->''"At the end of this puzzle, you have to affix the improbable cat hair moustache to your lip '''with maple syrup!''' ... Who killed {{Adventure Game}}s? I think it should be pretty clear at this point that Adventure Games committed suicide."''
-->-- '''Website/OldManMurray''', "Death of Adventure Games"

One order of magnitude greater than FranchiseKiller, this is when a work somehow manages to take an ''entire genre'' down. A rare and unpredictable phenomenon that can, in extreme cases, cause a genre to become DeaderThanDisco. This can happen in a variety of ways.

* A {{Deconstruction}} that successfully brings every single flaw and illogical element of a genre to the fore, {{discredit|ed trope}}ing any subsequent attempts to play them straight.
* A {{parody}} (even [[SoBadItsGood accidental]]) that makes it difficult or impossible for anyone to take the genre seriously again.
* Something so [[DarthWiki/SoBadItsHorrible incredibly bad]] that it leaves a bad taste in audiences' mouths for the entire genre.
* A [[{{Sequelitis}} particularly ghastly sequel]] runs the entire concept into the ground by the virtue of being thoroughly derivative.
* A work so ''[[SugarWiki/SoCoolItsAwesome good]]'' that [[ToughActToFollow nothing else can live up to it]]. This is rare, since these usually just attract [[FollowTheLeader imitators]], but there's [[SturgeonsLaw only so many derivative works the audience may take]] before switching to something else.
** Alternatively, a TropeCodifier or {{Trope Maker|s}} is so dominating that it kills off any competing or experimental subgenres that don't adhere to the rules it sets down. For example, ''VideoGame/StreetFighterII'' and ''VideoGame/DoubleDragon'' so completely solidified the rules of the FightingGame and BeatEmUp (respectively) that they all but eliminated major gameplay deviations in their genres.
* A MagnumOpus that might not be necessarily good but is guaranteed to become classic due to utterly exhausting the genre and [[DeadHorseTrope beating every single trope in it to death]], making it nearly impossible to create further works within the genre's constraints without being accused of {{Plagiarism}} or CreativeSterility.
* Any shallow attempts at the genre's {{Reconstruction}} that end up JumpingTheShark due to introducing new elements without rhyme or reason, [[TheyChangedItNowItSucks making the renewed franchise seem like a mockery of its former self]].
* A work from ''outside'' the genre that exposes some of a genre's {{necessary weasel}}s [[ThePennyfarthingEffect as not so necessary]].
* Death of a representative icon of the genre, such as a visionary writer/director/musician/etc dying, or a major company with a focus on the genre shutting down.
* [[SocietyMarchesOn Changing sociopolitical trends]] render common and defining themes in a genre uncomfortable, bigoted, or even offensive, such as MinstrelShows, which would have white actors in {{blackface}}.

Some works, however, end up being the last straw for the genre by circumstances unrelated to their actual content but rather by their TroubledProduction and ExecutiveMeddling.

* A work that [[AcclaimedFlop is very good but turns out to be a commercial failure]], making everyone afraid to invest in this genre.
* A genre gets so expensive to produce or film convincingly that people aren't willing to lay down the money for it. Sometimes advances in CGI or computer programming can revive the genre -- for example, the EpicMovie [[UsefulNotes/FallOfTheStudioSystem was briefly dead]] until advances in computer technology and animatronics were able to tamp down on the costs. Of course, disaster movies are becoming [[CyclicTrope rarer again for the same reason]]. Alternatively, it turns out that the technology needed to convincingly move the genre forward wasn't as viable as people thought. Gaze upon the many, many aborted attempts to have fully-3D characters replacing "real" actors in a movie or 3D gaming.
* Assorted [[FunnyAneurysmMoment freak]] [[TooSoon events or coincidences]] make a genre unviable or unpopular, and a particular work gets perceived as either being a tasteless [[ExploitationFilm exploitation plot]], RippedFromTheHeadlines in the worst possible sense, or worse, being [[NewMediaAreEvil directly held responsible]] for the unfortunate events in question.

These often aren't permanent: A good {{Reconstruction}}, revival, or cleverly marketed reboot can bring a genre BackFromTheDead if you pull it off right. Something of a CyclicTrope, as genres tend to go through periods of death, rebirth and change.

Compare CreatorKiller, StarDerailingRole. Also compare TropeBreaker, where it's a culture change or technological advance in RealLife that takes a genre down by discrediting one of its chief tenets. Contrast GenreRelaunch, a work which brings a genre BackFromTheDead.


[[folder:Anime and Manga]]
* The poor sales and cancellation of ''Waai!'' and ''Otonyan'' and the failure of the ''Manga/{{Himegoto}}'' anime killed off virtually all mainstream attempts in the OtokonokoGenre. Not helped by the GenreDeconstruction ''Manga/BokuraNoHentai'' coming along and pointing out the genre's numerous problems, namely the large amounts of transphobia and homophobia.
* Despite its part in revitalizing the {{Anime}} industry as a whole, ''Anime/NeonGenesisEvangelion'' also had the effect of killing off traditional idealistic {{Super Robot|Genre}} series in the vein of ''Anime/MazingerZ'' and ''Manga/GetterRobo''. While some revivals, like ''Anime/GaoGaiGar'' and ''Anime/TengenToppaGurrenLagann'', have proved successful, none have ever stuck, and the angstier, character-driven HumongousMecha shows styled after ''Evangelion'' still predominate.
* [[http://en.wikipedia.org/wiki/Tsutomu_Miyazaki The Otaku Killer]] and the media circus surrounding his deeds in Japan resulted in the death of the ultra-violent {{Shounen}} series. Before that, manga like ''Manga/FistOfTheNorthStar'', ''Manga/{{Devilman}}'', ''Manga/{{Bastard}}'', and ''Manga/JoJosBizarreAdventure'' could get away with large amounts of [[{{Gorn}} gore]] and nudity despite running in magazines that were geared towards the 8-14 demographic. After about 1990, shounen manga, [[ValuesDissonance while still able to show more sex and violence than the average American comic targeted at the same age group]], would never reach the same level of content they could before, and extreme violence has largely (with a few exceptions, like ''Manga/ApocalypseZero'', ''Manga/DeadmanWonderland'', ''Manga/AttackOnTitan'' or ''Manga/AkameGaKill'') been relegated to {{Seinen}}.
* ''Manga/BigWindup'' was this for sports anime and manga [[AmericansHateTingle in the American market]] due to poor sales reported by Creator/{{Funimation}}. Most anime licensors in North America refuse to license sports anime from that point on until a relatively popular swimming anime about handsome boys and six-pacs (''Anime/{{Free}}'') and a sports anime about volleyball (''Manga/{{Haikyuu}}'') came into play in 2013/2014, which also led the sports anime genre to a GenreRelaunch.
* Similar to the ''Evangelion'' example above with mecha anime, the success of ''Anime/PuellaMagiMadokaMagica'' and its spinoffs have largely killed off the idealistic MagicalGirl series. While several concrete examples such as the ''Franchise/PrettyCure'' series still exist due to the GrandfatherClause (and even then, ''Pretty Cure'' itself still defies conventions by being ''far'' more action oriented than the usual series), most magical girl series now involve re-imaginings of earlier series (''Anime/SailorMoonCrystal'') or DarkerAndEdgier original works (''Anime/KillLaKill'') that subvert some aspect of the genre. However, the idealistic side of the genre still has a lot of influence on WesternAnimation, with shows such as ''WesternAnimation/StevenUniverse'', ''WesternAnimation/StarVsTheForcesOfEvil'', and ''WesternAnimation/MiraculousLadybug'' being immensely popular.
* In a similar manner to the video games below; the success of the ''Anime/{{Pokemon}}'' anime has made it very difficult for any other {{Mon}} series to gain a foothold. Usually, they just end up being viewed as imitators.
** Much like the games below, averted in Japan with ''Anime/YoKaiWatch'' emerging as a major competitor and going toe to toe with ''Pokémon'' regularly in popularity; but played straight outside Japan, where it's nowhere near as popular despite positive reviews from critics and a small Western fanbase. It has managed to shake off the stigma of being viewed as a ''Pokémon'' imitator, though.
* The flop of ''LightNovel/TheAsteriskWar'' killed the WizardingSchool BattleHarem light novel, which, while not exactly being a critical favorite, was quite a profitable genre for both books and anime. However, Creator/A1Pictures hyped up ''Asterisk'' so much (most notably sinking [[AnimationBump massive amounts of money into the artwork]] and getting Creator/MaayaSakamoto to perform the ending theme, with music from Swedish electro-house artist and huge OccidentalOtaku Rasmus Faber) that when fans watched the first episode and saw a [[ClicheStorm tired bunch of cliches held together]] by {{Fanservice}}, many began to actively turn against the genre itself, and any subsequent magic-school harem hijinks shows were largely forgotten. While light novels haven't abandoned the HaremGenre entirely, the trend toward EasternRPG inspired fantasy stories means that they, nowadays, at least have some semblance of a plot rather than [[ExcusePlot one that exists only for cute girl fanservice]]. ''LightNovel/ChivalryOfAFailedKnight'' also had aired on the same season, making it a DuelingWorks. Not only did both shows' first episode's plot were ''almost identical to each other'', which became a factor in the genre being perceived as being StrictlyFormula, that show ended up doing ''better'' than ''Asterisk War'' in the end despite its lower budget and shorter run time, both critically and commercially. That being said, ''Failed Knight'' still failed to sell enough BD/DVD copies to be ensured a 2nd season.

* The original UsefulNotes/{{Dada}} movement of 1916 - which was based on violating conventions and depended on [[{{Troll}} confusing and upsetting audiences]] - [[ItsPopularNowItSucks died when]] [[MisaimedFandom people began enjoying it]], [[SpringtimeForHitler thus defeating its purpose]]. However, its influence can still be seen to this day: it contributed to the rise of {{postmodernism}}, and {{Spiritual Successor}}s such as WebAnimation/YouTubePoop follow Dadaist ideology to a T.
* Futurism was an artistic and social movement that originated in Italy and spread throughout Europe in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth, and violence, and objects such as the car, the airplane, and the industrial city. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture, and even gastronomy. Unfortunately, both [[UsefulNotes/FascistItaly the fascists in Italy]] and [[UsefulNotes/NaziGermany the Nazis in Germany]] found the Futurist movement to be subversive and outlawed it. Futurist artists were targeted, and most died in concentration camps. The USSR also clamped down on its own futurist movement in the '30s following the rise of UsefulNotes/JosefStalin, favoring SocialistRealism instead. For extra black irony, many (though by no means all) of the most prominent Futurists had been enthusiastic, or at least ambiguously positive, about fascism, embracing the movement due to their admiration of the dynamism of violence, nationalism, and power, at least until they themselves started getting jailed and murdered for creating "degenerate art". This retrospectively tainted the entire movement, and the survivors quickly found new art movements to be a part of. As a result, Futurism was as dead as Julius Caesar by 1944. Nonetheless, the ideals of Futurism remain as significant components of modern Western culture, especially in ScienceFiction.

[[folder:Comic Books]]
* ''ComicBook/{{Watchmen}}'' and ''ComicBook/BatmanTheDarkKnightReturns'' caused a period of DarkerAndEdgier comic books by starting a trend of comic-book {{deconstruction}} and killing off the idealistic [[UsefulNotes/TheSilverAgeOfComicBooks Silver Age]]-type [[TheCape hero]] (until ''ComicBook/KingdomCome'' made it viable again). Creator/AlanMoore, writer of ''Watchmen'', is incredibly aware of this, having spent a majority of his career after the novel trying to undo its influence on comics.
* ''ComicBook/{{Deathmate}}'', the IntercontinuityCrossover between Creator/ImageComics and Creator/ValiantComics, killed the NinetiesAntiHero, many of the creative elements that led to the archetype, [[Creator/ValiantComics one of its parents]], and, in a sense (though it wasn't the only factor here), [[UsefulNotes/TheGreatComicsCrashOf1996 the entire industry as it existed at that point in time.]]
* The end of World War II killed most [[UsefulNotes/TheGoldenAgeOfComicBooks Golden Age]] superheroes - in the post-war period, people weren't that interested in reading about people fighting to save the world any more, and other genres took over. Among the few survivors were Franchise/{{Superman}}, Franchise/{{Batman}} and Franchise/WonderWoman.
* In the '50s, the stringent censorship of UsefulNotes/TheComicsCode killed the crime and horror genres in American comics. This was entirely intentional, as the increasingly gruesome stories had drawn enough fire from the MoralGuardians that comics ''as a whole'' were in danger of being prohibited in many states.
* Both ''ComicBook/DeKiekeboes'' as well as the works of Raoul Cauvin destroyed the trend of ethnic stereotyping in BelgianComics and FrancoBelgianComics respectively. The former because they proved that a realistic portrayal of foreigners and foreign countries is much more profitable (the comic book has a respectable number of readers that read it because the realistic portrayal of foreign countries allows them to feel like if they are going on a vacation). The latter stereotyped jobs and popularized the trend of job stereotyping, making ethnic stereotyping feel rather unnecessary since the trend of stereotyping is already being done, without any UnfortunateImplications included. Some comic books still use ethnic stereotypes (such as ''ComicBook/{{Urbanus}}''), but it is more [[GrandfatherClause out of tradition]] (it predated both) than because of anything else. Speaking of which...
* ''ComicBook/{{Urbanus}}'' killed off most of the family-friendly comedic series in its native Flanders. Before there was a humongous amount of comic books that involved family-friendly comedy (such as ''Boule Et Bille'', ''Olivier Blunder'' etc.) that were very popular for being both in color at a time when most comic books were in black and white (or rather: blue and red) as well as not offending to the Catholic groups. When ''Urbanus'' (nowadays the [[CashCowFranchise 3rd best-selling comic book]] in the ''De Standaard'') showed Flanders that RefugeInAudacity, VulgarHumor and BlackComedy could be watched by Flemish families and sell in masses without backlash from MoralGuardians, the lack of them in those comic books, which always used alternative ways for humor, [[UnintentionalPeriodPiece quickly showed how outdated they could become]]. Nowadays most comedy comic books in Flanders feature one of the above in one way or another. You could even say that this is one of the things that separates the Belgian comic from the Dutch comic.

[[folder:Fan Works]]
* There are good Curefics, and there are bad Curefics, and then there are these:
** After ''Fanfic/PrettyCurePerfumePreppy'', don't expect reference-driven Curefics to be taken seriously again for the foreseeable future.
** ''FanFic/PrettyCureBukatsudoEnergetic'', a Curefic masterpiece, has become such a ToughActToFollow that nowadays, it's impossible to write a JapaneseSchoolClub-themed Curefic without being accused of ripping this one off.
* ''Fanfic/RhymeAndReason'', the first ''WesternAnimation/ChipNDaleRescueRangers'' fanfic ever written that was meant to be one in the first place, almost killed off CDRR fanfiction entirely in 1996. The two reasons were [[DoorStopper its sheer length]] and its quality. Most Rangerphiles thought, "If that's what CDRR fanfic is supposed to be, sorry, but I can't write anything even close to this." It took the launch of the fanfic series ''The Adventures of Gadget Hackwrench'' the next year to get other Rangerphiles into writing (although not for that series) and kick off the CDRR fanfic tradition.

[[folder:Films -- Animation]]
* The massive commercial failure and mixed reception of Disney's ''Disney/TheBlackCauldron'', including being beaten at the box office by ''WesternAnimation/TheCareBearsMovie'', killed any studio interest in PG-rated animated films until Creator/DreamWorksAnimation's successes with ''WesternAnimation/{{Antz}}'', ''WesternAnimation/ThePrinceOfEgypt'', and especially ''{{WesternAnimation/Shrek}}''. Since then, it's now become a standard [[AvoidTheDreadedGRating to have animated films rated PG to increase their box office chances]].
* The failure of ''[[Disney/TheRescuers The Rescuers Down Under]]'' and ''WesternAnimation/DuckTalesTheMovieTreasureOfTheLostLamp'' at the box office against ''Film/HomeAlone'' and ''Film/ProblemChild'' (coupled with the success of both ''Disney/TheLittleMermaid'' and ''Disney/BeautyAndTheBeast'') led Disney to focus exclusively on animated musicals throughout the 1990s. While this worked out very well for them in the short term and possibly the very-long term, in the long term it ended up allowing studios like Creator/{{Pixar}} and Creator/DreamWorksAnimation to step in and fill the gap of non-musical animated films, just as audiences were beginning to grow tired of the musical formula. Despite Disney abandoning musicals shortly thereafter, this still knocked them down from first to fifth in terms of American animation studios throughout the 2000s, and it wasn't until a decade later that they were finally able to regain the ground they had lost by going back to their old approach of alternating between musical and non-musical animated films (incidentally, the movies that led to the defeat of ''Rescuers'' and ''[=DuckTales=]'' also started the short-lived "kid empowerment" trend of the early '90s - see further down for its fate).
* ''WesternAnimation/TitanAE'' is often blamed for putting the [[UsefulNotes/TheRenaissanceAgeOfAnimation era where more mature, artistic animation dominated]] much of the medium throughout the late 1980's to the 1990's to its coffin. Its [[UncertainAudience inability to be defined as either a film for kids or a film for mature audiences]], along with rampant ExecutiveMeddling by Fox over budget and time constraints, led to the studio losing $100 million once the poor box office numbers came in. An immediate side-effect soon took place: studios began abandoning hand-drawn animation entirely in the years that followed, [[AllCGICartoon computer-generated imagery began receiving more investments and attention from said studios]], and cartoons that were far more cheaper to produce than ever began dominating pipelines throughout the animation world, leading to UsefulNotes/TheMillenniumAgeOfAnimation. Of course, ''Titan A.E.'' alone isn't solely to blame for the era's end; the release of ''WesternAnimation/ToyStory'' and the under-performance of ''Disney/{{Pocahontas}}'' five years earlier convinced studios that computer animation was worth a look, and that traditional animation was becoming simply too expensive to continue utilizing[[note]]On a side note, traditional animation has managed to stay afloat on TV as well as [[AudienceShift in foreign and indie markets]], meaning that the era's legacy is still kicking[[/note]].
* The FracturedFairyTale replaced the AnimatedMusical as the go-to story genre during the 2000s thanks to the success of Creator/DreamWorksAnimation's ''WesternAnimation/{{Shrek}}'' in 2001, resulting (as the Disney musical had in the 1990s) in numerous copycats. Unfortunately, the genre's reliance on crude humor and dated pop culture jokes turned it stale within a few years, and by the time 2007's ''WesternAnimation/ShrekTheThird'' came out, the market had become overcrowded with them. ''WesternAnimation/HappilyNEverAfter'' concluding that year with a thud and the next major DWA project, ''WesternAnimation/KungFuPanda'', changing that studio's animation strategy, signaled the beginning of the end for the genre. The (perceived) financial disappointment of ''WesternAnimation/ShrekForeverAfter'' in 2010, a year that otherwise saw a rather successful resurgence of more traditional animated films (''WesternAnimation/ToyStory3'', ''Disney/{{Tangled}}'', ''WesternAnimation/HowToTrainYourDragon'', ''WesternAnimation/DespicableMe''...), ended up turning other animation studios off of using the formula, and the box office failure of ''WesternAnimation/{{Hoodwinked}} Too! Hood vs. Evil'' in 2011 seems to have killed the genre off for good. With a fifth ''Shrek'' film confirmed to be in development, though, things for the genre could change for the better or for the worse.
* The failure of ''WesternAnimation/MarsNeedsMoms'' resulted in the shut-down of Creator/RobertZemeckis's studio and with it, the death of full form motion-capture animation for at least a while (though SerkisFolk mocap animation for live action features is still very much alive).
* ''Literature/ThePlagueDogs'' is known for being one of the most depressing animated films ever made. The Western audience wasn't ready at all, so the concept of dark, almost entirely uncomedic animated feature films was pretty much shelved in the aftermath. It wasn't until the late Noughties until the concept found a revival with works such as ''Animation/WaltzWithBashir''.
* The wave of family films specifically aimed at single-parent kids in the 1990s ended with the failures of ''WesternAnimation/TitanAE'' and ''Disney/TreasurePlanet''.

[[folder:Films -- Live-Action]]
%%Roughly organized in chronological order, using the first Genre Killer for a genre as the baseline.
* In 1928, there was a double-header of Genre Killers so extreme that it took out ''the entire Canadian film industry''. The federally-funded National Film Board of Canada was founded in 1939 in an attempt to revive it, but only in the '70s with the Pierre Trudeau government's cultural sponsorship projects did independent Canadian cinema begin to reemerge.
** The first Genre Killer was the 1928 Canadian film ''[[http://www.canada.com/ottawacitizen/features/remembrance/story.html?id=46d615a1-5dfd-4889-bb42-31f7ad406b2d Carry on, Sergeant!]]''[[note]]No relation to [[Film/CarryOn the 1958 British film]] of the same name[[/note]], a UsefulNotes/WorldWarI silent epic about [[UsefulNotes/CanucksWithChinooks Canadian soldiers]] in the trenches of France. Thanks to its TroubledProduction, soaring budget (about half a million dollars, as large as comparable Hollywood films like ''Film/TheJazzSinger''), and box-office failure, it destroyed Canada's largest independent film studio and made Canadian financiers extremely leery of financing similar big-budget efforts, playing a huge role in reducing Canada's native film industry to an outpost of Hollywood.
** The other one was the [[https://en.wikipedia.org/wiki/Cinematograph_Films_Act_1927 Cinematograph Films Act of 1927]] (which came into force the following year), a law in the United Kingdom that placed a quota on foreign films in order to protect British film studios. Canada dodged the quota by technically being a part of UsefulNotes/TheBritishEmpire, but rather than nurturing and protecting the local film industry, it instead caused Hollywood studios to set up Canadian subsidiaries that vacuumed up [[OnlySoManyCanadianActors the small pool of local talent]] for the production of "quota quickies", cheap and often wretched films made for the British market to get around the quota. The scourge of the quota quickies also affected the UK itself, but owing to a larger market and greater distance from the US, their film industry recovered in far less time. While more recent scholarship has [[http://www.screenonline.org.uk/film/id/1361819/ reevaluated]] the quota quickies as the birth of the British BMovie, a way for aspiring filmmakers to get their foot in the door with low-budget flicks, the Cinematograph Films Act of 1927 is still seen as a textbook case of short-sighted legislation having precisely the opposite effect than what was intended.
* The UsefulNotes/ThreeDMovie genre has been killed three times in the past several decades:
** The first culprit was ''The Moonlighters'', a forgettable Warner Western starring Barbara Stanwyck and Fred [=MacMurray=], in 1953. It didn't help that it had to compete against ''Film/TheRobe'', a flat classic in [=CinemaScope=], during its run. The film did the least damage to the genre, though, as it only took ''Theatre/KissMeKate'' later that same year to put 3-D back on the map.
** The second culprit was ''Phantom of the Rue Morgue'' the following year, which was just as mediocre as, if not moreso than, ''Moonlighters'' was. Its accomplice was ''The Mad Magician'', a cheap ''Film/{{House of Wax|1953}}'' clone involving stage magic instead of a wax museum, which did well at the box office but earned a sorry reputation. This time, though, the 3-D craze at the time went out not with a whimper, but with a bang: the last classic '50s 3-D film, ''Film/RevengeOfTheCreature'', capped off this craze with a successful 3-D run, which still wasn't enough to save the craze.
** A third craze was ended nearly thirty years later by ''Spacehunter: Adventure in the Forbidden Zone'', a 1983 flop with a budget similar to the highly successful ''Franchise/StarWars'', with accomplices including ''The Man Who Wasn't There'', ''Metalstorm: The Destruction of Jared-Syn'', and ''Film/Amityville3D''.
** Since 2009, there have been numerous false alarms about the current 3D craze dying, brought about by the likes of ''WesternAnimation/BattleForTerra'', ''Film/{{Clash of the Titans|2010}}'', ''Film/TheLastAirbender'', ''Film/TheNutcrackerIn3D'', and ''Film/ConanTheBarbarian2011''. Despite all the rumours of the dying craze, though, it's still going on, having been kept afloat by 3D theatrical re-releases of several classic movies, including a couple of Disney animated features and a few Pixar movies. That said, studios have more of a vested interest in keeping 3-D around this time -- 3-D movies are much harder to [[DigitalPiracyIsEvil pirate]], a feature that the industry appreciates very much. Additionally, digital technology has greatly reduced the costs of producing 3-D movies.
** And now, for only the second time, it's been nearly thirty years since the last 3D craze had been shot down, and [[http://www.hollywoodreporter.com/thr-esq/disney-loses-court-battle-3d-642458 3D movies are once again in grave danger of going the way of the dinosaur, this time no thanks to a court ruling over 3D movie patents.]] [[HereWeGoAgain Yep, you probably know where this is headed.]] It now appears the current incarnation of 3D is finally entering its death knell slowly but surely, as the number of movies seeing a 3D release is down to 28 in 2014, and the failure of 3D television by 2017 cuts off the valuable home video market (often blamed for Disney not bothering with 3D Blu-ray in the United States at all in 2014 and 2015 except in regards to Marvel and Pixar releases). While 3D will still find a place in niche areas such as IMAX, its heyday in the wake of ''Film/{{Avatar}}'' is long gone.
* Many film historians also consider ''Film/{{Psycho}}'' to be the movie that killed FilmNoir, as the purpose of the first hour or so is to continuously set up and subvert the tropes of that genre.
* The disastrous failures of ''Film/{{Cleopatra}}'' in 1963 and ''The Fall of the Roman Empire'' in '64 killed the SwordAndSandal epic for over three decades. It wasn't until 2000 when ''Film/{{Gladiator}}'' [[PopularityPolynomial revived the genre]]; there have been a number of Roman and Greek-era action films in the ensuing years.
* ''Film/TheGreatestStoryEverTold'', a 1965 AllStarCast production of Jesus' life that received mixed reviews and bombed at the box office, was the beginning of the end for the mainstream success of the religious epic. Changes in film censorship (in the era of the Hayes Code, religious epics were notorious for taking advantage of their unimpeachable message to push the envelope in terms of sex and violence) and the general politicization of artistic work with religious themes have further removed religious epics from the standard menu of film genres. When modern examples do appear, however, they're often big hits due to being perceived as novel.
* The epic romance largely disappeared after ''Film/RyansDaughter'' and ''Nicholas and Alexandra'' flopped in the early '70s. While occasional epics cropped up through the '80s and '90s (eg. ''Film/OutOfAfrica'', ''Film/{{Titanic|1997}}'') they're now typically one-off events rather than the box office staple they once were. ''Titanic'' actually started a slew of imitators that tapered off in a few years (''Pearl Harbor'', ''Pompeii'').
* The failure of ''Film/TheWiz'' in 1978 caused studios to give up on movies with mostly black casts for some time, outside of [[UncleTomFoolery comedies]], [[SaltAndPepper black cop/white cop pairings]], and "urban" dramas. The smash success of Creator/TylerPerry's films have helped Hollywood take more note of the African-American movie dollar. [[OlderThanTheyThink Long before Tyler Perry]], the 1988 Creator/EddieMurphy comedy ''Film/ComingToAmerica'' helped bring back films with mostly black casts.
* The ''Poliziotteschi'', gritty Italian crime films in the vein of ''Film/DirtyHarry'' and ''Film/{{Bullitt}}'', had their heyday in TheSeventies, reflecting Italy's "[[UsefulNotes/RepublicanItaly Years of Lead]]" (a time of political violence from both Marxist and neo-fascist groups) and the wider fortunes of the [[ItalianFilms Italian film industry]] of the time. But by the end of the decade, the genre was slumping in popularity. One of the genre's key script writers, Dardano Sacchetti, [[CreatorBacklash had grown dismayed]] by what he felt were the [[PoliceBrutality fascistic undertones]] of the genre, and helped [[{{Deconstruction}} undermine the genre from within]] by steering it towards self-parody and eventually outright comedy.
* Though TheWestern was already struggling before due to a variety of circumstances for about a decade, the point cited by most film geeks and historians as the ultimate bullet in the genre's head was ''Film/HeavensGate'' in 1980. That film was such a BoxOfficeBomb that it [[CreatorKiller killed its studio and its director's career]], and Hollywood became very reluctant to release big-budget Western films for several years afterward. Even successful {{reconstruction}} films like ''Film/{{Silverado}}'' couldn't jump-start the genre back to its original prominence. While westerns are still fairly common, they have never returned from their virtual omnipresence of yesteryear. It's also telling that most modern examples [[NewOldWest subvert some aspect of the genre]], as a straight western is still basically dead.
* ''Heaven's Gate'' is also usually blamed for the end of the [[UsefulNotes/NewHollywood auteur films]] produced by Hollywood in the 1970s. Other flops, such as Steven Spielberg's ''Film/NineteenFortyOne'', Peter Bogdanovich's ''They All Laughed'', Martin Scorsese's ''Film/NewYorkNewYork'', and Francis Ford Coppola's ''One from the Heart'' and ''The Cotton Club'', were also used as examples of the danger of giving auteur filmmakers ''[[ProtectionFromEditors carte blanche]]'' when making "personal" or "blockbuster" films. Ironically, the auteur film genre was brought back by another genre killer (see ''Film/DaysOfThunder'' below).
* It's said that ''Film/{{Airplane}}'' killed the DisasterMovie craze of TheSeventies by making audiences unable to take them seriously anymore. While the genre was [[PopularityPolynomial revived]] by TheNineties with movies like ''Film/{{Armageddon}}'', ''Film/DeepImpact'', ''Film/DantesPeak'' and ''Film/{{Volcano}}'', which benefited from the development of modern CGI, the airliner-in-peril/stewardess-lands-the-plane trope won't be taken seriously again. Eventually, 9/11 and the Indian Ocean tsunami killed the genre a second time by way of TooSoon, with very few pure disaster movies being made since then.
* ''Film/{{Xanadu}}'' and ''Film/CantStopTheMusic'' effectively killed the musical, which was already crippled during the 1970s and by then was only kept afloat by the now-extinct disco craze. The genre didn't stay dead forever, however. ''Film/MoulinRouge'' in 2001 and ''Film/{{Chicago}}'' in 2002 sparked renewed interest in musicals. Various other films since then have had mixed success, but in general, musicals are not considered particularly standard. Trailers for some musicals will even disguise the fact that the film is a musical. However the genre seems to be making a comeback with the combined critical and commercial successes of ''Film/IntoTheWoods'' (2014), ''Film/LaLaLand'' (2016), and ''Film/{{Beauty and the Beast|2017}}'' (2017).
* ''Film/QuestForFire'' in 1981 effectively killed the serious caveman movie by setting the bar so high that nobody could hope to compete. Also not helped by the not-serious-at-all ''Film/{{Caveman}}'' also being a success that year.
* Female-led superhero movies suffered two major blows.
** First came the 1984 film ''Film/{{Supergirl}}'', testing the waters for the concept in the wake of the fantastic success of the ''Superman'' films. It suffered terrible ExecutiveMeddling and was so horribly received that it took two decades for any studio to try again. (The below-mentioned temporary death of the entire superhero genre during that time didn't help.)
** The result was the one-two punch of ''Film/{{Catwoman}}'' and ''Film/{{Elektra}}'', which were both instantly ridiculed as among the worst comic book movies ever made and sent the studios right back to the safe embrace of male heroes. Even the much-ballyhooed success of the Franchise/MarvelCinematicUniverse took ages to attempt another, with its most prominent female hero Black Widow notoriously relegated to an occasional supporting role despite massive demand for her to get her own film. Eventually they came back on TV first, with the highly acclaimed MCU series ''Series/JessicaJones'' and (ironically enough) the Series/{{Arrowverse}} series ''Series/{{Supergirl|2015}}'' finally showing tangible support for more female heroes. By this time the MCU had already set up their first foray in film with ''Film/CaptainMarvel'', but were beaten to the punch by the newcomer Film/DCExtendedUniverse and their ''Film/WonderWoman'' film. That one seems well set to finally reverse the trend, immediately becoming one of the best reviewed comic book films ever made and a smash box office success.
* The creation of the PG-13 rating in 1984 killed the family blockbusters of Creator/StevenSpielberg et al. that were popular from the late '70s through the mid '80s. The irony is that the rating was intended to ''save'' those sorts of films; Spielberg himself came up with the idea of a rating between PG and R as a way to answer concerns over the [[WhatDoYouMeanItsForKids family-unfriendly violence]] in films like ''Film/{{Gremlins}}'' and ''Film/IndianaJonesAndTheTempleOfDoom'', referring to the proposed rating as "PG with a little hot sauce." However, the PG-13 rating divided "family" films into two ghettoes: PG became lumped in with the G rating in both the popular consciousness and that of the MPAA (i.e. [[AvoidTheDreadedGRating a rating for kiddie flicks]]), while PG-13 became the rating of teen-oriented blockbusters with more violence than would otherwise be acceptable to bring a family to.
* ''Film/ConanTheDestroyer'' in 1984 and ''Film/RedSonja'' in '85 may well have been the films that killed the "sword and sorcery" HeroicFantasy as a film genre for quite some time. Their predecessor ''Film/{{Conan the Barbarian|1982}}'', however, was a classic example of such brought to film.
* The SlasherMovie genre went through two phases, with two Genre-Killers, roughly ten years apart:
** After a GoldenAge stretching from 1978 to roughly 1985, the genre spent the late '80s struggling thanks to [[SturgeonsLaw a glut]] of DirectToVideo crap, but the final nails in the coffin came in 1989, when the "Big Three" slasher franchises (''Franchise/{{Halloween}}'', ''Franchise/ANightmareOnElmStreet'', and ''Franchise/FridayThe13th'') all produced [[Film/ANightmareOnElmStreet5TheDreamChild poorly-]][[Film/FridayThe13thPartVIIIJasonTakesManhattan received]] [[Film/Halloween5TheRevengeOfMichaelMyers installments]] that sent their respective series into [[FranchiseZombie irreversible decline]]. While a few CultClassic slasher films trickled out in the early '90s, for the most part the genre was DeaderThanDisco, its GloryDays long in the past. In the more cynical '90s, the old slashers were seen as a mess of {{cliche|Storm}}s, [[MonsterMisogyny misogyny]], [[TooDumbToLive dumbass characters]], and [[NoBudget bargain-bin production values]], especially with the rise of more intellectual horror films like ''Film/TheSilenceOfTheLambs'' and ''Film/JacobsLadder''.
** The genre was [[GenreRelaunch revived]] in 1996 by ''Film/{{Scream|1996}}''. Ironically, ''Scream'' was an attempt by Creator/WesCraven (creator of ''A Nightmare on Elm Street'') to [[SpringtimeForHitler do this deliberately]], burying the slasher genre once and for all by making a movie that picked apart and {{lampshade|Hanging}}d the tropes of the genre, which he felt would make it impossible to take seriously anymore. [[SubvertedTrope It backfired]], though -- ''Scream'' was a SleeperHit that spawned three sequels and [[FollowTheLeader a host of copycat films]]. Given the fact that the genre was relaunched by a deconstruction, however, it should come as no surprise that the genre quickly plunged back into self-parody. A number of lampoon movies, such as the ''Film/ScaryMovie'' series and ''Film/ShriekIfYouKnowWhatIDidLastFridayTheThirteenth'', were released, and even some of the older franchises joined in (''Film/JasonX'', for instance, took the ''Friday the 13th'' franchise [[RecycledInSpace into space]] and heavily riffed on the series' formula). The UsefulNotes/{{Columbine}} massacre in 1999 sparking a TooSoon reaction to the mostly teen-oriented slasher genre, among both MoralGuardians and their target audience, also didn't help matters. The finishing blows came in 2002 with the release of ''Film/TheRing'' and ''Film/TwentyEightDaysLater'', a pair of horror films with adult protagonists that eschewed the slasher formula, both of which were highly successful. While ultraviolent horror films would soon come back into style thanks to the TorturePorn boom, traditional slashers made since are mostly either remakes or {{Genre Throwback}}s, the latter usually either going DirectToVideo or running the indie/arthouse circuit.
* Film journalist Stephen Metcalf [[http://www.slate.com/articles/arts/the_dilettante/2012/08/tony_scott_s_days_of_thunder_did_it_rescue_hollywood_from_the_grips_of_producers_like_don_simpson_.single.html argues]] that the [[TroubledProduction wretched production excesses]] of ''Film/DaysOfThunder'' in 1990, and their attendant impact on the film's profits, killed the kind of blatantly commercial "triumph" movies that producers Don Simpson and Creator/JerryBruckheimer had made so much money for Paramount with during the 1980s, films that were sort of a backlash against the [[UsefulNotes/NewHollywood auteur-era movies]] that had prevailed before ''Heaven's Gate''. Afterwards, studios would let directors assert themselves creatively again, and it's no coincidence that ''Days'' director Creator/TonyScott's critical reputation improved over the course of the '90s.
* ''Film/Jaws3D'' and ''Film/JawsTheRevenge'' not only killed any attempt to continue the franchise centered around the smash hit masterpiece ''Film/{{Jaws}}'', but ensured any further movies centered around killer sharks would not be taken seriously anymore. ''Jaws'' itself is also partly to blame for killing the genre because many shark-centered films following it couldn't shake off accusations of taking cues from the film. The only serious, shark-centered film to have received a worldwide theatrical release since ''Jaws: The Revenge'' was ''Film/DeepBlueSea'', which despite being a box office success ended up suffering the same problems many post-''Jaws'' films got pinned with, and another serious killer shark movie wouldn't come to worldwide theaters until 17 years later, with ''Film/TheShallows''. While that movie was surprisingly well-received, it ended up getting dumped alongside ''WesternAnimation/FindingDory'' and ''Film/IndependenceDayResurgence'' to generate enough interest.
* A localized killer: the disappointing box office performance of ''Film/UniversalSoldier'' made it Carolco's third and final yearly science fiction blockbuster following the major successes that were ''Film/TotalRecall1990'' and ''Film/Terminator2JudgmentDay''.
* ''Franchise/JurassicPark'' in 1993 is another example of one film's smash success making it impossible for subsequent films to live up to it. [[Film/TheLostWorldJurassicPark Sequels to]] [[Film/JurassicParkIII the original]] [[Film/JurassicWorld film notwithstanding]], no-one has bothered to make a serious dinosaur movie since; and all films and video games that have happened to feature dinosaurs have, without exception, contained conscious nods to the franchise. Even the 1998 American ''Film/{{Godzilla|1998}}'' film riffed on it in trailers, and featured suspiciously velociraptor-like chase scenes with baby Godzillas.
* ''Film/{{Showgirls}}'' killed any chance of an NC-17-rated movie being seen as anything more than porn to the mainstream movie-going crowd. The rating is now limited to art house fare such as ''Film/TheDreamers'', ''Film/LustCaution'', ''Film/KillerJoe'', ''Film/{{Shame}}'', and ''Film/{{Nymphomaniac}}''.
* In addition to launching the CG animated movie craze, the original ''WesternAnimation/ToyStory'' in 1995 was also largely responsible for ending the "kid empowerment" movie trend of the early-mid '90s. After ''Film/HomeAlone'', there was a glut of kids movies which either [[FollowTheLeader ripped off that movie]] (''Mr. Nanny'', ''Film/CampNowhere'', ''Film/ThreeNinjas'', etc.) or placed kids in absurdly powerful positions and situations (''Film/CopAndAHalf'', ''Film/RichieRich'', ''Film/BlankCheck'', ''Little Big League'', ''Film/RookieOfTheYear'', etc.). When ''Toy Story'', which featured a perfectly normal kid doing perfectly normal things, became a much bigger success (both critically and commercially) than any of those movies, the "kid empowerment" style was gradually phased out.
* ''Film/CutthroatIsland'' in 1995 was an attempt to revive the swashbuckling adventure movie. Instead, it just sunk it farther down into its grave, along with [[CreatorKiller Carolco Pictures, the careers of]] [[StarDerailingRole almost everyone involved]], and (along with their other collaboration ''Film/TheLongKissGoodnight'') the marriage of star Geena Davis and director Creator/RennyHarlin. The genre was not exactly a thriving one at release, but this made sure no one would even attempt another shot at it. Even after the success of ''Franchise/PiratesOfTheCaribbean'', no-one seems interested in pirate movies that don't belong to that franchise.\\\
''Franchise/PiratesOfTheCaribbean'' is itself an example of the tough-act-to-follow franchise. Those movies have both cost and generated so much money that a rival studio would have to make a ''major'' commitment just to play in the same league, and risk a financial catastrophe if audiences say, "Creator/JohnnyDepp isn't in it? Pass." About the only other pirate-themed franchise that's still doing well is ''Franchise/OnePiece'', [[ValuesDissonance albeit]] [[ShonenDemographic for different reasons]]. And both ''Pirates of the Caribbean'' and ''One Piece'' have very heavy fantasy elements that make them rather different to the pure swashbuckler.
* ''Film/BatmanAndRobin'' and ''Film/{{Steel}}'', both from 1997, are credited for being the reason why SuperHero films were a dead genre for the rest of the decade and some years after. They might have even killed a planned ''Franchise/SailorMoon'' adaptation at Creator/{{Disney}} (though its underperformance on the small screen, [[ScrewedByTheNetwork not helped by clumsy syndication scheduling placements]], certainly didn't help matters, either). More importantly, they killed the superhero movie as a form of all-ages family entertainment. Creator/JoelSchumacher's ''Batman'' movies had undergone heavy ExecutiveMeddling to make them more family-friendly and MerchandiseDriven, which played a huge role in their negative reception by fans, critics, and moviegoers. As a result, the next generation of superhero films in the mid '00s excised all traces of {{camp}} and went the DarkerAndEdgier route -- Creator/ChristopherNolan's [[Film/TheDarkKnightSaga Batman films]] were pretty much gritty crime dramas with Batman, while even more lighthearted films like ''Film/XMen1'' and ''Film/SpiderMan1'' had substantially darker storylines (and, in ''X-Men''[='=]s case, [[MovieSuperheroesWearBlack costumes]]) than superhero films past. Only recently has [[Franchise/MarvelCinematicUniverse Marvel]] begun to explicitly target superhero films at families again.
** Superhero films went through a near-miss in 1987, where the box office and critical disaster of ''Film/SupermanIVTheQuestForPeace'' would have likely signaled the death of Superhero films if it wasn't for ''[[Film/Robocop1987 Robocop]]'' becoming a SleeperHit.
* A subversion: In the '90s, many MartialArtsMovie makers and fans feared that the upcoming handover of Hong Kong back to China in 1997 would result in this (the Asian financial crisis of the late '90s also played a part). But while the Hong Kong film industry did experience a crisis in the late '90s, others saw opportunity... especially other Asian countries. Countries such as South Korea, Japan, and Thailand began producing their own martial arts films, hoping to fill the void, and creating some new stars in the process, such as Tony Jaa and Jeeja Yanin. And as it turned out, the Chinese takeover of Hong Kong did not signal the death knell of martial arts movies there, either, particularly with the rise of "arthouse" martial arts films such as ''Film/CrouchingTigerHiddenDragon'', ''Film/{{Hero}}'', and ''Film/HouseOfFlyingDaggers''. While the Chinese takeover and the Asian financial crisis did mark the end of the "Classic Age" of Hong Kong cinema, China and Hong Kong continue to produce many martial arts films today.
* The 1998 ''Film/{{Godzilla|1998}}'' movie, along with the remake of ''Film/MightyJoeYoung'' that same year, killed off the American [[{{Kaiju}} giant monster movie]] for at least a decade. Creator/PeterJackson's planned remake of ''Film/{{King Kong|2005}}'', for one, was delayed in the wake of their failures. The modest successes of ''Film/{{Cloverfield}}'' and ''Film/PacificRim'' are credited with at least helping the genre regain some niche appeal, enough that a reboot of ''Film/{{Godzilla|2014}}'' arrived theaters in 2014 and turned out to be a SleeperHit.
* When ''Film/WildWildWest'' reared its ugly head in 1999, it was torn apart by critics and the audience. Creator/RogerEbert gave it a spot on his [[RogerEbertMostHatedFilmList most hated list]], it became an OldShame to Creator/WillSmith and Warner, and pushed ideas of westerns that crossed over into sci-fi/fantasy into the far background for over a decade. Eventually, Hollywood tried again with ''Film/CowboysAndAliens'', which got a better reception but still mixed reception and bombed heavily. Disney had their own fantasy-esque western in the works, a reboot of ''Film/TheLoneRanger'', and nearly pulled the plug on it. When they finished it, studio chairman Rich Ross had been sent packing, and the film bombed even harder and got worse reviews than ''Cowboys And Aliens'', giving the third strike to the idea of making a western with superfluous sci-fi/fantasy/mystical elements in it. No attempt to try this idea again has materialized since.
* The failures of ''Film/TheAdventuresOfRockyAndBullwinkle'' (2000) and ''Film/LooneyTunesBackInAction'' (2003) killed the sub-genre of "[[RogerRabbitEffect cartoon characters living in the real world]]" that ''Film/WhoFramedRogerRabbit'' (1988) and ''Film/SpaceJam'' (1996) popularized.
* In an odd twist, ''The Adventures of Rocky and Bullwinkle'' also heralded the above sub-genre being shortly succeeded afterwards by the similar "live-action/CG character" sub-genre, which saw a boom in live-action film adaptations aimed at families/kids that featured non-human characters from popular properties [[StarringSpecialEffects presented in CGI]]. While these style of films had first taken its roots with ''Film/{{Casper}}'' (1995), the genre only really took off with the commercially successful 2002 ''Film/ScoobyDoo'' adaptation, which was then followed a glut of similar films throughout the TurnOfTheMillennium.\\
By TheNewTens, however, audiences' perception of these films began to fall in line with reviewers; who had (with [[Film/StuartLittle rare]] [[Film/{{Paddington}} exceptions]]) largely panned the subgenre for their [[StrictlyFormula increasingly repetitive formulas]] of narrative beats, low-brow humor, "[[UncannyValley realistic]]" depictions of characters, and --concerning adaptations-- [[InNameOnly having little to do with the source material]]. Combined with increased competition and popularity of CGI animated films (especially due to Illumination's successful entrance into the industry, and Disney's return to form following their 2000s-era DorkAge), and the success of ''Film/{{Ted}}'' (an adult DeconstructiveParody of the subgenre); the collapse of the genre finally took hold during the mid-2010s, which saw a trio of sequels to previously successful adaptations (2013's ''Film/TheSmurfs2'', 2015's ''Film/AlvinAndTheChipmunks: The Road Chip'', and 2016's ''Film/TeenageMutantNinjaTurtlesOutOfTheShadows'') all domestically underperform at the box office. With ''The Smurfs'''s third live-action/CG film being nixed for [[Film/SmurfsTheLostVillage a completely CGI reboot]], and no plans for future ''Alvin'' or ''Turtles'' sequels being put on the table, the sub-genre seems to have entered its death knell.
* The works of Creator/SeltzerAndFriedberg in the '00s have been blamed for killing parody movies; even slightly better ones like ''Film/SuperheroMovie'' (probably not helped by being named in the same " Movie" style used by S&F) have been lumped in with their disasters.
* If the 1997 smash hit ''Film/{{Titanic|1997}}'' created the very specific subgenre of "absurdly big-budget love story used to chronicle a historical disaster"; ''Film/PearlHarbor'' in 2001 sure as hell ended it. ''Film/{{Pompeii}}'' only confirmed that it was dead.
* ''Film/SchoolOfRock'' in 2003, being a send-up of [[SaveOurStudents inspirational teacher]] movies, basically killed that sub-genre and created a new type of sub-genre where the teachers are rather useless (such as ''Half Nelson'' and ''Film/BadTeacher''). Attempts at reigniting the sub-genre (such as ''Film/FreedomWriters'' and ''Film/LarryCrowne'') have been critical and box office disappointments. Some may argue that the genre's still alive in the form of "Inspirational Coach Movies" such as ''Film/CoachCarter'', ''Film/WeAreMarshall'', and ''Film/TheBlindSide''.
* ''Film/LaraCroftTombRaiderTheCradleOfLife'' in 2003, ''Film/{{Catwoman}}'' in '04, and ''Film/{{Elektra}}'' in '05 killed off the idea of the [[ActionGirl female action protagonist]] in Hollywood cinema for quite a long time, with writer Creator/DavidHayter claiming that the ''ComicBook/BlackWidow'' movie that was in the works at the time was shelved for this reason. Later big-budget Hollywood movies did have {{Action Girl}}s, but usually in secondary roles as love interests or fanservice characters. ''Film/{{Haywire}}'' and ''Film/{{Salt}}'' both attempted to revive the genre and did moderately well, but not enough to create a critical mass in its favor. Since then, the massive success of ''Film/TheHungerGames'' franchise, as well as the growing demand for superhero movies starring someone other than {{White Male Lead}}s, has led to WB finally releasing a ''Franchise/WonderWoman'' movie in 2017, as well as Marvel announcing a ''[[ComicBook/MsMarvel Captain Marvel]]'' movie for 2018. The critical and commercial success of ''Film/{{Wonder Woman|2017}}'' solidified the viability of female-led action/superhero films as major blockbusters (see below).
* While, in hindsight, the writing was on the wall for the UsefulNotes/{{VHS}} format as a viable platform for major home media releases from the moment UsefulNotes/{{DVD}}s took off, the VHS release of ''Film/HarryPotterAndThePrisonerOfAzkaban'' in 2004 is said to have sped the process along by several years. To wit: the film was made using Super 35, an extremely open film format that allowed for a variety of compositions, and yet the pan-and-scan VHS release was just that -- panned and scanned from an anamorphic Scope print, and horribly so, by some videophile accounts. It's telling that releases for the niche D-VHS format stopped shortly after, and major label releases on VHS stopped by 2007. It's been said that director Creator/AlfonsoCuaron hated the Academy ratio so much he deliberately sabotaged the 4:3 composition on the VHS release, with some theorizing Cuaron wanted to give DVD the shot in the arm he felt it needed to definitively secure its then-recent lead over VHS.
* In 2004, the films ''Film/FatSlags'' and ''Sex Lives of the Potato Men'' proved so bad that there was actually concern in the UK that ''the entire British film industry'' was going down the tubes. The £1 million grant that ''Potato Men'' had received from the National Lottery through the UK Film Council was especially criticized. [[SubvertedTrope It turned out to be a false alarm]], with British cinema surviving into the present day, but it takes a special kind of film to make an entire country think that its film studios are in trouble.
* ''Film/The40YearOldVirgin'' in 2005 and ''Film/{{Superbad}}'' in 2007 are often credited with killing the teen sex comedy. On one hand, the success of ''The 40-Year-Old Virgin'' proved that sex comedies aimed squarely at grown adults (with teenagers playing only supporting roles) could be just as successful as teen-oriented films like ''Film/AmericanPie''. On the other, ''Superbad'' mocked and deconstructed the genre so viciously that viewers could no longer take it seriously, cementing the public view of teen sex comedies as being weird, pathetic, lowbrow schlock that toed the line between sexy and sexist. The rise of [[TheInternetIsForPorn internet porn]], allowing such films' target audience to easily access far more explicit material than what could be shown in an R-rated film (as outlined in [[https://melmagazine.com/the-internet-killed-the-teen-sex-comedy-c67fd771678f this article]]), merely read the genre's obituary. Subsequent attempts at reviving the genre, like ''Film/ProjectX'', have been widely reviled.
* ''Film/XXxStateOfTheUnion'' in 2005 ([[http://thatguywiththeglasses.com/videolinks/teamt/fbv/bmbe/37550-bad-movie-beatdown-xxx according to]] Mathew "Film Brain" Buck in his ''WebVideo/BadMovieBeatdown'' series) killed the [[TurnOfTheMillennium early-mid '00s]] trend of fast, modern, teen-oriented action films [[ExtremeSportExcusePlot centered on extreme sports]] (i.e. ''Film/TheFastAndTheFurious'', the original ''Film/{{xXx}}'', and their many copycats). While the ''Fast'' film series, which pioneered the trend, is still going strong today, later installments have focused more on straightforward action and car chases as opposed to the earlier, more extreme sports-centered installments.
* ''Film/BasicInstinct2'' in 2006, besides [[StarDerailingRole derailing]] Creator/SharonStone's career as an A-list leading lady (ironically while reprising her StarMakingRole), also (at least according to Den of Geek) served as the final nail in the coffin to the erotic thriller genre.
* The [[Film/BlackChristmas2006 2006 remake]] of 1974's ''[[Film/BlackChristmas1974 Black Christmas]]'' was so badly received (despite doing well at the box office) that it convinced Hollywood not to give the [[HorrorDoesntSettleForSimpleTuesday Christmas Horror]] genre another chance for almost a decade. Director Glen Morgan blamed the studio for the poor reception, saying he was unhappy with Dimension Films [[ExecutiveMeddling ordering dozens of reshoots and script rewrites]] to the movie, though backlash from MoralGuardians regarding the film's content and release date (it was released on Christmas Day) could also be to blame. It wasn't until around 2015 when another Christmas Horror movie, ''Film/{{Krampus}}'', was released to theaters. Thankfully, ''Krampus'' was both favorably received and was an instant box office success, sparking hope that the genre may be [[WinBackTheCrowd headed back to Hollywood interest]].
* The twin failures of 2007's ''Film/HostelPartII'' and ''Film/{{Captivity}}'' marked the beginning of the end for the TorturePorn subgenre of graphically ultraviolent horror films. The ''Franchise/{{Saw}}'' series endured for a few more years as a FranchiseZombie, but the only other subsequent standalone theatrical release in the genre, 2009's ''Film/TheCollector'', played to empty theaters, and ''Film/HostelPartIII'' went DirectToVideo. ''Film/TheHumanCentipede'', which was marketed as an inevitable CultClassic, was only played at midnight in most places, and the notorious ''Film/ASerbianFilm'' had only a single theatrical showing. Driving the final nails in the coffin was ''Film/ParanormalActivity'' in 2009, a film at the complete opposite end of the horror spectrum that, through its mounting word-of-mouth popularity, easily blocked ''Film/SawVI'' from the #1 spot on the weekend before Halloween despite playing in over a thousand fewer theaters than ''Saw VI'' did.
* 2007's ''Film/{{Bratz}}'' singlehandedly killed theatrical films based on doll franchises, a fact not helped along by [[GirlShowGhetto the frame of mind]] they were up against to begin with. This was shown very clearly with the fate of ''[[Franchise/AmericanGirlsCollection Kit Kittredge: An American Girl]]'' the following year. Despite [[CriticalDissonance critics calling it a far superior film]] and the franchise having been going strong since the 1980s and thus having a built-in nostalgia market, ''Kit'' made even less money, largely due to [[ScrewedByTheNetwork theatres not wanting to give doll-line movies another chance]]. ''Kit Kittredge'' was barely advertised on TV and in theatres, and it had very short planned runs. Some cinemas even waited up to a month after its release just to make room to show the thing. Since then, all future ''American Girl'' movies have been direct-to-video and have followed their modern Girls of the Year rather than the flagship historical line; later ''Bratz'' movies are also direct-to-video and do not follow the live-action theatrical movie's canon. ''Franchise/MonsterHigh'' was apparently going to get a theatrical movie in the 2010s, but that [[{{Vaporware}} hasn't been heard from in a long time]] and it too is only releasing DTV. The box-office failure of the LiveActionAdaptation of ''Film/JemAndTheHolograms'' only confirmed it was dead.
* ''Film/SpeedRacer'' in 2008 killed WB's plans for any future PG-rated blockbusters. It's even been stated that the film killed a proposed ''Comicbook/{{Shazam}}'' movie that was in the works at the time, in favor of DarkerAndEdgier superhero flicks like ''Film/TheDarkKnight'' and ''Film/ManOfSteel''. It's also telling that literally nobody expected ''Film/HarryPotterAndTheHalfBloodPrince'' to be rated PG... [[StatusQuoIsGod not that its success changed WB's mind about PG-rated blockbusters]]. Furthering this attitude is the box-office failure of ''Film/{{Pan}}'' in favor of works like ''Film/BatmanVSupermanDawnOfJustice'' and ''Film/SuicideSquad2016''.
* ''{{Literature/Twilight}}'' in 2008 and ''Film/TheHungerGames'' in 2012 killed the child-led blockbuster franchises that ''Film/HarryPotter'' had popularised. The young adult novels featuring child protagonists stopped getting adapted in favour of books with teen protagonists -- and films such as ''Film/TheGiver'' and ''Film/SeventhSon'' aged up their twelve-year-old protagonists significantly. Not helping matters was the ''Harry Potter'' leads also having entered their twenties by the time the final films were made. Disney felt the effects of this too with ''Film/AliceInWonderland2010'' and ''Film/OzTheGreatAndPowerful'' -- based on stories with child protagonists, but featuring adults as the leads instead. ''{{Film/Pan}}'' was an attempt at a child-led franchise that ended up bombing spectacularly. Warner Bros. later focused the film adaptation of ''Film/FantasticBeastsAndWhereToFindThem'' on adult protagonist Newt Scamander, to much greater success critically and commercially.
* Not one film in particular, but the 2000s trend of remaking Asian horror films for Americans ended soon after 2008, which had no fewer than three movies of this type reach wide release -- ''Film/OneMissedCall'', ''Film/TheEye'', and ''Film/{{Shutter}}''. While they turned a profit, all three were poorly reviewed (especially ''One Missed Call'', which has 0% on ''Website/RottenTomatoes'') and none were what you'd call big hits. This, combined with the fact that the found footage horror trend had started that year with ''Film/{{Quarantine}}'' and ''Film/{{Cloverfield}}'', killed off the subgenre (the last entry was January 2009's ''The Uninvited'').
* In the 2000s, most romance movies, with few exceptions (such as ''Film/EternalSunshineOfTheSpotlessMind'' and ''Film/FiveHundredDaysOfSummer''), could be split into two camps: a) pandering rom-coms occupied by the likes of Creator/JenniferAniston and Katherine Heigl, and b) weepy, melodramatic movies that [[FollowTheLeader copied]] ''Literature/TheNotebook''. ''How Do You Know'' in 2010 and ''Film/{{Bridesmaids}}'' in 2011 killed the first type, the former due to its TroubledProduction (the result of director Creator/JamesLBrooks' perfectionism causing the budget to spiral out of control), and the latter by way of raising the bar and successfully adapting the Creator/JuddApatow style of raunchy humor and character-focused writing to a female-oriented comedy. While straight examples of type B still exist somewhat, if only due to Creator/NicholasSparks' name recognition, it's commonly accepted that, for most modern films that fall into that category, you have to do something unique like [[Film/TheSpectacularNow making the guy a teenage alcoholic]], [[Film/TheFaultInOurStars making the guy and girl have cancer]], or [[Film/{{Her}} having the girl be an AI system]].
* The box office failures of ''Film/GreenLantern'' in 2011, ''Film/{{Battleship}}'' in 2012, ''Film/TheLoneRanger'' in 2013, and ''Film/{{Tomorrowland}}'' and ''[[Film/FantasticFour2015 Fantastic Four]]'' in 2015 caused many film studios to rethink their strategies concerning big-budget summer blockbusters. One of the most apparent victims was ''Film/PiratesOfTheCaribbeanDeadMenTellNoTales'', which got delayed for at least another year. Disney in particular announced that it will only make live-action blockbusters based on the Franchise/MarvelCinematicUniverse, Franchise/StarWars, and the Franchise/DisneyAnimatedCanon, while putting a halt to all further development of science fiction films outside those franchises, including a planned sequel to ''Film/TronLegacy''.
* [[http://bloody-disgusting.com/editorials/3291581/horror-isnt-doomed/ This article]] by Bloody-Disgusting makes the case that ''Film/ParanormalActivity4'' and ''Film/TheDevilInside'' in 2013 killed the {{found footage|Films}} horror film, at least within the mainstream. After ''[=PA4=]''[='=]s [[{{Sequelitis}} marked decline in quality]] compared to prior entries in the series (which had helped [[FromClonesToGenre popularize found footage]] to begin with), and ''The Devil Inside''[='=]s [[NeverTrustATrailer misleading advertising]] and frustrating [[NoEnding lack of ending]], audiences became skeptical of similar efforts in the subgenre. This led to subsequent found footage films like ''Devil's Due'', the final two ''Paranormal Activity'' films, and ''Film/AsAboveSoBelow'' underperforming at the box office; most subsequent hits in the genre, like ''Film/{{VHS}}'' and ''Film/WillowCreek'', have largely been on the indie circuit.
* The critical and box office failures of ''Film/{{Movie 43}}'' and ''Inappropriate Comedy'' in 2013 have seemed to kill the anthology movie altogether, after it had mostly been on life support for the past two decades. ''Film/CloudAtlas'' seemed to be a brief shot in the arm for the genre, but even that failed to be a hit.
* While the triplet failures of ''Film/BeautifulCreatures'', ''Film/TheMortalInstrumentsCityOfBones'', and ''Film/VampireAcademy'' weren't enough to kill the YA novel adaptation as a whole, they were enough to kill off the ParanormalRomance subgenre, which had been on its way out in YA literature as far back as late 2010. The failures of the latter two were bad enough to cause studios to rethink their YA adaptation strategies, going for the ones that were bound to make a lot of money from the get-go -- namely, dystopian Sci-Fi (not helping matters was that the ''Literature/TheMortalInstruments'' series was already getting flak from the community for being extremely derivative). The ''{{Literature/Twilight}}'' series survived into 2012, but only as a FranchiseZombie. Since 2012, with ''Film/TheHungerGames'' popularizing YA dystopian fiction, its success was enough to finally get the long-awaited adaptations of ''Literature/TheGiver'', ''Literature/EndersGame'', ''Literature/TheMazeRunner'', and ''Literature/{{Divergent}}'' made.
* The failure of ''Film/ScoutsGuideToTheZombieApocalypse'' in 2015 ended the zombie film boom that began over a decade prior with ''Film/TwentyEightDaysLater'' and ''Film/DawnOfTheDead2004''. With the ''Film/{{Zombieland}}'' sequel in DevelopmentHell and ''Film/WorldWarZ'' failing to launch a franchise, zombie films are rapidly dropping in popularity. Zombie TV shows still remain successful, however, with shows such as ''Series/TheWalkingDead'', ''Series/ZNation'', and ''Series/{{iZombie}}'' being incredibly popular.
* YA dystopian movies would themselves fall just a few years after YA paranormal romance films with the BoxOfficeBomb of ''The Divergent Series: Allegiant'' in 2016. Not only was this film [[FranchiseKiller the final theatrically-released entry in the franchise]] (there were plans to turn the fourth film, ''Ascendant'', into a MadeForTVMovie made for television with a reduced budget, that have since been stuck in DevelopmentHell), it seems to have caused studios to take the hint that the genre had grown oversaturated. Perhaps noticing the decline in popularity, Creator/TwentiethCenturyFox opted not to split the third ''Maze Runner'' book into two films.[[note]]That film would suffer a TroubledProduction that led to its release being pushed back into 2018, though that was due less to financial pressure and more due to an injury suffered by the film's star on set.[[/note]] It remains to be seen what the new big trend in YA novel adaptations will be.
* The failure of ''Allegiant'' movie also put an end to the MovieMultipack trend, after an already lukewarm reception to ''Film/TheHungerGamesMockingjay'' being split in two parts. Shortly after that film bombed, both huge comic-book movie tentpoles ''Film/AvengersInfinityWar'' and ''Film/{{Justice League|2017}}'' were first retitled to lose the words "Part 1" and "Part 2" and then announced to be shooting separately and follow a more traditional model of "a standalone(-ish) movie with a sequel" instead of being a Multipack experience. At this point, the only remaining announced MovieMultipack examples would be ''Film/Avatar 2'' to ''Avatar 5'', which are currently still planed to shoot concurrently and to be released one year from another.
* {{Yellowface}} in movies was never really critically popular, especially after the abolition of miscegenation laws that had forced it to take place in such classics as ''Film/TheGoodEarth'' and ''Film/LoveIsAManySplendoredThing'' and the growing presence and influence of Asians in Hollywood. However, the 2017 Hollywood adaptation ''Film/GhostInTheShell'' may very well be the final nail in the coffin, not just for that but also for racial insensitivity in general in mainstream Hollywood movies. Not helping are the successes of such films as ''Film/GetOut'' and the ethnically-diverse ''Film/TheFastAndTheFurious'' film franchise, nor a threatened boycott of Creator/{{Netflix}} over their adaptation of ''Film/DeathNote'', due for release in the summer of 2017.
%%Roughly organized in chronological order, using the first Genre Killer for a genre as the baseline.

* ''Literature/DonQuixote'''s {{deconstruction}} of the ChivalricRomance, in which the main character (and [[KnightInShiningArmor the archetype he represented]]) is portrayed as insane and idiotic, is widely credited with helping to kill the genre. The genre was already in its death throes about a decade before Cervantes' novel, but it certainly dealt the final blow. Two hundred years later, Creator/LordByron complained about this in ''Literature/DonJuan'':
-->''Cervantes smiled Spain's chivalry away;''\\
''A single laugh demolished the right arm''\\
''Of his own country; seldom since that day''\\
''Has Spain had heroes.''
* ''Literature/MadameBovary'' by Creator/GustaveFlaubert deconstructed romantic fiction archetypes, helping to end the era of romanticism in fiction and making way for realism.
* UsefulNotes/TheAmericanCivilWar killed off plantation literature, also known as 'anti-Tom' literature, a genre that emerged in the 1850s [[TheMoralSubstitute in response to]] the anti-slavery novel ''Literature/UncleTomsCabin''. Mostly written by writers from the Southern United States (though a few writers were Northern 'doughfaces' who sympathized with the South and its 'peculiar institution'), these novels were {{author tract}}s dedicated to portraying plantation slavery as [[HappinessInSlavery a benign, benevolent system]] that was beneficial to the 'childlike Negroes' and served as the bedrock of civilization, and abolitionists as either misguided {{Soapbox Sadie}}s or [[StrawCharacter the very incarnation of pure evil]]. Nowadays, the genre is DeaderThanDisco together with slavery itself, remembered only as a historical curiosity in the grand scheme of the run-up to the Civil War.
* UsefulNotes/WorldWarI largely killed [[http://en.wikipedia.org/wiki/Invasion_literature the "invasion story" genre]], which typically detailed [[DayOfTheJackboot foreign invasions of the British Isles]] by some flavor of Germans or French (depending on [[RippedFromTheHeadlines who Britain had higher tensions with at the moment]]). ''Literature/TheWarOfTheWorlds'', while a more fantastical spin than the norm, is the most well-known example. The genre still persisted post-WWI, with [[DirtyCommunists communists]] or [[AlienInvasion aliens]] replacing the Europeans as the go-to foe of choice (covert invasions were a staple of pulp literature right up until UsefulNotes/WorldWarII), but it never regained anything close to its former popularity. Instead, it was replaced by SpyFiction during the UsefulNotes/ColdWar and techno-thrillers [[TheGreatPoliticsMessUp afterwards]], both of which can be seen as {{spiritual successor}}s of a sort to the genre.
* ''Literature/ASongOfIceAndFire'', along with its television adaptation, ''Series/GameOfThrones'', has done this to a degree for traditional high fantasy. It has become much more rare to see new high fantasy since the series' rise in popularity in favor of similarly darker deconstructions of the genre, as well as being ToughActToFollow. Whether the genre is truly dead remains to be seen.
* The decline of video game strategy guides is sometimes attributed to the official American ''VideoGame/FinalFantasyIX'' guide. Creator/SquareEnix, wanting to promote their site, Playonline.com, forced Prima to gut the entire thing and redirect users to the site for more info. Considering the game came out in 2000, it was outright impossible for many to connect to the internet; those who could found the site was barely any improvement over a print guide, and considering it was rare for people to have their desktop set up in the same room as their TV and game consoles, it was incredibly inconvenient to access while actually playing the game, to boot. Many purchasers ended up finding sites like Website/GameFAQs, and many buyers, figuring it was the general direction of strategy guides from that point forward, stopped buying them. Nowadays, Strategy Guides are usually only found in stores dedicated to gaming, and even then, it's usually only in a small section of it.

[[folder:Live-Action TV]]
* The QuizShow was discredited for about fifteen years in the US after [[http://en.wikipedia.org/wiki/Quiz_show_scandals a series of scandals]] in TheFifties, in which it was learned that a number of popular quiz shows (most notably ''Series/TwentyOne'') were being [[ExecutiveMeddling rigged]] in order to increase tension, bring in ratings, and to give the victory to the contestant the producers wanted to win. After the scandals, the focus of questions generally shifted from knowledge to word games and puzzles, and low-stakes panel games like ''Series/ToTellTheTruth'' were at their peak. ''Series/{{Jeopardy}}'' helped America trust ''quiz'' shows again in 1964, but it was not until about 1973 and ''The $10,000 Pyramid'' when game shows really began offering five-figure sums again [[note]](and note the change in name from "quiz show" to "game show"; the former name was still associated with rigged challenges)[[/note]]. Even after the genre came back into vogue, the effects of the scandals left a permanent mark; these new game shows had winnings caps and somewhat smaller amounts of money to be won, and it wouldn't be until 1998 when '''really''' big-money games returned in the form of ''Series/WhoWantsToBeAMillionaire''
** The return to more "traditional" game shows in the 70s and 80s brought new shows that actually had ''game'' to them, like the aforementioned ''Pyramid'', along with ''Series/ThePriceIsRight'', ''Series/TicTacDough'', ''Series/TheJokersWild'', and ''Series/FamilyFeud'', and thus helped kill off panel games in TheSeventies and TheEighties. That particular death was culminated in 1990 with a short-lived revival of ''To Tell the Truth'' that [[TroubledProduction went through five hosts]] in the course of one season.
** And then the nighttime syndicated versions of ''Series/WheelOfFortune''[[note]]which ran on daytime from 1975-1991[[/note]] and ''Jeopardy!'' (which began in 1983 and 1984, respectively, and aren't going anywhere in the near future) killed off the concept of daytime game shows by TheNineties between 1992 and 2008, ''Price'' was the ''only'' game show on daytime network television.
** And on that topic, the saturation of ''Millionaire'', as well as [[WhoWantsToBeWhoWantsToBeAMillionaire several big-name copycats]], mostly killed off the big-money prime-time game show genre by the mid to late 2000s. It was given a shot in the arm with ''Series/DealOrNoDeal'' (and the 2007 WGA strike helped to extend that shot), but ''Deal'' quickly devolving into a gimmick-fest (making its ultra-bare-bones format all the more blatantly obvious) while concurrently falling into ''Millionaire''-esque WolverinePublicity, combined with the failure of ''Series/MillionDollarMoneyDrop'' and ''Series/MillionSecondQuiz'', pretty much put the finishing touches on the genre.
* The VarietyShow's demise has been linked to the abject failure of Creator/{{NBC}}'s ''Series/PinkLadyAndJeff'' in 1980 [[note]](the SketchComedy genre, as seen with ''Series/SaturdayNightLive'', ''Series/{{SCTV}}'' and other shows, is still alive and well, even in this day and age of Internet comedy)[[/note]], even though the genre (much like the movie musical) had been in life support for years[[note]]More precisely since Sonny and Cher split up, the genre being relegated afterwards to summer replacements[[/note]]. There were a few more shows in the genre afterwards, but none was the kind of blockbuster that could make programmers and audiences forget how bad this one was. ''Pink Lady and Jeff'' managed to make David Hofstede's 2004 book ''Literature/WhatWereTheyThinkingThe100DumbestEventsInTelevisionHistory'', which also took [[TakeThat potshots]] at Fred Silverman, who greenlighted ''Pink Lady and Jeff'' and got fired from NBC shortly after the show tanked.
* According to Chris "Rowdy C" Moore of WebVideo/TVTrash, ''Series/UnhappilyEverAfter'' killed off the live-action working-class dysfunctional family sitcom that ''Series/MarriedWithChildren'' popularized at the start of the 1990s, along with ''Series/{{Roseanne}}'' and ''Series/GraceUnderFire'', to be replaced by the age of urban single-based sitcoms like ''Series/{{Friends}}'' and ''Series/{{Seinfeld}}''. Some dysfunctional family shows, like ''Series/{{Titus}}'' and ''Series/MalcolmInTheMiddle'' cropped up in the early 2000s and gained positive to mixed reviews, but it wasn't enough to revive the genre. The American version of ''Series/{{Shameless}}'' is trying to turn this around (or, at the very least, reinvent the genre for premium cable).
* ''Series/MarriedWithChildren'' and, to a lesser extent ''WesternAnimation/TheSimpsons'', killed off the functional family sitcom boom of the late '80s heralded by ''Series/TheCosbyShow''. Even shows inspired by Cosby, like ''Series/HomeImprovement'' or ''Series/EverybodyLovesRaymond'' are more cynical than ''The Cosby Show''. Averted however for many black family sitcoms of the '90s which came about because of Cosby such as ''Series/FamilyMatters'' and ''Series/TheFreshPrinceOfBelAir.'' See MinorityShowGhetto.
* Though critically acclaimed and considered a CultClassic today, the ratings failure and early cancellation of ''Series/{{Action}}'' basically assured that the TV-MA rating is more or less a kiss of death for a network show and there has never been an attempt by the Big Four since for a truly adult-aimed comedic series. It's a different story on cable, where less restrictive rules allow for more creative freedom.
* The failure of ''Pablo y Andrea'' (2005) caused Televisa to stop producing telenovelas aimed at children. By the time that telenovela came out, most of the target audience had just lost interest in the limited plots said novelas offered, most of which were of the "kids having magical and musical adventures with a bit of drama" variety that were over-commercialized to the point of HypeBacklash.\\\
Similarly, the lukewarm reception of ''Niña de mi corazón'' (2010), seems to have caused the same network to stop producing novelas aimed at a teenage audience, since no novelas of that sort have been produced since then. Said genre had been very popular for Televisa since the late 80s. Both examples can be explained due to the fact that most children and teenagers just prefer to play videogames or be on the Internet nowadays instead of watching novelas (or TV in general).
* The massive failure of ''The Magic Hour'' (and to a lesser extent, ''The Kenan Ivroy Wayans Show'' and ''Vibe'' a season prior) pretty much killed the trend of urban-oriented, syndicated, late night talk shows (and syndicated late night talk shows in general) for the next 15 years, until Arsenio Hall revived his [[Series/TheArsenioHallShow talk show]] in September 2013.
* A temporary example: The failure of ''Series/CriminalMindsSuspectBehavior'' put a halt on shows getting random spin-offs despite the success of shows like ''Series/NCISLosAngeles''. It was a combination of a lackluster show and a fandom revolt since to fund the show, they had to end the contracts of two main female characters on ''Series/CriminalMinds''. This outraged not only the fans, but the actresses and the entire production team. It's no surprise that after ''Suspect Behavior'' ended, CBS rehired Paget Brewster and AJ Cook. The upcoming ''NCIS New Orleans'' and ''Once Upon a Time in Wonderland'' in late 2013 look to restore the trend a little bit, but for 2011-12, spin-offs were notably sparse.\\\
Another factor in the death of spin-offs was the show ''Series/TorchwoodMiracleDay''. The show was already in trouble when BBC had to sell production rights to Starz Entertainment, however the show was met with overwhelmingly negative reception from the fans and critics. ''Series/{{Torchwood}}'' was already a LoveItOrHateIt show seeing as it was a more adult-oriented spinoff from family-friendly ''Series/DoctorWho'', but added {{Americanitis}} in addition to Jack Harkness and Gwen Cooper being reduced to a side-story in their own show and an unnecessary RomanticPlotTumor with Jack having a new boyfriend didn't help matters either. The negative reception of the show was also enough to put ''Torchwood'' as a whole on hiatus, and its future remains uncertain as of 2016 (it can't have a FullyAbsorbedFinale in ''Doctor Who'' due to its adults-only nature, especially after all this time, but it's not popular enough to warrant closure on its own).
* Creator/{{MTV}}'s BoyBand spoof ''2ge+her'' arguably struck one of the first blows in the slow death of MTV itself by exposing a number of cynical tropes about how their flagship music program, ''Total Request Live'', operated in the late '90s/early '00s. Website/YouTube also killed off their original flagship tradition of showing music videos on the channel. After all, why watch MTV in the hopes that some particular music video will play on it when you can go straight to it online?
* [[http://www.escapistmagazine.com/articles/view/moviesandtv/columns/highdefinition/12756-Remembering-Comedy-Central-s-The-Colbert-Report This article]] by Creator/BobChipman argues that ''Series/TheColbertReport'' killed off the PompousPoliticalPundit TalkShow by parodying its form and style so effectively that it became impossible (especially for younger Gen-X and millennial viewers) to take seriously anymore. While ''Series/TheOReillyFactor'', the main show that Creator/StephenColbert was parodying, remained on the air, it and shows like it have notably ceased to be the dominant programming on the Creator/FoxNewsChannel, their viewerships notably trending much older while the new faces of the network (like [[Series/RedEyeWithGregGutfeld Greg Gutfeld]] and Megyn Kelly) largely eschew the style. O'Reilly's firing in 2017 furthered this trend.
* ''Series/TheOffice'', ''Series/{{Extras}}'' and ''Series/TheThickOfIt'', while not outright killing the classic BritCom format, made them seem like quaint relics of the 1960s and '70s, and resulted in critics generally losing respect for the classic style. Fewer and fewer of them have been produced as the 2000s and 2010s have progressed, and some are predicting that the horribly-received ''The Wright Way'', made by Brit Com mainstay Creator/BenElton, may prove to be the final nail in the coffin for it as an art form, with the few holdouts being critical failures, regardless of how popular they can be. And beyond the U.K. they're even deader: Cable networks/blocks like BBC America, Comedy Central, and Adult Swim used to import/rerun the most popular British sitcoms and sketch comedy shows to North America regularly, but have completely given up on them in TheNewTens. BBC America doesn't have ''one'' comedy on its schedule as of 2016, preferring to focus on ''Series/TopGear'', ''Series/DoctorWho'', dramatic series/miniseries, documentary shows, and ''The Graham Norton Show''. (In fact, the last time they aired a British comedy series in any capacity was an after-hours run of the final season of ''Series/TheThickOfIt'' in 2015 -- and only because [[Creator/PeterCapaldi the lead actor]] went on to be the current lead of ''Doctor Who''.)
* An episode of the very loved Belgian investigative journalism series ''Basta'' called ''De mol in het belspel'', known for bringing up the unfair practices of the Belgian phone-in game shows at the time by deconstructing or reconstructing pretty much all the phone-in game show formats that exist, allowed één, who already did not permit phone-in game shows on their own network, to have so much control over the phone-in game show format that Medialaan, the only company that aired those type of shows, was forced to cancel pretty much every single phone-in game show that they ever created. While it only had an effect on the game shows that were airing in Flanders, it killed off pretty much the entire phone-in game show genre there, to the point that some people think that the genre is banned in Belgium.
* Soap operas may be popular in the US, the UK, Latin American countries among others, but one country they'll never be popular in is Canada, thanks to the 2000s notorious flop ''Train 48''. The show was an attempt at persuading networks in Canada to have their own soaps, however the show was, reception-wise and production-wise, a disaster. The show was a loosely-based remake of popular Australian improvised dramedy ''Going Home'', which was about a number of commuters chatting about popular topics at night on a commuter train.\\\
The show had an admittedly novel production concept - the show would be (sort-of) written, filmed, edited and broadcast all in the same day, on an actual replica train traveling from Toronto to Burlington, with improvisation by the actors. This probably would have been a good idea had anyone had a clue what they were doing. The actors clearly had no idea how to make the improv flow, and the discussion topics were both incredibly dull, and inaccessible to people who had no idea what they were talking about. The show also had gotten criticism for its poor audio mixing (the actors couldn't even be heard at times over the trains' loud engines) and {{Jittercam}} (which did get better as the show neared its end, but not by much). When the writers had heard of these criticisms, they attempted to spice things up in 2005 by bringing in comedy (which predictably failed - one such case was a mother [[WhatAnIdiot being fooled into thinking the video game]] ''Halo'' [[WhatDoYouMeanItsNotForKids was a game about catching angel halos]]), "dramatic" storylines about outlandish concepts like a snake getting loose on the train, or someone getting shot, or hostage threats - none of these worked and after 2 years, the show was abruptly halted in 2005 due to increasingly worse reception and ratings. Another criticism was that the show never made it clear where people were going, so the final scene showed the characters getting off the train in Burlington.\\\
The poor ratings (the show was featured in the 7:30 death slot too - this was before digital cable and satellite with "Eastern time channels" were more popular), production costs of $45,000 per episode, and awful reception not only killed the idea as a whole, but also convinced some networks to drop their airings of American or British soaps too, and the show is seen as one of the worst Canadian TV shows of all time.
* ''Franchise/PowerRangers'' was such a success that no other American tokusatsu adaptation has been able to get too far off the ground. Usually they just end up viewed as ripoffs.
* [=VH1=] released a host of popular "celebreality" dating shows in the mid- to late 2000s, starting with Series/FlavorOfLove (itself a spin-off of a spin-off), which ran for several seasons, and the next most popular series, Series/RockOfLove, where contestants would compete to date celebrities Flavor Flav and Bret Michaels, respectively. Popular losing bachelorettes from those shows ended up getting their own dating shows such as Series/ILoveNewYork, ''Daisy of Love'', and ''Megan Wants a Millionaire,'' and losers from ''those'' shows even got their own spinoffs (''Real Chance of Love''). Popular contestants from ''Flavor of Love'' and eventually ''Rock of Love'' would end up on Series/CharmSchool, while all contestants were eligible to compete for money on Series/ILoveMoney. Though spin-offs kept multiplying, the genre itself was already suffering -- not only were ratings dipping lower as viewers started losing interest in Z-listers whose only claim to fame was being in a genre perceived as seedy and trashy, but many the channel was oversaturated with spin-offs, as well as the fact that the scripted nature of the apparent "reality" series, though always apparent, was getting more and more obvious. The death blow to the "celebreality" genre came at the close of the decade with a contestant named Ryan Jenkins, who was a competitor in ''Megan Wants a Millionaire'' and won the third season of Series/ILoveMoney. Jenkins's [[https://en.wikipedia.org/wiki/Death_of_Jasmine_Fiore wife Jasmine was found dead]] with Jenkins the only suspected killer; he committed suicide while attempting to flee. [=VH1=] quickly pulled the plug on the remaining episodes of ''Megan'' and cancelled Series/ILoveMoney without showing Jenkins's winning season, broadcasting only the already-filmed fourth season after a year. By then, the passing of time and the shock of the violent incident chilled most interest in the genre, and [=VH1=] has toned down reality programming in general to this day, with most of the celebreality contestants, the majority of whom failed to achieve fame outside of [=VH1=], fading into obscurity.
* In the Philippines, celebrity gossip talk shows used to be dominate the afternoon weekend timeslots and was a favorite past time for the celebrity-obsessed viewers. However on the midst of social networking where many Filipinos rather read the news online and many celebrities rather discuss their views on their social media accounts, the gossip talk shows slowly lost their purpose. As a result, the longest-running talk shows such as ABS-CBN's ''The Buzz'' and GMA Network's ''Startalk'' ended up cancelled and the afternoon weekend timeslots are filled for Tagalog-dubbed movies instead.

[[folder:Music -- Rock/Metal]]
* The Day the Music Died: the deaths of Music/BuddyHolly, Music/RitchieValens, and Music/TheBigBopper in a plane crash on February 3, 1959 effectively killed {{rockabilly}} and traditional RockAndRoll as music genres.
* ProgressiveRock has had several points that are regarded as killing the genre.
** One of the last albums from Music/EmersonLakeAndPalmer, ''Love Beach'' in 1978, is one of the most despised albums in music history, which the band was forced to make to meet out their record deal. The album largely abandoned the prog sound in favor of disco and dance music.
** The 1983 album ''Alpha'', the second album of {{supergroup}} Music/{{Asia}}, featuring members of Music/{{Yes}}, Music/KingCrimson, Music/EmersonLakeAndPalmer, and several other prog legends, was regarded as a failure musically, and severely damaged prog's reputation. Said reputation was already in sustained free-fall by the time of Asia's 1982 debut ([[Music/KingCrimson Robert Fripp]] himself intimated as much back in 1975). Most (surviving) '70s prog bands were already greatly simplifying their sounds by 1980, in response to {{Punk|Rock}} and {{New Wave|Music}}; Asia, by their utter failure to craft anything remotely reminiscent/worthy of prog's '70s heyday, merely confirmed prog's demise for those who hadn't gotten the hint yet.
* In that vein, Styx's 1983 album ''Music/KilroyWasHere'' seems to have been the final nail in the coffin for the RockOpera and the ConceptAlbum (no successful examples of which had come out since Music/PinkFloyd's ''Music/TheWall'' four years earlier, anyway). It took twenty years for another rock opera concept album, Music/GreenDay's ''Music/AmericanIdiot'' in 2004, to enjoy massive success.
** ProgressiveMetal still experiments with Concept Albums, but in a more limited way. A good example is Music/{{Queensryche}}'s ''Operation Mindcrime''.
** RockOpera also still exists within HeavyMetal, running the gamut in terms of quality.
* {{Shoegazing}} is a rare example -- an album so good it killed its own genre for quite some time. Music/MyBloodyValentine's 1991 ''Loveless'' is widely believed to have turned shoegazing into a DeadHorseGenre nonetheless, with almost every other band in the scene receiving a hostile critical reaction for trying to sound like My Bloody Valentine. The fact that My Bloody Valentine's third album, ''m b v'', was [[DevelopmentHell 22 years in the making]] did not help at all, and the scene was soon supplanted by {{Britpop}}. This ended up derailing more than a few careers (Music/{{Slowdive}} was notably plagued by this, even though ''Souvlaki'' is [[VindicatedByHistory now often mentioned in the same breath]] as ''Loveless''). Fortunately, it wasn't permanent -- interest in shoegazing started to come back in the 2000s and '10s.
* One of the most famous stories in rock music is that the rise of {{grunge}}, particularly the sudden success of Music/{{Nirvana}}'s album ''Nevermind'' in 1991, did this to {{hair metal}} in the early '90s. In truth, hair metal was already on life support for a couple of years by that point, with at least three connected moments that can each be pointed to as genre killers, grunge only being the last of them. The first was the 1988 documentary ''[[http://en.wikipedia.org/wiki/The_Decline_of_Western_Civilization_Part_II:_The_Metal_Years The Decline of Western Civilization Part II: The Metal Years]]'', which is often credited with starting the backlash against hair metal thanks to its uncensored display of the hedonistic excesses of many bands and musicians. It's been joked that Music/{{Warrant}} and Music/{{WASP}} did more to kill hair metal than Nirvana and Music/PearlJam ever did, and they're only half-joking. Second, in the subsequent years all manner of DarkerAndEdgier bands like Music/TheBlackCrowes, Music/GunsNRoses, Music/{{Pantera}} (itself a [[OldShame former hair metal band]] that [[CanonDiscontinuity abandoned the genre]]), and Music/{{Queensryche}} pushed hair metal off the rock charts. However, what few will argue is that grunge landed the death blow by giving a unified image to the growing backlash. While it didn't ''kill'' hair metal, it certainly wrote its obituary and buried its remains.\\\
Since hair metal was the dominant genre of metal music within the mainstream rock scene, metal as a whole faded from the limelight for much of TheNineties as a result. Some genres, however, managed to avoid this. The general rule was that, as long as you paid due reverence to '80s AlternativeRock (Music/TheSmiths, Music/{{REM}}) and HardcorePunk (Music/MinorThreat, Music/BlackFlag), or you were playing something abrasive and unquestionably anti-mainstream, it was okay to play metal in TheNineties.
** Classic {{heavy metal}} (Music/BlackSabbath, Music/DeepPurple, et cetera) and its {{spiritual successor}}s, {{doom metal}} and sludge metal, survived mainly because of the heavy influence those genres had on the development of grunge. Black Sabbath, for example, are cited as influences by Music/{{Soundgarden}}, Green River, Mudhoney, Music/TheSmashingPumpkins, Tad, and many others, while the sludge metal band the Melvins also had a major influence on grunge, taking influence from '80s {{hardcore punk}}.
** {{Thrash metal}} didn't even skip a beat, with three of the "big four" bands (Music/{{Metallica}}, Music/{{Megadeth}}, and Music/{{Anthrax}}) enjoying their best album sales shortly after the death of hair metal. Members of Metallica have even mentioned that they saw the rise of grunge as a good thing, meaning that radio stations and MTV were willing to take a chance on heavier music and darker themes. Somehow-these-aren't-hair-metal-for-some-arcane-reason bands like Music/VanHalen and Music/GunsNRoses stayed popular during grunge's early phase, and fell off more due to interpersonal conflict than chart failure.
** {{Alternative metal}} and {{groove metal}}, like grunge, emerged as a backlash against hair metal, becoming the defining metal sounds of the '90s for many American listeners. Music/AliceInChains, Music/{{Soundgarden}}, and Music/FaithNoMore were among the defining alt-metal bands of the era, and were often associated with the grunge aesthetic by mainstream listeners. Meanwhile, Music/{{Pantera}}, the biggest groove metal band of the '90s, consistently managed to fill large arenas, and their album ''Far Beyond Driven'' even managed to debut at #1 on the Billboard 100 (making it probably the heaviest and least-mainstream album to ever accomplish that feat). [[Music/TheSmashingPumpkins Billy Corgan]] even praised Dimebag as his favorite contemporary guitarist. By the late '90s, the two genres, along with other, smaller subgenres (particularly {{rap metal}}), fused together in the mainstream consciousness and morphed into NuMetal, which has its own section below.
** DeathMetal and BlackMetal both took off and hit their peaks in TheNineties. While they rarely, if ever, received radio airplay, they made for a particularly popular target for the era's MoralGuardians in both the US and Europe due to the brutality of the music itself, the [[{{Gorn}} lyrical]] [[KillEmAll subject]] [[RockMeAsmodeus matter]], and (in the case of black metal) the musicians' militant anti-Christian messages that often went well beyond the music.
* Grunge itself had two moments in 1994 that can be pointed to as Genre Killers, the trend in both of them being the genre's anti-commercial attitude running head-first into its sudden mainstream popularity. First, Music/{{Nirvana}} frontman Music/KurtCobain was DrivenToSuicide over his heroin addiction and his inability to reconcile his values with his success, which not only took out the biggest band in the scene, but made many rock fans leery of the DarkerAndEdgier attitudes that were synonymous with grunge[[note]]A phenomenon that repeated itself with GangstaRap a few years later; see below[[/note]]. It's probably not a coincidence that Music/HootieAndTheBlowfish, a band whose twangy, wholesome, down-home [[FolkMusic folk rock]] was the SpiritualAntithesis of everything that grunge stood for, took off just a few months later, as did Music/BluesTraveler, a jam band whose hit single "Hook" was a TakeThat at the "hip three-minute ditties" that dominated pop and rock radio. Second, Music/PearlJam got into a nasty fight with Ticketmaster over their anti-consumer business practices, resulting in them canceling their tour that summer and finding it nearly impossible to tour nationally afterwards, which dealt a crippling blow to the fortunes of the ''second''-biggest band in the scene.\\\
Grunge continued to limp along in the absence of Nirvana and Pearl Jam, but as a whole, it faded from the limelight over the next few years. Sean O'Neal of the Website/AVClub points to 1996 as the year when grunge and AlternativeRock in general [[http://www.avclub.com/article/1996-alternative-rock-died-messy-forgettable-death-240366 "died a messy, forgettable death"]], as it was the year the remaining "Big Four" Seattle grunge bands (Pearl Jam, Music/{{Soundgarden}}, and Music/AliceInChains) reached their nadirs of popularity and, in the case of the latter two, ultimately saw the seeds planted for their breakups, while the [[FollowTheLeader assorted copycats]] started falling away. Most importantly, however, by that point what had started out as a backlash against corporate hair metal had essentially been taken over by the record industry, turning into PostGrunge. A more polished and radio-friendly version of grunge that sanded off many of its more abrasive edges, post-grunge dominated mainstream American rock music for the rest of the decade, eventually converging with hard rock and the remnants of nu metal and dominating the next decade as well. Many years later, post-grunge would follow a similar fate, as detailed below.
** In the UK, meanwhile, grunge only lasted for a couple of years before getting hit with backlash. {{Britpop}} emerged in the early-mid '90s as a LighterAndSofter reaction to the dourness of grunge, and quickly supplanted it in mainstream popularity there. By 1994, Bush was the only grunge or post-grunge band seeing any success in the UK, and even then, they were [[GermansLoveDavidHasselhoff far more popular in the US]] than they were in their native Britain.
* ''Be Here Now'', the notorious 1997 flop by Music/{{Oasis}}, is generally regarded as having killed Britpop. It was actually a major success initially, earning gushing praise from critics[[note]]Many of those critics are now seen as having tried to avoid making the same mistake as when they gave mostly negative reviews to Oasis' previous album, ''(What's the Story) Morning Glory?'', which went on to be considered an era-defining classic.[[/note]] and selling eight million copies. However, once people had the chance to actually ''listen'' to it, they found that it was nowhere near as good as their first two albums, let alone the masterpiece that had been hyped up for months and which critics had been gushing about. The result was massive HypeBacklash that took the shine off of the biggest band in Britpop. Only a handful of bands wound up surviving the collapse of Britpop for more than a couple years.
** A major factor in Britpop's demise? Probably. However, on top of the above, Music/{{Blur}} -- the other band most associated with the scene (and Oasis' arch-rivals in 1995's "Battle of Britpop") -- had already broken away from it a few months prior with their eponymous album (primarily lo-fi and US alt-rock-influenced). Another arguable factor may be that by 1997 "Cool Britannia" had jumped on Britpop's bandwagon, with (e.g.) [[Music/SpiceGirls Geri Halliwell]] in a Union Jack dress and honeymoon-era UsefulNotes/TonyBlair schmoozing Britpop stars. This got old fast, and probably helped kill off the remainder of Britpop when it derailed.
** blur's "Song 2" is often considered to be the last real "Britpop" hit, and even then, it sounds nothing like anything else in the genre, having specifically been written to parody Music/{{Nirvana}}-style grunge.
* The death of PostGrunge came with the backlash towards Music/{{Creed}} and Music/{{Nickelback}} about their music being overplayed on the radio.
* The 2003 albums ''Results May Vary'' by Music/LimpBizkit and ''Take a Look in the Mirror'' by Music/{{Korn}} played a huge role in killing NuMetal. A fusion of AlternativeMetal, IndustrialMetal, and RapMetal influences, nu metal emerged in the late '90s and was seen as an antidote to the bubblegum {{boy band}}s, {{girl group}}s, and {{idol singer}}s that ruled the world of pop music after the fall of grunge, bringing metal back to the forefront of youth culture for the first time since the '80s. Nu metal reached the peak of its popularity in the years 1998-2001, but before long, came to be stereotyped as a genre of {{wangst}}y lyrics, [[TestosteronePoisoning phony machismo]], and grating instrumentation that substituted technical skill with sheer noise. By 2002, nu metal was earning the mockery of metalheads as a pale shadow of "real" metal, and albums by major bands like Korn and Music/PapaRoach were producing diminishing returns on the charts. The tipping point came in 2003, when Limp Bizkit and Korn released the aforementioned albums to a reception that ranged from mixed to scathing, with Bizkit's cover of [[Music/TheWho "Behind Blue Eyes"]] coming in for especially heated criticism as borderline rock sacrilege. By 2004, nu metal's reign on the rock charts was over, with {{emo}} and {{metalcore}} emerging in its place, and most of the bands involved with the genre [[NewSoundAlbum quickly changing their sound]] to get away from it. Papa Roach quickly recovered with their sole Top 40 hit "Scars", and they remain popular on mainstream rock radio to this day. Korn took a beating, only to recover in the new tens, by adapting dubstep into their style and scoring their first-ever #1 rock hit in 2013. But Limp Bizkit [[DeaderThanDisco fared the worst of all]]; they became so hated in the USA that [[GermansLoveDavidHasselhoff they were forced to tour overseas for the rest of their days]]. Nearly a decade passed before nu metal regained some cultural acceptance, and even then it's not even half as popular as it used to be.
* Music/TheStrokes' ''First Impressions of Earth'' can be viewed as the breaking point of the post-punk[=/=]garage rock revival in the early-mid '00s. This movement had been characterized by elements of {{punk rock}}, indie rock, '60s {{garage rock}}, and {{New Wave|Music}}, combined into a [[ThreeChordsAndTheTruth stripped-down, back-to-basics guitar rock]] that many people at the time felt would be a revolution in rock music comparable to grunge ten years earlier, wiping away the morass of PostGrunge and NuMetal just as grunge had wiped away HairMetal. For a time, it was. Along with The Strokes, bands like Music/TheWhiteStripes, Music/{{Interpol}}, the Music/YeahYeahYeahs, The Vines, and Music/TheHives led the movement in both the US and the UK, and from roughly 2002-05 they won widespread critical and commercial success.\\
By 2006, however, many bands were either gone, had collapsed, or had become more experimental, while in Britain, bands like the Music/ArcticMonkeys, Music/TheFratellis, Music/BlocParty, and Music/ArcadeFire were leading the way in both PopRevival and a new wave of indie rock. Only The Strokes and The White Stripes were still active, and even then only barely. ''First Impressions of Earth''[='=]s release was repeatedly delayed, and upon its final release was a critical and commercial failure, acting as the final nail in the coffin.
* Music/BrokeNCYDE simultaneously [[TropeCodifier codified]] and killed {{crunkcore}}. Their music is just competent enough to have spawned fans and imitators seeing some good in the genre, but [[SoBadItsGood hilariously bad]] enough to make literally everyone else automatically hate the genre.
* Music/CoheedAndCambria's fifth album, 2010's ''Year of the Black Rainbow'', is largely considered to be the final nail in the coffin for the NewProg subgenre of progressive rock, which already seemed to be dwindling as far back as 2005. After a reasonable amount of commercial success from the two ''Good Apollo'' albums, the latter of which brought a stadium rock edge to their sound, there was much hype surrounding it (including a reasonable amount of good reviews from people on the Cobalt & Calcium forums who had supposedly already heard the album), with an anticipation level through the roof, leading many to think it could be as heavy and rocking as ''No World for Tomorrow''. Instead, they got the musical equivalent of a BizarroEpisode which largely dabbled in electronic rock, which lead to a ''very'' mixed reception and people questioning if they made the album that style just so they could escape the success "Welcome Home" brought them. Their reputation was ruined, and not much had been heard from NewProg bands save for {{Music/Muse}} and [[Music/ThirtySecondsToMars 30 Seconds to Mars]], both of whom had phased out NewProg in favor of AlternativeRock and soon after transitioned to IndieRock. Fortunately, Coheed survived, but as a result, their following two albums had to be recorded on indie labels.

[[folder:Music -- Other genres]]
* In parallel with Britpop, the British music press went hot for "intelligent [[DrumAndBass drum'n'bass]]", the authentic new sound of black inner city Britain. Goldie's ''Timeless'' (1995), although a fine album, opened the door for floods of by-the-numbers d'n'b clones, and the genre quickly became a cliché of television background music and film soundtracks. His 1998 follow-up ''Saturnz Return'' was slammed by a jaded press as a self-indulgent, pretentious folly. The opening track, "Mother", was over ''[[EpicRocking sixty minutes long]]''. Both Goldie and intelligent drum'n'bass subsequently left the charts, never to return.
* Live Earth, a massive benefit concert co-founded by former Vice President Al Gore, was a dismal flop, garnering low ratings (especially for the UK and US) and created a massive "carbon footprint", precisely the type of thing the organizers wanted to prevent. The failure of Live Earth is widely believed to have killed off the concept of the benefit super-concert (in the same vein as Farm Aid and Live 8, though the former is still held annually and the latter had enough of its own issues for it and Live Earth to be considered kind of a one-two punch).
* Depending on where you sit regarding [[DrumAndBass Drum & Bass]], Music/{{Pendulum}} came close to this, by way of becoming the public face of the genre despite ''never intending to be in it''. Rob Swire himself isn't sure if this has happened, but appears to revel in it, as can be discerned from this extract from his rant on the Dogsonacid forums:
-->"Oh, and by the way -- I'm not sure if drum and bass is dead or dying (I've been in the studio / on tour too long to tell). However, if your genre was flimsy enough to be knocked over by ONE SINGLE RECORDING ARTIST who happened to -- god forbid -- sell some fucking records for the first time in about 5/6 years, then I'm glad it was us that got to drive the final stake through its stale pig shit heart -- and good riddance. Wake me up when your genre is making something that people outside the scene think is worth listening to again."
** Drum & Bass really suffered more from the development and rise of [[HouseMusic Electro House]] and {{Dubstep}} more than Pendulum; Pendulum even shifted almost completely to a rock style.
** With the recent ElectronicMusic revival in the United States though, Drum and Bass has seen a (admittedly smaller) comeback of sorts.
* The murder of Music/TupacShakur in 1996 and Music/TheNotoriousBIG in 1997, within six months of one another, put an end to the Golden Age of GangstaRap. The LighterAndSofter genre of GlamRap replaced it in the mainstream for much the same reason why post-grunge replaced grunge after Kurt Cobain's suicide; as WebVideo/TheRapCritic and WebVideo/TheNostalgiaChick [[https://youtu.be/3kyRnqMn7PA?t=6m15s put it]]:
-->'''Rap Critic:''' "[The murder of Biggie and Tupac] was a big wake-up call for hip-hop fans, because two artists that everyone knew were dead, victims of the lifestyle that was promoted in their music. Hip-hop had gone as dark as people wanted it to go, and they wanted something else.\\
'''Nostalgia Chick:''' Suddenly, the dangerous lives and poverty that some of these guys grew up in and rapped about... it was just a little too ''real''. Joe Public wanted something a little nicer, cleaner, you know, still culturally relevant but reminded us of the good old days when rap was ''fun'', and- oh, hey, Creator/WillSmith, what's going on? Heard your movie career's doing pretty good! Oh, and what's that you've got there? A new rap song? And it goes with [[Film/MenInBlack that new summer movie you're in]]? Oh, and you have [[TheMoralSubstitute a whole album without curse words or references to hard living]]? Come right on back, Will! [[CareerResurrection We missed you!]]
** Tupac's death also crippled the West Coast hip-hop scene, which would take over a decade to recover. While the New York-based Bad Boy Records was able to survive Biggie's death (though not without difficulty), the same could not be said of Death Row Records, then the most powerful rap label on the West Coast and running a heated rivalry with Bad Boy. Tupac's death, combined with the myriad legal problems of the label's owner Suge Knight, did irreparable damage to Death Row, causing an exodus of talent in the '00s that culminated in the label going bankrupt in 2006, leaving little more than a shell that survives mainly through {{Greatest Hits album}}s and re-releases of its catalog.\\\
* The death of {{Crunk}} came with the backlash towards Music/SouljaBoy, whose music was widely considered annoying and a disgrace to hip-hop.
* A notorious case in Canada was Matt Dusk's epic 2006 flop ''Back in Town'', which ended up killing Canada's jazz-pop craze. Yes, believe it or not, there was a jazz-pop craze in Canada that lasted a good chunk of the 2000s. Diana Krall is often credited as the person who started it, with Music/MichaelBuble having furthered it with his international success. Perhaps one of the more unexpected hits was Matt Dusk's debut album ''Two Shots'', released in 2004, which boasted [[http://www.youtube.com/watch?v=60vps0QCbNU a lead single]] written by [[Music/{{U2}} Bono and The Edge]]. The album was a smash success and one of the top selling records of its year.\\
Ironically enough, Dusk ended up killing the craze with ''Back in Town'', commonly regarded among Canadian music fans as the textbook definition of a SophomoreSlump. It was much anticipated and hyped, and in fact actually didn't do too bad in its first week of release, debuting at #17 on the Canadian music chart. However, once people actually took the time to listen to it, they got a bizarre, more funk-influenced album that didn't fly well with the public and killed people's interest in him, and jazz-pop as a whole, with his sales taking a spectacular nosedive in the weeks that followed. Only the aforementioned artists ended up surviving the collapse of the subgenre, though Dusk ended up recording two virtually unheard of albums (try naming either of them without looking it up).
* Another Canadian case, which this time seems to have caused the whole world to have taken the hint: Ryan Malcolm, the winner of the first season of ''Canadian Idol''. There was massive hype surrounding him as he has quite the voice, and many voted for him to win, causing Jacob Hoggard (who later would find success with his pop-rock band Hedley, [[TheRunnerUpTakesItAll becoming the show's most commercially successful alumnus]] within Canadian borders) to lose out. What was the result? [[http://www.youtube.com/watch?v=PWnLS0eKoow "Something More"]], which, despite being successful, was massively hated and even ended up being voted by critics as one of the worst songs of 2003, mainly because of how supremely boring the music was and how cheesy and cliche the lyrics were. The album, despite selling 170,000 copies, ended up being his last, and is often seen as a joke among Canadians. The following year, Kalan Porter suffered the same fate, effectively burying ''Canadian Idol'' as a way for future pop stars to be discovered (yes, Music/CarlyRaeJepsen won third on season 5 of ''Canadian Idol'', but her big break came over four years after that show). Since then, very few winners or contestants on any ''Idol'' show outside [[Series/AmericanIdol the American version]] have seen much success -- and even then, the last breakout stars from ''Series/AmericanIdol'' were season 6 winner Jordin Sparks and season 8 runner-up Music/AdamLambert. And speaking of him...
** In an example that crosses over with LiveActionTV, Lambert's shocking loss to Kris Allen in season 8 of ''Series/AmericanIdol'', combined with the [[VoteEarlyVoteOften suspicious circumstances]] under which Allen's victory took place[[note]]Short version: AT&T stores in Arkansas, Allen's home state, were accused of helping his fans cast massive numbers of votes for him by providing instructions on how to "power-text", or send hundreds of text messages at a time. It just so happens that AT&T was one of ''American Idol''[='=]s sponsors...[[/note]], did lasting damage to the show's credibility and pretty much firmly discredited TV talent shows as a source of future pop music hitmakers. Future seasons of ''Idol'' plummeted in the ratings (with season 11 winner Phillip Phillips being a one-off success), the American version of ''Series/TheXFactor'' was a dud (with Music/FifthHarmony being the only successful one from said show), and while ''Series/TheVoice'' has been a ratings hit for Creator/{{NBC}}, the only real successes from that show have been limited to the CountryMusic genre, and it's arguably the celebrity judges who get a greater boost from that show. The British version of ''The X Factor'' has fared better with its alumni, although even it is starting to slide from its peak.
* Solo [[TeenIdol teen idols]] were huge in the '50s and '60s, with artists like Ricky Nelson, Bobby Rydell, Paul Anka, and Fabian Forte dominating the charts through the period. That phenomenon died a quick death in the middle of the decade as teenage girls found a universal idol in Music/TheBeatles. A brief revival happened in the '70s with the likes of Bobby Sherman, David and Shaun Cassidy, Donny Osmond, and Leif Garrett, but even then they were stuck in the shadows of groups like Music/TheMonkees, Music/TheJacksonFive, and the Bay City Rollers, and the second wave died out much faster than the first. For the next three decades, {{Boy Band}}s and rock groups would reign supreme whereas hardly any solo teen idols made an impact. A third wave would begin at the turn of the 2010s, when Music/JustinBieber fever swept the globe. However, the wave would barely last three years, with Bieber ultimately ending up the only major success story in this new generation of teen idols. When a massive backlash against him hit and his public image was destroyed overnight, control of the teenage girl demographic immediately shifted back to boy bands via Music/OneDirection, and later, [[Music/FiveSecondsOfSummer 5 Seconds of Summer]].
** Started to shift a bit in 2015, as artists like Shawn Mendes and Charlie Puth became stars.
* In classical music, the symphonies of Music/LudwigVanBeethoven almost killed the genre simply because [[ToughActToFollow they were considered so amazing that no composer ever dreamt of surpassing them]]. Gladly subverted during the 19th century by composers such as Bruckner, Brahms, and importantly Berlioz, who continued the idea [[Music/SymphonieFantastique of symphonies with programmatic content]] (which is where Music/FranzLiszt started).
** But then finally, Music/GustavMahler is the last big name composer of symphonies. This is probably because his symphonies were [[BiggerIsBetter so epic]] and [[TrueArtIsIncomprehensible avantgarde]] (his [[FanNickname Symphony of a Thousand]] in particular) that few people even bothered anymore. The symphony as a genre is nearly dead in Modern Classical, with the most notable exception being Dmitri Shostakovich.
* UsefulNotes/TheFootballAssociation used to release an official anthem for [[UsefulNotes/AssociationFootball the England team]] ahead of major international tournaments, to build up hype. That was until David Baddiel and Frank Skinner wrote "Three Lions", performed by the Lightning Seeds for Euro 96. By Baddiel's own admission, it killed off the "football anthem" by virtue of [[ToughActToFollow being so good, and becoming so iconic]], that no such anthem has been able to surpass it since. The FA stopped commissioning official songs after 2006[[note]]partly because England failed to qualify for Euro 2008[[/note]], but while unofficial anthems continue to be released, with Music/DizzeeRascal and Creator/JamesCorden reaching No.1 with "Shout", none of them have achieved anywhere near the lasting popularity of "Three Lions".
* The Music/MilliVanilli scandal in 1991 effectively killed "traditional" pop music in the United States for nearly a decade. For much of the early-mid '90s, the [[DeaderThanDisco overnight downfall]] of one of the biggest pop acts in the nation colored mainstream perceptions of the entire genre, relegating it to dance clubs and fueling the rise of adult alternative singer-songwriters who were seen as more authentic than the manufactured pop acts of the '80s. Only in the very late '90s did bubblegum pop come back into vogue by drawing inspiration from the "Cool Britannia" craze, but it didn't reach mainstream success. Only by the late 2000s/early 2010s pop returned to the musical forefront.
* Thanks to the mixed-to-negative reception of Music/{{Skrillex}}'s ''Recess'' and failure of Music/KnifeParty's ''Abandon Ship'', it doesn't look as if Brostep or Electro House becoming a mainstream staple is going to happen any time soon. The former was a case of HypeBacklash and people already having moved on to greener pastures from Brostep, and the music having sounded completely out of place in a music scene dominated by the more hardcore stuff they were known for introducing to the industry. The latter was a result of Knife Party taking far too long to finally release a full LP and instead releasing a string of [=EPs=] leading up to it, general band procrastination and "traditional" Electro House becoming DeaderThanDisco. Fortunately Skrillex did (somewhat) recover and Jack U (the duo he formed with Music/{{Diplo}}), seems to be doing great.
* The most commonly-cited turning point in {{disco}} becoming, well, DeaderThanDisco was the notorious [[https://en.wikipedia.org/wiki/Disco_Demolition_Night Disco Demolition Night]], a promotion held on July 12, 1979 in which thousands of people brought disco records to a [[UsefulNotes/MLBTeams Chicago White Sox]] double-header in exchange for heavily discounted tickets; the records would be [[BookBurning put into a crate and blown up]] in the middle of the field between games. Most of the people there hadn't come for baseball so much as to watch disco records getting destroyed, and the ensuing riot forced the White Sox to cancel the second game of the night. The affair played a major role in fueling an anti-disco sentiment that had been building for several months by that point (especially among rock fans and people who hated the seemingly effeminate and/or the over-sexualized aspects that the disco lifestyle represented), and disco was virtually gone from the airwaves by the end of 1980. Steve Dahl, the Chicago rock DJ who helped organize the event, has said that, while Disco Demolition Night didn't singlehandedly destroy disco, it did play a large role in hastening its demise. In the UK, disco music began to lose popularity as soon as UsefulNotes/MargaretThatcher came into 10 Downing that same year, as her squad of MoralGuardians, which included Ian Paisley and Mary Whitehouse, saw the genre as a symbol of debauchery.
* The genre-killer of the "bro-country" movement is widely considered to be Maddie & Tae's "Girl in a Country Song", a song that satirized and deconstructed all of its stereotypes and became a #1 hit in 2014.
* The rise of the "British Invasion" and the market's shift towards teenagers during the mid-60s did away with many genres, but novelty songs became the hardest hit, not helped by the fact JFK's assassination also affected the genre's popularity. Very few novelty songs have been made since then, although "The Streak" became a #1 hit in 1974.
* Similarly, the "comedy album" genre that became popular during the 60s and 70s was killed off in the 80s by the one-two-punch of the appearance of the "concert film", which made albums redundant. Then came Music/WeirdAlYankovic, whose parodies became so popular that few would dare to compete with him.

[[folder:Pro Wrestling]]
* The separation of India and Pakistan into two separate countries significantly weakened professional wrestling in both and led to the decline of almost all forms of wrestling, even those invented in India such as Pahelwani, as the Maharajas who enjoyed the contests and ensured the athletes could make a living at it suddenly found themselves without wealth or power. Professional Wrestling retained a cult following and aspiring Indian pro wrestlers such as Dara Singh (Maple Leaf Wrestling), Gama Singh (Stampede) and Giant Singh (All Pro Wrestling) find success after training abroad but new promotions in India itself do not tend to enjoy much longevity, most fans only being familiar with African (World Wrestling Professionals), Japanese (Wrestling/{{New Japan|ProWrestling}}) or most commonly USA (Wrestling/{{WWE}} or Wrestling/{{TNA}}) companies and only experiencing pro wrestling live when one of them comes over.
* The commercialization of VHS tapes and cable television had weakened {{kayfabe}} and the territorial system by exposing {{plot hole}}s and reducing the draw of world champions, since fans no longer had to wait to see them come to their region. Both kayfabe and the territories were on their way to bouncing back due to creative effort to counter these developments in the early 1980s but Wrestling/VinceMcMahon Jr took advantage of this period of weakness to publicly break kayfabe in a bid to lower his operating costs and further weaken the territorial system.
* Wrestling/{{ECW}} made an effort not to do another barbed wire match after Wrestling/{{Sabu}} vs Wrestling/TerryFunk. To quote Wrestling/PaulHeyman, "Because ''no-one'' could top that! And in good conscience, we didn't want anyone to try."
* Depending on who you ask, WWE buying out the competition brought an end to the popularity of pro wrestling. A combination of the emergence of UsefulNotes/MixedMartialArts and the stagnation of WWE have both played a role in this. The loss of a series of star wrestlers (as in stars even non-wrestling fans knew) and other popular top-level talent over the course of the mid-2000s to injuries, retirement, death, firings, moves to other companies or to other careers also contributed to the decline. That said, pro wrestling is still ongoing and WWE remains quite popular, but it's widely accepted that wrestling will simply never again be as popular as it was during its peak in the mid-to-late '80s and WWE will never be as popular as it was at its peak in the mid to late 90s. That is to say, even as WWE experienced its greatest success, the industry around it had shrunken as a whole, with there being few national promotions left in the entire ''world'', much less the United States.
* WWE can't take all the blame for itself, and neither can the sport of MMA. Things like Wrestling/{{WCW}} buying out the contracts of wrestlers it never intended to use just so other people couldn't use them, and the fact no one bothered to, say, file anti trust suits in the face of the WWF and Jim Crocket's antics also helped. The "Rock N Wrestling" Era also brought in a number of admittedly successful businessmen and Hollywood types who saw the money pro wrestling was making but really didn't understand how it worked, such as WCW's idea that Wrestling/RicFlair couldn't draw and had to be turned into Spartacus. Pro Wrestling is an industry that had been growing through means of questionable legality since the founding of the Wrestling/{{N|ational Wrestling Alliance}}WA, then largely screwed itself and let in outsiders it used to adamantly keep out in the name of self protection who screwed it further.
* The foundation of the very first mixed martial arts company, Shooto, in 1985 was the beginning of the end for 'shoot style' wrestling promotions like the Wrestling/UniversalWrestlingFederation in particular, as mixed martial arts was essentially "[[TheSameButMore shoot style but better]]" to the general public. What few shoot style promotions survived either became hybrids that showcase MMA too like the Inoki Genome Federation or openly adopted the {{trope}}s of other pro wrestling styles like LLPW.
* While territorial wrestling promotions were already on life support for more than a decade by this time, the final deathblow was arguably the collapse of the Memphis-based [=USWA=] (United States Wrestling Association). [=USWA=] was one of the few territorial promotions to make a name for itself during the Pro Wrestling Boom of the 1980's, due to its emphasis on younger wrestlers looking to build up their resumes before joining one of the [[Wrestling/{{WWE}} Big]] [[Wrestling/{{WCW}} Two]]. Unfortunately, the rise of the Monday Night Wars combined with some horrible company mismanagement doomed the league to the point where, by late-1996, they were reduced to doing shows at a ''flea market'' in Memphis. Combined with the relatively poor quality of their matches and wrestling talent by this time ([[https://www.youtube.com/watch?v=iq-PNas37j4 just watch this video of one of their final shows]]), the [=USWA=] finally folded in November of 1997. And the final nail was hit on the coffin of territorial wrestling.(unless you consider WWC the last of the territories, which itself saw a much slower decline for much different reasons)
* Although it had been petering out even before then (the last match of its type occurring in 2006), the adoption of the TV-PG rating by Wrestling/{{WWE}} in 2008 probably permanently killed off the "strip" matches (Evening Gown, Bra and Panties) that had been more or less standard fare for fans of the Divas for nearly a decade. The only similar match since then has been the 2012 Tuxedo Match between Wrestling/SantinoMarella and Ricardo Rodriguez, and that was obviously [[PlayedForLaughs played for humor]], not sexual titillation. While a Diva might still have [[ComedicUnderwearExposure her underpants exposed from time to time for a quick laugh]], there will not be any more overly hyped, blatant attempts at {{Fanservice}}, at least not in the foreseeable future. WWE does occasionally do costume themed matches (usually for the sake of a ChristmasEpisode) but the focus is usually primarily on wrestling - with {{Fanservice}} restricted to photoshoots on WWE.com.
* ''{{Wrestling/Wrestlicious}}'' killed off the stream of ''{{Wrestling/GLOW}}'' imitators. While ''POWW'' and ''WOW'' did decently enough, ''Wrestlicious'''s obviously TroubledProduction caused it to not reach TV until two years after it had first been taped (and additional tapings had to be done as many of the original girls had signed to major companies since). A second season was announced but has been in DevelopmentHell. With the success of promotions like ''{{Wrestling/SHIMMER}}'', ''SHINE Wrestling'' and others offering healthy alternatives to WWE programming - and a renewed focus on the Divas in WWE themselves - not many people are interested in {{Camp}} wrestling any more. One could argue that ''WOW'' started the kill - as ''Wrestlicious'' had a predecessor called ''CRUSH''. A pilot was taped and shipped around but never picked up. ''Wrestlicious'' was only funded by the lottery winnings of JV Rich.(Then again, WOW did surprise many [[DeaderThanDisco naysayers]] with a comeback about a decade later, with two then regulars of SHINE winning its tag team title belts no less. It was nowhere near getting a national TV deal like GLOW before it or the international attention of contemporary SHINE, much less SHIMMER, but GLOW's brand of camp is not dying quietly).
* {{Wrestling/Paige}} put an end to the concept of a token non-girly Diva. When she entered NXT, her 'Anti-Diva' character was actually quite popular and she enjoyed great reactions. However not long afterwards on the main roster Wrestling/AJLee (who started off with a similar "hey guys, cheer for me because I'm not girly" image) enjoyed a massive push - becoming a Diva with a very interesting character. NXT also added Divas with fun characters like [[CuteClumsyGirl Emma]], [[CloudCuckooLander Bayley]], [[AlphaBitch Summer Rae]] and [[BoisterousBruiser Sasha Banks]]. The success of ''Series/TotalDivas'' also helped flesh out the personalities of many main roster Divas. So that by the time Paige debuted on the main roster, her character was met with lukewarm popularity and crowd reactions gradually died down. Paige wasn't well received until her character was given more depth beyond [[RealWomenDontWearDresses "I'm not a girl, I'm just like you"]] - meaning there won't likely be any Divas trying to grab fans by claiming to be TheLadette any time soon. That said, former TagTeam partner Wrestling/{{Ivelisse|Velez}} got a huge pop when she stomped into Family Wrestling Entertainment and announced her hatred of divas.

* The television series ''Series/HarryEnfieldAndChums'' is credited with killing off an entire genre of radio presenting with its "Smashie and Nicey" sketches about two ageing Boomer music radio [=DJs=] with dated musical tastes constantly reeling off the same tired, cliched patter. In 1993-4, a new regime at Creator/TheBBC's Radio 1 promptly sacked many older [=DJs=] who were considered to have been potential targets of the parody. Enfield and Paul Whitehouse themselves later said that they hadn't intended the parody so aggressively and were sad to think that it might have contributed to people losing their jobs.

* Bizet's ''Theatre/{{Carmen}}'' was the genre killer of opera comique, blurring the traditional line between opera comique and opera until the former no longer existed as a distinct genre.
* Creator/AndrewLloydWebber's ''Theatre/AspectsOfLove'' is a curious case. While he spearheaded the big-budget, pop-operatic, {{spectacle}}-laden "megamusical" trend of TheEighties, this show -- his first since ''Theatre/ThePhantomOfTheOpera'', his biggest hit -- is not and was never meant to be one of those. It's a SoapOpera about TriangRelations, and with the sole possible exception of the circus near the end of the second act contains no major set pieces whatsoever. It's to Webber's ouevre what ''Film/TheShawshankRedemption'' is to Creator/StephenKing's. Its 1990 New York production had all the ''hype'' of a megamusical though, and it ''did'' cost $8 million (a big budget at the time). When it closed in less than a year and lost its entire investment, ''The New York Times'' wondered if it was a bad sign for megamusicals. In retrospect, it was right, at least as far as Broadway was concerned; while ''Theatre/MissSaigon'' proved a huge international success later in 1991, it was the last megamusical to do so. Subsequent megamusicals are mostly limited to European and sometimes Asian runs -- though the production values and budgets of such shows as ''Theatre/TheLionKing'', ''Theatre/{{Wicked}}'', and especially ''Theatre/SpiderManTurnOffTheDark'' occasionally compare to those of the megamusicals.
* The onstage mauling of Roy Horn by a white tiger at Siegfried & Roy's Las Vegas show in 2003 effectively killed the use of wild animals in StageMagician shows and circuses. It had already been falling out of favor since the '90s due to the rise of Creator/CirqueDuSoleil (a purely human-focused, acrobatic circus) and protests by animal rights groups, but this incident marked the turning point. By the '10s, even the Ringling Bros. and Barnum & Bailey circus would announce plans to phase out their iconic elephants, a decision that, combined with other factors, killed it by 2017.
* Up through the 1980s, Las Vegas showrooms were dominated by {{Variety Show}}s in the mold of Paris' Folies Bergere, alternating beautiful, scantily-clad showgirl routines with a hodgepodge of variety acts that ranged from celebrity impersonators to comedians to acrobats to magicians, with little linking them together thematically. The rise of magicians Siegfried and Roy as Vegas headliners was a bad omen, but the real killer was Creator/CirqueDuSoleil's ''Theatre/{{Mystere}}'' in 1993 -- a circus as lavish, varied, and exciting as any variety show with a cohesive, if surreal, artistic vision holding it all together. The hodgepodge approach of older shows lost its luster quickly, Cirque brought even more spectacular productions to other Vegas showrooms in subsequent years, and the classic format died for good when ''Jubilee!'', which opened in 1981, closed in 2016. Newer attempts at "Vegas-style" shows are really straightforward variety showcases -- they might bring out showgirls for a few numbers, but as equals to the acts that once played second fiddle to them at best and as window dressing at worst.
* Back in the 18th century, ballet was a very popular form of court entertainment, particularly in France, where royalty codified it through such standards as the five positions of the arms and feet, around which the whole art form revolves, and it was also used as a measure of human strength, itself still true to an extent today. Then the French Revolution happened, and suddenly ballet found itself DeaderThanDisco to the point where it was a common subject of mockery directed towards the excesses of the recently-deposed ruling class. Only in the Romantic period did ballet experience a GenreRelaunch, and only after the [[{{Pun}} rise]] of pointework, spearheaded by the great Marie Camargo, and the creation of ballets with fantasy elements such as ''Theatre/LaSylphide'' and ''Theatre/{{Giselle}}''.

[[folder:Video Games]]
* UsefulNotes/TheGreatVideoGameCrashOf1983 is called that for a reason: Caused chiefly by an [[SturgeonsLaw overabundance of competitors]] in a fledgeling market and competition from superior micro-computers,[[note]]the [[{{Misblamed}} much maligned]] Pac-Man PortingDisaster and ChristmasRushed E.T. game were merely [[TheLastStraw Final Straws]] by comparison,[[/note]] it killed the home console market in the United States for about two years. Perhaps more importantly, it effectively wiped out North American game/console development, to the point where it took over two decades to fully regain the ground that had been lost to Japanese competitors. There wasn't a successful game console from an American company between the UsefulNotes/{{Atari 2600}}, which died around 1983, and the Microsoft UsefulNotes/{{Xbox}}, released in November of 2001, ''eighteen years'' later. That's how badly it crashed.
** When Creator/{{Nintendo}} debuted the UsefulNotes/NintendoEntertainmentSystem in 1985, they bundled it with a light gun and battery-operated robot peripheral primarily to disguise the fact that it actually was a ''video game'' console. [[CrazyEnoughToWork It worked]].
-->[[Webcomic/PennyArcade "You know what? Fuck off. Everyone's always bringing up that fucking robot."]]
** In the UK, meanwhile, it didn't even make as much impact as two years. Brits started using eight bit microcomputers as the main way of playing home videogames in 1982, which would last until the late 80s/early 90s when consoles started taking off (with the Megadrive and SNES)
* After the roaring success of ''VideoGame/SuperMario64'' in 1996, the platformer genre tried hard to [[FollowTheLeader play follow-up]] and suddenly almost every platformer coming out had to be a collect-a-thon. Despite the trend resulting in some classics like ''VideoGame/BanjoKazooie'' and ''VideoGame/SpyroTheDragon'', the genre quickly wore out its welcome on one simple fact--all of the imitators [[ShallowParody only copied the collection aspects]] of ''Mario 64'' as opposed to the expressiveness of Mario's versatile moveset. But the straw that broke the camel's back is generally considered to be Rare's ''VideoGame/DonkeyKong64'', which took the collect-a-thon formula and cranked it UpToEleven with not only 200 Golden Bananas to collect, but hours upon hours of backtracking to collect more items and ''ridiculously''-specific moves (often only used for a single puzzle, whereas Mario's moves could be utilized whenever the player wanted if they could find a use for it) in order to get a full set of bananas for each individual character across every stage and get 100% Completion. Despite being a smash hit in sales, it managed to turn most people off of the already oversaturated genre. Many of the subgenre's pioneers proceeded to abandon it: the ''Spyro'' series eventually abandoned the collect-a-thon format in ''VideoGame/TheLegendOfSpyro'' and Skylanders revival. ''[[VideoGame/JakAndDaxterThePrecursorLegacy Jak & Daxter]]'' started off in this formula, but [[GenreShift quickly turned]] into a third person shooter/platformer with little to no collecting from ''VideoGame/Jak2Renegade'' and on. And finally, the ''[[Franchise/SuperMarioBros Mario]]'' series gradually phased out the exploration in favor of more linear designs and fully embraced the formula of the 2D games with ''[[VideoGame/SuperMario3DLand 3D Land]]'' and ''[[VideoGame/SuperMario3DWorld 3D World]]''. To date, the only holdouts of the Collect-A-Thon are ''VideoGame/YookaLaylee'' and ''VideoGame/AHatInTime'', which are both deliberate homages to those kind of platformers. However, ''VideoGame/SuperMarioOdyssey'' aims to modernize the exploration-based platformer for a new generation, though time will tell if it succeeds.
* The Anthropomorphic MascotWithAttitude platformers started petering out after ''VideoGame/{{Bubsy}}'' and the ''VideoGame/{{Battletoads}}'' dipped their toes into [[AnimatedAdaptation the world of multimedia franchising]] and [[WesternAnimation/{{Bubsy}} saw incredibly]] [[WesternAnimation/{{Battletoads}} disastrous results]]. When Bubsy subsequently crashed into the PolygonCeiling, the resulting backlash more or less exterminated every radical mascot that was not the TropeNamer Franchise/{{Sonic|TheHedgehog}}.
* ''VideoGame/FreeSpace 2'' destroyed the space shooter genre born of ''VideoGame/{{Elite}}'' and popularized by ''VideoGame/WingCommander''. It was not the fault of the game itself, which most critics consider the height of the genre and for which fans are ''still'' putting out new content both graphical and gameplay,[[note]]A common joke among fans of the game is that the reason it killed the genre was because it was so good that there was no point in making any further games: perfection had been achieved.[[/note]] but rather, how poorly it performed ''commercially'': its initial sales were so bad that the genre was assumed dead and further development was halted, which most attributed to Interplay's (lack of) marketing. Attempts were still made to revive the genre, such as 2000's ''VideoGame/TachyonTheFringe'' having Creator/BruceCampbell for its main character and gameplay additions like lateral thrusters, which was also featured in 2001's ''VideoGame/IndependenceWar2'', as well as games considered staples of the genre like ''VideoGame/{{Freelancer}}'', the ''[[VideoGame/{{X}} X-Series]]'', or ''VideoGame/{{Oolite}}'' (in and of itself a FanRemake of ''Elite''), but for a long while the genre was never able to reach the levels of popularity it had seen while ''Elite'' or ''Wing Commander'' were still going strong.\\
Thankfully, the advent of Kickstarter and other crowdfunding websites has seemingly restarted the genre, with games like Chris Roberts' ''VideoGame/StarCitizen'', ''VideoGame/EliteDangerous'', and other games like ''VideoGame/StrikeSuitZero'' leading the charge.
* The unfortunate retail failure of ''VideoGame/UnrealTournamentIII'', backed up by many freeware first-person shooters, has led to the end of commercially released fast-paced deathmatch-centric shooters as the ''VideoGame/{{Unreal}}'' and ''VideoGame/{{Quake}}'' series, in place of team-based and/or "tactical" shooters like ''VideoGame/CallOfDuty''/''VideoGame/ModernWarfare'', the ''VideoGame/{{Battlefield}}'' series, and ''VideoGame/Left4Dead''. ''VideoGame/TeamFortress2'' is one of the few "Quake-like" games released in recent years, and it came out in 2007. Due to the continued updates, ''[=TF2=]'' could be seen as still being released.
** It could also be said for true tactical shooters in the vein of the older ''VideoGame/RainbowSix'' and ''VideoGame/GhostRecon'' games, the ones with planning and stealth as major elements where the slightest muckup led to the death of your squad, due to the line being blurred between the aforementioned team-based shooters and the "true" tactical ones taking on more actionized elements. Attempts to bring the genre back have had limited success at best; games like ''VideoGame/TakedownRedSabre'', marketed as a return to the form of the original ''Rainbow Six'' and its ilk, have met with near-universal negative reactions, mostly due to bad gameplay. ''VideoGame/RainbowSixSiege'', a new entry in that series more in-line with the original trilogy, has been well-received.
** The only high-profile exception seems to be the ''Franchise/{{Halo}}'' franchise which, while taking a few elements from ''Call of Duty'', continues to be faithful to its roots. [[http://www.neogaf.com/forum/showpost.php?p=88715714&postcount=1 And even then, it's not completely immune when putting its online statistics next to those of its immediate predecessors.]]
* The insane amount of CapcomSequelStagnation for the ''VideoGame/GuitarHero'' franchise did this to the RhythmGame genre in North America and Europe. ''Guitar Hero: Warriors of Rock'' and ''Rock Band 3'', released in late 2010, sold less than 1.5 million units combined, and the competition (''VideoGame/{{Power Gig|Rise of the Six String}}'', et al.) outright bombed. While these are respectable figures given that both games come with expensive peripherals, compare this to ''Guitar Hero III'' (15 million units sold) and the original ''Rock Band'' (6 million), both released in 2007, and you can start to see how oversaturation of the market (a possible reason why Harmonix decided to focus more on DLC than new titles every now and then, unlike Creator/{{Activision}}) has destroyed the genre's profitability. Following the commercial disappointments of the latest installments, Creator/{{MTV}} has sold ''Rock Band'' developer Harmonix for '''[[http://latimesblogs.latimes.com/entertainmentnewsbuzz/2011/01/viacom-sold-harmonix-for-50-saved-50-million-on-taxes.html 50 dollars]]''' and Activision briefly pulled the plug on future ''Guitar Hero'' games, and other developers, having bled money from their endeavors, have gotten out of the market. Due to its different audience and "real guitar" street cred, ''VideoGame/{{Rocksmith}}'' seems to be the last man standing. It took five years after their "final" release (or two, considering that ''Rock Band'' DLC had still gone on until 2013) for the two main competitors to come back to the market for the eighth generation, via ''Rock Band 4'' & ''VideoGame/GuitarHeroLive'', the latter of which completely overhauled its guitar controller and outright abandoned the bass guitar & drums. Lukewarm sales, however, suggest that even for the creative strides these games took to distance themselves from their predecessors, it's still for nothing. Activision disliked how the new ''Hero'' game did on the market to the point that they sold the studio that developed the game to Ubisoft, the publisher of the aforementioned ''Rocksmith''. Talk about ironic.
** Dance-based Rhythm Games still hold popularity however. The ''VideoGame/JustDance'' series may have been instrumental in killing off the once mighty ''Guitar Hero'' and ''Rock Band'' games. They were a less-expensive alternative, since they didn't require extra peripherals to play (unless you count the non-Wii versions which required a motion control sensor, but it's still cheaper). Also, its casual appeal due to its use of both modern and classic pop songs, not just strictly rock, was part of the why it largely supplanted ''Guitar Hero'' and ''Rock Band'' as the go-to game for parties.
* The FourX RealTimeStrategy subgenre was killed off when ''VideoGame/EmpireEarth'' screwed up with its third installment and ''VideoGame/AgeOfEmpires'' went bust with Ensemble closing down. Note that Ensemble going bust was ExecutiveMeddling by Microsoft, who shut them down after they cranked out nothing but successful games.
** ''VideoGame/SinsOfASolarEmpire'' revived the genre a bit, but it's one of the few notable releases and it came out in 2008.
* The Tycoon genre died when ''VideoGame/RollerCoasterTycoon'' title owner Frontier Developments was sued by Chris Sawyer, coupled off with many other famous companies which made such games going bust.
* The execrable UsefulNotes/WorldWarII FPS ''Hour of Victory'' seems to have killed off WWII shooters (at the very least ones that follow the actual battles of the war as they went in reality, as AlternateHistory-type games like the ''VideoGame/{{Wolfenstein}}'' and ''VideoGame/SniperElite'' series are still going strong), with the only successful ones since including ''VideoGame/CallOfDuty: World at War'' and ''VideoGame/DayOfInfamy'' - both nearly a full decade apart from each other. However, it should be noted that the market had been absolutely saturated with WWII shooters for about a decade by then and the major franchises had shifted to a modern setting (''World at War'' was itself the final WWII-based ''Call of Duty'' game, made mostly as a fall-back because Activision [[ItWillNeverCatchOn was convinced the modern-day jump wouldn't stick]]).
* ''Call of Duty'' can itself also be linked to the death of WWII shooters and the shift to modern/near-future settings, due to the extreme popularity of the ''VideoGame/ModernWarfare'' sub-series - nearly every shooter released since ''Call of Duty 4'' has been, in effect, [[FollowTheLeader a Call of Duty 4 clone.]] And now even the ''Modern Warfare'' style MMS [[note]]Modern Military Shooter, although in some cases (namely, those where the Russians aren't the bad guys again) one might be tempted to call it Muslim Murder Simulator[[/note]] craze seem to be dying down and moving towards 'near future'/sci-fi territory with ''VideoGame/CallOfDutyAdvancedWarfare'' and ''VideoGame/{{Titanfall}}''. Arguably, the combination of ''VideoGame/MedalOfHonor Warfighter'''s failure, rising sentiment against the US military's involvement in the Middle East, {{deconstruction game}}s such as ''VideoGame/SpecOpsTheLine'', and a backlash from gamers towards obviously-derivative modern day shooters, has led to this shift in subject. [[HereWeGoAgain And now the near-future movement of games are gaining some serious backlash]] with ''VideoGame/CallOfDutyInfiniteWarfare'', leading to the entry after that [[VideoGame/CallOfDutyWWII returning to World War II]].
* The PointAndClick genre in its inventory management form was practically killed off by the success of ''VideoGame/{{Myst}}'', and was only recently revived via digital distribution as well as the serial format. The failure of the [[AcclaimedFlop critically praised]] ''VideoGame/GrimFandango'' in 1998 was seen as the final nail on the coffin for the genre, even though ''VideoGame/EscapeFromMonkeyIsland'' was released two years later albeit with considerably less acclaim than prior ''Monkey Island'' games.
** An alternative theory as to what killed point-and-click adventure games is presented by [[http://www.oldmanmurray.com/features/77.html this article on]] Website/OldManMurray - they committed suicide, in effect, by way of too many [[MoonLogicPuzzle contrived and illogical puzzles that no rational human being could conceive the answer to on their own]].
** Creator/TelltaleGames reinvigorated the genre with episodic decision-and-story-focused adventure games like ''VideoGame/TheWalkingDead'' and ''VideoGame/TheWolfAmongUs'', though at the cost of decreased production on traditional moon-logic style adventure games like ''Sam and Max''.
* ''VideoGame/ResidentEvil4'', while highly successful and acclaimed both in its time and now, has been [[http://www.gamespot.com/resident-evil-4-hd/videos/great-games-terrible-legacy-resident-evil-4-6402604/ blamed]] for killing, or at least hastening the demise of, the SurvivalHorror genre in the '00s. This is largely due to its status as the FranchiseOriginalSin for the ''Franchise/ResidentEvil'' series, introducing many shooter-esque gameplay elements that would take over later games in the series, which other survival horror series would copy until, by TheNewTens, most "horror" games were pretty much action shooters with creepy-crawlies and gothic atmospheres. However, [[VideoGame/ResidentEvil7Biohazard the seventh game]] as well as ''VideoGame/{{PT}}'' (albeit [[VideoGame/SilentHills its full game]] being canned) seem to be making a movement of harkening back to the genre's roots.
* Though motion controls were always controversial, the UsefulNotes/{{Xbox 360}}'s Kinect seems to have been the point where the majority of the gaming public turned against them. By all accounts, the Kinect itself was and is a fairly impressive piece of technology, and has found many awesome applications... but none of those applications were any good for gaming. From controls ranging between unresponsive and completely broken, to the massive pile of shovelware and dance games, the system became a punchline. On top of that, Xbox 360 fans had spent the past few years [[PeripheryHatedom loudly proclaiming that the Wii's motion controls were garbage]], giving the Kinect downright negative pull among the established fanbase. Just a few years later, while Creator/{{Nintendo}} was introducing the UsefulNotes/WiiU (which largely dropped motion controls in favor of an evolution of the DS and 3DS' touch-screen) and Creator/{{Sony}}'s [=PlayStation=] Move became {{abandonware}}, Microsoft's reveal of the UsefulNotes/XboxOne ''requiring'' Kinect received such a serious backlash that they had to release a version of the system that came without it less than a year afterwards -- and what's more, this became a celebrated moment (aside from how they announced it[[note]]It was advertised by way of [[WhatAnIdiot showing off the features of the Kinect]] and [[ComicallyMissingThePoint only casually mentioning the Kinect-less version of the console]] at the end -- with the added bonus of people who already owned a Kinect-enabled Xbox One having their consoles unintentionally start up whenever they saw the commercial[[/note]]) that's often credited with singlehandedly saving the Xbox One and giving it a fighting chance against the UsefulNotes/PlayStation4. That would have been the end of motion controls, but the next year brought an unexpected savior as HTC and Valve unveiled the Vive virtual reality system, forever establishing motion controls as a fundamental staple of VR.
* As mentioned in the trope description, ''VideoGame/StreetFighterII'' [[TropeCodifier codified so many tropes]] that most people don't even realize how utterly it killed off any FightingGame, especially 2D ones, that didn't largely adhere to them. Game mechanics we take for granted nowadays such as being able to attack before completing a walk cycle, having all of your basic moves available from the outset, lack of stage obstacles or crowd interference, or even just being able to jump high into the air, weren't always standard features of fighting games. Today, it's considered noteworthy if a fighting game breaks just two or three of the rules that ''SFII'' placed down, such as ''VideoGame/{{Bloodstorm}}'', ''VideoGame/{{Divekick}}'', and ''VideoGame/{{ARMS}}''.
* Relic's ''TabletopGame/{{Warhammer 40000}}: VideoGame/DawnOfWar'' and ''VideoGame/CompanyOfHeroes'' shifted RealTimeStrategy games from traditional base building with focus on strategy, to focusing more on tactics with emphasis on unit survival and micromanaging. It's telling that even ''VideoGame/CommandAndConquer'', one of the progenitors of traditional base-building RTS games, ended with a tactics-based game in ''VideoGame/CommandAndConquerTiberianTwilight'' rather than a strategy-based one.
* The day that ''VideoGame/RiseOfTheRobots'' was released is often cited as the moment when British gaming journalism died out. It was difficult before due to the massive oversaturation of video game magazines, which meant that they were all about hyping up the public for whatever game that would hit the store shelves even if it was DarthWiki/SoBadItsHorrible. When an ''actual'' so-bad-it's-horrible game, led by the major gaming studio Time Warner Interactive, hit the store shelves, all British magazines that could make a review the day it came out were giving it high scores (Computer and Video Games rated it even as high as 92%) to be able to review the game before any other magazine across the country could get their hands on it, resulting in the game selling massive amounts of copies due to critics being unable to say anything even remotely negative about the game as that would mean that they would receive their review copies at a later date (Amiga Power, who gave the game a 5%, only got the game days after its release, and didn't get a review out until the January '95 issue two months later). After most readers realized that most magazines they were reading were saying that they should buy horrible products, you can expect that most readers stopped caring about what they had to say, resulting in the demise of many of them.
* ''Franchise/{{Pokemon}},'' for various reasons has dominated the {{Mon}} genre so strongly it has made it very difficult for any other works in the genre to achieve mainstream popularity or sometimes even get made at all. Some, such as ''Franchise/{{Digimon}},'' are even assumed to be ''copying Pokémon'' by ''[[InsaneTrollLogic the mere name]]'' due to the public's lack of awareness that it's a genre that existed before ''Pokémon,'' not something pioneered by it.
** Averted with ''VideoGame/YokaiWatch'', which has quickly become a massive competitor to the Pokémon games, both of them leading weekly sales charts for months after they come out and has created a comparably large multimedia and merchandising empire -- [[AmericansHateTingle in Japan]]. Outside of Japan, however, this is closer to a straight example where, while managing to avoid accusations and the resulting stigma of being a ''Pokémon'' ripoff, ''Yo-Kai Watch'' has failed to gain any popularity above a CultClassic.

[[folder:Western Animation]]
* According to Stan Sakai, the reason the animated series of ''[[ComicBook/UsagiYojimbo Space Usagi]]'' was never greenlit was because of the flop of ''ComicBook/BuckyOHareAndTheToadWars'', with which it shared a rabbit protagonist and sci-fi setting. Networks were apparently reluctant to touch any animals-in-space properties for years afterwards. The saddest part? WordOfGod of ''Bucky'''s publisher says that despite the show's ratings success, ''Bucky'' -- and thus the genre -- died simply [[http://web.archive.org/web/20100122222436/http://www.nealadams.com/bucklicens.html because]] of a toy shipment screw-up leaving stores with more [[http://tfwiki.net/wiki/Shelfwarmer shelfwarmers]] than "wanted" figures; ''Bucky'' was MerchandiseDriven, therefore it was cancelled.
* According to [[http://www.escapistmagazine.com/videos/view/the-big-picture/7825-Celebritoons this episode]] of ''[[Creator/BobChipman The Big Picture]]'', the BandToon and other animated shows designed to promote certain celebrities (such as UsefulNotes/MuhammadAli and Wrestling/HulkHogan) was killed off twice, first in TheEighties by the rise of MerchandiseDriven cartoons that were more lucrative for marketers, and again at the TurnOfTheMillennium by the rise of RealityTV offering a less expensive, more direct way for celebrities to promote themselves on television.
* For that matter, the merch-driven "half-hour toy commercial" style of cartoon that reached its peak in the 80s was itself killed for over a decade by the [[https://en.wikipedia.org/wiki/Children%27s_Television_Act Children's Television Act]] of 1990, which placed strong restrictions on the advertising content of shows aimed at children. It was only with the rise of cable television (which isn't covered by the law) in the TurnOfTheMillennium when shows designed to sell products to children became big again.
* The above two combined with the ''WesternAnimation/YoYogi'' [[FranchiseKiller flop]] made Creator/{{NBC}} think that the whole concept of a SaturdayMorningCartoon block was not worth it, turning instead to a teen-based block anchored by ''Series/SavedByTheBell'' and expanding ''[[Series/{{Today}} Weekend Today]]''. The main reason why the genre still exists on broadcast television is due to the above mentioned CTA requiring three hours of {{Edutainment}} a week, with some networks farming theirs out from programming on another network under its corporate umbrella, e.g. Creators/{{CBS}} getting theirs from Creator/NickJr
* ''WesternAnimation/FatherOfThePride'' killed off the potential for computer-animated shows for adults, which is now [[AnimationAgeGhetto strictly seen as a format for family entertainment]] while the more "adult" fare is almost always 2D animation. It would be a while before ''WesternAnimation/SausageParty'' would revive any ideas of CGI adult animation.
* The ''extreme'' unpopularity of ''WesternAnimation/JohnnyTest'' has seemed to have killed off most mainstream attempts in the "kid uses super science and gadgets to deal with everyday life" genre of cartoons that started with shows like ''WesternAnimation/DextersLaboratory'' and ''WesternAnimation/TheAdventuresOfJimmyNeutronBoyGenius''.