Sometimes, when there's a [[DarthWiki/DethroningMomentOfSuck moment of awfulness]] in a book, you wish were the writer and edit that part out, or burn the book.

Keep in mind:
* Sign your entries
* One moment per book to a troper, if multiple entries are signed to the same troper the more recent one will be cut.
* Moments only, no "just everything he said, " "The entire book" entries.
* No contesting entries. This is subjective, the entry is their opinion.
* No natter. As above, anything contesting an entry will be cut, and anything that's just contributing more can be made its own entry.
* Explain ''why'' it's a Dethroning Moment Of Suck.
* No Real Life examples including ExecutiveMeddling and FanDumb. That is just asking for trouble.
* No ALLCAPS, no '''bold''', and no ''italics'' unless it's the title of a work. We are not yelling the [=DMoSs=] out loud.
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Series with their own articles:
* DethroningMoment/HarryPotter
* DethroningMoment/TheHungerGames
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* Tropers/{{Sensemaker}}: [[Literature/TheScarletLetter Scarlet Letter]] by Nathaniel Hawthorne. It's a reasonably good piece of fiction in general if a bit contrived. I cannot help but to be annoyed that the author has written in such a way that he seems to have a raging hate-boner for ugly people. The antagonist Chillingworth does objectively good things: He gains great medical knowledge from the indians at considerable personal risk and uses it for the benefit of the community. When Chillingworth comes home to see his wife (and indirectly himself) publicly shamed, he comforts Hester, medicates her and her daughter and mostly blames himself for his wife's infidelity. He helps Dimmesdale medically and emotionally by correctly insisting that Dimmesdale will never fully recover until he relieves himself of whatever is weighing his heart. Despite these good acts, the Puritans of Boston seem ungrateful for having a man who has put so much effort into becoming a great doctor for them and seem to interpret everything he does in the worst possible light. Everyone, including the narrator and Chillingworth himself assumes that he is doing everything for the very worst of reasons -because Chillingworth is ugly. Just to hammer in his badness the narrator makes Chillingworth ugly and uglier as the story goes on. The reader finds him/herself asking "what can an ugly person do that counts as a good deed to you, Nathaniel Hawthorne?" The dethroning moment of suck occurs when that question is answered near the end of the book. Chillingworth dies and leaves his great fortune (that we never heard of before apparently Chillingworth choose to live an austere life despite being rich) to the cute child Pearl -though he knows it is not his daughter. The author claims this was his only good deed. The author has answered: "Die! and leave his money to a beautiful person. That's the only good thing an ugly person can do because the only good ugly person is a dead ugly person!" Cue Evil laugh. Scarlett Letter; hate speech against ugly people.
* Tropers/LongGunner15: The entire battle of Yonkers in ''Literature/WorldWarZ''. The tanks are ineffective... somehow. The artillery is ineffective... somehow. Anything but a magical headshot from a semi-auto. 22 or [[KatanasAreJustBetter mystical]] katana is absolutely useless, doubly so from those [[StrawCharacter evil, evil Westerners]].
** Tropers/PulpoOscuro: I think the author took the "invincible zombie" thing a bit too far. An Armor-Piercing Fin-Stabilized Discarding Sabot round fired by a tank is essentially [[{{BFG}} a depleted uranium arrow the size of a sub sandwich moving at a mile per second]]. I don't care if guns don't work against zombies unless you get headshots, the thing's not going to get back up from being hit by that kind of weapon. There simply won't be any body left to get up.
* Tropers/{{Xander77}}: The wedding proposal in the Literature/VorkosiganSaga novel "A Civil Campaign". It's also listed on the series CrowningMomentOfAwesome page, so YMMV, but the contrived nature of the scene specifically setup to present Ekaterine with a moment of awesome is so incredibly Narmish (and Nikki muttering "go-go mama!" made me throw up in my mouth a little).
* Tropers/{{Cliche}}: ''Literature/AtlasShrugged's'' DMOS came at the conclusion of Chapter 7, Part II, or Chapter 17 of the entire book. Some asshole politician decides that he would rather have a train go through a tunnel despite it being not safe to do so rather than wait for a safer alternative because it would mean missing his rally. Everyone on board suffocates to death. You'd think this would be a scene demonstrating a SenselessWasteOfHumanLife, but no. Creator/AynRand sinks as low as {{demoniz|ation}}ing every passenger on board as fitting one of her Evil Socialist Bad Dude character templates.
** Tropers/StevePotter: In addition to the above scene, there was also John Galt's ninety minute speech... written verbatim. As terrible as the book was, it was at least interesting before this point. If Galt was say, promoting human ideals, the speech might have a little redeeming value, but instead we got a hundred pages saying that poor people are evil and people should look out for themselves. What shit.
* Tropers/{{Samadhir}}: The infamous rape-scene in [[Creator/AynRand Rand's]] ''Literature/TheFountainhead'', where [[GodModeSue Howard Roark]] forces himself on Dominique Francon. Now, I'm aware of the various justifications that have been offered for the scene, like "it wasn't really rape" or "she actually wanted it" or that it was "rape by engraved invitation", which might actually be true (though that would open an entirely new can of UnfortunateImplications). But even if you accept that, the scene just doesn't make any sense whatsoever. Up until this point in the novel, Roark has shown absolutely zero sexual or romantic interest in anyone, and is also presented as a man of integrity who's a staunch supporter of individual rights and self-determination. And then suddenly, the novel wants us to believe that over the course of a couple of days, by seeing Dominique from a distance at his quarry and doing some repair-work in her house, Roark's sexual instincts arise, he recognizes her as his life's true love (as he never shows any interest in anyone but her throughout the novel), and manages to deduce enough about her psychological make-up from a couple of short meetings to know that she will enjoy being raped. Aside from being extremely improbable, the scene destroys much of Roark's character and makes him a lot less sympathetic. Of note is that the scene isn't an isolated incident; whenever a sex-scene occurs in the novel it's usually described as violent, rough, or "a shocking intimacy that needed no consent from her, no permission", a pattern that repeats itself in ''Literature/AtlasShrugged''. Since reading the novel, I have read several analyses where the rape-scene is presented as "an abstract meditation of violence and frigidity" or "a violent, joyful answer to the age-old paradox of what occurs when an immovable object meets an irresistable force" (no, seriously), which I think misses a much simpler explanation: Rand enjoyed rape-fantasies and so she wanted a scene in her novel that expressed that, regardless of whether it made any sense or if it destroyed its characters.
* Tropers/RiL: At the end of ''[[Literature/{{Wicked}} Son of a Witch]]'': [[spoiler:after a long, rambling, essentially pointless story, suddenly these two characters have sex! Out of nowhere! With no explanation, leadup, or bearing on the story!]] Unfortunately Maguire tends to shoot himself in the foot in just about every story by dropping in something gratuitously and pointlessly sexual/scatological seemingly just for the shock factor (like the scene [[BigLippedAlligatorMoment with the tiger]] in ''Wicked''). It is, to paraphrase [[WebAnimation/ZeroPunctuation Yahtzee]], like eating a delicious meal only to have the chef randomly come out and fart in your face.
** Tropers/SophieSummer: Same for me. I also found the fact that [[spoiler:she pretty much raped him]] and it was never really addressed very, for lack of a better word, disorienting. The scene didn't even really make sense, logically. [[spoiler: Ok, so she's trying to warm him up. Ok, she's climbing on top of him. Wait, why is she undressing him? How did we get from trying to save his life to mounting him?]]
* Tropers/InsanityPrelude: Gregory Maguire's thing for gratuitous sexual/scatological/just plain squicky details. The "menstrual fountain" scene in ''Literature/MirrorMirror'' wasn't what put me off of his books for good (although it pretty much put me off of finishing reading that book)- it was when I tried to read ''A Lion Among Men'' and wham, gratuitous shit and equally-gratuitous masturbation (thankfully, this wasn't in the same scene.) That's when I realized it was really a pattern with his books.
* Tropers/Rowlomir: Just the first chapter of Wicked; you read the whole book the first time and it feels kinda dark and interesting, better than the musical, you read it again taking more time and you have to question why Frex shitted so easily. Yeah, I actually could pass Son of a Witch, but there are parts of Wicked and A Lion Among Men which purpose I cannot explain.
* Tropers/InTheWorldAndSea: The ending of ''Literature/{{It}}'' is what made me stop reading Creator/StephenKing forever. There is a severe MoralDissonance going on with underaged kids. The reasoning for it sounds more AuthorAppeal AssPull than anything reasonable or logical.
* Tropers/IronLion: In ''Literature/TheBelgariad'', the FateWorseThanDeath with which Belgarath punishes Zedar comes across as DisproportionateRetribution of the highest order. Zedar was a PunchClockVillain at worst; some of his acts, such as his involvement with Errand, were necessary for the Prophecy of Light to resolve. And he triggered Belgarath's fury by doing no more than defending himself against a completely unwarranted attack by Durnik.
** Tropers/{{Exxolon}}: I agree on this one but the actions of the "good" guys in the prequel after the assassination of Gorek and nearly all his family are even worse. Essentially Salmissra at Zedar's urging sends assassins to kill the Rivan royal family in a doomed attempt to become immortal - she's hoping to impress Torak so much by killing the line of the prophecied Godslayer who's supposed to kill him that he marries her and makes her his immortal bride. Obviously Salmissra should pay for this, but the Alorns response is to invade Nyissa and slaughter 90% of the population as some kind of object lesson to stop future rulers meddling. 1.8 million people, nearly all innocent people (barring slavers etc.) killed who didn't know about the plot and could not have prevented it even if they had. Even the assassins may have had little choice - disobeying Salmissra would lead to their own execution most likely. Salmissra gets off lightly - she takes poison and dies peacefully before the Alorn army reaches her.
* Tropers/FarseerLolotea: In S.L. Viehl's ''[[Literature/StarDoc Blade Dancer]]'': [[spoiler:Jory agreeing to have Kol's babies at some point in the future, after she'd previously made it clear that she [[MandatoryMotherhood didn't want babies]]]]. As if [[StrangledByTheRedString strangling them with that damn red string]] (to say nothing of Viehl's penchant for {{Mary Sue}}s) wasn't enough...
* Tropers/{{Eegah}}: From ''Literature/{{Animorphs}}'', the characterization of Chapman in "The Andalite Chronicles." Elsewhere in the series Chapman was portrayed as a deeply tragic figure, who voluntarily became a slave to the Yeerks to ensure his daughter's safety and is now anguished at having to help them conquer the world. And then this prequel novel hits, and it turns out teenage Chapman is a {{Jerkass}} NietzscheWannabe who gleefully tries to sell out his whole planet ForTheEvulz, which kills a lot of the previously established sympathy for the character dead.
** Tropers/{{EcliptorCalrissian}}: There's also The Ellimist Chronicles. While a good story on its own, every single tidbit about the Ellimist's nature from the regular series is completely ignored, which makes it fail - hell, not even try - at being the great revelation of our mysterious ally. If "Ellimist" were a more common name, you'd probably figure they were two guys who happened to have the same name. Also, Crayak's origin is pretty much "and one day some Crayak guy who destroys ForTheEvulz showed up." The standalone story about an alien gamer who happened to use the handle "Ellimist" is interesting, to be sure - but it is not about the Ellimist we know at all, and doesn't tell us anything we didn't know about Crayak.
** Tropers/{{TRANSawesome}}: 'The Experiment' was a crowning moment of suck in both morality and storytelling. It starts off looking like it's going into a fable about the importance of being a vegetarian (the slaughterhouse they're sneaking into is pure NightmareFuel) but by the end the moral seems to have slipped into "killing cows for their meat is bad, but burgers are tasty". If you're not going to pick a side in an ethical debate, then what's the point of devoting most of the book to it? And the net result of the Animorphs almost getting ground into burger meat? Nothing! The experiment had already failed and they achieved exactly the same thing they would have done if they found another reason to hang out at the mall instead.
** WhyNotNow: For me, there's a small, often overlooked moment that forever killed Marco's character. Oh sure, we all knew he had had suck moments before that which stank of total immaturity, such as floating Baby Rush bars in a pool and telling everyone it was shit or laughing at a horse taking a dump, all of which points to a juvenile and puerile outlook, but the worst moment for the character by far had to be his willingness to kill an innocent little girl to prevent the Yeerks from finding out their secret. The book tries to present this as a choice, that you have only two real options; let Karen, the innocent host being controlled by a Yeerk, go and then the Yeerks find out that the "Andalite bandits" are really human, or kill her to keep their cover. But upon closer reflection, there is actually an easier way out of this MoralDilemma; just overpower Aftran, take her someplace hidden, starve the Yeerk out, and leave the innocent little girl with the Chee. Simple solution, problem solved. But Marco doesn't see that, and for someone who's supposedly so intelligent, it moves this moment from merely being disgusting to totally unforgivable and brings up some very UnfortunateImplications that Marco, the ruthless, cold-blooded bastard he is, may have thought of this, but disregarded it out of hand in favor of simply murdering an innocent child. It's one of the rare moments I applaud Cassie's stupidity because it actually worked out well in the end, no thanks to Marco. The character died with me the moment he made that cruel, evil choice.
* Tropers/{{Bguy}}: In the ''Literature/{{Dragonlance}}'' Chronicles novel, "Dragons of Spring Dawning", when Laurana falls for her ArchEnemy Kitiara's ObviousTrap. Much of the Chronicles is about Laurana's personal growth as she evolves from a naive and self-absorbed child to a dedicated and intelligent heroine capable of successfully leading armies. This incident completely destroys all that CharacterDevelopment and turns the [[RedBaron Golden General]] into a [[LoveMakesYouDumb love-sick ninny]]. She is so irresponsible as to abandon her army at the height of a war and so stupid as to blindly trust enemy general and romantic rival Kitiara, even though Kitiara has obvious motives to want to harm Laurana, provides no proof for the claims she is making, and insists on Laurana coming in person to a meeting site without bringing any guards or telling anyone. And as if turning Laurana into a [[DumbBlonde complete idiot]] who can not see a trap that is obvious even to {{Cloudcuckoolander}} Tasslehoff Burrfoot is not bad enough, the reason Laurana does all of this, leaving her troops in the lurch and putting her own life in great jeopardy, is for a man who has already rejected her and who she believes is willingly serving the [[TheEmpire Dragonarmies]]. The end result is [[spoiler: Laurana is kidnapped, [[AttemptedRape nearly raped]], and spends the rest of the novel as a DistressedDamsel.]]
* Tropers/AHEM13133: In the ''Literature/{{Everworld}}'' series, this comes in the eleventh book, ''Mystify the Magician.'' While the book itself is generally half-assed, hastily scrapped together, and gives the feeling of being only partly finished, the ultimate Dethroning Moment comes with the transformation of the intriguing, ambiguous, and deeply human Magnificent Bastard [[spoiler: Senna Wales]] into a CardCarryingVillain hefting around the VillainBall. Despite receiving extensive backstory and character development just two books ago, all of that is thrown out and [[spoiler: she]] becomes a two-dimensional maniac. From MagnificentBastard to SmugSnake, from TrueNeutral to ChaoticEvil, from GenreSavvy to GenreBlind, from VisionaryVillain to DespotismJustifiesTheMeans with helpings of ForTheEvulz, from ManipulativeBastard to BondVillainStupidity, with OverNineThousand levels in [[TookALevelInJerkass jerkass]] and [[TookALevelInDumbass dumbass]] gained in the process. It felt like a betrayal of everything that had made the character original and interesting beyond any other run-of-the-mill villain, and then [[spoiler: she]] proceeds to die one of the most unsatisfying deaths ever conceived. If there is anything worse than watching such a fabulous MagnificentBastard go this low, I don't know of it.
* Tropers/{{Ravenya003}}: Susan's fate in ''Literature/TheChroniclesOfNarnia'', specifically, ''Literature/TheLastBattle.'' In the final book all the main characters die and enter Heaven - all of them except Susan, who has apparently lost touch with Aslan and Narnia because she's fostered an interest in "nylons and lipstick and invitations" and has ceased to believe in the fantastical adventures of the previous books. Not only does this feel rather OutOfCharacter (it seems bizarre that a character who was witness to Aslan's sacrifice and rebirth can eventually dismiss it as "a funny game we used to play as children") but FridgeHorror sets in when you realize that because Peter, Edmund, Lucy and their parents have died in the real world, Susan has just lost her entire family to a train accident. There is nothing in the text itself to suggest that she'll eventually re-find her faith, and the fact that her friends and family ridicule her before deciding to simply not talk about her anymore is an incredibly callous way to go about dismissing a major character just so Lewis can make a subtextual statement about how overt femininity and sexuality is bad for women.
** Tropers/SophieSummer: Her fate makes even less sense when you consider that all the children grew up to adults in Narnia before being changed back to children when they were sent back home. She's already grown up, so why would she just now be going through the lipsticks and nylons phase?
** Tropers/akanesarumara: It can also be seen as Susan not only starting to like nylons and lipsticks, but changing interests in general that got her kicked out: Though those could be seen as an immature mimicry of what she thinks an adult woman's life is (as Lewis himself considered in an interview), at least Edmund and Lucy always kept some of their interests, at least Edmund at the start of ''Voyage of the Dawn Treader'' is still seen willing to fight for something he believes in and Lucy shows interest in getting to Aslan's domain. Susan, however, loses her whole family and a chance for redemption just because her interests changed.
* Tropers/{{Lale}}: Anne Elliot's "[[IRegretNothing I have nothing to reproach myself with]]" speech in ''Literature/{{Persuasion}}''. So, according to the narrator in Chapter 4, Anne considers her decision eight years ago a mistake, yet she tells Captain Wentworth she feels exactly the opposite? {{Hypocrite}}! Captain Wentworth has to apologize for taking her rejection seriously and not running back as soon as he had his first few thousand pounds to the woman who made it clear his proposal was unacceptable; yet, Anne doesn't have to make any sort of apology to him at all?! DoubleStandard! The plot doesn't lead to any CharacterDevelopment or disillusionment for Anne but to her (and everyone else) realizing she always was and always has been perfect, and how dare anyone (including herself) think otherwise? MarySue! And her response to Captain Wentworth telling her how much he loves her and how badly he still wants to marry her is telling him that she would have suffered more had she remained engaged to him eight years ago? WhyWouldAnyoneTakeHerBack after that?! I would cling to the frail hope that Austen was being ironic but A) the scene is played too seriously to be a SpoofAesop like Lizzie's and Darcy's conversation in ''Literature/PrideAndPrejudice'', and B) it's consistent with the {{anvilicious}} moral of the absurdly-executed scene at Lyme. This speech ruins the entire book -- what has been an equally beautiful and painful love story becomes a vehicle for preaching the importance of women yielding to persuasion and singing the praises of a supposedly perfect heroine! UGH! I want to rip my hair out and scream just thinking of it! And I want to throttle anyone who claims this is better than ''Literature/MansfieldPark''! How can such a preachy novel (of out-of-date morals, nonetheless) be so overrated?!
** Tropers/{{Sensemaker}}: First time I read the novel I assumed Anne was just unwilling to admit to her future husband and herself that she had pointlessly robbed herself and her beloved of eight years of happiness. That's a big thing to admit to yourself and others and Anne was not big enough to do so -at least not immediately. However, people who know Jane Austen better than I do say that the author probably meant precisely what she has Anne to say. That's obviously nonsense and detracts from the story -however unlike Lale I do not let this ruin the entire novel for me.
* Tropers/{{Gravityman}}: What absolutely sold me that ''Literature/{{Twilight}}'' was utterly unredeemable was Charlie's reaction to Jacob taking Bella home. Now, to give you an idea of the CharacterDerailment at work here, Charlie had already been established as an overprotective police officer father toward Bella. But for whatever damn reason, after Jacob forcibly kisses Bella (technically sexual assault), and then basically brings her home to brag about it, Charlie fucking congratulates him for doing so. His exact words were "Good for you, kid." What may be even worse is that everyone plays this up as if Bella should love Jacob because of this.
** Tropers/{{NobodyFamous}}: Given her treatment of him before then, I'm honestly wondering if Charlie hadn't simply given up by that point. Perhaps the biggest moment of rage-inducing behavior is after Bella returns home from saving Edward in New Moon. This is when Charlie confronts her about the fact that she had run off to another country without even asking him or so much as leaving him a note telling him where she was going, leaving him with no clue where she was while she went gallivanting around Europe. This happened during a period of time where he was still mourning the death of his best friend, something Bella only bothers to note when Charlie starts to go purple in anger over the way she's talking to him. And rather than act like the mature selfless adult she likes to think she is, she blows him off, talks down to him like he's the child, brushes off his very valid concerns regarding how Edward treated her and the way she was going around trying to get herself killed, and gives him an ultimatum that if he doesn't back off and let her have her way then she will leave. Then after giving him this ultimatum, she proceeds to dismiss him so she can take a shower. His health, his concern for her, his actually trying to be a parent and ground her happy little butt for being so stupid are all completely ignored.
** Tropers/MHMhasf1998: My personal DMOS in Twilight is the [[spoiler: WriterCopOut at the end of the big epic battle against the Volturi. I mean, Meyer spends quite a bit of time hyping it up, and when the fight actually happens, it is good. The vampires partake in much badassery, it is well written (at least by Twilight standards) quite a lot of awesome things happen, and... it turns out to have just been an illusion planted into the BigBad's mind. Then the Volturi leave, without any confrontation or conflict of any sort. I mean... [[LittleNo no, just... just no]].]]
** Tropers/OtakuSapien: Though even the fight scene was only an addition by the movie. In the books, there wasn't even that, leaving many fans feeling disappointed with the anti-climactic ending and some actually preferring the movie for this.
** Tropers/MelancholyUtopia: When it comes to my DMOS, here's where the birthing scene in ''Breaking Dawn'' scores big. As someone who's pro-life, I couldn't laugh it off like with everything else in the series for its stupidity (trust me, the whole series is terrible), no, this outright offended me. Meyer, you can't try to promote the anti-abortion propaganda and have the baby nearly killing the mother at birth, you just can't! It makes you look ignorant and seem like you fancy the idea that a mother should rather die for a monster child's birth because abortion is eeeeeevil. Textbook example of BrokenAesop, much? Another kicker is that given Bella's character earlier in the books, it would also be OutOfCharacter for her to want the baby at all. She said she doesn't want any kids, but then out of nowhere she decides she would rather die than having an abortion. I can see Rosalie having this sort of attitude in this subject, but Bella? I know, one could argue that maternal instinct naturally kicks in; however, it's important to note that it starkly varies from person to person. Not everyone will feel that motherly instinct towards their kid; some mothers have been known to feel depressed post-child birth even. Meyer, I always doubted it, but next time, if you have any sense of smarts in your writing, try to keep pro-life lessons and one's parental behaviour completely separated from monster babies that eat themselves out of their mothers by a mile or so.
* Tropers/{{Ronfar}}: The scene in ''[[Literature/SwordOfTruth Naked Empire]]'' in which Richard and his followers hack their way through a crowd of unarmed human shields as the author praises Richard and his men for their heroism in seeing past their "peaceful" appearance: the human shields were protecting the Bad Guys, and therefore deserved to die, not even rating a "WhatASenselessWasteOfHumanLife" moment.
* Tropers/KilgoreTrout faithfully bought and read just about every StarWars Expanded Universe novel published that was set after ''ReturnOfTheJedi''. Did I read ''ComicBook/DarkEmpire''? Yes. ''[[JediAcademyTrilogy The Jedi Academy Trilogy?]]'' Indeed, I bought that. ''[[Literature/TheCallistaTrilogy Darksaber]]''? I didn't like it, but I still bought and read it. The only one I think I didn't read was ''Literature/TheCrystalStar'' and the ''Literature/YoungJediKnights'' series. I bought all those books, from mediocre to good to awesome to terrible, because no matter how much I disliked any of them nothing was enough to make me give up on the EU entirely. (''Darksaber'' was enough to make me give up on Anderson, though.) So what finally made me swear off the EU for the foreseeable future? ''Literature/LegacyOfTheForce''. One of my favourite characters, Jacen Solo, turns pure evil for the flimsiest of reasons and begins acting [[CharacterDerailment wildly out of character]]--and this wasn't just a single author getting him wrong, this was everybody. Then, he kills off another of my favourite characters, Mara Jade, which I felt was a MoralEventHorizon. You can blow up a Death Star, you can destroy Carida, but if you kill one of the EU's greatest characters how the hell are you supposed to atone for that even if you want to? Kyp Durron at least came to regret his actions and tried to atone for them. Jacen didn't. I stopped reading the books after the seventh one and read what happened next on Wookieepedia. Turns out that Jacen converted Tahiri into a Sith, so that she proceeded to become his [[TheDragon Dragon]] and does all sorts of horrible, evil shit. They kill off two of the biggest heroes in the story and top it off with a {{Retcon}}. They took Vergere, who made great points about how fucked up the Jedi philosophy was, and {{Retcon}}ed her into being a Sith because I guess GeorgeLucas got his panties in a knot over the idea of some moral ambiguity in his universe.
** Tropers/{{Gholateg}}: Before all that? What killed the EU for me (and I had every damned book, Young Jedi and Crystal Star included)? The death of Chewbacca, done only to "Shake things up" and "Make the next series interesting." Bastards. They couldn't even be bothered to give him a proper send off, but gave him a pointless, meaningless death. The little useless sod he gave his life for died a few books later, negating anything his death accomplished.
** Undead2814: I'm with both the above. Chewbacca's death made me sit out anything related to the Vong, but I still came back once all that was done... just in time for Legacy of the Force to make me give up on the EU period. Really, the only thing I can add to the above is that, to me, at least, Legacy of the Force is one of those DMOS so bad that it prevents me from enjoying the previous work that came before, since all I can think about is how it all ends up. I'll admit that may be immature, but there you have it.
** Tropers/Bronnt: What killed the EU for me was the resolution of the NewJediOrder, and specifically, Zonoma Sekot. It was a quality series, overall, even though it had its weak moments. The greatest thing about it was the titular Jedi Order's quest to better understand the Force, since the Yuuzhan Vong's inability to be sensed was a contradiction in what they believed about it. This exploration led to a great deal of philosophical discussion that I found a welcome addition to the universe. So what's the solution? Not some new enlightened understanding, but the AssPull that the Vong's previous living planet "took the Force" away from them, since it can apparently do that. That reveal came absolutely out of nowhere and retroactively rendered moot a lot of great storytelling.
* Tropers/KenyaStarflight: I absolutely adore ''[[Literature/TheGirlWhoCircumnavigatedFairylandInAShipOfHerOwnMaking The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making]]'' (yes, [[LongTitle that's the title]], but the series hits its lowest point at the end of book three, ''The Girl Who Soared Over Fairyland and Cut the Moon in Two.'' While the first two books have excellent resolutions that end the story while leaving a door open for future adventures, the third book ends on a cliffhanger. This irritates me when it comes up in a series, as it feels like a cheap ploy to force the reader into buying the next book instead of relying on things like making us love the characters and story. The rest of the series is excellent and the DMOS wasn't enough to make me stop reading, but it certainly stuck in my craw.
* Tropers/SunnyRae: read all the Evernight series by Claudia Gray. Now, she loved the first book, the second book she liked, the third book was "meh", but the last book was just awful. Talk about a stupid ending. Bianca and Lucas, who spent all of the previous books trying to be together, are finally together at the end. The BigBad is dead even after she became sympathetic, Lucas is no longer a "monster" (vampire) due to some AssPull Gray used by having Bianca, who is now a wraith, bringing him back with her ghostly blood. They had eternity together but they gave it up because Lucas turned into a whiny bitch about being a vampire and didn't like it. Now they have 50, 60 years tops together before Lucas dies of old age. Yeah sure, that's love. Leaving your lover to be alone for all of eternity because you didn't want to be a supernatural.
* Tropers/CCHooks: Steven Wakefield's SuddenlySexuality in ''[[Literature/SweetValleyHigh Sweet Valley Confidential]]''. Especially since he had shown no signs of being gay, and had married one woman (Cara), been engaged to another (Billie), and had a nervous breakdown over a third's death (Tricia) to the point where he broke things off with Cara twice to pursue girls who looked like Tricia and mold them into her (and one of them dumped him because of this, which caused him to snap out of this).
* Tropers/{{Millernumber1}}: ''Literature/{{Emma}}'' during the picnic on Box Hill. After a mounting sequence of self-delusions with increasingly serious social consequences, Emma Woodhouse publicly insults a defenseless, silly, socially precarious older lady who she has known all her life. To her considerable credit, she heeds the sharp reprimand of her oldest friend Mr. Knightley and makes a significant HeelFaceTurn from RichBitch into benevolent and mature lady of the village.
* Literature/{{Discworld}} Series
** Tropers/TheRealCJ: There's a moment in ''Discworld/{{Maskerade}}'' that made me very annoyed. Early in the book, Granny Weatherwax gives a gullible villager a potion that contains the ingredients "Suckrose and Akwa" -- Sugar and water. It would have been very funny except, [[DontExplainTheJoke the joke is baldfacedly explained to the reader]] a short time later. Cue Creator/MarkHamill in 3Ö 2Ö 1: "[[WesternAnimation/BatmanTheAnimatedSeries If you have to explain a joke, there is no joke]]!"
** Tropers/LilMaibe: ''Discworld/UnseenAcademicals'', after Nutt returns to the university after running away, he and his friends are greeted by Ponder Stibbons. Ponder is almost panicking because he couldn't train the team in the protagonist's absence and instead had them run on the spot, which, despite being perfectly fine training, wasn't very effective. The [=DMOS=] is the reason given why he couldn't train them: It is not because he, who has a ton of jobs to do at the university, didn't have the time as his jobs needed to be done. No. It's because he couldn't remember any of the stuff Nutt came up with! And neither could, apparently, any of the wizards on the team. In short, it is another moment that exists solely to tell the reader how magnificent the character is. The utter derailment of the previous established characters solely to have Nutt shine as well as the, not long after, bit that added insult to injury (namely that the training had zero effect on the match at all) was the final straw. The whole subplot (if you can call it that, the thing drowns out the entire rest of the story without having any actual impact on it at all) is stuff I expect in bad fanfiction, not in a genuine novel. And in a Discworld-novel even less so.
** Tropers/{{Mooncalf}}: Terry Pratchett's ''Discworld/{{Thud}}''. There's a part where Angua and Sally are amazed that Nobby (sufficiently hideous and ugly that he has to carry signed papers identifying him as a human being) has landed an apparently genuine relationship with Tawnee, a dim but extremely beautiful stripper - he's apparently the only one who's ever approached her that way. They realize that while most men would get cold feet and consider her "out of their league", Nobby didn't care and asked her out anyway. Well that's neat, an interesting social observation. Except Angua announces it as "The jerk equation!" Say what? So apparently stepping out of your social bounds and trying to get along with a woman you're too ugly to deserve makes you a jerk? Tarring with a broad brush, there.
** Tropers/{{Baeraad555}}: ''Discworld/{{Snuff}}'' for the Discworld series as a whole. Vimes, whose most sympathetic traits have always been his proletarian sympathies and uneasy awareness that he could become a brutal KnightTemplar but for his [[TheFettered constant self-examination]], spends the novel learning that it's perfectly fine for him to be filthy rich and have feudal serfs, and we are told in no uncertain terms that he's [[IncorruptiblePurePureness so innately virtuous that he could never do anything bad.]] The moral of the story is that [[CaptainObviousAesop chattel slavery is bad]] but that it's fine to pay a member of an ethnic group half what you pay someone else for the same work, because that's just the all-benevolent free market at work. And then, in case that's not enough self-congratulatory self-righteousness for you, the plea of a broken old man for his villainous son to be exiled instead of executed is officially granted - only for us to be told that the son will be quietly executed, because slavery is really bad, you see! And most damning of all? The novel is not even especially entertaining.
** Tropers/ZeroHelix: For me the true nadir of the series is Literature/TheScienceOfDiscworld 4, something that reads like a complete 180 to the tone of the previous SODW books altogether. There was none of the parody, none of the humour, just the "science vs religion" Aesop that the first three SODW books had so delicately and masterfully deconstructed, instead now hammered home gratingly, anviliciously straight. It just didn't feel like Terry Pratchet at all... and you know what? I know we're not supposed to generalise in these entries but I feel like someone has to address the elephant in the room, the reason that so many fans have had to admit that there's been a definite decline in Mr Pratchet's work since ''Literature/{{Nation}}''. It's possible that, like Creator/{{Herge}} before him, with his magnum opus done, Mr Pratchet is simply using his twilight years to experiment with his characters... But there is [[CreatorBreakdown another possible explanation]] for the decline, something that nobody wants to admit we're all thinking, because if true, it would make these Dethroning Moments something to inspire [[TearJerker great sadness]] rather than anger.
* Tropers/TheAdeptRogue: The ''Literature/InheritanceCycle'' has this scene where Eragon, along with Arya, Nasuada and some other important members of the Varden gathers together to discuss about the curse Eragon had accidentally placed on Elva. The context of the situation was that Eragon had become more powerful and knowledgeable regarding the Ancient Language to try and undo the curse. Over the course of the conversation, [[DesignatedHero our heroes]] basically agree that Elva's powers are too useful for their cause, and it's better if they're not removed. They further remark that if Elva can't accept this decision, then she's a selfish brat who doesn't deserve the powers she have. What? We're talking a barely 2 year old girl here, not a hardened soldier or a wise woman. She has been forced to magically grow up and mature just so that she could be strong enough to carry the burden Eragon had carelessly (and needlessly) placed on her. And now the heroes expect her to endure this for the rest of her life just because it's damn convenient for the war, which no toddler should be involved in the first place???
** cricri3007: In Brisingr, Roran kills 193 guys in one battle. Now, while Eragon himself had been a CanonSue for the previous books, Roran was established as a BadassNormal, one that knew he couldn't fight everyone alone and knew his limits. And then, in one chapter, he kills more guys than [[CanonSue Eragon]] did through all the books until that point.
** {{Tropers/Smoko}}: As someone who quite liked the series up until the third book (it was a refreshing change from the usual morally ambiguous, look-at-me-I'm-so-dark-and-bloody fantasy series). There were a moment that damaged it for me, to the point where I never picked up the fourth book. When Eragon uses Sloan's true name to force him to go to the elves and stay there, never to see his daughter again. Now, using someone's true name is MindRape of the first class; they are fully aware of what is being done to them, and they can't do anything except obey. This is the method [[BigBad Galbotorix]] uses to control his slaves. Yet not only does Eragon do it, he claims that he has the right to do it, and later on he's actually praised for taking that assumption. The instructions Eragon gives Sloan are also dangerously vague; he makes provisions for food and water (though how he can enspell animals to kill themselves for Sloan is anyone's guess) but places no protections in case another human being decides to run a sword through him or even if he just walks into a hole and breaks his neck (he is blind, after all). Yes, Sloan was a bastard. He'd also just been through months of torture and mutilation and the knowledge that they were doing the same thing to his daughter a few cages away. He's hardly a KarmaHoudini.
** Kereea: For me it was the end of ''Eldest'', when Murtagh was revealed as having turned evil. It felt very forced and like the author realized Murtagh was the EnsembleDarkhorse and didn't want him stealing Eragon's thunder. Especially since its main other purpose was to give a reveal quite a few people had assumed by that point (which later turned out not to be true anyway). The books lost me right then and there.
** Tropers/KenyaStarflight: I consider this series a GuiltyPleasure, but for me the moment that finally made me throw the book at the wall was the introduction of the dauthdaerts -- the mystical spears that have some ill-defined ability to kill dragons. The fact that these spears weren't introduced until Book 4 is bad enough (surely they would have been mentioned earlier, especially given that the particular dauthdaert Eragon gets his hands on is considered "notorious"), but also that they're given no specific reason to be dangerous to dragons. There's no mention of magical charms, poisons, or any other trait that would make this particular spear deadly to dragons, so what precisely makes them dangerous specifically to dragons? I was unusually lenient toward Paolini as an author up to this point, but this turned out to be the final straw for me.
* Tropers/SuperSaiyaMan: From George R. R Martin's ''Literature/ASongOfIceAndFire'' we have [[spoiler: Joffrey's]] death. This is right off the heels of the [[WhamEpisode Red Wedding]] [[spoiler: where most of the protagonists are killed off]]. Instead of him being killed in a rebellion, stabbed in the back by a main character, or dueling [[ActionGirl Arya]] in her epic RoaringRampageOfRevenge... he gets killed off by [[spoiler: choking on poisoned pie]]. To make [[EnsembleDarkhorse Tyrion's]] and [[TheWoobie Sansa's]] lives more horrible since they get blamed.
** Tropers/cricri3007: I get it George, your series is oh-so grim and dark and realistic and everyone is an asshole and can die... but can you please NOT kill a (genuinely nice) character only because he was doing a "too good" job? And by someone we didn't hear of since three books, while Daenerys isn't dead yet?
* Tropers/WoolieWool: The rape scene in ''Literature/ChroniclesOfThomasCovenant''. The sheer senselessness and cruelty of it completely destroyed any sympathy I may have had for Thomas Covenant and made me throw the book down in disgust. There's no point or attempted justification, it's just "I'm gonna violate you now, kay?" If this asshole is supposed to be the hero, why should I care if he defeats the villain or not?
* Tropers/SeptimusHeap: The first book of ''Literature/SeptimusHeap''. There is a line where it says that Jenna has no Magykal powers. It can break your mind trying to understand why this line - and the whole {{Muggle}} Princess aspect - had to be part of the story. In a story where all people with Magyk have GreenEyes, giving the hunted-down Princess to a Wizard family is basically just [[MuggleBornOfMages asking]] [[PaperThinDisguise for trouble]]. Also, there is no evidence whatsoever that this aspect is required for the plot to work. [[MagicalComputer The biology]] [[MagicGenetics behind it]] [[ArtisticLicenseBiology is fishy as well.]]
* Tropers/{{Alexoftheworld}}: The book 'The Girl Who Could Fly' was nothing more than a cheesy, poorly written clone of a far more [[Comicbook/XMen successful series]], but two moments destroy it. One scene is where the main character, Piper, is crippled and loses her memory. One kid didn't know what his powers were. All of a sudden, he has the power to heal and bring back peoples memories. The second one involves the villain, Dr. Hellion. The twist is that she can fly, but as a result of a tragic accident involving the death of her sister, she is devoted to killing other mutants. If she's so depressed about her sister, why didn't she just kill herself? Killing other mutant creatures isn't a way to make you feel better; it's just selfish! And to make matters worse, we are expected to ignore all her actions and pity her. Now do you see why this book makes me vomit?
* Tropers/{{HMSaph}}: There was one moment in ''[[Literature/TheInkworldTrilogy Inkspell]]'' that made me really angry. I thought Dustfinger's wife Roxanne was an okay character until the penultimate chapter. [[TheDragon Basta]] had killed Farid earlier in the book, and Dustfinger made a [[DealWithTheDevil deal with the White Women]] -- his life to bring Farid back, and the deal was made. Roxanne decides to take Dustfinger's body somewhere, and when Farid disagrees with her, saying that Orpheous can use WordPower to bring him back, she gives us this needlessly cruel line:
-->"Get out of my sight! The very first time I saw you coming to my farm, I knew you brought bad luck. ''[[YouShouldHaveDiedInstead You]]'' [[YouShouldHaveDiedInstead ought to be dead, not Dustfinger]]. That's how it is and that's how it stays."
* Tropers/{{Wanderer2004}}: The entire, final story arc with Wendy Nogard in ''[[Literature/WaysideSchool Wayside School Gets A Little Stranger]]'' is up there with everyone's usual mistreatment of Todd. Heartbreak or otherwise, Wendy had no excuse to take it out on others. There's no telling how many folks she mustíve harmed emotionally before reaching Wayside. But her redemption... ugh. Okay, so Wendy reads the thoughts of a baby she's about to murder while planning to make said murder look like an accident, and BAM, instant redemption? Thatís absurd even for Wayside. I would think redemption involves admitting oneís own wrongdoing (usually out loud to others) and then striving to better oneself. But no, the book doesnít see it that way. Also, given these students' past experiences (especially recently) with bad teachers, how did nobody suspect things had soured ever since she arrived?
* Tropers/{{DrGonzo}}: The Literature/HorusHeresy novel ''The Outcast Dead'' has a glaring error in its narrative that kills the whole book for me. For context, the whole book takes place on Terra, just after news of the Heresy has reached earth, and the Istvaan III massacre has already taken place. Mark that last bit, it'll be important later. About a third of the way through the book, the Emperor receives the ill-fated psychic warning from Magnus of Horus' betrayal, which winds up angering the Emperor enough to send the Space Wolves to Prospero for some smashy-smashy. The moment of suck comes in when you realize that in two previous books in the series (both by the same author as this one, even) explicitly says that this warning was sent before Terra was aware of Horus' betrayal and before the Istvaan III massacre. Handling the established timeline in such a lazy way brings down the entire book and contradicts the entire point of the Magnus storyline.
* ''Literature/WarriorCats'':
** Tropers/{{BlackCatMisfortunate}}: The series' Dethroning Moment was in the ''Power of Three'' arc when it's revealed what the arc title really means. It left a sour taste in my mouth that the plot revolves around [[spoiler:cats with superpowers]]. While I still enjoy the books and read them, I sometimes find it hard to believe that the same people who wrote the first arc wrote the newer books. [[spoiler:Despite the fact that there are more fantasy elements present in the later arcs]], it shows how much less imaginative the series has become overall. The specific moment for me to choose for a [=DMoS=] nomination, though, would have to be when [[spoiler:Lionblaze realizes that his power is that he can't be injured in battle (making him essentially invincible) because it removes any suspense from any fight he'll ever be in; the audience knows that he's going to win, and while there is still a threat of other cats being hurt, Lionblaze is never in any real danger even if he takes on much larger animals known to kill cats by himself--which he does. Despite the fact that it is sometimes PlayedForDrama the audience is always aware that Lionblaze will never risk being hurt or dying in combat. Since this is a series where AnyoneCanDie, it takes away a lot of the suspense and investment in battles.]]
** Tropers/{{Lightflame}}: Even though ''Omen of the Stars'' is my favourite of the arcs, a reveal about a third of the way through ''Sign of the Moon'' is the lowest point for me. [[spoiler:Ashfur is in [=StarClan=]. This is the guy who was an accomplice in a plot to kill his Clan leader Firestar, and who tried to burn Jayfeather, Lionblaze, and Hollyleaf alive. (Those three weren't just his Clanmates. Lionblaze was his apprentice.) Why did he get there? Apparently it's because of his motivation: he got friendzoned. Never mind that Thistleclaw went to the Dark Forest because he liked fighting, or that Hawkheart was sent there because he accidentally killed a she-cat who was destroying his herbs. Four counts of attempted murder and a count of treason are apparently perfectly acceptable if you got friendzoned.]]
** Tropers/{{piv}}: The reveal of the Dark Forest in Starlight did this for me. Beforehand, it seemed as if [=StarClan=] was unbiased, their only objective being keeping all four clans alive. The idea that every clan cat went to [=StarClan=] regardless of how they acted in life also feeds into the shades of grey morality that the authors tried to show in the series. The fact that some cats go to [=StarClan=] and some to the Dark Forest, when cats on both sides have committed similar crimes and broken the warrior code in numerous ways just reeks of injustice. It also takes away from [=StarClan=]ís ability to guide the clans: a lot of those Dark Forest cats must have had some experiences that they would use to benefit the clans, or at least their own clan.
* Tropers/{{Highwaystonowhere}}: ''Literature/{{GONE}}'' by Michael Grant is mostly a wonderful series, but was it really necessary to degrade Diana Ladris in the way they did with the disgusting, torturous birth?
** Tropers/{{Creamstripe}}: I'm a huge fan of the series, but I personally objected to some of the more meaningless deaths in the final book, [[spoiler: including Brianna's]] ''Light''. Michael Grant is a good author, but seriously, is it necessary to kill off characters left and right simply to elicit an emotional reaction from the audience? We get it. [[BigBad The Gaiaphage]] is a sadist who slaughters people ForTheEvulz, now can we go on with the plot?
* RAZ: I've been a big fan of the Literature/AgentPendergast series since ''Literature/TheRelic'', but after reading ''Literature/TwoGraves'' I'm seriously considering dropping the series. In the previous novel, ''Literature/ColdVengeance'', [[spoiler: Pendergast discovered his wife Helen had actually survived the events of her apparent death and spent the entire novel searching for her, only for her to be captured by the society she'd been in hiding from at the very end.]] Oh well, it's a cliffhanger, but as long as there's a solid resolution to it [[TemptingFate that should mean it'll be worthwhile reading, right]]?. Nope. [[spoiler: She's [[DroppedABridgeOnHim killed off anti-climatically at the very beginning]], also meaning the events of ''Vengeance'' were completely fucking pointless. What a way to turn everything into a waste.]]
* {{PugBuddies}}: Mortal, the second in the Books Of Mortals series by Creator/TedDekker, had a huge Dethroner. In Forbidden, the first book, he introduces us to Feyn, basically queen-to-be of the entire planet. She was a strong female character, but not in the way he usually writes them: Instead of being a fierce warrior, she was a shrewd leader, committed to truth at all costs. Well, by the beginning of Mortal, due to a huge CrowningMomentOfAwesome on her part, she is [[spoiler: legally dead. Through basically dark magic, her creepy half-brother, Saric, the series' BigBad, revives her, stripping her of her free will and making her his puppet. She commits many heinous acts throughout the book because, as stated before, she has no free will. Dekker explicitly states this, and yet when she betrays the heroes at the end, she's treated as irredeemably evil. Dekker acts as though she chose to do all of those terrible things, when in reality, she literally had no choice.]] To see a strong female character reduced to that status for the sake of a plot twist was a huge Dethroner.
* Tropers/{{Smoko}}: ''Literature/TheObernewtynChronicles'' is an excellent series that is generally very underrated. However, the romance between Elspeth and Rushton is sickening, and it's a real shame, because it was set up to be quite interesting. In the first three books, Elspeth and Rushton are obviously attracted to each other but they both have very serious flaws that would prevent a healthy relationship between the two. Rushton is overly aggressive and controlling towards Elspeth--never trusting her judgement, fighting tooth and nail to prevent her from going anywhere with the slightest risk--and Elspeth in turn is terrified of intimacy and has her own trust issues. So, you would expect to see a relationship between them actually address these issues--and it does. Elspeth's issues. Everything that is wrong in the relationship is entirely her fault and Rushton is pure and blameless. This reaches quite frightening depths in ''The Stone Key'', where Rushton is openly abusive to Elspeth and still she shoulders the guilt, having thoughts like "If I had only made love to him, he wouldn't be so bad" and "His aversion to me was proof of love." And in the end, it turns out that [[spoiler: while Ariel did tamper with Rushton's mind, he never intended for him to be anything but loving towards Elspeth so as to hurt her more when he tried to kill her]], meaning Rushton chose to behave in such a repulsive way. While all this is bad enough, it gets worse. In ''The Sending'' not only are Elspeth and Rushton still together, it's held as a shining example of True Love. They are literally spiritually bound to one another, that's how strong and true their feelings are, and it's even stated that neither of them could ever fall in love with anyone else ever again. Elspeth is a teenager throughout the series, and starts her relationship with Rushton at about the age of fifteen. A disappointing and disgusting end to what could have been a really good premise.
* Tropers/ASplashingKoi: As a fan of ''Literature/TheHeroesOfOlympus'', I awaited the release of its final book, ''The Blood of Olympus'', with a lot of anticipation. When I got it, the book did not fall short of expectations... except for the part where [[spoiler:Nico moves on from Percy]]. My God, that was awful and just reeked of pure, pure lazy writing. After so much emphasis on Nico's angst and hurt and self-hatred, this is how it ends? He just casually tells Percy he's not his type and high-fives Annabeth? No conversation to make amends, no extended reaction from Percy, nothing else? And he just conveniently walks away to Will Solace? I have nothing against Nico pairing off with Will, but the way the whole thing was portrayed felt as if Rick Riordan was trying to come up with the most convenient way possible of getting Nico out of the way of Percy/Annabeth, which had been endlessly shilled in the previous book, without killing him off.
* Tropers/{{Madeleined2}}: For the most part, I liked ''Literature/GuardiansOfGaHoole'', but I just hated the ending of the "Lutta" subplot in book 11. Basically, Lutta was kidnapped as an egg, enchanted to be a shapeshifter, and raised since birth by a hagsfiend named Kreeth. Kreeth enchants her to look like another owl named Emerilla so she can steal the ember from Hoole. Over time, Lutta begins to genuinely fall in love with Hoole. Eventually, she confronts Kreeth, announcing her love for Hoole and defying her in a CrowningMomentOfAwesome. And then what happens? [[spoiler:She is killed off in the most unsatisfying way possible when the real Emerilla shows up and her mother kills Lutta out of rage. Lutta's spirit then goes to Hagsmire, and nobody mourns her.]] And even worse, [[spoiler: Hoole then hooks up with Emerilla, who he'd never even met in person, simply because he had fallen in love with the owl who was impersonating her.]] The author and all the characters seem to agree that Lutta deserved what happened to her, and no one gives her any credit for trying to defy Kreeth and rise above what she had been cursed to be.
* Tropers/Silverblade2: I read ''Literature/FiftyShadesOfGrey'' out of BileFascination but even then there was a moment that was so awful it wasn't even funny. Early on, Anna jokingly send an e-mail to Christian claiming she never want to see him again. How does he react? He break into her appartment and proceed to rape her. Anna only tells him that it was a joke after [[NotIfTheyEnjoyedItRationalization enjoying being raped]]. Wow! This is so wrong and offensive.
** Tropers/{{Catmuto}}: There are a lot of moments in the ''50 Shades'' books, that could serve as a [=DMoS=]. The above is a great example at showing just how abusive their relationship is, despite Ana not having signed any kind of dom-sub contract. But I think there is a scene worse. Even if one slogs through the first two books and gets to the third, and makes it through majority of that book to get to this scene, it is still terrible. Now, Anastasia finds out she's pregnant - honest accident, her birth-control shot seems to have stopped working early. The horror comes when Anastasia has to tell Christian. Before she tells him, she repeatedly mentions how she knows he'll get angry. And boy, he gets angry!\\
He starts yelling at her, blaming this entirely on her ([[SarcasmMode because, obviously, having sex with her did not get her pregnant and is totally not partly his responsibility]]), demanding that she abort because he does not want to 'share' her with anyone, not even his own child, and practically throwing things around, before storming out. Then, he eventually returns hours later, dead-drunk and tries to have sex with Anastasia, who refuses because she's rightfully angry at him. She found out that he went to another woman - it's not outright stated that he slept with Elena, but her indignation that her husband ran off to talk with another woman about something so important, something that only concerns the two of them, definitely makes it come off as if he did.\\
Aside from Christian then acting all sad and badly-put-upon because her being pregnant means she'll never, ever have sex with him again and will put the baby ahead of him, the scene does bring up a wonderful moment in the next chapter: Anastasia calling Christian out on his behavior upon hearing the news and how he ran away instead of acting mature, like he claims to be, and refusing to accept the responsibility he had in creating the child. A wonderful moment, unfortunately ruined, as Anastasia reverts to her demure ExtremeDoormat personality immediately after and never has that backbone again. That was a great scene, with potential of finally giving Anastasia some CharacterDevelopment and standing up to Christian, but ultimately ruined. It's like [=EJ=] James heard people complaining about Anastasia's lack of spine, then threw this in to appease the complainers, only to go back and blow them a metaphorical raspberry.
** Tropers/ThatsNumberwang: Like most women I had a copy of this book pressed into my hands at some point. Unlike most women however I actually have friends who are in the BDSM community. And nothing makes it more obvious that the author has never remotely experienced BDSM for herself is this concept of such a ridiculously detailed sub-dom contract. Here is a very important piece of advice for anyone reading this: If a man or woman wants you to sign a contract that basically makes you his/her slave forever; that person is NOT into BDSM. That person is a psychopath. The submissive in a healthy sub-dom relationship is the one WITH the power as he/she decides on the limits, the safe words and on how long such a relationship continues. The dominant is merely acting out a part. This is such a mirror image of Fifty Shades that it is absurd.
* Tropers/MathsAngelicVersion: Knut Hamsun was a competent writer, but the ending of ''{{Literature/Victoria}}'' was quite frankly disappointing. [[spoiler:It looks like Johannes and Victoria will finally be able to be together, then the Diabolus ex Machina strikes and Victoria randomly dies of tuberculosis. I'm okay with tragic endings when they're a natural consequence of the events in the plot, but this was just Hamsun pulling something out of his... uh... behind to force a sad ending. I can imagine him thinking "All good stories end in tragedy, right?" and/or yelling "Cry, dammit!" while writing it.]]
* Tropers/MsCC93: My moment would be from the 4th book of ''Literature/CaptainUnderpants'' involving Professor Poopypants. The moment that enraged me was a few hours after George and Harold are punished and aren't able to go on the field trip to the pizza palace. I understand that they brought it down upon themselves for misbehaving, but the real kicker was when the teachers gathered around the circle and started picking on George and Harold. Regardless of how bratty kids can be, this is NOT how you treat misbehaving students. George and Harold were already punished, so why pick on them for missing the trip? I can relate because I used to always misbehave when I was around their age, and adults would berate me for it, and it does mess people up mentally.
* Tropers/{{Kablammin45}}: So there's ''Literature/TheIncredibleWorldsOfWallyMcDoogle'' the faith-based comedy series by Bill Myers. I followed the books and seemed to notice that the writing seemed to gradually get a little funky, [[SeriesContinuityError particularly continuity-wise]] and [[CharacterDerailment characterization-wise]]. I just shrugged this off, but then I got greatly annoyed when one of these in (presumably) the final book of the series "My Life As A Supersized Superhero (With Slobber)" wound up unintentionally combining this with DudeNotFunny. At some point, Wally (who has turned invisible thanks to a superhero gadget) hijacks a TV studio broadcast to give a PSA about world hunger. When he and his friends arrive home later, they find that... it's being picketed by an angry mob, who not just clearly don't give a crap about what Wally was talking about, but don't seem to give a crap about the people Wally was talking about, (seriously, they're holding up signs saying "[[JerkAss Let The Starving Feed Themselves]]" and "[[ItsAllAboutMe Stop Annoying ME With Their Problems!]]") and even beat the snot out of Wally once they find him, [[FelonyMisdemeanor just because they were missing their TV shows]]. Sure, there may be some TruthInTelevision involved, but I'm pretty sure most people wouldn't go to measures like THAT. But that isn't the end. It's implied that even Wally's OWN PARENTS were part of the angry mob! So, not only were [[AbusiveParents Wally's own parents beating him up]], but there's even more CharacterDerailment involved. See, not three books earlier (My Life As A Belching Baboon) Wally's parents actually postponed the [=McDoogle=] clan's own freakin Christmas festivities so they could fly over to Africa to help with a food drive. Honestly, what happened between then and now to get them from doing something that to not giving a rat's butt about it? It really doesn't help that the events of "Belching Baboon" are even mentioned shortly before this happens in "Supersized Superhero". It's almost as if Bill forgot to make sure this story was lining up with the continuity of rest of the series. I was upset when no books came out after "Superhero", but perhaps it might have been for the best if the writing was getting to be this bad.
* Animeking1108: I'd like to point out that I found ''Literature/LittleBrother'' by Cory Doctorow and overrated book that [[TheyWastedAPerfectlyGoodPlot sadly had a lot of wasted potential]]. A lot of my issues with the book [[TheScrappy stem with]] [[DesignatedHero Marcus]]. He is [[HolierThanThou self-righteous]], [[EntitledBastard entitled]], and a huge GaryStu. However, I think the moment that really made me hate him was early in the book. After a terrorist attack occurs early in the book, this causes his home town to be under heavy surveillance. However, Marcus's father approves of the security measures, which sparks an argument between them. However, Marcus has his head so far up his own ass that he refuses to see things from his father's point of view. He fails to understand that [[spoiler: [[AdultFear he has been missing for several days in government custody, and his parents were worried sick about him]]]]. However, the book paints Marcus's father [[InformedWrongness as being in the wrong for supporting the government's extreme methods]]. Are we really supposed to root for such a self-righteous bastard who doesn't think about his parents were put through? And don't you dare point out how evil the DHS were in the book. 1. Marcus [[spoiler: didn't know that they captured his friend that got stabbed]]. 2. He was kept in custody for as long as he was because [[spoiler: he refused to comply with orders to give the Big Bad his phone, which had nothing incriminating on it]]. 3. His refusal to follow orders while under interrogation made him look suspicious, along with his history of hacking to play hooky, so of course they were going to keep a careful eye on him. 4. As far as most people knew, [[DesignatedVillain the DHS were just doing their jobs to protect the country after a fucking terrorist attack]]. Another thing I hated about this book was the Black and White morality. You're either against the DHS, or you're an idiot or a bad guy. There is no middle ground in the story.
* MewLettuceRush 2084: An Oral History Of The Great Warming was a book I happened to find on the Kindle store while [[TheLastPoliceman looking for another one]] that I read one day and found surprisingly good, if a bit overly pessimistic. However, there was one part that almost made me give up the book. Towards the end there was a chapter that read as a blatant Author Tract that pretty much [[GodwinsLaw compared American immigration policies to Nazi Germany]] and stated within the book in the 2030s and America First party identical to said Nazi Germany. Although I do agree that there needs to be an overhaulin immigration policy, and the American government isn't exactly the best with said issues, there are many problems with this belief. First of all, as racist as it has been at times, it has never been on the level of Hitler's Germany, so it is absurd to even remotely compare the two. Secondly, do you really think the United States would even allow that kind of party to even be elected? [[CriticalResearchFailure or allow a profiling program that required Mexicans to wear an identifying patch at all times?]] If that even came close to happening in real life I guarantee you they would be out of office very quickly. Finally, the overall tone of the book was essentially to [[MisplacedNationalism portray Americans or at least the government as Orwellian monsters who were the only people responsible for global warming.]] And it wasn't subtle in the least about this! Maybe it's because I am American myself, and, while I know Americans have fucked up a lot in the past and still have a lot of issues we are not complete monsters for Christ's sake! I managed to finish it and I have to say although it was generally not too bad it does make me reluctant to read it again, or anything else by the author.
* cricri3007: ''Literature/{{Revan}}''. I get that Drew Karpyshyn probably doesn't like what the sequel did to his character from the first game. I get that it's essentially a commercial for the then upcoming MMO. but, retconning the Exile as someone who just lost her connection to the Force and then got it back somehow is the biggest [=DMoS=] for this book. Why? Because, by retconning this, he makes the entire second game pointless as if it didn't happened (not helped by the fact that none of the Exile's companions get even a mention). All in all, it feels like he doesn't want to even acknowledge Kotor 2's existence, which piss me off to no end considering it was my first introduction to the Star Wars universe.
* WillBGood: ('''Note:''' I'm just moving this entry over from SoBadItsHorrible-- I have not read this book, but the Horrible page recommends putting individual books from otherwise well-regarded series on this page; if the original author of this wants to come and replace my name with theirs I'm fine with it.) ''Literature/TheWheelOfTime'' series has ''Crossroads of Twilight,'' a {{Doorstopper}} without content which generally takes place at the same time as ''Winter's Heart'' (the previous book). Most of ''Crossroads'' consists of PurpleProse about food and clothing ó the book has 822 pages, but you could condense it into 100 and not miss anything. The BigBad in this book is grain weevils. The series has LoadsAndLoadsOfCharacters, but very few of them appear in what passes for the main plot; the book needs a 50-page prologue to explain what everybody's doing, and it doesn't help. Rand, the driving force of the series as a whole, only appears in the last few pages; he has the long-awaited confrontation with Loghain, but nothing comes of it. Every female character's identical, and they're all unlikable stuck-up bitches. The series had been heading this way for a while, but this is the nadir. But the later books are better, and you don't have to read this to understand them.
* WillBGood: ('''Note:''' again, not my opinion but another entry moved from SoBadItsHorrible) As ''Crossroads of Twilight'' is to ''Literature/TheWheelOfTime'', ''Naked Empire'' represents the bottom-of-the-barrel for Terry Goodkind's ''Literature/SwordOfTruth'' series. This book, even more than the others before it, is mostly [[AuthorTract one gigantic sermon against communism and pacifism]], containing the infamous "[[StrawCharacter evil-pacifist]]" plot of Bandakar. Even outside the conflict, Richard's dialogue is [[CharacterFilibuster constantly saturated with Goodkind's views]] when he's talking to his friends (including an idiotic side conversation where Richard and his half-sister discuss the "right" of hair to live on a person's head). The main plot of the series is advanced barely an inch by the end of this book, there are [[CharacterFilibuster speeches]] that go on for pages or even whole chapters, and the plot's resolved in one of the most blatant {{Deus Ex Machina}}s in literature. Go look at the reviews on [[http://www.amazon.com/Naked-Empire-Sword-Truth-Book/product-reviews/0765344300/ref=sr_1_1_cm_cr_acr_txt?ie=UTF8&showViewpoints=1 Amazon.com]] if you want more proof.
* Pegase: I love ''Creator/TamoraPierce'' and own a copy of almost every book she's ever written. Some of her more recent books like Battle Magic and Melting Stones aren't quite up to par with the rest of them in my opinion, but they're still pretty good. However, I cannot bring myself to buy or reread Mastiff because [[spoiler: Tunstall betrays Beka and Farmer Cape and leaves them to be tortured. All because he has some weird delusion that the status upgrade the bad guys promise him will make him worthy of Lady Sabine, who already loves him just fine in a function relationship. The insecurity I understand, but leaving the girl he's trained since she was a Puppy, his friend, to be tortured? That destroys his character.]] I had trouble from the get-go with Mastiff because the main action plot starts too soon, which doesn't leave a lot of room in the plot for world building which has always been one of my favorite qualities about Tamora Pierce's books. But I really just couldn't handle that twist though because it ruined the character for me and retroactively cast a shadow on the series. It was an edgy move and a plausible twist, but I really hated it.
* LegalAssassin: For the most part, I thought ''Literature/TheMortalInstruments'' by Cassandra Clare were just fluff books; not very intricate or well-written, but still fun enough that I could be entertained for a few hours. Even "City of Fallen Angels," which was just one big angst-fest with plot thrown in at the last minute, was still pretty okay in my view. But then came a certain moment "City of Lost Souls" and my patience with the series broke. Said moment? The main villain Jonathan (I refuse to call him Sebastian; that's not his name and you can't make me call him that, Clare) attempts to rape the protagonist Clary, who's also his sister. And pretty much right after that, the characters don't acknowledge what happen and none of them change based on that moment. A BigLippedAlligatorMoment is jarring enough, but when that moment is a rape scene it becomes infuriating. No writer should EVER just throw in rape or any other touchy subject into a narrative without addressing the issue somehow. But what really makes this moment a DMoS is Clare's response to readers' responses to the scene, where she 1) revealed that the scene was there to establish Jonathan as an irredeemable villain, 2) said trigger warnings were a form of censorship and shouldn't be used, and 3) called people who thought Clary should've reacted more to the attempted rape sexist because they were trying to impose a "right way" to react. My thoughts are 1) Jonathan was already planning to brainwash people and destroy the world, so that should be more than enough to establish him as irredeemable, 2) trigger warnings are there to warn about content one may not be able to handle, not to censor writing, and 3) while I agree there is no "right" way to react to rape, Clary didn't react to it at all. Even if you ignore how poorly handled the issue was, it's still bad writing to not have a character react to something that happened to them. It would be just as bad if a male character was tortured and didn't have any emotional response to it. What really irks me is that Clare essentially did what many other grim-dark series like ''Series/GameOfThrones'' and ''Manga/{{Berserk}}'' have done - throw rape in for the sake of showing evil or darkness - and yet she gets praise for her supposedly "progressive" take on sexual violence.
* Tropers/MelancholyUtopia: As much as I love ''Literature/LordOfTheRings'' for its epic tale and classy story-telling, and am a big defender of Tolkien when somebody criticizes it, there's one moment even I don't like, and it's Gandalf's death and resurrection, for the same reasons I spited Pell's survival in ''Anime/OnePiece''. It was meant to be a HeroicSacrifice for the heroes, that he gave his life so they could survive the cave...only demeaning it by having him come back even stronger (specifically "Gandalf the White"). Just...what was the point? There was no reason for him to stay alive either, he's done his part in the quest of destroying the ring by providing guidance to Frodo. There's nothing more for him to do, he might as well stay dead. As much as I admire Tolkien for his years of planning the story and his old style of writing, this moment goes to show he is as prone to flaws as anyone else.

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