tomb of the Cybermen]] is a textbook example made all the more interesting because it was, for almost 25 years, a LostEpisode. It was one of the many victims of the great BBC purges in the 1960s. During the time it was lost, it achieved a legendary status among the Doctor Who fandom, being hyped up as the holy grail of 60s Doctor Who, a masterpiece that was tragically destroyed. In one of the most surprising finds in the history of the series, in 1991, a complete copy of the serial containing all four episodes was found in Hong Kong. Immediately, the BBC rushed a VHS release of the serial... which was promptly thrashed by critics. They found it too slow, methodical, and contemplative, with cheesy acting and not nearly enough action... which was the norm for 60s science fiction. It also didn't help that a lot of the racial politics within the series, while perhaps unremarkable for the mid-1960s, [[ValuesDissonance hadn't aged well either]].
** The Season 2 finale, "The Time Meddler", was a WhamEpisode at the time because it was the first story pitting the Doctor against another alien force in a historical period - up until then, historical stories and science fiction stories had been entirely discrete, so TheReveal that the Monk is another time traveller was a huge twist that broke the established rules of the show. Of course, the 'historical' (a story taking place in a historical period with no sci-fi beyond that of the time travel itself) is a format all but abandoned after the William Hartnell era, so modern viewers checking out his stories often find it more surprising when the Doctor goes into the past and aliens ''don't'' show up.
** It's quite difficult for viewers whose only knowledge of ''Doctor Who'' comes from the revival series to understand why it was such a [[DarthWiki/RuinedFOREVER massive source of fandom rage]] when the Doctor had TheBigDamnKiss with his companion in the TV Movie. Ever since the revival series, the show has been very romance focused, and fans who grew up without the old series' NoHuggingNoKissing have real trouble imagining the show without sexuality. In fact, those fans may look at the romance between the Eighth Doctor and Grace as very subtle and low-key in comparison to what the show gets away with now, since it's transitory and based around heat-of-the-moment feelings - compare to the character-arc-dominating romance between the Tenth Doctor and [[OneTrueLove Rose]], or how the Eleventh Doctor not only has a lot of offscreen sex with various female characters and leers over other ones but even gets ''married''...

to:

** [[Recap/DoctorWhoS5E1TheTombOfTheCybermen Tomb of the Cybermen]] is a textbook example made all the more interesting because it was, for almost 25 years, a LostEpisode. It was one of the many victims of the great BBC purges in the 1960s. During the time it was lost, it achieved a legendary status among the Doctor Who fandom, being hyped up as the holy grail of 60s '60s Doctor Who, a masterpiece that was tragically destroyed. In one of the most surprising finds in the history of the series, in 1991, a complete copy of the serial containing all four episodes was found in Hong Kong. Immediately, the BBC rushed a VHS release of the serial... which was promptly thrashed by critics. They found it too slow, methodical, and contemplative, with cheesy acting and not nearly enough action... which was the norm for 60s '60s science fiction. It also didn't help that a lot of the racial politics within the series, serial, while perhaps unremarkable for the mid-1960s, mid-'60s, [[ValuesDissonance hadn't aged well either]].
** The Season 2 finale, "The Time Meddler", was a WhamEpisode at the time because it was the first story pitting the Doctor against another alien force in a historical period - -- up until then, historical stories and science fiction stories had been entirely discrete, so TheReveal that the Monk is another time traveller was a huge twist that broke the established rules of the show. Of course, the 'historical' (a story taking place in a historical period with no sci-fi beyond that of the time travel itself) is a format all but abandoned after the William Hartnell era, so modern viewers checking out his stories often find it more surprising when the Doctor goes into the past and aliens ''don't'' show up.
** It's quite difficult for viewers whose only knowledge of ''Doctor Who'' comes from the revival series to understand why it was such a [[DarthWiki/RuinedFOREVER massive source of fandom rage]] when the Doctor had TheBigDamnKiss with his companion in the TV Movie. Ever since the revival series, the show has been very romance focused, romance-focused, and fans who grew up without the old series' NoHuggingNoKissing have real trouble imagining the show without sexuality. In fact, those fans may look at the romance between the Eighth Doctor and Grace as very subtle and low-key in comparison to what the show gets away with now, since it's transitory and based around heat-of-the-moment feelings - -- compare to the character-arc-dominating romance between the Tenth Doctor and [[OneTrueLove Rose]], or how the Eleventh Doctor not only has a lot of offscreen sex with various female characters and leers over other ones but even gets ''married''...



** Friends was, at the time, also unique for delving into the trials and tribulations of 20-something life. A demographic that had, until then, been mostly ignored by television and was just gaining cinematic recognition through movies like ''Film/RealityBites.'' Whereas, today, at least half of all prime time sitcoms are about 20 and early-30 something life.

to:

** Friends ''Friends'' was, at the time, also unique for delving into the trials and tribulations of 20-something life. A twenty-something life, a demographic that had, until then, been mostly ignored by television and was just gaining cinematic recognition through movies like ''Film/RealityBites.'' Whereas, today, ''Film/RealityBites''. Today, at least half of all prime time sitcoms are about 20 people in their twenties and early-30 something life.early thirties.



** Ross and Rachel. Thanks to a combination of ValuesDissonance and SeinfeldIsUnfunny, a lot of younger fans who got on board after the show was cancelled are watching [[AwfulWeddedLife their relationship]] [[MakeUpOrBreakUp pan out]] and questioning what made it so popular. While it's easy now to pinpoint everything that was wrong with them as a couple ([[ItsAllAboutMe pettiness]], [[NoAccountingForTaste having very little in common]], [[CrazyJealousGuy jealousy issues]], etc.), during the mid-90's, such a relationship was seen as fresh and unique. As, until then, the GiveGeeksAChance trope was rarely (if ever) represented in television. While, in film, it was still seen as a refreshing break from the predictable "pretty boy gets the hot girl" trope so prevalent until the mid-80's. Today, with the GiveGeeksAChance trope being more-or-less played out and the culture as a whole taking a much more cynical view of the DoggedNiceGuy, it might be hard for younger fans to really appreciate how significant the Ross and Rachel romance was nearly 20 years ago.
** We find out in the pilot that Ross' ex-wife Carol is a lesbian. Their son Ben is raised mostly by Carol and her partner Susan. In the second season, Carol and Susan get married. At the time, 1996, same-sex marriage was illegal in every state,[[note]]Technically, it was legal in Hawaii under a court order, but the order was stayed. It was not immediately clear in 1996 that same-sex marriage would be illegal for very long, at least not in Hawaii...which when it comes to places to get married is a darn good one. Same-sex marriage would be banned in Hawaii in 1998 when voters passed a referendum amending the state constitution allowing the state legislature to limit marriage to heterosexual couples, which the legislature promptly did; marriage equality would not return to Hawaii until 2013, when the legislature repealed the law it had passed in 1998 and officially allowed same-sex marriages for the first time.[[/note]] and no ''country'' in the world yet had full marriage for same-sex couples (the first was the Netherlands in 2001), yet there were no references to this in the show. No characters - aside from Carol's unseen parents - object to the wedding, save Ross who is upset because he still loves Carol. (In a sweet moment, he ends up walking her down the aisle.) A few network affiliates refused to air the episode, but it was the highest-rated program that week. Today, same-sex weddings and couples raising children are becoming increasingly commonplace on TV, for example in ''Modern Family''.

to:

** Ross and Rachel. Thanks to a combination of ValuesDissonance and SeinfeldIsUnfunny, a lot of younger fans who got on board after the show was cancelled are watching [[AwfulWeddedLife their relationship]] [[MakeUpOrBreakUp pan out]] and questioning what made it so popular. While it's easy now to pinpoint everything that was wrong with them as a couple ([[ItsAllAboutMe pettiness]], [[NoAccountingForTaste having very little in common]], [[CrazyJealousGuy jealousy issues]], etc.), during the mid-90's, mid-'90s, such a relationship was seen as fresh and unique. As, until Before then, the GiveGeeksAChance trope was rarely (if ever) represented in television. While, television, and even in film, it was still seen as a refreshing break from the predictable "pretty boy gets the hot girl" trope so prevalent until the mid-80's.mid-'80s. Today, with the GiveGeeksAChance trope being more-or-less played out and the culture as a whole taking a much more cynical view of the DoggedNiceGuy, it might be hard for younger fans to really appreciate how significant the Ross and Rachel romance was nearly 20 years ago.
** We find out in the pilot that Ross' ex-wife Carol is a lesbian. Their son Ben is raised mostly by Carol and her partner Susan. In the second season, Carol and Susan get married. At the time, 1996, same-sex marriage was illegal in every state,[[note]]Technically, it was legal in Hawaii under a court order, but the order was stayed. It was not immediately clear in 1996 that same-sex marriage would be illegal for very long, at least not in Hawaii...which which, when it comes to places to get married married, is a darn good one. Same-sex marriage would be banned in Hawaii in 1998 when voters passed a referendum amending the state constitution allowing the state legislature to limit marriage to heterosexual couples, which the legislature promptly did; marriage equality would not return to Hawaii until 2013, when the legislature repealed the law it had passed in 1998 and officially allowed same-sex marriages for the first time.[[/note]] and no ''country'' in the world yet had full marriage for same-sex couples (the first was the Netherlands in 2001), yet there were no references to this in the show. No characters - characters, aside from Carol's unseen parents - parents, object to the wedding, wedding save for Ross who is -- and he's only upset because he still loves Carol. (In a sweet moment, he ends up walking her down the aisle.) A few network affiliates refused to air the episode, but it was the highest-rated program that week. Today, same-sex weddings and couples raising children are becoming increasingly commonplace on TV, for example in ''Modern Family''.



* ''Series/HillStreetBlues'' was a series that literally rewrote the rules on how to tell a dramatic story on television. It won a truckload of Emmy awards, spawned a host of imitators and launched Dennis Franz's career, as well as the catchphrase "Let's be careful out there." Even more importantly, NBC chose to renew it despite (like ''Cheers'') terrible ratings because it was so damn good. Just about every subsequent police procedural program (Series/LawAndOrder, Series/TheWire, etc.) owes its existence to Hill Street Blues. While the show was revolutionary in 1981, it can seem downright quaint to the modern viewer.
* ''Series/HomicideLifeOnTheStreet''. When it started, it was acclaimed for its gritty, realistic depiction of police politics, rule-bending and personal lives, as well as for making good use of arc stories. Nowadays, all of these things are pretty much standard in TV dramas in general, not just {{Police Procedural}}s. And compared to its spiritual descendant, ''Series/TheWire'', it practically looks like Film/TheKeystoneCops.
** There is that other acclaimed '90s police drama, ''Series/NYPDBlue''. When it debuted, it was ground-breaking not just for being character driven and gritty in much the same way as Homicide, but for being willing to push the envelope with things such as violence, sex and nudity, and profanity. Whilst network series have been reluctant to try the same things since the show went off the air (all this envelope pushing incurred ABC some heavy FCC fines), all the things that NYPD Blue is notable for can be seen almost ubiquitously on Cable television.
* ''Series/TheHoneymooners'' was groundbreaking when it was created. But it has produced so many imitations, including ones aimed at demographics far younger than what the original was aimed at[[note]]The Flintstones[[/note]], that most new viewers of the show are likely to be familiar with the ideas behind it before they ever see it. This naturally dilutes the humor. Particularly the pairing of Jackie Gleason and Audrey Meadows. Gleason himself said people would never believe a pretty woman like Alice would marry a guy like Ralph. [[UglyGuyHotWife It's so common nowadays, it's a trope]].
* ''Series/ILoveLucy'' is perhaps the oldest surviving television sitcom. It was the first one recorded on film for posterity, which means that its three-camera setup, which was revolutionary at the time and was developed by producer and star Desi Arnaz, looks completely unremarkable to us today as it is the format used for virtually every sitcom ever since. Many of the situations used in the series have also become standard stories in every sitcom made since: character getting pregnant and people rushing like idiots to get her to the hospital when she is about to give birth, men and women changing jobs for a day, travel episodes,... Back then these ideas were brand new, but nowadays they look literally like the clichés they have become.
* ''Franchise/KamenRider''. There's a similar argument for this franchise as well, or maybe a subversion. The Showa era formula (cyborg destroys the terrorist organization that rebuilt him) has been done to death and is now avoided the Heisei era shows, to the point that either part of the phrase "Masked Rider" sometimes doesn't apply to a specific series. Which makes the Showa Riders revival manga ''Manga/KamenRiderSpirits'' so appealing: it takes the phrase "Kicking it old school" and ''runs with it''.
* When ''Series/LawAndOrder'' first appeared in 1990, it was unthinkable to have a show so willing to discuss controversial topics such as abortion, racism, corruption and child abuse. Since then, shows like ''Series/TheWire'' have gone further with the "Crime Drama as a social platform" concept than anyone could have imagined.
* ''Series/LizzieMcGuire'': Nowadays it seems like a boring show, especially since Disney has copied its format (female protagonist, female best friend, male best friend[=/=]possible love interest) for every one of their shows, but it was different from all the shows on DisneyChannel back when it came out. The trio dynamic with the JustFriends love interest looks pretty old hat now that ''Series/{{iCarly}}'', ''Series/{{Zoey 101}}'', ''Series/{{Victorious}}'', ''Series/NedsDeclassifiedSchoolSurvivalGuide'', ''PhilOfTheFuture'', and even WesternAnimation such as ''WesternAnimation/KimPossible'' and ''WesternAnimation/DannyPhantom'' all have identical or near-identical dynamics as LizzieMcGuire did for their friendship and eventual romance arcs and all of them started after ''Series/LizzieMcGuire''. What many don't realise is just how pervasive SlapSlapKiss styled couples were in the late 90's (and how lacking JustFriends couples were), such as in ''Franchise/HarryPotter'' which was already 4 years old by the time ''Series/LizzieMcGuire'' started, ''WesternAnimation/HeyArnold'' which started in 96, or ''Series/TheNanny''.
* ''Series/MarriedWithChildren'': In a world with ''WesternAnimation/SouthPark'', ''WesternAnimation/FamilyGuy'', and ''Series/ItsAlwaysSunnyInPhiladelphia'', it's pretty hard to imagine a time where this was on the cutting edge of irreverent, politically incorrect comedies (and FOX's first successful sitcom). And it didn't help that ''TheSimpsons'' (also a victim of the SeinfeldIsUnfunny trope) immediately stole ''Series/MarriedWithChildren'''s title as "''the'' politically incorrect FOX DomCom about a dysfunctional family living in a CrapsackWorld [[WorldGoneMad Gone Mad]] filled with biting social satire and subversions on sitcom conventions and tropes." Part of the problem was that, even in its day, ''Married With Children'' was something of a RuleAbidingRebel, happily sprinkling in plenty of Middle American cornball humor (it ''was'' set in Chicago, after all) with the edgier stuff. No matter how rude or sexually explicit your show is, if you throw in talking dogs and slapstick gags that are literally out of cartoons, it's going to be hard to truly take you seriously.

to:

* ''Series/HillStreetBlues'' was a series that literally rewrote the rules on how to tell a dramatic story on television. It won a truckload of Emmy awards, spawned a host of imitators imitators, and launched Dennis Franz's career, as well as the catchphrase "Let's be careful out there." Even more importantly, NBC chose to renew it despite (like ''Cheers'') terrible ratings because it was so damn good. Just about every subsequent police procedural program (Series/LawAndOrder, Series/TheWire, (''Series/LawAndOrder'', ''Series/TheWire'', etc.) owes its existence to Hill ''Hill Street Blues.Blues''. While the show was revolutionary in 1981, it can seem downright quaint to the modern viewer.
* ''Series/HomicideLifeOnTheStreet''. When it started, it was acclaimed for its gritty, realistic depiction of police politics, rule-bending rule-bending, and personal lives, as well as for making good use of arc stories. Nowadays, all of these things are pretty much standard in TV dramas in general, not just {{Police Procedural}}s. And compared to its spiritual descendant, ''Series/TheWire'', it practically looks like Film/TheKeystoneCops.
** There is that other acclaimed '90s police drama, ''Series/NYPDBlue''. When it debuted, it was ground-breaking not just for being character driven and gritty in much the same way as Homicide, ''Homicide'', but for being willing to push the envelope with things such as violence, sex and nudity, and profanity. Whilst network ''network'' series have been reluctant to try the same things since the show went off the air (all this envelope pushing envelope-pushing incurred ABC some heavy FCC fines), all the things that NYPD Blue ''NYPD Blue'' is notable for can be seen almost ubiquitously on Cable television.
* ''Series/TheHoneymooners'' was groundbreaking when it was created. But it has produced so many imitations, including ones like ''WesternAnimation/TheFlintstones'' aimed at demographics far younger than what the original was aimed at[[note]]The Flintstones[[/note]], at, that most new viewers of the show are likely to be familiar with the ideas behind it before they ever see it. This naturally dilutes the humor. Particularly humor, particularly the pairing of Jackie Gleason and Audrey Meadows. Gleason himself said people would never believe a pretty woman like Alice would marry a guy like Ralph. [[UglyGuyHotWife It's so common nowadays, it's a trope]].
* ''Series/ILoveLucy'' is perhaps the oldest surviving television sitcom. It was the first one recorded on film for posterity, which means that its three-camera setup, which was revolutionary at the time and was developed by producer and star Desi Arnaz, looks completely unremarkable to us today as it is the format used for virtually every sitcom ever since. Many of the situations used in the series have also become standard stories in every sitcom made since: character getting pregnant and people rushing like idiots to get her to the hospital when she is about to give birth, men and women changing jobs for a day, travel episodes,... episodes... Back then then, these ideas were brand new, but nowadays they look literally like the clichés they have become.that later shows made them into.
* ''Franchise/KamenRider''. There's a similar argument for this franchise as well, or maybe a subversion. The Showa era formula (cyborg destroys the terrorist organization that rebuilt him) has been done to death and is now avoided in the Heisei era shows, to the point that either part of the phrase "Masked Rider" sometimes doesn't apply to a specific series. Which makes the Showa Riders revival manga ''Manga/KamenRiderSpirits'' so appealing: it takes the phrase "Kicking it old school" and ''runs with it''.
* When ''Series/LawAndOrder'' first appeared in 1990, it was unthinkable to have a show so willing to discuss controversial topics such as abortion, racism, corruption corruption, and child abuse. Since then, shows like ''Series/TheWire'' have gone further with the "Crime Drama as a social platform" concept than anyone could have imagined.
* ''Series/LizzieMcGuire'': Nowadays it seems like a boring show, especially since Disney has copied its format (female protagonist, female best friend, male best friend[=/=]possible love interest) for every one of their shows, but it was different from all the shows on DisneyChannel the Creator/DisneyChannel back when it came out. The trio dynamic with the JustFriends love interest looks pretty old hat now that ''Series/{{iCarly}}'', ''Series/{{Zoey 101}}'', ''Series/{{Victorious}}'', ''Series/NedsDeclassifiedSchoolSurvivalGuide'', ''PhilOfTheFuture'', ''Series/PhilOfTheFuture'', and even WesternAnimation such as ''WesternAnimation/KimPossible'' and ''WesternAnimation/DannyPhantom'' all have identical or near-identical dynamics as LizzieMcGuire ''Lizzie [=McGuire=]'' did for their friendship and eventual romance arcs arcs, and all of them started after ''Series/LizzieMcGuire''. ''Lizzie [=McGuire=]''. What many don't realise is just how pervasive SlapSlapKiss styled SlapSlapKiss-styled couples were in the late 90's '90s (and how lacking JustFriends couples were), such as in ''Franchise/HarryPotter'' which was already 4 four years old by the time ''Series/LizzieMcGuire'' started, ''WesternAnimation/HeyArnold'' which started in 96, '96, or ''Series/TheNanny''.
* ''Series/MarriedWithChildren'': In a world with ''WesternAnimation/SouthPark'', ''WesternAnimation/FamilyGuy'', and ''Series/ItsAlwaysSunnyInPhiladelphia'', it's pretty hard to imagine a time where this was on the cutting edge of irreverent, politically incorrect comedies (and FOX's first successful sitcom). And it didn't help that ''TheSimpsons'' ''Series/TheSimpsons'' (also a victim of the SeinfeldIsUnfunny trope) immediately stole ''Series/MarriedWithChildren'''s ''Series/MarriedWithChildren''[='=]s title as "''the'' politically incorrect FOX DomCom about a dysfunctional family living in a CrapsackWorld [[WorldGoneMad Gone Mad]] filled with biting social satire and subversions on sitcom conventions and tropes." Part of the problem was that, even in its day, ''Married With Children'' was something of a RuleAbidingRebel, happily sprinkling in plenty of Middle American cornball humor (it ''was'' set in Chicago, after all) with the edgier stuff. No matter how rude or sexually explicit your show is, if you throw in talking dogs and slapstick gags that are literally out of cartoons, it's going to be hard to truly take you seriously.



* Almost as much as the TropeNamer, ''Series/TheMaryTylerMooreShow'' has fallen victim to this trope. When it aired during the early 1970s, it made an enormous cultural splash in its depiction of a single 30-something year old woman who was more interested in having a fulfilling career than landing a husband, garnering the outrage of MoralGuardians and significantly contributing to the infamous [[http://en.wikipedia.org/wiki/Rural_Purge Rural Purge]]. The show's critical acclaim and insanely high ratings were even cited as key factors in the rise of {{Feminism}} during the 1970's. While the series still holds up reasonably well (as opposed to [[Series/MurphyBrown a later show with a very similar premise]]), it may be difficult for modern audiences accustomed to much riskier shows like ''Series/SexAndTheCity'' and ''Series/GilmoreGirls'' to understand just how revolutionary and controversial Mary Tyler Moore was when it first aired. To see how far network television has come in terms of risky content, one needs to look no further than the ExecutiveMeddling that surrounded the reasoning for Mary being single. The original intent was for her to be newly divorced. However, the network felt such a plot would significantly diminish the show's family appeal (remember, this is when divorce still had a very negative stigma attached to it), so it was retooled to Mary being single by virtue of a broken engagement. Seems pretty quaint, given what women on network television (let alone Cable) are capable of doing today, huh? Worth mentioning that another reason that the divorcee angle was dropped, was because Mary Tyler Moore was coming off a long run of TheDickVanDykeShow and there were fears that viewers would misinterpret the show's premise as "Rob and Laura got a divorce" (This was one of the reasons Van Dyke himself [[WhatCouldHaveBeen wasn't picked up]] as newly divorced NeatFreak Felix in the film version of ''TheOddCouple'').
* ''Series/MiamiVice'': That the show now seems to be chock full of '80s clichés belies the fact that it ''invented'' those clichés: the use of designer fashion for the leads, the cinematic visuals and montages and, famously, the no-earth-tones color palette. In 1984, when the pilot episode aired, it was downright ''revolutionary''. No TV show had ''ever'' used a whole contemporary pop song that way, or seemed so much more like a movie than a TV show.
* ''Music/TheMonkees'', believe it or not, was extremely influential, as the group’s television-music combo format was seen back then as a brand new way to market music for their teenage audience. It worked almost too well (they sold over 35 million records in 1967 alone, beating out Music/TheBeatles and Music/TheRollingStones that year… combined!), as nearly every other popular music franchise [[MusicVideoTropes would copy this]]. Their televised “music videos” or “romps” are considered by many to be [[OlderThanTheyThink the first of their kind]]. In fact, ''TheMonkees'' had influenced a lot more in this genre than most people realize. In the late 1970s, Monkee Creator/MichaelNesmith took this concept and created some of the first music videos, leading to the very ''first'' music video program ''[=PopClips=]'', which aired in 1979–81 on a then (very) young {{Nickelodeon}}. Apparently, Nesmith’s ideas were so brilliant, that the [[ExecutiveMeddling powers that be]] stole and warped his series to create [[{{MTV}} a "certain network" which was launched in 1981]]. The Monkees ''by their very presence'' was revolutionary on TV in another way, in the sense that at the height of TheVietnamWar and the youth counter culture, the show "brought long hair into the living room". The expressions, fashions, slang and philosophies of the subversive, free-thinking, counter culture, anti-war, proto-"hippie" teenage youth as heroes of a sitcom on American TV show was a refreshing change of pace from the conservative pace of most TV shows of the time. Micky Dolenz later commented that long hair was back then synonymous with "crimes against nature", and as they took more control of the show they allowed the revolution of TheSixties to enter Middle America.
* ''Series/MontyPythonsFlyingCircus'' was, in its day, a genuinely innovative, intelligent and surreal sketch comedy show which pioneered several comedy techniques, including subverting the form by running credits at the "wrong" point in the show and putting spoof entries in TV listings magazines. Not too mention having sketches without a punchline and poking fun at typical comedy clichés. Those that it didn't create, it certainly popularized, to the extent that plenty of others lacking the panache and originality of the original ensemble have shamelessly aped their work. It says much that a highlight and selling point of a 20th anniversary compilation was that it ''didn't'' contain the (in)famous Parrot Sketch, which many people can quote by memory, even if they would at this stage rather forget it. Also, much of the verbal humor doesn't translate cross culturally. This ultimately led to a subversion of the Dead Parrot sketch in [[http://www.youtube.com/watch?v=BTV3lQc4AmQ the troupe's famed Secret Policeman's Ball 1989 performance]] [[spoiler: After Creator/JohnCleese proclaims that the parrot he just purchased is dead, Creator/MichaelPalin examines it, then ''agrees'', gives him his money back, and the sketch ends]]. This trope is explained as well as anywhere by Terry Jones:

to:

* Almost as much as the TropeNamer, ''Series/TheMaryTylerMooreShow'' has fallen victim to this trope. When it aired during the early 1970s, it made an enormous cultural splash in its depiction of a single 30-something year old woman who was more interested in having a fulfilling career than landing a husband, garnering the outrage of MoralGuardians and significantly contributing to the infamous [[http://en.wikipedia.org/wiki/Rural_Purge Rural Purge]]. The show's critical acclaim and insanely high ratings were even cited as key factors in the rise of {{Feminism}} UsefulNotes/{{feminism}} during the 1970's. While the series still holds up reasonably well (as opposed to [[Series/MurphyBrown a later show with a very similar premise]]), it may be difficult for modern audiences accustomed to much riskier shows like ''Series/SexAndTheCity'' and ''Series/GilmoreGirls'' to understand just how revolutionary and controversial ''The Mary Tyler Moore Show'' was when it first aired. To see how far network television has come in terms of risky content, one needs to look no further than the ExecutiveMeddling that surrounded the reasoning for Mary being single. The original intent was for her to be newly divorced. However, the network felt such a plot would significantly diminish the show's family appeal (remember, this is when divorce still had a very negative stigma attached to it), so it was retooled to Mary being single by virtue of a broken engagement. Seems pretty quaint, given what women on network television (let alone Cable) are capable of doing today, huh? Worth mentioning that another Another reason that the divorcee angle was dropped, dropped was because Mary Tyler Moore was coming off a long run of TheDickVanDykeShow on ''Series/TheDickVanDykeShow'' and there were fears that viewers would misinterpret the show's premise as "Rob and Laura got a divorce" divorce". (This was one of the reasons Van Dyke himself [[WhatCouldHaveBeen wasn't picked up]] as newly divorced NeatFreak Felix in the film version of ''TheOddCouple'').
''Series/TheOddCouple''.)
* ''Series/MiamiVice'': That the show now seems to be chock full of '80s clichés belies the fact that it ''invented'' those clichés: the use of designer fashion for the leads, the cinematic visuals and montages and, montages, and famously, the no-earth-tones color palette. In 1984, when the pilot episode aired, it was downright ''revolutionary''. No TV show had ''ever'' used a whole contemporary pop song that way, or seemed so much more like a movie than a TV show.
* ''Music/TheMonkees'', believe it or not, was extremely influential, as the group’s television-music combo format was seen back then as a brand new way to market music for their teenage audience. It worked almost too well (they sold over 35 million records in 1967 alone, beating out Music/TheBeatles and Music/TheRollingStones ''combined'' that year… combined!), year!), as nearly every other popular music franchise [[MusicVideoTropes would copy this]]. Their televised “music videos” "music videos", or “romps” "romps", are considered by many to be [[OlderThanTheyThink the first of their kind]]. In fact, ''TheMonkees'' ''The Monkees'' had influenced a lot more in this genre than most people realize. In the late 1970s, Monkee Creator/MichaelNesmith took this concept and created some of the first music videos, leading to the very ''first'' music video program ''[=PopClips=]'', which aired in 1979–81 on a then (very) young {{Nickelodeon}}. Creator/{{Nickelodeon}}. Apparently, Nesmith’s ideas were so brilliant, brilliant that the [[ExecutiveMeddling powers that be]] stole and warped his series to create [[{{MTV}} [[Creator/{{MTV}} a "certain network" which was launched in 1981]]. The Monkees ''by their very presence'' was revolutionary on TV in another way, in the sense that at the height of TheVietnamWar UsefulNotes/TheVietnamWar and the youth counter culture, the show "brought long hair into the living room". The expressions, fashions, slang slang, and philosophies of the subversive, free-thinking, counter culture, countercultural, anti-war, proto-"hippie" teenage youth as heroes of a sitcom on American TV show was a refreshing change of pace from the conservative pace of most TV shows of the time. Micky Dolenz later commented that long hair was back then synonymous with "crimes against nature", and as they took more control of the show they allowed the revolution of TheSixties to enter Middle America.
* ''Series/MontyPythonsFlyingCircus'' was, in its day, a genuinely innovative, intelligent intelligent, and surreal sketch comedy show which pioneered several comedy techniques, including subverting the form by running credits at the "wrong" point in the show and show, putting spoof entries in TV listings magazines. Not too mention magazines, having sketches without a punchline punchline, and poking fun at typical comedy clichés. Those that it didn't create, it certainly popularized, to the extent that plenty of others lacking the panache and originality of the original ensemble have shamelessly aped their work. It says much that a highlight and selling point of a 20th anniversary compilation was that it ''didn't'' contain the (in)famous Parrot Sketch, which many people can quote by memory, even if they would at this stage rather forget it. Also, much of the verbal humor doesn't translate cross culturally. This ultimately led to a subversion of the Dead Parrot sketch in [[http://www.youtube.com/watch?v=BTV3lQc4AmQ the troupe's famed Secret Policeman's Ball 1989 performance]] [[spoiler: After Creator/JohnCleese proclaims that the parrot he just purchased is dead, Creator/MichaelPalin examines it, then ''agrees'', gives him his money back, and the sketch ends]]. This trope is explained as well as anywhere by Terry Jones:



* ''Series/TheRealWorld'', among the [[TropeMaker very first]] {{Reality Show}}s, just a Reality Show, no other gimmick, just a bunch of kids sitting around in a house, acting pissy at each other. Revolutionary in 1993, every Reality Show you've ever seen only more boring today.
* The 1992 RealityShow [[http://www.imdb.com/title/tt0121029/ Sylvania Waters]] suffers the same fate.
* Same thing has happened to ''RealPeople'', which became a Wednesday night staple on NBC between 1979 and 1984.

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* ''Series/TheRealWorld'', among the [[TropeMaker very first]] {{Reality Show}}s, Show}}s. It was just a Reality Show, no other gimmick, just a bunch of kids sitting around in a house, house acting pissy at each other. Revolutionary in 1993, every Reality Show you've ever seen only more boring today.
* The 1992 Australian RealityShow [[http://www.''[[http://www.imdb.com/title/tt0121029/ Sylvania Waters]] Waters]]'' suffers the same fate.
* Same thing has happened to ''RealPeople'', ''Series/RealPeople'', which became a Wednesday night staple on NBC between 1979 and 1984.



* ''Series/SaturdayNightLive''. In its early days, it was considered revolutionary, groundbreaking, and taboo due to its willingness to just say and/or do anything crazy, stupid, and/or controversial and hope the censors don't crack down on them. Through modern eyes, those old episodes can seem terribly dull thanks to ''SNL'''s many dueling shows that try to capture its humor (i.e., ''{{Fridays}}'', ''InLivingColor'', ''Series/{{MADtv}}'', ''Series/MrShow'', etc).
* ''Series/SavedByTheBell'': The show that started the whole "tween" show craze (heck, that word didn't even exist back then). Lizzie, Series/HannahMontana, Series/{{iCarly}}, even Power Rangers - they all owe their existence to this show.
* ''Series/{{SCTV}}''. Speaking of network TV sketch shows that suffer from Seinfeld Is Unfunny syndrome, when it premiered in Canada (and later, the United States), the sketch comedy show was a critical and commercial hit. By mixing [[DeconstructiveParody deconstructive parodies]] of popular and lesser-known works with [[CanadaEh absurdly specific Canadian-centric humor]], the show won over a lot of fans (it also helped that ''SNL'' had plunged into SeasonalRot in the 1980s, so shows like ''{{SCTV}}'' and ''Fridays'' became favorite substitutes for ''SNL''). The show was lauded for having a stellar cast (who would all go on to successful movie and television careers, making it a who's-who of comedy talent, much like ''SNL''), and being a trailblazer for new concepts in sketch comedy (i.e. running gags that spanned the entire episode, long camera shots in sketches, and more absurdist humor than what one would find on ''SNL'' or even ''Monty Python''). Today, many viewers would look at the series and think it's either too quaint or boring (because the nature of the sketches and jokes--which reference late 1970s and early 1980s subculture--fly right over their heads), even though the series essentially created the foundation of modern Canadian comedy shows.
* ''Series/SesameStreet''. Every single children's television show today owes a tremendous debt to this program for blazing the trail. Now that everybody does it, it's hard to remember that ''Sesame Street'' INVENTED quality, research-based, curriculum-based, entertaining and educational children's TV that has a visibly ethnically diverse cast and doesn't talk down to its audience.
** What makes it even harder to remember all this...is the fact that Sesame Street has pretty much evolved into ''The Elmo Show''.

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* ''Series/SaturdayNightLive''. In its early days, it was considered revolutionary, groundbreaking, and taboo due to its willingness to just say and/or do anything crazy, stupid, and/or controversial and hope the censors don't crack down on them. Through modern eyes, those old episodes can seem terribly dull thanks to ''SNL'''s ''SNL''[='=]s many dueling shows that try to capture its humor (i.e., ''{{Fridays}}'', ''InLivingColor'', ''Series/{{Fridays}}'', ''Series/InLivingColor'', ''Series/{{MADtv}}'', ''Series/MrShow'', etc).
* ''Series/SavedByTheBell'': The show that started the whole "tween" show craze (heck, that word didn't even exist back then). Lizzie, Series/HannahMontana, Series/{{iCarly}}, even Power Rangers - -- they all owe their existence to this show.
* ''Series/{{SCTV}}''. Speaking of network TV sketch shows that suffer from Seinfeld Is Unfunny syndrome, when it premiered in Canada (and later, the United States), the sketch comedy show was a critical and commercial hit. By mixing [[DeconstructiveParody deconstructive parodies]] of popular and lesser-known works with [[CanadaEh absurdly specific Canadian-centric humor]], the show won over a lot of fans (it also helped that ''SNL'' had plunged into SeasonalRot in the 1980s, so shows like ''{{SCTV}}'' ''SCTV'' and ''Fridays'' became favorite substitutes for ''SNL''). The show was lauded for having a stellar cast (who would all go on to successful movie and television careers, making it a who's-who of comedy talent, much like ''SNL''), and being a trailblazer for new concepts in sketch comedy (i.e. running gags that spanned the entire episode, long camera shots in sketches, and more absurdist humor than what one would find on ''SNL'' or even ''Monty Python''). Today, many viewers would look at the series and think it's either too quaint or boring (because the nature of the sketches and jokes--which reference late 1970s and early 1980s subculture--fly right over their heads), even though the series essentially created the foundation of modern Canadian comedy shows.
* ''Series/SesameStreet''. Every single children's television show today owes a tremendous debt to this program for blazing the trail. Now that everybody does it, it's hard to remember that ''Sesame Street'' INVENTED '''invented''' quality, research-based, curriculum-based, educational, and most importantly, entertaining and educational children's TV that has a visibly ethnically diverse cast and doesn't talk down to its audience.
** What makes
audience. Making it even harder to remember all this...this is the fact that Sesame Street ''Sesame Street'' has pretty much [[SeasonalRot evolved into into]] ''The Elmo Show''.



* While ''Series/TheSopranos'' holds up very well to this day (barring a few UnintentionalPeriodPiece moments), it too has fallen victim to this. In 1999 when it came out it was rather unusual for a television show to feature a morally questionable protagonist, especially a criminal. For instance, ''Series/{{Profit}}'' had also dabbled in the concept just a few years before, but was cancelled after just one season. It was so unusual that David Chase had to fight HBO about whether or not Tony could commit a murder in the fifth episode of the series because HBO was scared of putting off fans. Over the years series with anti-heroes and villain protagonists have become dime a dozen with popular series like ''Series/TheShield'', ''Series/{{Dexter}}'', ''Series/{{Deadwood}}'', ''Series/HouseOfCardsUS'', and, perhaps most of all, ''Series/BreakingBad'' which has all but eclipsed ''The Sopranos''' place in popular culture, which all featuring protagonists that commit criminal acts up to and including murder on a nearly weekly basis.

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* While ''Series/TheSopranos'' holds up very well to this day (barring a few UnintentionalPeriodPiece moments), it too has fallen victim to this. In 1999 when it came out out, it was rather unusual for a television show to feature a morally questionable protagonist, especially a criminal. For instance, ''Series/{{Profit}}'' had also dabbled in the concept just a few years before, but was cancelled after just one season. It was so unusual that David Chase had to fight HBO about whether or not Tony could commit a murder in the fifth episode of the series because HBO was scared of putting off fans. Over the years years, series with anti-heroes and villain protagonists have become dime a dozen dozen, with popular series like ''Series/TheShield'', ''Series/{{Dexter}}'', ''Series/{{Deadwood}}'', ''Series/HouseOfCardsUS'', and, and perhaps most of all, ''Series/BreakingBad'' which (which has all but eclipsed ''The Sopranos''' Sopranos''[='=] place in popular culture, which culture) all featuring protagonists that commit criminal acts up to and including murder on a nearly weekly basis.



** On the other hand, the German(-French) seven-part series ''Series/{{Raumpatrouille}} - Die phantastischen Abenteuer des Raumschiffs Orion'' (French title: ''Commando spatial''), which was produced at the same time (its first episode was aired on [[GermanMedia German TV]] nine days after that of ''Star Trek'' in America), is regarded by many German fans as equal to the original ''Star Trek'' in many respect and superior in some, most notably the roles played by its female characters. ''Raumpatrouille'' also gradually acquired a bit of a ''camp'' appeal as due to its budget limitations some prominent spaceship parts are not hard to recognize as household implements.

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** On the other hand, the German(-French) seven-part series ''Series/{{Raumpatrouille}} - Die phantastischen Abenteuer des Raumschiffs Orion'' (French title: ''Commando spatial''), which was produced at the same time (its first episode was aired on [[GermanMedia German TV]] nine days after that of ''Star Trek'' in America), is regarded by many German fans as equal to the original ''Star Trek'' in many respect and superior in some, most notably the roles played by its female characters. ''Raumpatrouille'' also gradually acquired a bit of a ''camp'' camp appeal as as, due to its own budget limitations limitations, some prominent spaceship parts are not hard to recognize as household implements.



* ''Series/TheState'' was actually a pretty controversial show for its time, and pushed the envelope for what could be shown on TV, even cable. It actually attracted quite a few negative reviews in the media for this alone, [[NoSuchThingAsBadPublicity of which it marketed itself off]]. Today though it looks pretty tame, and not much worse than the more raunchy sketches on ''Series/SaturdayNightLive''. In fact despite the horrendous NetworkDecay since it's been on, ''TheState'' doesn't really go much further in controversy than most '''current''' programming on MTV, and it's safe to say anyone in the target demographic today probably won't see what the big deal is.

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* ''Series/TheState'' was actually a pretty controversial show for its time, and pushed the envelope for what could be shown on TV, even cable. It actually attracted quite a few negative reviews in the media for this alone, [[NoSuchThingAsBadPublicity of which it marketed itself off]]. Today though it looks pretty tame, and not much worse than the more raunchy sketches on ''Series/SaturdayNightLive''. In fact despite the horrendous NetworkDecay since it's been on, ''TheState'' ''The State'' doesn't really go much further in controversy than most '''current''' programming on MTV, Creator/{{MTV}}, and it's safe to say anyone in the target demographic today probably won't see what the big deal is.



** Even amongst Johnny-come-lately ''Survivor'' fans, it can be difficult to get into the earlier seasons. If you watch ''Borneo'' and ''The Australian Outback'' (the first and second seasons, respectively) you'll notice the game was ''majorly'' different back then than it is now... The Tribal switch was actually seen as the ''big twist'' of ''Africa'' (season 3). Nowadays it's in almost ''every season'' of Survivor, partly because it made things a bit less one-sided at the merge. (The game was dominated by the remnants of one team at the merge in ''Borneo'' and ''The Australian Outback''. When the power shifts, it becomes more interesting to watch.) When one takes into account that there was nothing like hidden immunity idols or Exile Island... the first two seasons were actually kinda bland, weren't they?
*** ''Borneo'' and ''The Australian Outback'' were [[FairForItsDay fair for their day]], since at the time, the main draw of the show was the premise itself (being stranded on a deserted island, being stranded in the wild, etc). Since the emphasis wasn't on shocking twists and "blindsides", they can still hold up to the modern viewer who simply likes the adventure and/or voyeur aspects.
** Jerri Manthey references this phenomenon in the ''Heroes Vs Villains'' season. When Jerri first appeared in the ''Australia'' season, American viewers '''hated''' her - she schemed against other players, and was the first certifiable "villain" of the show (so much so that when she appeared on that season's reunion show, she was booed off the stage). In the following seasons, other players would up the stakes in terms of villainy (arguably culminating in Russell Hantz's run in ''Samoa'', whereupon he insulted fellow players, sabotaged his own team multiple times, tricked everyone and generally acted like an entitled savior). Jerri's "villainy" is now run-of-the-mill - practically every player backstabs their fellow teammates at this point.
*** Corrine from ''Gabon'' also helped take away Jerri's infamy from ''Australia''. When someone openly disses another contestant's dead father (and refuses to apologize during the reunion show), that crosses the MoralEventHorizon beyond a point that ''any'' contestant can cross, female or not. Jerri, even at her worst, never acted that nasty.

to:

** Even amongst Johnny-come-lately ''Survivor'' fans, it can be difficult to get into the earlier seasons. If you watch ''Borneo'' and ''The Australian Outback'' (the first and second seasons, respectively) you'll notice the game was ''majorly'' different back then than it is now... now. The Tribal switch was actually seen as the ''big twist'' '''big twist''' of ''Africa'' (season 3). Nowadays it's in almost ''every season'' of Survivor, ''Survivor'', partly because it made things a bit less one-sided at the merge. (The game was dominated by the remnants of one team at the merge in ''Borneo'' and ''The Australian Outback''. When the power shifts, it becomes more interesting to watch.) When one takes into account that there was nothing like hidden immunity idols or Exile Island... the first two seasons were actually kinda bland, weren't they?
***
they? However, at the time, the main draw of ''Borneo'' and ''The Australian Outback'' were [[FairForItsDay fair for their day]], since at the time, the main draw of the show was still the premise itself itself]] (being stranded on a deserted island, being stranded in the wild, etc).et cetera). Since the emphasis wasn't on shocking twists and "blindsides", they can still hold up to the modern viewer who simply likes the adventure and/or voyeur aspects.
** Jerri Manthey references this phenomenon in the ''Heroes Vs Villains'' season. When Jerri first appeared in the ''Australia'' season, American viewers '''hated''' her - -- she schemed against other players, and was the first certifiable "villain" of the show (so much so that when she appeared on that season's reunion show, she was booed off the stage). In the following seasons, other players would up the stakes in terms of villainy (arguably villainy, culminating in Russell Hantz's run in ''Samoa'', whereupon he insulted fellow players, sabotaged his own team multiple times, tricked everyone and generally acted like an entitled savior). Jerri's "villainy" is now run-of-the-mill - practically every player backstabs their fellow teammates at this point.
***
Corrine from ''Gabon'' also helped take away Jerri's infamy from ''Australia''. When someone Kaplan's run in ''Gabon''[[note]]She openly disses dissed another contestant's dead father (and refuses father, and refused to apologize during the reunion show), that crosses show, crossing the MoralEventHorizon beyond a point that ''any'' contestant can cross, female or not. Jerri, even cross.[[/note]] and Russell Hantz's run in ''Samoa''[[note]]He insulted fellow players, sabotaged his own team multiple times, tricked everyone, and generally acted like an entitled savior[[/note]]. Even at her worst, Jerri was never acted that nasty.as nasty as Corinne or Russell, and her "villainy" is now run-of-the-mill -- practically every player backstabs their fellow teammates at this point.



** At the time the Twilight Zone aired, American TV was saturated with anthology series showcasing one-off dramatic or science fiction teleplays. The Twilight Zone gave period viewers a new take on what they saw all the time, its biggest innovation of all.
* The ''Franchise/UltraSeries'' suffers really badly from this [[AmericansHateTingle especially in the West]]. To them, it looks [[{{Narm}} goofy]] and [[ClicheStorm stereotypical]], but it established so many reoccurring elements in Japanese television, started the 70s [[HenshinHero Henshin Boom]], and successfully brought {{Kaiju}} to the small screen that its impact can be difficult to appreciate. [[Series/{{Ultraman}} This]] [[Series/{{Ultraseven}} particularly]] [[Series/ReturnOfUltraman applies]] [[Series/UltramanAce to]] [[Series/UltramanTaro the]] [[Series/UltramanLeo Showa]] [[Series/UltramanEighty entries]] as they were very low budget. Not helping is that in an age of high-quality cgi in western monster movies, the still-used rubber suits and miniature sets look ridiculous to them[[note]] this seems to apply to Japanese {{Kaiju}} in general as many of the same issues apply to Godzilla, Gamera, and the like as well[[/note]]. Fortunately, in Japan, it still remains [[CashCowFranchise insanely popular]], so it's not going to become DeaderThanDisco anytime soon.
* ''Series/WhoWantsToBeAMillionaire'' and ''Series/TheWeakestLink'' both introduced the [[MundaneMadeAwesome Dramatic Lighting and Music]] that would be used by every prime-time game show that came after them (''[[Series/OneVersusAHundred 1 vs. 100]]'', ''DealOrNoDeal'', ''Series/MinuteToWinIt'', etc.) At the time it was quite epic. Now it's so common it's [[WhoWantsToBeWhoWantsToBeAMillionaire actually a trope]].

to:

** At the time the ''The Twilight Zone Zone'' aired, American TV was saturated with anthology series showcasing one-off dramatic or science fiction teleplays. The ''The Twilight Zone Zone'' gave period viewers a new take on what they saw all the time, its biggest innovation of all.
* The ''Franchise/UltraSeries'' suffers really badly from this this, [[AmericansHateTingle especially in the West]]. To them, it looks [[{{Narm}} goofy]] and [[ClicheStorm stereotypical]], but it established so many reoccurring elements in Japanese television, started the 70s '70s [[HenshinHero Henshin Boom]], and successfully brought {{Kaiju}} to the small screen screen, such that its impact can be difficult to appreciate. [[Series/{{Ultraman}} This]] [[Series/{{Ultraseven}} particularly]] [[Series/ReturnOfUltraman applies]] [[Series/UltramanAce to]] [[Series/UltramanTaro the]] [[Series/UltramanLeo Showa]] [[Series/UltramanEighty entries]] entries]], as they were very low budget. low-budget. Not helping is that in an age of high-quality cgi CGI in western Western monster movies, the still-used rubber suits and miniature sets look ridiculous to them[[note]] this seems to apply to Japanese {{Kaiju}} in general as many of the same issues apply to Godzilla, Gamera, and the like as well[[/note]]. Fortunately, in Japan, it still remains [[CashCowFranchise insanely popular]], so it's not going to become DeaderThanDisco anytime soon.
* ''Series/WhoWantsToBeAMillionaire'' and ''Series/TheWeakestLink'' both introduced the [[MundaneMadeAwesome Dramatic Lighting and Music]] that would be used by every prime-time game show that came after them (''[[Series/OneVersusAHundred 1 vs. 100]]'', ''DealOrNoDeal'', ''Series/DealOrNoDeal'', ''Series/MinuteToWinIt'', etc.) et cetera). At the time it was quite epic. Now it's so common it's [[WhoWantsToBeWhoWantsToBeAMillionaire actually a trope]].
15th Apr '16 7:07:10 PM skidoo23
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* When premium cable networks began to emerge in the 1980s, the idea of TV series featuring explicit sex scenes, nudity, extreme violence and language (and sometimes all of the above) were considered cutting-edge and "very, very adult". Today, with sex, violence and language all but universal on made-for-cable and streaming series (other than those specifically made for children), and with mainstream commercial networks occasionally exceeding the explicitness of broadcasters like HBO 20 years ago, viewers and critics have begun to note how such content is become rather blase and no longer as edgy as it used to appear.
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http://tvtropes.org/pmwiki/article_history.php?article=SeinfeldIsUnfunny.LiveActionTV