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[[folder:General]]
* Can an entire ''network'' be deader than Disco? If so, then if Creator/{{MTV}} isn't there right now, then it is perilously close. Even when the [[NetworkDecay channel's decay]] became evident in the late '90s and early '00s, MTV was still a relevant force in American pop culture, turning many bands and artists into superstars and airing shows like ''Series/TheRealWorld'', ''WesternAnimation/BeavisAndButthead'', ''WesternAnimation/{{Daria}}'', and ''Series/{{Jackass}}'' that hauled in viewers by the boatload and had people talking. And that's not even mentioning the power MTV wielded back in TheEighties. Now, while it's still kept relevant by a handful of hit {{reality show}}s, a couple of critically acclaimed scripted series (primarily ''Teen Wolf'',) and the Video Music Awards, most young people and former fans know it primarily for being the poster child of NetworkDecay.
** If MTV truly ''does'' die, it would be a KarmicDeath, as the first video it ever featured was "Video Killed the Radio Star", a subtle hint that the network would be competing with radio broadcasting. (The song itself and the video, however, were generally well-received, even if the group never really became popular.)
* Cartoon Network fell victim to this in Belgium ever since [[UsefulNotes/FlemishTVStations Medialaan]] decided to compete with the kid channels that were on Belgian television (which are Ketnet, Nickelodeon, Disney Channel and Cartoon Network themselves) back then with ''VTM [=KZoom=]'', which was launched in Oktober 2009. It suddenly became quite clear that if Cartoon Network would have a CashCowFranchise, Medialaan would have that particular one as well that they could air on the two channels that they have that air animation (which are ''2BE'' and ''VTM [=KZoom=]''). Not only would this be problematic for Cartoon Network because they would be one channel that had to compete with one and a half channels (since ''2BE'' airs other stuff as well from 17:00 to midnight), but Medialaan also owns the Belgian airing rights to other Cash Cow Franchises that Cartoon Network does not really own such as the Belgian airing rights of ''WesternAnimation/MyLittlePonyFriendshipIsMagic''. As of 2011, Cartoon Network is only accessible through special airing rights in Belgium and you must be either a diehard Cartoon Network fan or a diehard fan of that one rare show that airs on it that Medialaan does not own, since owning it costs a lot more than regular cable. Kind of sad for them, since ever since their expansion to the BENELUX in 2001 they seemed to have a stable market there and they are still successful in The Netherlands.
* In the United States, daytime {{soap opera}}s have fallen victim to this trope. Back in TheSeventies and TheEighties, ratings for daytime soaps hit peaks of 30 million viewers for events like the Spencer wedding on ''Series/GeneralHospital'', and ad revenues from them helped to fund the {{networks}}' elaborate, expensive, all-but-nonprofit [[NewsBroadcast news divisions]], as well as tide the whole network over in years when the PrimeTime lineup was struggling. Now (as ValuesDissonance has marched on, with themes then considered as 'taboo' being commonplace nowadays) soaps are lucky to pull in ''three'' million, and some people are recommending that the networks drop them altogether and replace them with {{talk show}}s and other daytime fare -- which some networks are already doing. The phrase 'daytime soap opera' has come to be synonymous with [[SoapWithinAShow pure dreck]] in the minds of many TV fans, associated with bad writing, [[IdiotPlot outrageous plots]] and [[LargeHam shoddy]] [[DullSurprise acting]], something that can be seen whenever [[FanDumb disgruntled fans]] of a PrimeTime series talk about how bad writers or actors 'should never have been let out of daytime.' A list of theories explaining this fall can be seen on the SoapOpera page.
** The fact that the {{cancellation}} of ''Series/GuidingLight'', [[LongRunner the longest running fictional TV show in the history of the medium]], was barely a footnote in ''Magazine/TVGuide'' and ''Entertainment Weekly'' just goes to illustrate how far soap operas have fallen in the public eye.
* RealityTV did in the [[PointAndLaughShow trashy tabloid talk shows]] of the '90s, which quickly lost their monopoly on the display of social rejects, miscreants, and degenerates hungry for their 15 minutes of fame. Unlike talk shows, reality shows didn't have the middle man of a host who was ostensibly trying to 'help' them, and had more variety than the basic talk show format. It also didn't help that, around 2003–04, tabloid talk shows were being accused of recycling the same plots and scenarios over and over again. Today, the only 'Trash TV' hosts still standing are JerrySpringer and [[{{Maury}} Maury Povich]], probably only because their shows are subsidized by the state of Connecticut under a large tax subsidy to Creator/{{NBC}}, and curmudgeonly conservative talker Bill Cunningham, whose show merely exists to fill Creator/TheCW's hour of daytime and is an OldShame to many of their more respected affiliates. Their competitors (Geraldo Rivera, Phil Donahue, Jenny Jones, Ricki Lake, Sally Jessy Raphael, Montel Williams) having all been canceled. Creator/OprahWinfrey, now retired herself, who popularized the 'Trash TV' format, distinguished herself by going "[[BleachedUnderpants upmarket]]" in [[TheNineties the mid-nineties]], during the height of the trend.
* It is probably not a coincidence that the VarietyShow died out around the same time that specialized cable channels began taking off, since they allowed viewers to enjoy ''just'' [[Creator/{{MTV}} musical groups]], [[Creator/ComedyCentral stand-up comedy]], etc. without having to wait out performers and segments they weren't interested in. Once in a while, a performer will try to revive the format, but this never works. Later, Creator/{{NBC}} tried to pull it off with ''The Jay Leno Show''. They were hoping that cheap, [[ProductPlacement product-placement]]-backed programming would allow them to stem their losses. It didn't work so well, suffering from such abysmal ratings that NBC attempted to move it to late night after half a season. This led to Creator/ConanOBrien's departure from ''Series/TheTonightShow'' when he objected to the schedule change.
** The death of the variety show could also be attributed to the decreasing cost of televisions. Back in TheFifties and TheSixties when variety programs were at their most popular, a television was an expensive investment and there would typically be only one TV per household, if the household had a TV to begin with. When televisions became much less expensive, the need for specialized programming to appeal to the various members of a household became much more apparent. Then cable television took off in TheSeventies and TheEighties and put the final nail in variety's coffin.
** In a similar fashion; the Sports Anthology genre (invented and led by ''Series/WideWorldOfSports''[[note]]The original American version, not the still-airing Australian version.[[/note]]) died out with the rise of sports networks like Creator/{{ESPN}}, which offered the kind of variety of sports ''Wide World'' offered 24/7.
* Space adventure (or spaceship) based sci-fi shows, once the staple for television sci-fi, disappeared after the cancellation of ''Series/StarTrekEnterprise'' and the rotting away of ''Series/{{Andromeda}}''. The Franchise/StargateVerse also slowly faded into the purgatory of Saturday afternoon reruns. Genre TV shows are now essentially represented by Earth-based, character relationship-based drama shows with a few sci-fi elements thrown in, such as ''Series/{{Eureka}}'', ''Series/{{Lost}}'', ''Series/TrueBlood'', and the new ''Series/{{V|2009}}''. The reimagined ''Series/{{Battlestar Galactica|Reimagined}}'' despite its outer space setting, still focused more on character relationships and political drama than space adventure. This widespread paradigm shift is commonly attributed to the desire to attract more female viewers.
* 'Next Generation'-type television shows: These were shows that essentially updated classic shows from two or three decades past and provided an in-universe continuation of the premise. Surviving cast members from the original often appeared either in guest roles (playing older versions of their characters in keeping with the actor's advancing age) or only in the pilot episode in which they simply pass the torch. Named after ''Series/StarTrekTheNextGeneration'' which takes place in the ''Franchise/StarTrek'' timeline 78 years after ''[[Series/StarTrekTheOriginalSeries The Original Series]]''. This has been replaced by 're-imaginings' which do not take place in the same universe as the original series and are not subject to the continuity of the original series. However, original series cast members can and do make guest appearances as characters who may be completely different from the character they originally played. Richard Hatch, Apollo on the original ''Series/{{Battlestar Galactica|Classic}}'', appeared in [[Series/BattlestarGalacticaReimagined the 2003 reimagining]] as a character quite different from Apollo. Jane Badler plays a character named Diana in the 2009–10 ''Series/{{V|2009}}'' series, but not the same Diana that she played on ''Series/{{V}}'' in 1984–85.
* Network newscasts. In the past, families gathered around the TV every evening to watch Walter Cronkite or Dan Rather for 30 minutes. With the growth of 24-hour news networks and online news, many people stopped watching the traditional newscasts, which are on when most people aren't even home.
** And even cable news has been steadily declining in popularity, now that many people are getting their news from the internet instead. In particular, the internet has the rather important benefit of letting people pick and choose what they want to read while weeding out fluff (or, in some cases, anything that disagrees with one's personal views).
** The entire traditional newscast model is near non-existent for cable news any longer. Except for the fringe services like BBC World News, Al Jazeera America and RT, the only traditional 'news-weather-sports' newscast on cable news is MSNBC's ''First Look'' at 5 in the morning; every other newscast is pretty much required to have a story introduced for a talking head debate somehow.
* KidCom shows that don't involve some kind of celebrity focus are dying out. There are very few DomCom low-concept shows that focus on the characters living a relatively normal life. The reason is the success of ''Series/HannahMontana'' and executives trying to capture that market to get the next big IdolSinger. (The huge success of the ''Literature/DiaryOfAWimpyKid'' franchise may be partially because it serves the audience that liked SliceOfLife kidcoms.)
** Creator/{{Nickelodeon}}'s LiveActionTV line in the last few years has been dominated by these type of shows. ''Series/ICarly'' focuses on Internet celebrity, ''Series/{{Victorious}}'' and ''Series/BigTimeRush'' on musical celebrity, and ''Series/TrueJacksonVP'' on fashion. Its next big show is ''Series/HowToRock'', with Cymphonique Miller as the lead singer in a band. ''Bucket And Skinner'' was their last attempt at a non-celebrity show, and it crashed and burned so badly it was yanked off the network.
** Likewise, Nickelodeon's GameShows, when they do go forward these days, hardly have 'regular kids' any longer; they're pretty much cast just like any other regular show, meaning the era where any kid within the Philadelphia or Orlando metro areas could get on ''Series/DoubleDare'' or ''Series/FindersKeepers'' is over as producers now cast in the same manner as ''Series/WheelOfFortune'', where they must be cute, precocious and able to perform well on-screen (and it isn't a coincidence any longer when said kids end up on a Nick sitcom months later). Same with Disney's shows.
** Creator/DisneyChannel went ''10 years'' between ''Series/EvenStevens'' (2000) and ''Series/GoodLuckCharlie'' (2010). In between these they have had shows like ''Series/AntFarm'', a star vehicle to showcase the musical talent of Music/ChinaAnneMcClain, ''Series/AustinAndAlly'' about becoming popular musicians, ''Series/ImInTheBand'' (guess what that one is about), ''Series/{{JONAS}}'', ''Series/SonnyWithAChance'' which is about a starlet comedienne, and obviously, ''Series/HannahMontana''. ''Series/WizardsOfWaverlyPlace'' was, in theory, about a ''family'' of wizards, but ended up mostly being a vehicle for Music/SelenaGomez (who even sang the theme song). Ironically, it was a low-concept Creator/DisneyChannel show, ''Series/LizzieMcGuire'', that truly paved the way for much of what followed, as it served as a vehicle for Music/HilaryDuff to emerge as a pop singer/actress/TeenIdol in the mid-2000s.
*** In fact, pretty much ''everything'' live-action except high-concept Kid Coms is currently dead on the kid's networks. During TheNineties, Nickelodeon's lineup hit almost every possible genre: sitcom (''Series/ClarissaExplainsItAll''), sketch comedy (''Series/AllThat''), mystery (''Series/TheMysteryFilesOfShelbyWoo''), sci-fi (''Series/SpaceCases''), game show (''Series/NickelodeonGUTS'') and even horror (''Series/AreYouAfraidOfTheDark''). Lately, thanks to the success of ''Series/HannahMontana'' and ''Series/ICarly'' it would appear that both networks are trying everything possible to make lightning strike twice.
* The 'classic {{sitcom}}' format, while still somewhat popular among audiences (most of Creator/{{CBS}}' biggest hits [[Series/HowIMetYourMother are]] [[Series/TheBigBangTheory such]] [[Series/TwoAndAHalfMen shows]]), no longer dominates the Big Four networks due to the success of shows like ''Series/ModernFamily'', ''Series/ThirtyRock'' and the [[TransAtlanticEquivalent U.S. remake]] of ''{{Series/The Office|US}}'', which are usually made in the single-camera format rather than the traditional multi-camera one and avoid using sitcom staples like a LaughTrack and a StudioAudience. Multi-camera sitcoms have risen in popularity on cable channels such as FX and TBS, but critics tend to look down their noses at them and the form in general.
** However, the multi-camera format has had much better success selling in syndication and finding general audiences while many of the acclaimed single-camera series had struggled in ratings (in the cases of ''30 Rock'' and ''Series/{{Community}}'') and failed in syndication (in the case of ''The Office'') despite positive reviews. Also, many of the classic multi-camera format series (such as ''Series/{{Seinfeld}}'' and ''Series/{{Friends}}'') still hold up today against newer series. If anything, the single-camera format could be this trope if these viewing and sales trends continue.
* Likewise, the 'Working Class Family' sitcom died sometime in TheNineties. This can probably be attributed to the increased number of Americans attending college, the rise in niche entertainment rendering the 'everyman' of such shows obsolete, the rise in postmodern sitcoms like ''Series/{{Seinfeld}}'' and ''Series/HowIMetYourMother'', and shows like ''WesternAnimation/TheSimpsons'' and ''Series/MarriedWithChildren'' making it almost impossible to take such shows seriously anymore.
** The traditional 'family sitcom', in general, died out for the same reasons, along with many of the tropes associated with such shows [[DiscreditedTrope being rendered obsolete in recent decades]].
* 'Late Night Creature Feature'-style shows: A former staple of Friday and Saturday night television, particularly on stations that weren't network affiliates, were locally-produced shows dedicated to airing B-grade horror or science fiction movies, with such umbrella titles as ''Chiller Theater'' or ''Shock Theater''. Notable, invariably tongue-in-cheek hosts of such shows included Vampira, Doctor Madblood, and Svengoolie; Creator/ElviraMistressOfTheDark kept the format going well into TheEighties. (All this was parodied by ''SCTV'' with Count Floyd.) The timeslot wasn't necessarily late at night -- it may have been as early as 9 p.m., or alternatively scheduled for weekend afternoons. But as TheEighties progressed, the films aged along with the viewers that appreciated them, the "Big Three" networks began adding more and more national fare to the late and overnight schedules, pay and basic cable networks bought up the rights to many movies en masse (USANetwork, in its first two decades, had the weekend block ''Night Flight'' and its successor ''Up All Night'', which were effectively their versions of this concept), and independent stations dried up as new networks like Fox took them over. ''Series/MysteryScienceTheater3000'' is widely considered the LastOfHisKind, but in fact there are a few shows that have revived the format with public domain films and reached the national syndication market in TheNewTens (''Elvira's Movie Macabre'', the San Francisco-based ''Creepy KOFY Movie Time'', ''Wolfman Mac's Chiller Drive-In''), quietly killing time on weekends on minor network affiliates like MyNetworkTV's. New generations of viewers discovering these films typically prefer to view them uncut, commercial free, and without the distraction of [[HorrorHost host segments]]. The concept of the Internet VideoReviewShow has also helped in that the reviewers cut the films down to their most prominent parts and analyze their tropes while getting rid of extraneous plot.
* Low-budget, high concept TV shows that use the CanadaDoesNotExist trope. During the late 80s and early 90s, these were a staple for shows in multiple genres such as action-adventure (''Series/{{Highlander}}''), youth drama (''Catwalk'' or ''Series/{{Degrassi}}''), sci-fi/horror (''Series/FridayThe13thTheSeries'' or ''Series/WarOfTheWorlds''), and police drama (''Series/TwentyOneJumpStreet''). Toronto and Vancouver were at the time encouraging locations for low budget television even offering incentives to American producers. The low low budget connected with small-name actors (many of them Canadian) allowed for a proliferation of inexpensive entertainment aimed at various niche audiences. The ''nowhereland'' setting for these shows allowed for them to appeal to viewers in both the U.S. and Canada. Today, the new low-budget market is Reality Television which can be produced in Hollywood and appeal to a mainstream American audience. Although in terms of dollar amount, Episodes of Reality shows today probably cost more than an average episode of ''Highlander'', they are easier and faster to produce (as they are not script oriented), have a quicker return in revenue, and appeal to a mass audience. Other genres are still around but mostly manifest themselves as expensive tentpole franchises with high production values, big name stars, and an unambiguous major American city setting.
* The JiggleShow. During the Seventies and Eighties, shows like ''Series/ThreesCompany'', ''Series/CharliesAngels'', and, to a lesser extent, the ''Series/WonderWoman'' series and ''Series/TheDukesOfHazzard'', which were long on beautiful actresses but (perceived as) a little short on plot, were incredibly popular, and the joke was that they were especially popular amongst sexually frustrated men who would be willing to sit through thirty minutes of flimsy dialogue for the chance to see Suzanne Somers in a bikini or Farrah Fawcett run after a bad guy in a tight sweater. The genre peaked with ''Series/{{Baywatch}}'', but with the rise of easily accessible pornography on the internet and more liberal views towards sexual matters, shows that are expecting to coast solely on the beauty of their casts are finding themselves disappointed. This was best demonstrated in 2011, when ''Series/ThePlayboyClub'' and a {{revival}} of ''Charlie's Angels'' both got canned after only a few poorly-rated episodes and scathing reviews.
* {{Creator/Cinemax}} still has their ''After Dark'' block known more by the FanNickname "Skinemax" of softcore films and shows going on, though the films have gotten progressively cheaper as time goes on and adult actors find better work with the Internet, while the shows can no longer coast by on the StrictlyFormula plots of the past; they more resemble soaps with adult plots and believable plot development than redundant spins on PizzaBoySpecialDelivery. Meanwhile {{Creator/Showtime}} instead began to carry adult reality shows like ''Polyamory: Married & Dating'' and ''Gigalos'' rather than getting writers and actors involved with diminishing returns.
* {{Anthology}} series: The visual version of short story collections, these are essentially any regular series without a recurring cast or continuing storyline from episode to episode. They can contain a little bit of everything, with many styles of writing, acting, and direction from episode to episode. These were once very popular for genres like science fiction, fantasy, and especially horror (after all, the concept of recurring characters somewhat removes suspense) that often involve Hitchcockian twists or morality plays. ''Series/AlfredHitchcockPresents'', ''Series/TheTwilightZone'', ''Series/TheOuterLimits1963'', ''Series/FaerieTaleTheatre'', ''Series/TalesFromTheDarkside'', ''Series/TheStoryteller'', ''Series/TalesFromTheCrypt'', and ''[[Series/WaltDisneyPresents The Wonderful World of Disney]]'' are some of the many acclaimed examples of this style of show, which persisted well into TheNineties. Anthologies often allowed exposure for upcoming actors and a fun break from the usual for already established actors. But in general, television since the TurnOfTheMillennium has been more concerned with character development and story arcs to draw viewers in -- impossible to accomplish with anthologies where each story must be told in one hour or less -- and with occasional exceptions like ''Series/MastersOfHorror'', the anthology show has fallen out of favor.
* 'Period'-themed comedies, which were popular particularly during the '70s and early '80s (''Series/HappyDays'', ''Film/AmericanGraffiti'', etc.) seem to have fallen out of favor around the turn of the millennium. The last real noteworthy movie example was 1998's ''Film/TheWeddingSinger'', while the last noteworthy television example was ''Series/That70sShow'' (which was really a ''mockery'' of 1970s nostalgia rather than a true nostalgic throwback to that era). This is no doubt due to how limited such comedy tends to be -- one can only make so many jokes about things like pet rocks and Rubik's Cubes before they grow stale and predictable (nevermind that the era being lampooned was probably heavily dominated by ''[[TwoDecadesBehind its own sense of nostalgia for an earlier time]]''). There is also the tendency for such shows, despite their period setting, to [[PoliticallyCorrectHistory reflect the values of the decade in which the show is being produced]] (such as female empowerment and downplaying racism). On the other hand, certain period-themed dramas such as ''Series/MadMen'' (set in the 1960s) and ''Series/FreaksAndGeeks'' (set in the early-1980s) have garnered a lot of critical acclaim not only for their high production values and excellent storytelling but for how honestly and respectfully they treat their respective time periods.
* The daytime GameShow. A saturation of shows on the Big Three in the late 1980s-early '90s helped kill it, as did the debut of the nighttime syndicated versions of ''Series/WheelOfFortune'' and ''Series/{{Jeopardy}}'' in 1983 and 1984 respectively (''Wheel'' debuted in daytime in 1975, and continued to stay on daytime until 1991). These two shows became so successful that they still thrive in syndication 30+ years later, and were almost singlehandedly responsible for terminating the likes of ''Series/TicTacDough'' and ''Series/FamilyFeud''.
** Also helping in the decline was the rise of cable, paving the way for a huge wave of low-budget shows. While many were short-lived bombs, the cable boom did produce a few beloved shows such as ''Series/SupermarketSweep''. It also resulted in the creation of Creator/{{GSN}} (Game Show Network) in 1994, allowing fans a haven for reruns of beloved older shows.
** ABC gave up on daytime in 1991 after a revival of ''Series/MatchGame''.
** NBC dropped ''Series/SaleOfTheCentury'' and ''Super Password'' in March 1989, daytime ''Wheel'' in June (which [[ChannelHop moved]] to CBS a few weeks later), and ''Series/WinLoseOrDraw'' later that year, followed by ''Series/{{Scrabble}}'' in March 1990. ''Wheel'' returned to the network in January 1991 (replacing a short-lived revival of ''Series/LetsMakeADeal''), but finally ended its daytime run that September. ''Classic Series/{{Concentration}}'' left in 1991, but continued to air in reruns for a bit. In 1993, the network tried an hour-long block of a ''Scrabble'' revival and ''Scattergories'', along with the also short-lived ''Family Secrets''. Their last attempt was ''Series/CaesarsChallenge'' in 1993, but after it ended in January 1994...
** After losing the 1988–94 revival of ''Feud'', CBS had only ''Series/ThePriceIsRight'' to its name. ''Price'' remained the lone holdout for daytime network game shows for a good 15 years until the same network launched a successful ''Series/LetsMakeADeal'' revival in 2009.
** ''Feud'' ultimately came back in syndicated form in 1999, and has managed to survive to this day despite three changes in host.
** In 1999, ''Series/WhoWantsToBeAMillionaire'' spawned a [[WhoWantsToBeWhoWantsToBeAMillionaire new and often-copied trend]] of flashy, big-budget shows, often quiz related, that threw around vast amounts of money. That big-money move eventually fizzled out after ABC [[WolverinePublicity saturated their schedule]] with ''Millionaire'', although it quickly moved to daily syndication and has managed to hang on ever since. In the times since, only ''Series/DealOrNoDeal'' (2005–09 on NBC, 2008–10 in syndication) has been successful in the 'big-money game show' field.
** Cable game shows pretty much died off in the wake of the big-money move of the early 2000s, as the cable shows didn't have the flash or prize budget of the ''Millionaire'' types. GSN made many a valiant effort in the 2000s, but other than ''Series/{{Lingo}}'' (2002–07, plus a short-lived revival in 2011), none of them stuck. However, Creator/TheHub has found relative success in this field with ''Series/FamilyGameNight''.
** ''All'' game shows nearly faced extinction after the quiz show scandals of TheFifties, in which it was revealed that many of the hit game shows on American television (most notably ''Series/TwentyOne'') were being rigged by the networks in order to increase tension for viewing audiences. Game shows were anathema to networks for almost twenty years before Creator/MervGriffin took a risk with ''Series/WheelOfFortune'' and ''Series/{{Jeopardy}}''. (Still, some people have long memories, and the scandal is the reason many people believe the voting on ''Series/AmericanIdol'' is rigged.)
* Cable likewise pretty much killed off scripted shows in first-run syndication. Shows in first-run syndication were massively popular in the Nineties (''Series/{{Baywatch}}'', ''Series/HerculesTheLegendaryJourneys'', ''Series/XenaWarriorPrincess'', with ''Baywatch'' and ''Xena'' each holding onto the title of world's most popular show at one point or another). However, shows that have tried since then haven't had the same success. First-run syndication was something of a shaky market anyway (after a show was bought, the station could air them whenever they wanted, and some would exile them to unholy timeslots such as 1am. Even if they weren't, varying timeslots made it nearly impossible to advertise; since almost every market had a different schedule, commercials and print ads couldn't show a time or channel, only being able to tack on a generic 'Check Local Listings'). With a guaranteed timeslot on cable and a promise of frequent reruns, along with {{Infomercial}}s being more dependable sources of revenue, shows that normally would have went the route of first-run syndication instead went to cable networks, and shows in first-run syndication struggled (''Series/SheSpies'' endured an ill-conceived retool and imploded, ''MutantX'' simply stopped despite solid ratings after the production company went bankrupt, and all of the shows made by the ''Herc''/''Xena'' production team, such as ''Series/{{Beastmaster}}'', ''Series/{{Cleopatra2525}}'', and ''Series/JackOfAllTrades'', all of whom were hobbled by the same problems that plagued ''Xena''[='=]s later years, namely a lot of the behind-the-scenes talent in New Zealand jumping ship and moving over to ''Film/TheLordOfTheRings'', simply couldn't match their predecessor's success and withered away). While first-run syndication is still used to create daytime fare like game shows, talk shows, and courtroom shows, ''Series/LegendOfTheSeeker'' might go down as the last-ditch attempt at a scripted series in first-run syndication specifically for the American market. Some first-run series may still run in weekend syndication, but are mainly Canadian content or European-financed action fare that was rejected by most cable networks.
* [[MadeForTVMovie TV movies]] on the Big Four networks. In the 1970s, television networks began producing 90- to 120-minute TV movies as a new form of serialized television, and despite the low budgets and quick shooting schedules, managed to attract a lot of name talent whose schedules otherwise prevented them from committing to a television series. Many of them got big ratings; it was often that you could see a TV movie pull in one-third and even half of the television-watching public. However, increasing budgets and (again) the rise of cable television led to a decline of quality to the point where the glory days were forgotten in favor of being SnarkBait among viewers for their low budgets, StrictlyFormula plots, and bad acting. Nowadays, the Big Four prefer to be more conservative with budgets while TV movies are strictly done for cable, where many networks have more money to spend due to being light on in-house production. Also helping is that with many cable networks and websites getting into the series business, actors who in the past had to be content with taking a TV movie role in between jobs can happily reject them for a much more lucrative and satisfying role in a show guaranteed to make 10 episodes at the least rather than being reduced to paint-by-numbers DamselInDistress fare; those that want to stick with TV movie-like roles can instead take work in much shorter true crime reenactment shows airing on Lifetime, Investigation Discovery, A&E and the network newsmagazines.
** And while pay networks like HBO have garnered much acclaim for their TV movies, most people nowadays think of the format as nothing but one LifetimeMovieOfTheWeek, Hallmark Channel TastesLikeDiabetes-fest, Wal-Mart/Procter and Gamble co-sponsored sapfests, or next-to-no-budget SciFiChannel creature feature after another.
* The AfterschoolSpecial was a mainstay of the Big Three Networks for most of the 1970s, '80s, and 'early 90s. Initially, they were simply special programs aimed at kids and teens, which could be educational and/or entertaining, light or dark. But dramatic {{Very Special Episode}}s about various controversial topics such as abuse, [=STDs=], drugs, teen pregnancy, etc. eventually became the usual output. Their depictions of such issues garnered them quite a bit of critical acclaim at the time, as television was otherwise very shy about dramatizing them, let alone to children. But, as discussed in the excellent Website/PlatypusComix retrospective of ads for the trope-naming ABC specials (both parts can be found [[http://www.platypuscomix.net/bored/tvguideadsindex.html here]]), eventually the topics were discussed/depicted in both prime time series and daytime talk shows, kids -- who, when the shows launched, didn't have a lot aimed specifically at them save for Saturday morning lineups -- found other entertainment options on TV, and network affiliates became peeved that the shows preempted popular regular programming (such as said talk shows, including ''Oprah''). ABC, the TropeMaker, stopped doing them in 1996, and nowadays they are mostly remembered only as a source of NarmCharm.
* 3-D television. Shortly after the third boom of [[ThreeDMovie 3-D movies]] from circa 2006 to 2009, TV manufacturers tried to get in on what was thought to be a booming market, with Sony incorporating 3-D into the PlayStation3 and tech analysts predicting that 3-D would follow high-definition and become part of the fabric of the average person's viewing experience. The boom lasted only a few years at best, its fall roughly coinciding with when moviegoers (in the West, [[GermansLoveDavidHasselhoff at least]]) turned against 3-D movies themselves. In addition to having many of the same problems 3-D movies had, both the sets themselves and the movies were priced at a premium, and 3-D televisions also required their own electronic glasses that were fragile and costly to replace. The latter factor ruined their application in watching sports, which had been hyped as the format's KillerApp (much like it had been for [=HDTVs=]), as inviting people over to watch the game became really expensive with all of those glasses. 3-D content outside movies is hard to find and shrinking in quantity, and one TV manufacturer, Vizio, has stopped making 3-D [=TVs=] altogether.
* As noted on the main page, shows that fall victim to TheChrisCarterEffect have a tendency to slip into this once their lack of long-term MythArc planning [[KudzuPlot becomes apparent]].
* Live-action educational shows for kids: This concept was around for a while before taking off in the TheSeventies with such PBS shows such as ''Series/MrRogersNeighborhood'', ''Series/ReadingRainbow'' and the still running ''Series/SesameStreet'' providing a mix of educational content and light entertainment, usually with recurring characters. Similar, lesser-known shows ran in syndication during TheSeventies and TheEighties, including ''Romper Room'', ''Series/TheGreatSpaceCoaster'', ''Joya's Fun School'', and ''The Magic Garden''. By [[TheNineties the following decade]] they fell out of fashion as all the independent stations were merged into networks who, in the wake of 24/7 cable networks for kids and greater restrictions on advertising to children, unanimously decided that such children's television was not profitable. While ''Sesame Street'' still persists on PBS, most of that network's {{Edutainment}} shows are animated rather than live-action these days. To meet the FCC's educational programming requirements, networks and their affiliates either repurpose programming from cable or run blocks of live-action, documentary-style shows from producers like Litton Entertainment. About the only places where variety-style educational shows are still being made/shown are Christian-aimed cable channels such as Creator/{{TBN}} and Daystar.
* Interstitials, usually locally made vignettes of an educational nature mostly aimed at children, shown between different shows and time slots, mostly during daytime. The biggest reason these died is the way local TV changed in the early to mid-'90s and these were no longer in the station's budget to produce and air and were mostly filled in place by more advertisements.
* Network signoffs at midnight. Usually a stock footage vignette with scenes of nature or patriotic imagery juxtaposed with a narrator stating the current time, followed by a prayer or the national anthem, then after this, the screen would fade to the test signal. After the 1990s with the rise of late night television, networks no longer do this, instead filling time (usually midnight-4:30 am) with paid programming blocks or repeats of programming from the day.
* Older medical dramas (from the 1960s and '70s) such as ''Ben Casey'', ''Series/DrKildare'', ''Medical Center'', and ''Marcus Welby, M.D.'' have have been long absent from TV screens. This most likely has to do with these older shows now coming across as incredibly dated, hackneyed, and melodramatic in comparison to modern medical shows like ''Series/{{ER}}'', ''Series/{{House}}'', and ''Series/{{Greys Anatomy}}'' (all of which offered more realistic plots and graphic depictions). And in the cases of ''Ben Casey'' and ''Dr. Kildare'', another factor working against them is the fact that both shows were made in black and white, which more often than not is considered a turn-off by younger viewers.
* The TV Western genre was huge in the 1950s and '60s with shows like ''Series/{{Gunsmoke}}'' and ''Series/{{Bonanza}}''. And yet, it's practically completely gone today due to the problematic representations of minorities and women along with oversaturation of the genre.
* The 'high fantasy' sitcom. From the 1960s through the '90s, there were many sitcoms (''Series/{{Bewitched}}'', ''Series/IDreamOfJeannie'', ''Series/MorkAndMindy'', ''Series/{{Alf}}'', ''Series/ThirdRockFromTheSun'', ''Series/SabrinaTheTeenageWitch'' and the later seasons of ''Series/FamilyMatters'' being probably the most popular) dealing with out-there concepts such as aliens, magic powers and wacky science experiments, with the comedy naturally coming from putting these concepts in a real-world setting. This subgenre faded away sometime around the TurnOfTheMillennium for two reasons. First, after shows like ''Series/{{Cheers}}'' and especially ''Series/{{Seinfeld}}'' became huge, sitcoms began skewing more towards an older audience that naturally wanted something a little more realistic. Second, the success of ''Series/BuffyTheVampireSlayer'' made high fantasy dramas a viable genre, showing that such out-there concepts as magic and vampires in an otherwise RealLife setting can indeed be portrayed in a reasonably serious manner. As of this writing, ''Series/TheNeighbors'' is probably the only 'fantasy' sitcom since the '90s to find some kind of audience, and even that only lasted two seasons before cancellation.
* Creator/NormanLear practically pioneered the VerySpecialEpisode for American primetime TV. ''Series/AllInTheFamily'', ''Series/{{Maude}}'', ''Series/GoodTimes'', ''Series/SanfordAndSon'', ''Series/OneDayAtATime'', and ''Series/TheJeffersons'' were all thick with Anvilicious plots and [[AuthorTract Points to Be Made]]. So were his later series, but by then people had become less tolerant of his anvils. Then again, ''Series/AllInTheFamily'', ''Series/SanfordAndSon'', and ''Series/TheJeffersons'' had highly sympathetic bigots, which lightened the intended anvils in those series. These episodes were most common in the 1980s (''Series/DiffrentStrokes'' was arguably the most notorious as one episode even had an appearance by then-First Lady Nancy Reagan), which were softer mutations of the aggressive politics of the aforementioned '70s shows like ''Maude'' and ''All in the Family''. One theory for we got a lot of these special episodes because in the 1970s and '80s, there was an increase in the number of children at home alone after school. This increase in the number of latchkey kids was due to more women (mothers) entering the workplace and a lack of low-cost childcare. While both parents working isn't a big deal now, back then it was a scary, new thing that people had mixed feelings about. In effect, the writers said, 'We've got these poor, motherless kids alone every week, let's try to entertain and educate them at the same time.' These sitcoms in essence, became more of a throwback to the 1950s style sitcom plus the social issues from the 1970s. The downside however was that Very Special Episodes (or at least the worst kind) often presented an overly simplistic (with no ambiguity what so ever) picture of a very complex issue that customarily concluded neatly. In other words, they were glorified (if somewhat patronizing) public service announcements or [[OscarBait Emmy]]-bait. These stories likely became popular because they worked on the [[Series/AfterschoolSpecial after-school program]] formula where a kid was put in harm's way and was rescued but not before the writers included a preachy moral about endangerment and child safety. Examples included child molestation, drug use, kids that were drinking behind their parents' backs, and teenage promiscuity. They've largely fallen out of favor since then for most shows due in part to the increasing number of shows, particularly dramas, where issues such as drug/alcohol abuse, violence, sex and death are dealt with on an almost weekly basis, and then you have the {{Dramedy}} genre that regularly mixes comedy with serious issues. Other factors that may have killed the Very Special Episode trend include sitcoms simply getting too ironic to allow for such earnest polemics (for instance, far subtler social commentary seeps through nearly every episode of ''Series/TheSimpsons''), audiences having become too familiar with TV conventions to accept such easy closure, and the rise of post-modern sitcoms like ''Series/{{Seinfeld}}'' and ''Series/{{Friends}}''.
* {{Clip show}}s were very prominent up until the 1990s as a way to show viewers the best scenes from a sitcom of the past season(s). These were always well watched as a lot of TV episodes weren't not as widely available on video as they are nowadays since the arrival of DVD. Thus people had to wait for the shows to reappear in syndication if they wanted to see those moments again. DVD and video channels on the Internet pretty much destroyed the need for clip shows, as everything needed is now available there.
* Erotic TV series are pretty much dead too. Why tempt your audience with some pathetic series where the characters talk about sex most of the time and only share their bed together for one scene where you see nothing at all? Shows like ''Series/TheRedShoesDiaries'' would pretty much be a waste of time nowadays, since porn is available all over the Internet. For free!
** Not to mention that thanks to cable, TV shows that used to tease nudity can now show it openly, which is probably another reason Jiggle TV (see above) seems to have died out as well.
* A lot of 1960s, '70s and '80s TV action series were built around a cheesy premise, but still family-friendly at the same time: ''Series/TheSaint'', ''Series/TheSixMillionDollarMan'', ''Series/KungFu'', ''Series/TheATeam'', ''Series/CharliesAngels''... This genre seems to have died somewhere in the 2000s as HBO's drama series considerably upped the ante in quality. As a result many of these kind of cheesy action shows are nowadays directly made into kids' shows, because the makers know they can't reach the adult audience with the same amount of crap they made in the past.
* RealityTV. It may be hard to believe given how many reality shows clutter the halls of basic cable, but when compared to their GloryDays, they've fallen far in ratings and esteem. When reality television was first emerging in the '90s and early '00s with shows like ''Series/TheRealWorld'', ''Series/{{Cops}}'', ''Series/{{Survivor}}'', the ''[[Series/AmericanIdol Idol]]'' franchise, and ''Series/BigBrother'', it was a phenomenon. Many viewers saw such shows as more authentic than scripted programming, they were the subject of serious sociological discussion, they often tackled hot-button topics that scripted series wouldn't touch (fan favorite Pedro Zamora from ''Series/TheRealWorld: San Francisco'', for instance, is often credited with helping break many taboos about homosexuality and HIV/AIDS in the '90s), and networks, of course, loved them for how cheap they were to make (their rise signaled the death knell for American daytime soaps partly for this reason).\\\
Before long, however, reality shows very quickly gained a reputation for appealing to the LowestCommonDenominator. Their stars were often derided for having little discernible talent and for [[{{Flanderization}} playing up their personas for the camera]], and the shows themselves came to be viewed as trashy and started running into scandals over being staged, claims that had existed about such shows from the start but gained traction once producers, [[http://www.cracked.com/article_22246_4-realities-reality-tv-you-only-learn-as-crew-member.html crew members]], and [[http://www.vulture.com/2013/11/real-world-seattle-irene-slap-her-story.html stars]] began speaking out. Today, reality TV has all but vanished from the broadcast networks outside of a few [[LongRunners long-running]] hits; each major American network has two or three hanging around as tentpole franchises that bring big ratings and ad revenue at relatively little cost, though most of them, even the longtime king of the mountain ''Series/AmericanIdol'', have been succumbing to fatigue and slipping in the ratings. It still proliferates on basic cable (enough to spawn a few minor hits and franchises), but even there, such shows are seen as GuiltyPleasures at best, with networks that once specialized in reality shows (such as Creator/{{MTV}} and A&E) now focusing more on their scripted programming.
[[/folder]]

[[folder:Specific]]
!![[Creator/{{ABC}} American Broadcasting Company]]
* ''Series/{{Moonlighting}}'' was arguably the coiner of the term {{Dramedy}}. What really made the show stand out was its penchant for BreakingTheFourthWall, where on occasion the characters would talk to the audience or otherwise show knowledge that they were characters in a television show ("Don't go much lower. They'll take us off the air."). This progressed in later seasons to become a pure NoFourthWall series. It's however perhaps best known for being the classic example of how a show can fall apart when UnresolvedSexualTension is resolved, or how a hit show collapses due to a perfect storm of [[TroubledProduction/LiveActionTV behind the scenes]] chaos. When the fifth season was shortened due to a {{TV Strike|s}}, Creator/{{ABC}} put the show down.
* After ''Series/{{Grace Under Fire}}'' finished the 1993–94 season as the highest-rated new comedy on television as well as finishing in the Top 10 of the Nielsens that year and the year after that, series star Brett Butler's behavior became increasingly erratic. Her addiction to pain-killers and paranoia over creative control soon led to a revolving door of producers, writers, and co-stars; her TV son was recast after the original one was flashed by Butler. Eventually, after falling to 45th place in the ratings for its fourth season, ABC cancelled ''Grace Under Fire'' after just 14 episodes into the 1997–98 season.
* When ''Series/NYPDBlue'' premiered it broke new ground in the cop drama genre, was critically acclaimed for its acting and was hugely controversial for its swearing and nudity. Now it's barely even remembered as just another cop procedural and interest has waned so much that after the fourth season's DVD release in 2006 no further seasons have been released with the prospect of the other 8 seasons ever seeing DVD becoming increasingly unlikely as time goes on (although all twelve seasons have been released in the UK).
** The show's disappearance from American cable and broadcast syndication didn't help matters. Still, David Milch's continued attempts at high concept HBO dramas could help renew interest, especially now that the whole series (including the last 4 seasons in HD) is on Amazon Prime Instant Streaming. It's one of their few notable titles not available on competitor Netflix Watch Instantly. The American subchannel network Heroes & Icons will also begin to air the series in 2015.
** The SeasonalRot is probably also a contributing factor in the show fading from the public conscious: general opinion seem to be that the last four or five seasons simply weren't as good or interesting as the first seven or eight.
* At its peak (Season 3), ''Series/{{Growing Pains}}'' was the fifth rated show in America, it made a teen idol out of Kirk Cameron, and it helped launch the career of {{Creator/Leonardo DiCaprio}}. Now, some 20+ years after its series finale, the show hardly does does well in syndication (while the show did enjoy a nice little run on the Creator/DisneyChannel in the late '90s, the show in particular flopped big time on Creator/NickAtNite) and has to date only had three seasons worth of DVD sets released, despite lasting seven seasons. Part of the issue could stem from the dissonance of Kirk Cameron regarding his controversial religious and moral beliefs (which ultimately interfered with the quality of the show). Another factor arguably has to do the notion that ''Growing Pains'' simply hasn't aged well due to it being very cliched and interchangeable (with just about all of characters seemingly hell-bent on delivering witty one-liners to each other) with other sitcoms of that period (e.g. ''Series/{{Family Ties}}'' and ''Series/{{The Cosby Show}}''). More to the point, by the time that ''Growing Pains'' went off the air in 1992, generally wholesome '80s style sitcoms about functional families were being surpassed by grittier, snarkier family sitcoms like ''Series/{{Roseanne}}'' and ''{{Series/Married With Children}}''. ''Growing Pains'' actually, arguably only really seemed engaged when blatantly going against the family sitcom format, as with hour-long tributes to Halloween shot in the style of various horror films or occasional peeks through the fourth wall.
* ''Series/{{Ellen}}'' was successful enough in its early seasons to warrant annual renewal, due largely to Creator/EllenDeGeneres' perceived appeal and comic ability, but only with Ellen's coming out did the show make its way into the wide public consciousness and hit a critical plateau. However, after the initial coming out frenzy, the show's ratings declined and ABC began feeling the pain of a backlash regarding the 'gay content' being exhibited. The final episodes of ''Ellen'' were criticized for focusing too much on gay issues, a criticism begun in anti-gay circles but which spread to the mainstream media. Eventually, even some members of the LGBT community, including Chaz Bono (who at the time was the media director for GLAAD), began to criticize the show's serious new tone as well. ABC pulled the show from the air in May 1998 after five seasons. ''Ellen'', and more importantly the coming out episode, could be seen as revolutionary for its time, but they nowadays seem like period pieces akin to ''Theatre/TheBoysInTheBand''.
* ''Series/{{Webster}}'' aired for six seasons, the first four on ABC and the last two in first-run syndication for 150 episodes in total. During its original run, it drew a large audience of younger viewers — in fact, ''Webster''[='=]s largest audience was children. Despite all of this, in the years since ''Webster'' went off the air in 1989, it has more or less faded into the background. Creator/{{USA Network}} aired reruns of the show from September 22, 1997 to March 13, 1998. It also aired on Superstation WGN from September 21, 1998 to September 2, 1999 (which was, to date, the last time that ''Webster'' appeared on national television). To date, only the first four seasons have been released on DVD. And while we all know who Emannuel Lewis is, the series itself never really get any real respect except from people who loved it. A huge part of the problem was that ''Webster'' stuck too close to the then-popular ''Series/DiffrentStrokes'' formula and format that it ultimately failed to have an identity of its own besides having a 'cute kid'. But while ''Diff’rent Strokes'' at least originally attempted to be a socially relevant Norman Lear-type sitcom, ''Webster'' was one of those sitcoms made expressly for families with very young children, complete with gentle, mostly saccharine humor and plenty of simple morals at the end of each episode (in a sense, it was a forerunner to ''Series/FullHouse'', which incidentally, replaced ''Webster'' in ABC's Friday night timeslot in the fall of 1987). The series was of course despised by critics, but nevertheless became a top 25 show, making Emmanuel Lewis a star. Also when compared to another '80s {{kidcom}} in the form of ''Series/PunkyBrewster'' (which was always intentionally targeted to kids and therefore knew they were their own show and the demographic it was targeting and didn’t try copying the ''Diff’rent Strokes'' formula), ''Webster'' was more of a traditional sitcom and had adult stories.
* Even though ''Series/HeadOfTheClass'' was a top 30 rated show during all of its five seasons on the air, it has basically been forgotten and cast aside in syndication and has to date, never been officially released on DVD. One possible reason is that when compared to other high school based shows around the same era like ''Series/{{Saved By The Bell}}'', ''Head Of The Class'' was a more highbrow/intelligent show. Another suspect is that ''Head Of The Class'' is terribly dated in regards to many of the episodes revolving around whatever issues were circling at the time. In fact, one famous episode from Season 3 filmed at the still then standing {{Soviet Union}}. What also didn't help was the infamous fifth and final season in which Billy Connolly replaced Howard Hesseman as the star, which in return, made the students little more than a glorified audience for Connolly's stand-up routine.

!!Creator/TheBBC
* During his life, Creator/JimmySavile was an iconic and beloved British TV presenter, hosting ''Series/TopOfThePops'' and ''Jim'll Fix It'' and raising funds for charities and hospitals. Not long after his death in 2011, however, it came out that he had molested hundreds of young girls during his long career. The public turned against him virtually overnight, with many organizations that Savile had been a part of disowning him, signs and plaques bearing his name being vandalized and removed ''en masse'', and his own family taking down and destroying the ornate headstone on his grave out of respect for the victims. His reputation was sealed by an Creator/{{ITV}} documentary in 2012 detailing his crimes, which managed to cause a scandal when it revealed that some in Creator/TheBBC, the UsefulNotes/NationalHealthService, and British law enforcement knew about what he was doing (or at least suspected it) and were complicit in covering it up. Today, he is a reviled figure in Britain, and entire swaths of the ''Top of the Pops'' library are now either off-limits or have those who attended its tapings blurred out to the point of absurdity as '''any young person''' Saville met in that audience could be a possible victim.
* ''Series/{{Little Britain}}'' was extremely popular in its day as a satire of certain things that were prevalent in Britain at the time. However, from Series 3 onwards people got sick of it. The jokes had worn themselves into the ground, the new characters introduced seemed to just be done for shock value, and the show and its actors were ultimately so overexposed and overmarketed that people could not stand to watch it anymore. In addition, many people who enjoyed it when they were teenagers look back on it as adults and realised all the jokes are based around making fun of minorities, which is something that was controversial enough at the time and now is completely outdated. If you ask any teenager who didn't watch it when they were younger about it chances are they don't know it. If you ask someone who grew up with it, chances are they regret it.
* ''Series/DeadRingers'' - As it was based on current events and then popular celebrities and politicians, each series became this a short time after airing. The BBC knew this and only ever released the first series on DVD, despite there being seven produced in total. The radio series fared better as it was often based on radio shows and pop culture that were still around years later (hence most series are available on CD or Cassette) and did not require you to suspend your disbelief from the impressionists not looking like who they were meant to be. However, the satirical impression aspect of the show is pretty much a dead trope - people are more likely to watch stand up comedy or read internet articles for the same jokes, without the tacky concept. However, the series is still beloved among those who watched the similar TV series ''Series/SpittingImage'' (which predated ''Dead Ringers'' by more than a decade).
* ''Series/ThisLife'' occupied a similar position in the UK as ''Series/AllyMcBeal'' did in the USA, albeit as a less comedic form of drama -- something akin to being the most important show on TV in the mid-to-late nineties. Then, once the late-twenty-somethings who watched it grew up and had children, the younger generation couldn't see what all the fuss was about. Sex, drugs and young lawyers? [[SeinfeldIsUnfunny Old hat]].

!!Creator/{{CBS}}
* The UrExample for television may be TV personality Arthur Godfrey, who was extraordinarily popular in [[TheFifties the early 1950s]]. Viewers turned against him after his folksy, friendly, gee-shucks demeanor was [[NiceCharacterMeanActor shown to have been an act]]; he was actually a [[SmallNameBigEgo cruel, egotistical taskmaster]] who fired a popular singer on one of his shows ''on the air'' for ''going to his grandmother's funeral'' instead of taking a dancing class he didn't actually need.
* During its network run, ''Series/MurphyBrown'' was one of the most talked about, critically acclaimed shows on the air. Today, its only syndicated presence is on an Encore pay channel which requires a premium channel price to watch, and first season DVD sales were so poor that the second season was never even released. [[UnintentionalPeriodPiece The show's reliance on topical humor is almost certainly a factor; jokes about Dan Quayle aren't nearly as funny 20 years later.]] It definitely doesn't help that its [[SugarWiki/MomentOfAwesome defining moment]], Murphy's pregnancy and the subsequent feud with Dan Quayle, not only happened relatively early (the show ran for another six seasons after that), but has aged poorly -- it seems [[ValuesDissonance quaint by today's standards]] for Dan Quayle to have [[MoralGuardians made such a big deal]] about a single mother on television.
** From ''Website/TheOnion'': "[[http://www.theonion.com/articles/nations-weirdest-teenager-buys-season-one-dvd-of-m,21004/ Nation's Weirdest Teenager Buys Season One DVD Of 'Murphy Brown']]"
** And years later, [[http://www.ew.com/ew/article/0,,319786,00.html Candice Bergen (Murphy) would admit Dan Quayle]] had a point after all.
** ''Series/ThirtyRock'' liked to evoke ''Murphy Brown'' as Liz's feminist ideal for how she thinks the world should work -- hence the episode, "Murphy Brown Lied to Us".
* The only reason why ''Series/TheBeverlyHillbillies'' got to number one in the ratings is because old people loved it. Creator/{{CBS}} eventually figured out that, although it was getting great ratings, those ratings were coming from an audience that advertisers didn't care about, which led to its cancellation. The same thing happened for several other shows, like ''Mayberry RFD'' and even ''Series/{{Gunsmoke}}''. There's even a whole page at [[Wiki/{{Wikipedia}} The Other Wiki]], [[http://en.wikipedia.org/wiki/Rural_purge "rural purge"]], about these cancellations of rural-themed and senior-targeted programs. Several of the other shows listed on that page (''Series/HogansHeroes'', ''Series/FamilyAffair''), which were also popular in their day, are similarly no longer appreciated as anything but kitsch, mainly due to the fact that most of the people who liked them in their heyday were over 50 when they were canceled, and are now dead. While they still have their viewers (judging by the ratings for TV Land reruns and the existence of DVD box sets for many of them), few will cite them as truly great television.
** In TheNineties, older viewers might explain why ''TouchedByAnAngel'' [[http://en.wikipedia.org/wiki/Touched_By_An_Angel#Ratings was a Top 10 show]] at the height of its run. It often outdrew ''WesternAnimation/TheSimpsons'' in its Sunday nighttime slot (despite never being a critical favorite and regarded as {{glurge}} at its worst), it launched a SpinOff in ''Promised Land'' (which lasted three seasons), and reruns of the show were central to the young [[Creator/{{ION}} PAX]] network's lineup. When its time slot was switched to Saturday nights for its final two seasons, ratings plunged, and while it's still in cable reruns, it's mostly seen as a joke now.
** This happens a lot, though... lots of classic series, even ones that are considered ''good'', are often given a backseat because they don't attract the audiences the powers that be want. Or they just don't attract that much attention in general, with the audience becoming younger, not many people remember it as much as others did. Of course, the lack of readily-available reruns these days doesn't help.
* ''Radio/TheJackBennyProgram'' - Jack Benny was a hugely popular entertainer in the US for decades (first on radio, then on TV), but his shows almost never appear in reruns.[[note]]The main exception is [=JLTV=], a Jewish-themed cable network, where reruns of the program are in circulation. Also, the show has been released periodically on DVD and VHS with little controversy.[[/note]] This most likely has to do with the portrayal of Rochester, Jack's live-in African-American servant.
* ''Series/PicketFences'' won the Emmy for Outstanding Drama Series two years in a row. But who talks about (along with a fellow Creator/DavidEKelley-produced Emmy award winning series, ''Series/ThePractice'') it today (only the first season of ''Picket Fences'' has been released on DVD)? Both shows arguably suffered from "the David E. Kelley effect". In other words, make a popular show that has a loyal fan base and then when you get tired of it sabotage it with controversial plots and story lines with your favorite characters acting in out of character and hateful ways.
* During its first four seasons, ''Series/KateAndAllie'' was a top 20 rated show. As a matter of fact, during its first season (1983–84), it was #8 in the Nielsen ratings (the highest for a sitcom). It also bared a groundbreaking premise for its time involving two divorced women with children living in the same apartment together. Despite all of this (as well as providing Jane Curtin a couple of Emmys Outstanding Lead Actress in a Comedy Series), the show now a days seems to be largely forgotten. A lot of this arguably has to do with joke-writing (despite its daring premise) being fairly stale, despite solid performances from the lead actresses. More to the point, the idea of a single woman raising a child simply doesn’t seem so provocative anymore when compared to the early '80s.
* ''Series/{{Maude}}'' lasted for six years in no small part to good writing and Creator/BeaArthur. The Nielsen ratings for ''Maude'' were high (at its peak, it ranked at #4), in particular, during the first seasons of the program (during the heyday of topical sitcoms, which its presence helped to create), when it was regularly one of the top-ten highest-rated American television programs in any given week. It's usually remembered for featuring one of the first (positive) portrayals of abortion in TV history, when Maude realizes she's pregnant by her husband but makes the decision that she's just too old to have a baby. Her family supports her and she comes out of the situation (for the most part) better for it. Keep in mind this episode premiered just two months before the ''Roe v. Wade'' decision made abortion legal nationwide. These days, however, ''Maude'' has traditionally done poorly in syndication. ''Maude'' reruns showed up briefly on TV Land in 1999 and Nick at Nite in 2001 and only the first season was released on DVD in 2007. Its heavy topicality/strident preaching (''Maude'' was more or less a nonstop, pious rant on on a single topic (feminism), whose ideas were novel in the 1970s but we've more than likely heard a million times since then) and often dark humor most certainly didn't. Several other factors for why this may now be the case include the fact that, in contrast to its parent program ''Series/AllInTheFamily'', ''Maude'' simply wasn't as funny, had weaker writing, and featured a less memorable supporting cast. Also in hindsight, Archie Bunker could be seen as a more likeable protagonist than Maude Findley because Archie's extremist beliefs were constantly derided and existed as the series' principal source of comedy. Everything that made him unlikeable was mocked and shown to be from ignorance. Meanwhile, Maude's extremist beliefs, though they got her into comedic predicaments, could not be truly mocked by the series. Not only did most of the creative team personally identify more with the character, but the progressive mood of the time would not allow for derision of the kind afforded Archie. Sure, she became the butt of jokes, but she couldn't be shown as ignorant or outdated. And because she was equally extreme, just as obnoxious, and ''not'' shown as ignorant, she was a less lovable character.
* Despite lasting for nine seasons and being a top 20 show (peaking at #8 in its second) for the first eight of those nine seasons, ''Series/OneDayAtATime'' is probably best remembered nowadays for its EarWorm theme song, a preponderance of {{Very Special Episode}}s, and the [[RealLifeWritesThePlot offscreen travails]] of cast member Mackenzie Phillips. To add insult to injury, the show has pretty much been off the radar syndication-wise since the late 1990s and only the first season has to date been released on DVD. The show's strident feminism perhaps hasn't aged all too well, nor has the overall presentation, which comes across as a videotaped stage play with the typical formula being a problem comes up, is discussed and resolved, the resolution is then discussed, and the show ends with a hug or a laugh. More to the point, though it had what was at the time a groundbreaking premise (a show about a divorced mother starting anew), as time went on, the situation became so normal in society and on TV that the premise lost its unique punch. In addition to its topicality, much of the problem with ''One Day At A Time'' is that the characters grew up. Setting aside Mackenzie Phillips' problems, Valerie Bertinelli's character Barbara went from discussing being a virgin to being married. At the outset, the girls (Julie and Barbara) drove most of the action, but the crux of the show was their mother Anne's reaction to their problems and situations. Significant time was also devoted to Anne's relationship, friendships and career. Because of this, ''One Day At A Time'' didn't have enough youth appeal but also seemed out of place among the grown-up syndication hours. With that being said, ''One Day At A Time'' revamped itself several times during its nine-year run. When these changes would happen in a new season, they weren't so jarring. But in syndication, one week you might be watching Anne dating Richard Masur, but a few weeks later, the girls might be married, and how did Glenn Scarpelli get there?

!!Creator/DisneyChannel
* The anthology series ''Series/WaltDisneyPresents'' (better known as ''The Wonderful World of Disney'') has jumped between all three of the major networks. Its traditional airing time was sunday evenings starting at either 7:00 or 7:30. It was a popular family show for the first few decades of its running (since 1954). Its ratings fell starting with TheSeventies and TheEighties due to a lack of new Disney material being produced at the time and reliance on airing dated material. The eventual introduction of The Disney Channel also appeared to make the show seem pointless. At one point in the '80s, the show was actually cancelled because of this. Although eventually brought back, its showing was sporadic throughout TheNineties, but there was still a notable lack of newly produced Disney material that wasn't already on the Disney Channel. The rise of other technologies such as home video and DVD slowly did the program in, even after it was brought back in 1998 after Disney purchased ABC. After getting by with several telefilms and premieres of the lower-grossing projects Disney had, the show eventually ended as the move of the NFL's highlight game to Sunday nights on NBC, CBS's ratings resilience with ''Series/SixtyMinutes'', the end of networks airing most films outside of holidays and the start of Fox's animated lineup resulted in it ending in 2008 with a broadcast of ''Literature/TheChroniclesOfNarnia TheLionTheWitchAndTheWardrobe''.
* ''Series/HannahMontana'' was once an incredibly popular show and Music/MileyCyrus was a prime example of a TeenIdol. She is now an adult and has become known for being risque instead of her older GirlNextDoor appearance, you'll be hard pressed to find parents who'll allow their young kids to watch the series; the looping reruns on ABC's Saturday morning certainly didn't help either.

!!First-run {{syndication}}
* ''Series/HerculesTheLegendaryJourneys'' at its peak surpassed ''Baywatch'' and ''Star Trek'' in the ratings. And then ''Series/XenaWarriorPrincess'' came out and stole all the attention from fans and directors of other popular works (such as ''Buffy'') that were influenced by ''Xena''. What perhaps didn't help ''Hercules'' (and ''Xena'' for that matter) was the digital effects from that era not aging well.

!!Creator/{{Fox}}
* A variant: ''Series/AllyMcBeal'' never went from all-popular to all-hated, having [[LoveItOrHateIt both admirers and haters]] at its peak. Instead, it went from The Extremely Important Show That Expressed The State Of The American Woman Today[[TradeSnark ™]] to a half-forgotten joke. ''Everybody'', love it or hate it, used to think it was a cultural milestone. ''Magazine/TimeMagazine'' did a cover story on it that called it a low point in the history of American feminism, ''New York Times'' columnist Maureen Dowd went through a period where she mentioned it in virtually every single column that she wrote (to the point where series regular Greg Germann [[http://www.nytimes.com/1998/11/15/opinion/l-the-real-ally-mcbeal-852325.html sent her a letter]] joking about it), and it was heavy analyzed by scholars because Creator/LucyLiu's character, Ling Woo, was pretty much the only Asian character of any real substance on television at the time. Nowadays, however, it's a footnote of the late '90s that's best remembered for pop culture ephemera -- it featured the first [[MemeticMutation internet meme]] to [[AscendedMeme become popular outside the internet]], the Dancing Baby, it was the series that Creator/RobertDowneyJr was on as he spiraled out of control, and it was the "''Single Female Lawyer''" show that ''WesternAnimation/{{Futurama}}'' made fun of. It's telling that Creator/HaydenPanettiere's time on the show is barely mentioned, not even as an OldShame.
** [[http://www.dailymotion.com/video/x20ttxt_tv-trash-100th-episode_fun According to]] Chris "Rowdy C" Moore of WebVideo/TVTrash, part of the reasoning for why ''Ally [=McBeal=]'' falls under this trope is because of David E. Kelley's subsequent series ''Series/BostonLegal'' proceeding to overshadow ''Ally [=McBeal=]'' in just about every measure, including popularity. According to Rowdy C, ''Ally [=McBeal=]'' was one of the rare shows where the lead character herself was TheScrappy.
* There's a reason why ''Series/TheXFiles'' is the {{Trope Namer|s}} for TheChrisCarterEffect. The memory of its excellent early years was badly sullied not long after [[Film/TheXFilesFightTheFuture the movie]] came out, its ill-received final three seasons leading up to an embarrassing and frustrating case of NoEnding that, to many fans, showed that the writers had no clue what they were doing and were making things up as they went along. What die hard fans were left had their interest killed by a [[SoOkayItsAverage ho-hum]] [[Film/TheXFilesIWantToBelieve movie]] released in 2008. While the show's legacy can [[NoughtiesDramaSeries still be readily seen]], and there remained enough fans to get it a [[PostscriptSeason continuation]] in the form of [[ComicBook/TheXFilesSeason10 a "season 10" comic book]], the most celebrated episodes nowadays are the stand-alone MonsterOfTheWeek episodes, whereas the MythArc, which had once been among the chief draws, is now viewed as where the show fell apart.
* When ''Series/TheOC'' premiered in 2003, it became a pop culture sensation overnight. Critics praised the show for its clever dialogue, excellent writing, and interesting characters, and it was one of the highest-rated television shows in its time slot. For its second season, however, Fox moved the show to a competitive Thursday nighttime slot, which ended up costing it viewers. There's also a general agreement among fans that the quality of the show [[SecondSeasonDownfall declined in the second season]], although it was still pretty good. Season 3 is almost universally considered to be the point where the show [[JumpingTheShark jumped the shark]] due to it introducing several new characters who were disliked by fans as well as the overall tone becoming [[CerebusSyndrome more serious and angsty]], thus causing the ratings to drop even further. When Season 4 rolled around, the show began to improve in quality, returning the focus to the main cast members and bringing back the comedy. Unfortunately, by that point most people had given up on ''The OC'' and it was cancelled due to low ratings.
* ''Series/{{Glee}}'' fell victim to its own attempts to recapture lightning in a bottle. The first two seasons were critical and commercial darlings, garnering high praise, earning high ratings, and actually dethroning ''Series/AmericanIdol'' as [[AdoredByTheNetwork the Fox network's crown jewel]]. With its growing exposure, the writers attempted to duplicate what was garnering all the praise, [[HypeBacklash at the expense of the what made it well-liked in the first place]]. Latter seasons saw more emphasis put on [[ShipTease ship teasing]], [[{{Anvilicious}} heavy-handed]] LGBT aesops, and tribute episodes to popular musicians. Problems that were [[FranchiseOriginalSin noticeable, but bearable, in the second season]] grew like a cancer -- characters frequently [[DependingOnTheWriter changed motivations, personalities, and relationships]], plots came out of nowhere and began to [[KudzuPlot pile up too high for the show to handle]], fan-favorite characters left the show and were replaced with {{Flanderiz|ation}}ed versions of the original cast, any pretense of realism had disappeared, and the show became the preachy AfterSchoolSpecial it used to mock. All of this alienated the show's audience and sent its ratings into freefall from the third season onwards; by the end of the fourth season, ratings were actually lower than they were in the first. Despite declining ratings, Fox ordered two more seasons in the spring of 2013, but after [[AuthorExistenceFailure the death]] of cast member Creator/CoryMonteith that summer, it was decided that the show would end after the contractually-obligated sixth season in 2015.
** The syndicated run of ''Glee'' can kindly be described as a disaster. It was supposed to begin airing on Oxygen in the 2013–14 season as part of the contract that came with ''The Glee Project'', but by the time it did, the show's fading popularity left it stuck in a contractually obligated run of early Monday mornings to burn off the contract. Meanwhile, on broadcast stations, it began in good timeslots on the weekend, before the non-existent ratings had stations pushing it to late night infomercial territory within mere months.
* ''Series/PrisonBreak'' debuted to much fanfare and a fair bit of success. Much like ''Twin Peaks'', though, it fell victim to giving away too much too fast. The Break in the title happened at the end of the first season, and the show continued on for three more years afterward. The characters, who worked well when contained together in a prison setting, understandably scattered as prison escapees tend to do, and KudzuPlot took over. The show limped along, endured a massive retool each season, and the final shot in the chops: its finale went Straight to DVD.
* ''Series/PartyOfFive'' won the Golden Globe for Best Drama series in its second season (despite its underwhelming ratings at the time), launched the careers of Creator/NeveCampbell (''Film/{{Scream}}''), Creator/MatthewFox (''Series/{{Lost}}''), Creator/LaceyChabert (''Film/MeanGirls''), Scott Wolf (''Film/{{Go}}'' and the remake of ''Series/{{V}}''), and Creator/JenniferLoveHewitt (''Film/IKnowWhatYouDidLastSummer'', ''Film/CantHardlyWait'', and ''Series/GhostWhisperer''), and during its peak, was one of the most popular family dramas on television. In fact, in 1995 ''TV Guide'' named the series "The Best Show You're Not Watching." Now, some 20 years after its premiere, the show for the most part never comes up when the great dramas of the era are discussed. Part of the problem, arguably, is that ''Party of Five'' was part of an era of hyper-earnest dramas (perhaps first popularized by ''Series/{{thirtysomething}}'') dominated more by emotional reactions (and filled with basically good people trying to do what’s basically the right thing) than high-stakes drama. Its SeasonalRot during its last two seasons (which was arguably overcome with the kind of melodrama the show kept tastefully tamped down in its first four years) more than likely didn't help.

!!Creator/{{HBO}}
* ''Series/TrueBlood''. In its first couple of seasons, it was met with wild popularity and rave reviews. Then, it went through some of the most notorious SeasonalRot in history, with it only regaining prominence through the announcement of its final season.
* ''Series/FirstAndTen'' was one of cable television's (in general) first attempts to lure the lucrative sitcom audience away from the "Big Three" (Creator/{{ABC}}, Creator/{{CBS}}, and Creator/{{NBC}}), by taking advantage of their freedom to include occasional cursing and nudity. It ran for six seasons on HBO for a total of 80 episodes. While the complete series was released on DVD on January 24, 2006, the majority of episodes on the "Complete Collection" DVD are the {{bowdlerized}} syndicated versions. To add insult to injury, ''First And Ten'' has been excluded from the streaming video platform HBO Go. Besides having some dialog and scenes edited for content, syndication versions ran for 22 minutes (as opposed to 30 minutes on HBO), and included a laugh track. While ''First and Ten'' was novel for its time (while language could nonetheless still be considered 'HBO'ish', it wasn't excessively vulgar) when compared to sitcoms on broadcast network television, it seems rather cheesy (with its arguably awful acting, cliched dialogue, continuity catastrophes, editing errors, and an off-and-on laugh track) in a modern context. The participation of O.J. Simpson most certainly didn't help the long term legacy of ''First and Ten''.

!!Creator/{{ITV}}
* ''Series/TheBennyHillShow'' has slowly faded away from British popular consciousness in a way that exact contemporaries like the still beloved Creator/MorecambeAndWise and Series/TheTwoRonnies have not, largely due to ValuesDissonance. Since cancellation the show has rarely been aired in Britain leading to the ironic situation that most Britons in their late twenties or younger who ''do'' know anything about Benny Hill were generally introduced to him through the frequent homages to and parodies of his show in ''[[GermansLoveDavidHasselhoff American]]'' media.

!!Creator/{{MTV}}
* ''Series/JerseyShore'' was a monster hit in the early '10s. Everyone, LoveItOrHateIt, talked about it when it was around, and a number of terms it popularized (such as "grenade", "fist pumping", and "GTL") entered the lexicon. Enough controversy and criticism (particularly from UsefulNotes/{{New Jersey}}ans and Italian Americans) swirled around it to get [[http://en.wikipedia.org/wiki/Controversy_and_criticism_of_Jersey_Shore a whole page on Wikipedia]] almost as long as the page for the show itself. A host of ripoffs emerged, such as ''Buckwild'' (''Jersey Shore'' [[foldercontrol]]

[[folder: with [[Deep South rednecks! ]]
]]) and ''Series/TheOnlyWayIsEssex'' (''Jersey Shore'' [[/folder]]

[[folder: [[Trans Atlantic Equivalent with British kids! ]]
]]). But not even a few years after it was canceled, it was all but forgotten. Now, when people make ''Jersey Shore'' jokes, everyone laughs at them for being so out-of-date.
* In the mid-late '00s, ''Series/LagunaBeach'' ushered in a reality-themed wave of programming for MTV. A hugely popular reality show about a group of teenagers living in an affluent Orange County, California suburb (the show's {{tagline}} referred to it as "The Real Orange County", a TakeThat towards the hit TeenDrama ''Series/TheOC''), it spawned catchphrases like "so much drama", and was parodied by shows like ''Series/MadTV'' at its peak. It also evolved into a franchise that spawned several spinoffs, including one set a few miles up the coast with a new cast of kids (''Newport Harbor''), one following former lead character Lauren Conrad's post-high school adventures in the Los Angeles fashion industry (''Series/TheHills'', which ran for more than twice as many episodes as its parent show), and a {{spinoff}} focusing on Lauren's co-worker, Whitney Port, who moves to [[BigApplesauce New York]] (''The City''). Despite the fact that it was initially a huge success, various problems began to work their way into the franchise.\\\
Even at its zenith, the shows were treated like GuiltyPleasures, most notably by MTV Canada, which ran a series of "aftershows" that [[StupidStatementDanceMix mocked]] stupid comments from the shows' casts and generally treated them as one big joke. The core casts were seen as vapid and loathsome stereotypes by many, and as they got older and graduated, the pretense of a reality show set in high school no longer worked. MTV got around this through all those spinoffs, but they were meeting diminishing returns -- ''The City'' and ''Newport Harbor'' were cancelled in their second seasons, while a spinoff focusing on another of Lauren's co-workers, Audrina Patridge, never made it past an initial season. Above all, it was obvious to pretty much everybody that the shows were all heavily staged and exaggerated for the sake of drama, with ''The Hills''[='=] bizarre GainaxEnding all but confirming it. Eventually, the franchise imploded completely in 2010 and 2011, and nowadays it's viewed as a symbol of the vapidness of youth culture in the '00s and the point of no return in MTV's NetworkDecay.
* ''Series/MySuperSweetSixteen''. Even at its height, its main audience was watching it as a PointAndLaughShow more than anything else, which MTV eventually capitalized on with [[Film/MySuperPsychoSweet16 a trilogy of slasher flicks]] based on the show. Nowadays, much like ''Laguna Beach'' and ''The Hills'', it's best remembered a) as a symbol of everything that was wrong with MTV and pop culture in general in the '00s, or b) because some of the ads for the show starred a young Creator/JenniferLawrence.
* ''Series/TheTomGreenShow.'' Tom's CloudCuckoolander-on-crack behavior was certainly a big draw for a while. Kids & teenagers loved him, parents couldn't stand him, and [[NoSuchThingAsBadPublicity the show only seemed to get bigger with every bad review]]. Circumstance and changing taste brought it all crashing down: Tom had a bout with testicular cancer which halted production for a while, Tom's reputation nose-dived after his ill-fated directorial debut ''Film/FreddyGotFingered'', ''Series/{{Jackass}}'' was a newer, fresher take on physical shock comedy, and when Tom made his comeback, it was in the form of a talk show which was cancelled after a few months. If he's remembered for anything now, it's either by bad movie buffs for the aforementioned film, or serious [[TheNineties '90s]] kids.
* ''Total Request Live'' was '''the''' destination for members of Generation Y during its run. It's difficult in retrospect to describe just how much of a colossal hit it was with teenagers of the late '90s and early '00s. It was parodied in music videos, TV shows, and movies, it made Carson Daly a star, it became a standard stop for any promotional tour (even for non-musicians, with the likes of Creator/JohnTravolta and Creator/TomCruise coming to promote their films), it launched the careers of an entire generation of musicians, and became a general cultural touchstone. Music/MariahCarey's famous CreatorBreakdown was on ''TRL'', for starters, alongside four-fifths of the Backstreet Boys using ''TRL'' to announce that AJ [=McLean=] was entering rehab. [[Music/NSync *NSYNC]], Music/TheBackstreetBoys, Music/BritneySpears, Music/JessicaSimpson, Music/ChristinaAguilera, Music/{{Beyonce}}, and countless others have said that ''TRL'' essentially "made" them.\\\
However, all things come to an end. ''TRL''[='=]s playlist was dominated by bubblegum teen pop, which had pretty much the entire pop music world in a stranglehold at the time. Once that environment faded in the mid '00s and pop music grew more diversified, ''TRL'' began to fade from relevance. The real killer, however, was the internet making music much more widely available, to the point where having a show like ''TRL'' act as a central hub of pop music simply didn't work anymore. It's telling that not only has ''TRL'' disappeared, but there hasn't been another "Top Ten" countdown show to take its place.

!!Creator/{{NBC}}
* ''Series/RowanAndMartinsLaughIn'' was the top rated show for two straight seasons and was a cultural icon in the 1960s (it would also launch the careers of Goldie Hawn and Lily Tomlin). However, the show being one big UnintentionalPeriodPiece led to a fast ratings drop in the fourth season and an eventual cancellation. Nowadays, the show is barely remembered outside of a few references in books and specials on the history of television and is rarely aired on television due to the dated nature.
** It also picked up a substantial hatedom for its part in ''Series/{{Star Trek|The Original Series}}'' getting ScrewedByTheNetwork, to the point that several performers actually left the show in protest to Creator/{{NBC}}'s treatment of ''Series/{{Star Trek|The Original Series}}'', and their own exec producer's role in that treatment,[[note]]He insisted that he would nuke his own show rather than let it be moved back a half-hour to make room for ''Series/{{Star Trek|The Original Series}}''. NBC ended up giving in and keeping Trek on Fridays.[[/note]] which is when ''Rowan and Martin'' dropped out of the top ten in ratings.
* ''Series/{{Heroes}}''. During this show's first season, critics and audiences alike were praising it as the next ''Series/{{Lost}}'', and it managed to be a credible rival to that show, even breaking out of the SciFiGhetto and getting an Emmy nod for Best Drama Series. The fact that ''Heroes'' hit its stride just as ''LOST'' was going through one of its lowest points helped it pick up a lot of disgruntled fans of the latter show who were growing bored waiting for the plot to get moving, as ''Heroes''[='=] writing seemed to be a direct response to the slow pace of ''LOST''[='=]s much-maligned third season.\\
\\
Unfortunately, the SecondSeasonDownfall kicked in hard. Creator/BryanFuller left to make ''Series/PushingDaisies'', and the [[TVStrikes 2007–08 WGA Strike]] killed an entire half-season's worth of plots and a planned {{spinoff}}. The show spent the next two seasons flying off the rails and hemorrhaging viewers as the writing staff struggled, and failed, to figure out how to salvage it. ''Heroes''[='=] sudden fall gave birth to a TV colloquialism called "''Heroes'' Disease", used to describe when a show that burned hot in its first season burns out afterward as a result of having run out of storylines and gotten too broad and sprawling for its own good. Not even [[GrowingTheBeard Fuller's return in the fourth season]] could save ''Heroes'', as Creator/{{NBC}}, reeling from the flop of ''The Jay Leno Show'' and fed up with the show's big budget and lack of ratings to show for it, pulled the plug at the end of that season, just as it was becoming good again. Once viewed as the show that would save NBC after many of its hit '90s sitcoms came to an end, it instead came to be seen as a symbol of all the problems that NBC had over the course of the '00s.\\
\\
That said, NBC is planning to [[http://popwatch.ew.com/2014/02/24/heroes-reborn-analysis/ relaunch the series]] in 2015 with a 13-episode MiniSeries called ''Heroes Reborn'', so it remains to be seen if the show can still recover.
* ''Series/WillAndGrace'' arguably isn't that much remembered anymore in part because much of its humor derived from making swipes at contemporary pop culture (e.g. "It's not just bad, it's Music/MariahCarey in ''Film/{{Glitter}}'' bad!") and a parade of guest star actors who were already past their respective primes in the late 1990s/early 2000s. Also not helping is a heaping helping of FairForItsDay. At the time, it was groundbreaking to have a show with two gay leads airing on primetime network television. Looking back, with more and more acceptance of gay issues and more and better written gay characters on other shows, the show comes across a little offensive.
* Despite being relatively formulaic, the show ''{{Series/Alf}}'' was original in many regards, and had a loyal following. ''Alf'' scored its highest ratings during Season 2 (reaching #5 in the Nielsen ratings). At the peak of its popularity, a spin-off prequel [[AnimatedAdaptation animated series]] called ''Alf: The Animated Series'' was produced, airing Saturday mornings on NBC. Another animated spin-off, called ''Alf Tales'', followed shortly thereafter. There was even a comic book adaptation which tended to play down the sitcom aspects in favor of a lot of parody and a bigger sci-fi slant, giving Alf strange technological toys which would occasionally be useful but most often wreak havoc in unforeseen ways. By the time Season 3 and especially Season 4 came along, the live-action show's novelty wore off to the point that the ratings lagged severely. Its poor ratings in Season 4 also dragged the ratings of its Monday night stablemate ''Series/TheHoganFamily'' down with it. Ultimately, NBC canned both shows, although ''The Hogan Family'' went to CBS and performed no better in the ratings along with the constant timeslot changes and pre-emptions in its sixth season. ''ALF'' is perhaps, unfortunately, more known today for its {{troubled production}} (which was due to being shot in a very halting, piecemeal fashion that became very gruelling for the cast and served as a hotbed of tension and discomfort when the cameras were off) and [[DownerEnding soul crushing]] cliffhanger series finale (NBC gave Alien Productions a verbal commitment for a fifth season, but ultimately withdrew its support), with Alf being taken off to an undisclosed location by government agents. The Alf character has since been resurrected in various capacities; in 1996 a made for TV movie called ''Project: Alf'' was aired on ABC to tie-up the loose ends stemming from the cliffhanger ending of the series, in 2004 it received a late-night talk show format (called ''Alf's Hit Talk Show'', it only lasted seven episodes) and he appeared in commercials during the late-1990s, most notably one for the long-distance service "10-10-220". Despite all of these attempts, the Alf character is more or less still seen as merely a relic of late '80s pop culture. Perhaps adding insult to injury, in an interview on ''{{Series/Late Night}} with Creator/ConanOBrien'', Creator/TinaFey said that her biggest frustration as producer of NBC's 75th anniversary special was dealing with Alf's "people." Fey said Paul Fusco (Alf's creator and voice actor) would only allow Alf to appear on the show if the puppeteers were completely hidden from everyone else, even the studio audience.
* Despite airing for five seasons and being a relatively unique (with idea of a single father raising three teenagers while the [[MissingMom mother was off doing her own thing]]) and quirky (with its frequent {{dream sequence}}s) show for its time, ''Series/{{Blossom}}'' hasn't seemed to endured as much as other '90s era "[[KidCom teencoms]]" like ''Series/SavedByTheBell'' and ''Series/BoyMeetsWorld'' or even maintained a loyal cult following like similar girl-centric '90s comedies ''WesternAnimation/{{Daria}}'' or ''Series/ClarissaExplainsItAll''. Reruns of ''Blossom'' were syndicated for several years in the 1990s, including on Superstation WGN. After its syndication run ended, the series would not return to U.S. television until 2014, when the Hub Network acquired broadcast rights to the show. The Hub Network stopped carrying the show in October 2014, when Creator/DiscoveryChannel took over the channel and renamed it Creator/DiscoveryFamily. To date, only the first two seasons have been released to DVD. ''Blossom'' itself is perhaps infamous for its frequent use of {{very special episode}}s. This is despite the notion that unlike, for example, ''Series/FullHouse'', the lessons presented on ''Blossom'' skirted a more cheesy fate because they aren’t overly simplistic. What arguably made these particular episodes more problematic is that ''Blossom'' seemed to more than often deftly tip-toeing around dealing with the characters' problems. To put things into proper perspective, while the series dealt with serious issues, it did over miss the opportunity to really go above the teenage courtship hazards it relied too heavily on. For example, it's emphasized that Blossom's older brother Tony is a former addict, but this was very rarely used in the series to actually handle the issue of drinking or doing drugs. There was also too much flavor of the week type stuff as well, which led into poor character development. This was mainly because the cast size was so small. So in order the get the biggest impact, the writers (among them, future ''Series/SeventhHeaven'' creator Brenda Hampton) shoved an issue on the shoulders of one character without any previous hints of the issue in question (and expected the audience to just fly with it). This in turn made the writing itself a bit sloppy. Ultimately, the dark subject matter presented this lightly creates a show that is tonally jarring and rarely funny. Even the show's trademark fantasy sequences may have further detached most people from the emotions of the characters. In effect, they wound up helping creating a show so light that it never touches us at all. ''Blossom'', for better or for worse, was in hindsight clearly a [[UnintentionalPeriodPiece/TheNineties time capsule of sorts of early '90s pop culture]].
* Even though ''Series/{{Wings}}'' managed to last for eight seasons on NBC, it was never truly considered a mega-hit or bonafide success. ''Wings'' never cracked higher than #18 in the Nielsens, never won any major awards, and was easily overshadowed by other NBC sitcoms of that era like ''Series/{{Seinfeld}}'', ''Series/{{Friends}}'', and ''Series/{{Frasier}}'' (which was created by the same producers of ''Wings''). A large factor in why ''Wings'' has perhaps become so forgotten (even when it was still on the air) is because at the end of the day, it was a fairly simplistic (but ultimately not heavy) show. Whereas ''Series/{{Cheers}}'' (''Wings'' was essentially ''Cheers'' if it took place in an airport) was about jerks and losers and ''Frasier'' was about sophistication and what it takes to be happy, and there was a weight to them when compared to ''Wings''. The deepest ''Wings'' ever got was in regards to the dreams and stress Hacketts went through. ''Wings'' was, more or less, the everyman show among the three, but was still possibly the toughest show to explain. And while the small town setting gave it a nice, small, welcome feeling, if you blink, you'll more than likely forget all about it.
* For great justice, ''Series/TheHoganFamily'' makes the cut. The show enjoyed a six season run from 1986 to 1991, was one of the first American sitcoms to address 'safe sex' (it was the first prime-time show to use the word "condom"), had a memorable episode where a recurring character dies of AIDS (in the last season when it [[ChannelHop moved to CBS]]), and gave us Edie [=McClurg=] in her best-known role outside of ''Film/FerrisBuellersDayOff'', but it's almost never seen today, with neither reruns nor DVD to mark its existence, in a particularly egregious case of KeepCirculatingTheTapes.[[note]]A VHS of the 'safe sex' episode was distributed to teachers and health educators back in the day; good luck finding ''that'' on eBay or Amazon.[[/note]] To add insult to injury, the show is further incredibly hard to find these days since a Website/YouTube account holding all the episodes had them all removed due to a copyright claim from Creator/WarnerBros, and only a few scattered clips/promos can be found there today. It's not on any video-streaming sites or iTunes, and the last channels to air the show in North America were Creator/ABCFamily and the Canadian channel CTS (now [=YesTV=]) between 2006 and 2011. The show is most notable for starting off as a vehicle for Valerie Harper (the original name of the show was ''Valerie'') only for her to be fired after season 2, after being embroiled in a bitter dispute with Miller/Boyett Productions over a decision to shift the focus of the show's stories to a comedic focus as well as wanting a larger cut of future syndication revenues, and her character memorably McLeaned in a car accident and replaced by Sandy Duncan as her sister-in-law. Nowadays, the show is best remembered as a footnote for launching a young Creator/JasonBateman's career (and that Music/CannibalCorpse covered its theme song live, though that's a surprisingly small part of it).
* ''Series/ADifferentWorld'' was a top five rated show during its first four seasons, consistently ranked first or second among African American viewers during most of its run, and was one of the rare shows where it's generally agreed that it [[GrowingTheBeard "grew a beard"]] with its second season retool. Despite this, it's hardly ever immediately brought up into the conversation of the "golden age" of NBC's "Must See TV" Thursday night line-up like it's parent show ''Series/TheCosbyShow'', ''Series/Cheers'', and subsequently, ''Series/{{Seinfeld}}'' and ''Series/{{Friends}}''. To make matters worse, after it's lead-in, ''The Cosby Show'' ended its run after eight seasons in 1991-92, ''A Different World'' failed when it inherited the 8:00 p.m. Thursday night timeslot on NBC. To put things into proper perspective, ''A Different World'' went from ranking #17 in the Nielsen's the season prior, to #71 in its sixth and what turned out to be its final season. It was also around this time that Creator/{{Fox}}'s ''Series/{{Martin}}'' debuted on Thursday nights and preceded to divided the black audience members, who would've in the past, instantly flocked over to ''A Different World''. To date, only the first season of ''A Different World'' has been officially released on DVD. The show's [[UnintentionalPeriodPiece/TheNineties topicality]] obviously in retrospect, didn't help (''Series/InLivingColor'' even made fun of it in a skit called "A Different Message") as ''A Different World'' typically addressed issues that were avoided by ''The Cosby Show'' writers (race and class relations, or the Equal Rights Amendment). NBC was especially [[ScrewedByTheNetwork/LiveActionTV unhappy]] with the notion of having the Season 6 premiere center around the then recent Los Angeles Riots.

!!Creator/TheWB
* ''Series/SeventhHeaven'' was the [[LongRunners longest-running]] and highest-rated show on TheWB by far (as well as Creator/AaronSpelling's longest-running show), loved by many viewers and providing SnarkBait for many others (it was likely one of the few shows on the network to attract audiences ''outside'' the valued 18–49 demographic). Now, the show's reputation and image, along with the cast's dependable residual checks, will be forever tarnished (and possibly, permanently banished from syndicated reruns) by child molestation allegations against lead actor Stephen Collins.
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[[folder:Fictional examples]]
* Ironically (given the show's own place on this list), one of ''The X-Files''[='=] signatures was Mulder's snarky "Deader than Disco" pop cultural references, as typified by this exchange:
-->'''Putative Vampire''': Don't you want to live forever?\\
'''Agent Mulder''': Not if [[TheEighties drawstring pants]] are coming back.
* In the ''Series/BurnNotice'' episode "Odd Man Out", Sam quotes the trope name in describing what will happen if they try to ambush the VillainOfTheWeek by hiding behind explosive drums.
* ''Series/NCISLosAngeles'' features Deeks quoting the trope name as well, while describing the VictimOfTheWeek in "Collateral", an ex-CIA agent turned wildly successful video game developer, who had been blown to bits by his lighter.
* In the ''Series/ParksAndRecreation'' episode "Prom," Ben offers to DJ the titular event, citing his experience having hosted a radio show he called "''Zoot Suit Wyatt''" while he was in college:
-->'''Ben''': Tuesdays, three to five AM, I was the "King of Swing".\\
'''Tom''': I thought we as a culture agreed to forget the year that everyone was into swing!
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