Line #13 Main/GenreRelaunch


1	So, some work had the ''gall'' to be a GenreKiller in some fashion. But then another work comes along and manages to revitalize that entire genre! That of course would be the Genre Relaunch. Commonalities in a relaunch include {{Reconstruction}}, a GenreThrowback, a {{retool}}, or being an exceptionally good work. Or when the genre was previously banned by government, regulations went more lenient and a work took advantage of it, popularizing it once more.
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3	See also PopularityPolynomial. This is a genre-related trope of VindicatedByHistory, and a subversion of CondemnedByHistory.
4	----
5	!!Examples:
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9	[[folder:Anime & Manga]]
10	* ''Anime/{{Free}}'' and ''Manga/{{Haikyuu}}'' have more or less relaunched interest in sports anime in the North American fanbase. While this is due to both being just generally really good anime of the genre, they also gathered a bucketload of an EstrogenBrigade, especially the former, which was straight up advertised as a female-targetted alternative to fanservice-y moe shows.
11	** The two wouldn't have had nearly as big of a success had '' Manga/KurokosBasketball'' not created a decently sized core fandom primarily consisting of [[YaoiFangirl fujoshi]]. After the second season of ''Kuroko'' had ended, the fangirls happened upon ''Haikyuu'' which was animated by the [[Creator/ProductionIG same studio]] as ''Kuroko'', and [[FriendlyFandoms natural cross polination]] quickly occured. As the third and final season of ''Kuroko'' aired in early 2015, the fandom of that show quickly moved on to both ''Haikyuu'' and the final newcomer in the "fujo sports triangle", ''Free'' (which was probably introduced to that core base by virtue of some of the fangirl brigade members being Creator/KyotoAnimation fans) and the rest is pretty much history.
12	* Although ''Literature/ReZero'' and ''Literature/KonoSuba'' were written by close friends and were conceived as satire of the then-dying and discredited [[TrappedInAnotherWorld isekai]] genre (specifically the overabundance of ClicheStorm and MartyStu that was all too common), the commercial success and critical recognition of their anime adaptations in 2016 led to the mass resurgence of this genre to anime-mainstream soon after, with most of these new adaptations and works ironically playing the genre straight.
13	* From the late 80s to the early 90s (basically the time right around the Bubble Burst), the anime industry as a whole was on a huge decline as a result of numerous big-budget films like ''Manga/{{Akira}}'' and ''Anime/MyNeighborTotoro'' underperforming at the box office, causing many to feel that there was a lack of interest in the medium and motivating many Japanese animation studios to work instead on Western animation. However, the runaway success of ''Anime/SailorMoon'' catapulted anime back into mainstream attention (as well as quite possibly saving Creator/ToeiAnimation from bankruptcy) by focusing on capturing a broad general audience rather than the {{Otaku}} market; many studios vied to capitalize on the show's success in many different ways, and in the end anime itself was brought back into the limelight after it spent so much time teetering on the edge of an industrial collapse.
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16	[[folder:Arts]]
17	* The 19th century Pre-Raphaelite Brotherhood's intention was to do this for medieval and early Renaissance[[note]] hence, pre-Raphael [[/note]]art. The Brotherhood wanted to bring back colour, sensuality and spirituality to art, as well as direct imitation of nature, which they felt had been lost by the time of the Victorian era.
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20	[[folder:Comic Books]]
21	%%ZCE * ''ComicBook/KingdomCome'' revived the Silver Age super hero.
22	* ''ComicBook/{{Trouble\|MarvelComics}}'', released in 2003-04, was advertised by Creator/MarvelComics as their attempt to relaunch romance comics, a genre that (in the west, anyway; it's still alive and kicking with manga and other eastern comics) had largely petered out following the mid-70's, and it was released through the newly-reinstated Creator/EpicComics imprint, dedicated to publishing non-superhero material. [[SubvertedTrope This didn't work]] for a number of reasons -- for one, the tone of the comic is far more along the lines of a crass teen sex comedy than the wholesome, pulpy romance comics of yore, and its [[FirstEpisodeTwist early twist reveal]] that [[StealthPrequel it was actually a prequel]] to ''ComicBook/SpiderMan'' by following the early sexual hijinks of a young Uncle Ben, Aunt May, and Peter Parker's future parents [[AudienceAlienatingPremise was thrashed by audiences]] -- and the poor reception has left both western romance comics [[ShortRunners and Epic Comics itself]] dead in the water.
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25	[[folder:Films -- Animation]]
26	* This has happened at least three times for the feature-length Creator/{{Disney}} AnimatedMusical:
27	** ''WesternAnimation/{{Cinderella}}'' made the Disney musical popular for 1950s audiences after the genre had been [[GenreKiller killed off]] by the failures of films like ''WesternAnimation/{{Pinocchio}}'' and ''WesternAnimation/{{Bambi}}'' in the early 1940s due to UsefulNotes/WorldWarII. It lasted until 1959, when the expensive ''WesternAnimation/SleepingBeauty'' flopped and killed it off again.
28	** ''WesternAnimation/TheLittleMermaid1989'' reintroduced the world to the Disney musical formula in 1989, and 1991's ''WesternAnimation/BeautyAndTheBeast'' made it a viable (and profitable) film-making approach. This unfortunately led to numerous imitators in the 1990s, which (coupled with Disney's refusal to do anything ''but'' musicals throughout the decade after ''WesternAnimation/TheRescuersDownUnder'' bombed at the box office) had turned it stale by the end of the decade. The popularity of 2001's ''WesternAnimation/Shrek1'' essentially killed off the musical formula, which led to Disney not using it for almost ten years. However, 2009's ''WesternAnimation/ThePrincessAndTheFrog'' managed to make the Disney musical popular again with critics, 2010s ''WesternAnimation/{{Tangled}}'' made it popular again with families, and ''WesternAnimation/Frozen2013'' made it popular again with everyone else.
29	* ''WesternAnimation/SpiderManIntoTheSpiderVerse'' is an interesting case. The genre it "relaunched" was one that never truly had a chance to flourish in the first place--the teen-oriented animated action movie. This genre experienced a number of high-profile failures in the early 2000s, such as ''WesternAnimation/TitanAE'', ''Anime/FinalFantasyTheSpiritsWithin'', ''WesternAnimation/AtlantisTheLostEmpire'', ''WesternAnimation/TreasurePlanet'', and ''WesternAnimation/SinbadLegendOfTheSevenSeas'', causing it to be seen as box-office poison until ''Spider-Verse'' revived it.
30	* ''WesternAnimation/YellowSubmarine'' is often considered to be the work that made people start taking the Western animation industry seriously again.
31	* Subverted with traditional animation, as ''WesternAnimation/ThePrincessAndTheFrog'' and ''WesternAnimation/WinnieThePooh2011'' were intended to re-spark the medium in the West. But following the two's completion, Disney higher-ups closed up their 2D animation department once again as the box office numbers for these two didn't measure up to their CG counterparts. However, the success of ''WesternAnimation/TheSecretOfKells'' and film distributor GKIDS' commitment to such films lead to hand drawn animation's revival [[AudienceShift in the independent film market]].
32	* After the success of ''WesternAnimation/TheRugratsMovie'', studios began churning out multiple animated movies based on TV shows, all of varying quality. The over-saturation of these movies, combined with lackluster box office numbers, quickly caused animated TV to film adaptations to fall out of favor, with some even arguing they contributed to the decline of traditional animation due to "cheapening" the medium and coming out around the same time the AllCGICartoon was becoming popular. Despite the success of ''WesternAnimation/TheSimpsonsMovie'', it wouldn't be until the critical and financial success of ''WesternAnimation/TheSpongeBobMovieSpongeOutOfWater'' in 2015 when animated TV to movie adaptations would start to see a comeback. Ironically, its predecessor ''WesternAnimation/TheSpongeBobSquarePantsMovie'' was one of the last of the initial "wave" of TV show-based animated features, being released in 2004 just after the [[GenreKiller genre-killers]] ''WesternAnimation/RugratsGoWild'' and ''WesternAnimation/TeachersPet''.
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35	[[folder:Films -- Live-Action]]
36	* ''Film/SaturdayNightFever'' and ''Film/{{Grease}}'' brought back the movie musical after the disaster that was ''Film/HelloDolly''.
37	* The ''Franchise/IndianaJones'' films repopularized the AdventurerArchaeologist genre.
38	* ''Film/MoulinRouge'' and ''Film/{{Chicago}}'' did that a second time after the genre's reputation was killed by ''Film/{{Xanadu\|1980}}'' and ''Film/CantStopTheMusic''.
39	* 1998's ''Film/{{Blade}}'', 2000's ''Film/XMen1'', and 2002's ''Film/SpiderMan1'' brought redemption to the superhero movie industry after the travesty of the Schumacher ''Franchise/{{Batman}}'' films and ''Film/{{Steel}}'' had put the genre down for the count. This revival also ensured that subsequent films would be DarkerAndEdgier teenage- and adult-oriented films rather than the all-ages kind that had been before, such as ''Film/TheDarkKnight'' and ''Film/ManOfSteel''. However, family-marketed superhero films are on the rise again, thanks to 2012's ''Film/{{The Avengers\|2012}}'', 2014's ''Film/{{Guardians of the Galaxy\|2014}}'', ''Film/TeenageMutantNinjaTurtles2014'' and ''Film/PowerRangers2017''.
40	* Following the failure of ''Film/Catwoman2004'', ''Film/{{Elektra}}'' and ''Film/BladeTrinity'', superhero movies largely avoided having leads that weren't [[MinorityShowGhetto white]] or [[GirlShowGhetto male]]. It would take the success of 2017's ''Film/{{Wonder Woman\|2017}}'' and 2018's ''Film/{{Black Panther\|2018}}'' to demonstrate that gender and race were irrelevant when it came to the success or failure of various superhero movies. Since then, both ''Film/{{Aquaman\|2018}}'' [[note]]Whilst Aquaman is traditionally white in the comics, [[RaceLift he is played by]] Native Hawaiian actor Creator/JasonMomoa in the movie[[/note]] and ''Film/{{Captain Marvel\|2019}}'' went on to make over one billion dollars each.
41	* The ''Franchise/PiratesOfTheCaribbean'' franchise made {{pirate}}s fun for the twenty-first century (although its influence has mostly been in literature, [[Series/BlackSails TV]] and [[VideoGame/AssassinsCreedIVBlackFlag video games]] rather than in more films).
42	* The DisasterMovie genre was left for dead by 1980, but experienced a resurgence in 1996 with Creator/RolandEmmerich's ''Film/IndependenceDay''.
43	* The ''Film/{{Scream}}'' series did the same for [[SlasherMovie slasher movies]] by hanging a massive lampshade over the genre's numerous clichés, while still employing them to scary effect. It took nearly a full decade for the resurgence to die back down, being done in by two things: a massive glut of uninspired, low-quality slashers that either couldn't emulate ''Scream''[='s=] cheeky postmodernism, or simply didn't even try to, and the UsefulNotes/{{Columbine}} Massacre making any what Creator/RogerEbert called "dead teenager" movies very uncomfortable because they were too close to that event.
44	* 3D movies have had this [[PopularityPolynomial a few times]] - in the 2000s, first with IMAX 3D, then animated flicks such as ''WesternAnimation/ThePolarExpress'', and culminating in 2009's ''Film/{{Avatar}}''.
45	* ''Film/TheLordOfTheRings'' trilogy directed by Creator/PeterJackson, it can be said, effectively brought HighFantasy (or perhaps even MedievalEuropeanFantasy) in general to the attention of film audiences, but results from attempted films of this genre have been mixed. On one hand, we got successes like ''Film/TheChroniclesOfNarnia'', but on the other, we also got commercial flops like ''Film/{{Eragon}}''.
46	* There'd hardly been any SwordAndSandal epic movies since ''Film/TheFallOfTheRomanEmpire''. Then along came a little film called ''Film/{{Gladiator}}'' in 2000, and the genre became big again.
47	* The ''Film/JamesBond'' film ''Film/DieAnotherDay'' almost killed the franchise and SpyFiction genre, for verging too much into self-parody, {{continuity cavalcade}} and senseless/overblown CGI spectacle. The concurrent AffectionateParody ''Film/AustinPowers'' movies didn't help people take it more seriously either. Shortly thereafter, the much more grounded ''Film/TheBourneIdentity'' came out and was deemed "refreshing" for the genre. James Bond's producers would quickly follow on that trend (with some welcome renewed flair of their own) and the result, ''Film/{{Casino Royale\|2006}}'', was a success that revitalized the franchise through a ContinuityReboot. The [[Film/TheBourneSeries Bourne series]] and modern Bond have respectively continued for several more films. And during all this time, the ''[[Film/MissionImpossibleFilmSeries Mission: Impossible]]'' film series has continued, garnering praise for helping keeping the genre fresh particularly after a SoftReboot with its third film.
48	* R-rated comic book/superhero movies had declined after ''Film/{{Watchmen}}'' underperformed at the box office, as well as studios believing that the R-rating was box office poison compared to the more economically viable PG-13. This sentiment was not helped by the fact that the few that did come out between 2009 and 2015 weren't big hits. However, after Marvel made waves with the likes of ''Series/Daredevil2015'' and ''Series/JessicaJones2015'' on Netflix, combined with the smash hit films ''Film/Deadpool2016'' and ''Film/{{Logan}}'', it seems that superhero media for more mature audiences may well be experiencing a resurgence. The unexpected success of ''Film/{{Joker\|2019}}'' further proved that more adult-oriented and serious comic book films can be successful and has even surpassed the humor-heavy ''Deadpool'' to become the highest grossing R-rated film ever. A damn impressive feat in of itself, further impressive when it racked up eleven Oscar nominations, the most of any comic book film ever.
49	* ''Film/AmericanPie'' helped relaunch the SexComedy in the 2000s by combining it with the influence of Creator/JohnHughes, whose style of teen movies caused the genre to fall out of favor in the late '80s and '90s.
50	* ''Film/{{Insidious}}'', ''Film/CabinInTheWoods'', ''Film/TheConjuringUniverse'' and ''especially'' ''Film/{{It\|2017}}'' helped renew interest in horror films in the 2010s. Before these were released, horror films relied too much on Gorn and Jump Scares, and were generally seen as a way to make quick bucks. After they were released, horror movies retained their low budgets, but made a conscious attempt to use the [[Administrivia/TropesAreTools aforementioned tropes to good use]]. It also helps that horror films in the 2010's were more diverse than what they had been in any previous decade.
51	* The mainstream RomanticComedy movie genre largely died out in the 2000s, only sneaking in mixed with other genres for much of the [=2010s=] and romcoms fell largely to television. This changed in 2018, with Creator/{{Netflix}}'s slate (including ''Film/TheKissingBooth'', ''Film/ToAllTheBoysIveLovedBefore'', and ''Film/SetItUp'') along with the release of entries not focused on the genre's traditionally straight white protagonists (like the Asian-centric ''Film/CrazyRichAsians'' and the gay-centric ''Film/LoveSimon'') being credited with reviving the genre.
52	* ''Film/EdWood'': While not box-office hits, this film and two {{Spiritual Successor}}s by the same writing team (Scott Alexander and Larry Karazewski), ''Film/ThePeopleVsLarryFlynt'' and ''Film/ManOnTheMoon'', reinvigorated the {{Biopic}} genre in TheNineties. Their subjects were not the kind of publicly respected/loved "great men" traditionally seen as "deserving" of biopics but disreputable, if not societal outcasts -- yet were treated with kindness and dignity. On top of that, the first and last films took a playful rather than reverential approach, interpolating aspects of the subject's art into the style and structure of the film. This helped pave the way for films like ''Film/TheLifeAndDeathOfPeterSellers'', ''Film/ImNotThere'', ''Film/{{Bernie}}'', ''Film/ITonya'', and ''Film/TheEyesOfTammyFaye'', among others.
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55	[[folder:Literature]]
56	* The spy genre had floundered with the end of the Cold War, such that a major subtext running through ''Film/GoldenEye'' was whether or not spies like Film/JamesBond were still relevant. 9/11 and UsefulNotes/TheWarOnTerror answered that question with a very definitive "yes".
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59	[[folder:Live-Action TV]]
60	* This happened at least twice in the GameShow genre:
61	** ''Series/{{Jeopardy}}'' helped re-popularized quiz-type game shows, which were previously thought dead after the rigging scandals of the 1950s. In fact, the show's signature "answer and question" format was inspired by a discussion between creator Merv Griffin and his wife about those very scandals. Between the 1950s and ''Jeopardy!'''s debut, most game shows were either {{Panel Game}}s or very low-stakes parlor games such as ''Series/{{Password}}''.
62	** After a rather dormant period in the late 1990s, the genre got another major reboot in 1999 with the success of ''Series/WhoWantsToBeAMillionaire'' The show revitalized the entire genre and was the TropeMaker for many game show elements in use today -- AllOrNothing money ladders, {{Lifelines}}, dramatic sets and music, {{Commercial Break Cliffhanger}}s and of course, massive payoffs. This led to the WhoWantsToBeWhoWantsToBeAMillionaire trope.
63	* As mentioned on the GenreKiller page, the once great genre of British telefantasy was pretty much killed by ''Series/CrimeTraveller'' (some might argue that it was killed by the cancellation of ''Series/DoctorWho'', and ''Crime Traveller'' was just a death rattle). Since ''Doctor Who'''s revival in 2005 showed that there's still a vast audience for SF&F, we've had ''Series/{{Primeval}}'', ''Series/{{Merlin\|2008}}'', ''Series/{{Life on Mars\|2006}}'', ''Series/AshesToAshes2008'', ''Series/{{Torchwood}}'', ''Series/{{Being Human\|UK}}'', the ''Literature/{{Discworld}}'' TV movies... Meanwhile, the revival of ''Doctor Who'' is credited with bringing back the concept of family shows, that is, programs that the whole family could gather together for.
64	* Live network television musicals entered a dormancy in the middle of TheFifties. Creator/{{NBC}} revived them in 2013, with a ''Theatre/TheSoundOfMusic'' telecast starring Music/CarrieUnderwood. While it scored high ratings, it took two more years for the medium to re-enter critical favor, when NBC broadcast ''Theatre/TheWiz'' to great acclaim. A few months later, Creator/{{FOX}} opened the door for other networks to stage their own musicals, by airing a warmly-reviewed ''Film/{{Grease}}'' production that scored even higher ratings than ''The Wiz'' did.
65	* With both ''Series/{{Friends}}'' and ''Series/{{Frasier}}'' ending in 2004, people started wondering about the future of the three camera {{sitcom}} (a.k.a. the ones with {{Laugh Track}}s) with the success of single-camera comedies like ''Series/MalcolmInTheMiddle'', ''Series/{{Scrubs}}'' and ''Series/TheOfficeUS'' gaining steam. ''Series/HowIMetYourMother'' in 2005 helped keep it around, but it was the enormous success of ''Series/TheBigBangTheory'' that kept it going.
66	* Dinosaur documentaries, first popularized by ''Series/WalkingWithDinosaurs'', was gradually killed off due to derivative works having lower budgets, less accuracy, and a tendency to anthropomorphize the animals too much. This culminated in the failure of the film adaptation of ''WesternAnimation/WalkingWithDinosaurs'', which killed off the dinosaur documentary for nearly a decade. Then came ''Series/PrehistoricPlanet'' in 2022, which had the quartet of ''amazing'' visuals, up-to-date behavior, formatting closer to an actual nature documentary, and being narrated by renowned biologist Creator/DavidAttenborough. Following this, interest in the genre exploded, and Netflix announced it's own speculative documentary, ''A Life on Our Planet''.
67	* While the SoapOpera genre wasn't dead by any means in 1979, it was viewed as a hopelessly corny throwback appealing mainly to the DaytimeDramaQueen demographic. A year earlier, Glory Monty took over as executive producer of ''Series/GeneralHospital'', and completely overhauled the show by adding more youth appeal stories, quickening the pace with more short scenes, and throwing elements of CrimeDrama and adventure stories into the mix. While Monty hadn't planned it, there was also Luke and Laura codifying the concept of the SuperCouple. Between all this, ''GH'' began picking up a huge number of new viewers, peaking with the 30 million who watched the wedding of Luke and Laura in 1981. As a result, other soaps began emulating ''GH'', and the genre as a whole got a strong second wind.
68	* Specific to UsefulNotes/{{France}}: Adaptations of FrenchLiterature classics and HistoricalFiction had gone moribund on French TV since the 1972 adaptation of ''Literature/TheAccursedKings''. The big success of the miniseries ''Series/{{The Count of Monte Cristo\|1998}}'' in 1998 caused a revitalization of the genre on TV, and Creator/GerardDepardieu himself went on to lead more adaptations, such as a Creator/HonoreDeBalzac biopic in 1999 and ''[[Series/LesMiserables2000 Les Misérables]]'' in 2000. 2002's ''[[Series/Napoleon2002 Napoléon]]'' was also part of that trend.
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71	[[folder:Music]]
72	* ThrashMetal had a resurgence in the mid 2000s on the backs of bands like Music/{{Evile}} and Music/MunicipalWaste.
73	* {{Boy Band}}s were practically D.O.A. after the Music/BackstreetBoys and Music/{{NSYNC}} faded in 2001-02 [[labelnote:*]]Though this largely applies to the West; in Asia, boy bands have been consistently popular, particularly in China, Japan, and South Korea[[/labelnote]]. The Jonas Brothers were popular for a few years from 2007 to 2009, but that was more of a pop-rock act as opposed to a traditional boy band. [=B5=] were also briefly popular during the mid-2000s, but their popularity was mostly limited in scope to the Radio/RadioDisney tween audience. Following the success of Music/JustinBieber, "classic" boy bands like Series/BigTimeRush, Music/TheWanted, and JLS started popping up. JLS and The Wanted had good success in the UK, but were nowhere near as popular as acts like Take That and Westlife were and made no impact internationally. Big Time Rush, meanwhile, had a hit show on Nickelodeon, but as a band weren't very successful mostly because their launch was parallel to the rise of Bieber.
74	** The act that would truly re-ignite the Boy Band craze formed on the next season of the hit UK show Series/TheXFactor. Music/OneDirection were put together by Simon Cowell after their members narrowly missed the cut as solo acts. Although the group finished third, their debut single "What Makes You Beautiful" debuted at #1 in the UK. One Direction would go on to achieve massive worldwide success, and even broke into one market that most of their predecessors failed to make it in: the United States. The Wanted also had a massive global hit with "Glad You Came" around the same time One Direction started to break through, but their hype was quickly extinguished by their rivals.
75	** One Direction would go on to dethrone Bieber as the biggest teen phenomenon in the world. The Canadian's sales figures began to plummet and he started to lose awards and records to the boy band. Other boy bands like Union J, The Vamps, Emblem3, Midnight Red, and [=IM5=] are looking to achieve success, but it's unlikely that any boy band -- or Bieber-esque solo singer, for that matter -- will overtake One Direction any time soon.
76	** After One Direction went on hiatus, Music/{{BTS}} would follow in their footsteps and subsquently take on the "massively popular boy band" mantle, once again proving the boy band concept is still viable.
77	* This happened to {{Disco}} of all things in 2013. Music/DaftPunk's "Get Lucky", Music/BrunoMars' "Treasure", and Music/RobinThicke's "Blurred Lines" were able to revive worldwide interest in the disco genre, leading to several followers and even expanding to other forms of R&B in 2014.
78	* After ''Music/{{Loveless}}'' made all other {{shoegazing}} works pale in comparison, the genre died in the early-mid '90s. It's since seen a resurgence in the '10s, lead by the Brooklyn scene rather than the traditional northern English scene.
79	* PoliticalRap is having a resurgence, though it is mainly limited to the Flemish scene. One of the most famous political rappers there is Keondalini.
80	* NuMetal has seen something of resurgence since around 2012, after dying unceremoniously in 2004. Bands like Music/{{Issues}}, Music/InThisMoment, Music/HollywoodUndead, Of Mice & Men, Music/FromAshesToNew, Emmure, and Saint Asonia prove the genre isn't completely non-viable like it used to be. Throw that in with various deathcore bands like Music/SuicideSilence, Whitechapel, Upon a Burning Body, and Music/{{Attila\|Metalcore}} taking noticeable influence from the genre. Add that with the fact that bands who previously abandoned the genre returned to their roots, most notably Music/{{Staind}}, Music/{{Slipknot}}, Music/PapaRoach, and Music/LinkinPark. It'll probably never be anywhere near as popular as it once was, but it's something.
81	* Music/{{Adele}}'s second album ''21'''s massive success singlehandedly brought back R&B and neo-soul genre to the mainstream pop music.
82	* HairMetal has seen a minor resurgence over the years, after dying unceremoniously in 1992 with the rise of {{Grunge}}. Bands like Music/BlackVeilBrides, Dirty Honey, Music/TheDarkness, Reckless Love, Crashdïet, H.E.A.T and Crazy Lixx, along with parody/tribute act Music/SteelPanther, have managed to prove the genre is still viable even if it still has the '80s stigma stuck to it. Throw that in with older hair bands such as Music/NightRanger, Music/{{Tesla}}, Music/{{Stryper}} and Music/MotleyCrue returning to their roots.
83	* Music/LedZeppelin-style hard rock began to see a resurgence in the late 2010s after Music/GretaVanFleet gained a surge in attention and popularity.
84	* {{Grunge}} has seen a minor resurgence in the mid-2010s, after dying unceremoniously in the mid-1990s and evolving into the polarizing PostGrunge. Bands like Milk Teeth, [=Fangclub=], Muskets, My Ticket Home, Speedy Ortiz and Citizen have proved "true Grunge" isn't as dead as hardcore fans of the genre think it is. It'll never be anywhere near as popular as it once was, but it's a notable revival nevertheless.
85	* After dying off in the late-90s following an identity crisis and the smash success of Music/{{Radiohead}}'s ''Music/OKComputer'' being it's death knell, {{Britpop}} saw a minor resurgence in the early 2010s, with bands like [=DMA=]'s and All the Young fusing elements of the classic [=Britpop=] style with modern IndieRock.
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88	[[folder:Radio]]
89	* No matter what one may think of his politics, it's hard to deny that Radio/RushLimbaugh did this with non-music radio in general, and [[TalkShow talk radio]] in particular, starting in the late '80s. His openly and proudly partisan style, made possible by the repeal of the Fairness Doctrine[[note]]An FCC regulation stating that broadcasters a) have an obligation to discuss "controversial issues of public importance", and b) must give airtime to contrasting viewpoints on such issues.[[/note]] in 1987, caused radio broadcasters to realize that there was still money to be made broadcasting news and talk shows, leading to a proliferation of right-wing talk radio hosts in TheNineties.
90	* The success of ''Radio/TheHowardSternShow'' around the same time, meanwhile, demonstrated that there was also still a market for less partisan and more comedic talk radio content, leading to the rise of the ShockJock as a new breed of radio host focused on VulgarHumor.
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93	[[folder:Tabletop Games]]
94	* Role-playing games like ''The Black Hack'' and similar "retro-clones" have created the Old-School Revival movement, which aims to replicate the mechanics of the First and Second Editions of ''TabletopGame/DungeonsAndDragons'' and other games of the early stage of the roleplaying moment. The impact of this revival has been so powerful that even the Fifth Edition of ''D&D'' aims to follow a similar design course.
95	* Prior to the OSR movement, in the latter 90s the trend in [=RPGs=] was toward character-driven, combat-light games like the ''TabletopGame/OldWorldOfDarkness'' games. ''TabletopGame/DungeonsAndDragons'' 3rd Edition brought back the old-school DungeonCrawl, and proved that players could still enjoy going into a dungeon and hacking their way through a horde of orcs.
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98	[[folder:Video Games]]
99	* Creator/{{Nintendo}} and the [[Platform/NintendoEntertainmentSystem NES]] single-handedly brought the home video game console market back from the dead in North America, after MediaNotes/TheGreatVideoGameCrashOf1983.
100	* Titles such as ''VisualNovel/PhoenixWrightAceAttorney'' and the Creator/TelltaleGames ''VideoGame/SamAndMaxFreelancePolice'' {{retool}} helped restart the popularity of {{Adventure Game}}s in America after roughly a decade of dormancy. Note that this genre was never dead overseas, however; it largely mutated into genres such as {{Visual Novel}}s.
101	* Depending on who you ask, the strategy RPG genre was revived by either ''VideoGame/FinalFantasyTacticsAdvance'', ''VideoGame/DisgaeaHourOfDarkness'', or the first Western release of ''Franchise/FireEmblem'' on the Platform/GameBoyAdvance: three games that came out in 2003.
102	* The rise of UsefulNotes/{{Kickstarter}} has caused a spike of interest in reviving the PointAndClick adventure games. In particular, Creator/DoubleFine's ''VideoGame/BrokenAge'' raising over a million dollars in a day has caused a lot of FollowTheLeader. Similarly, a few companies are hoping to use Kickstarter to revive Interplay-style [=RPGs=] like ''VideoGame/{{Fallout}}'' and ''VideoGame/PlanescapeTorment''.
103	* The success of ''VideoGame/CastleCrashers'' revitalized interest in the side-scrolling BeatEmUp.
104	* Starting in the mid-2000s, there was a resurgence in popularity of older styles of video games from the 8-bit and 16-bit era which was fueled by the rise of both the Xbox 360's [[Platform/XboxLive Xbox Live Arcade]] and the [[Platform/{{Wii}} Wii's]] Platform/VirtualConsole, effectively beginning the "nostalgia-boom" of gaming. This led many existing franchises from the those eras seeing compilations of older titles, complete remakes, revivals, and [[MilestoneCelebration anniversary celebrations]] [[GenreThrowback heavily influenced by nostalgia]].
105	** The fighting game genre was in decline until the release of ''VideoGame/StreetFighterIV'' in 2008 and ''VideoGame/BlazBlueCalamityTrigger'' in 2009. This coincided with new arcade stick controllers to match these games.
106	** ''VideoGame/NewSuperMarioBros'' and ''VideoGame/SuperMarioOdyssey'' revived mainstream interest in 2D and 3D platformers respectively. ''NSMB'' would go on to spawn a subseries of titles that were very successful for Nintendo, and both would be followed by numerous other platform games from both major publishers and especially indie developers.
107	** In the mid [[TheNewTens New '10s]], the success of ''VideoGame/ShadowWarrior2013'', ''VideoGame/WolfensteinTheNewOrder'', and ''VideoGame/DOOM2016'' revived interest in old-school style FirstPersonShooters.
108	* Space simulators in the vein of ''VideoGame/{{Elite}}'' and ''VideoGame/WingCommander'' are headed in this direction in 2014 thanks to the advent of crowdfunding, helped largely by the success of ''VideoGame/StarCitizen''[='s=] campaigns (leading to record-breaking amounts of funding), as well as the critical acclaim and commercial success of ''VideoGame/EliteDangerous'' and the amount of press (and years later, acclaim) revolving around games like ''VideoGame/NoMansSky''.\
109	This also resulted in resurgent demand for joysticks, to the point that new high-end HOTAS and dual flight stick setups were released to market just to cater to the relaunched space sim market. When you need precise analog control over all six degrees of freedom, keyboards, mice and gamepads just don't cut it any more.
110	* The announcement of ''VideoGame/GuitarHeroLive'' and ''VideoGame/RockBand 4'' 2015 restored interest in the instrument-based RhythmGame that died in 2010... [[SubvertedTrope then the release of the former shoved it right back into the grave]]. Fans weren't happy with the entirely different gameplay and obvious cash-grab features. The genre still exists with the fan-made Clone Hero, which takes the classic 5-button play and pushes it to its limits, but will probably never be mainstream again.
111	* The turn based tactical genre seemed to be heading down the drain around the start of UsefulNotes/TheNewTens, until the one-two punch of ''VideoGame/XCOMEnemyUnknown'' and ''VideoGame/FireEmblemAwakening'' came out to near unanimous acclaim and commercial success.
112	* The StylishAction genre reached peak popularity during MediaNotes/TheSeventhGenerationOfConsoleVideoGames, with titles like ''VideoGame/DevilMayCry'', ''VideoGame/GodOfWar'', and ''VideoGame/NinjaGaiden'' all being pioneers of the genre and inspiring imitators like ''VideoGame/HeavenlySword'' and ''VideoGame/DantesInferno''. However, near the end of the seventh generation and the beginning of the [[MediaNotes/TheEighthGenerationOfConsoleVideoGames eighth]], the [[VideoGame/DarkSouls Souls]][[VideoGame/{{Bloodborne}} borne]] genre eclipsed stylish action games in popularity and profitability, with ''VideoGame/DMCDevilMayCry'' and ''VideoGame/YaibaNinjaGaidenZ'' proving to be divisive installments in their respective franchises that flopped commercially, and ''VideoGame/GodOfWar2018'' choosing to go with a more ''Souls''-like approach to its combat system. ''VideoGame/Bayonetta2'' was the only holdout during this time, but the failure of the Platform/WiiU, which it was exclusive to, prevented it from gaining the same level of exposure as other games. A few years later, however, the Platform/NintendoSwitch came along, for which ''VideoGame/Bayonetta3'' was announced at the end of its first year as an exclusive, with ports of the first two games releasing several months from them, giving the franchise the exposure it needed. The next year at E3, ''VideoGame/DevilMayCry5'' was announced and was released in 2019 to rave reviews and commercial success, reviving the franchise after a long hiatus. ''VideoGame/AstralChain'' was also released the same year as a Switch-exclusive title, and managed to sell over a million copies despite the exclusivity. Then in 2020, the kickstarter-funded ''VideoGame/TheWonderful101 Remastered'', formerly exclusive to the Wii U and originally a sales flop, managed to accumulate the funds needed for Creator/PlatinumGames to self-publish it on the Nintendo Switch, Platform/{{Steam}}, and the Platform/PlayStation4 in less then several hours. Overall, the stylish action genre has seen a resurgence near the end of the eighth generation after years of it laying dormant, with the ''Bayonetta'' games, ''Devil May Cry 5'', and ''Astral Chain'' proving the genre is still alive and well.
113	* With the success of games like ''VideoGame/TheElderScrollsIVOblivion'', ''VideoGame/MassEffect'', and ''VideoGame/Fallout3'', the WesternRPG genre has generally been shifting towards a strong focus on a single character, first-person perspective, and action-oriented combat. Enter ''VideoGame/PillarsOfEternity'', which was created by industry veterans as a love letter to the older party-based narrative style with mechanics heavily borrowed from tabletop [=RPGs=]. It's done well enough to spawn a sequel and inspire similar games like ''VideoGame/PathfinderKingmaker'' and the ''VideoGame/DivinityOriginalSin'' games, which were beloved enough to help ''Pillars'' create a resurgence of that style as a SubGenre.
114	* Within the west, the EasternRPG genre of RolePlayingGames was niche until ''VideoGame/FinalFantasyVII'' and ''VideoGame/PokemonRedAndBlue'' came along in the late nineties and succeeded massively, with ''Final Fantasy VII'' drawing lots of JRPG developers towards the Platform/PlayStation and Platform/PlayStation2, while ''Pokemon'' became a worldwide phenomenon and quickly became one of Creator/{{Nintendo}}'s flagships. However, the seventh generation saw a decline in the popularity of [=JRPGs=] due to most JRPG developers choosing to create their games for the more affordable Platform/NintendoDS and Platform/PlayStationPortable instead of the more powerful Platform/Xbox360 and Platform/PlayStation3. While the former console did have successful titles like ''VideoGame/LostOdyssey'' and ''VideoGame/TalesOfVesperia'', the void left behind by JRPG developers was quickly filled by WesternRPG developers and their games, most notably Creator/{{Bethesda}} with ''VideoGame/{{Fallout}}'' and ''VideoGame/TheElderScrollsVSkyrim'', and Creator/{{Bioware}} with ''Franchise/DragonAge'' and ''Franchise/MassEffect''. And with ''VideoGame/FinalFantasyXIII'' proving to be an incredibly divisive game, western interest in the traditional JRPG genre fizzled out halfway through the generation, with the exceptions of ''VideoGame/DarkSouls'' and ''VideoGame/XenobladeChronicles1''. Even then, the former shared lots of similar aesthetics with Western [=RPGs=], while the latter only saw a limited run on the Platform/{{Wii}}. The relaunch of the genre in the west came in the middle of the eighth generation several years later, [=JRPGs=] like ''VideoGame/FinalFantasyXV'', ''VideoGame/Persona5'', ''VideoGame/TalesOfBerseria'', ''VideoGame/FireEmblemHeroes'', and ''VideoGame/XenobladeChronicles2'' all saw massive success on home consoles and reignited interest within the genre in the west. In the following years, ''VideoGame/MonsterHunterWorld'', ''VideoGame/DragonQuestXI'', ''VideoGame/FireEmblemThreeHouses'', ''VideoGame/FinalFantasyVIIRemake'', ''VideoGame/TrialsOfMana'', and ''VideoGame/XenobladeChronicles1: Definitive Edition'' all saw equal amounts of success, while the formerly dominant Western RPG franchises became plagued with heavy monetization and boring gameplay found in games like ''VideoGame/MassEffectAndromeda'', ''VideoGame/Fallout76'', and worst of all, ''VideoGame/{{Anthem}}''. The success of the Platform/NintendoSwitch also helped, with allowed more niche JRPG franchises like ''VideoGame/{{Ys}}'' and ''VideoGame/AtelierSeries'' to also gain a foot in the door, most notably seen when a Switch version of ''VideoGame/YsIXMonstrumNox'' was announced alongside the English localization, and when ''VideoGame/AtelierRyzaEverDarknessAndTheSecretHideout'' ended becoming the bestselling installment in its franchise and had a direct sequel announced in a Nintendo Direct in 2020.
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116
117	[[folder:Western Animation]]
118	* ''WesternAnimation/AdventureTime'' and ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' brought a resurgence on WesternAnimation in many ways in the 2010s.
119	** The former helped Creator/CartoonNetwork WinBackTheCrowd, along with ''WesternAnimation/RegularShow'' and ''WesternAnimation/YoungJustice''.
120	** The latter, along with ''WesternAnimation/TransformersPrime'', showed that there was not only a market for MerchandiseDriven shows as long as they're well made and well written, but even marked a renewed interest in making cartoons for girls [[note]][[ExecutiveMeddling Not that Stuart Snyder was listening]][[/note]], but that [[TestosteroneBrigade boys and men could enjoy cartoons for girls]]; [[EstrogenBrigade like girls and women could enjoy cartoons for boys.]]
121	* While adult animation has always been a thing, it more or less died out in the mid-30's as a result of the MoralGuardian-championed [[MediaNotes/TheHaysCode Hays Code]] and the rise of the AnimationAgeGhetto during MediaNotes/TheDarkAgeOfAnimation. The revival of the subgenre was a gradual one; the works of Creator/RalphBakshi such as ''WesternAnimation/FritzTheCat'' and ''WesternAnimation/{{Coonskin}}'' are often considered the start of the revival, albeit a niche one, while ''WesternAnimation/BeavisAndButthead'', ''WesternAnimation/TheSimpsons'', and ''WesternAnimation/SouthPark'' are all credited with restoring adult animation to mainstream status. It saw another decline in the late-2000s/early-2010s [[AnimatedShockComedy when many adult cartoons started focusing too much on vulgarity and black comedy]], but managed to get relaunched again (albeit in a rather slow process) with the successes of ''WesternAnimation/BojackHorseman'', ''WesternAnimation/RickAndMorty'', ''WesternAnimation/SausageParty'', and ''WesternAnimation/Primal2019''.
122	[[/folder]]

Context Main / GenreRelaunch