->''"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 [[TheParody 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 ''[[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 {{Trope Codifier}} or {{Trope Maker}} 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 BeatEmUp and FightingGame 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 an iconic representant of the genre, such as a visionary writer/director/musician/etc dying, or a major company with a focus on the genre shutting down.

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.
----
!!Examples

[[foldercontrol]]

[[folder:Anime & Manga]]
* This [[http://goboiano.com/original/3219-anime-and-cosplay-fans-could-become-criminals-with-new-international-trade-agreement article]] explains that the ''entire Anime and Manga industry'' will collapse should the Trans-Pacific Parnership be successful.
* 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 SuperRobot series in the vein of ''Manga/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]] and due to poor sales reported by Creator/{{Funimation}}. From that point on, most anime licensors in North America refuse to license sports anime 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 that also led the sports anime genre 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 then 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.
[[/folder]]

[[folder:Arts]]
* 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 Germany 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. For extra black irony, many of the most prominent Futurists had been enthusiastic, or at least ambiguously positive, about Fascism and Nazism, at least until they started getting jailed and murdered. 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]]

[[folder:Automobiles]]
* The Mini is regarded as having killed the "bubble car", a type of microcar that was popular in Europe in the 1950s and early '60s due to their small size, fuel efficiency, and the high price of gasoline in that era. When the Mini offered seating for four and practicality for long distance driving, at a lower cost and with comparable fuel efficiency, the bubble cars couldn't hope to compete.
* The soaring gas prices following TheWarOnTerror killed the appeal of owning Hummers and other large gas guzzling vehicles. Of course, [[CompensatingForSomething there will always be]] [[AcquiredSituationalNarcissism a few holdouts]].
* The '70s gas crisis put a hurting into sales of station wagons in the US, but it was the introduction of the minivan by Chrysler in 1984 that finished it off. The minivan itself was displaced when [=SUVs=] became popular in the 90s.
** One of the major factors in the decline of full-size wagons and the ascent of minivans as America's people mover of choice was CAFE[[note]]Corporate Average Fuel Economy, pronounced "café"[[/note]] standards enacted by the federal government. Station wagons were classified as "cars" and subjected to more stringent fuel efficiency standards than minivans which were classified as "light trucks".
[[/folder]]

[[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, and [[UsefulNotes/TheGreatComicsCrashOf1996 one of its parents.]]
* 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.
* 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 and ethnic stereotyping has the added problem of UnfortunateImplications, something that is not as problematic with job stereotyping comics. Some comic books still use ethnic stereotypes (such as ''ComicBook/{{Urbanus}}''), but it is more 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 BelgianComic from the Dutch Comic.
[[/folder]]

[[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.
[[/folder]]

[[folder:Films -- Animation]]
* The failures of ''WesternAnimation/TitanAE'', ''Disney/AtlantisTheLostEmpire'', ''Disney/TreasurePlanet'' and ''WesternAnimation/SinbadLegendOfTheSevenSeas'', combined with the success of ''WesternAnimation/ToyStory'' and ''WesternAnimation/{{Shrek}}'', began the rapid decline of 2D animation, culminating in ''WesternAnimation/IceAge''. Shortly after that movie debuted with the biggest March opening for a film in history, Disney announced that it would be shutting down the Florida branch of its animation studio, setting off a chain of events that led to Disney abandoning hand-drawn animation altogether just two years later. Creator/DreamWorksAnimation also quit traditional animation altogether, but in a much more immediate fashion than Disney did, and the two studios' abandonment of traditional animation ultimately signaled the end of TheRenaissanceAgeOfAnimation. A brief resurgence appeared in 2009 when Disney made a commitment to producing a traditionally-animated film every two years, with ''Disney/ThePrincessAndTheFrog'' and ''Disney/WinnieThePooh'' performing just about as well as expected at the box office (albeit not much better than that, considering the films [''Film/HarryPotterAndTheDeathlyHallows'', ''WesternAnimation/{{Rio}}'' and ''Film/{{Hop}}''] [[ScrewedByTheNetwork the latter was put up against]]). After ''Pooh'', Disney decided against ''Disney/{{Frozen}}'' being an animated 2D project and later had it animated in 3D CGI, and eventually laid off 10 animators from their traditional animated division -- thus angering every 2D animation fan out there and causing some InternetBackdraft. [=DreamWorks=] has been dabbling in traditional animation a bit by having some hand-drawn animated scenes for both ''WesternAnimation/KungFuPanda'' and [[WesternAnimation/KungFuPanda2 its sequel]]. As a result, it seems that audiences and companies are still reluctant to give traditional animation another go, at least for the time being and it may return, who knows.\\\
Creator/{{Disney}}'s ''The Princess and the Frog'' is something of a subversion, in that it signaled the end of Disney's 2-D animated films, but led to a major revival of their Franchise/DisneyPrincess films. Appearing in 2009, Tiana was the first new "canonical" Disney Princess in eleven years (Disney/{{Mulan}} was the last to join the list in 1998), but the character's popularity led to [[Disney/{{Tangled}} Rapunzel]], [[WesternAnimation/{{Brave}} Merida]], [[Disney/{{Frozen}} Anna and Elsa]] joining the official roster in quick succession. Though all four characters' films were CGI-animated, they marked a return to the epic fairy-tales that Disney is best known for.\\\
Going even further back, the failure of ''[[Disney/TheRescuers The Rescuers Down Under]]'' at the box office (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, 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 (as mentioned above) 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.
* 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. 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.
* The failure of ''Film/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''.
* Animation as a medium for serious filmmaking was this for many decades in the west, a situation which has only begun to change in the 1990s and onward. This is due predominantly to the dual killer-blow of UsefulNotes/TheHaysCode and UsefulNotes/TheComicsCode, before which animation was growing just as popular as live-action filmmaking. The efforts of the MoralGuardians effectively destroyed the American animation industry, and what little was left [[{{Disneyfication}} became inoffensive cartoons aimed at children]]. Europe retained a substantial animation industry producing features for more grown-up audiences, but little of that was exported to the United States, and what did get exported was typically relegated to the art-house scene. An attempt to break out of the AnimationAgeGhetto began in the late [[TheSixties 1960s]], and received another boost in the [[TheEighties 1980s]], but like European films, never broke out of the art-house scene. It wasn't until ''WesternAnimation/BeautyAndTheBeast'' became the first animated film nominated for Best Picture at the UsefulNotes/{{Academy Award}}s in 1991 and the huge influx of Japanese animation in the late 1980s and [[TheNineties 1990s]] that it began to be considered a serious medium again. Even now, though, its place outside children's media is a rocky one, especially with anime's slow decline in popularity in the west and the death of several prominent licensing companies.
[[/folder]]

[[folder:Films -- Live-Action]]
%%
%%Roughly organized in chronological order, using the first Genre Killer for a genre as the baseline.
%%
* An example that took out ''an entire nation's film industry'': 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]], thanks to its TroubledProduction and soaring budget (about as large as comparable Hollywood films like ''Film/TheJazzSinger''), played a huge role in reducing Canada's native film industry to an outpost of Hollywood. Another major factor was the United Kingdom's quota on foreign films in 1927 in order to protect its own film studios; Canada dodged the quota by technically being a part of UsefulNotes/TheBritishEmpire, causing Hollywood studios to set up Canadian subsidiaries to make "quota quickies" for the British market, vacuuming up local talent. Only in the '70s with the Trudeau government's cultural sponsorship projects did independent Canadian cinema begin to reemerge.
* The ThreeDMovie genre has been killed three times in the past six 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, 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 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/ClashOfTheTitans'', ''Film/TheLastAirbender'', ''Film/TheNutcrackerIn3D'', and, most recently, ''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 to have entered in its death knell, as the number of movies seeing a 3D release is down to 28 in 2014, and the failure of 3D television 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 except in regards to Marvel 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.
* ''Film/{{Psycho}}'' in 1960 and ''Film/BonnieAndClyde'' in '67 killed off many of the tropes associated with UsefulNotes/TheHaysCode, specifically with how violence was represented onscreen.
** ''Psycho'' killed an entire type of filmgoing: it's unthinkable now to just pay for a ticket halfway through a movie and catch the first half in the next showing, but people did it all the time. Until Creator/AlfredHitchcock made it a requirement to show up on time to see ''Psycho''.
** 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.
* The downfall of the Hollywood religious epic can be traced back to three factors, one of them immediate, one which took a few years to make its impact felt, and the other a more deep-seated cultural shift that went on for over a decade. The first was ''Film/TheGreatestStoryEverTold'', a 1965 AllStarCast production of Jesus' life that received mixed reviews and bombed at the box office, and is now best known for Creator/JohnWayne's narm-worthy [[OneSceneWonder cameo]] as [[http://www.youtube.com/watch?v=AejZxaYkekM one of the centurions at Jesus' crucifixion]]. The second was the fall of UsefulNotes/TheHaysCode in TheSixties, which removed a key justifying factor for religious epics -- they allowed filmmakers to get away with a lot more sex and violence than they would've been able to in a "secular" film, as they could respond to the Hays Office and MoralGuardians by claiming that they're trying to [[{{Bowdlerise}} censor]] Literature/TheBible. Finally, there was the rise of the Christian Right and the politicization of religion in the United States. This divided moviegoers into "secular" and "Christian" camps, each of which had their own, often mutually exclusive, demands for a religious epic, and also created the stereotype of Christian films as being filled with [[{{Anvilicious}} Sunday School sermonizing]] and [[NoBudget poor production values]].\\\
Since then, there have been multiple attempted revivals of the religious epic, none of which have stuck so far. ''Film/ThePassionOfTheChrist'' was a massive hit in 2004, but that was financed entirely by Creator/MelGibson and not a studio; New Line's FollowTheLeader retelling of ''Film/TheNativityStory'' received a mixed reception despite a prime Christmas release window. While Creator/TheHistoryChannel's miniseries adaptation of ''Series/{{The Bible|2013}}'' was a smash success, and Website/IMDb lists a number of religious epics in the pipeline[[note]]A remake of ''Film/BenHur'', Creator/BradPitt as Pontius Pilate, and a Cain and Abel movie directed by Creator/WillSmith[[/note]], only time will tell if they're enough to bring back the genre. 2014's ''Film/SonOfGod'', a re-edit of ''The Bible'' miniseries, made a play for reviving epics on the big screen, but its very obviously low-budget production values and seemingly endless hype didn't make a strong case for it after the first weekend. ''Film/{{Noah}}'' opened at number #1 at the box office and seems to have gotten strongly positive reviews from critics, with the critics mostly being the extremely political Christian Right. Then ''Film/ExodusGodsAndKings'' received poor reviews and mediocre attendance.
* On a similar note, the sister genre of the modern religious thriller is close to a dead horse. Attempts to get more than a niche audience (''Film/TheDaVinciCode'') have had mixed success, and like the religious epic, have been undermined by the political climate. The final nail in the coffin was the 2014 version of ''Literature/LeftBehind'', which did ''terribly'' with critics and at the box office.
* The late '60s were a terrible time for musicals, for a number of reasons. Younger audiences were going to the movies more, and as the NewHollywood wave took off, traditional musicals seemed incredibly old-fashioned. The '60s was also a famously turbulent time in America (the UsefulNotes/CivilRightsMovement, UsefulNotes/TheVietnamWar, the assassinations of Martin Luther King Jr. and Bobby Kennedy, etc.), and audiences found musicals a relic of a different time. It began with ''Film/DoctorDolittle'' in 1967, with its famously troubled production, critical panning, and spectacle box office failure. Next year came Robert Wise's ''Star!'', conceived as a ''[[Film/TheSoundofMusic Sound of Music]]'' follow-up vehicle for Creator/JulieAndrews, which did just as badly. The finishing blows, however, came in 1969, which saw the infamous ''Film/PaintYourWagon'', best-known for being spoofed on ''WesternAnimation/TheSimpsons'', and ''Film/HelloDolly'', which took decades to recoup its budget. These films made big-scale movie musicals box-office poison for a long time.\\\
The '70s saw several successful musicals, but they either feature catchy pop (''Film/{{Grease}}''), are DarkerAndEdgier (''Film/{{Cabaret}}''), or both (''Film/SaturdayNightFever''). More traditional musicals like Film/ManOfLaMancha and ''Lost Horizon'' continued to flop. Arguably the genre's nadir was the old-fashioned ''Film/AtLongLastLove'' in 1975, which also held to the long tradition of [[WTHCastingAgency hideously miscasting actors in musicals]]. The musical movie genre seem to at least partially recover in the early 2000s, with films like ''Film/MoulinRouge'', ''Theatre/{{Rent}}'', and ''Film/{{Chicago}}'' being both critical and commercial successes; ''Chicago'' actually won Best Picture that year. While musical movies are mostly Disney's turf now, a well-received musical movie still comes out every few years.
* 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.
* The failure of ''Theatre/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.
* TheWestern was a major film genre for decades, first in its "traditional" form and then in the revisionist "SpaghettiWestern" form. However, people predicted the death of the genre as early as TheSixties due to two factors. The first was an oversaturation in theaters and, more importantly, on television, courtesy of shows like ''Series/{{Gunsmoke}}'', ''Series/{{Bonanza}}'', and ''Series/TheRifleman''. The second was the launch of Sputnik in 1957, which signified a major shift in audience tastes from The Wild West to Outer Space. Revisionists like Creator/SergioLeone and Creator/SamPeckinpah gave the Western a brief shot in the arm in the late '60s, only to see ''their'' approach soon copied to the point of exhaustion. And the rise of crime dramas like ''Film/DirtyHarry'' made the Western redundant, transplanting its tropes (and many of its stars) into a contemporary setting. It was in TheSeventies when it became clear that the Western was on its last ride, with notable landmarks including ''Film/BlazingSaddles'' in 1974 (the first commercially successful Western parody) and the death of Creator/JohnWayne in 1979.\\\
However, 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. Almost all modern westerns now [[NewOldWest subvert some aspect of the genre]], such as ''Film/{{Unforgiven}}'', ''Film/BrokebackMountain'', ''Film/DjangoUnchained'', and the remake of ''Film/TrueGrit''. The catastrophic failure of the 2013 film version of ''Film/TheLoneRanger'' might well have killed the entire genre all over again.
* ''Heaven's Gate'' is also usually blamed for the end of the [[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/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.
* ''Film/TheLongestDay'' was the TropeCodifier for the cinematic BattleEpic. The movie's mixture of realism, large-scale action, and an AllStarCast made it a huge hit, and Hollywood started producing epic depictions of other historical battles. The genre remained extremely popular for the next decade, replacing the similarly lavish biblical and sword-and-sandal epics of the '50s. As audience tastes changed in the '60s and '70s, preferring smaller-scale films with more moral ambiguity, these epics started flopping. Studios ignored warning signs, like the expensive failures of ''Film/ToraToraTora'' and Creator/SergeiBondarchuk's ''Film/{{Waterloo}}'', and kept green-lighting these movies even as the box-office take diminished.\\\
Then came ''Inchon'' in 1981, a [[UsefulNotes/TheKoreanWar Korean War]] epic bankrolled by Reverend Sun Myung Moon's Unification Church. Already a joke before release due to Moon's backing and its TroubledProduction, ''Inchon'' proved the final nail in this subgenre's coffin. Critics hated it, and it failed spectacularly, making back just $5 million of a reported $45 million budget. Since ''Inchon'', most Hollywood war movies focus on frontline soldiers rather than a big-picture view of specific battles. Due to cost and audience disinterest, the all-star approach is rarely revived today (a rare recent example was ''Film/TheThinRedLine'' -- everyone wanted to work with Creator/TerrenceMalick, to the point where he had to cut cameos!).
* As explained in [[http://twitchfilm.com/2011/03/how-the-pg-13-killed-the-films-it-was-meant-to-save.html this article]], 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.\\\
As [[http://bloody-disgusting.com/news/3311667/pg-13-rating-ruining-movies/ this video]] points out, the PG-13 rating also impacted the other end of the spectrum, making it more difficult to get a mass-market, R-rated film into theaters. As there now existed a rating aimed squarely at the lucrative teenage demographic, film studios often {{Bowdlerise}}d violent action and horror movies and raunchy [[SexComedy sex comedies]] in order to target teenagers. This became especially true after the [[UsefulNotes/{{Columbine}} Columbine High School massacre]] in 1999 and Music/JanetJackson's WardrobeMalfunction at the UsefulNotes/SuperBowl XXXVIII halftime show in 2004, two incidents that each led to a [[YouCanPanicNow moral panic]] against violence and indecency in the media, as well as the rising popularity of UsefulNotes/{{DVD}}s giving studios incentive to "double-dip" by releasing a PG-13 cut in theaters and an UnratedEdition for home release.
* ''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. While it had its roots in earlier '70s films like ''Film/TheTexasChainSawMassacre1974'', ''Film/BlackChristmas1974'', and the Italian {{Giallo}} films, the GoldenAge of slashers is generally held as running from 1978, with the success of ''Film/{{Halloween|1978}}'', to around 1985. The genre entered a slump in the mid '80s that it would never quite escape from; while popular new entries in the ''Franchise/{{Halloween}}'', ''Franchise/FridayThe13th'', and ''Franchise/ANightmareOnElmStreet'' series kept slashers alive, the emergence of the videocassette and the DirectToVideo market produced [[SturgeonsLaw a glut of cheap crap]]. The first GenreKiller for slashers was when, in 1989, all three aforementioned franchises released [[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 dead.\\\
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]]. Where Craven failed, however, [[UsefulNotes/{{Columbine}} the Columbine High School massacre]] succeeded in 1999. After Columbine, the image of such a killing spree happening in real life caused such films to [[TooSoon hit much too close to home]] for their teenage target audience to enjoy them as escapist entertainment (to say nothing of the MoralGuardians' reaction). Columbine appears to have killed the slasher movie for good; there have been almost no mainstream slasher hits since 1999, and what few did come out were mostly [[TheRemake remakes]] of, and nostalgic {{homage}}s to, the slashers of the past. While ultraviolent horror films did come back to mainstream attention in the mid '00s, it was in the form of TorturePorn films that largely eschewed the tropes of slashers.
* 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 [[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.
* ''Franchise/JurassicPark'' in 1993 is another example of one film's smash success making it impossible for subsequent films to live up to it. 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.
* While ''Film/{{Showgirls}}'' in 1995 wasn't enough to kill the career of screenwriter Joe Eszterhas, who did write a few more screenplays before finally being ruined by ''An Alan Smithee Film: Burn, Hollywood, Burn'' a few years later, it did kill any chance of an NC-17-rated movie being seen as anything more than porn to the mainstream movie-going crowd. ''The Dreamers'', ''Film/LustCaution'', ''Film/KillerJoe'', ''Film/{{Shame}}'', and ''Film/{{Nymphomaniac}}'' are just a few recent attempts to put the adult film genre back on the commercial map, and while they were all fairly successful, their appeal was limited to the arthouse circuit.
* 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 Renny Harlin. 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. 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/XMen'' 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.
* Creator/DanielCraig stated in an interview promoting ''Film/{{Skyfall}}'' that ''Film/AustinPowers'' had spoofed the campy, post-Creator/SeanConnery ''Franchise/JamesBond'' films to such a degree that no-one could take any of the newer movies seriously. It was one of the main reasons that his reboot of the series was made DarkerAndEdgier.
* Subversion: In the '90s, many MartialArtsMovie makers and fans feared 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 where some were worried, 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''. China continues to produce many martial arts movies today. The Chinese takeover and the Asian Financial Crisis did, however, mark the end of the "Classic Age of Hong Kong Cinema".
* 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}}'' hit theaters in 2014.
* The failures of ''[[Film/RockyAndBullwinkle The Adventures of Rocky & Bullwinkle]]'' (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. ''Film/TheSmurfs'' (2011) and ''WesternAnimation/TheSpongeBobMovieSpongeOutOfWater'' (2015) are the closest we've gotten since.
* 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.
* The [[Film/{{Chicago}} film adaptation]] of ''Theatre/{{Chicago}}'' in 2002 was supposed to revive the Hollywood musical. It has had a mixed impact. On the one hand, it nailed shut the coffin on old-style Hollywood musicals. ''Chicago'' has nothing but [[SourceMusic Diegetic Music]]: every musical number has an ''InUniverse'' audience, either through ShowWithinAShow or by framing the performances as fantasies inside Roxie's addled mind. On the other hand, it was the first musical to win Best Picture since ''Theatre/{{Oliver}}'', showing that moviegoers still had patience for musicals, and has led to something of a revival. Additionally, it brought back the "backstage" musical, which we hadn't seen for quite a while. In the end, ''Chicago'' is simply the Movie Musical evolving into something new, and in that sense can be considered both a Genre Killer and a Genre Founder.\\\
Director Rob Marshall wasn't so lucky a second time however; his adaptation of ''Theatre/{{Nine}}'' in 2009 flopped critically and commercially, caused damage to the Weinstein Company, and killed off interest in the movie musical until 2012, when ''Film/RockOfAges'' (which didn't fare much better) and ''Film/LesMiserables2012'' (which did VERY well, but failed to win Best Picture) came out.
* ''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/TombRaider Lara Croft Tomb Raider: The Cradle of Life]]'' 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 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 beginning production on a ''Franchise/WonderWoman'' movie for 2017, as well as Marvel announcing a ''[[ComicBook/MsMarvel Captain Marvel]]'' movie for 2018.
* 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. 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 twin failures of 2007's ''[[Film/{{Hostel}} Hostel: Part II]]'' and ''Film/{{Captivity}}'' brought an end to 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 ''Hostel: Part III'' 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. ''Toys/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.
* ''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]].
* 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 four movies of this type reach wide release -- ''Film/OneMissedCall'', ''Film/TheEye'', ''Film/{{Shutter}}'', and ''Film/{{Mirrors}}''. While they turned a profit, all four 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 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, and ''Film/TheLoneRanger'' in 2013 have caused many film studios to rethink their strategies concerning big-budget summer blockbusters. One of the most apparent victims is the planned 5th ''Franchise/PiratesOfTheCaribbean'' film, which has been delayed for at least another year. Disney in particular has vowed to limit the budgets of its own blockbusters that aren't part of the ''Franchise/MarvelCinematicUniverse'' or ''Franchise/StarWars'' franchises.
* [[http://bloody-disgusting.com/editorials/3291581/horror-isnt-doomed/ This article]] by Bloody-Disgusting makes the case that ''Film/ParanormalActivity 4'' 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'', ''Paranormal Activity: The Marked Ones'', 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.
* A rather strange example: 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, however, enough to kill off the paranormal subgenre that seemed to be on its way out 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 get the long-awaited adaptations of ''Film/TheGiver'', ''Literature/TheMazeRunner'' and ''Literature/{{Divergent}}'' finally made.
** And now even those seem to be slipping from their peak too. While still making a decent amount of money, the tepid critical receptions of the two ''{{Literature/Divergent}}'' films and the meh-at-best critical and audience receptions of ''Film/TheMazeRunner'' and ''Film/TheHungerGamesMockingjay Part 1'' seem to have caused studios to have taken the hint that there's too many of them already. Not helping matters is that the film adaptations of ''Film/EndersGame'' and ''Film/TheGiver'' failed at the box office and recieved mixed-to-tepid reviews. The franchises are still set to be completed, but there doesn't seem to be any new adaptations coming in the future.
* Another localized death blow came with Disney's ''Film/{{Tomorrowland}}'', which put a halt to all further development of science fiction films at Disney, including a planned sequel to ''Film/TronLegacy''.
[[/folder]]

[[folder:Literature]]
* ''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 in ''Literature/DonJuan'' that "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/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.
* The same war, along with [[UsefulNotes/WorldWarII its follow-up]], was also the ''trope'' killer for PatrioticFervour and WarIsGlorious in much of Europe. There was a lot of poetry that was very briefly popular in most of the initial belligerent states in the run-up to the First World War, which could be best summarised as "BRITANNIA[=/=]LA FRANCE[=/=]GERMANIA FUCK YEAH!" It made for [[HarsherInHindsight exceedingly uncomfortable reading]] after the first major setbacks, and was buried for good around the time casualties reached the one-million mark. Then, the atrocities committed by the ultra-nationalist Axis powers in the Second World War essentially poured concrete over said grave, rendering overt displays of patriotism unacceptable throughout much of Europe.
* ''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. 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 and those who could found the site wasn't much better. Many purchasers ended up finding sites like GameFAQs, and many buyers thought it was the general direction of strategy guides from that point forward. 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]]

[[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 ''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]]. There were a few more shows in the genre afterwards, but none was the kind of blockbuster that could make programmers forget how bad this one was.
* 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/FreshPrinceOfBelAir.'' 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 is currently uncertain.
* 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, is still 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.
* ''Series/TheOffice'', ''Series/{{Extras}}'' and ''Series/TheThickOfIt'', while not outright killing the classic BritCom format, made them seem like quaint relics of the 60s 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 the art form.
* 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 that phone-in game shows were allowed 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.
[[/folder]]

[[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 MagnumOpus ''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 The Black Crowes, 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]]. 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 three years. Layne Staley's departure from Music/AliceInChains in 1996 due to his drug addiction (culminating in his death in 2002), followed by the breakup of Music/{{Soundgarden}} in 1997, are often cited as the final nails in the coffin of "traditional" grunge music. 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 next ten years, eventually converging with hard rock and the remnants of nu metal in the '00s. Many years later, post-grunge would follow a similar fate, read below for details.
** 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' last 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 TonyBlair schmoozing Britpop stars. This got old fast, and probably helped kill off the remainder of Britpop when it derailed.
** Music/{{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 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.
* Gothenburg-tinged melodic {{metalcore}} is also damn near dead. For most of the '00s, acts like Music/KillswitchEngage, Music/ShadowsFall, Music/AsILayDying, Music/AllThatRemains, Music/{{Trivium}}, Music/{{Unearth}}, and Atreyu were ''the'' face of heavy music. Their ability to mix a less affected form of heaviness (rather than the mindlessly aggressive chest-thumping that was endemic in nu-metal) with pop sensibilities while also bringing back the complexity that nu-metal spurned allowed them to reach a wide variety of listeners, and their juxtaposition of American and European sounds was welcomed by a crowd that was thoroughly sick of nu-metal's stale gimmicks, misplaced teenaged angst, and moronic tough-guy antics. While all but the biggest nu-metal acts were either struggling or dead, melodic metalcore was booming. There was, however, a fair bit of opposition as well; a good deal of metal fans hated it for "cheapening" the genre and growing as artists in ways that seemed solely motivated by gaining critical approval, while punks hated it for usurping the name of "metalcore" from a lot of well-loved but less mainstream-friendly artists and for being overly commercial-leaning while still attempting to act as if they were in touch with their roots. In spite of this, the genre was absolutely gargantuan from 2003-2008, and the advent of [=MySpace=] helped it spread even further.\\\
It was around 2009 that the first signs of trouble appeared in the form of falling show attendances and sales, and {{deathcore}}, its offshoot, was steadily beginning to displace it. It's unknown exactly what killed it, but deathcore and pop-influenced post-hardcore certainly helped, as did the death of [=MySpace=] and the arrest of As I Lay Dying frontman Tim Lambesis in 2013 for attempting to hire a [[ProfessionalKiller hitman]] to kill his wife. All That Remains and Trivium are the only acts remaining that are still anywhere near the level of success present in their heyday, and that's largely due to significant changes in sound. The other acts are still around, but they're playing to far smaller crowds than they're used to.
* Similar to the above, {{deathcore}} has become this. Deathcore gained quite a bit of popularity during the mid to late 2000s, with bands like SuicideSilence, JobForACowboy, and BringMeTheHorizon getting big via Myspace. However the good times weren't to last. Younger bands tried to capitalize off of the popular bands by [[FollowTheLeader by trying to copy whatever what was popular.]] Not helping was bands changing styles away from deathcore (BringMeTheHorizon going metalcore, JobForACowboy and TheFaceless going to prog metal). The tragic end to deathcore's popularity was Mitch Lucker's untimely death in 2012. The only bands that are still popular and play deathcore proper are Suicide Silence, Whitechapel, Chelsea Grin, Emmure, Born of Osiris, and (of all people) Attila. Quite a few bands stick to the deathcore sound, but a new band reaching the popularity of the mentioned bands is doubtful; outside of Music/ThyArtIsMurder, who actually have achieved a level of success comparable to the older big names, most newer deathcore acts wind up being mid-level supports at best.
* Any metal music that is considered [[ItsPopularNowItSucks too mainstream]] (such as {{metalcore}} and, before that, NuMetal) tends to get called a genre killer by some metal fans. How much of this has to do with lingering memories of what hair metal did to the genre, and how much of it has to do with elitism and snobbery towards anything "mainstream", is hotly debated. And of course, there are those who view "mainstream" metal as [[GatewaySeries Gateway Music]] to the more "authentic" genres.
* 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}}, Music/TheYeahYeahYeahs, The Vines, and Music/TheHives led the movement, 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 bands like the Music/ArcticMonkeys, Music/TheFratellis, 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 were phasing out NewProg in favor of AlternativeRock. Fortunately, Coheed survived, but as a result, their following two albums had to be recorded on indie labels.
* {{Emo}} was always a whipping boy among critics and listeners alike, earning a LoveItOrHateIt reaction even at the height of its popularity in the mid-late '00s, so a backlash was inevitable. However, the decline of Website/{{Myspace}} in the early '10s was probably the chief catalyst for the genre falling out of favor. The rise of emo and Myspace occurred concurrently, and often fed one another; emo bands and labels were among the first to reach out to fans through Myspace in a big way, and fans in turn used the site as a platform to discuss, among other things, their favorite bands. When Myspace's users started abandoning the site for Website/{{Facebook}} and other social networking sites due to some [[TheyChangedItNowItSucks controversial changes]], that community withered, and before long, many of the bands associated with it followed suit.
** The finishing blow to emo was probably the breakup of Music/MyChemicalRomance, a band that had long been the face of emo (despite resenting it), in 2013. That same year, a number of bands associated with the genre (Music/PanicAtTheDisco, Music/{{Paramore}}, Music/FallOutBoy) abandoned it and released {{New Sound Album}}s, burying the genre in the mainstream. It still lives on, but chiefly in underground music scenes, where it has arguably more in common with indie rock than anything from the '00s. As of the early '10s, there has been something of a "traditional emo/screamo revival", with acts like The World Is a Beautiful Place & I am No Longer Afraid to Die, La Dispute, Touche Amore, Pianos Become the Teeth, and Tigers Jaw having managed to make a splash.
** Before the collapse of Myspace, emo was also facing competition from the "scene" subculture and the bands associated with that. Scene music and fashion became popular at the tail end of the '00s and the start of the '10s, as a LighterAndSofter reaction to emo with a lot more color and flamboyance; basically, the PerkyGoth to emo's moodier image. Scene music was itself affected by the decline of Myspace; it briefly managed to migrate to Website/{{Tumblr}}, but by the mid '10s it too had largely petered out.
* PostGrunge first emerged onto the mainstream in the mid-late '90s with acts like Music/MatchboxTwenty, Music/FooFighters, and Music/{{Creed}} leading the charge. Despite its name, it had very little in common with actual {{grunge}} besides a downtuned guitar and similar vocal styles; instead, it ([[{{Irony}} ironically enough]]) had more in common with '80s HairMetal than with grunge. As a result, it was absolutely despised by rock fans and within the underground scene for being a bastardization of authentic grunge. Still, it was absolutely gargantuan, ruling the airwaves in the late '90s and through the '00s with acts like (just to name a few) Music/{{Nickelback}}, Music/{{Daughtry}}, Music/ThreeDoorsDown, Music/{{Staind}}, Hinder, Music/{{Godsmack}}, Music/BreakingBenjamin, Music/SavingAbel, Candlebox, Bush, Hoobastank, Seether, Music/{{Shinedown}}, and many more producing crossover hits.\\\
By the time it got to the '10s, however, it had long overstayed its welcome. The biggest factor was the complete over-saturation on the market. Almost every rock crossover hit in the decade was post-grunge, getting tons of airplay on rock, pop, and alternative radio, which meant the only way to escape it was by listening to a classic rock, indie, or CollegeRadio station. The amount of non-post-grunge rock (and not pop-rock, either) songs that crossed over to pop radio ''might'' be around how much you can count with your hands and feet.[[note]]In fact, let's count: "All The Small Things" by Music/Blink182, "Butterfly" by Crazy Town, "Drive" by Music/{{Incubus}}, "In the End", "Numb", "Breaking the Habit", and "What I've Done" by Music/LinkinPark, "The Middle" by Music/JimmyEatWorld, "Bring Me to Life" and "My Immortal" by Music/{{Evanescence}}, "Boulevard of Broken Dreams" and "Wake Me Up When September Ends" by Music/GreenDay, "Beverly Hills" by Music/{{Weezer}}, "Sugar, We're Going Down" and "Dance, Dance" by Music/FallOutBoy, "I Write Sins, Not Tragedies" by Music/PanicAtTheDisco, "Welcome to the Black Parade" by Music/MyChemicalRomance, "Misery Business" by Music/{{Paramore}}, and "Use Somebody" by Music/KingsOfLeon. That's exactly twenty rock songs that aren't post-grunge or pop-rock, by fourteen bands, that crossed over in an entire decade.[[/note]] The second was how utterly [[StrictlyFormula formulaic]] it was, with subject matter consisting almost entirely of [[MisogynySong ranting about ex-girlfriends]] (often while making it clear that [[NeverMyFault the relationship ended because of the narrator's actions]]) [[OdeToIntoxication getting drunk]], [[IntercourseWithYou getting laid]], getting into fights, half-assed, whiny, "woe is me" attempts at introspection, or trying to make some kind of [[CluelessAesop poorly thought-out message]]. These omnipresent SexDrugsAndRockAndRoll themes only drew the HairMetal comparisons even closer. The final nail in the coffin was the [[ElectronicMusic electronic dance craze]] that swept the nation in the early '10s, which effectively wiped out post-grunge's place in the mainstream overnight, much like how the ''original'' grunge did the same to hair metal.\\\
Nowadays, post-grunge is seen as an utter joke to the general public, a punchline of everything wrong with pop music in the '00s. Many of the biggest post-grunge bands have gone from playing in sold out arenas in their prime to small clubs and bars, and airplay of their crossover hits is limited "adult contemporary" or "adult alternative" stations, as it has long since been taken off the airwaves of mainstream rock, alternative, and pop radio. The worst part is that, when post-grunge fell, it largely took rock music in general with it, as it had so thoroughly taken over the rock mainstream that it did lasting damage to the genre's reputation. The '00s lacked rock crossover hits that weren't post-grunge, while the '10s lack rock crossover hits ''period''.
[[/folder]]

[[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.
* Some people feel that GlamRap and pop-rap are currently doing this to HipHop, just as HairMetal did to metal music in the late '80s. But like the metal example, undiluted straight forward rap/hip-hop was never particularly popular outside of urban communities. Even GangstaRap at its mid-'90s peak only created a handful of rappers with crossover appeal, most of them [[NoSuchThingAsBadPublicity powered by controversy]]. For all intents and purposes, straight forward urban rap has always been a niche genre. In fact, the only time rap in general has ever been hugely successful was when it was infused with pop. The same thing can be said for HardRock, HeavyMetal, and CountryMusic. These genres were never really popular within the mainstream unless they were somehow diluted. The problem likely comes from the fact that pop-oriented [[SwagRap cross over]] GlamRap just doesn't dominate top 40 radio, but the more urban specific niche radio as well. Causing a lot of resentment of that particular type of HipHop as it's the only genre radio is interested in playing now.
* {{Boy Band}}s were a huge thing back in TheEighties and TheNineties, but the genre was eventually killed off in the early 2000s due to the rising success of hip-hop and RAndB and saturation of the boy band and girl group market, particularly by TV shows like ''Making The Band'' and ''Series/TheXFactor'' that didn't even try to hide their manufactured qualities. It didn't help that plenty of popular bands were already fading out of popularity--by the time the genre was done, most groups had gone on long hiatus (Music/NewKidsOnTheBlock, Music/SpiceGirls, Music/{{NSYNC}}) or changed their musical style and faded out of popularity (Music/BackstreetBoys, Music/{{Hanson}}). The genre has seen a recent revival in the form of Music/TheJonasBrothers and Series/BigTimeRush, but mostly the industry has preferred to focus on solo {{Child Popstar}}s like Music/JustinBieber.
** In the UK, the boy band has achieved a successful revival with the likes of Music/TheWanted and ''Series/TheXFactor'' graduates JLS and Music/OneDirection. While the former two failed to make much of an impact outside their home country, One Direction would go on to become massively successful worldwide, including one market where no UK boy band has ever become popular: the United States. Needless to say, they have gotten a lot of HypeBacklash, and are seen to share many of the traits people dislike about Justin Bieber (although their backlash hasn't become as big as his ever was). Many Bieber haters do, however, applaud them for running his career to the ground. Additionally, Music/TakeThat reformed in the UK to great success with older women.
* ''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).
* 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 [[Main/HouseMusic Electro House]] and {{Main/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 twin failures of Chingy's ''Powerballin[='=]'' and Nelly's ''Brass Knuckles'' killed the St. Louis rap scene's mainstream popularity. The "Dirty South" movement (which also features Chicago native Music/KanyeWest) has gone on to replace it in appeal and popularity.
* 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 [[http://channelawesome.com/nostalgia-chick-feat-rap-critic-will-smith-was-a-rapper-once/ put it]][[note]]At about the 6:15 mark[[/note]]:
-->'''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 a whole album without curse words or references to hard living? Come right on back, Will! 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 rereleases of its catalog.\\\
West Coast hip-hop spent the years from 1998 to 2011 in underground purgatory, with rappers from the East Coast (Music/FiftyCent, Music/{{DMX}}, Music/JayZ, Music/{{Nas}}, Puff Daddy), the South (Music/LilJon, Music/MasterP, Music/LilWayne, Music/OutKast, Music/{{Pitbull}}), and the Midwest (Music/KanyeWest, Music/{{Eminem}}, Nelly) dominating the rap game from the late '90s onward. Only a few isolated artists, such as The Game and E-40, managed to break through, and beyond that, the only West Coast rappers who were still successful were stars from the '90s. It was only in the '10s when West Coast hip-hop managed to make its presence felt in the mainstream and with critics again, thanks to the likes of Music/{{OFWGKTA}}, Music/{{Hopsin}}, DJ Mustard, and most notably Music/KendrickLamar.
* 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, 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 decade, {{BoyBand}}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]].
* 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 Schostakowitsch.
* 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.
[[/folder]]

[[folder:Pro Wrestling]]
* 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 see them come to their region. Both of kayfabe and the territories were on their way to bouncing back but Wrestling/VinceMcMahon Jr took advantage of this period of weakness to publicly break kayfabe in a bid to lower his operating costs.
* Wrestling/{{ECW}} never did 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 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. People not doing enough to defend the wrestling business from disastrous practices that would cause long term damage led to the business declining further. 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 Sparticus. 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 who screwed it further.
* 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/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 a LadEtte any time soon. That said, former {{tag team}} partner Wrestling/{{Ivelisse| Velez}} got a huge pop when she stomped into Family Wrestling Entertainment and announced her hatred of divas.
* ''{{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.
** 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.
* 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.
[[/folder]]

[[folder:Sport]]
* The crash of World Rally Championship favourite Henri Toivonen in the 1986 Tour de Corse killed not only Toivonen and his co-driver, but also the Group B class of loosely-regulated, incredibly powerful cars.
[[/folder]]

[[folder:Theater]]
* 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 ''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.
* 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 in TheNewTens only ''Jubilee'' holds to the old format, struggling to remain relevant as a result. Newer attempts at "Vegas-style" shows are more straightforward variety showcases that might bring out showgirls for a few numbers, but only as equals to the acts that once played second fiddle to them.
[[/folder]]

[[folder:TV Tropes]]
* Stock phrase titles were never good trope namers to begin with, but two tropes can be traced to this titling convention's ultimate downfall: '''I Eat Metaphor for Breakfast''' and '''WhatYearIsThis'''. [[Administrivia/TropeRepairShop TRS]] threads for both ended up [[MinorCrimeRevealsMajorPlot uncovering a massive epidemic of]] TropeDecay involving stock phrases. As a result, in mid-2011 it was decreed that Administrivia/NoNewStockPhrases would be used as trope titles.
* '''Naughty Tentacles''' and Administrivia/TheSecondGoogleIncident killed Porn Tropes and led to the creation of a new organization of Tropers dedicated to screening new and existing pages for adult content. If a page was lucky, it came back locked. If not, it was hit with a salted nuke. Also, the creation of new porn-related pages is today considered by [[Wiki/TVTropes This Very Wiki]] to be our equivalent of a capital offense. As far as tropes go, '''Naughty Tentacles''' in particular is to blame for that.
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[[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 late 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)
* ''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, 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.[[note]]As a side 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]] 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'' and ''VideoGame/NoMansSky'' 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 and 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, as well; 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 (although in this case it's more the fault of the game being an ObviousBeta, as expectations going in were rather high).
** 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 has 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.
** 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. However, since motion controls ''and'' rhythm games are DeaderThanDisco, its popularity can be chalked up to the GrandfatherClause.
* 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, with the only successful one since being ''VideoGame/CallOfDuty: World at War''. However, it should be noted that the market had been saturated with them for about a decade by then and the major franchises had shifted to a modern setting.
* ''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, and a backlash from gamers towards obviously-derivative modern day shooters, has led to this shift in subject.
* 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 would think of]].
** 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 the late '00s, most "horror" games were pretty much action shooters with creepy-crawlies and gothic atmospheres.
* 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 it seems like none of those applications were in 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, the Kinect was targeted towards Xbox 360 fans, who had spent the past few years [[PeripheryHatedom loudly proclaiming that the Wii's motion controls were garbage]], giving the peripheral downright negative pull among the established fanbase. Just a few years later, when Creator/{{Nintendo}} introduced the UsefulNotes/WiiU which largely dropped motion controls and Creator/{{Sony}} essentially ignored the PS Move, 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[[labelnote:*]]advertised by way of [[WhatAnIdiot showing off the features of the Kinect]] and only casually mentioning the Kinect-less version of the console at the end - with the added bonus of people who already owned an Xbox One having their console unintentionally started up whenever they saw the commercial[[/labelnote]].
* 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 not named Franchise/SonicTheHedgehog.
* 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}}''.
* 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 ''Command and Conquer'', 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.
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[[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 MerchandiseDriven "half-hour toy commercial" style of cartoon that reached its peak in TheEighties 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 Creators/{{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.
* 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''.
* The heavy [[ScrewedByTheNetwork screwing over]] of ''WesternAnimation/DCNation'' by Creator/CartoonNetwork, ''WesternAnimation/TheLegendOfKorra'' by Creator/{{Nickelodeon}}, along with ''WesternAnimation/TronUprising'' and ''WesternAnimation/{{Motorcity}}'' by Creator/DisneyXD, and Creator/{{Vortexx}} shutting down, have marked the death of serious action-focused animation, with ''WesternAnimation/StarWarsRebels'' being the lone holdout, presumably due to [[Franchise/StarWars being part of a big-name franchise.]] (not that this saved DC Nation despite having [[DCComics a franchise behind it as well]]) Comedic action shows, such as ''WesternAnimation/TeenageMutantNinjaTurtles2012'' and ''WesternAnimation/Ben10Omniverse'' have done a little better, not that it stopped the latter from [[ScrewedByTheNetwork being screwed over]] and becoming a FranchiseKiller in the process.
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