These are the {{trope}}s that are one step beyond {{Dead Horse Trope}}s and {{Discredited Trope}}s; not only are they not used straight, they're not used at all. You won't find this in ''any'' current series; they have disappeared from the writer's toolbox.

Note that Forgotten Tropes aren't actually ''forgotten'', FutureImperfect-style, [[FridgeLogic otherwise would we even be talking about them here?]] Academics will know all about them, and a few minutes with a web search engine will turn up plenty, if you know what to look for. They may, on very, ''very'' rare occasions, show up in a modern series, but generally those are only emulating a series that did have these.

The best place to find Forgotten Tropes is in "classic" works; there you will see them, frozen like insects in amber. For example, in ''Literature/AlicesAdventuresInWonderland'', Carroll's poem about the "little crocodile" parodies Isaac Watts's [[TastesLikeDiabetes saccharine]] [[http://www.poets.org/viewmedia.php/prmMID/20295 original]] about the "little busy bee" -- an example of a whole class of Victorian poems that children were taught in order to instill virtue and give them something to recite at parties (see below).

Often, these tropes were a [[TimeMarchesOn sign of the times]], and as the times moved on so did the tropes, [[EvolvingTrope morphing to fit the current standard]]. For example, the "Invasion Genre" of the 19th century, pitting a helpless Britain against an uber-powerful France or Germany, began to lose popularity in the aftermath of UsefulNotes/WorldWarOne, UsefulNotes/WorldWarTwo, and the beginning of the UsefulNotes/ColdWar, the supremacy of [[MnogoNukes nuclear weapons]] and the rise of the new "it" genre, SciFi; so French and German ''Wunderwaffen'' and ''blitzkrieg'' tactics were replaced by [[RedsWithRockets Soviet super-science]] and MutuallyAssuredDestruction, or even [[AlienInvasion green-skinned men from Mars and their flying saucers]]. Many [[EvolvingTrope tropes evolved this way]], and while their ancestors went extinct, the fossils remain.

Forgotten tropes are almost always some of TheOldestOnesInTheBook, except that they've fallen out of the book entirely. When a trope is forgotten but its parody isn't, it's WeirdAlEffect.

When a particular change in technology or culture makes tropes obsolete overnight, it's a TropeBreaker.
----
!!Examples

[[foldercontrol]]

[[folder:Comic Books]]
* The comic book anthology series featuring multiple genres and art styles waned during the 1940s and 1950s and finally died by the mid-1960s both because the massive size of TheGoldenAgeOfComicBooks was no longer viable and because publishers began to realize that single-genre comics were more marketable. Prior to this shift, however, the standard practice was to present short eight-to-ten-page stories, usually a few superhero features, a few pulp-inspired civilian adventurer characters, and various humor strips. When characters like ComicBook/{{Superman}} and ComicBook/{{Batman}} got self-titled comics featuring only their adventures, the comics still featured multiple short stories about those characters rather than one long story. As late as the mid-1960s, DCComics still tended to present two stories of the star character in its superhero titles, as well as one or two half-page, usually crudely-drawn gag strip features. By the BronzeAge, however, this format was was abandoned.
* The two-page prose short story featured in many comics from the 1930s up to the early 1960s was due to postal regulations requiring any publication taking advantage of the cheaper magazine bulk distribution rates to have at least two pages of prose or other written content. The popularity of the letters pages and StanLee's promotional "Bullpen Bulletins" pages replaced them, and eventually postal regulations changed.
* Superhero stories in the 1940s often had broad comedy BumblingSidekick characters, usually drawn in a more cartoony style than the other characters, as characters like ComicBook/TheFlash and even ComicBook/TheSpectre often with the likes of the Three Dimwits (a pastiche of Film/TheThreeStooges) and Percival Popp the Super-Copp. Rather distressingly, many such comedy co-stars were extremely racist MinstrelShow caricatures such as [[ComicBook/{{Shazam}} Captain Marvel's]] sidekick Steamboat or [[ComicBook/CaptainAmerica the Young Allies]] member Whitewash Jones. Today, the only example anyone remembers is Johnny Thunder of the Comicbook/JusticeSocietyOfAmerica, and even he has been revised into less of a JokeCharacter. To some extent, the trend continues with the inclusion of LethalJokeCharacter examples like {{ComicBook/Deadpool}}, but even these characters generally get serious moments and do more than provide simple slapstick or TooDumbToLive moments. The most famous example would likely be Ebony White, from Creator/WillEisner's ''The Spirit''; however, by the late 1940s he had been turned into more of a conventional kid sidekick.
** PlasticMan's [[PluckyComicRelief goofy]] sidekick Woozy Winks still shows up once in a while (or at least he did before the [[{{Comicbook/New52}} New 52]] kicked in). And most versions of WonderWoman still include Etta Candy in her supporting cast, though the writers seem to work very hard to not let her be funny at all [[SarcasmMode (perish]] [[TrueArtIsAngsty forbid!).]]
* In between the GoldenAgeOfComicBooks and the SilverAge of Comic Books, a number of non-superhero genres were popular. While some, like crime, horror, romance, monster, and western comics are fondly remembered, still continue, or are occasionally revived, a few others have been entirely forgotten, such as the brief vogue for sports comics and the even briefer vogue for comics about stage magic. This is partly because the institution of the Comics Code Authority in 1954 following the publication of ''Seduction of the Innocent'' (see below) [[GenreKiller killed off the more violent or lurid examples of these comics for nearly a generation, and some of the genres never recovered]].
* The dominance of the superhero has all but eliminated the once popular "civilian adventurer" type, who often had an exciting profession and invariably ended up battling criminals and spies. Many early comics featured the likes of aviator Hop Harrigan, TV host Roy Raymond, and adventurer Pep Morgan starring in backup features in the increasingly superhero-dominated anthologies. While some of these characters still exist, they usually survive by either becoming superheroes (like Congo Bill becoming Congorilla) or becoming part of the supporting cast of a superhero comic (like Speed Saunders, who has been tied in with {{ComicBook/Hawkman}}). The idea of such characters headlining their own comics is long gone.
** Similarly, the hero whose sole gimmick is a unique super-vehicle of some kind -- such as Taxi Taylor, Captain X, and the 1940s Red Torpedo -- is all but forgotten, having long since been absorbed by superhero characters like Batman who have other gimmicks and talents besides a Batmobile or the like. A particular subset of these characters, the aviator hero with a special plane, exists today almost entirely in the form of the ''Blackhawk'' characters, who also have the gimmick of being a multinatiuonal team of flyers.
* Up until the 1960s, it was common for children's comic books to have [[HeterosexualLifePartners two (or more) male protagonists who shared a house – even a bed]] – and showed [[{{Asexuality}} little or no interest in women]]. Such duos included Franchise/SherlockHolmes and Watson (before the latter got married and moved out), [[Franchise/{{Tintin}} Tintin and Captain Haddock]], BlakeAndMortimer, ComicBook/SpirouAndFantasio, and [[Franchise/{{Batman}} Batman and Robin]]; a four-way example would be Literature/{{Biggles}} and his three chums, Algy, Ginger and Bertie. However, after [[https://en.wikipedia.org/wiki/Fredric_Wertham Dr. Frederic Wertham]] anvilled this point repeatedly in his book ''Seduction of the Innocent'', which sparked a Congressional hearing, it became more and more common for adults to [[HoYay interpret this kind of relationship as gay]]. Wertham emphasized that ''even the youngest children understood the characters to be gay''. This inevitably led to a GayPanic and mobilized the MoralGuardians, forcing comic writers and publishers to abandon this trope and make changes specifically designed to avert it and stop the accusations. For example, in ''Franchise/{{Batman}}'' the publishers had Dick Grayson's Aunt Harriet move in with him and Bruce Wayne, and introduced stories where Bruce dated women. [[/folder]]

[[folder:Film]]
* A trope from Hollywood musicals of the forties and fifties was the ballet sequence -- a segment in which the movie broke away from the main action, usually as a [[DreamBallet dream]], to tell a mini-story through stylized interpretive dance. It may have [[EvolvingTrope evolved]] into the BigLippedAlligatorMoment.
** The Big Ballet trend in musicals was started by George Balanchine and "Slaughter on Tenth Avenue" from ''On Your Toes'' (and revisted in the "biographical" ''Words and Music''), which in turn might have been inspired by the BusbyBerkeleyNumber "Lullaby of Broadway" from ''Gold Diggers of 1935''.
* "Gimmick" ballet sequences, such as the many films slathered with ''underwater'' versions of lavish Creator/BusbyBerkeley dance routines, many featuring swimmer Esther Williams. In fact, these movies were really all about the underwater scenes (as one producer said of Williams, "dry, she's a nobody; wet, she's a star"). Rarely seen today even in parody (''TheSimpsons'' is an exception), and utterly impossible to take seriously played straight.
** {{Bollywood}} remains a huge exception, where the tradition thrives to the point of being an EnforcedTrope, and pretty much ''every'' Indian film must have at least one big perfectly choreographed song-and-dance number.
* The airplane hijacker who demands to be taken to Cuba (inspired by [[http://en.wikipedia.org/wiki/List_of_Cuba%E2%80%93United_States_aircraft_hijackings a number of real hijackings]]) had a brief heyday in the 1960s and 1970s, but was already fading into Dead Horse territory by the 1980s, and has since been completely supplanted by hijackers with far more sinister motives.
** ''Series/MontyPythonsFlyingCircus'' played with this. One passenger on a direct flight to Cuba tries to hijack the plane and go to Luton. He ends up thrown out of the plane just in time to catch a bus "Straight to Luton," which was then hijacked by a man who demanded to be taken to Cuba. The bus changes its sign to "Straight to Cuba" and turns around.
** ''{{Seinfeld}}'' references the Cuban hijacker trope with Dominican characters that are repeatedly mistaken for Cubans.
** An Italian pop band founded in 1994 is named "dirotta su Cuba" ("hijack towards Cuba")
** In Music/PDQBach's ''The Abduction of Figaro'', Captain Kadd, after his IAmSong, says he's "taking this ship to Cuba." The other characters have to remind him that he's not on a ship ("What do you mean, I'm not on a ship?").
** ''Magazine/{{Cracked}}'' magazine spoofed this phenomenon in the late '60s with a few pages of strips of many other modes of transportation being hijacked, including ice-cream trucks, rickshaws, magic carpets, and horses in the Old West.
* Many old movies and plays about the fashionable upper classes will have characters travel to Reno, Nevada, to obtain painless divorces. (Reno developed before Las Vegas.) Reno businessmen went out of their way to attract those seeking Nevada divorces with specialist lawyers and affordable extended-stay hotels. This trope disappeared due to the liberalization of divorce laws in other U.S. states.
** In ''Film/TheMisfits'', this is why Roslyn is in Reno. Right after getting her divorce she falls in love with an older local man.
** ''TheWomen''
** At the time of this trope, divorce wasn't considered a polite topic of conversation, so this could be used as a complete euphemism. Here's a middle-class example from the original ''InvasionOfTheBodySnatchers'' (having nothing to do with the main plot):
--> '''Becky:''' ''I've been in Reno.''
--> '''Miles:''' ''Reno?''
--> '''Becky:''' ''Reno. Dad tells me you were there, too.''
--> '''Miles:''' ''Five months ago.''
--> '''Becky:''' ''Oh, I'm sorry.''
** In ''Film/TheLadyEve'' this is the suggested remedy when Henry Fonda wants to rid himself of Barbara Stanwyck, who is actually running TheCon against him.
** Also referenced in ''TheShawshankRedemption'' (the beginning of which takes place in the 1940s). Andy's disloyal wife wants a divorce. Andy's response - "I'll see you in hell before I'll see you in Reno" - is part of what convinces the jury that he killed her.
** In the Creator/BusterKeaton film ''Seven Chances'', Buster has to marry someone -- ''anyone'' -- before turning 27 [[OnOneCondition or lose his inheritance]]. He runs a newspaper ad for a wife and is ready at the altar with tickets to both Niagara Falls, and Reno.
** In ''Charlie Chan in Reno'', Charlie's son when he hears his dad is going to Reno--actually to consult the Reno Police on a case--is afraid his parents are getting a divorce.
** On ''Series/MadMen'', Betty flies to Reno at the end of Season 3 to get a divorce from Don. (''Mad Men'' is a period piece and the episode in question was set in 1963.)
** Tijuana, another once-popular destination for quickie divorces, serves the same purpose for the housewife who hitches a ride with the party-seeking college boys in ''Road Trip''.
* In the 80s and 90s, part of the ValleyGirl stereotype was having a phone in her room and jokes about the immense bills run up and the impossibility of anyone else getting a chance to use the phone line. Thanks to cell phones, with some help from Facebook and [=IMs=], this has bitten the dust. Remnants still exist, such as in ''{{Juno}}'' (though this was mostly just to make a hamburger phone joke) and in TotallyRadical [[TwoDecadesBehind advertising]] aimed at teens. (You can still joke about the phone bills, though.)
* Another frequent gag of the 80s and 90s was an ArsonMurderAndJaywalking or FelonyMisdemeanor type joke (along the lines of the MattressTagGag) with the revelation that a villainous character had once returned a rented video without rewinding it. [=DVDs=] quickly [[TropeBreaker killed this joke]].
* Many films of the 1920s and 1930s feature plot-irrelevant montages of urban life, especially multiple people's daily routines, store displays, manufacturing processes, or popular amusements, much longer than what would be needed for a standard EstablishingShot. Such sequences, leftovers from early cinema in which simply seeing such things was a novel spectacle, eventually vanished unless they were immediately relevant to the plot. They still exist in art and experimental cinema in various forms, but in commercial fiction films it has long since faded from public consciousness.
* During the 1940s, films were sometimes adapted into radio plays, usually performed by the original cast of the film. Television, being a visual medium like film, made such adaptations redundant, though they did still happen to a limited extent even into the 1980s - ''[[Radio/StarWarsRadioDramas Star Wars]]'' being a very famous example, and also one of the very last produced in this manner.
* Gimmicked "Interactive" Filmgoing Experiences. 3D [[PopularityPolynomial has come back a few times,]] but what did not was everything else, up to and including systems of pulleys and winches that slung "ghosts" around the cinema to "heighten the experience", Smell-O-Vision (plus copycat [=AromaRama=] and Creator/JohnWaters' variant Odorama), special visors that let you see or not see monsters on the screen, and an elaborate system that gave viewers in the audience joybuzzer-style "electric" shocks so that they would think they were under attack from the movie's monster.
** Part of the plot of ''Film/{{Matinee}}'' is kids going to one of these types of films during the Cuban Missle Crisis. It's implied that they served as escapism from the Cold War.
** The idea of olfactory accompaniment for movies was even older; the "scent organ" in ''Literature/BraveNewWorld'' was merely a futuristic extrapolation of what was already being done occasionally in musical revues.
** There has been one such idea that's been getting rolling lately: D-BOX theaters, where the seats shake in sync with the action on-screen.
** Note that this sort of technique has become very common in theme park attractions, even if your average movie theater doesn't bother with such stunts.
* In the 1920s, 'goat glands' were a quack remedy for erectile dysfunction and general lack of energy (don't ask how it was done ... {{Squick}}). The use of goat glands - with miraculous {{Popeye}}-after-Spinach type results - not only became a trope in films themselves (for example, Creator/BusterKeaton's ''Cops''), but a film industry term for silent films that had sound hurriedly added to them to bring them up to date. Monkey glands were also used, and were so popular that they had ''song lyrics'' written about them.
--> Let me take you by the hand
--> Over to the jungle band
--> If you're too old for dancing
--> Get yourself a monkey gland!
---> Mary Eaton, "Monkey Doodle Doo", from ''The Coconuts'' (1929), written by Irving Berlin
* Airports as places where you can expect to be repeatedly accosted by evangelists, Hare Krishnas, political activists, and the like. This was once common in American airports, which were generally considered "public forums" for free speech purposes. A 1992 Supreme Court ruling changed this, allowing airport authorities to make reasonable regulations to avoid congestion and disruption to air travelers, and 9/11 got rid of them for good.
** While the scene is still funny, some of the vicarious thrill of Robert Stack's FoeTossingCharge in ''{{Airplane}}'' is lost on a modern audience. A 1980s traveler really ''did'' have to pass through similar gauntlets of airport attention-seekers, and probably wanted to handle them in Rex Kramer's no-nonsense fashion. However, even if the setting is unfamiliar, the behaviour itself is recognisable to anyone who's ever walked down a pedestrianized high street.
** There's even an episode of ''TheSimpsons'' that gets in on this. Homer makes fun of all the people imploring him to love his neighbor until the two at the end of the line persuaded to join a cult. Another ''Simpsons'' episode inverted the trope with two American missionaries in suits showing up in an airport in India and one Indian muttering: "Oh, great...Christians."
* Similarly, jokes about the presence of travel insurance vending machines in airports (and the related presumed danger of air travel) are baffling to modern audiences, since insurance vending machines haven't existed for years (at least in North America - they are still fairly common in, e.g., Japan.)
* In the early days of motion pictures, leading up to and during the time of UsefulNotes/TheHaysCode, one of the loopholes in the taboos against showing nude women on the screen was if the images were used for programs of "an educational nature." So ur-Russ Meyers would splash lurid stories of white slavery, prostitution, lascivious womanizing and violence on the screen and couch them as "warnings for parents -- tell your children to beware!" and such. One of the most notorious was a film called ''[[http://en.wikipedia.org/wiki/Is_Your_Daughter_Safe%3F Is Your Daughter Safe?]]'' which was released in 1927 but was actually a compilation reel of previously shot material, some of it already ''fifteen years old'' even then -- the ''Mondo Cane'' of its day. Similarly, ''Virgins of Bali'' and ''Legong: Dance of the Virgins'' were able to show Balinese women going through their daily lives bare-breasted or even stark naked only because it was NationalGeographicNudity.
** [[UsefulNotes/{{Nudism}} "Nudist"]] documentaries of the time were also little more than PoorMansPorn, where the clubs often feature a disproportionate number of young, voluptuous women rather than a wide variety of ages and body types for both genders as in a true club.
* Teenage males trying to obtain pornography through methods like fake [=IDs=], getting adults and older siblings to buy magazines for them or watching scrambled pay-per-view porn was a much joked about situation in the [[TheEighties 80s]] and [[TheNineties 90s]], but thanks to TheInternet removing any difficulty for [[TheInternetIsForPorn anyone getting porn]] it's not so common anymore. Jokes about teens trying to clear browser caches, cookies, histories and hiding browsing (and [[PornStash download folders]]) from their parents could be considered a bit of a successor trope (though even that is slowly dying out as teenagers owning their own computers is becoming more common, as well as "in-private browsing" which does the clearing for you). Though the trope still works if you replace "porn" with "booze".
* In the early days of cell phones, they were often depicted as little more than a yuppie toy. For example, in ''Film/{{Clueless}}'' the protagonist (a teenager from an affluent Beverly Hills family) is eating dinner with her father and step-brother, when a phone starts to ring. This leads to all three characters looking for their cell phones to see if it's the one that's ringing. In 1995 this scene was meant to be humorous, as it was considered ridiculously yuppieish for each family member to have their own cell phone. If a teenager watches the movie today, the gag is probably lost on her, as nowadays it's common for teens (and even younger children) to have their own cell phones, and the sort of phone confusion depicted in ''Clueless'' happens quite often.
** Though even this is becoming less common with custom ring tones becoming steadily easier to acquire and install. The most recent iPhone (as of February 2012) has 27 ringtone options standard, and it's the work of ten minutes or less to create and install a new one.
*** In some places, custom ring tones for far less advanced phones were so prevalent in the previous decade that a large number of people got fed up and started sticking with either the default tone or the one that sounds the most like an old-fashioned phone, leading to the aforementioned confusion.
** The pilot episode of ''Get Smart'' (1965) opens with an obsolete gag: Max's shoe phone rings in a theater, and this is an unprecedented oddity rather than a commonplace annoyance.
* Cell phones in general being so uncommon throughout the 1980s and most of the 1990s. In ''Film/{{Scream 1996}}'' for instance, the mere fact that Billy drops a cell phone marks him as the primary suspect because he just saved Sidney from a killer known to stalk people over the phone while invading their homes. To a modern viewer this seems rather innocuous.
* Films of the early 1920s often included allegorical sequences (or entire parallel stories) set in past eras. BibleTimes, AncientEgypt and AncientGrome were popular choices, which also provided a convenient excuse to shoehorn in a few scantily clad slave girls and Roman orgies, proving that GettingCrapPastTheRadar is OlderThanTelevision (in fact, older than the Talkies). This was a popular enough trope to be parodied by Creator/BusterKeaton's film ''Three Ages''.
** This gimmick is arguably still with us, in the form of "The History of..." spoofs in comic strips and TV commercials showing stereotyped scenes from past eras, often with BambooTechnology.
* You can't see through a modern keyhole; though this hasn't entirely killed the old-style keyhole outline as a frame for mystery illustrations. It's a [[https://en.wikipedia.org/wiki/Skeuomorph skeuomorph]].
[[/folder]]

[[folder:Literature]]
* In the late 19th century, the RagsToRiches trope usually involved a poor yet clever and virtuous boy who rises to affluence through hard work and clean living (and phenomenal luck, but they won't tell you that). This trope was arguably the basis of Social Darwinism, but it died sometime during the forties and no one can say why for certain. Presumably it had something to do with the immensity of the Wall Street Crash (for if people got rich by hard work and clean living, did that mean all those that lost wealth were lazy and uncouth, along with unlucky?), the influence of the World War II experience (with Hitler's Germany being a horrific case of many of the tenets of Social Darwinism put into action), the New Deal (which made people question the idea of individuals purely responsible for their success) and the nascent civil rights movement (springing from demographics of people who had been denied success for the color of their skin, not for the content of their character, even though Booker T. Washington to some degree embraced the theme).
** Horatio Alger Jr.'s work is the classic example. Alger's work shows a real Forgotten Trope, where the boy goes from dirt poor all the way up to... working class, with no thought about becoming really rich or upper class. ''That'' would have been utterly unrealistic back then. Today it reads like tales of a man's long and difficult struggle to reach the middle.
*** If you actually read Alger's work, in almost every case the dirt-poor boy attracts the attention, early in the tale, of a rich merchant or financier who becomes his behind-the-scenes benefactor and/or keeps an eye on him throughout his rise. Alger himself was admitting that ''whom you know'' is what really counts.
** The British equivalent is Dinah Craik's ''John Halifax, Gentleman'' and Samuel Smiles' ''Self-Help.''
** It refuses to die as long as Creator/AynRand has disciples.
** Today, RagsToRiches stories are mostly associated with stories about [[DamnItFeelsGoodToBeAGangster rising in the criminal underworld]]; a big part of the appeal of GangstaRap is exactly this.
* Creator/CharlesDickens' work ranges from [[UnbuiltTrope unintentional]] [[TropeOverdosed trope overdose]] (''Literature/OliverTwist'') to low-end {{Subversion}} (''Literature/GreatExpectations'') to high-end {{Subversion}} (''Literature/HardTimes''). The last-named features a supporting character (Josiah Bounderby) who claims that his mother abandoned him soon after his birth, and that he was completely independent by the age of three. It is later revealed that his parents adored him, and scrimped and sacrificed so that he might receive a good education and a promising apprenticeship. He then rose rapidly through the ranks of society, and deserted his doting parents in their old age.
** Parodied like crazy by radio comedy ''Radio/BleakExpectations''.
** Also well remembered for being deconstructed in ''Literature/TheGreatGatsby''.
** Also deconstructed and parodied in Creator/GeorgeBernardShaw's ''Theatre/{{Pygmalion}}''.
** In recent fiction, the young readers' novel ''Montmorency'' could be considered a parody, as it features a dirt-poor youth who ascends to the aristocracy through hard work ... by robbing Londoners and faking his way into high society.
* Invasion Literature was a popular British sub-genre of ScienceFiction (not named as such at that point) in the late Victorian and Edwardian eras. This genre focused on the invasion of Britain TwentyMinutesIntoTheFuture (or earlier) by a foreign power. This foreign power was most often either France or Germany, depending on which seemed Britain's most likely enemy at the time. Its mainstream incarnation vanished during UsefulNotes/WorldWarI, presumably because they had ''actual'' wars with Germany.
** ''The Battle of Dorking'' (1871) by George Tomkyns Chesney, the TropeCodifier, though not the UrExample. This was written in the aftermath of the Franco-Prussian war, which had shocked Europe with the speed with which Europe's second-largest army was defeated by a numerically smaller but technically more sophisticated foe. This theme ran through the genre.
** Both ''The Riddle of the Sands'' (1903) by Erskine Childers and ''Literature/TheWarOfTheWorlds'' (1898) by Creator/HGWells ended up having an effect on fiction long after the extinction of the original trope serving as the progenitors of modern espionage thrillers and the AlienInvasion, respectively. The Invasion Fiction lives, but the invader has changed.
** A late example is NevilShute's ''What Happened to the Corbetts'' (1938). By that time, of course, most people had a pretty good idea that something bad was going to happen, even if they didn't know [[UsefulNotes/WorldWarII quite how bad]] it would be.
** There were a few American examples of the genre, usually involving the YellowPeril; the revival of that associated trope during UsefulNotes/WorldWarII included a novel by Whitman Chambers titled ''Invasion!''.
** There are still quite a few books and movies in which a war suddenly breaks out between two major nations and one of them totally overruns the other because of its secret weapon. Arguably, invasion literature was the origin of the modern Technothriller genre, along with the [[SpyFiction Spy Thriller]] and AlienInvasion tropes. The thing that's been forgotten is the specific threat of invasion into Britain by either the French or the Germans. The notion of either of those things happening became absurd after UsefulNotes/WorldWarI and UsefulNotes/WorldWarII, respectively.
** Mainly because of Germany's subsequent (relative) military impotence and that both France and Germany are allies with Britain through NATO and, to a lesser extent, associations with the European Union. However, this hasn't stopped people (namely Tom Clancy) from continuing to speculate about a resurgent Imperial Japan, even though they're a less capable current military force than either France or Germany and are not in a hurry to get carpet bombed again.
** Several past and present Japanese service chiefs would enjoy being able to actively participate in peacekeeping efforts to show that the Japanese armed forces are more than paper tigers. Especially considering the North Korean situation.
** The "threat to Britain from France or Germany" idea did make it into at least one post-Cold War techno-thriller, Larry Bond's ''Cauldron''. The scenario involves the dissolution of NATO and a war pitting an aggressive France, allied with Germany and much of continental Western Europe, against the US, UK, and most of the former Warsaw Pact, excluding Russia. (However, the notion of England actually being ''invaded'' is never brought up.)
** A modern example of Invasion Literature most Australians will know of is ''TomorrowWhenTheWarBegan'', wherein Australia is invaded by an unnamed country.
** The genre was being parodied as early as 1909, when Creator/PGWodehouse wrote his early novel ''The Swoop'', in which England is invaded by the armies of ''nine'' different countries at once, only to be driven out by the Boy Scouts. (Oddly enough, in Creator/{{Saki}}'s ''When William Came'', written four years later, the "Boy-Scouts-as-saviours" idea is repeated, entirely seriously. The Scouts don't actually fight off the Germanic hordes, thankfully. Instead, they inspire the population to resistance by boycotting the Kaiser's parade.)
** One of the later examples is the comic book series ''Invasion!'', which ran from 1977-9. The creators had to change the Russians to "Volgans" and remove representations of Margaret Thatcher and other real life people.
* The Captivity Narrative, in which a good, Puritan girl is captured by Indians and has to resist their culture, was pretty popular in America from the 17th-19th centuries. These were often folktales that were made up long before the printing press and other forms of culture were readily available in remote settlements. These, often times, exploited the [[TheSavageIndian Savage Indian]] archetype for the sake of RuleOfCool or RuleOfDrama, regardless (or because) of its UnfortunateImplications.
** ''A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson'', by Mary Rowlandson, is pretty much the chief example of this trope. It's a true story, too. And a very interesting one at that. It's a must read for anyone interested in King Philip's War or early Anglo-Indian relations.
** And one which plays it straight, only to subvert it, is Catharine Maria Sedgwick's ''Hope Leslie'': the young sister of the titular character is kidnapped along with Hope herself and her sweetheart Everell. At first it seems as if Hope and Everell will be executed by the evil Indians, until in a moment [[ShoutOut swiped right out of the Pocahontas story]], the Indian princess Magawisca saves both their lives, resulting in their eventual release. Later, Hope's sister Faith is allowed to reunite with her family--but while she has proven unable to resist Indian culture, so that Hope and her family feel they have lost Faith forever (no one ever said the story wasn't {{Anvilicious}}), the fact Faith returns to be with the people she's come to see as her family and is much happier for it is played out with surprising sympathy and generosity.
** Believe it or not, ''Literature/TheLastOfTheMohicans'' of ''Literature/TheLeatherstockingTales'' by James Fenimore Cooper is actually a subversion of this. ("No, Magua's not going to rape her, or torture her, or kill her, or even tie her up. He just took her because he doesn't like ''you.''")
** A modern subversion: in ''The Searchers'' (1956), the plot motor is whether John Wayne's bitter protagonist will rescue or shoot his Indian-kidnapped niece once he finally finds her, for the fear that she has been assimilated and tainted by evil savages.
*** To be more specific, ''The Searchers'' is based on captivity narratives written about (and grossly objectifying) [[http://en.wikipedia.org/wiki/Cynthia_Ann_Parker Cynthia Parker]], mother of Comanche leader [[http://en.wikipedia.org/wiki/Quanah_Parker Quanah Parker]]. Cynthia was not only happy with the Indians, she was HappilyMarried to one, with several kids.
** This trope still lives in American society in subtle forms, according to socio-historical writer Susan Faludi. Her book about the September 11 attacks, ''The Terror Dream'', specifically references ''The Searchers'' and its source narrative. She explores in detail how the trope influenced some of the media images and political attitudes with which America responded to the tragedy.
** Modern writers have come up with pastiches of the trope.
*** Lucia St. Clair Robson's romance ''Ride the Wind'' is a popular example.
*** Deborah Larsen's ''The White'' rewrites one of the most famous captivity narratives, that of Mary Jemison.
** A book called ''The Ransom of Mercy Carter'' is about a group of Puritans (adults and children) kidnapped by Indians and waiting for ransom from their families. Subverted, because in the end [[spoiler: nearly all of the children decide to stay with their Indian families.]]
** This genre is parodied in a skit entitled "My Captivity by Savages" by the band Music/{{Rasputina}} on the album Frustration Plantation.
** Actually the genre did not start with female protagonists, nor concerned only Puritans. An important forerunner is "Memoir On the Country and Ancient Indian Tribes Of Florida" (1575) by Hernando de Escalante Fontaneda. They were the actual memoirs of a Spanish man who spent the years 1549 to 1566 in captivity by the Calusa tribe of Florida. A best seller of the 18th century was "The Remarkable Adventures of Jackson Johonett, of Massachusetts" (1793). It was promoted as the actual memoirs of a young American soldier who survived captivity by Native Americans in Ohio. Contemporaries loved this action-packed narrative. Literary historians are convinced it was actually a novel, with numerous geographic and historical references being inaccurate. For example, the narrator claims arriving at the completed Fort Jefferson, Ohio on September 18, 1791. Remarkable if you consider the Fort started being built in October, 1791. A more genuine historical account was "The adventures of John Jewitt: only survivor of the crew of the ship, Boston, during a captivity of nearly three years among the Indians of Nootka Sound in Vancouver Island" (1815). The [[LongTitle long-winded title]] is [[ExactlyWhatItSaysOnTheTin self-explanatory]].
** ''I Am Regina'' by Sally Keehn, published in 1991, is about this. The main character Regina is taken by the Allegheny Indians and lives with them for so long that she forgets the English language, except for a few Bible verses. This is definitely a subversion of the original trope, mainly because it portrays the Indians sympathetically, and they become Regina's family.
** Another example of the Captivity Narrative is found in ''Literature/DonQuixote'': [[AuthorAvatar Ruy Pérez de Viedma]] relates all his biography in "The story of the Captive Captain". He was a handsome Spanish captain who wanted to escape the Moors and was helped by a Zoraida, a beautiful Moorish princess who wanted to convert to Christianity. He organized a successful escape to Spain, was well received by his powerful and rich relatives and married Zoraida. The LifeEmbellished characteristics like the Moorish princess and the overly happy ending were a NecessaryWeasel because the [[TheCavalierYears public of that time expected them.]] In real life, Cervantes was a captive who failed all his escape attempts and whose family paid for his rescue; he was always an ImpoverishedPatrician.
** The inverse of this trope--a white woman is kidnapped by Indians, but chooses to stay with them because they are CloserToEarth, has become common. Some examples have been mentioned above. There's a whole subgenre of romance novels which use this trope.
* A variety of late-19th and early-20th century stories called [[http://en.wikipedia.org/wiki/Edisonade "Edisonades"]] were usually about a young man building a robot, going west, defeating savages and carving out a name for himself. SteamPunk was created partially from a desire to fight the attitudes presented in the Edisonades (despite the genre being dead for several generations).
* The Anglo-Saxon riddle poem, in which a vague poetic description of an item was given and listeners were expected to recall a rote answer, is almost entirely dead today. The only popularly-remembered example, "Humpty Dumpty," is no longer perceived as a riddle about an egg, just as a poem about an egg. (This is in part due to TheWeirdAlEffect of Humpty's inclusion in the ''Alice'' books.)
** Used almost directly by Creator/JRRTolkien in Literature/TheHobbit, specifically the riddle-contest between Bilbo and Gollum. Tolkien was aware of the trope because he was an expert on Anglo-Saxon literature, to the point of having done original translations from Anglo-Saxon into modern English.
* A number of 19th century Russian novels reference the then-current fad interest in Nihilism, and while the idea of a NietzscheWannabe is still familiar today, that doesn't give a complete idea as to what the philosophy meant to the original audience.
** Not to mention the then-current debate mentioned in ''Literature/CrimeAndPunishment'' over whether women have souls.
* The clever young widow as TheIngenue's rival for the protagonist's affections. This character type was popular in the early 20th century, back when young ladies were supposed to be watched over by parents and chaperones before marriage: the widow had the advantages of independence, (moderate) experience and wealth, though the last of these assets often depended on gold-digging among prospective second husbands. The more dangerous FemmeFatale might be this type's eventual descendant.
** Creator/AnthonyTrollope liked this one, having Madame Max Goesler in ''Phineas Finn'' and Mrs. Hurtle in ''The Way We Live Now''.
* Co-ed colleges have caused the CollegeWidow to be replaced by sorority sisters.
* ''TheManWhoWasThursday'' and ''The Assassination Bureau, Ltd.'' display a contemporary fear of militant Anarchists, who in the closing years of the nineteenth century and the opening years of the twentieth killed President [=McKinley=], King Umberto I of Italy and, perhaps most shockingly, the beloved Empress Sissi of Austria-Hungary and carried off a string of successful bombings. Over time, more immediate bogeymen displaced the BombThrowingAnarchists in the imagination, though their cultural DNA survives in the TerroristsWithoutACause trope.
** The fallout from this is why many contemporary people don't have the slightest understanding of what anarchism is. Generally it's either thought of as "[[AnarchyIsChaos chaos]]" or merely "an opposition to government," with no recognition of the underlying philosophies, ranging from communitarian anti-capitalism to a purer form of free-market capitalism. When an anarchist is depicted in the media, it's often as just a troublemaker with no underlying political justification (as with TerroristsWithoutACause, above).
* Travelers' Tales were a genre of nonfiction (usually) adventure stories of far-off lands. With the advent of {{Television}} and {{Film}} they seemed rather redundant.
** Even when those were most popular in the XIX century (see Creator/JulesVerne works), EdgarAllanPoe wrote a StealthParody (''Literature/TheNarrativeOfArthurGordonPymOfNantucket'') to mock the credulous readers.
* Misogyny was once a [[ValuesDissonance fairly common element]] in male protagonists, perhaps most clearly visible in Literature/SherlockHolmes. While not exactly considered a virtue, a dislike or distrust of women was not automatically treated unsympathetically or comically, unlike the modern HeManWomanHater.
** Although it did get shut down hard during ''A Scandal in Bohemia'', in which his antagonist a) notices Holmes' stratagem, b) follows him home while dressed as a guy, c) ''talks to him'' and still doesn't get caught, and d) escapes from Holmes' influence the next day. His opponent? Irene Adler, a ''woman'', earning Holmes' respect and the appelation "''the'' woman" (Watson observes that "there was only one woman to [Holmes]").
* BrainFever. Commonly used in the past to put an otherwise healthy character into a helpless state, often after an emotional shock. The character is usually delirious and only semi-conscious, but that may not stop him from blurting out unpleasant truths. Fever delirium still shows up from time to time to do the same job, but it is now much more specific than a generic "brain fever".
* There's a common Edwardian comedy trope where some aristocrat will have a particularly good cook and their friends will do everything they can to "steal" that servant (because great food is such a crucial part of performing the part of a host). This happens in some Creator/{{Saki}} stories as well as in Creator/PGWodehouse with the chef Anatole. This gets a modern use in the MilesVorkosigan novel ''Memory'' where his parents and other relatives are tempted to steal away his new cook, Ma Kosti, but that's probably because the series is often social comedy RecycledInSpace.
** Perhaps a modern variation is the competition by rich families for good nannies, as seen on ''DesperateHousewives''.
** This is played with and parodied to hilarious effect in ''Literature/ToSayNothingOfTheDog'' by Creator/ConnieWillis.
** Another modern version occurred in the ''Series/ThirdRockFromTheSun'' episode "Citizen Solomon", with Dick and Mary fighting over a maid:
-->'''Mary:''' Give me back my maid!
-->'''Dick:''' I'm sorry, Mary, but Cathy is not some product to be bought or sold on the open market. She is a living, breathing human being with feelings, thoughts, and emotions -- you don't own her. ''[beat]'' I do!
** Also on ''GameOfThrones'' when Janos Slynt suggests he'll be hiring Tyrions' cook
-->'''Tyrion:''' Wars haven been started for less.
* Obesity as a sign of great wealth is not entirely dead (with tropes such as the FatSweatySouthernerInAWhiteSuit) but it is certainly a dying trope, replaced by obesity as a sign of working class subsistence on junk food and beer, the price of fresh food, lack of time for home cooking, etc.
** In Nigeria in the 1970s, obesity was still a sign of great wealth. Polynesia also had positive connotations to fatness.
* Another dead or dying trope associated with the rich is that of the "squeamish" rich person (you know, the one with ridiculously puritanical social mores or who is laughably behind the times) who reacts to everything in a scandalized or [[RichInDollarsPoorInSense naive]] way. Such characters were usually women, but rich men were not immune either. It's largely disappeared now because the rich are now more likely to be just as sophisticated and up-to-date (if not more so) as everyone else. (Still shows up on ''TheSimpsons'', though, due to RuleOfFunny.)
* Before modern psychiatry and medicine, hysteria was once a common diagnosis for a woman with any sort of illness. There are thousands of documented cases of women in real life diagnosed with hysteria (and often institutionalized or otherwise marginalized) who were later found to have had heart attacks, ovarian cancer, schizophrenia, depression, endocrine imbalances, or one of any number of physical or psychological diseases.[[note]]Sometimes, all it took was a woman saying "I don't want to have kids!" or "I want to own my own business!" or objecting to her husband having control of her money. These victims of "moral insanity" were frequently institutionalized. Going to a SpookySeance could also get you diagnosed, because Spiritualists were notorious for promoting feminism.[[/note]] The trope became discredited after women finally got fed up with being told that their problems were all either "in their heads" or made up for attention, and faded from fiction at about the same time.
** There's a modern myth that doctors in the 19th century all used vibrators to give female patients orgasms. The ancient Greeks believed that orgasms cured "hysteria", but most 19th-century medical schools taught that a woman ''could not'' have an orgasm, and that her sexual pleasure derived from submitting to her husband. One historian estimates that five or ten doctors in the English-speaking world used vibrators on patients. Most were bought by [[AccidentalInnuendo lay people]], but ads for vibrators were directed at the medical community because [[GettingCrapPastTheRadar advertising them to the general public was illegal]].
** Hysteria, and more broadly the consistent mis-diagnosis and mis-treatment of women during the 19th and early 20th centuries, is the theme of the classic early feminist short horror story ''Literature/TheYellowWallpaper.''
* As mentioned under ClarkKenting, facial muscle control was used by pulp magazines to handwave MasterOfDisguise abilities, because it was thought that if a male character wore make-up for a disguise, that would make him a "sissy". Perhaps because of common awareness of the use of make-up in films/the lack of believability of the facial muscle explanation, this trope hasn't been used for a while.
** Although this was used recently in the movie Minority Report, with the aid of an electronic device to relax the muscles.
* While the Oxford Clerk from ''Literature/TheCanterburyTales'' lacks the requisite glasses from the SmartPeopleWearGlasses trope (they were just starting to come into fashion during the time period), he is specifically noted as having poor eyesight from staying up and reading books by candlelight, hinting that that trope might have been descended from an older "Smart People Have Bad Eyesight" trope.
* Christmas ghost stories were very common in the Victorian era up until very recently. Today the only one widely remembered is a ''Literature/AChristmasCarol'' and thus most people don't realize there were many others of its ilk, but telling ghost stories around Christmas was a common tradition until recent decades. A reference to it remains in the song "The Most Wonderful Time of the Year" that seems fairly archaic to modern listeners.
* In British literature up through the mid-1800s, a frequent plot device involved a secret marriage happening in Gretna Green or other Scottish border towns. This was because an English law dating to 1754 allowed the parents of people under 21 to stop them from marrying; Scottish law had no similar provision, and, further, allowed almost anyone to perform a marriage as long as two witnesses were present. Moreover, the wedding announcement could be held back from English newspapers. Gretna Green is still a popular venue for destination weddings, and turns up in that capacity in modern works, but its use in novels like ''Literature/TheWomanInWhite'' to reveal a secret wedding in a character's past is now mostly forgotten even in period pieces.
[[/folder]]

[[folder:Live Action TV]]
* In the 1990s adaptation of the ''Series/JeevesAndWooster'' stories, the whole "breach of promise" thing is omitted, and now the reason Bertie can't get out of these engagements is it just wouldn't do to jilt a woman so. And yet they keep the Hitler parody and the blackface - with which they're ''very careful''.
* The [[StandardFiftiesFather wholesome, perfectly spoken, morally impeccable dad]] as per the ''FatherKnowsBest'' design. Perhaps the first trope of the 1950s syrupy [[DomCom Domestic Comedies]] to die, it's now more or less replaced with the BumblingDad, starting with ''AllInTheFamily''.
** Briefly resurrected in the 1980s by Bill Cosby on ''TheCosbyShow'', albeit with considerably more SelfDeprecatingHumor than the original.
** And [[FullHouse Danny Tanner.]]
** Carl Winslow, during the first couple seasons of ''FamilyMatters'', was a mix of the StandardFiftiesFather and BumblingDad. From about Season 3 onward, he was just the BumblingDad.
* This will sound strange to European tropers, but in the '60s and '70s a common trope on American TV (and especially stand-up comedy) was the purported extreme ugliness of Russian women. For decades the standard-issue US pop culture Russian woman was either a [[BrawnHilda muscled, mannish athlete]] or a troll-like creature with a mustache wearing a "babushka" (a "grandma kerchief" tied below the chin). Watch some old (uncensored) ''Series/TheTonightShow'' monologues -- at least once a week Carson would make a joke about how mind-numbingly ugly Slavic women were. And, since he was the most respected comedian in America, [[FollowTheLeader everyone copied him]].
** YakovSmirnoff was using this as late as TheEighties: "In Russia we have a saying: 'Women are like buses.' That's it."
** Speaking of Smirnoff, this trope became a running gag for his character on NightCourt: In his first appearance on the show, Smirnoff's character ([[TheDanza also named Yakov]]) is an immigrant from Soviet Russia who speaks almost no English, and Harry is forced by circumstance to befriend him despite the language barrier. ItMakesSenseInContext. At one point, Harry gets to see the inside of Yakov's wallet and see photos of his loved ones. Harry is initially confused as to why Yakov has a photo of Soviet Premier Breshnev in his wallet, until Yakov explains that's his ''wife,'' Sonia. Since then, each time Yakov made an appearance, reference is made to how painfully ugly Sonia is, until the episode where finally we get to meet Sonia... and [[SensualSlav she's absolutely gorgeous.]] Naturally, Yakov thinks she's a KGB impostor, even as she claims her new appearance is due to MagicPlasticSurgery, required due to an accident.
** And this wonderful [[http://www.youtube.com/watch?v=DWAKtYGJZSM Wendy's commercial.]]
** This is probably all due to the main way the West gets exposure to Russian women -- from sports, particularly the Olympics. Russian women are either svelte gymnasts and tennis players or brick shithouse shot putters (rumors that the Soviet Union secretly juiced their female athletes with steroids might have also had an effect.)
** The distinction was often not so much national as political. Czarist women seem always to have been portrayed as [[SensualSlavs mysterious and exotic temptresses]], whereas Soviet women are far more often portrayed as mannish and unalluring, if not downright [[TheBaroness Rosa Klebbs]]. The likely reason for this is Soviet policy discouraging differentiation of occupations by sex. To paraphrase an old Soviet joke, "where once were ladies and gentlemen, there are comrades and comrades." The Soviet woman was seen as a kind of comrade-in-arms for the working man, impervious to such allures of the "rotting bourgeoisie" as makeup or fancy clothes. This attitude more or less died off by the 1930s,[[note]]Though most information about Russia came to West from emigrants, who left during the civil war or in the 1920s.[[/note]] but it has set an industrial imbalance heavily focusing on means of production at the expense of consumer goods. Fashion industry was fairly limited, resulting in domination of purely functional, often fugly, clothes designs. With the lack of an upper class to reinforce the SensualSlavs stereotype, this caused the looks of an average Soviet woman to be perceived outside as a "Soviet man (female edition)." Add to this the IronCurtain denying foreigners the time needed to discover that she was BeautifulAllAlong and an unhealthy dose of dehumanizing RedScare and there you go.
** One joke involved a man going to sleep next to his lovely wife of the first type and being horrified to discover, the next morning, that she has passed her "expiration date" and transformed overnight into the second.
** This trope was used as recently as 2004 in ''Dodgeball'' with the ugly woman with a unibrow from "[[{{Ruritania}} Romanovia]]".
* While made in the 1970s, ''Series/{{Mash}}'' was of course set during the Korean War. The "Go to Reno, Nevada for a quick divorce" trope (see Film, above) turned up on occasion.
** This is referenced in ''MadMen'': [[spoiler:Betty Draper and Henry Francis]] go to Reno together to get her a divorce.
* A minor trope in old newscasts was using introduction music that emulated the sound of a teleprinter or typewriters. With the predominance of new technology, those devices eventually were considered obsolete, so using such a style of musicalizatin wasn't making sense anymore (and younger audiences probably wouldn't be able to recognize them anyway). Nowadays, newscast themes are usually "rockish" and/or electronic sounding.
* The "rock bimbo" was a trope that often appeared in comedy through the '80s and early '90s, based on perceptions of female fans of rock bands like Guns n' Roses and Aerosmith as attractive, shallow, dumb, promiscuous partiers and more often than not overlapping with stereotypes of the Valley Girl and images of the singer Madonna from the time. Most notably it shaped the portrayal of Kelly Bundy and her friends on ''MarriedWithChildren'' after the first couple of seasons and was a big part of [[Film/EarthGirlsAreEasy Julie Brown's]] comedy persona especially on the old skit comedy show ''The Edge''. It went away completely with the rise of grunge rock in the '90s, although similar stereotypes about teenaged and college-aged women still surface, but at least the rock bimbo's look - long feathered hair, dark but skimpy clothing, and wearing lots of long necklaces topped by maybe a large crucifix - has long been a relic.
[[/folder]]

[[folder:Music]]
* TomLehrer's song "The Old Dope Peddler" parodies a folk song trope that isn't used much anymore. When he originally wrote it, there were plenty of songs about eccentric but beloved village characters such as the old lamp-lighter or the old umbrella salesman. Those songs are forgotten except by those very familiar with old songs.
** Maddy Prior's "All Our Trades" stands out as a late example of this trope done straight.
** Many of Tom Lehrer's songs parody styles and tropes which were old even when he was writing them (although a few had seen revivals at the time); and have now been [[WeirdAlEffect all but forgotten]] by any but afficianados of old music.
* "Yankee Doodle" has 18th century slang from at least three languages. It mocks the vain, slovenly, and cowardly behavior of Colonial troops in the French and Indian war. Today, everyone knows it, but not the context of its references (or most of its post-chorus lyrics).
** Well at least the title is rather clear, since Doodle is still understood to mean "fool, simpleton" and has several derivative terms. Such as "doodles" (mindless sketches) and possibly "dude" (dandy, city slicker).
** It also references the Macaroni Club, a contemporary London establishment catering to effeminate fops obsessed with fashion; the reference does double-duty by both impugning the Yankee's idea of what is fashionable and comparing them with the 18th Century's equivalent of the StereotypeGay.
* There are a lot of former {{Standard Snippet}}s which have been completely forgotten.
* The smoking song, about smoking either banishing worldly worries or inspiring sentimental visions. Songs about smoking certain ''other'' things are still alive and well, however.
* The "love nest" song, describing the type and/or location of the cozy little home a couple would plan to settle down in.
[[/folder]]

[[folder:Other]]
* For decades, the depiction of Superman and heroes inspired by him changing costume in phone booths was common in homage and parody [[DeadUnicornTrope despite rarely being used straight]]. It remained common in superhero parody in the early 1980s but by then phone booths were being replaced with boothless pay phones -- the 1978 Christopher Reeve movie acknowledged this with a knowing wink. Now, with phone booths and even pay phones vanishing or gone from most public areas thanks to the omnipresence of cell phones, this supposed cliche isn't even parodied anymore.
** On a related matter, ''any'' trope involving a PhoneBooth is pretty much dead and is only likely to appear in works set between 1930 and 1990s, when phone booths were commonplace.
* FoodPills (a complete meal -- usually offered in a variety of perfectly convincing flavors -- in a tiny capsule) were all the rage for the well-stocked future of the Golden Age of Science Fiction, but today's future food is more food-like. If there ''is'' concentrated food -- such as the "protein pastes" that may be FoodPills' spiritual descendants -- it tends to taste nasty. The change is no doubt due to the growth of the health-and-exercise industry and the subsequent general awareness that the human body needs considerably more than just a few milligrams of vitamins per day -- plus the fact that the nearest real-world equivalent to food pills, protein bars and shakes, are now widely distributed and often regarded as bulky and unconvincingly flavored.
* Because of advances in refrigeration, milkmen are pretty much obsolete in America, with the result that CheatingWithTheMilkman has pretty much died as a trope and is only likely to pop up in a work set in the 1950s (the era in which it was a present trope). Interestingly enough, it has a replacement trope in PizzaBoySpecialDelivery, which reflects a more recent norm for food delivery.
** The main reason milkmen were the subjects of these jokes were their regular presence within a house, if only briefly. They would visit their customers daily or nearly so, giving them the opportunity to get familiar with the female residents. The subject of such jokes can just as well be any other male regularly visiting a certain residence. This is subverted in a Creator/PGWodehouse short story, where the narrator claims that because of their schedules, milkmen only see women ''before they've put their makeup on'', rending any such philandering impossible.
** Commonly, the gardener has been used as a replacement.
** Also the pool boy (among those well-off enough to have one).
** In Sweden and France, it's usually the mailman.
** In Spain one used to say "es hijo del butanero" ("he is the son of the Butane man") when a child had very little resemblance to his father, implying the mother had been unfaithful with the bottled gas deliveryman. With the growth in installations of direct gas and electric stoves, and the subsequent descent on gas deliverymen, this specific subset of the trope is dying there too.
* The image of a StarvingArtist living in a garret apartment dates from a time when the top floor of a building was the most inconvenient to access and thus rented out for the lowest price. Thanks to elevators, landlords can now rent out lofts for a hefty markup relative to the rest of the building, and Starving Artists had best starve somewhere lower down.
** If you smear some BigAppleSauce on this trope, it comes back to life with some TruthInTelevision on its side. Buildings of five floors or fewer in NYC do not have to have elevators. Guess who lives in fifth floor walk-ups in certain neighborhoods.
* Cracked discusses many things from the '80s to the early 2000s that are becoming like this in its article [[http://www.cracked.com/article_19109_6-things-our-kids-just-plain-wont-get.html 6 Things our Kids Just Plain Won't Get]]. While a lot of it is more like the WeirdAlEffect, some of it isn't, such as plots about someone hogging the phone line when you're waiting for a job to call (most people would just use their cell phone now, if they even have a land line in the first place) and pen pals (the internet means you could probably meet someone from another country on a daily basis).
* In the past, homosexuality or male effeminacy was frequently described as a mental disorder (if in fact it was discussed at all). Today, attitudes have changed - and yet, as late as the 1970s, Mike Brady (played by [[RealitySubtext gay actor]] Robert Reed) was heard to say in an episode of ''TheBradyBunch'' that if he found out that one of his sons was interested in playing with dollhouses, he'd take him to a psychiatrist.
* The student wearing a DunceCap is never played straight anymore, having fallen out of favor by the mid-20th century, and in complete disrepute by TheSeventies, with the advent of the self-esteem movement in academia and {{Edutainment}}. In real life, any teacher attempting to use this would receive a lot of negative attention from parents and administrators.
* A VCR with a flashing 12:00AM on its face was a common gag before the advent of [=DVDs=], due to the notorious difficulty in resetting a VCR's time. It used to show up in a lot of Cartoon Network shows like ''JohnnyBravo'' and ''WesternAnimation/DextersLaboratory'', with the joke being that someone is a genius but is still unable to reset the VCR, or this being used as an example of newfound brain power. The joke doesn't work in the era of DVD players, because the vast majority of them can't record, and thus have no need for clocks in the first place - and those who ''do'' have a clock either have an internal clock battery, or can fetch the local time from the broadcast metadata.
** Broadcast metadata and the rise of the smartphone have also killed off the trope of multiple characters synchronizing their wristwatches in SpyFiction and TheCaper stories.
* The RagsToRiches trope has been pretty much [[RescuedFromTheScrappyHeap rescued from the heap]] thanks to the advent of the lottery (the good kind, not the LotteryOfDoom). There are countless RealLife examples such as Oprah Winfrey and "Dot Com" success stories that offer a RealLife {{Deconstruction}} and object lesson of sorts. Often though, there is a sour grapes Aesop at the end of modern versions of these tales. The newly wealthy person realizes that money has corrupted them and they give it all up to return to a simple life.
* TheGayNineties -- at least, the sentimental depiction thereof, for purely generational reasons. For a while, TheFifties had taken their place, and now they're being edged out by, appropriately enough, TheNineties. Portraying TheGayNineties as "wacky" or "nerdy" is still very much with us, however; just watch ''WesternAnimation/FamilyGuy'' for examples - but most of this is based on the estrangement people feel from these old tropes.
* [[http://www.post-gazette.com/pg/08078/865947-42.stm "Columbia"]] was a poetic 19th century name for the United States of America (it is the "C" in "Washington D.C."). Columbia herself was represented as a young woman (or goddess) and was a popular national personification into the early 20th century. Since then she has been displaced by another American personification -- "Uncle Sam". (The patriotic song "Columbia, the Gem of the Ocean" had a similar period of popularity.) About the only place you will see poor old Columbia these days is at the opening of a "Columbia Pictures" flick: she is the woman holding the torch. [[note]]Apparently she was always meant as a composite figure, but her incarnations may include, among others, Claudia Dell, Amelia Batchler, Jane Bartholomew, and today's version, Jenny Joseph.[[/note]]
** "Columbia" was also used as a synonym for the continent(s) of America, hence the names of the South American nation of Colombia and the Canadian Province of British Columbia (and the latter is even on the opposite coast from the one where Christopher Columbus operated). And ''Columbia, the Gem of the Ocean'' is still performed.
** Many older American memorials and monuments still depict Columbia, the most notable and newest of which is the National Memorial Cemetery of the Pacific, dedicated in 1949 in Hawaii.
*** The statue atop the US Capitol dome, while not officially of Columbia, shares many of her characteristics.
** Creator/{{CBS}} used to stand for the Columbia Broadcasting System. Even ''they've'' abandoned this trope.
** In Alex Ross's graphic novel ''Uncle Sam'', there's a sequence where Sam meets up with Columbia to discuss the good old days.
** There was a subtle distinction made at one time: Columbia represented the United States, while Uncle Sam represented the '''Government''' of the United States, [[http://xroads.virginia.edu/~cap/liberty/sam2.gif thus]]. (Similarly, Britannia represented the United Kingdom, while John Bull represented the Government of the United Kingdom, [[http://publications.epress.monash.edu/na101/home/literatum/publisher/monash/journals/content/dl/2009/dl.2009.1.issue-1/dl090005/production/images/medium/dl090005_f10.jpg thus]].) Uncle Sam has now shifted into Columbia's place, while his former function is carried on by such {{Anthropomorphic Personification}}s as "[[http://www.drybonesproject.com/blog/JohnQPublic1.gif John Q. Public]]" or (more recently) "Joe Sixpack."
** Uncle Sam himself replaced the almost entirely forgotten Brother Jonathan as national personification of the USA. (Jonathan was the brother of Britain's national personification John Bull, the satirical joke was that they did not get on although they looked almost identical).
*** Brother Jonathan is referred to in the ''{{Flashman}}'' novel ''Flashman and the Mountain of Light''.
** National personification was popular in many countries in the nineteenth century (Britannia etc). It's equally forgotten outside the United States.
** [[http://en.wikipedia.org/wiki/Marianne Marianne]] as the personification of France seems to be very much healthy, though.
** Sweden's [[http://en.wikipedia.org/wiki/Moder_Svea Moder Svea]] isn't used much outside editorial cartoons but is certainly not forgotten.
** Germania is not often seen anymore, as she tends to be associated with the militarism of ImperialGermany, but ''[[GermanPeculiarities der deutsche Michel]]'' in his night-cap is still fairly common in German political cartoons.
** Similarly, ''all'' of the traditional personifications of Ireland (Róisín Dubh, Kathleen Ni Houlihan, the Shan Van Voght, the Maid of Erin) are forgotten, mainly because they're seen as incredibly dated.
** [[http://en.wikipedia.org/wiki/Fjallkonan Fjallkonan]] is quite alive.
** ''AxisPowersHetalia'': OlderThanTheyThink. Also, 'Columbia' has popped up again in ''VideoGame/{{BioShock Infinite}}'', interestingly.
** Columbia, Marianne, John Bull, Britannia, and Uncle Sam are all gods in the World War II setting in ''TabletopGame/{{Scion}}''.
* Everything's Greener With Chlorophyll: a minor trope in TheFifties, afterwards forgotten. The brief fad for chlorophyll as an additive centered on its supposed deodorizing and "healing" properties, not to mention giving products like toothpaste a natural green color. ''TIME Magazine'' reported a [[http://www.time.com/time/magazine/article/0,9171,857175,00.html chlorophyll boom]] in April 1952 which had become a [[http://www.time.com/time/magazine/article/0,9171,860075,00.html bust]] by October of the next year.
* [[OnceAcceptableTargets Polack jokes]] petered out by the end of TheEighties, partly because no one remembered why Polacks were supposed to be stupid in the first place, and partly because that was when the Poles started seriously kicking political ass, leading to the 1989 fall of Communism in their country. It's hard to make "stupid" jokes about a people who have successfully told the Soviet Union to take a hike.
* "Big boy pants." It used to be a rite of passage for a child to start wearing long pants and skirts. Younger children -- both boys and girls -- wore short pants with a dress or skirt over them, so that the material would not be worn out during playtime. Once you were old enough, you were trusted to wear long pants.
** The variant about young girls wearing short skirts makes a significant appearance in ''Literature/{{Fingersmith}}''.
** This trope is far from being forgotten in manga and is used mostly for school uniforms like in ShinkuuYuusetsu.
* [[TelegraphGagSTOP TELEGRAM STYLE STOP]] NOW OBSOLETE STOP TROPE DIED [[http://en.wikipedia.org/wiki/Telegraphy#E-mail_displaces_telegraphy 12 JULY 1999]] STOP
** +++FLASH FLASH FLASH+++ RELATED TROPE CONCERNING MILITARY COMMUNICATIONS ALSO OBSOLETE AS OF [[http://www.bbc.co.uk/news/technology-22892166 JULY 2013]] RPT. JULY 2013. +++MESSAGE ENDS+++
* The term "motherfucker" as a term used by African-Americans. It's noted by a lot of older folklore/analysis of humor books that it was an African-American-only term. For better or worse, it's become a mainstream curseword with no racial associations, beyond a strong association with black actor Creator/SamuelLJackson, who says it a lot.
** There's a joke to the effect that this would be the title of an African-American adaptation of ''Theatre/OedipusTheKing''.
** One episode of set-in-the-1920s ''BoardwalkEmpire'' [[ShownTheirWork shows its work]] when black gangster Chalky uses the word and white protagonist Nucky has never heard it before.
** Kept alive (and subverted) by comic Bill Burr, who notes that nobody has a problem with a black guy speaking of an "Asian motherfucker", but Burr is regarded as a bigot when he talks about a "motherfucking Asian".
** Educator James Herndon describes teaching in a segregated school where the white men who ran things had a policy of zero tolerance on saying "motherfucker". They believed it was such a terrible insult that it would automatically start a fight. What they didn't realize was that the worst thing you could call someone was not motherfucker, but ''black.''
* One gag used in cartoons was when someone ingested the multi-use substance [[http://en.wikipedia.org/wiki/Alum alum]], their lips would tighten to a pucker, their head would shrink, or their voice would increase in pitch (the latter two occurring in the ''WesternAnimation/LooneyTunes'' short "WesternAnimation/LongHairedHare"). (For the record, the reason behind the whole puckered mouth/shrunken head thing is that it is an astringent, and because it is a preservative used in pickling. Among many other uses.)
* In Victorian schools, [[http://www.sas.upenn.edu/~cavitch/pdf-library/Robson_Standing.pdf rote memorization was thought to be good for the mind as well as instilling discipline]]. Aficionados of Victorian novels and autobiographies will be familiar with children having to "get" a number of "lines", usually of Bible verses, poetry or a Shakespeare play. Along with adult works, poems were written especially for this purpose, exemplifying virtues for children to emulate. This practice trickled down into family life, and children were expected to appear at adult parties to "say their piece", sing, play an instrument or dance. The mania surrounding ShirleyTemple kept this going through the 1930s and 40s, and merged with Beautiful Baby contests (which [[http://www.huffingtonpost.com/hilary-levey/the-evolution-of-american_b_860261.html have a variety of origins]]) to become the Child BeautyContest.
** Creator/LewisCarroll parodies this by having Alice actually base part of her identity on her ability to recite, only to have it turn into WordSalad. Children who'd been forced to recite that damn "How doth the little busy bee" poem would have loved Carroll's hysterical mangling.
* Computer {{Hackers}} as computer cowboys, [[JustLikeRobinHood cyber-robin hoods]], or some form of ChaoticGood. They used to only hack into corporations or government mainframes as a way of "Sticking It To The Man". The 1992 movie ''{{Sneakers}}'' had a nostalgic flashback of how the main characters via hacking had the Republican party donate thousands of dollars to the United Negro College Fund. Today's hackers either work for TheMan or work out of pure greed (malware, scams, scareware, adware, ransomware, trojan viruses, invasion of privacy, ect) and target honest innocent consumers. Even when they target big companies, they get their hands on a lot of customers personal information. The nostalgic day of hackers is, of course, before computers and the internet became an everyday part of everyone's life.
* Several Medieval motifs and themes are forgotten by most but scholars and devoted enthusiasts:
** The Red Jews: a legendary nation in the German folklore that would invade the Christian world. It probably saw its major splendor with the Turk attacks that would led to the fall of Constantinople, when it was popular to identify the Ottomans with the Red Jews stories. While unfortunely antisemitism still exist today, the idea of a Great Jewish nation invading the West is all but forgotten. Probably the modern equivalent would be other prejudiced tropes like "Jews Control the Media/Economy", but even in those cases, the way they use their power is passive, not with violence.
*** Interestingly there was in the northern Caucasus region a Turkish people called the Khazars who dominated the region from roughly the seventh to eleventh centuries. The Khazar leaders were converts to Judaism (although the people they ruled over were a mix of different religions). Some scholars have suggested that the myth of the Red Jews might have at least in part been inspired by mangled historical accounts of the Khazars, although it cannot be conclusively proven.
** The Nine Worthies: Nine characters who personified the ideal values of a brave knight. They were three pagans (Alexander The Great, Hector and Julius Ceasar), three Jewish (Joshua, Salomon and Juda Maccabee) and three Christians (King Arthur, Charlomagne and Godfrey of Bouillion). It was a very popular motif that there was a sort of spin-off (to call it in modern terms) with nine lady worthies. All of those figures are still very well-know, but most people are not familiar with the idea of all of them united in a single rethoric concept.
** A lot of medieval creatures are still famous, but the way they're represented and the motifs and traits they have surely have evolved with time: most of modern representations of the unicorn are related to its class, elegance and/or "Royalness" and they're seen as delicate animals, but in the first representations they were if anything, just the opposite: wild, untamable and fiery. Other derivated tropes (like the idea that they could only be captured by virgins) are even more forgotten. Vampires and werewolves are seen nowadays as two different species but in the original stories they were seen as two variation of a same kind.
** Prester John: A Christian King from a far-away eastern land who somehow could kept the faith of his country and that would appear to save the West from Islamic/Heathen invaders. It was very common to reference him in stories, folktales and maps. There were different theories about the localization of the Prester John Kingdom, including China, India or Ethiopia, but with the advenment of the age of the exploration, the more of the world was discovered, the idea of this hyphotetical nation was fading away from most people's minds. It is still remembered by scholars and it still comes out in some modern works of fiction here and there, but even those works are relatively obscure. Stories about mythical countries or lands still exist today (some of them, like Atlantis, are even older), but Prester John as well as the notion of a hidden or forgotten country similar to the West or the Christendom in the middle of "Barbarian" or "Uncivilized" peoples are not only vanished from most mainstream fiction, but would be a clashing point of controversies due to ValuesDissonance.
** Termagant: The name of an imaginary god worshipped by Muslims, according to different tales by the Christian West. Of course, as time passed by, while clashes between the West and the Muslim worlds are still source of controversy, Termagant, as a figure of speech to describe an evil and trickster deity was forgotten. The term is still used nowadays to describe a violent woman, but even in that context it's dark and obscure, even more the original meaning of the word.
* AllGreasersAreItalians: A minor trope back in the 50's about the stereotype that all or most greasers were etnically Italian. Nowadays, this subculture is still remembered, but the racial connotation seem to be lost for modern audiences.
[[/folder]]

[[folder:Sound FX]]
* Movie bullets used to make a long pinging sound whenever they hit a rock or metal surface; this sounds ridiculous to most modern ears, although it was used in the ''VideoGame/{{Marathon}}'' computer games as late as 1996 ([[http://www.intuitor.com/moviephysics/ source]]). The similar BulletSparks trope remains alive.
** However, due to its heavy use in [[TheWestern old Western films]] (enough that the sounds are often associated with the genre), pieces paying homage to the classic era of Westerns will use this effect as a shout-out, similar to using the Wilhelm Scream. ''VideoGame/RedDeadRedemption'' is a good example of this at work.
* Whenever someone would eat corn on the cob, it would always be across the cob, with [[TypewriterEating typewriter sounds playing]]. A "ding!" would sound when they got to the end of the row. Since kids today probably have never even ''seen'' a typewriter in real life, no one uses the trope anymore. The last time it appeared prominently was in an episode of ''GoofTroop'' in the early Nineties, and only because Disney was benefiting from a GrandfatherClause.
[[/folder]]

[[folder:Theater]]
* The entirety of ''Theatre/TheImportanceOfBeingEarnest'' is devoted to [[PlayingWithATrope playing with]] the tropes of the time, most of which fall into this category. For instance, a typical device was for misdirected papers to lead to a revelation to resolve the plot; here it comes in the eleventh-to-last line, and the papers were literally switched with a baby.
* {{Opera}} often follows conventions that are completely forgotten except to people that, you know, actually study opera. Many exist for no reason other than to let the performers show off their singing chops.
** Several older operas were abandoned before many of the most famous operas were even written. The deeply, deeply annoying exit convention, which required the performer to exit the scene after finishing an aria, caused all sorts of logistical problems, and after the Baroque period was seldom used. Another that survived slightly longer was the Aristotelian convention of the unities (see below) that required a play or opera to be set over the course of a single day. (Mozart's ''Don Giovanni'' is an especially late example, as English-language playwrights had discarded the idea of the unities a century earlier.)
** One convention found in many grand operas of the mid-19th century was the massive formal setpiece chorus in the middle of the middle act (i.e. the second act, or the third if more acts were to come), e.g. the Triumphal March ("Gloria all'Egitto, ad Iside") from ''Aďda''. The mandatory ballet in French grand opera would almost certainly be placed here.
** Composer Jules Massenet, presumably after one too many times being forced to shoehorn a ballet in, not only [[LampshadedTrope lampshades]] it in ''Manon'' by having the ''ballet girls of the Paris Opera'' brought to a party, but [[JustifiedTrope justifies it]], as he manages to tie it into several different plots -- it's an expensive attempt by Manon's rich StalkerWithACrush to win her from the man she's playing courtesan to, but just beforehand, Manon learns that des Grieux, her true love who she threw over in favour of riches, is about to become an abbot, and this leads to her ignoring the performance, as the first sign of her redemption. Unfortunately, said StalkerWithACrush begins conspiring against her after that.
** When one of Wagner's operas was being premiered in Paris, he was told that they'd have to insert a ballet; he could either write one, or they'd pay someone's brother-in-law to arrange some of the thematic material from the opera into it. He said he'd write one, and that the place where it would make the most sense plot-wise would be in the first act. The management told him it would have to be in 'the middle of the middle' because that was when they seated latecomers.
* Courts no longer recognize lawsuits for breach of promise of marriage, though Creator/GilbertAndSullivan fans will recognize one as the premise of ''Theatre/TrialByJury''.
** The 1952 SettingUpdate of ''OfTheeISing'' removed the references to Diana accusing Wintergreen of breach of promise.
** In the third DreamSequence in ''LadyInTheDark'', Liza Elliott is put on trial for refusing to marry Kendall Nesbitt as she promised. The phrase "breach of promise" is not used, however, partly because, as Liza suggests, women were traditionally immune to such claims.
* The RestorationComedy, though the concept is basically just a sex comedy that flatters Charles II, and may or may not be bursting with ValuesDissonance and comedic rape.
* A major trope in old operettas was having a big romantic song in slow waltz time with enormous vocal range and mushy lyrics, rendered with lots of rubato. This was once as popular as the AwardBaitSong is now; it was already obsolete by the mid-20th century when Creator/AnnaRussell parodied it as "Ah, Lover!"
* The extravaganza, the American equivalent of English {{pantomime}}, was a family-friendly type of musical using many of the typical pantomime characters and settings (though the "dame" played by a man in drag seems not to have fully caught on). In the first decade of the twentieth century, stage adaptations of ''Literature/TheWonderfulWizardOfOz'' (which had Creator/LFrankBaum's involvement) and ''ComicStrip/LittleNemo'' followed the extravaganza format. Its best-known proponent was Flo Ziegfeld and his Follies; the genre survived until the Great Depression. The only survivor of the genre is ''Theatre/BabesInToyland''. Busby Berkeley incorporated some theatrical extravaganza elements in his films.
* "All new jokes!" -- In AncientGreece, while having just invented theater, it didn't take long to get to where the average audience member recognized ComedyTropes as Tropes. How comedic writers dealt with this became a trope in and of itself. As the FourthWall wasn't strong, a character would address the audience, say that TropesAreNotGood, and say how ''this'' play was special because of all the {{Undead Horse Trope}}s it ''wasn't'' using, which was always a lie. The lie was either [[NoPurpleDragons indirect]] (listing various tropes it wasn't using, but using other equally hackneyed old tropes) or [[WhoWritesThisCrap absolutely bald-faced]]. Of course, since writing plays was much more competitive, this must have seemed like sports players boasting. But it also implies a truly odd appreciation for tropes and how they get used. Wow! Just think of it: PostModernism is actually OlderThanFeudalism!
* Aristotle's traditional breakdown of theater styles has been split into a million different genres.
* Aristotle was also responsible for the laws of unities, which held that a play should be set in one location, concern one action, and take place in one 24-hour period. These laws were taken seriously for much longer than playwrights honoured them; Creator/SamuelJohnson was forced to defend Shakespeare 150 years after the Bard's death over his disregard of the unities.
** Another nail in the coffin of this trope was writers realizing that these laws were not so much laws as an attempt at description of the plays Aristoteles knew about. It was only made law by neoclassisists who made Aristoteles' work SeriousBusiness. The decline of reliance on ancient classics meant the end of this trope.
* The nine Greek Muses represented art forms that are almost all discarded now (though the Muses live on, they've been reincarnated as patrons of different arts).
* A ''lot'' of these were subverted in ''Theatre/{{Othello}}'', much to the distaste of certain critics like Thomas Rymer. As two examples, soldiers were AlwaysLawfulGood (except [[TheChessmaster Iago]]), and dropped handkerchiefs led to comical misunderstandings (or, in this case, multiple murders.)
* The "10-20-30" melodrama, a long-extinct genre of theatrical productions which used many tropes now more typically associated with early silent films like ''The Perils of Pauline''. The "10-20-30" name was derived from the cheap ticket prices charged for these productions - 10 cents, 20 cents, 30 cents. Interestingly, the name itself became obsolescent during the very heyday of these melodramas ("15-25-75" would have been more accurate.)
* Jokes about cigarette lighters refusing to light were obnoxiously common in the days of vaudeville.
** Apparently a bit of TruthInTelevision. The founder of Zippo noted that one of his friends carried a IMCO lighter (which was apparently ugly and unfashionable) "Because it works". He copied and improved the mechanism when he founded his own company.
* The grand operas of the ''ancien régime'' period had pompous prologues in which the ruler sponsoring the production was compared to the hero of the story.
* The idea of Cuba as a hotbed of sin, as seen in ''Musical/GuysAndDolls''. During the Batista years, the Mafia opened numerous casinos, nightclubs, and places of ill repute in the country to avoid American law enforcement, making it an extremely popular tourist destination. All of this died out with Castro's revolution - in fact, part of Castro's reason for taking over was because he was disgusted over American criminals controlling Cuba's economy.
[[/folder]]

[[folder:Video Games]]
* The concepts of [[WizardNeedsFoodBadly food and hunger]] in early [=RPGs=], where players would have to take into account eating to survive. As this detail [[ThisIndexHappenedOffScreen is irrelevant to the rest of the game]], it was [[DownplayedTrope reduced to an afterthought]] in later [=RPGs=] such as ''UltimaIV'', before eventually becoming disassociated with the genre. Now, food is used to replenish health, rather than hunger, although hunger clocks still remain widely used in the {{Roguelike}} genre and many survival-based games.
** It was justified in ''[[Literature/GreenSkyTrilogy Below The Root]]'', which was based on a novel where people trapped underground are just barely managing not to die of starvation, while people in the tree cities have plenty to eat but anorexia is a problem for some.
** Related to this was the mechanic in a number of early {{Shoot Em Up}}s (''Scramble'', ''VideoGame/RiverRaid'', ''Zaxxon'', ''Parsec'') that had the player's ship constantly draining fuel.
** Hunger and thirst are factors in the "hardcore" mode of ''VideoGame/FalloutNewVegas'' (2010). In addition to having to eat and drink regularly, the player cannot fast travel to a location if the journey would take long enough in in-universe time to require a meal or drink.
*** Timers and constantly draining health are considered to be extremely annoying to gamers. Especially to casual gamers, who are making up more and more of the videogame market. It used to be that only hardcore gamers could beat videogames. With the proliferation of home consoles and dwindling use of arcades, the idea of a game that requires an insane amount of skill to beat is going to make that game a financial failure. It makes some gamers feel as if they've been cheated out of their money when a game is too hard.
** [[CyclicTrope This trope seems to be making a comeback]], given that Survival Mode in ''VideoGame/{{Minecraft}}'' now has a hunger bar.
*** Indeed, a certain subset of gamers seems to have adopted New Vegas-esque hardcore modes (''Franchise/TheElderScrolls'' has several mods that bring something like that gameplay mode to Oblivion and Skyrim, for example) as a reaction against what they perceive as games becoming too easy.
** The comeback only seems to apply to games that can justify the mechanic now, though, like survival or postapocalyptic games. The same mechanic in GrandTheftAuto San Andreas was much less succesful and seen as a gimmick.
* FullMotionVideo games had their very brief moment of popularity in the early '90s, when CD-ROM drives were new and game developers were struggling to find the best way to use all that new space it afforded them, yet not having the technology to make an actual ''game'' big enough to fill hundreds of megabytes. The result was, in most instances, barely interactive sequences of low-resolution, badly-acted movies. Thankfully, it only took a few years for developers to think of using video in games in ways that didn't get in the way of gameplay (mostly as CG {{cutscene}}s), and the CD format became justified.
** The ''CommandAndConquer'' games still run with this, though probably because they're iconic to the series.
** Full Motion Video in electronic games may also be related to an equally forgotten BoardGames trope of the 1980s and 1990s, the notion of board games that included a VHS tape or DVD that would provide an analogy variety of "cut scenes" or could be cued up to certain events, is even deader due to TechnologyMarchesOn (and the fact that they weren't any good to begin with).
[[/folder]]

[[folder:Western Animation]]
* Referenced on ''WesternAnimation/PhineasAndFerb.'' After combining WhoWritesThisCrap with MonkeysOnATypewriter, [[MadScientist Doofenshmirtz]] [[LampshadeHanging points out]] that most of the show's target audience will never have even ''seen'' a typewriter before, and that [[MissionControl Monogram]] probably had to go to an antique store to buy it. The gag probably still works on a superficial level, since EverythingsBetterWithMonkeys.
** There was a similiar gag in a Christmas episode, where Doofenschmirtz is held captive by the only Christmas carolers who [[SecondVerseCurse know the later verses]] to "We Wish You A Merry Christmas", and refuse to leave unless he can find them a figgy pudding, which, as he observes, is very hard to find these days.
[[/folder]]

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