%% Administrivia/ZeroContextExample entries are not allowed on wiki pages. All such entries have been commented out. Add context to the entries before uncommenting them.
->''"The most original authors are not so because they advance what is new, but because they put what they have to say as if it had never been said before."''
-->-- '''Creator/JohannWolfgangVonGoethe'''

Some stories and series seem to go out of their way to {{deconstruct|ion}} as many genres as possible, or at the very least [[AffectionateParody take them home and cuddle them and call them "George"]]. A Deconstructor Fleet doesn't just use ''one'' topic for parody or {{deconstruction}}. It sinks its meathooks into any trope it can find and folds and spindles it to shreds. When done well, the overall effect is to create something visibly original. Done badly, it may be seen as a generic HateFic, resulting in a small but loyal fanbase loving it and everyone else hating it.

Even people not familiar with Wiki/TVTropes will notice how this show is different from others. Many such shows become TropeMakers in their own right. Do not confuse this with {{Deconstruction}}, which doesn't invent something new, but criticizes the old. In both cases, however, the ultimate goal of the writers should be to examine a genre or a set of tropes from a new perspective without losing their value as entertainment--not to make the viewer/reader/player feel bad for enjoying straightforward genre fiction. Please remember it's not enough to say that something is a example, it is important to say ''why'' it's an example.

The name is a {{pun}} on the Vogon Constructor Fleet from ''Franchise/TheHitchhikersGuideToTheGalaxy''. Especially appropriate because the Vogon Constructor Fleet doesn't construct ''anything''--its job is to facilitate hyperspace express routes by [[EarthShatteringKaboom blowing up planets]] that happen to be in the way.

See also GenreBusting and {{Postmodernism}}. Compare BetterThanABareBulb.

DeconstructionFic is a specific sub-trope for examples of FanFic with a {{Deconstruction}} theme or plot. FanFic examples go there. Read Administrivia/NotADeconstruction to further your understanding of these tropes.

!!Some of the [[JustForPun dramatic vehicles]] that make up the Deconstructor Fleet:

[[folder:Anime & Manga]]
* ''Manga/{{Berserk}}'' portrays a HighFantasy world where kingdoms are constantly at war and things like demons, magic and gods are completely real. The results are horrifying.
* ''Manga/{{Bokurano}}'': Just because a cosmic entity [[PoweredByAForsakenChild grants children gigantic mecha to pilot]] doesn't mean they'll necessarily use those mechs for the sake of good.
* ''Manga/DetectiveConan'' upon closer inspection deconstructs all sorts of genres through the backstories of the people involved in the cases. It ranges from whodunit murder mysteries to convuluted soap operas or even romantic comedies. One case about a ripped up baseball penant seems like something out of a sports underdog story.
* ''Anime/ChihiroKagachiAndTheBogeymen'' is a parody of both Japanese and American culture in its entirety, and it frequently deconstructs many genres of fiction within filler episodes.
* ''Anime/CodeGeass'' shows what happens when characters from a high school anime with their angst, idealism and silly crushes get involved in a ''Anime/MobileSuitGundam'' setting.
* ''Anime/DarkerThanBlack'' does its best to play with as many [[StockSuperpowers superpower tropes]] as it can, and often deconstructs them. For starters: RequiredSecondaryPowers is either often exploited, or forgotten about, resulting in the deaths of many characters.
* ''Anime/DigimonTamers'' is another {{Mons}} deconstruction. Remember the first [[Anime/DigimonAdventure two]] [[Anime/DigimonAdventure02 seasons]]? They're all fake, nothing more than a kids TV show and merchandise franchise. ThisIsReality. The show explores how much damage real {{Mons}} could potentially cause to a cityscape, the consequences of endlessly trying to make your mon stronger (both for the mon and the Tamer), and the psychological problems that could result from being too attached to your mon.
%%* ''Franchise/DragonBall'' has a few deconstructed tropes.
%%** HeroicSacrifice: Attempts by main characters to kamikaze the villains are rarely, if ever, met with success, despite all the weight that is often put into these decisions. Both Tien AND Chaiotzu failed to make their ones on Nappa stick, Vegeta's attempt to pull one on Majin Buu was rendered useless, and Gohan's last stand against the Androids in the "History of Trunks" special just ended up making things ''worse'' for humanity. Really, the few that actually worked tended to involve Goku, be it keeping Raditz at bay for Piccolo's Special Beam Cannon to work, or teleporting Cell off-planet to stop the world from blowing up (and even ''that'' didn't end up killing Cell).
* ''Manga/ExcelSaga'': Technically it is a satire mocking the Japanese recession, but every little thing, no matter how mundane or boring, is depicted as [[MundaneMadeAwesome totally awesome]]. [[Anime/ExcelSaga The anime]] meanwhile, parodies a different movie or television genre [[OnceAnEpisode each episode]].
* ''LightNovel/FateZero'', following the example of its [[VisualNovel/FateStayNight predecessor]], deconstructs heroism tropes, this time especially the concept of the IDidWhatIHadToDo TheNeedsOfTheMany-style AntiHero and the WellIntentionedExtremist, as well as some interesting and bizarre musings on the notion of being the villain of a story.
* ''Anime/{{FLCL}}'', but PlayedForLaughs and {{Mind Screw}}s.
* ''Manga/{{Gantz}}'': The author himself said that he laid out to subvert as many tropes as possible with the series. One might argue the prime example here is FirstPersonShooter, as in ''being'' inside a FirstPersonShooter would be horrible.
* ''Manga/HayateTheCombatButler'' subverts, averts, deconstructs, and [[StealthParody stealth parodies]] HaremGenre tropes as much as possible.
* It's not that ''Manga/HunterXHunter'' doesn't stand on its own as a shonen fighting manga, but especially once you get into the [[CerebusSyndrome Chimera Ant arc]] it becomes hard to ignore that Togashi wants to deconstruct shonen manga, its villains, and especially its protagonists.
** Specifically, the IdiotHero and his frequent form of CloudCuckoolander instinctive ethics. Gon verges on BlueAndOrangeMorality sometimes, but it's just the kind of thing IncorruptiblePurePureness frequently invokes, carried just far enough to be slightly creepy.
*** Gon is also designed in tribute to Son Goku in several ways; there is a ''reason'' Gon [[ShoutOut catches a giant fish as his first act]]. [[spoiler:And then of course he recently sacrificed his life to turn into a huge muscle-guy with endless hair in order to destroy Neferpitou for destroying the mentor Gon wasn't strong enough or old enough to save… it was [[TearJerker horrifying as hell]], but a little bit funny, too. Because look, it's grown-up Goku UpToEleven.]]
*** The situation with Pitou that he's avenging is also a deconstruction of the way a villain's threat level and a hero's growth are often shown by giving them a CurbStompBattle the hero barely walks away from, and then turning the tables the next time. Because just surviving doesn't mean there aren't consequences for weakness. (Not that Togashi hasn't used the trope. Although at least once with Sensui it was slightly subverted by the death thing.) It's also a deconstruction of how the typical revenge arc plays out. [[spoiler:Normally the audience is rooting for the hero to get back at the person who wronged them in an epic showdown, but Neferpitou is [[AlasPoorVillain utterly helpless]] and Gon beats them [[NoHoldsBarredBeatdown in such a relentlessly savage manner]] that you not only feel sorry for the ''murderous villain'', but also deeply disturbed by the protagonist's obsession with vengeance and the lengths he goes to in order to achieve it. Gon's wrath is absolutely terrifying to behold and his desire to avenge Kite pushes him well beyond his mental and physical limit. He has so much pent up rage towards Pitou that it makes him [[HeWhoFightsMonsters more than a little]] [[SanitySlippage unhinged]] during the latter half of the arc.]]
** FiveManBand dynamics also played straight and deconstructed. Interesting because Gon, Killua, Kurapika, and Leorio map onto the team from Togashi's first big series.
*** They are: The Overpowered IdiotHero, the Small Scary Killer, the [[BewareTheNiceOnes Smart Pretty Boy]], and the Big Idiot With A Heart Of Gold.
** Chrollo Lucilfer is weird. [[MonsterClown Hisoka]] does ''not'' belong in children's comics. And Meruem is an attempt to be psychologically ''realistic'' about a cosmic-level entity born full-grown to devour humans and conquer the world.
* ''Manga/HeavensLostProperty'' [[DeconstructiveParody mostly pokes fun at many harem tropes]] and tropes such as MessianicArchetype. One standout case however is Chaos who is walking deconstruction of WhatIsThisThingYouCallLove, and unlike the rest it is not played for laughs. She shows what happens when you try to teach someone love who literally doesn't have any understanding of the concept and stuff such as LoveHurts are taken frighteningly literally.
* ''Anime/IrresponsibleCaptainTylor'' - SpaceOpera, completely PlayedForLaughs.
* ''LightNovel/IsThisAZombie'' is very much not your normal magical girl series.
* ''Anime/KeyTheMetalIdol'' - One of the first truly brilliant Anime {{Mind Screw}}s, it also sinks its teeth into numerous works and tropes of fiction, including Pinocchio/ BecomeARealBoy, MiniMecha, Real Mecha, Super Mecha, EccentricMentor, IdolSinger, and MagicalGirl, in addition to [[spoiler:subverting and deconstructing the EmotionlessGirl and RobotGirl archetypes [[UnbuiltTrope before they were much of a thing in anime to begin with]]]].
* ''LightNovel/KokoroConnect'' disassembles every aspect of SliceOfLife high-school romance it can think of, FreakyFridayFlip and similar MagicalRealism tropes, and even the very concept of entertaining the audience.
* Haruka Kotoura of ''Manga/KotouraSan'' could have been a classic {{Moe}} protagonist and is one deep down. The problem is that her {{Telepathy}} [[PowerIncontinence cannot be turned off]] so she's unable to distinguish between speech and thought. [[HowWeGotHere In her backstory]], she grew up in a society where [[http://en.wikipedia.org/wiki/Tatemae Tatemae]] is a commonplace concept. [[DownerBeginning It did not end well]] [[BreakTheCutie for her]] [[BrokenBird at all]]. As a result, many of her major character tropes are either [[DeconstructedTrope Deconstructed]], PlayedForDrama, or they are simply cynical in nature.
** This hypothetical situation also explores the implications of Tatemae's validity. Is it worth the risk of BecomingTheMask just so you can belong in society? Is it really okay to hurt and [[AllOfTheOtherReindeer shun]] the HonestAdvisor [[InnocentlyInsensitive who may not know better if at all]]? Does this promote a truly happy society or a CrapsaccharineWorld?
* ''Manga/MagicalRecordLyricalNanohaForce'' take some RealityEnsues. Since the antagonists are adults and choose their own [[TookALevelInJerkass path]], this series deconstructs some concepts of entire Nanoha franchise, especially the mainstay DefeatMeansFriendship. As usual, the heroes always use the usual friendly approach to the villains, but the villains use the advantage to get away with things, leading to more stubbornness and aggression for the villains or even running away. In an example of TropesAreNotGood, these changes were almost universally hated by the fandom, resulting in the series being put on indefinite hiatus and relegated to FanonDiscontinuity.
* ''Anime/MagicalShoppingArcadeAbenobashi'' - The whole frickin' point is basically to deconstruct a genre per episode. And then, halfway through, it shift gears and begins to deconstruct ''itself''.
* ''Manga/MedakaBox'' has pretty much become this. Taking shonen tropes (especially those found in ''Magazine/ShonenJump'') to UpToEleven while also showing [[WithGreatPowerComesGreatInsanity issues]] that come with the characters having such off the wall powers, and even deconstructs the concepts of the GodModeSue and InvincibleHero.
* Creator/YoshiyukiTomino is practically a one-man Deconstructor Fleet.
** ''Anime/MobileSuitGundam'' deconstructs the then-prevailing {{Mecha}} trend of overpowered {{Super Robot}}s, thus creating the RealRobot genre.
*** The super robot is a hell of a hassle despite being super, simply because it's so cutting edge it's hard to maintain and there isn't really a manual for operating it.
*** Amuro Ray was specifically written to be a whiny loser who only wins due to his superpowers and his role is to provide occasional superhuman fire support for the real tactical and political minds of his faction. He didn't even get the girl of his dreams, he accidentally killed her and was literally haunted by her ever since.
*** Hell, Char Aznable was just as specifically written to be the most sympathetic character in the series despite fighting for the antagonists - Magneto squared. And his superpowers are among the weakest in the entire series - his victories are due to intelligence, talent, and lots of hard training.
** ''Anime/MobileSuitVictoryGundam'' deconstructs the rest of the franchise's Universal Century side, given that it was produced during Tomino's emotional lowest point against Sunrise's endless ExecutiveMeddling. It tells everything buried deep in Tomino's mind about the commercial reality in the anime industries.
** The Universal Century in general is itself a deconstruction of the sort of ideas, tropes and lofty aspirations that inspire the likes of ''Franchise/StarTrek'', which is further highlighted by works like ''Anime/MobileSuitGundamUnicorn''. If there are strange new worlds to see, expect them to have a lot of the same problems we deal with on Earth. And expect humanity to bring its conflicts, bloodshed and hubris to the stars.
* ''Anime/MobileSuitGundam00'' deconstructs the rest of the Gundam franchise. It even has the [[Creator/ToruFuruya voice actor]] of [[Anime/MobileSuitGundam the original hero]] play the BigBad.
* ''Anime/MobileSuitGundamAGE'' deconstructs the mindset of the Kid Hero of the first generation - does he believe in achieving peace to both sides? Nope, he considers the Vagan as irredeemable monsters no matter what, and he holds this belief throughout his life; not even his son and grandson can change his mind on that. [[spoiler: At least not until the last minute.]]
* ''Manga/MyHeroAcademia'' uses and deconstructs a lot of tropes found in shonen manga, to the point that [[DeconstructorFleet/MyHeroAcademia it has its own page for it]].
* ''Manga/{{Narutaru}}'' - Like ''Digimon Tamers'', this one really digs into the darker implications of the {{Mon}} subgenre, but the vein in which it does so is closer to ''Bokurano'''s take on the subject, asking the viewer what sort of person would want that kind of power and why just as much as how that power's effects would play out in a world like this. The story's answers to that question are by no means reassuring. Not coincidentally, the manga comes from [[Creator/MohiroKitoh the creator of the latter]], while the anime adaptation was scripted [[Creator/ChiakiKonaka by the creator of the former]].
* ''Manga/{{Naruto}}'' - Deconstructs IdiotHero (Naruto isn't an idiot, he just act like one because that's the only way he can get a brief moment of attention, and it's a defense mechanism against his depression), MessianicArchetype (Nagato via what happens when the universe goes out of its way to treat said archtype like crap), CosmicPlaything (out of four examples, all but Naruto have snapped somehow as a result and even then Naruto barely avoided snapping), AllGirlsWantBadBoys (Sakura), NoGoodDeedGoesUnpunished (Kakashi suffered some major trauma as a result of what happened to his father), and revenge tropes in general (especially Sasuke).
* ''Anime/NeonGenesisEvangelion'' - Originally conceived as a deconstruction of the robot side of the SuperRobot genre, the second half of the series (and the movies) become a psychological evaluation of the so-called "[[AcePilot Hotshot Pilot]]", showing how fucked up they can be as far as wallowing in angst (a side effect of the show's creator going into therapy around the time the show began production). The show's original finale itself [[TakeThatAudience takes several swipes at the show's fanbase]], in particular targeting [[{{Shipping}} those who only cared about which girl Shinji would end up with]].
* ''Manga/OuranHighSchoolHostClub'' - Joyfully mocks the reverse-harem shoujo genre it often falls straight into.
* ''Anime/{{Patlabor}}'' is a relentlessly hilarious satire of every element of HumongousMecha.
** They're rarely over a dozen meters tall, so as not to crush their own feet. And one tripping will still take out a house. They don't even walk long distances; they're stored at construction sites like any other piece of heavy equipment, and the Patlabors are transported to combat scenes in their own specialized trucks.
** FallingIntoTheCockpit is impossible as they're complicated as hell; Noa teaching her mech to tie a shoelace knot is considered proof of her being a genius pilot. Most people can't do much with even a SuperPrototype robot even if they find themselves piloting one.
** Weapons are scaled-up versions of conventional firearms; a laser shows up in a single two-part episode, but never seen again - it destroyed all its foes, but it was ''[[AwesomeButImpractical too delicate and expensive]].''
** WarForFunAndProfit is neither fun nor profitable; Schaft Enterprises makes an attempt to pit one of their military prototypes against the police's Ingram in pursuit of combat data. What followed was ridiculously stupid, as the only people they could find willing to do such a ridiculously stupid thing were some deadbeat stoner BombThrowingAnarchists - who fled the scene once they ''realized'' how ridiculously stupid the whole thing was.[[note]]Of course, the whole Griffon plotline, from Brocken fighting Ingram to collect its data to the Griffon itself, is a ''huge'' ShoutOut to [[Anime/{{Gigantor}} Tetsujin No. 28]]. Simply replace Brocken and Griffon with Baccus and Black Ox and the whole thing should be clearer.[[/note]]
* ''Anime/PuellaMagiMadokaMagica'' - While being selfish in most MagicalGirl shows makes you the villain or the AlphaBitch, using your [[DealWithTheDevil wish]] to help others might lead to them to [[GoMadFromTheRevelation question everything]], unknowingly take your help and [[ExactWords forget you]], or [[spoiler:[[GroundhogDayLoop cause their suffering to build over multiple timelines.]]]] [[MyGodWhatHaveIDone And you get to have all the fun of watching it happen and knowing you caused it.]]
** The show calls attention to the fact that these untrained, unprepared youths are liable to actually ''die'' in their fights with the Witches, as well as the psychological damage it entails.
** ''Rebellion'', the series' sequel, also attacks its fair share of tropes. Most prominently, how disturbing would it actually be to love only one person, to the exclusion of ''[[TheFourLoves all other]]'' relationships? Rebellion also features the portrayal of the characters in a more standard magical girl setting, with one of them realizing that it's not what their setting is actually like.
* ''Anime/RevolutionaryGirlUtena'' - "Love is a battlefield" as a literal concept is common in MagicalGirl, but most tend to forget that love, and especially young love, is inextricably linked with sexuality (and explorations thereof) and uncertain and non-absolute infatuations, often unrequited or with those with whom such a pairing would be socially unacceptable. And that's not even getting into RGU's regular savaging of traditional gender roles.
** And speaking of a Creator/KunihikoIkuhara anime that savages traditional gender roles at every turn and traffics in some very subversive ideas about [[YuriGenre how certain]] [[BuryYourGays kinds of love]] [[TwoGirlRomanticFriendship are portrayed]] [[PsychoLesbian in Japanese media]], let's talk about ''Anime/YuriKumaArashi''...
* ''Manga/RosarioToVampire'' - No, seriously. In recent years Ikeda has taken it upon himself to ask what sort of background the girls in an UnwantedHarem might have come from, and to highlight the impact of being the RomanticRunnerUp in such a relationship. It also shows how dangerous it is to be TheTeamNormal and the possible adverse [[BodyHorror physical]] and [[WithGreatPowerComesGreatInsanity psychological]] effects of an EmergencyTransformation. Not to mention Kahlua shows just how [[BerserkerTears messed up]] being a PunchClockVillain can make you.
* ''Manga/RurouniKenshin'' - Deconstructs many aspects of the [[TheDrifter Wandering Samurai]] [[note]]Not that Kenshin WAS one, mind you[[/note]] found in the JidaiGeki genre.
* ''Manga/{{Saikano}}'': [[MagicalGirlfriend So your shy, timid girlfriend turned out to have actually been a secret government human superweapon all along?]] Expect suffering, my friend. Lots [[TearJerker and lots]] [[SerialEscalation and lots]] of it.
* ''Anime/SchoolDays'', like the game it was based on, takes the [[TenchiSolution harem solution]] in lots of dating series to an [[NightmareFuel honest-to-god]] [[MurderTheHypotenuse realistic]] ending.
* ''Manga/{{Shiki}}'' to vampire fiction. Starts out as a regular undead invade village, heroic vampire hunter fights them off. By the end, we're all left wondering who the real monsters are.
* ''Anime/StarDriver'' thrives on this. A great deal of the generic anime tropes used throughout the anime are TurnedUpToEleven and played with massively to the point they feel totally new.
* Originally, ''Anime/SuperDimensionFortressMacross'' was meant to be a DeconstructiveParody of shows like ''Anime/MobileSuitGundam''. While it veered off that course eventually and played a fair number of tropes completely straight (never mind [[MacrossMissileMassacre inventing]] a few along the way), every major entry into the ''Anime/{{Macross}}'' franchise has featured at least one major, often scathing, deconstruction of the science fiction and adventure genres, not to mention the anime medium as a whole.
* ''LightNovel/HaruhiSuzumiya'' - What do you mean "[[GenreBusting we should stay in one genre?]]" If we did that, Kyon wouldn't get to [[DeadpanSnarker snark at them]]!
* ''Anime/TengenToppaGurrenLagann'' eats this trope, among others, for breakfast. At the very least, it played the trope straight by deconstructing the [[HumongousMecha Giant Robot]] genre. Some hypotheses suggest that the first arc is based on 70s giant robot anime (roaming around having episodic MonsterOfTheWeek adventures), the second is the 80s (moving toward a BigBad and beating his subordinates along the way), the third arc transitions into the 90s (a much more cynical setting that looks very similar to [[Anime/NeonGenesisEvangelion something else by the same studio]]), and the final arc is intended to invert this trope by reconstruct everything into something new. Along the way, it examines how the HotBlooded type was treated in each of those. Among other things.
* ''Manga/TsubasaReservoirChronicle'' - Deconstructs ''itself'', its [[CerebusSyndrome second half]] deconstructing its first half.
* ''Anime/YuGiOhGX'' - Especially the original series' heroes' use of DefeatMeansFriendship (which the BigBad's {{Cult}} uses in Season 2). And just look at [[DespairEventHorizon what happens]] to its typical IdiotHero-InvincibleHero protagonist in season 3.
** It doesn't just deconstruct tropes, it also deconstructs aspects of the game itself; Judai's duel with Kagurazuka takes a stab at showing the flaws in the PossessionEqualsMastery theory of netdecking, and a central theme in the anime is over which side of the StopHavingFunGuys debate is right.
* ''Anime/YuGiOhArcV'' takes the deconstruction even further, to cite certain (but certainly not all) examples:
** In the first episode, Yuya's pendant spontaneously creates Pendulum Monsters and uses them to win. However, the audience calls him a cheater for having fake cards or at the very least cards nobody else has, and an early plot point is people either trying to steal Yuya's new cards or trying to develop their own Pendulum Monsters.
** Yuya's missing dad causes him ''very'' major issues in contrast to past protagonists.
** The fact that the heroes are essentially ChildSoldiers is not sugar-coated in any way, and the series explores the mental damage that would result from being in their situation, namely through [[spoiler: [[BitchInSheepsClothing Sora]], [[AntiHero Kurosaki]], [[BrokenBird Yuto]] and [[AxCrazy the Obelisk force]]]]. [[spoiler: Especially Reira, who was already utterly broken by his upbringing in a war-torn country.]]
** [[spoiler: The SuperPoweredEvilSide demonstrated by Yuya and his alternate dimension counterparts is very much portrayed as horrific.]]
** The [[HardLight Solid Vision]] is used by the villains, who are, aside from being from [[spoiler: a parallel world]], normal people, to turn ''Duel Monsters'' into weapons of war. Episode 34 demonstrates this by having Revolution Falcon do a bombing run and raze the entire field. Instead of having all humans be either 100% redeemable and/or heavily manipulated by an EldritchAbomination, HumansAreTheRealMonsters.
** The Synchro Dimension arc is chock-full of Deconstuctions of ''[[Anime/YuGiOh5Ds 5Ds]]'' For one, the class divide still exists, and not only is it much more brutal, but the Zero Reverse isn't present to justify it. Instead, [[DeliberateValuesDissonance the people of the city have a culture and belief system that supports the insanity]] [[BreadAndCircuses and even encourages the poor to mock people who fail to bring themselves up]]. Also, Security is very much a NoNonsenseNemesis, utilizing decks full of monsters with Goyo Guardian's effect and not ceasing pursuit if they lose, making the duel a mostly a formality.
** The DuelsDecideEverything trope, core to the Yugioh franchise, also gets deconstructed. Namely, [[spoiler: after the Lancers managed to get away when they attempted to duel them the first time, the next time they attempt to catch them, they don't make any attempts to duel them, instead detaining them through force and sheer numbers alone]]. Furthermore, when [[spoiler: the Lancers are breaking out of prison]], they don't bother with duels and instead have their monsters physically restrain their opponents. And later still, [[spoiler: Sergey]] decides to forgo the duel altogether and instead [[spoiler: uses his cybernetic enhancements in order to power through Tsukikage and Sora and kidnap Yuzu.]]
** Yuya's AllLovingHero attitude falls apart hard. Not only does he fall apart emotionally whenever his attempts at befriending others fail, but sometimes he alienates would-be-allies and/or his audience who see his behavior as naive, or because they view [[CultureClash his beliefs as a personal attack on their culture]].
** The JerkWithAHeartOfGold trope is deconstructed through [[spoiler: [[Anime/YuGiOh5Ds Jack]]]]. Though [[spoiler: this version]] is genuinely well-meaning, a lot of people think he's a sellout because he never shows the public his true goals and motivations. His attempts to encourage a young duelist to become better by giving Sam a card that has deep personal significance make Sam think the gift is an insult, as he doesn't know about the emotional value and the card itself is pretty weak (unless your deck uses specific archetypes, some of which do not exist in Sam's dimension).
** DefeatMeansFriendship, a common staple of the Yugioh franchise, is either exploited by antagonists, or ''painfully'' averted or subverted in all but three of the protagonists' duels. These three duels all provide a solid reason why the trope is played straight, and said reason has more to do with the opponent's pre-existing personality and experiences than it does with Yuya himself; making Yuya less of a WarriorTherapist and more like the catalyst his opponents needed to set off their own CharacterDevelopment.
** CharacterDevelopment in general takes a lot of time, and is sometimes characters grow in ways that aren't obvious or clear right away.
** While generally the MagicPokerEquation is played straight, there are times when it has not. In one episode, Yuya ends up starting with a dead hand full of monsters he can't summon yet, and much latter, two people, both on the villains' and heroes' sides respectively, and in consecutive duels to boot, end up finding an Action Card that's completely useless to them.
** ForHappiness is deconstructed by [[spoiler: Zarc]]. Like Yuya, he wanted to make people happy, but his audience was bloodthirsty and cheered him on when he was violent, twisting him into a monster.
** The dueling, the entire basis of the franchise, eventually gets in on the deconstruction. [[spoiler: The ancient Duel Spirits aren't happy at being made to fight against each other for humans' entertainment, so when Leo Akaba developed Real Solid Vision, they used it to manifest themselves into the real world and start attacking humans.]]
** Like all the previous [[BigBad Big Bads]] before him, [[spoiler: Zarc]] has a deck full of [[StoryBreakerPower insanely overpowered]] cards, with his ace card being designed to be NighInvulnerable. The rest of the cast eventually calls him out on this, pointing out that rather than display how powerful he is, it just shows that he's a coward afraid of losing.

[[folder:Comic Books]]
* ''ComicBook/AstroCity'' deconstructs EVERY SUPERHERO TROPE EVER. It does the Lois Lane, the Mook, the Crisis Crossover, the Anti-hero, the Legacy Character, heck, it deconstructs THE FREAKING JUSTICE SYSTEM. Unique in that it also reconstructs the classic hero as well.
* ComicBook/TheAuthority, of superteams in general and the JLA in particular.
* ''ComicBook/{{Planetary}}'' (also of the Wildstorm universe) went even further with the "Ironic Darkly Humorous Tongue-In-Cheek DeconstructiveParody of Superheroes" tone of ComicBook/TheAuthority by taking the same approach with other genres, including Hong-Kong action films, Japanese Giant Monster films, and 1930s pulp adventure.
* ''ComicBook/TheBoys'' is a deconstruction of the "Bullpen" mythos that surrounds the superhero comic book industry.
* ''ComicBook/CaptainAtom'' is a deconstruction of [[SecretIdentity secret identities]], [[SuperHeroOrigin origin stories]], {{retcon}}s, [[RoguesGallery rogues' galleries]], StevenUlyssesPerhero, even, arguably, TheGoodCaptain, plus who knows how many other SuperheroTropes.
* ''ComicBook/CerebusTheAardvark'' gave us [[CerebusSyndrome the trope name]] for a ''reason''.
* ''Comicbook/{{Miracleman}}'' was one of the earliest {{Deconstruction}}s of the superhero genre, showing the Fascist undertones of the genre, explored the abuse of power, and showed a particularly [[{{Gorn}} Gory]] and [[PersonOfMassDestruction destructive]] superhero battle that was legitimately shocking at the time. Yet it still manages to explore ''[[ComicBook/{{Shazam}} Captain Marvel]]'' mythos in a very witty and Tongue-In-Cheek manner.
* ''Comicbook/{{Watchmen}}'' is a deconstruction of the comics that preceded it. It examines the implications of superheroes existing in a real setting -- specifically, what just one person with superpowers might mean for the world, and what it really takes to be a masked vigilante with no powers capable of making a difference. It was one of the comic book that brought in the Dark Age of Comics. It also uses superheroes as a vehicle to deconstruct American culture and Cold War international politics.
* ''Comicbook/TheLeagueOfExtraordinaryGentlemen'' deconstructs the entirety of fiction and its relation to reality.
* ''ComicBook/{{Powers}}'' is a major one for at least half the superhero tropes. Taking place through the eyes of two non-powered cops, everything from investigating superhero crimes to tabloid obsession with superheroes to BewareTheSuperman to what a relationship between a super powered gangster and a mob boss would really be like to how fickle the public can be on things like the SuperRegistrationAct to the stress of keeping a secret identity to immortality are put down on the page without any glamor or glorification.
* ''ComicBook/{{Teenage Mutant Ninja Turtles|Mirage}}'', at least in the original Eastman and Laird run.
* ''ComicBook/StarWarsLegacy'' takes the original and Franchise/StarWarsExpandedUniverse, [[{{Deconstruction}} cuts it up into little tiny pieces]], shuffles them, and [[{{Reconstruction}} glues it back together]] into a [[DarkerAndEdgier dark twisted reflection]] of its former self that's hardly recognisable, and yet somehow still manages to [[AdaptationDistillation capture everything that made the original movies great]].
%%* See: Creator/GrantMorrison's entire oeuvre:
%%** ''Comicbook/AnimalMan'' and ''Comicbook/DoomPatrol'' both deconstruct massive numbers of superhero tropes, the superhero genre in general, as well as other tropes and genres that don't necessarily fall under superhero comics' purview. ''Animal Man'' gets all {{metafiction}}al with its deconstruction, while ''Doom Patrol'' turns more toward UsefulNotes/{{Dada}} (though it doesn't necessarily qualify as DadaComics, at least not as currently described).
%%** Having thoroughly deconstructed superheroes (though he certainly wasn't done; see basically everything he's done for DC Comics in the last decade or so), Morrison wrote ''TheInvisibles'' to deconstruct, well, everything else.
%%** Literally, everything. There's probably more deconstruction happening in a couple given pages of ''The Invisibles'' than in most entire comic book series. It touches on action movie tropes, science fiction tropes, it blends together references to a plethora of literature and film, and a single trade volume alone features stories about voodoo, Aztec mythology, and [[spoiler: an entire issue about the life of a throwaway henchman who gets shot in the first trade]]. By the end of the series it even gets around to deconstructing itself (at least, [[TrueArtIsIncomprehensible that's probably what it gets around to]]).
* ''Transformers Last Stand Of The Wreckers'' absolutely tears apart the ''Transformers'' series and the various tropes associated with it and kids series like it. In particular it rips BlackAndWhiteMorality, AscendedFanboy, NeverSayDie, AffablyEvil, AntiHero, WarIsGlorious, and ThouShallNotKill up from the roots to show how horrifying many clichés of the Saturday morning cartoon would be in real life. It also uses extremely graphic violence to show how horrific war between Transformers would be, not to mention subvert the common trick of using robots to sneak FamilyUnfriendlyViolence past censors. Robots getting smashed up isn't so harmless and kid friendly when said robots are ''living sentient beings'' who express terror and pain with gut-wrenching detail.
* ''Franchise/{{Tron}}: Ghost in the Machine'' (follow up to AlternateContinuity ''[[VideoGame/TronTwoPointOh Tron 2.0]]'') dishes out some deconstruction with a side order of MindScrew. The comic opens with Jet Bradley going from a promising game designer to hunkering down in his HonoraryUncle's darkened arcade, [[StrangerInAFamiliarLand virulently technophobic]] with a nasty case of PTSD from all the digital lives he had to take in the course of the game.
** Oh, that's just the opening scene! It deconsructs the "User as hero" idea when Jet gets put in charge of an army because he absorbs the commander and leads his troops into a bloodbath. The depiction of Alan is "RonTheDeathEater" levels of dark, pulling zero punches about him being a broken, GoodIsNotNice man after the loss of his wife and close friend. It screws with YourMindMakesItReal [[spoiler: all three "Jet" Programs think their version of reality is the "correct" one]], and even makes a chilling play with the BrainUploading / VirtualGhost aspect of Ma3a.
* ''Comicbook/SuperiorSpiderMan'' deconstructs a lot of assumptions about SpiderMan and Peter Parker. Especially assumptions made by Peter Parker. Epitomises the 'near universally hated' part of this trope.
** The SpiderMan franchise has always dabbled in this, mostly through the contrast between TheCape and a ClassicalAntihero, but also by considering how superhero tropes would affect someone trying to get through school. It's just gotten more and more pronounced over the years. As one editor summarized it, "Peter Parker's life was [miserable], which every teenager could relate to; once he became SpiderMan, Peter's life got even worse."
* As well as StupidJetpackHitler, ''ComicBook/{{Uber}}'' deconstructs the common superhero comic depiction of abstract "courage", "will", or "righteousness" as outweighing SuperWeight. Go up against a SuperSoldier who outclasses you, and you ''will'' be rapidly smeared across the landscape.
* ''ComicBook/SecretEmpire'' effectively tears apart TheCape, BigGood, LegacyCharacter, TeethClenchedTeamwork and LetsYouAndHimFight. Many of Marvel's recent events -- ''ComicBook/{{AXIS}}'', ''ComicBook/SecretWars2015'' and ''ComicBook/CivilWarII'' -- has essentially been nothing but heroes fighting heroes because someone stepped on their precious ideology and when the event ends, someone's nursing a bruised ego and the other thinks they're morally superior and everyone's fuming at each other. When they turn to someone for advice, they turn to ComicBook/CaptainAmerica. However, since [[ComicBook/TheFalcon Sam Wilson]] is Captain America alongside Steve Rogers, Sam finds himself overwhelmed and looked down on because he's "not my Captain America". Thus, when Sam Wilson pulls a RageQuit and everyone gets Steve Rogers back full time, Steve's actually TheMole for ComicBook/{{HYDRA}} and he succeeds in taking over the United States, imprisoning many superpowered characters or keeping them out of the fight and leaving the fight to save the day to a bunch of B-Listers who are prone to wanting to strangle everyone.

[[folder:Fan Fic]]
* If there is a trope from any stories in the ''FanFic/TheConversionBureau'' sub-genre that has pissed you off and/or confused you, ''FanFic/TheConversionBureauTheOtherSideOfTheSpectrum'' and its various canon side-stories have probably skewered through it. Newfoals as defined by [[MisanthropeSupreme Chatoyance]]? They're played up as perpetually smiling {{Extreme Doormat}}s living smack-dab in the UncannyValley. The xenocidal tendencies of the TCB ponies being played as a good thing? In ''Spectrum'', they're [[ANaziByAnyOtherName portrayed almost like Nazis]]. The global effects of Equestria appearing in the ocean? Not actually present in the story, but given a long, ''incredibly'' {{Troperiffic}} monologue about the scientific impossibilities, faithfully reproduced on the fanfic's page and the NoEndorHolocaust page. Why are the Equestrians, including Celestia, so misanthropic? [[spoiler:They've been corrupted by an ArtifactOfDoom that seeks to enslave every living being under its maker's will, and is targeting the humans first because [[DisproportionateRetribution one single human]] defeated said creator in the distant past]]. How would the presence of the Barrier affect food production and standards of living in the world due to the massive displacement of refugees? Most cities on earth, or at least Rio de Janeiro, turn into {{Wretched Hive}}s where food has become so hard to come by that [[spoiler:some [[NoPartyLikeADonnerParty have resorted to eating newfoals]]]]. How was a successful version of the potion created? That's difficult to explain without ruining the WhamEpisode, but it's really, really messed up.
** The side story, ''Calm Before the Storm'', does not shy away from showing just how Equestria would really be ill-equipped to support a massive influx of new residents, topped off with a heaping dose of RealityEnsues. To put it simply, there are severe food shortages, no adequate infrastructure to support the newfoals coming in, the economy is in shambles, and the prolonged war has slowly unraveled the fabric of society, so much so that only terror, propaganda and the slave exploitation of newfoals are the only things keeping the Solar Empire afloat, and even ''that'' is failing.
* ''Fanfic/ChildOfTheStorm'' was, apparently, written with this intention in mind, after [[Creator/NimbusLlewelyn the author]] saw one [[FandomSpecificPlot Super!Harry/Lord!Harry/God!Harry]] story, in which Harry and other characters become characters InNameOnly, too many. Instead, it takes a look at how all those happenings and tropes, indeed, that much power, would actually affect the canon Harry, an {{Adorkable}} fame averse, affection craving sweetheart and a bona fide trouble magnet with something of a temper. On the upside, he gets a bit more assertive and more confident in himself, more willing to open up and let others help him. On the downside, he's got a ''lot'' of repressed rage to work through, an intimate understanding of how people can be cruel to people who are different via the Dursleys and after a number of deeply traumatic incidents, borderline PTSD as an entirely understandable result of this and a proclivity for {{Revenge}} that has more than one person worried he could snap and turn into the next ComicBook/{{Magneto}} if he doesn't have people to rely on, to trust, and can tell him when he's going too far.
** It also averts the trope that a good guy armed with righteous anger etc. can beat a bad guy who is more skilled and/or more powerful. Any character who loses their head in a fight and stops fighting smart promptly gets their dislocated ass handed to them and learns a harsh lesson: will does ''not'' beat skill.
* [[https://www.fanfiction.net/s/7865548/1/Spirited-Away Spirited Away]] deconstructs not only a big portion of ''Literature/HarryPotter'', but also themes found in other Harry Potter/''WesternAnimation/DannyPhantom'' crossovers.
* The fic ''Fanfic/ZuluSquadNoTsukaima'' is a Deconstructor Fleet for anime crossovers, and crossover fics in general. Appropriate, since it's a crossover with ''VideoGame/SpecOpsTheLine''.
** Specifically it shows how characters from a non-anime world would react to all the cliches and tropes associated with anime or manga.
** Later in the story it [[WarIsHell deconstructs]] [[WarIsGlorious battles where modern or futuristic soldiers]] fight a technologically inferior army and win the day with little to no casualties.
* This fanfic [[https://www.fanfiction.net/s/9043421/1/The-Attempted-Confrontation The Attempted Confrontation]] analyzes an pokes fun at pretty much everything in ''Franchise/LesMiserables'' from plot holes from the musical ([[{{Flanderization}} Javert doing nothing but hunting Valjean]] [[EpicFail then failing to recognize him as Mayor Madeline,]] Javert calling Valjean [[YouAreNumberSix "24601"]] even after [[FridgeLogic he would have gotten a new prison number like]] [[MythologyGag 9340 or something]], etc.), and character flaws of Javert and Valjean that started from the book itself (Valjean blaming himself for things he wasn't directly at fault for, Javert's {{Lawful Stupid}}ity, etc), and turns the whole thing into an epic SnarkToSnarkCombat.
* This seems to be the mission of ''FanFic/NoChanceForFate''. For one it is a deconstruction of the FukuFic, which at the time of creation had degenerated badly. However, it also takes apart the source material of both series. The sheer list of deconstructions is ''way'' too long. Interestingly, the story still is very enjoyable to read and the characters actually come out of it stronger.
* ''[[https://www.fanfiction.net/s/11669575/1/For-Love-of-Magic For Love of Magic]]'' deconstructs a lot of [[FandomSpecificPlot Fandom Specific Plots]] for ''Literature/HarryPotter''. Someone writing fictional tales about Harry's childhood? A kind woman who wrote them on a fit of whimsy, later published them at a friend's urging, and upon being confronted by Harry's barrister, agrees to pay Harry far more than he'd expected. Harry's abandoned by the Dursleys? His frequent tantrums and resulting accidental magic drove them to their wits end so they dropped him off at an orphanage. Dumbledore never checking up on Harry? It honestly never occurred to him that family would ever not love family. Dumbledore never got Sirius a trial? He was extremely overworked and naive enough to believe Crouch's insistence that Sirius had confessed. Molly encouraging Ginny to marry Harry? She was simply encouraging her daughter's crush and when Harry turns out to be a typical teenage boy instead of TheParagon Ginny thought he was, Molly advises Ginny to give up on him. Snape hates Harry for who his father is? After knowing the boy a bit better, Snape decide Harry is more like Lily and treats him the same as every other student.
** Even Voldemort making his horcruxes important items held in locations connected to him is deconstructed. Voldemort doesn't use a random rock that he throws into the ocean because both the item and it's location have to have significance to the horcrux owner or their soul won't bond to it.
* ''FanFic/TheRiseOfDarthVulcan'' exists to deconstruct not just the "character from real world in a villain costume gets mistaken for a bad guy and later gets super power to become a true villain" plot bunny that some HateFic writers have done, but also pays attention every perceived and actual political and social flaw in Equestrian society as it's presented in ''WesternAnimation/MyLittlePonyFriendshipIsMagic'', and the Fanon perceptions many fans and fic writers have of it. Special attention is put on the potential negative repercussions that simply ignoring such flaws can have in the long and short run once forced into the open. The Equestrian characters' own flaws and mistakes are also forced into the light to be dealt with, for good and ill, and when the characters are the Equestrian Princesses, their mistakes aren't simply forgiven and forgotten as in the show and have long reaching consequences. However, this has been done [[GoneHorriblyRight a little too well]], leading to [[BrokenBase a large portion of the fic's fanbase]] ending up [[RootingForTheEmpire supporting the villain totally]], much to [[MisaimedFandom the author's shock]].
* ''FanFic/ABrighterDark'' retells the story of ''VideoGame/FireEmblemFates'' while taking a massive sledgehammer to quite a few characters' personalities ([[AllLovingHero Corrin]] and Garon's especially) and rebuilds them how they naturally would be in the universe constructed by the original creators. It then takes everything and everyone in the original universe and takes them to their logical extremes, tearing apart the WhiteAndBlackMorality very thoroughly. If that wasn't enough it goes further on to methodically line up the methods in which fantasy heroes would typically deal with their problems, and gives them a big reminder about why people don't typically try them in real life.
* ''FanFic/ShinobiTheRPG'' deconstructs not only the PeggySue, SuddenGameInterface, and SelfInsert genres of Fanfic; but also ''Manga/{{Naruto}}''. [[TheHero Daisuke's]] LevelGrinding is viewed as him being a BloodKnight by his peers and colleagues, and his abilities are viewed as a unique bloodline that others desire to use for their own ends. His knowledge of future events has others eye him with suspicion. He chose Charisma as his DumpStat, which causes him to be alienated by many people and causes him to make bad judgement calls. When he finally gets "Almost Perfect" all of this and much more hits him ''[[MyGodWhatHaveIDone hard]]''.
* ''Fanfic/FallOfStarfleetRebirthOfFriendship'' deconstructs practically everything about the much despised ''FanFic/MyBravePonyStarfleetMagic'', just to list a few examples: The actions of the [[DesignatedHero supposed "heroes" of Starfleet]] [[RealityEnsues are treated as horrific as they actually are]], CallingYourAttacks just gives the enemy a chance to counterattack, a rebellion is planned to overthrow the [[TheCaligula racist tyrant Grand Ruler]], The MonsterOfTheWeek method of attack is replaced with sending battalions to cities while cutting off said cities' defenses.

[[folder:Film - Animated]]
* ''Disney/{{Frozen}}'' is one big deconstruction of classic fairy tale Tropes, including some of Disney's own. One of the heroines believes in LoveAtFirstSight. [[spoiler: She promptly falls prey to an opportunistic borderline-sociopath who only cares about the political power a marriage with her will get him, and is more than willing to toss her aside once she outlives her usefulness.]] The mysterious magic-wielding monsters [[spoiler: are more incompetent than malicious, with the best of intentions but not really thinking things through.]] The dark sorceress who lives alone in the wild and creates monsters to keep others away [[spoiler: doesn't have full control over her own power and lives by herself because she doesn't want to hurt anyone.]] And while ThePowerOfLove saves the day in the end, [[spoiler: it's not Romantic Love, but the familial love between two sisters.]]
* ''WesternAnimation/TheIncredibles'' is a deconstruction of both superhero tropes (for example, much of the story being kicked off and motivated by a severe lapsing of [[HeroInsurance Hero Insurance]]), and mid 20th century family sitcom tropes.
* ''WesternAnimation/{{Shrek}}'' is about an ogre who becomes a reluctant KnightInShiningArmor. The structure is that of a typical save-the-princess fairy tale, but with comedy and dramatic reversal added.
* ''WesternAnimation/TheLEGOBatmanMovie'' takes apart several of Comics/{{Batman}} mythos:
** The Joker sees that he and Batman have the traditional ArchEnemy relationship but because Batman doesn't connect with ''anyone'' emotionally, all he sees is that the Joker is another villain to fight.
** Batman is so consumed by his vigilante lifestyle that he has no personal life outside of being Batman. Even when lounging in his mansion, he wears the cowl and has no friends or family outside of Alfred. When [[spoiler: the Joker and the rest of the villains surrender themselves to the police]], Batman resorts to drastic measures just to try and make himself feel useful.
** Batman refuses help from anyone and chooses not to have any friends because he is terrified of reliving the pain of losing his parents again.
* The parent movie of the above movie, WesterAnimation/TheLegoMovie, deconstructs the chosen one and the heroes journey. Emmett, a normal average joe who is a YesMan and tries so hard to fit in that noone notices him, is told that he is a hero in a prophecy. He wholeheartedly believes this and tries so hard to achieve it but in the end he's told [[spoiler: the prophecy is fake. But as it turns out he is the Special the prophecy fortold. And so is everyone else. They just have to believe they are special.]]

[[folder:Film - Live-Action]]
%%* ''Film/{{Airplane}}'': Good luck ever taking a DisasterMovie seriously again. The ironic thing is that the film itself is a remake of an obscure, existing disaster film (1957's ''Zero Hour!''), which was played completely straight and was rewritten to make it a comedy.
* ''Film/TheCabinInTheWoods'' does this not just to American horror movies (especially the {{slasher|Movie}} genre), [[spoiler:but to horror movie fandom and the film industry as a whole, especially with the YouBastard note that it ends on]].
* The Creator/JohnCandy film ''Film/{{Delirious}}'' deconstructs soap opera plots, and essentially every element of storytelling.
%%* ''Film/{{Soapdish}}''.
* ''Film/FunnyGames'': A {{Slasher|Movie}} film with killers who know they're in a film and [[NoFourthWall break the fourth wall]] to accuse the audience of wanting innocents to suffer for their amusement. The killers are continually disappointed when the family does the more common sense action rather than ratcheting up the tension, and the real violence is only heard, not seen. Ultimately, the killers are the audience. [[spoiler:They even change the outcome after the family fights back... with a remote control.]]
* ''Film/GalaxyQuest'' The entire plot can be summed up in the question "what if the cast of a ''Franchise/StarTrek''-like show got mistaken for the characters they played by an alien race with no concept of lies or fiction and was drafted into leading said race to victory in a war against evil genocidal aliens?"
** OlderThanTheyThink: Some of its plot can be traced back to "[[http://fanlore.org/wiki/Visit_to_a_Weird_Planet Visit to a Weird Planet]]" ([[http://www.deadparrottavern.com/forum/showthread.php?12433-ST-TOS-Visit-to-a-weird-planet online here]]), by Jean Lorrah and Willard F. Hunt, and its sequel "[[http://members.optusnet.com.au/virgothomas/space/trek/weirdplanet.html Visit to a Weird Planet Revisited]]" by Ruth Berman, a pair of ''Franchise/{{Star Trek|ExpandedUniverse}}'' Deconstruction Fics from 1968!
** The rest of the plot, of course, is a WholePlotReference to ''Film/ThreeAmigos'', which was itself practically a WholePlotReference to ''Film/SevenSamurai''. The only thing that Amigos did different was to have the "warriors'" reputation precede them, rather than the villagers recruiting whoever they could find; several of the original samurai were very upfront about their lack of combat skill.
* ''Film/HenryPortraitOfASerialKiller''. Go ahead, try to root for Franchise/HannibalLecter or [[Series/{{Dexter}} Dexter Morgan]] after seeing this film. The SerialKiller VillainProtagonist is much closer to a RealLife one than either of those characters, not being some AffablyEvil supergenius villain who at least [[EvilIsCool manages to look cool]], but an unintelligent thug whose utter psychopathy and heinous deeds are chilling to watch.
* ''Film/AHistoryOfViolence'' deconstructs a whole slew of Action Movie cliches. The things the RetiredBadass did in his previous life, and the things he is still capable of when pushed, are genuinely scary, making the distinction between RetiredBadass and RetiredMonster virtually non-existent. Our hero is a brutal and efficient killer, morally superior to the villains only because the people he kills are worse. Being publicly hailed as a hero does not improve the hero's life; in fact it attracts unwanted attention from even scarier people. The kid who stands up to the school bully by sinking to his level gets kicked out of school and in trouble with the law. And Love may have once redeemed, but it can't overcome the darker secrets that are brought to light.
* ''Film/HotFuzz'' is this for Buddy Cop movies, and shows the mountains of paperwork the characters would have to go through by the end of the film.
* ''Film/KissKissBangBang'' is a BlackComedy which averts, subverts, inverts, defies, parodies, and eventually deconstructs more tropes than it plays straight-- and it does it marvelously.
* ''Film/LastActionHero'' attempts to deconstruct action movies and the characters found within. It falls short, but the effort is there.
* ''Film/NaturalBornKillers'' deconstructs [[IfItBleedsItLeads the relationship between violence, media sensationalism]], the audience's narrative expectations, and a handful of media formats, such as the wacky sitcom style used for Mallory's background, complete with a LaughTrack while her father molests her and various people are messily murdered.
* ''Film/{{Pleasantville}}'' deconstructs [[NostalgiaAintLikeItUsedToBe '50s idealism]] and its [[PopularHistory portrayal]] [[TheThemeParkVersion in media]].
* Creator/WoodyAllen's ''The Purple Rose Of Cairo'', ''Deconstructing Harry'', ''Mighty Aphrodite'' (complete with Greek chorus).
* ''Film/{{Scream 1996}}'' works entirely by having genre-savvy characters pointing out what ought to happen next, and how to avoid it.
* The entire SpaghettiWestern subgenre is one massive Deconstructor Fleet of its supergenre, TheWestern. The protagonists often shot first - and last - and were only the "good guys" insofar as they were less sadistic than the villains.
** ''Film/TheGoodTheBadAndTheUgly'' deconstructs not only the morality of Westerns, but the dramatic structure they're built on, stripping it down to the bare minimum.
** ''Film/{{Unforgiven}}'' is also a massive deconstruction of the Western genre; Creator/ClintEastwood's deconstruction of his own work, in fact. Eastwood spent most of his career, post-''Rawhide'', deconstructing the Western, before moving on to more genres as his career progressed.
** ''Film/BlazingSaddles'' also deconstructs the Western, but [[DeconstructiveParody for comedy]]. The whole goal of the movie was to highlight how artificial and out-of-date the entire genre was, mostly by taking tropes about "the common clay of the new West" and showing what they'd actually be like. Finally, the movie ends by [[BreakingTheFourthWall shattering its fourth wall to bits]], the characters spending the entire final act either on a sound stage or in a movie theater.
* ''Film/SevenPsychopaths'', being about writing a screenplay, frequently discusses and [[LampshadeHanging lampshades]] movie tropes. For example, during a scene where Hans has a gun pointed at him:
-->'''Paulo''': Put your hands up!\\
'''Hans''': No.\\
'''Paulo''': What?\\
'''Hans''': I said no.\\
'''Paulo''': Why not?\\
'''Hans''': Because I don't want to.\\
'''Paulo''': ({{beat}}) ''... but I've got a gun.''\\
'''Hans''': I don't care.\\
'''Paulo''': ''It doesn't make any sense!''\\
'''Hans''': (laughs) Too bad.
* ''Film/StarTrekIITheWrathOfKhan'': The subtitle of this movie could just have easily been ''The Deconstruction Of [[TheKirk Kirk]]''. Most of the core traits associated with Kirk and what their consequences in RealLife would probably be are examined and pulled apart. The adventurer who faces a problem on a weekly basis, solves it and promptly [[ButForMeItWasTuesday forgets it ever happened]] is suddenly brought face to face with one of those problems from a decade and a half before, and discovers the consequences of his thoughtlessness can be [[RoaringRampageOfRevenge measured by the body count]]. The suave lady-killer with a girl in every port discovers that one of his conquests (and it's implied that it's the only one he ever truly loved) has resulted in [[LukeYouAreMyFather a son he's never known]] and who hates him. His tendency to [[MilitaryMaverick play fast and loose with the rules]] leads to his ship being crippled and a score of dead cadets, all of which could and should have been avoided by simply raising the shields, and his trait of [[TakeAThirdOption finding novel solutions to intractable problems]] ends the life of [[spoiler: his best friend and trusted right hand]]. It also shows what happens when you take the dashing, devil-may-care heroic adventurer, let him get old and put him in a desk job: a full-blown mid-life crisis.
-->'''Bones:''' Dammit, Jim. Other men have birthdays. Why are we treating yours like a ''funeral''?
* Film/TheDarkKnightSaga is a Deconstruction of Batman. Bruce Wayne's vigilantism inspires copycats who do more harm than good, and while it leads to a decline in common crime and the power of organized crime families, it also sets the stage for the emergence of a scarier, crazier breed of criminal. The attempts to honor Harvey Dent's memory and usher in a peace in his name only lead to more draconian laws and suspensions of civil liberties in the name of justice. And, of course, we see just how emotionally and physically damaging being Batman is for Bruce, and just how unhealthy the desire to be a superhero really is.
* ''Film/HardcoreHenry'' gives the FirstPersonShooter genre of video games this treatment by showing just what kinds of gambits would have to be going on behind the scenes to produce a typical FPS protagonist and those who they interact with, as well as just how they manage to rack up such high body counts.

* ''Literature/HouseOfLeaves'' is a literal Deconstruction of the horror genre, in that it is based on the postmodernist philosophy of Deconstructionism. Arguably, it is a deconstruction of ''literature itself'', and with ''Literature/OnlyRevolutions'' it's a bit less arguable.
* Nabokov's ''Literature/PaleFire'' deconstructs and mocks literary criticism, cantos poetry, Soviet spy stories, and the narrative structure itself.
* Voltaire's ''Literature/{{Candide}}'', a vicious satire of the TastesLikeDiabetes optimism that was so popular at the time.
** Terry Southern's ''Candy'' is a deconstruction of ''Candide''. It's more obvious in the novel than the film.
* ''Literature/TheCanterburyTales'' is a meticulous parody of things such as morality plays and chivalric lessons. It is also older than ''Literature/DonQuixote''.
** Especially [[AuthorAvatar Chaucer's]] first story, where he can't decide which stereotypical villain to use--a giant or a Saracen--so he makes the bad guy a [[NinjaPirateZombieRobot giant Saracen]].
* Creator/SarahMonette and Creator/ElizabethBear's ''A Companion to Wolves'' does this to the Animal Companion genre with their ManlyGay wolf bondmates.
* Terry Pratchett's ''Literature/{{Discworld}}''. It starts out as a fairly straightforward parody of heroic fantasy and evolves into something more complex, subtle, and deconstructive that takes precise aim at nearly everything.
** This is especially true of novels that enthusiastically send up real-world social phenomena, such as ''Discworld/MovingPictures'', ''Discworld/SoulMusic'', or ''Discworld/TheTruth''.
* Frank Herbert's ''Franchise/{{Dune}}'', which took ''John Carter of Mars'' and ''Lensman'' and imagined what it would be like if the settings of said space operas (a) obeyed real physical laws, (b) were populated by grown-ups, and (c), were based on/influenced by non-western societies.
** As he put it ''"I am showing you the superhero syndrome and your own participation in it."''
* ''Literature/TheEpicOfGilgamesh''. Gilgamesh had been TheHero in stories for ''at least one thousand years'' before the Epic. The Epic [[BadassDecay revises those stories]] and [[AdaptationExpansion adds new material]] to make him into TheCaligula – and then for good measure it makes the gods (especially [[LoveGoddess Ishtar/Inanna]]) into JerkassGods. The ancient Babylonians were [[OlderThanTheyThink masters of postmodernism]]. Postmodernism and [[RapePillageAndBurn flaying]].
* Anything by Creator/ThomasPynchon, with ''Literature/GravitysRainbow'' being probably the most famous example.
* ''Literature/GreatExpectations'', deconstructing all [[Creator/CharlesDickens its author's]] work up to that point
* ''Literature/GulliversTravels'' was a satire on... well, everything. From the then-current craze for published accounts of fabulous discoveries in the South Seas (to the point where almost any outlandish or impossible tale of discovery would be avidly devoured), to trends in science, philosophy and politics.
* Douglas Adams' ''Franchise/TheHitchhikersGuideToTheGalaxy'', and its original {{radio}} version, TV, video game and movie adaptations, as well. Of course, there's also a literal Deconstructor Fleet--the Vogons.
* Brandon Sanderson wrote ''Literature/MistbornTheOriginalTrilogy'' as a deconstruction of a number of prominent high fantasy tropes. WordOfGod indicates that Sanderson was aiming at deconstructing the EvilOverlord, ChosenOne prophecies, and TheHero in particular, but there are countless other examples as well.
* ''Literature/ThePrincessBride''--Along with its [[Film/ThePrincessBride theatrical adaptation]], this story is possibly one of the most well-known deconstructions of classic fantasy tropes.
* ''Literature/TheReynardCycle'' is a deconstruction of the LoveableRogue trope. By the end of the third novel, the rascally Reynard has [[spoiler: morphed into a full blown BigBad. And he [[LoveMakesYouEvil did it all for love.]]]]
* ''Literature/ASongOfIceAndFire'': Owing to being mostly inspired by historical fiction, the series is a deconstruction of most of medieval fantasy, and shows what a world is like when a bunch of heavily armed and ambitious assholes with a lifetime of privilege can go about doing whatever they want. A more complete list can be seen [[DeconstructedTrope/ASongOfIceAndFire here]] and [[DeconstructedCharacterArchetype/ASongOfIceAndFire here]]. Examples include:
** The first book in particular has an honorable, law-abiding nobleman and his proper, ladylike daughter who just can't wait to marry the prince and begin popping out kids as the [[NaiveNewcomer naïve newcomers]] at the DeadlyDecadentCourt. [[spoiler: The first one gets a totally undeserved HumiliationConga where he is forced to confess a treason he didn't really commit, then stripped of his lands and titles, ''then'' beheaded with his own sword and has his head put on a pike; while the princess basically gets the ultimate BreakTheCutie narrative, ending up as a hostage kept to hold her vengeful family at bay.]]
** Tyrion's status as a (filthy rich) human with dwarfism seems a clear jab at the ubiquitous [[OurDwarvesAreAllTheSame Tolkienian dwarves]] in the EpicFantasy genre, even though Martin had already experimented with a similar character in previous books. Even his use of an axe in combat is explained because of his physical limitations making him unable to swing a sword properly. When Tyrion is deprived of his wealth and noble status, he gets much {{Angst}} from a CrapsackWorld that only sees him as a circus freak.
** Another important life lesson for any form of fantasy can be summed up as "no amount of magic will save you from increasingly poor fiscal policy, as even having a dragon housed in the treasury would hurt less than annoying the biggest bank in the wider geopolitical region does". Yes, boys and girls: dragons and their appetites are scary, but a liquidity problem or a supply crunch does greater overall damage than even a tactically well-deployed posse of the things.
** Ditto the "large-scale slave revolts and liberations in record time will equal a global economic slump that will trigger famine, war, pestilence and death: on-the-job learners with good intentions should only apply with great caution and a lot of thought" lesson. IndyPloy + SlaveLiberation = NotQuiteTheRightThing.
* ''Literature/HarryPotter''
** ''Literature/HarryPotterAndTheGobletOfFire'' deconstructs WhiteMansBurden with Hermione's house-elf liberation subplot. She gets called on it by practically everyone. Aside from the inherent [[{{Hypocrite}} hypocrisy]] of launching a house-elf freedom campaign without so much as asking for their help, she also bases her view of house-elf needs on Dobby — an individual whose views on freedom, payment and clothing are best described as "radically liberal" and whose circumstances which led to said views were abnormal and cruel. She completely misses the point about why house-elves are unhappy — their working conditions, not the work itself or lack of pay, and her guerilla attempts to free the Hogwarts house-elves infuriates them and increases Dobby's workload as he is left the only house-elf willing to work in Gryffindor tower. (Even Dobby recounts that, when given employment, he bargained his salary down, feeling he'd been offered too much.)
** ''Literature/HarryPotterAndTheOrderOfThePhoenix'' deconstructs the notion of a KidHero fighting against a much older EvilOverlord by showing that adults would be much better equipped to fight a large scale war, or at least think they are more competent and shut the kid out. Because of his youth, Harry has trouble dealing with the traumas of war, resulting in a HeroicBSOD that harms his efficacy as a fighter, leading him to lash out in anger and make rash decisions. [[spoiler: Subverted as the whole point of the book was a prophecy proclaiming Harry to be TheChosenOne destined to stand against Voldemort. This makes Dumbledore, who knew this all along, realize that he was wrong to shut Harry out of the business of fighting Voldemort as it deprives him of the necessary preparation for his eventual encounter.]] Order additionally deconstructs teen romance. The Harry/Cho pairing has been built up over the previous two books, with Cho giving Harry his first kiss in this book. Unfortunately, due to Harry's inexperience, Cho's over-sensitivity, and the self-involvement of both of them, the relationship falls apart after only one date (an outcome that is TruthInTelevision in many cases). Of course, given their circumstances, both Harry and Cho have better reasons to be self-involved than most teenagers.

* ''Literature/TheTenantOfWildfellHall'' [[RealityEnsues realistically]] and painfully deconstructs AllGirlsWantBadBoys and related tropes that feature prominently in works such as ''Literature/WutheringHeights'' and ''Literature/JaneEyre'', written by the author's sisters.
* ''Literature/DonQuixote'' not only deconstructs the ChivalricRomance genre, but applies GenreDeconstruction to the next genres: RomanceNovel, (MayDecemberRomance, FilleFatale), the {{Arcadia}}, SecretTestOfCharacter, SweetPollyOliver, GentlemanThief literature, the DeadpanSnarker, (and all kind of snarkers). It also has {{UnbuiltTrope}}s like StrawFan, LordErrorProne, MadDreamer, CutLexLuthorACheck and BookBurning… and given its status as the first modern novel, it’s full of {{Postmodernism}}.
* ''Literature/WutheringHeights'' is a huge deconstruction of the "guy comes back to wreak vengeance on everyone who oppressed him" genre, but most people only remember its romance aspect.
* ''Literature/VanityFair'': William Thackeray specializes in deconstructing and satirizing English society.
* ''Literature/AdventuresOfHuckleberryFinn'' deconstructs, parodies and exposes everything people of the time thought they knew about UsefulNotes/AntebellumAmerica.
* ''Literature/{{Animorphs}}'' deconstructs the KidHero trope. The Animorphs are a group of kids who WakeUpGoToSchoolSaveTheWorld, and are facing an enemy who are a dedicated invading army, and in order to fight them, they have to forgo their classes in order to focus on saving the world. Along the way they make some morally questionable choices, and do stuff out of sheer desperation against overwhelming odds. By the end of the books the heroes all suffer from [=PTSD=] with their school and social life wrecked.
* The "Vows and Honor" novels from the ''Literature/HeraldsOfValdemar'' setting by Creator/MercedesLackey is a deliberate inversion of the classic sword-and-sorcery tropes, and even inversions of some of the more common aversions. The titular duo are indeed a pairing of a barbarian warrior and an aristocratic mage--except that they're both women. Who then, in defiance of the HoYay, are respectively celibate due to religious vows and looking for a husband. And the barbarian is actually more well-read on academic topics than the mage. And she's also ''richer'' than the mage (she's the heir of all the assets of her vanished tribe, which puts her well up on the mostly-disowned noblewoman from the impoverished family). And while there is a powerful and mystic sword it belongs to the ''sorceress'', not the warrior. And the powerful and exotic intelligent familiar bonded to the ''warrior'', not the sorceress (specifically on the grounds that 'You've already got that sword to look out for you, and she doesn't have anything.') And the barbarian's favorite hobby is babysitting. And while the traditional quest object for a sword-and-sorcery duo is glory, both heroines are actually ''running away from'' the one bard actually interested in glorifying their adventures in immortal prose -- because he keeps spreading the (false!) impression that they're happy to work for free, when they're actually trying to save up enough cash for a retirement fund. Which by itself is not a usual goal for sword-and-sorcery protagonists. And the list goes ''on and on''.
* Creator/JRRTolkien does this in "Farmer Giles of Ham", where he gleefully skewers all the [[KnightInShiningArmor When Knighthood Was In Flower]], glamorized mediaeval-romantic concepts and folklore, his co-workers on the Oxford English Dictionary and his own career.
* ''Literature/ThePostman'' gleefully rips the entire genre of post-apocalyptic fiction to shreds through the simple means of making the protagonist an [[TheEveryman everyman]] rather than a badass Franchise/MadMax-type AntiHero and showing what life with marauding hordes and rampant diseases and without modern medicine, food production, industry and communications is really like when you don't have PlotArmor.

[[folder:Live-Action TV]]
* The whole point of ''Series/AdamRuinsEverything'' is to brutally tear apart whatever the subject of the episode is.
* ''Series/BuffyTheVampireSlayer'':
** The show blends genres with considerable aplomb, lampshades and plays with all the tropes it can get its grubby little hands on, and put a modernized twist on various stories and myths, not to mention deconstructing TheChosenOne.
** In Season 6, the blond girl doesn't die, even after having sex — she instead turns out to an ActionGirl and proceeds to kick vampire butt.
** Season 6 deconstructs what the show is about. The focus is on the Scoobies' foray into the real world and not the whole saving the world plot and being heroes. Only the bad guys care about that.
** Season 6 also deconstructs the FoeYay trope by showing just how dysfunctional such a relationship would be if it were ever consummated.
* ''Series/TheColbertReport'' is all about deconstructing and satirizing the StrawmanPolitical (mostly right-wing, but he's not averse to throwing darts at the Left), and many other PoliticsTropes fall as well.
* ''Series/{{Community}}'' sinks its teeth into zombies, war-films, westerns, spy films, geekdom, ''Series/DoctorWho'', video-games, ''Series/{{Glee}}'', horror...okay, really, anything that's been put into media.
* ''Series/CrazyExGirlfriend'' wrecks every romcom trope and then some. Rebecca [[WrongGenreSavvy thinks she's the heroine of a romantic comedy]] and falls in love thinking it'll make her life better, but all her rom-com actions blow up in her face and/or have unintended realistic consequences. It also becomes increasingly apparent that her dedication to the idea of Josh is just a side-effect of ''serious'' mental issues.
* ''Series/DoctorWho'' has, at various times both deconstructed tropes with wild abandon and later, as a side-effect of RunningTheAsylum, deconstructed itself and its {{Fandom}}.
** The banally entitled, late '70s story [[Recap/DoctorWhoS14E5TheRobotsOfDeath "The Robots of Death"]] explored the real effects of living in a society with robots as a work force. Wouldn't, for example, UncannyValley rear its head?
** A few years later, writer (later briefly script editor) Creator/DouglasAdams had [[Recap/DoctorWhoS16E2ThePiratePlanet "The Pirate Planet"]], which explicitly gave the villain some actually specific purpose for his villainy rather than putting it down to some vague "powerlust" or the like.
** In [[Recap/DoctorWhoS17E5TheHornsOfNimon "The Horns of Nimon"]], the Doctor's formerly GenreBlind companion notes through word play that the head guys have a "power complex".
** The new series episode [[Recap/DoctorWhoS30E10Midnight "Midnight"]] is especially notable. The entire purpose of the episode, except to scare people half to death, is a deconstruction of how people would ''really'' react to a weirdo genius knows-too-much alien stranger in a crisis. It...doesn't go well, shall we say.
** [[Recap/DoctorWhoS30E16TheWatersOfMars "The Waters of Mars"]] [[spoiler:essentially deconstructs the Doctor himself and the mythology that the series has built around him. It involves the Doctor holding back death, defying the laws of time and space to save innocent lives and rewrite the history books and generally acting up to titles like the 'Lonely God' that the series has often thrown around about him, doing things similar to what he's done before and which would under other circumstances be presented as a CrowningMomentOfAwesome... except here, the people who would normally amazed, dazzled and charmed by him are freaked out by what he's done and who he is, and his very actions are presented as wrong and indicative of his growing arrogance, indifference and alarming tendencies towards AGodAmI Syndrome.]]
** Made even more bone-chilling when paired with the revelation of [[spoiler:The Forgotten Doctor]]. The Tenth Doctor was willing '''to cast aside''' the mantle of "The Doctor" and become "Time Lord Victorious", and would have [[spoiler:if not for Adelaide's suicide.]] Whatever '''that man''' did, he is either what the Tenth would have become if he remained "Time Lord Victorious"... [[FridgeHorror or far, far worse.]] [[spoiler:It was and wasn't. That "lost" incarnation, The War Doctor, was the one who ''destroyed'' Gallifrey.]]
** "The Waters of Mars" and "Hell Bent" between them explain exactly why the Doctor needs a companion as a MoralityPet. If he does not have one for long enough [[spoiler: he becomes just as bad as the villains he faces.]]
** Several stories have shown that sometimes the Doctor's arrival does not make everything better and that sometimes [[NiceJobBreakingItHero it actually gets FAR worse.]] They are "The Ark", "The Face of Evil", "Bad Wolf / The Parting of the Ways" and "The Woman Who Lived".
** "A Good Man Goes To War" deconstructs the Doctor's tendency to be TheDreaded to his enemies. It also causes the episodes villains to become so scared that they will do anything to get an advantage. It gets even worse in "The Time of the Doctor" which reveals that [[spoiler: they were trying to prevent a second Time War and the Doctor's reputation honestly made them think he would restart it.]]
** Part of what distinguishes the new series from the classic series is the former's serious examination of the Doctor's relationships with his Companions, thriving on showing the dark side that the classic series rarely delved into.
*** Rose's portrayal shows what can happen when a Companion becomes so attached to the Doctor that she no longer knows how to function in "normal" life. [[spoiler:When she's forcibly separated from the Doctor in [[Recap/DoctorWhoS28E13Doomsday "Doomsday"]], it absolutely devastates her, to the point that she considers herself dead, and believes that her post-Doctor life is meaningless.]]
*** Sarah Jane's portrayal depicts what happens to a Companion after departing from the TARDIS. In the thirty or so years since, she hasn't been able to reintegrate into normal human society, developed abandonment issues, and spent her free time looking for trouble in order to feel closer to the old days. However, she is [[DeconReconSwitch reconstructed]] almost immediately, given closure by the Tenth Doctor and allowed to become a hero in her own right.
*** Martha's portrayal examines the dark side of the Companion's ReplacementGoldfish aspect -- since, of course, every Companion will always be replaced by a new one as long as the show keeps running. [[spoiler:She eventually leaves the Doctor of her own free will because she's tired of living in the shadow of the Doctor's previous Companion, Rose, and feels like she's just a substitute for her.]]
*** Donna's portrayal shows, once again, the dark side of obsession with the Doctor. After just one brief meeting with the Doctor in [[Recap/DoctorWho2006CSTheRunawayBride "The Runaway Bride"]], her "normal" life feels completely empty, and she wastes an entire year just waiting to see him again, immediately abandoning her family without a second thought when she runs into him.
*** Amy's portrayal shows the detrimental effects that life with the Doctor can have on mundane human relationships. When she finally becomes a Companion after obsessing over the Doctor since childhood, she very nearly abandons her fiancé to travel with him. Later episodes even introduce a brief ShipTease, where we're given good reason to believe that the Doctor is the real father of her child. [[spoiler:He's not, but [[AdultFear Amy ends up losing her baby]] because of her adventures with the Doctor.]]
*** Clara's portrayal shows the effects of the power that comes from being the Doctor's MoralityPet - it alternatively horrifies her ([[Recap/DoctorWhoS34E7KillTheMoon "Kill The Moon"]]) or corrupts her ([[Recap/DoctorWhoS34E9Flatline "Flatline"]]). Sometimes traveling with the Doctor is even treated as an addiction, especially in [[Recap/DoctorWho2014CSLastChristmas "Last Christmas"]]. Clara also shows the negatives of becoming more like the Doctor; you begin to lose your humanity and become far more reckless [[spoiler: until you endanger your own life]]. It also makes you a bad MoralityPet, which the Doctor definably needs.
* ''Series/{{Farscape}}'' and ''Series/{{Firefly}}'' did pretty well to deconstruct the SpaceOpera, contributing to the drastic (and fairly sudden) shift in tone of Space Operas that happened around 2002-3. The shift was so sudden that ''Series/StarTrekEnterprise'' dramatically shifted ''mid-series'', the third and fourth seasons having a considerably darker, serious, and what would later be recognized as more ''modern'' tone.
* ''Series/GameOfThrones'' does this for every fantasy trope you can imagine. GoodOldWays? The show ''repeatedly'' shows off the flaws of the feudal system. TrialByCombat? It's not about who's right or who's more skilled, it's about who can fight dirtier - as evidenced by the tough knight Bronn throwing his duelling opponent to his death and [[DeadpanSnarker snarking]] at the indignant Lysa Arryn when she calls him out. FaceDeathWithDignity? Burning to death is an ''extremely'' painful way to go, and both people who went that way cracked their composure very quickly. EverythingsBetterWithPrincesses? '''[[DeliberateValuesDissonance No it isn't]]'''.
* ''Series/MysteryScienceTheater3000'' features movies that embody just about every trope ever thought of, which the riffers relentlessly mock.
* ''Series/MythBusters'' is dedicated not only to busting myths and urban legends, but [[JustForFun/TropesExaminedByTheMythbusters deconstructing tropes.]] That said, their method of testing is usually to assume the myth/trope is ''true'' and to work from that end, which is why there are quite a few that end up as "plausible" or even "confirmed"--the "busted" ones are the ones they couldn't get to work.
* ''Series/{{Seinfeld}}'', with its observational humor, intersecting plot-lines, non sympathetic protagonists, and the famous RealTime Chinese Restaurant episode kicked off a revolution. Every SitCom that came afterwards owes something to it (to the point that the original now sadly seems [[SeinfeldIsUnfunny cliche]]).
* ''Series/{{Supernatural}}'' has occasional bouts of ruthless deconstructionism. It rips apart the ideas of perfect heroes, perfect angels, always chaotic evil demons, pretty little headshots, and sometimes, with great aplomb, slashfic, fandoms, and internet trolls. Meta doesn't even begin to describe it.
* ''Series/TheWire'' savagely deconstructs {{Police Procedural}}s. It's hard to go back to them afterwards.
** It goes beyond that - after deconstructing police procedurals, it goes on to deconstruct your perceptions of most of society's important institutions.
** One of the reasons that [[EnsembleDarkhorse Omar Little]] is such a popular character is that he's essentially a living deconstruction of every ActionHero trope that you've ever seen, yet still manages to be memorably badass in his own way.
*** Instead of being an invincible OneManArmy, he comes out on top because he meticulously plans his every move, and [[ShroudedInMyth he knows how to exploit fear and intimidation]] as well as any gangster.
*** While he is a walking paragon of classic masculinity, he's ManlyGay, but defiantly refuses to stay in the closet (despite living in the virulently homophobic inner-city of Baltimore).
*** Instead of being an idealistic crusader, he's a cynical, nihilistic thug who rips off drug dealers [[ItAmusedMe for the simple thrill of it]], and he receives several well-deserved WhatTheHellHero speeches from the police, who point out that his violent actions harm the city just as much as the drug war does.
*** Though he ''tries'' to wage a one-man war on Baltimore's gangs as a VigilanteMan, his efforts often frustrate the efforts of police officers to stop criminals the old-fashioned way (as seen in Season 1, when [[spoiler:he murders Stinkum to avenge his lover Brandon, preventing the police from using Stinkum as a link to [[TheDon Avon]]]]).
*** He tries to pull off a classic RoaringRampageOfRevenge exactly twice in the run of the show. [[spoiler: Though the first one is successful, the second one ends with him being unceremoniously gunned down by a child, showing that he's just as mortal as everyone else involved in "the game".]]
*** For all his badassery, he never rises about the level of a minor supporting character--which is notable, since he'd probably be the ''protagonist'' in 90% of action thrillers taking place in urban America. The series is quite up-front about that fact that he's just one cog in the social machine that keeps the drug trade afloat, and that few of his actions truly matter in the grand scheme of things.
* ''Series/StargateSG1'' had frequent moments of trope deconstruction. See fan-favorite "Window of Opportunity" for how it deconstructs and [[LampshadeHanging lampshades]] the GroundhogDayLoop.
* ''Series/TwentyFour'' showed how saving the world is made complicated by politics and personal issues. It also showed just how much something like breaking the laws constantly and fighting terrorists take effect on the people who do it, and how torture just doesn't work when the people being tortured are so devoted to their cause, and how the action disturbs anyone who does it.
** [[http://www.newyorker.com/magazine/2007/02/19/whatever-it-takes Just don't tell that to the show's fandom]]
* The Korean dreams ''First Wives Club'' deconstructs many FamilyTropes as well as LoveTropes and {{Romance Arc}}s.
* Series/StarTrekDeepSpaceNine gradually became one big Deconstruction of Star Trek ''itself'' as it went on, bringing to the forefront all the implied-but-never-addressed problems with Gene Roddenberry's universe. The utopian Federation has no effective mechanism for addressing political dissent (how could anyone not be happy in a utopia?); nearly everyone is content, and the ones that aren't are seen as eccentrics at best, and at worst, dangerous rebels like the Maquis. Starfleet, the LawfulGood defenders of freedom and enlightenment, got that reputation largely through military superiority, and the introduction of Section 31, the "dirty tricks" department of Starfleet, brought to light the behind-the-scenes moral compromises the organization has unintentionally made in order to maintain that superiority. When faced with an enemy that they were unable to defeat through straightforward tactics, Starfleet turned to potential war crimes disturbingly fast. The ProudWarriorRace trope was also Deconstructed with the corruption and civil war that plagued the Klingon Empire toward the end: a society based around combat and martial prowess turned to be little more than a society of violent, glory-obsessed thugs who give plenty of lip service to honor and loyalty but will quickly turn on each other to gain an advantage. Ironically, the one Klingon character who best embodied the ideals the Klingons were ''supposed'' to live up to wasn't even raised as one.
* ''Series/KamenRiderRyuki'' deconstructs many common HenshinHero tropes, the idea of CompetitiveBalance in a fighting tournament and how easy it is to get around through dirty fighting [[spoiler: and that the fight itself is rigged with the host owning a near unstoppable GameBreaker he can replace if it dies]], {{Mons}}, which will turn and eat the Rider if not fed, and the commonly used PhlebotinumRebel in the Franchise/KamenRider franchise because the BigBad made sure that any attempt to oppose him is doomed to fail.
* ''Series/KamenRiderGaim'' deconstructs many tropes. Even ones that don't necessarily belong to the HenshinHero genre.
** The first arc deconstructs the {{Mon}} genre. The Inves, basically the Mons in this series, aren't automatically loyal to their owner, pose a real threat to anyone nearby should they go berserk and [[spoiler: carry TheVirus which turns everyone bitten or scratched by them into one of them]]
** Kamen Rider Sigurd manages to deconstruct the standard 'Righteous hero defeating Evil Monster' trope with one single line, after killing[[spoiler: a crazed Hase, who was turned into]] an Inves, in cold blood, while clearly enjoying it.
--> '''Sigurd:''' I just exterminated a monster that attacked people. This is what people call 'justice'.
** The second and third episode slightly deconstructs the fact that heroes can't be corrupted by their power. After Kouta receives his Rider powers, he starts using them for almost every trivial chore he encounters on his part-time jobs. HilarityEnsues. In the third episode, it is revealed he used his powers to win money at the Inves Games, causing his sister to call him out on that he is wasting his time with games instead of helping society through jobs.
** The series also deconstructs the BigBad trope, in that what first appeared to be the BigBad, is one of the most moral and well-intentioned characters in the whole show, only rivaled by TheHero himself.
* Both ''Series/TeenWolf'' and ''Series/PrettyLittleLiars'' deconstruct other teen shows. Basically, having too much drama in your life for a teenager can be distracting, and lead to personal lives being screwed up. Also, lying to people all the time can do major damage to relationships and reputation. In the former show's case, Stiles and Scott struggle in school from having to rush out and deal with the danger surrounding their things, whatever that means. In the latter's case, the girls not only struggle with school, but dealing with an unknown stalker and their crazy friend Alison had led to them breaking down and succumbing to mental illness, drugs, and alcohol.
* ''Series/ThePlayer'' takes ''every single element'' of ActionAdventureSeries series and puts them through the grinder.
** The CentralTheme is a deconstruction of VigilanteMan series like Literature/TheExecutioner or Literature/TheDestroyer; the The Player's backers actually have authority ''over'' the system any other vigilante would see himself as superior to, and Alex would much rather [[LawfulGood work within the system]] as he has [[DarkAndTroubledPast personal experience]] of [[HeWhoFightsMonsters what working outside the law will do to his psyche]]. However, his resources are under the control of an AncientConspiracy of [[{{Fiction 500}} absurdly rich]] [[ScrewTheRulesIHaveMoney sociopaths]] who can't be considered civic-minded by any definition of the term - they're only supporting him to [[DoNotDoThisCoolThing watch him kill people/blow stuff up]] and roughly half the funding comes from fat cats who hope he'll either ''fail'' or '''die.''' Mr. Johnson agrees that it would be much better if [[ReedRichardsIsUseless the technology]] the Player uses to "[[TheyFightCrime fight crime]]" was part of [[CutLexLuthorACheck legitimate law enforcement]], but the Gamblers wouldn't find that to be [[ForTheLulz as much fun]], and they're the PowersThatBe and things would be a lot worse if the Game didn't exist for the Gamblers' amusement. He's able to do so many things because PoliceAreUseless, but only because they're forcibly LockedOutOfTheLoop by the House.
** The ''gambling'' themes; the odds that Alex will successfully prevent a given crime are judged as absurdly low, but just about every form of institutionalized gambling ultimately has similar odds of failure.
** The whole idea of a OddlySmallOrganization that pulls a WeHelpTheHelpless routine gets broken down. It's small but effective because it doesn't focus on helping those in need, but only on the crimes that the Pit Boss thinks will amuse the Gamblers. It manages to avoid detection from the authorities not by guile or plot holes, but through blackmail and intimidation. It's well-funded, but also seems to run through personnel rapidly. Alex is only the latest of a long line of quickly dead Players.
** The idea of StuffedInTheFridge as a motivation for action heroes. Ginny dies early in the pilot, sending Alex into becoming TheUnfettered again. Even when he joins the House, he's still running on anger and a self-destructive pattern. When it's revealed that Ginny's ''not'' dead, he gets way more motivated and starts putting his GuileHero nature to work. Much of the drama and story spins out of the fact that Ginny didn't die like Alex thought.
** The AncientConspiracy. The Game isn't some goal-oriented scheme by visionaries or KnightTemplar, but just something a bunch of bored rich sociopaths do because EvilIsPetty. Rather than being all powerful and foreseeing things, the Gamblers are powerful, but can't control every action. Case in point: Their early Bets spiraled out of control into World War One and necessitating the creation of the House. And since the Gamblers are in multiple generations, different views on the Game exist, even in families (as Zeing and his uncle demonstrate). The Council has control, but still doesn't have unlimited power. Why? Even the Gamblers still have lives outside of the Game; Zeing has his Triad shipping business, Lettis his judicial job. And they can't just go ordering people around outside of their jurisdiction. The entire reason the AncientConspiracy seems to even still exist at this point is because of money, and because the Game is so narrowly focused that it doesn't consume the Gamblers' lives or have a larger goal.
* The reality series ''Series/CanadasWorstDriver'' is this trope on wheels. Literally. The series slaps on a healthy amount of RealityEnsues by tackling all the excuses and reasons for bad driving by showing how dangerous it is to be a dangerous driver.


[[folder:Video Games]]
* ''VideoGame/SpecOpsTheLine''. It sets itself up as a generic ''VideoGame/ModernWarfare'' clone, starting with you being part of the [[SendInTheSearchTeam search team]], but starting in the second act, it shows its true colors as a deconstruction of more than just modern shooters, but of moral choices systems, ButThouMust, OneManArmy, and ultimately, escapist power-fantasy video games.
--> '''[[spoiler:John Konrad:]]''' You're here because you wanted to feel like something you're not: a hero.
** While it's at it, it reserves some pretty harsh criticism for [[AmericaSavesTheDay American interventionist foreign policy]], though the developers argue that people tend to overstate this aspect. Mostly, they wanted to deconstruct the military shooter genre.
* [[Creator/TaroYoko Taro Yoko]] is known for this in his games, savagely parodying, lampshading, subverting, and mocking tons of familiar JRPG and anime conventions.
** ''VideoGame/{{Drakengard}}'' deconstructs action {{Role Playing Game}}s, MultipleEndings, and DarkFantasy in general. In particular, it's infamous for its multiple endings which became progressively more difficult to unlock while simultaneously becoming more bizarre, depressing and surreal, culminating in an elaborate [[spoiler: [[GainaxEnding Gainax]] JokeEnding]]
** ''VideoGame/{{NieR}}'' is pretty much the Japanese version of ''VideoGame/SpecOpsTheLine'' in terms of the way it deconstructs the very concept of heroism. [[PlayerPunch Especially]] its massive deconstruction of NewGamePlus, which is used as a medium to expand the narrative - its not for nothing that the game is widely considered to be one of the [[TearJerker most depressing games]] [[DownerEnding ever made]].
** ''[[VideoGame/NierAutomata NieR: Automata]]'' does much the same thing as the original game, and adds one of the most comprehensive deconstructions of DoAndroidsDream in fiction to the mix.
* ''VideoGame/AlanWake'' is basically the ''Literature/HouseOfLeaves'' of video games. It takes as many meta tropes as it can, such as ThroughTheEyesOfMadness, AllJustADream, DeadAllAlong, and {{Transfictionality}} and takes them apart with every plot twist, so that the player is left guessing which is true until the very end of the game.
* ''VideoGame/TheBardsTale'' takes cheery jabs at fantasy games and [=RPGs=], especially the idea of TheChosenOne. It turns out there are multiple "Chosen Ones" - because when you tell a young farm boy he's destined to defeat evil and hand him a crappy sword, he tends to rush into the fray and die instantly.
* ''VideoGame/{{BioShock|1}}'', using Creator/AynRand's ''Literature/AtlasShrugged'' as a jumping off point, explores its various concepts while deconstructing Rand's philosophy, {{First Person Shooter}}s, and the tropes common to early 20th century fiction.
** The antagonists of the first two games, Andrew Ryan and Sofia Lamb, deconstruct the idea of the {{Ubermensch}}, showing how such a person would be, ''at best'', a WellIntentionedExtremist, and at worst hypocritical and dogmatic. Ryan is himself a composite of John Galt (the hero of ''Atlas Shrugged''), the industrial plutocrats of the time, and Ayn Rand herself. At the same time, [[spoiler:Frank Fontaine, the real BigBad of the first game]], takes the archetypal Randian villain -- a man who leeches off of others to get ahead and in turn supports those who leech off of others -- and turns him around into the embodiment of the criticisms of Objectivism. He's out [[ItsAllAboutMe purely for his own rational self-interest]], and if that means destroying the life's work of the man who tried to destroy his, all the better.
** ADAM is a deconstruction of both superpowers and MundaneUtility. The frivolous uses of the substance for plastic surgery, sports, and other mundane purposes left people hopelessly addicted, repulsively disfigured by genetic disorders, and irrevocably insane, thus creating the Splicers that function as the main enemies of the game. The only characters in the game who haven't ended up this way are people who [[UsefulNotes/StraightEdge didn't splice]] (Ryan, Lamb, Tenenbaum, and Holloway), [[FunctionalAddict spliced in moderation]] (Atlas, Sinclair, Poole, Langford, and Fontaine [[spoiler: prior to the final boss battle]]), or possessed a natural immunity (The Big Sisters, Eleanor, and apparently [[spoiler: the protagonists]]).
*** Or they died.
** The twist of the first game deconstructs MissionControl, showing how [[FirstPersonShooter FPS]] = ButThouMust in most cases.
** The first game also deconstructs the plot of ''Atlas Shrugged'', which ends with the iconoclastic society of Objectivist outcasts thriving while the 'mundane' mainstream society completely falls apart. In ''Bioshock'', the self-interested and ruthless nature of the Objectivist outcasts eventually leads to them all tearing their society apart, while mainstream society continues on apparently without even noticing that they've gone.
** ''VideoGame/BioshockInfinite'' deconstructs the nature of linear video games upon its ending, [[spoiler:stating that there are constants and variables in the narrative, alluding to the gameplay (and programming) itself)]].
* ''VideoGame/CannonFodder'', which takes the MilitaryAndWarfareTropes page and systematically tears it to pieces.
* ''VideoGame/DragonAgeOrigins'' is a gleeful deconstruction of just about every trope listed on the StandardFantasySetting page. ''VideoGame/DragonAgeII'', meanwhile, is ultimately an unintentional deconstruction of Western [=RPGs=] as a whole. There is no single BigBad to pin the central conflict on, nor is there a third option when the time comes to pick a side. In fact the conflict is sparked by the instigator ''specifically eliminating'' all chance of a third option. Hawke is less interested in saving the world than simply trying to keep his or her family safe and together, possibly making Hawke one of the most relatable protagonists in video game because of the need to deal with real person problems, but unfortunately the plot has [[TraumaCongaLine other ideas]].
* ''Franchise/FinalFantasy'', starting from roughly ''[[VideoGame/FinalFantasyVI VI]]'' on, has been subtly doing this, poking holes in the concepts of TheChosenOne, the characters' dependency on GreenRocks or phlebotinum to solve their problems, cheerful heroes, sullen heroes, {{Heroic Sacrifice}}s, and so on, all while diving deeply into GenreBusting waters. ''VideoGame/FinalFantasyVII'' is perhaps the most extreme example.
** Even before that, a common interpretation of ''VideoGame/FinalFantasyV'' is that it was meant as a long, but loving, series of jabs and comedic deconstructions at common themes, characters, and plot points in the first four games, though it can be argued that this is just a misinterpretation of an incredibly straightforward RPG plotline.
** ''VideoGame/FinalFantasyXIII'''s entire plot and world seems to be a deconstruction of ''Franchise/FinalFantasy'' itself, particularly how much it would ''suck'' to be taken out of your life and given a quest and magical abilities by powerful entities. Indeed, the characters themselves seem to be deconstructions of typical FF characters. For instance, the sullen loner isn't depressed, just quiet, ditches people who become burdensome and shirks leadership. The charismatic and headstrong leader has no idea what he's doing and gets people killed with his idealism. The cheerful ditzy girl is really just hiding how suicidally depressed she is, and so on.
* ''Videogame/MetalGear'' as a whole is known for this:
** ''Metal Gear Solid'' deconstructs the [[Videogame/MetalGear1 original]] [[Videogame/MetalGear2SolidSnake games]] as well as the DieHardOnAnX formula.
** ''Sons of Liberty'' practically deconstructs the [[NoFourthWall entire concept of video gaming itself]] ([[Synopsis/MetalGearSolid2SonsOfLiberty See here for more details]]), and continues the tradition of subverting earlier games in the series by twisting the NurtureOverNature Aesop of the previous game into a sinister AncientConspiracy that reshapes people's whole personalities through social engineering. Really puts [[HarsherInHindsight a dark spin]] on Naomi's "people can choose how they live" speech, no?
** ''Snake Eater'' does it for spy thrillers and Bond movies. Hell, the theme music, ''Snake Eater'', sounds like it came straight out of a Bond film.
** ''Guns of The Patriots'' deconstructs the concept of sequel and grand finale in general.
** ''Peace Walker'' has no deconstruction at all for a change.
** ''The Phantom Pain'' deconstructs revenge stories, and also deconstructs Fanservice tropes with the character of Quiet.
* ''VideoGame/NoMoreHeroes'' rips into ToBeAMaster and GottaKillEmAll plots, showing just what kind of sick, twisted world an equally sick protagonist would actually ''want'' to participate in.
* ''VideoGame/PlanescapeTorment'' takes aspects of Dungeons and Dragons, such as character alignment, and drags them out to their logical extremes (a trend already started in Planescape sourcebooks). The characters and plot are deliberate aversions of clichés found in most typical fantasy games.
** [[DeathIsASlapOnTheWrist Respawning]] is turned into the crux of the plot: the player character cannot die and the quest is to find out why.
** There's even an optional dungeon that's the bare essence of RPG dungeon crawling, complete with enemies that explicitly attack you for no reason.
* Kreia from ''VideoGame/KnightsOfTheOldRepublicIITheSithLords'' lambasts many facets of the ''Franchise/StarWars'' universe, especially its BlackAndWhiteMorality and deferring to the Force. She tells the player character that altruism can cheapen the efforts of others, that the Jedi Order is not infallible, and that the Force manipulates its users for constant conflict.
** On top of bringing moral nuances into Star Wars, the game also darkly subverts many tropes of role-playing games, such as when leveling up from from helping or killing people along the way is acknowledged diegetically.
* ''Franchise/ShinMegamiTensei'' - Long before ''Manga/{{Narutaru}}'' did, they had already deconstructed the sheer horror of a world populated by {{Mon}}s while also being the TropeMaker.
** With ''VideoGame/DevilSurvivor'' targeting the {{Mons}} tropes put forth by ''Franchise/{{Pokemon}}'' the most. How bad does it get? It's frequently considered to be the ''darkest game in the entire franchise.'' Keep in mind that this is a franchise that revels in [[AfterTheEnd post-apocalyptic]] settings, [[GodIsEvil God being kind of an asshole]] and [[SatanIsGood Lucifer being a fairly alright guy]] (if a bit manipulative), and having to pick between either fascist religious zealots, murderous [[TheSocialDarwinist Social Darwinists]], or just beating the hell out of both of them.
** ''VideoGame/{{Persona 4}}'' deconstructs common personality archetypes in fiction and the difficulty that occurs from trying to live up to them.
** ''VideoGame/{{Persona 5}}'' loves demonstrating what happens when RealityEnsues, for better or worse for our heroes.
* The biggest appeal of games in the ''VideoGame/TalesSeries'' is the fact that they glue as many cliches together in the first few hours and then deconstruct them so much that on many occasions sections of the fanbase think that ''the BigBad'' is the real hero. Some specific examples:
** ''VideoGame/TalesOfPhantasia'' started the trend. While tame now, back in the day the revelation that the main villain was after a completely understandable, totally reasonable goal--which unfortunately could only be achieved through rather amoral means--was a huge twist.
** ''VideoGame/TalesOfSymphonia'' grew famous for being a Deconstructor Fleet; it savagely tears into the concept of TheChosenOne as well as the IdiotHero; FantasticRacism, while not necessarily "deconstructed", receives a ''lot'' of examination. The concept of a {{Determinator}} also gets deconstructed, as it's ''the BigBad's primary flaw.'' A lot of effort is put into examining [[HeroicSacrifice sacrifices]] and what it means for a person to be a sacrifice. TheChosenOne Colette can also be seen as a deconstruction of {{Purity Sue}}s. She's the daughter of the angel [[spoiler: (actually not; everyone just assumed she was, and the angel guiding her just decided to latch onto that to better control her)]], loved by everyone ([[spoiler:until she decides she wants to live instead of sacrificing herself for the sake of the world, causing all of Sylvarant to turn on her]]) and is kind and selfless to a fault ([[spoiler:her attempts at hiding the horrible things her Cruxis Crystal is doing to her body for fear of making everyone worry just makes things worse for herself, and makes the party (especially Lloyd) suffer even more when they ''do'' find out.]])
** ''VideoGame/TalesOfTheAbyss'' so totally shatters the notion of prophecy, and the implications future-telling could have on people, both on a societal and individual level. It examines a lot of [[CloningBlues Cloning]] tropes as well. Also, while neither are explicitly the good guys or the bad guys, the kingdom is more warlike and causes a lot more trouble than TheEmpire does, and has much more blood on its hands in the backstory. The game also deconstructs the concept of the AmnesiacHero. [[spoiler: Luke isn't actually an amnesiac. He's a clone. The reason he can't remember anything before his seventh birthday is because ''he didn't exist yet.'']]
** ''VideoGame/TalesOfVesperia'' takes aim at ProtagonistCenteredMorality, especially through the concepts of the AntiHero and VigilanteMan. Is a hero who makes decisions without considering the opinions of those whose lives he changes--whether it be ten people or ten million--really a hero?
** ''VideoGame/TalesOfGraces'' takes aim at the IWillWaitForYou trope, showing the realistic consequences of the trope where Cheria waited seven years for Asbel to return. It also takes what can only be described as a TakeThat to ''Franchise/FinalFantasy'''s {{Omnicidal Maniac}}s, by featuring a BigBad who is a rather blatant {{Expy}} of [[VideoGame/FinalFantasyVII Jenova]] and [[VideoGame/FinalFantasyX Seymour]] (that is, [[spoiler:said villain wants to destroy the world through global warming because it's full of pain and suffering]]) by showing how utterly pointless destruction of all living things is, since nobody - not even the ''instigator'' of the said apocalypse - can benefit from it.
** ''VideoGame/TalesOfXillia'' took the UndyingLoyalty trope and deconstructed it, showing how wrong one can appear by focusing so much and turning a blind eye to one's actions. There's also Muzét, whose undying loyalty towards the Lord of Spirits, is presented as a huge flaw. [[spoiler: When her loyalty is repayed with nothing but scorn, she goes against Maxwell, her creator, and decides to follow Gaius now.]] Milla could also be seen as a deconstruction of the {{Determinator}} trope. Milla is always focused on her mission and barely cares about anything else, except to get closer to her goal. [[spoiler: Her determination is so strong, that she still decides to keep going when her legs become paralyzed and eventually decides to commmit a HeroicSacrifice, simply because it would serve her goal and fulfill the idealized view of her as the Lord of Spirits.]]
** ''VideoGame/TalesOfXillia2'' takes aim at the ExpendableAlternateUniverse trope. At first it seems pretty standard, with the player righting what went wrong and restoring the real universe. Then an alternate version of Milla, the previous game's heroine, is accidentally brought to the prime dimension. The entire point of her character arc is that she is just as real as the Milla the player and the rest of the returning cast knows from ''VideoGame/TalesOfXillia'', something even the original cast has varying degrees of difficulty with. [[spoiler:In the end, she sacrifices herself or is sacrificed to bring back the Prime Milla. While the rest of the cast is celebrating Prime Milla's return, Elle is heartbroken over Alternate Milla's death and lashes out, because from her perspective, Alternate Milla was the real one and Prime Milla is the fake. All of this is used to set up TheReveal, that Elle herself is from an alternate dimension, and ends up resigned to dying so her "real" self can be born later.]]
** ''VideoGame/TalesOfZestiria'' takes on the MessianicArchetype and the IncorruptiblePurePureness tropes and demonstrates just how hard keeping such a purity would be, and how it is practically impossible to save everybody. The game is littered with examples of would-be Messiahs and religious fanatics who, while acting entirely with good intentions (at least, at first), end up causing way more harm than good. The game also confronts TakeAThirdOption at multiple points, as there may not be a magic third option that solves everything neatly, and the search for the third option may instead simply be an attempt to escape from having to make a difficult decision. Not to mention its rather meta take on BrokenBridge. [[spoiler: You CAN go right up and face the BigBad much, much earlier than you're supposed to story-wise, but doing so grants you the BadEnding since you aren't aware yet that he isn't the real source of the problem.]]
** ''VideoGame/TalesOfBerseria'' is the prequel to ''Zestiria''. Naturally, this is one of those games wherein your villain is actually a VillainWithGoodPublicity and the player character goes down in history as [[spoiler: the Lord of Calamity - which was the title given to Heldalf in ''Zestiria'']]. It also acts as an InternalDeconstruction of many of ''Zestiria'''s features. After ''Zestiria'' left a feeling of how great it would be to get rid of Malevolance, [[spoiler:''Berseria'' shows exactly what that would look like, and the results are not pretty. Armatization, the holy ability that marks the Shepherd, was developed by the villains for the purpose of ''enslaving'' the spiritual beings the world worships.]]
* Several Flash games such as [[http://armorgames.com/play/2893/achievement-unlocked Achievement Unlocked]] and [[http://armorgames.com/play/4309/this-is-the-only-level This Is The Only Level]]. And who could forget ''VideoGame/YouHaveToBurnTheRope''?
* The premise and plot of ''VideoGame/{{Penumbra}}'' and ''VideoGame/AmnesiaTheDarkDescent'' sound like complete {{Cliche Storm}}s of various horror story tropes, but they actually make mincemeat of them by [[MindScrew toying with the player on every occasion]] and [[PlayingWithATrope subverting the hell out of every horror trope known to man]].
* ''VideoGame/{{Thief}}'' cheerfully tears apart every stereotypical "thieves' guild"-related trope remembered from ''TabletopGame/DungeonsAndDragons'' and also likes to play around with the various factions and creatures inhabiting its LowFantasy setting. Consider, for instance, that a thieves' guild would be made up exclusively of criminals. [[CaptainObvious Criminals do not obey rules]]. ''Of course'' they're all going to be trying to rip off their fellow thieves! There's a reason Garrett works independent.
* Would you believe if someone tell you that some installments of ''VideoGame/{{Touhou}}'' are Deconstructor Fleet? Let us observe...
** ''Imperishable Night'': Deconstructs {{Immortality}} and associated tropes. The immortals have nothing to do, and keep sane, relatively speaking, by tearing each other to shreds (sometimes literally).
** The fighting game ''Scarlet Weather Rhapsody'' also deconstructs AscendToAHigherPlaneOfExistence and FluffyCloudHeaven this way, as the main villain is a Celestial who ascended together with her parents. She's so bored with all the happiness up there, she decided to descend and cause trouble on Earth.
** ''Phantasmagoria of Flower View'' [[WordSaladTitle (sic)]]: Touhou deconstructs ''itself''. Eiki explicitly warns the other characters that they are so going to Hell if they don't change their [[{{Jerkass}} atrocious]] [[MrViceGuy behavior]]. Eiki is a ''Judge of The Dead''.
** ''Unidentified Fantastic Object'': Touhou deconstructs itself ''[[UpToEleven yet again]]''-- HumansAreBastards and the playable characters are {{Knight Templar}}s.
** By applying some FridgeHorror to ''Mystic Square'', one way to interpret the plot is to think of it as; "[[Literature/AliceInWonderland What if Alice actually went to hell]]?"
** ''Urbal Legend In Limbo'': Touhou deconstructs '''[[TakeThatAudience its audience]]''', particularly the FandomSpecificPlot of someone from the Outside World ([[AuthorAvatar read: the author's obvious self-insert]]) ending up in Gensokyo, [[GodModeSue gaining ridiculous powers]], [[BlackHoleSue becoming instantly adored by every canon character]], and so on. Sumireko Usami is this character archetype (except she already has powers instead of gaining them in Gensokyo, and she makes her own way instead of using the usual plot point of getting "gapped" by Yukari). She is also kind of an uppity jerk (a common trait of "Gappies", but one for which they are [[MarySue almost never called out]]). Far from being loved by all, her appearance in Gensokyo ends up '''infuriating''' most of the major power players (primarily because her means of arrival disrupts the Hakurei Barrier) and she gets beaten up so badly by the residents that she almost [[TakingYouWithMe destroys Gensokyo along with herself]] in desperation. It's probably the closest we'll get to a canon version of ''WebAnimation/DiamondInTheRoughTouhou'' (see below in Web Original), though it's nowhere near as vicious.
* ''VideoGame/YggdraUnion'' pretends to be nice, cutesy, and safely within the range of standard medieval fantasy plots for a little while. Then it rips its mask off and awesomefaces whilst tearing [[LaResistance many]] [[TheEmpire common]] [[OmniscientMoralityLicense plot]] [[{{Tsundere}} devices]]--along with the tried-and-true methods of the TurnBasedStrategy genre--into tiny little bits as it goes. It's been four years since the franchise was launched, and we're ''still'' not a hundred percent sure about [[DecoyProtagonist who the main character is supposed to be]].
* The Tellius duology does this to ''Fire Emblem.'' Setting and Backstory aside, ''[[VideoGame/FireEmblemPathOfRadiance Path of Radiance]]'' pretty much starts off as a ClicheStorm for ''Franchise/FireEmblem'' games. However, it starts to play with the tropes before the game's over - such as the Nyna/Guinevere figure donning battle armour and joining the fight herself. ''[[VideoGame/FireEmblemRadiantDawn Radiant Dawn]]'' starts off as a deconstruction of the events of Path of Radiance, showing that Begnion is NotSoDifferent in treating their newly acquired country well; and that even Crimea, whose victory in the Mad King War went like a fairy tale for them, was again NotSoDifferent. The country was united during the Mad King War against a common enemy, yet when that was over, things went back to normal with nobles and senators squabbling for power, beginning to doubt whether or not their new queen was truly fit to rule. As put by a LetsPlay, Part 2 serves as a very nice deconstruction to the series, showing the realistic consequences of the rightful heir to the throne being kept unknown from the public and emerging to help guide the country during its time of need. Both games also examine the implications of a ruler with a HundredPercentAdorationRating, specifically what happens when such a ruler is suddenly removed. The moment the people of Begnion had someone to blame for their beloved Empress' death, it ended with the genocide of a race of entirely innocent pacifists.
* The above two were preceded by ''VideoGame/FireEmblemGenealogyOfTheHolyWar'' and ''VideoGame/FireEmblemThracia776'', which went along to deconstruct common character tropes of the series.
* ''VideoGames/{{Runescape}}'' often has a few parodies in its many quests, but special mention goes to ANY quest written by Mod Ash. Love Story, for example, is a quest where the BigBad is a lady who hates adventurers who go around doing quests. It turns out she's the deranged ex girlfriend of the guy who's helping you with the quest. A recent quest by Mod Ash has you creating a ClicheStorm quest for a spoiled rich kid, because his dad thinks it will build character. Phillipe rolls his eyes the whole time. This particular quest turns into a Reconstruction at one point: to create final enemies for Phillipe, you disguise some cave wolf pups as dragons. As he easily kills them, the mother attacks, and Phillipe gets a chance to really earn some self respect. Then it turns out the lady who had helped train you back when you started the game had planted the wolf there for that very purpose, saying that you would have saved Phillipe if it got too out of hand.
* ''VideoGame/TheStanleyParable'' is a deconstruction of several videogame tropes, but it also gets in meaningful analysis of the nature of choice and freedom itself.
* ''VideoGame/MadWorld''. While the game itself encourages and makes a mechanic of killing people in horrific and creative ways, this is all under the pretense that you're being filmed for a TV show for the rich and corrupt. Actual cutscenes that move the story are much darker and usually revolve around the cast talking about just how horrible the events of the Death Watch games actually are. You could even see the end of the game [[spoiler:as Jack's killing of Leo as the writer killing the player for enjoying such a perverse game.]]
* It may be more of a deconstruction unit than fleet, but ''VideoGame/AnarchyReigns'' does deconstruct a few tropes, not as many as ''[=MadWorld=]''. [[spoiler: It deconstructs LawfulNeutral / lawful by Nikolai, one of the more "lawful" people in the game, a horrid KnightTemplar who believes that anything that isn't his view of "law" has to go. You have AntiHero, where as Jack is simply doing his job, but his past as a killer and his anger at his adopted daughter's death nearly drive him him to the murder of the person he's trying to track down until he is ''forcibly'' prevented from committing said murder at the last second. Then Leo, who disobeys his orders and attacks Nikolai before his true colors are shown, also gets in on that a bit. The backstory plays with a few tropes in a more negative light, showing characters who are acting for the greater good, but don't necessarily come off as doing the right thing until the very end of the game.]] Again, not as many as before, but it does put some focus on a few.
* ''VideoGame/LastScenario'' could practically be considered a western [[VideoGame/TalesSeries Tales game]] (including the turning of the entire story on its head at the halfway point). [[spoiler: TheChosenOne isn't chosen at all, other than in the sense that the villains found him to be easy to manipulate because of his overly-idealistic nature. The great hero from ancient times who saved the world from demons is all propaganda; in reality, the demons were a race of elf-like people the hero was supposed to exterminate, but ended up siding with. There's an [[GoodRepublicEvilEmpire evil kingdom and a good empire]] (at least, once the corrupt elements are cleaned out), and battles against both are done with a combination of political intrigue and massive military operations instead of just a RagtagBunchOfMisfits taking care of everything (though they're still at the forefront of most of the battles).]]
* ''VideoGame/{{Antichamber}}'' goes far out of its way to defy common sense and never behaves like you would expect. That is, until you get used to all the bizarre twists and it decides to throw a perfectly normal puzzle in front of you. [[ZigZaggingTrope Unless it isn't.]]
* The storyline of the ''VideoGame/DonPachi'' series as a deconstruction of many typical shoot-em-up plots.
** ''[=DonPachi=]'' How do we create a OneManArmy capable of destroying ememy fleets? [[spoiler: Make our recruits destroy our own fleets.]]
** ''Daifukkatsu'' could also be this for the whole concept of a {{fanservice}} RobotGirl.
** ''[=SaiDaiOuJou=]'': [[RobotGirl Robot Girls]]? Let's try to make them out of the population of an entire city and see what happens! Meanwhile, the Pilot himself is a deconstruction of the ExcusePlot and a TakeThatAudience—not caring about the damage he causes so long as he carries out his orders.
* ''VideoGame/DarkestDungeon'' demonstrates the sheer, psychosis-inducing stress and terror that regular shmucks fresh off of the carriage would feel going down into nightmarish ruins for the sake of glory and treasure. Just because you go in with a full party doesn't mean they'll come back out in sound body ''or'' mind. Or that you'll finish it with a clear conscience.
* ''VideoGame/{{STALKER}}'' deconstructs dozens of common FPS tropes. Remember those other [=FPSes=] where you had limitless supplies of ammo which took up no room in your magic bottomless bag? No. Remember those games where the people not shooting you spoke the same language as you? [[BilingualBonus Нет]]. Remember those games where there'd be some guy who would helpfully fill you in on the boss's weak point before you fought him? Nein. Remember those games where you didn't have to eat, where being injured was just a reason to be slightly more cautious, and you could heal by simply walking away and waiting for a bit? [[RuleOfThree Non]]. Remember those games where you could take thousands of bullets without a sweat? Nope. This is what the end of the world ''really'' looks like, and [[NintendoHard this game wants you dead]].
** It also deconstructs post-apocalyptic video games (and many AfterTheEnd stories/literature in the process). The Zone doesn't take up the entire world; the rest of the world outside the Zone goes on, and are actually exploiting the Zone for resources. Weapons are unashamedly realistic and all of them are given an explanation as to why they can be found in the game world. The game world - much like the real Chernobyl Zone that it was based on - is not ruined, but simply deserted and slowly crumbling. The story also ends up averting the more "fantastical" elements of games like ''Fallout'' or the ''Metro'' series, as the anomalies [[MaybeMagicMaybeMundane aren't really magical]] as much as they're just... [[AlienGeometries scientifically strange]].
* ''VideoGame/{{Undertale}}'' is a gigantic {{Deconstruction}} of [=RPGs=] in general, as well as Moral Choice systems, and the game really, ''really'' lets you know it.
** Anyone who approaches it with the same sort of mentality of your average RPG will result in [[spoiler: the game utterly berating you for your actions, calling you a monster, especially if you kill the final boss in the demo conventionally]]. Most people will do a second run / a save reload after they see what they have done, and try to put right what they did wrong. [[spoiler: ''The game knows you did this'', and will mock you accordingly, talking about your use of save points to rewrite reality.]] Even if you take the completely pacifist approach, the demo ends with [[spoiler: a certain character asking you how long you will keep up the much-trickier act of peacefulness, wondering when your frustration will overcome you.]]
** The full-game also delves into the concept of the {{Determinator}}, presenting the player with a character so filled with raw determination that [[spoiler: they can come back from the dead via save points, and eventually just get right back up where they stand if killed. It also shows how utterly terrifying someone with overwhelming determination and little else can be, especially when combined with a complete lack of compassion and love (i.e. a player murdering everyone and everything in the game, just to see what happens).]] It also shows the consequences of seeking OneHundredPercentCompletion in a game that's as meta as ''Undertale'' is. [[spoiler: Either you get the True Pacifist ending and everyone lives happily ever after, only for the player to cruelly reset everything to start killing everything that moves for the Genocide ending (even the BigBad calls you out for doing the exact same thing he was doing by jumping in to constantly deny ''you'' your happy ending), or they murder everyone first, and then reset everything to go for the True Pacifist ending...only to realize that, by achieving the Genocide ending, they gave the First Child everything they wanted, including the player's soul, irreparably tainting the entire game and ensuring that the player will ''never'' be able to save everyone, because the First Child will kill them all every time the game ends.]]
* ''VideoGame/ArcanumOfSteamworksAndMagickObscura'' deconstructs two settings at once:
** SteamPunk: The game [[TruthInTelevision very accurately]] points out the nastier sides of the Victorian era. All of society is underpinned by racism, sexism and misogyny (try playing as a half-orc). Factories are hideously unsafe places to work, and the workers toil away in poverty and drudgery with no rights; it's very common for striking workers to be shot in the streets too. Eugenics is a very popular science - there's a really uncomfortable book that suggests solving the Orcish Question by removing a "malignant gland", and this has nothing on the horror of [[spoiler:the half-ogre breeding program]], which also has parallels with antisemitic conspiracy theories common at the time.
** StandardFantasySetting: Elves are ''not'' always better than other races, they ''certainly aren't'' always ''wiser'', and they're often jerkasses about it to boot. Good men can wreck the world with the best of intentions while someone who is unquestionably evil can still be right once in a while. The traditionalist kingdom with armies of {{Magic Knight}}s loses badly in a war with the industrialised kingdom which uses [[ZergRush rifle-toting peasant levies]]. Wandering adventurers raiding old ruins for treasure are basically treated as a joke (and get abuse heaped on them by archaeologists, who hate it when they mess up potential dig sites), and old heroes who travelled the world righting wrongs [[spoiler:eventually started a war because they disagreed about what was the right and wrong thing to do and turned on each other]].

[[folder:Visual Novels]]
* ''VisualNovel/HigurashiWhenTheyCry'' - SliceOfLife, [[TownWithADarkSecret One dark secret]] [[spoiler:(caused by a HatePlague)]] and everything will get worse, [[NightmareFuel/HigurashiNoNakuKoroNi far worse]]. There is one DownerEnding that is caused [[spoiler:if you ignore the dark secrets to get life back to normal.]]
* ''VisualNovel/UminekoWhenTheyCry'' deconstructs the mystery genre in general [[spoiler:and the fantasy genre, since it's implied later in the series that the magical beings aren't actually real]], as well as tropes like IncorruptiblePurePureness, ThePowerOfLove and HostileShowTakeover. The character Erika Furudo is a walking deconstruction of GreatDetective, GenreSavvy and SelfInsertFic all at once. It's also a deconstruction of ''Higurashi'' to an extent, since it subverts many tropes that its predecessor played straight. The series also interestingly deconstructs the "hot-blooded shonen hero". Battler seems to fit the trope at first, but is often shown throughout the first 4 Episodes as incompetent, insensitive, hypocritical, and constantly DramaticallyMissingThePoint, precisely because he is too focused on denying the Witch out of some vague sense of justice. And every time human characters have a sudden magical PowerUp or HeroicSecondWind, you can expect them to die pathetically a minute after. Generally, just take a sip every time you read the word "subverted" on the trope page.
* ''VisualNovel/FateStayNight'' can be described as one huge deconstruction of TheCape and ThePaladin style characters and the many stories and typical tropes associated with them. The first route, while playing much of it fairly straight, points out the insane sacrifices of their own happiness and the insane limits that such characters have to constantly push themselves to if they aspire to follow their "Nothing but EverybodyLives is acceptable"-policy. The second route points out these issues even more while adding the futility of it all, but also gives reasons for why one would still wish to follow such a path, while the third route illustrates why one might want to give up following such a lifestyle and try to find personal happiness instead.
* The writers of ''VisualNovel/KatawaShoujo'' openly set out to deconstruct or just avert a lot of the worst aspects of Japan's romance games. The most obvious being Hanako's route, taking aim at how many such games have the player save a helpless girl and take on her burdens with the expectation that this will be rewarded with sex. The sex scenes themselves are played for realism and some discomfort. Still romantic, but not in the expected way.
* The Zero Escape games, ''VisualNovel/NineHoursNinePersonsNineDoors'' and ''VisualNovel/VirtuesLastReward'' both mess with the very idea of [[spoiler:who you're actually playing as]] in different ways, and are carefully planned to account for what the players' expectations regarding the plot will most likely be. In the second game, [[spoiler:the player will expect certain characters to subvert themselves as per characters in the first game. [[TheUntwist They don't.]]]]
* ''VisualNovel/SchoolDays'' is an infamous deconstruction of the typical Harem genre game and shows what would realistically happen, if a typical highschool student decided to bang several girls for no reason, other than to get his rocks off and have some fun. The results are [[MurderTheHypotenuse very]], [[OffWithHisHead very]] [[BadEnding bad]].
* ''VisualNovel/WingmanDX'' deconstructs many tropes pertaining to the visual novel and dating simulator genres, as well as some narrative tropes associated with romantic comedies. For example, the game permits the player to name their character, but most of the Wings reject the name and call you by the name Balyssa anyway. Other routes punish players for expecting to be able to fix characters' personal problems just by being persistent enough.

[[folder:Web Comics]]
* ''Webcomic/SkinHorse'': a deconstruction of everything from mad science to social work and 70's {{Blaxploitation}} movies.
* ''Webcomic/TheOrderOfTheStick'' plays mercilessly with both Dungeons and Dragons tropes, and storytelling tropes in general. Most notably, it's hung enough lampshades to decorate a lightbulb factory. Including hanging a lampshade on hanging lampshades. For a few more examples, it has [[ZigZaggingTrope Zig Zagged]] with several parts of the CharacterAlignment trope. The LawfulStupid character isn't stupid in any conventional sense, and actually is good (at least, until she [[JumpingOffTheSlipperySlope goes crazy]]), and yet, she's an antagonist. The LawfulEvil [[EvilOverlord Overlord]] is definitely evil, and yet seems like he'll be helpful overall to the protagonists. The AlwaysChaoticEvil goblins have a perfectly good reason built into the fabric of the universe to be evil... but there's no question that they are evil. Finally, it also deconstructs typical player behavior/campaign focus with a Chaotic Evil party member, who says early on "I figured we'd just wander around, kill some sentient creatures because they had green skin and fangs and we don't, and then take their stuff."
* ''Webcomic/SaturdayMorningBreakfastCereal''--''ComicStrip/TheFarSide'''s evil twin. It has probably destroyed everything you know and love at ''some'' point.
* ''Webcomic/TheParkingLotIsFull'' doesn't even bother trying to be funny, instead flooding the reader with FridgeHorror.
%%* ''Webcomic/SchlockMercenary''
* ''Webcomic/MSPaintAdventures'' is Creator/AndrewHussie's deconstructive love letter to a [[TropeOverdosed multitude of series, genres and tropes]], including itself. ''Webcomic/{{Homestuck}}'' in particular seems to be principally founded as a deconstruction of the standard "kids go on an adventure in another world" plot prevalent in pretty much every medium ever, with parts of it deconstructing, among many other things, various TimeTravelTropes with a ''heavy'' emphasis on YouCantFightFate--the constant stresses of trying to keep in time with the {{Stable Time Loop}}s, on pain of piles of his own corpse piling up, quickly gets to the normally-unflappable Dave--and of the standard MarySue tropes--how Vriska tries to present herself, in contrast to her true nature. Also, sometimes Hussie himself seems to be aiming to deconstruct the audience-creator relationship.
* ''Webcomic/GuildedAge'': A level-headed berserker, a thuggish "crusader," an elven scientist, a dwarven shaman/archer, and an elf mistaken for the chosen one go on adventurers in a setting that paints a harsh and almost historical light on FantasticRacism.
* ''WebComic/{{Oglaf}}''[='s=] absurd humor is a mixture of SexComedy and taking apart fantasy tropes, and its [[PornWithPlot roots as outright pornography]] means it's free to go as far as it needs to for jokes combining the two that most others would only talk around or imply.

[[folder:Web Original]]
* ''Literature/IlivaisX'' tears at ''a lot'' of things, but centrally the boundaries between love and lust, the concept of the HumongousMecha itself (most namely the 80s SuperRobotGenre), the inherent glorification of [[YuriGenre yuri relationships]], and many other common anime tropes. The result can be fundamentally summed up as "Anime/RahXephon with the [[DeusSexMachina power of fuck]]"
%%* ''Literature/VatsyAndBruno''
%%* Literature/MetafictionizedPhlebotinumPoisoning
* ''Literature/TailsOfFame'' deconstructs every concept related to a VillainProtagonist, BeYourself, and IJustWantToBeSpecial. Instead of being a typical underdog story about a character who wants to get famous in the city, what you have is a villain who quickly decides to turn to a life of crime [[FameThroughInfamy so he can get famous]]. And at no point does the story even ''try'' to justify his actions or make him (or the other two villainous characters) sympathetic.
* ''WebVideo/ThereWillBeBrawl'' deconstructs Nintendo characters, {{Pastiche}}s a number of classic movies, and Parodies the concept of DarkerAndEdgier.
* The Literature/WhateleyUniverse starts as a deconstruction of the classic superhero comic books, but delves everywhere else when given a chance. The story ''Give 'Em The Ole Razzle Dazzle'' is a deconstruction of various genres stretching from the 1930's pulp heroes to the start of the 1980s (when the narrator 'retired' and moved into Business).
* WebAnimation/PoGonYuTo was basically intended to be a deconstruction of nearly all anime cliches.
* ''Website/SpaceBattlesDotCom'' exists seemingly to promote deconstructions in all FanFic.
* ''WebAnimation/DiamondInTheRoughTouhou'' deconstructs ''all'' tropes of SelfInsertFic[=s=] of Videogame/{{Touhou}} (and by extension, all SelfInsertFic[=s=]), with everything going FromBadToWorse in an horrifying pace.
* ''Machinima/FreemansMind'' deconstructs the first-person shooter genre, particularly SilentProtagonist, {{Determinator}}, and OneManArmy by showing the inner thoughts of someone with these characteristics: a ProperlyParanoid {{Sociopath}} undergoing gradual SanitySlippage. As if that's not enough, Freeman takes it upon himself to point out the issues with various things that come to his mind, from ILoveNuclearPower to the TinfoilHat.
* ''Blog/OccupyRichieRich'' deconstructs almost every trope and concept used in the ''ComicBook/RichieRich'' series.
* ''WebVideo/AtopTheFourthWall'' deconstructs a CosmicHorrorStory of all things with "The Entity" storyline. A later storyline deconstructs the idea of the character host and various personality traits that are accepted in comedy because they're PlayedForLaughs, but demonstrates that when not done so, a person like that is horrifying, and even the idea of SeriousBusiness [[spoiler: with the villainous Holokara being willing to outright commit murder to put a stop to the things he doesn't want in the ComicBook industry.]]
* ''WebAnimation/DarkMatter2525'': The point of most of the videos is to deconstruct religious concepts and ideas. Initially, this came down to proving that they made little sense and were unfounded in evidence, but more recent ones instead focus on the logical consequences of those concepts being true. For example: The relationship God has with humanity has [[https://www.youtube.com/watch?v=Hm4GtxOOqeI quite a few parallels to]] DomesticAbuse.

[[folder:Western Animation]]
* Most modern American animated sitcoms will tend to ruthlessly deconstruct everything it touches. Examples of these kinds of shows includes:
** ''WesternAnimation/TheSimpsons'', the first one of these shows.
** ''WesternAnimation/FamilyGuy''
** ''WesternAnimation/{{Futurama}}''
** ''WesternAnimation/AmericanDad''
** ''WesternAnimation/SouthPark''
** ''WesternAnimation/DrawnTogether''
* Any cartoon Creator/StevenSpielberg produced:
** ''WesternAnimation/{{Animaniacs}}''
** ''WesternAnimation/TinyToonAdventures''
** ''WesternAnimation/{{Freakazoid}}''
** ''WesternAnimation/PinkyAndTheBrain''
* ''WesternAnimation/DaveTheBarbarian'', while going back to Creator/ToonDisney's roots.
* ''WesternAnimation/InvaderZim'', takes apart so many SciFi and Horror tropes it's difficult to know where to begin.
* Creator/AdultSwim, as explained by Creator/BobChipman in [[http://www.escapistmagazine.com/videos/view/the-big-picture/9905-A-Look-at-Too-Many-Cooks this video]], are major contributors to this trope. Pretty much every one of their shows is a DeconstructiveParody of some genre, subculture, or other element of pop culture, with all of its tropes taken completely seriously and to their logical conclusion.
* ''WesternAnimation/TheVentureBrothers'', more so than any other Creator/AdultSwim show and perhaps more than any other example on this page. It has to be -- it's a parody of shows with goody-goody adventuring teens and infallible superheroes. For example, one of the main characters, a parody of WesternAnimation/JonnyQuest, is depicted as a paranoid drug addict as a direct response to being a boy adventurer and hauled off to dangerous countries and nearly killed countless times. The Franchise/ScoobyDoo gang are overexaggerated -- Shaggy is a useless, psychotic hippie who may or may not be hallucinating Scooby's voice telling him to do evil things, Fred is a dumb, thuggish jock who kidnapped Daphne and keeps her locked up, Daphne is genuinely, completely useless, and Velma is a man-hating, militant feminist lesbian. The Million Dollar Man is depicted as a slave to his job, as his government pay is very low, compared to his debt.
** While the first two seasons are shown to bring the bulldozers and wrecking balls to the ''WesternAnimation/JonnyQuest'' boy and WesternAnimation/BobMorane adventuring tropes, season three moving forward shows real effort reconstructing the characters into better, less dysfunctional people. [[RuleOfFunny Unless it's funnier, of course.]]
* ''WesternAnimation/TheBoondocks'' combines sitcom trope deconstruction with racial and social trope deconstruction.
* ''WesternAnimation/ScoobyDooMysteryIncorporated'' deconstructs just about every one of the franchise's most iconic tropes.
** Rather then continue running through the ScoobyDoobyDoors after awhile Shaggy and Scoob decide to hide in one place. Around this same time the monster gets fed up and decides to light the place on fire.
** Shaggy's friendship with Scooby is so strong that he rejects Velma's romantic advances out of fear their relationship would drive a wedge between him a Scooby.
** Fred's knack for trap building is rooted in a subconcious desire to keep others from running away from him, like he believes his mother did.
* Along the same lines as the ''Scooby-Doo'' example above is ''WesternAnimation/TransformersPrime,'' which takes a grittier spin on the ''Franchise/{{Transformers}}'' series. It goes out of it's way to remind you that these aren't just a bunch of [[JustAMachine goofy robots with no minds]], they're actual, sentient living beings and they are in a constant brutal war with each other. Each generic robot you see get shot, is a living being who probably had a family and life of their own.
** ''WesternAnimation/BeastWars'' was a similar case, though only because [[RealLifeWritesThePlot they didn't have the budget]]. However, deaths were [[spoiler: mostly]] permanent, and the Maximals were neither [[GoodIsDumb dumb]] nor generic goody two-shoes. Also, the Predacons occasionally [[TheBadGuyWins won]].
* ''WesternAnimation/{{Archer}}'' goes through cold-war spy tropes like adamantium claws through butter.
* ''WesternAnimation/AdventureTime'', with its awkward continuity and harsh undertones, tends to deconstruct not only the classic, StatusQuoIsGod trope by showing the consequences of decisions, but also of the hero's journey.
** Finn is flawed and emotionally complex for a kid, and endures severe forms of guilt and helplessness as the series progresses. Whereas most cartoon shows express a child-hero as emotionally invulnerable and better by the next show (given s/he has endured some form of emotional trauma), Adventure Time gives us a more realistic portrait of what happens to a child who quite frequently has the pressure of saving another person's life or even the world for that matter.
** Princess Bubblegum starts off as a classic DamselInDistress, but is slowly revealed to perform questionable deeds, mostly involving her shady experiments. Her attitude towards Finn, while benevolent, leans toward demeaning and borderline ungrateful. By delving deeper into her character, we find out that the love interest is not always perfect, and that the hero doesn't always get the girl.
** Ice King is a major deconstruction of antagonists. Initially, he is supposed to be a run-of-the-mill bad guy. As his layers unfold, however, the show brings to light an antagonist's own inner conflicts, past experiences, and even brings up the question of evil vs crazy, in which the "bad guy" is not necessarily "bad," but... well, screwed up.
* ''WesternAnimation/TheAmazingWorldOfGumball'' skewers pretty much every cartoon and sitcom trope it comes across. However, it tends to do this less through subverting them or [[RealityEnsues applying logic to them,]] but by taking tropes that normally tend to be taken for granted (such as ChuckCunninghamSyndrome, NotAllowedToGrowUp, StatusQuoIsGod and SnapBack) and having characters [[MediumAwareness acknowledge and question them]], leading to a lot of FridgeHorror. ([[Recap/TheAmazingWorldOfGumballS3E12TheVoid "The Void"]], [[Recap/TheAmazingWorldOfGumballS3E1TheKids "The Kids"]] [[Recap/TheAmazingWorldOfGumballS2E8TheJob "The Job"]], [[Recap/TheAmazingWorldOfGumballS2e40TheFinale "The Finale"]])
* ''WesternAnimation/YoungJustice'' is a harsh deconstruction of the KidHero and shows the psychological effects of what could happen when one or more is in a never ending battle with a group of villains who isn't afraid to kill the heroes or those they care about. That and fighting super-villains isn't all fun and games. Also the concept of good guys vs bad guys gradually becomes unclear as the heroes themselves would face situations where they have to do what they have to do to to defeat The Light.
* ''WesternAnimation/BojackHorseman'' doesn't just take all of the {{Sitcom}} tropes, including the ones involving StatusQuoIsGod almost all of recent animated series love to run with, it goes completely overboard and crushes every single conception popularized by the media, essentially pointing out how RealLife is ''not'' like fiction makes it out to be. Often overlapping with DeconstructiveParody, one of its main propositions is what every single staple of a TV show would be if they were willing to dig a little deeper:
** The main character, [=BoJack=] Horseman, isn't an easily likable person. He's {{narcissist}}ic, [[BigEgoHiddenDepths self-]][[InferioritySuperiorityComplex loathing]], a perpetual [[TheAlcoholic alcoholic]], [[WithFriendsLikeThese treats his supposed friends like shit]] yet [[PleaseDontLeaveMe still keeps them out of a sense of loneliness]] and [[TheCynic is quite a depressive]] [[TheCorrupter influence around everybody]]. Normally, the series would give us a sense of how in spite of that, [[JerkWithAHeartOfGold he can a be good person underneath]]; while it ''does'' show that, it becomes clearer that the good and bad parts of [=BoJack=] are not different, but may actually come from the same attributes; there's no easy goodness, just a [[BrokenBird screwed-up]] [[DynamicCharacter complex character]] who [[DefrostingIceQueen increasingly]] [[LyingToProtectYourFeelings starts]] to reveal [[AbusiveParents some]] [[MyGreatestFailure dark]] [[TheOneThatGotAway explanations]] [[EtTuBrute about why]] [[SafetyInIndifference he has]] [[SexDrugsAndRockAndRoll become]] [[UsedToBeASweetKid this way]] and how [[TheAtoner that]] ''still'' [[WhatTheHellHero won't excuse]] [[HeelFaceDoorSlam him]] [[RejectedApology from screwing]] [[TragicHero his, and others', life up]].
** Princess Carolyn is a successful agent who dedicates her life to her work and is TheChessmaster and TheFace of the group, which is because she has [[{{Workaholic}} no life or relationship outside work]] and is constantly shown to be [[ChristmasCake deeply resentful of that fact]].
** Diane is [=BoJack=]'s ghostwriter who often imposes writing a great non-fiction novel above everything, despite that she often uses her novels as form of SurrogateSoliloquy to give her statements [[NormalFishInATinyPond a gravitas and importance she feels she doesn't have otherwise]].
** Mr. Peanutbutter is a cheerful Labrador who headlocks into every project headed his way and is enough of a NiceGuy to [[FunPersonified try to cheer up everybody he encounters]], only later is [[SecretlySelfish revealed]] that this is because of [[AntiNihilist a deep rooted fear of death and wasting life]] as he starts to grasp his own mortality.
** Todd is basically a slacker living with [=BoJack=] who's revealed to be [[GeniusDitz actually intelligent and resourceful]], his fame as a slacker a result from [[ICouldaBeenAContender having wasted opportunities given to him]], [[ButtMonkey horrible bad luck]] and a constant dose of hits towards his self-esteem making him [[SelfFulfillingProphecy convinced that he can't do anything right no matter how hard he tries]].
** These aforementioned TrueCompanions are placed in an alternate version of Hollywood where animals and humans coexist. Normally, such worlds try to overstep the CarnivoreConfusion resulting from this. Not this one, no sir. In order, we're told that specifically selected animals are bred to be dumbed down to minimal intelligence, fattened and eaten, while the others are raised normally with every single opportunity. To say that people don't see this as a problem and are quite accommodated to such information is an {{Understatement}}, the tropes WhatMeasureIsANonHuman and FourLegsGoodTwoLegsBetter are taken to its logical conclusion by making both humans and [[CategoryTraitor animals]] willing to be personal butchers or distance themselves from the massacre by killing by mass production and through legal means. Without doubt, one of the most realistic and nightmarish explanations of why and how their world (and by extension, ours) can conform to this dissonance in RealLife.
* ''WesternAnimation/SonicBoom'' has started to show signs of this in its second season- parodying movies like ''{{Film/Armageddon}}'', the look-after-a-baby subplot, teen musicals and more.