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[[folder:Genres and industry trends]]
* Ask nearly any British film critic what they think was the defining Dork Age of the nation's film industry at large, and they will return with one simple answer: the 1930s.
** It was the height of UsefulNotes/TheGoldenAgeOfHollywood, and British film was trying to respond... and flailing in the wind. In 1927, the UK passed [[https://en.wikipedia.org/wiki/Cinematograph_Films_Act_1927 a quota]] on foreign (i.e. American) films that, far from protecting British studios as was intended, merely led the Hollywood studios to establish British and Canadian subsidiaries to crank out "quota quickies" for the British market. These films were [[NoBudget dirt-cheap]], and often downright dreadful; an {{Urban Legend|s}} claims that British cinema houses used the quota quickies as time to clean and even vacuum the theatres, as they so often showed to empty seats. British studios in turn had to cut costs if they hoped to compete.
** As for the law's effects on Canadian cinema... well, it wasn't the harbinger of a Dork Age so much as it was a GenreKiller. The entire Canadian film industry, already reeling from the high-profile flop of ''[[http://www.canada.com/ottawacitizen/features/remembrance/story.html?id=46d615a1-5dfd-4889-bb42-31f7ad406b2d Carry on, Sergeant!]]''[[note]]No relation to [[Film/CarryOnSergeant the 1958 British film]] of the same name.[[/note]], was overgrown by Hollywood studios churning out quota quickies for British consumption. Unlike British film, which soon recovered after the repeal of the quota in 1938, Canadian film took until the '70s to recover, and required direct government sponsorship of the arts to get the shot in the arm that it needed to do so.
** That said, [[http://www.screenonline.org.uk/film/id/1361819/ not all critics]] view the '30s as a Dork Age for British film. For some recent revisionists, while many of the quota quickies were indeed crap, the era also allowed many aspiring British filmmakers like Creator/MichaelPowell, Creator/AlfredHitchcock, and Creator/DavidLean to cut their teeth, using low-budget films to gain experience that they'd later put to use in much greater masterpieces. Furthermore, the decade also saw a boom in comedies, particularly with the importation of music-hall talent into cinema. Indeed, some have argued that, without the experience gained during the "Dork Age" of the '30s, the Golden Age of British cinema that began in the late '40s and lasted through the '60s could never have happened!
* In any case, the British got their revenge when Hollywood plunged into a Dork Age of its own in [[TheFifties the 1950s]] and especially [[TheSixties the '60s]], during the UsefulNotes/FallOfTheStudioSystem. Hollywood spent the '50s struggling to keep up with mounting pressures from television, foreign (especially British) cinema, changing cultural norms, [[UsefulNotes/TheHollywoodBlacklist the Red Scare]], the collapse of the star system, and antitrust actions, and while they were still turning out quality films, a vast gap was emerging between the {{epic movie}}s that they hinged their box-office success on and the rest of their output. By the '60s, these pressures had collectively overwhelmed them and had started to impact the quality of their films. For every smash hit like ''Film/TheLongestDay'' or ''Film/TheSoundOfMusic'', there were a slew of copycats like ''Film/DoctorDolittle'' and ''Film/ToraToraTora'' that bombed, while old standbys like [[TheWestern Westerns]] and SwordAndSandal epics were hitting diminishing returns due to audience burnout. The Dork Age ended with [[UsefulNotes/NewHollywood Hollywood's creative renaissance in the '70s]], though it wasn't until UsefulNotes/{{the Blockbuster Age|OfHollywood}} in the '80s when the studios fully turned themselves around from a business standpoint.\\
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Again, though, what seems like a DorkAge later gets revised. Today, the '50s is seen by some, such as James Harvey (author of ''Movie Love in the '50s''), as one of Hollywood's best periods. Changes like MethodActing (popularized by Creator/MarlonBrando, Creator/JamesDean, and Creator/PaulNewman) first came from this time. Auteur directors like Creator/SamuelFuller, Creator/NicholasRay, and others came to prominence in this decade. Creator/DouglasSirk's melodramas, initially seen as typical of '50s kitsch, is today seen as {{Deconstruction}} avant-la-lettre, or rather pendant-la-lettre (since it originated in the same decade as Sirk). This was also the great period for FilmNoir, TheWestern, and BMovie science fiction and horror, and the end of Hollywood's monopoly on owning theatres paved the way for the rise of independent and avant-garde films.
* The auteur critics of the UsefulNotes/FrenchNewWave also famously castigated the '50s as a Dork Age for their own native film industry. Later historians have argued that the likes of Truffaut and Godard were being unfair, and made the French cinema into a strawman to bolster their points. But even a revisionist like Bertrand Tavernier admits that '50s post-war cinema was a low-point with largely forgettable films, poorly-thought literary adaptations that the screenwriters themselves disliked, and the best work being done in the French independent scene of Creator/JeanPierreMelville, Creator/JacquesTati, Jean Cocteau, and Creator/RobertBresson (all of whom were championed by the New Wave). France would enter into another dork age, at the time of TheNineties and TurnOfTheMillennium, a scene described in Olivier Assayas' ''Irma Vep'' where post-New Wave filmmakers and other independents felt so marginalized that they felt no reason to expect any audience for their films.
* TheEighties are seen by both American and British film critics and historians as a major low point. This period of neoliberalism (Reagan and Thatcher) saw many of the great New Hollywood directors out to lunch or in exile (Creator/MartinScorsese, Creator/FrancisFordCoppola, Creator/RobertAltman), as well as a great many now-forgotten mainstream films that attempted to [[FollowTheLeader copy the success]] of Creator/GeorgeLucas and Creator/StevenSpielberg. Films that are celebrated today, like ''Film/BladeRunner'', ''Film/RagingBull'', and ''[[Film/TheThing1982 The Thing]]'', were flops early on that would only later be VindicatedByHistory. In general, critics note that this was the first decade in American cinema in which the most exciting filmmakers came from the independent scene rather than the mainstream (before, it was at least a case that both Hollywood and the indies produced excellent films, and the former kept a door open for the latter to climb in), with Creator/JimJarmusch, Creator/SpikeLee, Creator/RichardLinklater, and Abel Ferrara rising to prominence in this era as cult directors.\\\
In the UK, meanwhile, the era of Thatcherism and reduced spending saw the elimination of tax credits designed to facilitate foreign productions filming there, leading to a growing dependence on the [[DirectToVideo home video]] and television markets. Goldcrest Films briefly became a major player in the British film industry, winning Best Picture Oscars in 1981 and '82 for ''Film/ChariotsOfFire'' and ''Film/{{Gandhi}}'', only to crash and burn mid-decade with a string of flops. A few cult films by Creator/TerryGilliam, Stephen Frears, and ''Film/WithnailAndI'' punctuated what was otherwise a dry decade.\\\
The leading exception to this view is with the comedy genre, with the '80s often seen as a GoldenAge for Hollywood comedy. Relaxed censorship combined with the end of the UsefulNotes/NewHollywood era (with its focus on gritty dramas) allowed LighterAndSofter fare to reenter theaters, this time with far more edge than would've been permissible in the '50s or '60s. At the same time, ''Series/SaturdayNightLive'' and ''Series/{{SCTV}}'' had been important training grounds for young comedic talent since the mid-'70s, and the former would continue to be so even as it recovered from its own DorkAge in [[SeasonalRot the 1980-81 season]]. '80s stars like Creator/BillMurray, Creator/HaroldRamis, Creator/DanAykroyd, Creator/EddieMurphy, Creator/RickMoranis, and Creator/JohnCandy are now seen as icons, with films like ''Film/{{Ghostbusters 1984}}'', ''Film/GroundhogDay'', ''Film/{{Stripes}}'', ''Film/PlanesTrainsAndAutomobiles'', ''Film/BeverlyHillsCop'', and more acclaimed as classics. "Genre" films were also robust during the decade; the science fiction boom that ''Franchise/StarWars'' kicked off lasted into the mid-'80s, the horror genre saw the {{slasher|Movie}} wave, and there was a revival in fantasy films led by the likes of ''Film/ConanTheBarbarian1982'', ''Film/TheDarkCrystal'', and ''Film/TheNeverEndingStory''.
* For American horror fans, two periods of time are often remembered as low points in the history of the genre. One thing they both had in common was that they were periods of unparalleled prosperity and security in the United States, the conventional wisdom holding that the success of the horror genre is inversely proportional to how well the rest of the country is doing, since people are less primed to be scared when they feel safe and happy. This explains why the genre boomed from the '60s through the '80s (a time when people were afraid of declining moral values, a crumbling economy, and nuclear war) and from the mid '00s into the present (when fear of terrorism, bigotry, and economic malaise ran high).
** The first era is the late '40s through the '50s. The Franchise/UniversalHorror cycle was sputtering out around this time, with only ''Film/CreatureFromTheBlackLagoon'', ''Film/ItCameFromOuterSpace'', and quite tellingly, the {{parod|y}}ies by Creator/AbbottAndCostello being all that fondly remembered nowadays. The rest of the genre, meanwhile, was descending into [[DriveInTheater drive-in]] BMovie hell as a slew of cheaply-made sci-fi and monster movies tried to copy the success of hits like ''Film/{{Them}}'', ''Film/TheBeastFromTwentyThousandFathoms'', and ''It Came From Outer Space''. Overall, the era provided quite a bit of material for ''Series/MysteryScienceTheater3000'', and with the exception of the undisputed classics, most '50s horror cinema is remembered as [[CultClassic kitsch]]. As noted above, this era is remembered nowadays for being arguably the height of American middle-class prosperity, and while the Soviets were a menace, the specter of WorldWarIII still seemed remote until the launch of Sputnik in 1957 and the Cuban missile crisis in 1962. While Film/HammerHorror, Creator/RogerCorman, and (on television) ''Series/{{The Twilight Zone|1959}}'' would provide the beginnings of a comeback, the genre isn't usually held to have fully gotten out of its Dork Age until the late '60s, after which it's often seen as have entered a GoldenAge that lasted for [[TheSeventies roughly two]] [[TheEighties decades]]. After that...
** The second era is TheNineties. With the "Big Three" SlasherMovie franchises (''Friday the 13th'', ''Halloween'', and ''A Nightmare on Elm Street'') all falling into their own Dork Ages in 1989 that are detailed below, the genre as a whole went dormant in the first half of the decade. Very few horror films had much success between 1989 and 1996, and the few that did (such as ''Film/TheSilenceOfTheLambs'' and ''Film/{{Se7en}}'') were typically closer to the PsychologicalThriller or "horror-adjacent" end of the spectrum. The [[SleeperHit sudden success]] of ''Film/{{Scream|1996}}'' in 1996 made horror popular again in the mainstream, but the wave of FollowTheLeader teen horror flicks that followed is often held in hindsight to be a continuation of the Dork Age, with many horror fans seeing it as little more than a half-hearted, [[{{Bowdlerise}} sanitized]] recycling of '80s slasher tropes -- especially given how ''Scream'' had mercilessly skewered and {{discredited|Trope}} many of those same tropes. (Creator/WesCraven had [[SpringtimeForHitler intended for it]] to be a GenreKiller for slashers; one could argue that, in a roundabout way, it wound up being so in the long run.) Julia Alexander of Polygon [[http://www.polygon.com/2016/10/29/13465868/house-of-1000-corpses-rob-zombie-halloween refers to the '90s]] as the "WB period of horror" due to the fact that many horror films from the decade looked like pilots for a TeenDrama on Creator/TheWB, filled with good-looking young people getting ([[GoryDiscretionShot bloodlessly]]) hacked to death by generic slasher villains.\\\
Much like how the late '40s and '50s were the height of post-war prosperity, the '90s are remembered as the age of the Pax Americana, the time when [[AmericaTakesOverTheWorld America was at the height of its power]] and the only serious problems in society were mostly felt by groups who were already on its margins. It's not for nothing that ''Scream'' and ''Series/BuffyTheVampireSlayer'', two works that are now often held up as high points of '90s horror, are best known as ''parodies'' of the genre, looking back on the films of the '70s and '80s with a great deal of snark. There are, of course, films from this decade that are still acclaimed today, but they tended to be diamonds in the rough, such that the horror website Bloody-Disgusting devoted [[http://bloody-disgusting.com/tag/exhumed-exonerated-the-90s-horror-project/ a series of articles]] to unearthing those hidden '90s horror gems so as to demonstrate that the decade wasn't ''all'' bad. The Dork Age ended around 2002-04 with the success of the [[ForeignRemake American adaptation]] of ''Literature/TheRing'', the boom in the {{zombie|Apocalypse}} genre (kicked off by ''Film/TwentyEightDaysLater''), and the rise of the "Splat Pack", a group of [[TorturePorn ultraviolent]] horror filmmakers that included Creator/JamesWan, Creator/RobZombie, and Creator/EliRoth, and has maintained a decent place ever since.
* American action movies fell into one sometime around the mid-'00s. Many action fans like to blame ''Film/TheBourneSupremacy'', which, despite being a good movie, has been [[http://www.avclub.com/article/its-hard-not-hold-shakycam-against-otherwise-terri-257435 argued]] as a [[FranchiseOriginalSin Genre Original Sin]] for action movies due to its popularization of JitterCam, leading to a slew of films that [[FollowTheLeader copied its style]] without recognizing what made it work in that film. The result was that many action scenes were hard to follow to the point of incoherence, with the ''[[Film/TheExpendables Expendables]]'' franchise often cited as an especially egregious offender given that its AllStarCast (particularly writer and, on the first film, director Creator/SylvesterStallone) came mostly from the '80s GoldenAge of Hollywood action. While it's not fully out of the Dork Age yet, films like ''Film/MadMaxFuryRoad'' and the ''Film/JohnWick'' franchise that favor long, stable takes have signaled a backlash against the style.
[[/folder]]

[[folder:Film series]]
* Depending on your opinion, either ''Film/{{Alien 3}}'' or ''Film/AlienResurrection'' is this to the ''Franchise/{{Alien}}'' series.
** While in popular culture, ''Alien³'' is considered the turning point, many fans of the franchise appreciate the Assembly Cut's greater focus on character drama, leading some to believe that ''Resurrection'' was the point where the series truly crashed. To support its quasi-popularity, many fans saw ''Alien³'' as a return to the themes and atmosphere of the first film, whereas ''Resurrection'' was a subverted gung-ho action flick. ''Film/{{Prometheus}}'', a 2012 [[StealthSequel Stealth Prequel]] to the original ''Film/{{Alien}}'', saw Creator/RidleyScott return to the franchise, but met a divisive reception and came to be seen as part of Scott's own continued Dork Age (as described below), indicating that the series is not quite out of the woods yet. Time will tell if ''Film/AlienCovenant'', due for release in 2017, will turn things around.
** The ''Franchise/AlienVsPredator'' films are considered the nadir of [[Franchise/{{Alien}} both]] [[Franchise/{{Predator}} franchises]]. While the two have crossed over before, the films were considered inferior to previous team-ups and both films have the two lowest Rotten Tomatoes scores of all the films. [[note]]21% for the first film, and 12% for the second film.[[/note]] While ''Film/AVPAlienVsPredator'' was criticized for its watered-down PG-13 rating, ''Film/AliensVsPredatorRequiem'' was panned for trying too hard to go in the opposite direction. Both the Aliens and the Predators underwent severe VillainDecay, and later films in both franchises have rendered the spinoffs [[CanonDiscontinuity non-canon]].
* ''Film/{{Batman}}'' was in it deep during the late '90s. Creator/TimBurton left the franchise, as did leading actor Creator/MichaelKeaton. ExecutiveMeddling caused ''Film/BatmanForever'' to be [[LighterAndSofter campier]] and more [[MerchandiseDriven toyetic]] than its predecessors. Following that film, the new lead actor Creator/ValKilmer left as well, and then the camp factor went UpToEleven with ''Film/BatmanAndRobin''. That film killed the Batman movie franchise for eight years until ''Film/BatmanBegins'' came out.
** The ''Film/{{Superman}}'' series had it worse, as unlike ''Batman'', the series never really escaped the hole it fell into. The series' decline initially comes off as a direct parallel to what happened to ''Batman''--an increased focus on {{camp}}, spearheaded by producer Alexander Salkind. This led to the ousting of series director Richard Donner and his replacement through Richard Lester for the poorly received ''Film/SupermanIII''; which had a heightened focus on comedy, both in script and through the introduction of Creator/RichardPryor into the casting fold. Not helping matters was the Salkinds' attempt at [[Film/{{Supergirl}} a spinoff film for Supergirl]][[note]]which ''was'' produced by WB and is considered canon to the ''Superman'' films at the time, but was [[ChannelHop initially distributed by other studios]][[/note]] made around the time, that ended up being a critical and commercial dud. But things truly went off the rails when the Salkinds handed the film rights to Creator/TheCannonGroup, who [[NoBudget cheaply]] churned out the [[SoBadItsGood notorious]] ''Film/SupermanIVTheQuestForPeace'', which bombed heavily with reviewers and at the box office. DevelopmentHell ensued for a fifth film --which was mostly delayed by frequent ExecutiveMeddling, as famously detailed by Creator/KevinSmith-- which finally emerged as ''Film/SupermanReturns'', ''decades'' later after ''Superman IV''[='=]s release. ''Returns'' received decent reviews from critics, but didn't perform as well as the studio wanted in gross and split the fanbase (no thanks to it being being an indecisive reboot and sequel to the old films); leading to a firm reboot in ''Film/ManOfSteel'', which also doubled as the start of [[Film/DCExtendedUniverse the DCEU]].
** The DCEU itself is widely considered to be a Dork Age for DC superhero films as a whole, namely for what many perceive to be Warner Bros. [[FollowTheLeader trying to chase]] [[Film/MarvelCinematicUniverse Disney/Marvel's tail]] and coming up short. The first three films released, despite receiving decent commercial grosses, had less-than-stellar receptions. The first entry, ''Film/ManOfSteel'', received mixed reactions, and the subsequent ''Film/BatmanVSupermanDawnOfJustice'' and ''Film/SuicideSquad2016'' were both critically panned. The negative backlash towards ''Batman v Superman'' in particular also resulted in the film being hit with drastic weekend drops, and ultimately falling short of Warner Bros.' expectations. The fallout resulted in Warner Bros. trying to course-correct the initial direction taken with the DCEU; a process which included hiring new producers to try re-working later films, and causing a majority of the planned films within the universe --''The Batman'', ''Flash'', ''Cyborg'', etc.-- [[DevelopmentHell to see their development stalled]].\\
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The DCEU would later score its first real triumph in ''Film/WonderWoman2017'', which became the first critically-acclaimed DC film that wasn't either ''Superman'' or ''Batman'' and performed far beyond expectations at the box office, but ''Film/JusticeLeague2017'' would prove the DCEU wasn't out of troubled waters yet. A toxic combination of [[TaintedByThePreview lackluster marketing]], [[SoOkayItsAverage lackluster reviews]], a notorious TroubledProduction (which included a rushed production, a change in directors following a tragic death in the family, and costly reshoots) and the negative reception of previous DCEU films (as well as [[ToughActToFollow following after the well-received]] ''Wonder Woman'') ultimately crippled the film's box office intake, which opened under $100M domestically and is projected to make significantly less money than the previous DCEU films. For a film that has a estimated budget at ''[[CrackIsCheaper $300 million]]'' (which easily makes it one of ''the'' most expensive films ever produced), it's an outlook that spells potential disaster not only for the film, but for the entire cinematic universe as a whole.
* ''Franchise/TheCrow'' went into one after people realized that there was money to be made after [[Film/TheCrow the first film]] was successful (even though [[FatalMethodActing Brandon Lee had died]]). ''Film/TheCrowCityOfAngels'' was poorly received by most, not helped by the fact that Dimension [[ExecutiveMeddling cut out at least 20 minutes' worth]] of {{character development}} and important plot points, causing the film to feel rather disjointed at times. (And, of course, there's the ''[[BadBadActing atrocious]]'' performance by Lee's replacement, Vincent Perez, which, to paraphrase film critic Leonard Maltin, will cause you to wish his character had stayed dead.) ''Film/TheCrowSalvation'' was considered a definite improvement, while most people see ''Film/TheCrowWickedPrayer'' as SoOkayItsAverage. And now there's a remake in the works, and most people have ''very'' low expectations for how it will turn out.
* ''Franchise/FridayThe13th'' lost its edge when the seventh film, ''[[Film/FridayThe13thPartVIITheNewBlood The New Blood]]'' in 1988, was [[{{Bowdlerise}} butchered by the MPAA]] to avoid an X rating, though the film itself is still regarded as pretty good in spite of it. The true point of no return came with the eighth film, ''[[Film/FridayThe13thPartVIIIJasonTakesManhattan Jason Takes Manhattan]]'' the following year, which was a FranchiseKiller that convinced Creator/{{Paramount}} (who had always been [[SciFiGhetto ashamed of the series' success]]) to offload the rights to [[Film/FridayThe13th1980 the first film]]'s director, who in turn sold them to Creator/NewLineCinema. New Line proceeded to churn out [[FranchiseZombie two very poorly-received installments]] that are viewed as SoBadItsGood at best -- one where [[Film/JasonGoesToHellTheFinalFriday Jason turned out to be a demonic entity]] capable of {{body surf}}ing, and another where he [[Film/JasonX went to space]] -- before finally [[DevelopmentHell getting off their asses]] and making ''Film/FreddyVsJason'', a long-anticipated {{crossover}} with ''Franchise/ANightmareOnElmStreet'' that, [[BrokenBase by and large]], ended the Dork Age. The [[Film/FridayThe13th2009 2009 remake]] is also generally regarded as acceptable (or at least, better than most other horror remakes), though not great. The only redeeming value that many fans can universally agree on from the Dork Age is that Creator/KaneHodder, who played Jason from the seventh film through the tenth, was pretty damn awesome in the role.
* ''Franchise/{{Godzilla}}'':
** The franchise is often claimed to have undergone a Dork Age during the Mid-Showa era, starting with either ''Film/SonOfGodzilla'' in 1967 or (more commonly) ''Film/AllMonstersAttack'' in 1969, one that lasted through the first half of TheSeventies. However, one is hard-pressed to explain exactly ''how'' the '70s flicks were any sillier or any 'worse' than the films that preceded them, given that Godzilla was already [[Film/KingKongvsGodzilla setting King Kong's crotch on fire]], [[Film/MothraVsGodzilla drunkenly tripping over buildings]], [[Film/GhidorahTheThreeHeadedMonster chatting up a storm with Mothra and Rodan]], [[Film/InvasionOfAstroMonster dancing in outer space]], and [[Film/EbirahHorrorOfTheDeep playing volleyrock with a giant shrimp]] during the '60s. It probably has more to do with the outlandishly low production values for a few of those films coupled with bad direction and poor acting. In fact, [[Film/AllMonstersAttack only one]] of the dork age films is considered particularly bad by a significant portion of the fanbase (and it still has its fans), with [[Film/GodzillaVsMechagodzilla two]] [[Film/TerrorOfMechagodzilla films]] being considered almost on par with the '60s films and a [[Film/GodzillaVsHedorah fourth]] falling squarely into LoveItOrHateIt territory. Even the aforementioned bad films often fall into the SoBadItsGood category for some people, with ''Film/MothraVsGodzilla'' actually often considered the ''best'' Showa-era Godzilla film out of all of them. As a whole, most fans agree that the Showa era began picking itself back up with the release of ''Series/ZoneFighter'' in 1973, which took the 'superhero' formula the Godzilla franchise had adopted and refined it into a much more streamlined yet equally enjoyable theme, by teaming up Godzilla with the show's eponymous KyodaiHero and giving him plenty of monsters to fight, either with Zone or on his own.
** Lately, the Millennium series seems to be taking over this role, due to a lack of continuity and a perceived overuse of tropes [[FollowTheLeader lifted from]] popular {{anime}} of the time, though there is still some contention within the fandom on this.
* ''Franchise/{{Halloween}}''.
** The ''Halloween'' series fell into its first Dork Age with the fifth film, ''[[Film/Halloween5TheRevengeOfMichaelMyers The Revenge of Michael Myers]]'' in 1989, and sank further into it with the sixth film, ''[[Film/HalloweenTheCurseOfMichaelMyers The Curse of Michael Myers]]'' in 1995. The common denominator in both films was the Curse of Thorn storyline, which tried to tie Michael to prophecies and an ancient cult that had never been hinted at in prior films; the TroubledProduction on the sixth film in particular only made it that much worse. The series only got out of its Dork Age by way of a partial ContinuityReboot with ''Film/HalloweenH20TwentyYearsLater'' in 1998, which took only the [[Film/{{Halloween 1978}} first two]] [[Film/HalloweenII1981 films]] as canon and [[CanonDiscontinuity threw out everything that came after them]] (even if it meant that they also had to drop the popular [[Film/Halloween4TheReturnOfMichaelMyers fourth film]]). It was praised as a return to form and the best ''Halloween'' film since the first two, and the Dork Age seemed to be over, the series in good hands and back on track...
** ...only for it to fall right into a second Dork Age with ''Film/HalloweenResurrection'' in 2002, which featured a gimmicky (and [[UnintentionalPeriodPiece dated]]) Internet[=/=]RealityTV story, [[spoiler:[[FinalGirl series protagonist]] Laurie Strode getting [[DroppedABridgeOnHim unceremoniously killed off]]]], and the humiliating sight of Michael Myers getting smacked down (twice!) by Music/BustaRhymes, resulting in a film that many fans feel to be in the running with ''The Curse of Michael Myers'' for the title of the worst entry in the original series. As a result, they hit the reset button for the next film, a [[Film/{{Halloween 2007}} remake]] by Music/RobZombie in 2007. That film received a visceral LoveItOrHateIt reaction, and [[Film/HalloweenII2009 Zombie's follow-up]] two years later was a critical and commercial dud and a FranchiseKiller. Attempts to revive the series since then (the latest being another partial reboot titled ''Halloween Returns'') have found themselves stuck in DevelopmentHell.
* ''Franchise/{{Hellraiser}}''
** ''Film/HellraiserIIIHellOnEarth'' is universally ignored since its take on the series ended up being more or less a generic horror movie of the era, although there is more debate over ''Film/HellraiserBloodline'', which is either seen as at least a good step back to the spirit of the first two films despite its troubled production (which resulted in the movie getting the AlanSmithee treatment) or as just ''Hellraiser [[foldercontrol]]

[[folder: [[Recycled INSPACE in Space!!! ]]
]]''. Interestingly, the franchise's own creator Creator/CliveBarker has put both movies in a Dork Age on his own. His ''Hellraiser'' comics for Boom Studios serve as a direct sequel series to the first two movies, but so far [[CanonDiscontinuity have completely brushed aside the continuity from the other sequels.]]
** Then there's the [[DirectToVideo straight-to-video sequels]]. Well, as always YMMV, but generally when ''Hellraiser'' fans recommend the series to someone they're usually only talking about the first two films - and ''maybe'', ''possibly'' ''Bloodline.'' It is worth mentioning that with the exception of the latest, all movies after ''Bloodline'' were [[DolledUpInstallment Dolled Up Installments]] where the studio slapped Pinhead onto unrelated horror scripts they had bought. In addition to often making Pinhead's inclusion in the stories feel disjointed, this also results in the problem of turning him into a generic AlwaysChaoticEvil slasher villain to fit him in better, while he started out much more complex and nuanced.
* ''Film/HighlanderIITheQuickening'' started a DorkAge from which the ''Franchise/{{Highlander}}'' film series would [[FranchiseKiller never recover]]. [[Series/{{Highlander}} The TV series]] did all right for a time, until the end of the fifth season alienated many fans by introducing a demonic entity into the series (when no previous episodes foreshadowed it, or implied that such things existed in the ''Highlander'' universe), and [[DroppedABridgeOnHim killing off a popular character abruptly and anticlimactically]] in an IdiotPlot.
* ''Film/JamesBond'':
** While many fans consider Creator/SeanConnery to be [[FirstAndForemost the definitive Bond]], his last two films, ''Film/DiamondsAreForever'' and ''Film/NeverSayNeverAgain'', are considered a step down from prior ones. Connery initially left the series after ''Film/YouOnlyLiveTwice'', but when his replacement Creator/GeorgeLazenby met a poor reception in his lone Bond film, ''Film/OnHerMajestysSecretService'', Connery was very quickly brought back as Bond for ''Diamonds Are Forever'', which was widely panned as campy and boring. Connery departed the series for good afterwards, but came back years later for ''Never Say Never Again'', a loose remake of ''Film/{{Thunderball}}'' which, due to some complex copyright tangles, was made by a different production company than Eon Productions and was positioned as a [[DuelingWorks dueling movie]] with the official Bond film ''Film/{{Octopussy}}'' in 1983. The resulting film received a mixed reception; some liked the world-weary cynicism that the 52-year-old Connery brought to Bond, while others thought he was over-the-hill (though to be fair, the same complaint was lobbed at Creator/RogerMoore around the same time; see below).
** The Creator/RogerMoore era is usually considered a DorkAge among Bond fans, especially in comparison to the Connery films. Plots became weaker and campier, with more focus on gadgets and locations than characterization or action. Although this era did have its highlights (''Film/TheSpyWhoLovedMe'') it also had its dark abysses (''Film/AViewToAKill'', ''Film/{{Moonraker}})''. Of particular note was Moore's age; he was actually older than Connery by three years, and by the end of his run as Bond in the mid '80s, it was obvious. (He was genuinely {{squick}}ed out when he learned that he was older than ''the mother'' of his female co-star in ''A View to a Kill''.) ''Film/TheManWithTheGoldenGun'' is divisive, with some considering it on par with ''Moonraker'' and other fans feeling it to be Moore's equivalent to ''Film/{{Goldfinger}}'' and much better than made out to be. ''Film/ForYourEyesOnly'' is unique in that it was a Roger Moore Bond film without gadgetry -- it was given a mixed reception in 1981, but thirty years later, even fans who didn't like Roger Moore seem to like it. For music fans, on the other hand, the era is most often fondly looked at as the golden age of Bond themes, from "Nobody Does it Better" (Music/CarlySimon) to "Film/LiveAndLetDie" (Music/PaulMcCartney and Music/{{Wings}}) to "A View to a Kill" (Music/DuranDuran).
** For a long time, the Creator/TimothyDalton movies were seen as a DorkAge, with ''Film/LicenceToKill'' being [[DarkerAndEdgier so gory and violent]] that many felt it barely resembled a Bond film. Nowadays, however, the Dalton movies are seen as prototypes for the Creator/DanielCraig era, having had the bad luck of hitting about [[BornInTheWrongCentury twenty years too early]]. In addition, the Bond that Dalton portrays is much closer to the Bond that Creator/IanFleming wrote: a stone-cold killer with a hinted-at lust for violence whose womanizing, used to paint him as a playa during the Connery era, made him come across as a sexual predator.
** The consensus on the Creator/PierceBrosnan age is that it got progressively worse as time went on. ''Film/GoldenEye'', the first film with Brosnan as Bond, is the only one with a Fresh score on Website/RottenTomatoes (even ''Moonraker'' has a Fresh score on RT, although just barely), and is Brosnan's equivalent of ''The Spy Who Loved Me'' or ''For Your Eyes Only'' as the film that even his critics tend to enjoy. (It also had [[VideoGame/GoldenEye1997 an absolutely kick-ass video game adaptation]], which makes it nostalgic for a whole generation of '90s kids.) On the other hand, it ended with ''Film/DieAnotherDay'', which fan consensus views as a rival to ''Moonraker'' as the worst film in the series. The fact that, around the same time, the ''Film/AustinPowers'' series was parodying Bond to great success didn't help matters. Even Brosnan doesn't seem to think fondly of his tenure as James Bond. In a documentary made to commemorate the 50th anniversary of the franchise, Brosnan said he can only remember filming ''[=GoldenEye=]'', and that the rest "blurred together."\\\
Whether or not the era as a whole was a Dork Age depends on one's opinion of ''Film/TomorrowNeverDies'' and ''Film/TheWorldIsNotEnough'', the two films in between ''[=GoldenEye=]'' and ''Die Another Day''. Some think that they were stylish and perfectly acceptable, while others think that they were too over-the-top and had some [[WTHCastingAgency questionable casting choices]] (most notably '90s bombshell Denise Richards as a [[HotScientist nuclear physicist]]).
** A large chunk of the fanbase was expecting this when Creator/DanielCraig was announced (there was a "Bond's Not Blond" movement after his announcement), but was averted when shown that Craig was actually pretty awesome. Like Dalton, his films hewed much closer to Bond's characterization in the novels, with the first three films acting as something of an origin trilogy for him. That said, some Moore and Brosnan fans consider the Craig era to be a Dork Age, arguing that Craig-era Bond has taken so many pages out of [[Franchise/TheBourneSeries Jason Bourne's]] book that he no longer resembles Bond at all. Specifically, the plots are heavily toned down from past films, with few of their over-the-top villains, gadgets, or science fiction elements.\\\
Within the Craig series, fan opinion tends to look favorably on ''Film/CasinoRoyale2006'' and ''Film/{{Skyfall}}'' as his best films, while ''Film/QuantumOfSolace'' and ''Film/{{Spectre}}'' are generally seen as falling into this trope. ''Quantum'' is frequently criticized for poor direction and a plot that tried to marry the DarkerAndEdgier style of ''Film/CasinoRoyale2006'' with a more conventional Bond SuperVillain, with mixed results ([[GreenAesop stealing Bolivia's water]] just doesn't measure up to past {{Evil Plan}}s). ''Spectre'', meanwhile, is disliked for a poorly-received attempt at CanonWelding with the prior Craig films, as well as for giving a backstory to [[spoiler:Ernst Stavro Blofeld]] that many fans felt cheapened both the character and Bond himself.
* The third of the "big three" '80s {{slasher|Movie}} franchises (after the aforementioned ''Friday the 13th'' and ''Halloween''), ''Franchise/ANightmareOnElmStreet'', reached its commercial peak with the third and fourth films, ''[[Film/ANightmareOnElmStreet3DreamWarriors Dream Warriors]]'' in 1987 and ''[[Film/ANightmareOnElmStreet4TheDreamMaster The Dream Master]]'' the following year; ''Dream Warriors'' is generally regarded as the better film, but ''The Dream Master'' still has its fans. However, decay set in hard with the fifth film, ''[[Film/ANightmareOnElmStreet5TheDreamChild The Dream Child]]'' in 1989, a FranchiseKiller that convinced Creator/NewLineCinema to end the series with the next film. That film, ''Film/FreddysDeadTheFinalNightmare'' in 1991, was the point at which the series became completely impossible to take seriously. While the non-canon spinoff ''Film/WesCravensNewNightmare'' in 1994 didn't restart the series, it was very popular among fans and, at the very least, restored its pride, while ''Freddy vs. Jason'' in 2002 also got a decent reception. The poorly-received [[Film/ANightmareOnElmStreet2010 remake in 2010]], on the other hand, seems to have put Freddy to sleep for good.
* The ''Franchise/RoboCop'' franchise has been stuck in one since 1993 with the release of ''Film/RoboCop3'', where the once [[{{Gorn}} famously ultraviolent]] series went for a PG-13 rating and shifted its target audience towards children. It continued with ''Series/RoboCopTheSeries'', which likewise was targeted towards children and featured [=RoboCop=] using NonLethalWarfare against his enemies. The animated series ''WesternAnimation/RoboCopAlphaCommando'' also hurt the franchise, turning the title character into WesternAnimation/InspectorGadget. ''Series/RoboCopPrimeDirectives'' tried and failed to move things back to the first two movies, featuring what many considered a nonsensical plot and a miscast [=RoboCop=] in the form of Page Fletcher, who moved awkwardly in the suit and was significantly shorter that most of the cast. [[Film/RoboCop2014 The reboot]] was met with mixed reactions, mostly due to it being PG-13, a decision to make [[MovieSuperheroesWearBlack RoboCop's suit mostly black]], and a scene mocking the original design. It too bombed, keeping this franchise stuck in a DorkAge.
* ''Franchise/StarWars'', due to a BrokenBase, and having so many different projects going at one time, goes into a constant rotation of dork ages.
** In the mainstream stuff ''Film/ThePhantomMenace'' and ''Film/AttackOfTheClones'' were polarized in how they were received, and even the much more acclaimed ''Film/RevengeOfTheSith'' was divisive. It was only when ''WesternAnimation/StarWarsTheCloneWars'' re-established a cool factor that the franchise has managed to recover. With Creator/{{Disney}}'s purchase of Lucasfilm, the Dork Age can considered to be over, with ''[[WesternAnimation/StarWarsRebels Rebels]]'', ''Film/TheForceAwakens'', and ''Film/RogueOne'' all being commercial and critical successes.
** There's also a true "Dark Age" between 1986 (when the comic was [[ComicBook/MarvelStarWars published by Marvel]], and the animated series ''WesternAnimation/{{Droids}}'' and ''WesternAnimation/{{Ewoks}}'' were finished) and 1991 (when ''[[Literature/TheThrawnTrilogy Heir to the Empire]]'' was published). Creator/GeorgeLucas was uninterested in making new films, and both merchandise and the ExpandedUniverse stalled (notable during the period are only the ''Ride/StarTours'' ride at Ride/DisneyThemeParks, the Star Wars RPG... [[AffectionateParody and]] ''Film/{{Spaceballs}}'').
** Likely the most unanimously agreed-upon DorkAge for the ''Star Wars'' franchise is the period where Troy Denning was head writer for the novels, spanning nearly nine years from July 2005 to April 2014. Denning's work was noted for being far DarkerAndEdgier than most other stories in TheVerse, with a level of gratuitous sex and violence unusual for the franchise, most infamously a scene in ''Literature/LegacyOfTheForce'' where a grown woman sexually tortures a teenage boy for information. Denning and his contemporaries also built up a bad habit of using characters created by other writers for their own books as CListFodder. When it was announced in 2014 that the franchise would have a ContinuityReboot, the response from Denning's considerable hatedom was a resounding "Meh."
* As mentioned above, the Franchise/UniversalHorror films are generally held to have gone downhill in TheForties, with ''Film/TheWolfMan1941'' often seen as the last great movie in the cycle. Creator/{{Universal}}, running out of ideas for sequels, started making {{crossover}} films in which the various monsters did battle and teamed up, and when ''that'' well ran dry, they hired Creator/AbbottAndCostello to start making parodies of their films. The actors were growing tired of their roles, with Creator/LonChaneyJr getting let out of his contract after ''Film/HouseOfDracula'' in 1945 as his alcoholism made him [[http://www.tcm.com/tcmdb/title/78532/House-of-Dracula/articles.html increasingly unreliable]]. The Dork Age reached its nadir in TheFifties as the studio struggled to adapt to the new wave of sci-fi horror, with ''Film/ItCameFromOuterSpace'' and ''Film/CreatureFromTheBlackLagoon'' being the only Universal horror films that are all that fondly remembered nowadays.\\\
While Universal's own monster movies never returned to the heights of the '30s and early '40s, the monsters themselves returned to the popular consciousness once [[Creator/HammerHorror Hammer Film Productions]] started remaking many of them in the late '50s and through TheSixties. This set off a wave of nostalgia for Universal's classic films, one that was further fueled by late-night {{Horror Host}}s who screened the films on television and by geek enthusiast magazines like ''Famous Monsters of Filmland''. Later on, Universal would themselves return to the well, remaking and reimaging many of their classic monsters over the years with varying degrees of success.
* The ''Film/XMenFilmSeries'' went through this with both ''Film/XMenTheLastStand'' and ''Film/XMenOriginsWolverine'', both of which came in a period less-than-affectionately called "Rothman's reign of terror". Referring to {{Executive Meddl|ing}}er Tom Rothman, the chairman and CEO of Creator/TwentiethCenturyFox when those two films[[note]]along with ''Film/FantasticFour2005'' and ''Film/FantasticFourRiseOfTheSilverSurfer'', which are similarly derided by Marvel fans[[/note]] were made, he was responsible for Creator/BryanSinger's departure for the third movie, as well as the many woes faced in the TroubledProduction for the first spin-off. Both movies are widely considered to be the worst out of the entire series, and the ''entire bunch of movies'' that followed (''Film/TheWolverine'', ''Film/XMenDaysOfFuturePast'', ''Film/{{Deadpool 2016}}'', and ''Film/XMenApocalypse'' especially) were specifically written to right the wrongs that had happened under Rothman's watch (as he'd been let go by the company in the middle of 2012).
[[/folder]]

[[folder:Individual Creators]]
* Some argue the Creator/MarxBrothers went through this after their switch to MGM. Zeppo got tired of acting, and the studio forced the brothers to go from completely anarchic RapidFireComedy to more good-natured characters helping out a forgettable romantic lead between increasingly tedious musical numbers (Groucho called ''The Big Store''[='=]s "Tenement Symphony" "[[CreatorBacklash the most godawful thing I'd ever heard]]"). Granted, there was still plenty of SugarWiki/FunnyMoments, but it was more restrained than during their years at Paramount.
* Creator/EddieMurphy had one starting with his 1989 flop ''Film/HarlemNights'' that lasted into the [[TheNineties early-mid '90s]], with many unsuccessful movies including ''The Distinguished Gentleman'', ''Film/BeverlyHillsCopIII'', and ''Film/VampireInBrooklyn'' (all of which he has since disowned), before he made his comeback with his 1996 remake of ''Film/TheNuttyProfessor''. He entered another one in the 2000s, where, with the exception of the ''Franchise/{{Shrek}}'' movies, ''Film/{{Bowfinger}}'', and ''Theatre/{{Dreamgirls}}'', his films like ''Film/TheAdventuresOfPlutoNash'', ''Film/TheHauntedMansion'', ''Film/{{Norbit}}'', ''Film/MeetDave'' and ''Imagine That'' were all massive failures (''Pluto Nash'' has become [[BoxOfficeBomb one of Hollywood's biggest flops]], and many feel ''Norbit'' torpedoed Murphy's Oscar hopes with ''Dreamgirls''). He got praised for starring in 2011's ''Film/TowerHeist'', but his 2012 follow-up ''A Thousand Words'' (although it was filmed in 2008) was universally panned, receiving a [[Website/RottenTomatoes Tomatometer]] score of ''0%'', so only time will tell whether he'll recover.
* Filmmaker Creator/RidleyScott has gone through two in the course of his career:
** The first was in the '90s. After the success of ''Film/ThelmaAndLouise'', his next film after that was the UsefulNotes/ChristopherColumbus epic ''Film/FourteenNinetyTwoConquestOfParadise'', which was a financial and critical flop. His other two films that followed were ''White Squall'' and ''Film/GIJane'', and while they had their own wins (the former got good reviews while the latter made money), Scott didn't fully recover until ''Film/{{Gladiator}}'' years latter.
** The second started in 2010 with ''Film/RobinHood2010'', a ''Gladiator'' retread in the form of the Arthurian legend. The films after that (''Film/{{Prometheus}}'', ''Film/TheCounselor'', and ''Film/ExodusGodsAndKings'') were divisive at ''best'' and downright hated at worst. However, things are looking bright for Scott again, with his [[Film/TheMartian adaptation]] of Andy Weir's ''Literature/TheMartian'' receiving some of the best reviews he's had in a while, so time will tell if he's out of it or not.
* Creator/MaeWest lost a good chunk of her sex appeal when UsefulNotes/TheHaysCode was imposed, but her movies remained passable. ''Film/MyraBreckinridge'' and ''Film/{{Sextette}}'', made after she was convinced to come out of retirement in old age, are not. ''Myra Breckinridge'' ([[InNameOnly loosely]] based on a novel by Creator/GoreVidal, for whom this is a DisownedAdaptation) was a terrible film in its own right and only featured Mae in a single scene -- basically playing herself -- as a man-hungry talent agent-type who gives the eponymous heroine (a {{trans|sexual}} woman who's just had her sex change) lessons on mistreating the menfolk. Frankly, Mae is not the grossest thing in it -- not after you see the [[BlackComedyRape strap-on scene]]. ''Sextette''... well, it was based on her ''1926'' play ''Sex'', and having her be a sex symbol back when she was 32 was quite a different matter from having the movie treat her like one when she's a frail, overly made-up 84-year-old woman paired with men young enough to be her grandchildren (such as 32-year-old Timothy Dalton, for whom this is a major OldShame). Most people's reactions to the film are somewhere between a PrimalScene reaction and profound {{Squick}}.
[[/folder]]

[[folder: Studios/Production Companies]]
* [[Franchise/DisneyAnimatedCanon Disney's animated films]] have seen three Dork Ages. The first happened during UsefulNotes/WorldWarII and a little while afterward, where all films released were cheap "package" films rather than ones with coherent stories, and ended with the release of ''Disney/{{Cinderella}}''. The second happened between the late 1960s and the mid '80s due to the death of Creator/WaltDisney, and ended with [[UsefulNotes/TheRenaissanceAgeOfAnimation the Disney Renaissance]], while the third started in the early 2000s and ended with the release of ''Disney/ThePrincessAndTheFrog''.
* Creator/DreamWorksAnimation has gone through two:
** The first was from 2004 to 2007, where the company after ''WesternAnimation/{{Shrek 2}}'' had mostly box office successes but harsh critical reception, with the exception of ''WesternAnimation/OverTheHedge''.
** The second from 2012 to 2017. After ''WesternAnimation/RiseOfTheGuardians'' didn't do as well at the box office as they hoped despite good reviews and a cult fanbase, most of their output since then has been wildly inconsistent in quality (ex: ''WesternAnimation/HowToTrainYourDragon2'' got rave reviews but ''WesternAnimation/PenguinsOfMadagascar'', released in the same year, was considered SoOkayItsAverage at best). And unlike during their first Dork Age, even their critically-liked works have garnered disappointing box office grosses, with even ''How to Train Your Dragon 2'' grossing less than its predecessor and no film since 2012's ''[[WesternAnimation/{{Madagascar}} Madagascar 3]] '' breaking the $200 million mark domestically. This has resulted in studio layoffs, financial writedowns, and ultimately led to the studio being bought out by [=NBCUniversal=], leading to fears this Dork Age could be permanent. However after, ''WesternAnimation?]/{{Captain Underpants: The First Epic Movie}}'' despite not reaching the $200 million mark domestically either, it was a success due to the low budget.
* Suffice it to say, 2016 has not been a good year to be a Paramount fan, with such "highlights" as getting the business end of the Summer Bomb Buster (which hasn't really been kind to the rest of Hollywood, either) with ''Film/ThirteenHoursTheSecretSoldiersOfBenghazi'', ''Film/TeenageMutantNinjaTurtlesOutOfTheShadows'' and the ''[[Film/BenHur2016 Ben-Hur]]'' remake and an internal power struggle at parent company Creator/{{Viacom}} that ended with Philippe Dauman leaving on bad terms, the latter especially which may foreshadow that they're not out of the mire yet. And that's not even scratching the surface--you ''know'' you're all but waist-deep in the big muddy when [[http://deadline.com/2016/09/national-amusements-urges-cbs-viacom-consider-all-stock-merger-1201828206/ your own parent company urges you to get back together with the very sister studio you had split up with about a decade before]].\\
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2017 hasn't been much better, with the studio suffering from ''huge'' [[BoxOfficeBomb flops]] such as ''Monster Trucks'' (which was notorious for not only being delayed for a year and a half since its original release, but also causing the studio to writedown a $115 million loss on the project ''[[EpicFail four months before the film was released]]''), ''Rings'', the ''Film/GhostInTheShell'' LiveActionAdaptation (which was also hit with controversy of people accusing the film of [[RaceLift whitewashing]] characters from [[Anime/GhostInTheShell the source material]]), and ''Film/{{Baywatch}}''. Even ''Film/TransformersTheLastKnight'', which had belonged to a series that had been widely accepted as CriticProof (with the previous two films grossing $1 billion [[CriticalDissonance despite negative views]]) couldn't save the studio's summer, as poor word-of-mouth and [[FranchiseZombie franchise fatigue]] finally caused audiences' attitudes to match the reviewers (helped by the film being the worst-reviewed ''Transformers'' film yet); resulting in the film largely underperforming its predecessors and being set to be the lowest-grossing film in the series since [[Film/{{Transformers}} the original film]]. The end of that year's summer saw Paramount once again drawing the shortest straw of the lot, having been hit with so many commercial flops that ''Lionsgate'', a ''mini-major'' studio, saw better financial success. If there's any reason to be optimistic, it's that Paramount's new head, Jim Gianopulos, is hoping to pull off a studio revival similar to how he headed Creator/TwentiethCenturyFox following Tom Rothman's disastrous run (with ''Film/FantasticFour2015'', green-lit under Rothman, ensuring Rothman's disgrace). Additionally, it is partnering with Creator/{{Hasbro}} to set up a promising cinematic universe featuring ComicBook/ROMSpaceKnight, Franchise/GIJoe and the ComicBook/{{Micronauts}}, among other Hasbro toys, expanding those plans by signing an exclusive deal with Hasbro Studios to gain access to other Hasbro franchises and co-produce films and shows based on them, and have managed to poach both producer Neal H. Moritz (best known for ''Franchise/TheFastAndTheFurious'' and ''Series/PrisonBreak'', among others) and the film rights to ''Franchise/SonicTheHedgehog'' away from Sony, giving that series multimedia franchise potential (and marking a major reunion for both Paramount and Sega since Gulf+Western's spin-off of the latter in 1983). Only time will tell whether or not Paramount will dig themselves up out of this hole.
* Creator/{{Pixar}} seems to have entered a minor one in TheNewTens, possibly related to corporate owner Disney's current obsession with extending established franchises as opposed to creating original concepts for films.
** After the massive success of ''WesternAnimation/ToyStory3'', the studio's next effort was ''WesternAnimation/{{Cars 2}}'', by far its weakest film, the first to earn a Rotten rating on Website/RottenTomatoes, and the first '''''not''''' to receive a nomination for Best Animated Feature Academy Award since that category's inception.
** ''WesternAnimation/{{Brave}}'' won the Animated Feature Oscar in 2012, but it did so over competition that were [[WesternAnimation/{{Frankenweenie}} received]] [[WesternAnimation/ThePiratesBandOfMisfits considerably]] [[WesternAnimation/{{Paranorman}} better]], which included sister studio WDAS's ''Disney/WreckItRalph''[[note]]making this one of the most questionable choices on the Academy's part in the surrounding years[[/note]] and ''Brave'' is one of the most divisive films in the canon, suggesting to many that the ''Cars'' films weren't just aberrations in the company's output.
** ''WesternAnimation/MonstersUniversity'' in 2013 was received rather well -- if not quite as rapturously as previous Pixar movies had been, and again went without any Oscar nominations.
** While ''WesternAnimation/InsideOut'' received a near-rapturous response and ultimately won the Animated Feature Oscar for that year, their other film for 2015, ''WesternAnimation/TheGoodDinosaur'', has been mostly regarded as SoOkayItsAverage, just slightly worse than ''Brave'' and ''Monsters University'' although better than ''Cars 2'' (its ''extremely'' TroubledProduction probably doesn't help). In addition, it actually became Pixar's first BoxOfficeBomb.
** ''WesternAnimation/FindingDory'' in 2016 was well-received (if not considered [[ToughActToFollow quite as brilliant]] as [[WesternAnimation/FindingDory its predecessor]]) and grossed over a billion dollars (while also breaking numerous box office records in the process) but once again failed to earn a single Oscar nomination; it was then followed by 2017's ''WesternAnimation/Cars3''; which was seen as average by many and didn't attract as many audiences at the box office unlike previous ''Cars'' films (though it was admitted to be [[SurprisinglyImprovedSequel a clear improvement]] over ''Cars 2'').
* Creator/SonyPictures has had two of these:
** The first one began around the mid-1990's to early 2000's, right around the time Sony was starting to get used to film-making after having acquired Creator/ColumbiaPictures in 1989. Since Sony dumped billions of dollars into the studio, spending even more in order to move into the [[Creator/SonyPicturesStudios former MGM lot]] in Culver City, California, Sony would've had to have tons of major box-office successes in order for the acquisition to pay off. Alas, it didn't come to be. Most of the movies released during this period under-performed or flopped outright, with high-profile bombs like ''Film/RadioFlyer'', ''Film/LastActionHero'', ''Geronimo: An American Legend'', ''Film/{{North}}'' and ''Immortal Beloved'' costing Sony millions, and by 1996 Sony was preparing to give up on the studio they just bought seven years ago. Fortunately, things started turning around the following year with the release of ''Film/MenInBlack'', one of the biggest summer blockbusters of the 1990's (and a critical success to boot), and ultimately came to an end in 2002 with the release of ''Film/SpiderMan'', finally giving Sony a franchise they could rely on to thrive.
** Although the seeds for it were planted years before (Sony canceling the ''Film/SpiderManTrilogy'' in favor of a reboot, Michael Lynton wanting to cut Sony's film slate and the [[ExecutiveMeddling notorious]] Tom Rothman joining the studio after leaving Fox), the second and current one for Sony Pictures began in late 2014, when a group of alleged [[UsefulNotes/NorthKorea North Korean]] hackers called the Guardians of Peace leaked e-mails from them and revealed shocking information such as turning ''Film/TheAmazingSpiderManSeries'' [[FollowTheLeader into a similar universe as the]] ''Franchise/MarvelCinematicUniverse'' (despite ''Film/TheAmazingSpiderMan2'' receiving mixed reactions and underperforming at the box office hard enough to become a FranchiseKiller) in addition to threatening terrorist attacks in cinema, should they release ''Film/TheInterview'', an action comedy centering on a [[CrossesTheLineTwice plot to kill]] [[WhatWereYouThinking North Korean leader]] [[AcceptableTargets Kim Jong-un]]. As a result, Amy Pascal resigned her position and Sony cancelled its release before an outcry led it to be given a limited release and available for on demand viewing. In 2015, the aforementioned Tom Rothman was promoted as the new head of Sony, but several of their films under Creator/ColumbiaPictures for that year were either critical and/or commercial failures (such as ''Film/{{Aloha}}'', ''Film/{{Pixels}}'' and the sequel to ''Film/PaulBlartMallCop'') with the only successful ones being ''WesternAnimation/HotelTransylvania2'', ''Film/{{Goosebumps}}'' and ''Film/{{Spectre}}'', along with Creator/TristarPictures' AcclaimedFlop ''Film/TheWalk''. A year later, it would get worse with the {{Box Office Bomb}}s ''Film/Ghostbusters2016'' (not helped by the baggage the film carried with [[OvershadowedByControversy the flame wars it sparked online]] over the film's direction and cast), ''Film/TheMagnificentSeven2016'', ''[[Literature/DanBrownsInferno Inferno]]'' and ''Film/{{Passengers|2016}}'', though ''WesternAnimation/TheAngryBirdsMovie'', ''Film/DontBreathe'' (released under Creator/ScreenGems) and ''WesternAnimation/SausageParty'' did well at the box office. Sony also [[WinBackTheCrowd regained some goodwill]] by scrapping the ''Amazing Spider-Man'' films and making a deal with Creator/MarvelStudios to bring Spider-Man into the MCU (with Spidey getting his first film with ''Film/SpiderManHomecoming''). \\
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Then things went further downhill in 2017; the company had the well-received ''Film/BabyDriver'' (under [=TriStar=]) and ''Film/BladeRunner2049'' in addition to ''Spider-Man: Homecoming'' (which they marketed and distributed) being critical and commercial hits, but films like ''Film/UnderworldBloodWars'', ''Film/Life2017'', ''Film/ResidentEvilTheFinalChapter'', ''WesternAnimation/SmurfsTheLostVillage'' and ''Film/RoughNight'' all flopped at the box office. Sony also [[HypeBacklash threw out the goodwill]] they got with their Marvel Studios deal when they revealed they had plans to make ''[[AudienceAlienatingPremise a cinematic universe without Spider-Man]]'' by themselves, by making ''Spider-Man'' spin-offs ''Film/Venom2018'' and ''Film/SilverAndBlack'' -- suggesting that they were unappreciative of the MCU Spidey deal and [[AshCanCopy were desperately looking for a way to retain creative control]], much like with the ''Amazing'' series. This revelation -- coupled with Sony [[ExecutiveMeddling already bungling the aforementioned]] ''Amazing Spider-Man'' series -- has left ''Spider-Man'' fans fed up with Sony's plans and want Creator/MarvelStudios to fully regain the film rights in order to put an end to Sony's continued meddling with the franchise. Sony Pictures has also suffered from their parent company Sony Entertainment seeing Michael Lynton's departure, an InternetBackdraft to Sony's plans to release [[{{Bowdlerize}} sanitised versions]] of their films, long-time television head Steve Mosko leaving, Creator/{{MGM}} and EON Productions shopping around for a new studio to co-produce future installments of ''Film/JamesBond'' after their ten-year deal with Sony lapsed (compounded by ''Spectre'' being rocked by a TroubledProduction that resulted in the film receiving mixed reactions and bringing in less money than [[ToughActToFollow the highly-acclaimed]] ''Film/{{Skyfall}}''), and their general reputation taking a hit due to their attempts at marketing certain films (such as ''Ghostbusters'' and ''WesternAnimation/TheEmojiMovie'') [[TaintedByThePreview being largely reviled online]]. The turmoil has gotten so bad that Sony has lost a number of talent and licenses, such as the ''TabletopGame/CandyLand'' franchise (whose rights were passed on to Creator/WarnerBros after having been stonewalled at Sony for years), film finance partner Lone Star Funds (who ended their Sony deal two years early due to a long string of critical and commercial bombs) and high-profile producer Neal Moritz, who decided to jump ship to Creator/{{Paramount}} rather than renew his contract ([[ChannelHop taking Sony's in-development]] ''Franchise/SonicTheHedgehog'' [[ChannelHop project and movie rights with him]]). They were also shut out of a potential distribution deal with Creator/{{Hasbro}} Studios to help release ''[[WesternAnimation/MyLittlePonyTheMovie2017 My Little Pony: The Movie]]'', [[WhatCouldHaveBeen which they were originally slated to co-produce with Hasbro]] (the rights ended up going to Creator/{{Lionsgate}}), though fans of that franchise see this as for the better. Add all this together, and Sony anticipates a ''[[https://www.bloomberg.com/news/articles/2017-01-30/sony-says-it-will-take-1-billion-writedown-on-movie-business $1 billion-dollar write-down]]'' for the studio in 2017. Talk about a dysfunctional studio.
** Creator/SonyPicturesAnimation has been widely cited to be in a deep hole since that period of time as well. While most of their recent films have performed well commercially, they have garnered a bad reputation for [[ExecutiveMeddling studio mismanagement]] and driving talent away, particularly with Creator/LaurenFaust and Creator/GenndyTartakovsky seeing their projects (a ''Medusa'' film adaptation for the former, and both a ''WesternAnimation/{{Popeye}}'' adaptation and an original project ''Can You Imagine?'' for the latter) not greenlit or scrapped, largely due to CreativeDifferences. [[note]]Faust and Tartakovsky both returned to Cartoon Network to work on [[WebAnimation/DCSuperHeroGirls other]] [[WesternAnimation/SamuraiJack projects]], though Tartakovsky did return to write and direct a third ''WesternAnimation/HotelTransylvania'' film.[[/note]] Their reputation was further soured by the announcement and eventual release of ''WesternAnimation/TheEmojiMovie'', a film that was [[SnarkBait mocked]] since its announcement as a film [[WereStillRelevantDammit desperately banking on an ongoing trend]] with [[AudienceAlienatingPremise an idiotic premise]] and a [[ClicheStorm creatively-bankrupt]] mishmash [[WesternAnimation/InsideOut of]] [[WesternAnimation/TheLEGOMovie better]] [[Disney/WreckItRalph films]], and upon its eventual release (it was NotScreenedForCritics, in order to prevent Rotten Tomatoes from preventing the movie making money) was universally panned as one of the ''[[NeverLiveItDown worst]]'' animated films in years (notably having a '''[[MedalOfDishonor 0%]]''' rating on Website/RottenTomatoes for the first 40+ reviews counted on the site).\\
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Most notoriously, the leaked email scandal revealed that the above problems the studio was mired in was what led to Phil Lord and Christopher Miller (who had written and/or directed for the studio the well-received ''Film/TwentyOneJumpStreet'' and ''WesternAnimation/CloudyWithAChanceOfMeatballs'' films) to turn down Sony's offer to run the studio (with Phil Lord in particular making a point that "artists have been treated like paper, and itís too hard to do great work there"), instead helping Creator/WarnerBros return to theatrical animation by setting up their Warner Animation Group, which had a major hit with [[WesternAnimation/TheLegoMovie their first film]] (which Lord and Miller wrote and directed).\\
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The DorkAge seems prepared to come to a close with the trailer of ''WesternAnimation/SpiderManIntoTheSpiderVerse'', which brings Lord and Miller back on board, was released to unanimous praise for starring ComicBook/MilesMorales rather than rehashing Peter Parker, being a more tactful reboot than the live-action ''Amazing'' series, and for its unique visual style and serious tone, but time will tell how the final product turns out.
%% * The problem with this section on Warner Bros is that it doesn't list any specific examples on why the studio is in a dork age. All the other entries on Paramount and Sony at least mention how the studios are losing money and getting critically maligned. Furthermore, the letter hasn't been confirmed by other reliable entertainment outlets like the Hollywood Reporter or Deadline.
%% * If [[http://www.huffingtonpost.com/entry/ex-warner-bros-staffer-open-letter_us_57add318e4b007c36e4e3722 this profanity-laced tirade]] in the form of an open letter written by a disgruntled ex-employee is anything to go by, Creator/WarnerBros has been languishing in one of these ever since Kevin Tsujihara took over as CEO in 2013, following longtime leader Barry Meyer's retirement and his business partner Alan Horn's ouster, the latter which has been derided as ageist. Rubbing salt in WB's wound is that, under Horn, WB's rival Creator/{{Disney}} is riding high with a whole pack of successful features. This is not helped by the fact that WB is relying more on franchises than other films, though they managed to regain some goodwill in 2017 with the critical successes of ''Film/KongSkullIsland'', ''Film/WonderWoman'', ''Film/{{Dunkirk}}'', ''Film/It2017'' and ''Film/BladeRunner2049''.
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