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

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

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

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

* A work that [[AcclaimedFlop is very good but turns out to be a commercial failure]], making everyone afraid to invest in this genre.
* Inversely, a work [[CriticProof is very popular but hated by critics]], thus giving the genre a reputation for appealing only to the {{lowest common denominator}}.
* 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 that brings a genre BackFromTheDead.
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!!Subpages:
[[index]]
* GenreKiller/{{Music}}
[[/index]]

!!Examples

[[foldercontrol]]

[[folder:Anime and Manga]]
* The poor sales and cancellation of ''Waai!'' and ''Otonyan'' and the failure of the ''Manga/{{Himegoto}}'' anime killed off virtually all mainstream attempts in the OtokonokoGenre. Not helped by the GenreDeconstruction ''Manga/BokuraNoHentai'' coming along and pointing out the genre's numerous problems, namely the large amounts of transphobia and homophobia.
* Despite its part in revitalizing the {{Anime}} industry as a whole, ''Anime/NeonGenesisEvangelion'' also had the effect of killing off traditional idealistic {{Super Robot|Genre}} series in the vein of ''Anime/MazingerZ'' and ''Manga/GetterRobo''. While some revivals, like ''Anime/GaoGaiGar'' and ''Anime/TengenToppaGurrenLagann'', have proved successful, none have ever stuck, and the angstier, character-driven HumongousMecha shows styled after ''Evangelion'' still predominate.
* [[http://en.wikipedia.org/wiki/Tsutomu_Miyazaki The Otaku Killer]] and the media circus surrounding his deeds in Japan resulted in the death of the ultra-violent {{Shounen}} series. Before that, manga like ''Manga/FistOfTheNorthStar'', ''Manga/{{Devilman}}'', ''Manga/{{Bastard}}'', and ''Manga/JoJosBizarreAdventure'' could get away with large amounts of FamilyUnfriendlyViolence and nudity despite running in magazines that were geared towards the 8-14 demographic. After about 1990, shounen manga, [[ValuesDissonance while still able to show more sex and violence than the average American comic targeted at the same age group]], would never reach the same level of content they could before, and extreme violence has largely (with a few exceptions, like ''Manga/ApocalypseZero'', ''Manga/DeadmanWonderland'', ''Manga/AttackOnTitan'' or ''Manga/AkameGaKill'') been relegated to {{Seinen}}.
* ''Manga/BigWindup'' was this for sports anime and manga [[AmericansHateTingle in the American market]] due to poor sales reported by Creator/{{Funimation}}. Most anime licensors in North America refuse to license sports anime from that point on until a relatively popular swimming anime about handsome boys and six-packs (''Anime/{{Free}}'') and a sports anime about volleyball (''Manga/{{Haikyuu}}'') came into play in 2013/2014, which also led the sports anime genre to a GenreRelaunch.
* Similar to the ''Evangelion'' example above with mecha anime, the success of ''Anime/PuellaMagiMadokaMagica'' and its spinoffs have largely killed off the idealistic MagicalGirl series. While several concrete examples such as the ''Franchise/PrettyCure'' series still exist due to the GrandfatherClause (and even then, ''Pretty Cure'' itself still defies conventions by being ''far'' more action oriented than the usual series), most magical girl series now involve re-imaginings of earlier series (''Anime/SailorMoonCrystal'') or DarkerAndEdgier original works (''Anime/KillLaKill'') that subvert some aspect of the genre. However, the idealistic side of the genre still has a lot of influence on WesternAnimation, with shows such as ''WesternAnimation/StevenUniverse'', ''WesternAnimation/StarVsTheForcesOfEvil'', and ''WesternAnimation/MiraculousLadybug'' being immensely popular.
* In a similar manner to the video games below; the success of the ''Anime/{{Pokemon}}'' anime has made it very difficult for any other {{Mon}} series to gain a foothold. Usually, they just end up being viewed as imitators.
** Much like the games below, averted in Japan with ''Anime/YoKaiWatch'' emerging as a major competitor and going toe to toe with ''Pokémon'' regularly in popularity; but played straight outside Japan, where it's nowhere near as popular despite positive reviews from critics and a small Western fanbase. It has managed to shake off the stigma of being viewed as a ''Pokémon'' imitator, though.
* The flop of ''LightNovel/TheAsteriskWar'' killed the WizardingSchool BattleHarem light novel, which, while not exactly being a critical favorite, was quite a profitable genre for both books and anime. However, Creator/A1Pictures hyped up ''Asterisk'' so much (most notably sinking [[AnimationBump massive amounts of money into the artwork]] and getting Creator/MaayaSakamoto to perform the ending theme, with music from Swedish electro-house artist and huge OccidentalOtaku Rasmus Faber) that when fans watched the first episode and saw a [[ClicheStorm tired bunch of cliches held together]] by {{Fanservice}}, many began to actively turn against the genre itself, and any subsequent magic-school harem hijinks shows were largely forgotten. While light novels haven't abandoned the HaremGenre entirely, the trend toward EasternRPG inspired fantasy stories means that they, nowadays, at least have some semblance of a plot rather than [[ExcusePlot one that exists only for cute girl fanservice]]. ''LightNovel/ChivalryOfAFailedKnight'' had also aired on the same season, making it a {{Dueling Work|s}}. Not only were the plots to both shows' first episodes ''almost identical to each other'', which became a factor in the genre being perceived as being StrictlyFormula, that show ended up doing ''better'' than ''Asterisk War'' in the end despite its lower budget and shorter run time, both critically and commercially.
* Shana from ''LightNovel/ShakuganNoShana'' helped popularized a sub-type of {{Tsundere}} character known as the ShanaClone, often sharing common traits such as being [[TheNapoleon short]], [[ACupAngst flat-chested]], [[TinyTyrannicalGirl having a fiery temper]] (sometimes [[PlayingWithFire literally]]), [[CannotSpitItOut being unable to confess her true feelings to the protagonist]], and most of the time, being voiced by Creator/RieKugimiya. Her popularity would later spawn three other {{Spiritual Successor}}s: [[LightNovel/TheFamiliarOfZero Louise]], [[Manga/HayateTheCombatButler Nagi]], and [[LightNovel/{{Toradora}} Taiga]], and together with Shana, they would be called “The Four Tsundere Wonders”. Ironically, Taiga, being a {{Deconstruction}} of the Tsundere archetype, ended up effectively killing off the very genre that Shana started, and coupled with [[FollowTheLeader numerous imitators]] that followed in Shana’s wake, by TheNewTens, even the most diehard of anime fans were starting to get sick of works featuring this type of character. To this day, Taiga is still fondly remembered and is considered the best of the four, while Shana and the others were largely forgotten.
[[/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 spread throughout Europe in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth, and violence, and objects such as the car, the airplane, and the industrial city. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture, and even gastronomy. Unfortunately, both [[UsefulNotes/FascistItaly the fascists in Italy]] and [[UsefulNotes/NaziGermany the Nazis in Germany]] found the Futurist movement to be subversive and outlawed it. Futurist artists were targeted, and most died in concentration camps. The USSR also clamped down on its own futurist movement in the '30s following the rise of UsefulNotes/JosefStalin, favoring SocialistRealism instead. For extra black irony, many (though by no means all) of the most prominent Futurists had been enthusiastic, or at least ambiguously positive, about fascism, embracing the movement due to their admiration of the dynamism of violence, nationalism, and power, at least until they themselves started getting jailed and murdered for creating "degenerate art". This retrospectively tainted the entire movement, and the survivors quickly found new art movements to be a part of. As a result, Futurism was as dead as Julius Caesar by 1944. Nonetheless, the ideals of Futurism remain as significant components of modern Western culture, especially in ScienceFiction.
[[/folder]]

[[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.
* While publishers began de-emphasizing the youth market beginning in the 1970s, the rise of the "dark superhero" era in the early 90s meant the end for family-friendly comics in the mainstream, with Archie Comics being the only "major" publisher focusing on children by 1995 (as well as the only one still associated with the Comics Code), and even ''they'' saw the writing on the wall. Attempts from other publishers to revive the genre have failed.
* ''ComicBook/{{Deathmate}}'', the IntercontinuityCrossover between Creator/ImageComics and Creator/ValiantComics. In addition to [[CreatorKiller the continued existence of Valiant]], it killed the NinetiesAntiHero pioneered by the above and many of the creative elements that led to the archetype. It also helped contribute to the death of [[UsefulNotes/TheGreatComicsCrashOf1996 the entire industry as it existed at that point in time]], due to comic shops preordering massive numbers of the comics, then having to deal with the fallout when Image's half of the crossover came out [[ScheduleSlip long after interest in it had dried up]].
* The end of World War II killed most [[UsefulNotes/TheGoldenAgeOfComicBooks Golden Age]] superheroes - in the post-war period, people weren't that interested in reading about people fighting to save the world any more, and other genres took over. Among the few survivors were Franchise/{{Superman}}, Franchise/{{Batman}} and Franchise/WonderWoman.
* In the '50s, the stringent censorship of UsefulNotes/TheComicsCode killed the crime and horror genres in American comics. This was entirely intentional, as the increasingly gruesome stories had drawn enough fire from the MoralGuardians that comics ''as a whole'' were in danger of being prohibited in many states.
* Both ''ComicBook/DeKiekeboes'' as well as the works of Raoul Cauvin destroyed the trend of ethnic stereotyping in BelgianComics and FrancoBelgianComics respectively. The former proved that a realistic portrayal of foreigners and foreign countries is much more profitable (the comic book has a respectable number of readers that read it because the realistic portrayal of foreign countries allows them to feel like if they are going on a vacation). The latter stereotyped jobs and popularized the trend of job stereotyping, making ethnic stereotyping feel rather unnecessary since the trend of stereotyping is already being done, without any UnfortunateImplications included. Some comic books still use ethnic stereotypes (such as ''ComicBook/{{Urbanus}}''), but it is more [[GrandfatherClause out of tradition]] (it predated both) than because of anything else. Speaking of which...
* ''ComicBook/{{Urbanus}}'' killed off most of the family-friendly comedic series in its native Flanders. Before there was a humongous amount of comic books that involved family-friendly comedy (such as ''Boule Et Bille'', ''Olivier Blunder'' etc.) that were very popular for being both in color at a time when most comic books were in black and white (or rather: blue and red) and being accepted by religious 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, separating the Belgian comic from the Dutch comic.
* ''ComicBook/SpiderMan'' is often labelled as killing off the standard "adult hero with KidSidekick" formula, as a consequence of being the TropeCodifier in comics for the KidHero. Very few sidekick heroes ([[GrandfatherClause aside from Robins]]) have debuted since then, since the KidHero allowed for the same reader-identification youth appeal, without the headache of justifying a sidekick or the patronizing nature of the EscapistCharacter being secondary.
[[/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.
* ''Fanfic/RhymeAndReason'', the first ''WesternAnimation/ChipNDaleRescueRangers'' fanfic ever written that was meant to be one in the first place, almost killed off CDRR fanfiction entirely in 1996. The two reasons were [[DoorStopper its sheer length]] and its high reputation. Most Rangerphiles thought, "If that's what CDRR fanfic is supposed to be, sorry, but I can't write anything even close to this." It took the launch of the fanfic series ''The Adventures of Gadget Hackwrench'' the next year to get other Rangerphiles into writing (although not for that series) and kick off the CDRR fanfic tradition.
[[/folder]]

[[folder:Films -- Animation]]
* The massive commercial failure and mixed reception of Disney's ''Disney/TheBlackCauldron'' in 1985, including being beaten at the box office by ''WesternAnimation/TheCareBearsMovie'', killed any studio interest in PG-rated animated films[[note]]except for ''WesternAnimation/TheTransformersTheMovie'' the following year, which infamously had a "shit" added to bring it up to a PG rating, allegedly [[MerchandiseDriven so parents would be in the theater to know what toys to buy]][[/note]] until Creator/DreamWorksAnimation's successes with ''WesternAnimation/{{Antz}}'', ''WesternAnimation/ThePrinceOfEgypt'', and especially ''{{WesternAnimation/Shrek}}''. Since then, it's now become a standard [[AvoidTheDreadedGRating to have animated films rated PG to allegedly increase their box office chances]].
* The failure of ''[[Disney/TheRescuers The Rescuers Down Under]]'' and ''WesternAnimation/DuckTalesTheMovieTreasureOfTheLostLamp'' at the box office against ''Film/HomeAlone'' and ''Film/ProblemChild'' (coupled with the success of both ''Disney/TheLittleMermaid'' and ''Disney/BeautyAndTheBeast'') led Disney to focus exclusively on animated musicals throughout the 1990s. While this worked out very well for them in the short term and possibly the very-long term, in the long term it ended up allowing studios like Creator/{{Pixar}} and Creator/DreamWorksAnimation to step in and fill the gap of non-musical animated films, just as audiences were beginning to grow tired of the musical formula. Despite Disney abandoning musicals shortly thereafter, this still knocked them down from first to fifth in terms of American animation studios throughout the 2000s, and it wasn't until a decade later that they were finally able to regain the ground they had lost by going back to their old approach of alternating between musical and non-musical animated films (incidentally, the movies that led to the defeat of ''Rescuers'' and ''[=DuckTales=]'' also started the short-lived "kid empowerment" trend of the early '90s - see further down for its fate).
* ''WesternAnimation/TitanAE'' is often blamed for putting the [[UsefulNotes/TheRenaissanceAgeOfAnimation era where more mature, artistic animation dominated]] much of the medium throughout the late 1980s to the 1990s to its coffin. Its [[UncertainAudience inability to be defined as either a film for kids or a film for mature audiences]], along with rampant ExecutiveMeddling by Fox over budget and time constraints, led to the studio losing $100 million once the poor box office numbers came in. An immediate side-effect soon took place: studios began abandoning hand-drawn animation entirely in the years that followed, [[AllCGICartoon computer-generated imagery began receiving more investments and attention from said studios]], and cartoons that were far more cheaper to produce than ever began dominating pipelines throughout the animation world, leading to UsefulNotes/TheMillenniumAgeOfAnimation. Of course, ''Titan A.E.'' alone isn't solely to blame for the era's end; the release of ''WesternAnimation/ToyStory'' and the under-performance of ''Disney/{{Pocahontas}}'' five years earlier convinced studios that computer animation was worth a look, and that traditional animation was becoming simply too expensive to continue utilizing[[note]]On a side note, traditional animation has managed to stay afloat on TV as well as [[AudienceShift in foreign and indie markets]], meaning that the era's legacy is still kicking[[/note]].
* The FracturedFairyTale replaced the AnimatedMusical as the go-to story genre during the 2000s thanks to the success of Creator/DreamWorksAnimation's ''WesternAnimation/{{Shrek}}'' in 2001, resulting (as the Disney musical had in the 1990s) in numerous copycats. Unfortunately, the genre's reliance on crude humor and dated pop culture jokes turned it stale within a few years, and by the time 2007's ''WesternAnimation/ShrekTheThird'' came out, the market had become overcrowded with them. ''WesternAnimation/HappilyNEverAfter'' concluding that year with a thud and the next major DWA project, ''WesternAnimation/KungFuPanda'', changing that studio's animation strategy, signaled the beginning of the end for the genre. The (perceived) financial disappointment of ''WesternAnimation/ShrekForeverAfter'' in 2010, a year that otherwise saw a rather successful resurgence of more traditional animated films (''WesternAnimation/ToyStory3'', ''Disney/{{Tangled}}'', ''WesternAnimation/HowToTrainYourDragon'', ''WesternAnimation/DespicableMe''...), ended up turning other animation studios off of using the formula, and the box office failure of ''WesternAnimation/{{Hoodwinked}} Too! Hood vs. Evil'' in 2011 seems to have killed the genre off for good.
* The failure of ''WesternAnimation/MarsNeedsMoms'' resulted in the shut-down of Creator/RobertZemeckis's studio and with it, the death of full-form motion-capture animation though SerkisFolk mo-cap 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 un-comedic animated feature films was shelved in the aftermath. It wasn't until the late 2000s until the concept found a revival with works such as ''Persepolis'' and ''Animation/WaltzWithBashir''.
* The wave of family films specifically aimed at single-parent kids in the 1990s ended with the failures of ''WesternAnimation/TitanAE'' and ''Disney/TreasurePlanet''.
[[/folder]]

[[folder:Films -- Live-Action]]
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* In 1928, there was a double-header of Genre Killers so extreme that it took out ''the entire Canadian film industry''. The federally-funded Creator/NationalFilmBoardOfCanada was founded in 1939 in an attempt to revive it, but only in the '70s with cultural sponsorship projects from Pierre Trudeau's government did independent Canadian cinema begin to reemerge.
** The first Genre-Killer was the 1928 Canadian film ''[[http://www.canada.com/ottawacitizen/features/remembrance/story.html?id=46d615a1-5dfd-4889-bb42-31f7ad406b2d Carry on, Sergeant!]]''[[note]]No relation to [[Film/CarryOnSergeant the 1958 British film]] of the same name[[/note]], a UsefulNotes/WorldWarI silent epic about [[UsefulNotes/CanucksWithChinooks Canadian soldiers]] in the trenches of France. Thanks to its TroubledProduction, soaring budget (about half a million dollars, as large as comparable Hollywood films like ''Film/TheJazzSinger''), controversial subject (an affair between a soldier and a French hooker), the fact it was a silent film when talkies were ascending, and box-office failure, it destroyed Canada's largest independent film studio and made Canadian financiers extremely leery of financing similar big-budget efforts, playing a huge role in reducing Canada's native film industry to an outpost of Hollywood.
** The other one was the [[https://en.wikipedia.org/wiki/Cinematograph_Films_Act_1927 Cinematograph Films Act of 1927]] (which came into force the following year), a law in the United Kingdom that placed a quota on foreign films in order to protect British film studios. Canada dodged the quota by technically being a part of UsefulNotes/TheBritishEmpire, but rather than nurturing and protecting the local film industry, it instead caused Hollywood studios to set up Canadian subsidiaries that vacuumed up [[OnlySoManyCanadianActors the small pool of local talent]] for the production of "quota quickies", cheap and often wretched films made for the British market to get around the quota. The scourge of the quota quickies also affected the UK itself, but owing to a larger market and greater distance from the US, their film industry recovered in far less time. While more recent scholarship has [[http://www.screenonline.org.uk/film/id/1361819/ reevaluated]] the quota quickies as the birth of the British BMovie, a way for aspiring filmmakers to get their foot in the door with low-budget flicks, the Cinematograph Films Act of 1927 is still seen as a textbook case of short-sighted legislation having precisely the opposite effect than what was intended.
* The UsefulNotes/ThreeDMovie genre has been killed three times in the past several decades:
** The first culprit was ''The Moonlighters'', a forgettable Warner Western starring Barbara Stanwyck and Fred [=MacMurray=], in 1953. It didn't help that it had to compete against ''Film/TheRobe'', a flat classic in [=CinemaScope=], during its run. The film did the least damage to the genre, though, as it only took ''Theatre/KissMeKate'' later that same year to put 3-D back on the map and keep the Golden Age 3-D Craze going.
** The second culprit was ''Phantom of the Rue Morgue'' the following year, which was just as mediocre as, if not more so 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 "Golden Age 3-D Craze" went out not with a whimper, but with a bang: the last classic '50s 3-D film, ''Film/RevengeOfTheCreature'', capped off this craze with a successful 3-D run, which still wasn't enough to save the craze.
** A second craze, the "Spectacular 3-D 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 "Digital 3-D Craze" dying, brought about by the likes of ''WesternAnimation/BattleForTerra'', ''Film/{{Clash of the Titans|2010}}'', ''Film/TheLastAirbender'', ''Film/TheNutcrackerIn3D'', and ''Film/ConanTheBarbarian2011''. Despite all the rumours of the dying craze, though, it was 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 over thirty years since the last 3-D 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 stating that 3-D film as a whole could not be patented,as Disney had intended to by suing Real-D]]. [[HereWeGoAgain Yep, you probably know where this is headed]]. As a result, Disney lost interest in 3-D outside of Marvel-related and animated productions, resulting on a nosedive of the number of stereoscopic releases beginning in 2014. In addition, 3D-TV (which was once considered to become commonplace by 2015) became too impractical and not worth the cost, Disney's abandonment of 3D home video making matters worse, and TV manufacturers eventually shifted towards larger formats and 4K.
** The final blow for 3-D film outside superhero and cartoon films may have come with the success of Creator/ChristopherNolan's ''Film/{{Dunkirk}}'', an entirely 2-D 70mm war movie that proved to be much more successful than any of IMAX's 3-D presentations in Q2 2017, prompting IMAX's aforementioned move away from 3-D. 2-D IMAX presentations of the 3-D animated films ''WesternAnimation/TheLegoBatmanMovie'' and ''WesternAnimation/{{Cars 3}}'' were just the beginning; when IMAX announced its decision to do more 2-D than 3-D screenings in late July of 2017, it was specifically mentioned that ''Film/BladeRunner2049'' wouldn't be playing in 3-D in North American IMAX theatres, either. So, at least in North America, 3-D can be considered down for the count as of 2018. Unless ''Film/{{Avatar}}'''s sequel somehow revives it.
* Many film historians 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 ''Film/TheFallOfTheRomanEmpire'' in '64 killed the SwordAndSandal epic for over three decades. It wasn't until 2000 when ''Film/{{Gladiator}}'' [[PopularityPolynomial revived the genre]]; there have been a number of Roman and Greek-era action films in the ensuing years.
* ''Film/TheGreatestStoryEverTold'', a 1965 AllStarCast production of Jesus' life that received mixed reviews and bombed at the box office, was the beginning of the end for the mainstream success of the religious epic. Changes in film censorship (in the era of the Hays Code, religious epics were notorious for taking advantage of their unimpeachable message to push the envelope in terms of sex and violence) and the general politicization of artistic work with religious themes have further removed religious epics from the standard menu of film genres. When modern examples do appear, however, they're often big hits due to being perceived as novel.
* The epic romance largely disappeared after ''Film/RyansDaughter'' and ''Film/NicholasAndAlexandra'' flopped in the early '70s. While occasional epics cropped up through the '80s and '90s (eg. ''Film/OutOfAfrica'', ''Film/{{Titanic|1997}}'') they're now typically one-off events rather than the box office staple they once were.
** ''Titanic'''s success itself created a very specific epic romance subgenre of "absurdly big-budget love story used to chronicle a historical disaster", which was followed by the first imitator in ''Film/PearlHarbor'' sending it six feet under. A belated imitator that arrived some years later, ''Film/{{Pompeii}}'', only confirmed that it wasn't coming back.
* The failure of ''Film/TheWiz'' in 1978 caused studios to give up on movies with mostly black casts for some time, outside of [[UncleTomFoolery comedies]], [[SaltAndPepper black cop/white cop pairings]], and "urban" dramas. However, the 1988 Creator/EddieMurphy comedy ''Film/ComingToAmerica'' helped bring back films with mostly black casts, and the smash success of Creator/TylerPerry's films have helped Hollywood take more note of the African-American movie dollar in the more modern day.
* The ''Poliziotteschi'', gritty Italian crime films in the vein of ''Film/DirtyHarry'' and ''Film/{{Bullitt}}'', had their heyday in TheSeventies, reflecting [[UsefulNotes/RepublicanItaly Italy's]] "[[DorkAge Years of Lead]]" (a time of political violence from both Marxist and neo-fascist groups) and the wider fortunes of the [[ItalianFilms Italian film industry]] of the time. But by the end of the decade, the genre was slumping in popularity. One of the genre's key script writers, Dardano Sacchetti, [[CreatorBacklash had grown dismayed]] by what he felt were the [[PoliceBrutality fascistic undertones]] of the genre, and helped [[{{Deconstruction}} undermine the genre from within]] by steering it towards self-parody and eventually outright comedy.
* Though TheWestern was already struggling before due to a variety of circumstances for about a decade, the point cited by most film geeks and historians as the ultimate bullet in the genre's head was ''Film/HeavensGate'' in 1980. That film was such a BoxOfficeBomb that it [[CreatorKiller killed its studio and its director's career]], and Hollywood became very reluctant to release big-budget Western films for several years afterward. Even successful {{reconstruction}} films like ''Film/{{Silverado}}'' couldn't jump-start the genre back to its original prominence. While westerns are still fairly common, they have never returned from their virtual omnipresence of yesteryear. It's also telling that most modern examples [[NewOldWest subvert some aspect of the genre]], as the straight western is still basically dead.
* ''Film/HeavensGate'' is also usually blamed for the end of the [[UsefulNotes/NewHollywood auteur films]] produced by Hollywood in the 1970s. Other flops, such as Creator/StevenSpielberg's ''Film/NineteenFortyOne'', Creator/PeterBogdanovich's ''Film/TheyAllLaughed'', Creator/MartinScorsese's ''Film/NewYorkNewYork'', and Creator/FrancisFordCoppola's ''Film/OneFromTheHeart'' and ''Film/TheCottonClub'', were also used as examples of the danger of giving auteur filmmakers ''[[ProtectionFromEditors carte blanche]]'' when making "personal" or "blockbuster" films. Ironically, the auteur film genre was brought back by another genre killer (see ''Film/DaysOfThunder'' below).
* It's said that ''Film/{{Airplane}}'' killed the DisasterMovie craze of TheSeventies by making audiences unable to take them seriously anymore. While the genre was [[PopularityPolynomial revived]] by TheNineties with movies like ''Film/{{Armageddon}}'', ''Film/DeepImpact'', ''Film/DantesPeak'' and ''Film/{{Volcano}}'', which benefited from the development of modern CGI, the airliner-in-peril/stewardess-lands-the-plane trope won't be taken seriously again. Eventually, 9/11 and the Indian Ocean tsunami killed the genre a second time by way of TooSoon, with very few pure disaster movies being made since then.
* ''Film/{{Xanadu}}'' and ''Film/CantStopTheMusic'' effectively killed the musical, which was already crippled during the 1970s and by then was only kept afloat by the now-extinct disco craze. The genre didn't stay dead forever, however; ''Film/MoulinRouge'' in 2001 and ''Film/{{Chicago}}'' in 2002 sparked renewed interest in musicals. Various other films since then have had mixed success, but in general, musicals are not considered particularly standard. Trailers for some musicals will even disguise the fact that the film is a musical. However, the genre seems to be making a comeback with the combined critical and commercial successes of ''Film/IntoTheWoods'' (2014), ''Film/LaLaLand'' (2016), and ''Film/{{Beauty and the Beast|2017}}'' (2017).
* ''Film/QuestForFire'' in 1981 effectively killed the serious caveman movie by setting the bar so high that nobody could hope to compete. Also not helped by the not-serious-at-all ''Film/{{Caveman}}'' also being a success that year.
* Female-led superhero movies suffered two major blows.
** First came the 1984 film ''Film/{{Supergirl}}'', testing the waters for the concept in the wake of the fantastic success of the ''Superman'' films. It suffered terrible ExecutiveMeddling and was so horribly received that it took two decades for any studio to try again. (The below-mentioned temporary death of the entire superhero genre during that time didn't help.)
** The result was the one-two punch of ''Film/{{Catwoman}}'' and ''Film/{{Elektra}}'', which were both instantly ridiculed as among the worst comic book movies ever made and sent the studios right back to the safe embrace of male heroes. Even the much-ballyhooed success of the Franchise/MarvelCinematicUniverse took ages to attempt another, with its most prominent female hero Black Widow notoriously relegated to an occasional supporting role despite massive demand for her to get her own film. Eventually they came back on TV first, with the highly acclaimed MCU series ''Series/JessicaJones'' and (ironically enough) the Series/{{Arrowverse}} series ''Series/{{Supergirl|2015}}'' finally showing tangible support for more female heroes. By this time the MCU had already set up their first foray in film with ''Film/CaptainMarvel'', but were beaten to the punch by the newcomer Film/DCExtendedUniverse and their ''Film/WonderWoman'' film, which became able to finally reverse the trend, immediately becoming one of the best-reviewed comic book films ever made and a smash box office success.
* While successful, the negative critical reception that ''Film/PoliceAcademy'' received severely hurt the slew of "crass" comedies that began in the late 1970s with ''Film/TheKentuckyFriedMovie'' and ''Film/AnimalHouse''. Comedies oriented at a mature audience in general wouldn't actually recover until the 1990s, although the use of gross humor only became popular again with the ''Film/{{Jackass}}'' trilogy (and probably just because of the show's popularity).
* 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 ended up dividing "family" films into two ghettoes during the 1990s and 2000s: PG became lumped in with the G rating in both the popular consciousness and that of the MPAA (i.e. [[AvoidTheDreadedGRating a rating for kiddie flicks]]), while PG-13 became the rating of teen-oriented blockbusters with more violence than would otherwise be acceptable to bring a family to.
* ''Film/ConanTheDestroyer'' in 1984 and ''Film/RedSonja'' in '85 may well have been the films that killed the "sword and sorcery" HeroicFantasy as a film genre for quite some time. Their predecessor ''Film/{{Conan the Barbarian|1982}}'', however, was a classic example of the genre.
* The SlasherMovie genre went through two phases, with two Genre-Killers, roughly ten years apart:
** After a GoldenAge stretching from 1978 to roughly 1985, the genre spent the late '80s struggling thanks to [[SturgeonsLaw a glut]] of DirectToVideo crap, but the final nails in the coffin came in 1989, when the "Big Three" slasher franchises (''Franchise/{{Halloween}}'', ''Franchise/ANightmareOnElmStreet'', and ''Franchise/FridayThe13th'') all produced [[Film/ANightmareOnElmStreet5TheDreamChild poorly-]][[Film/FridayThe13thPartVIIIJasonTakesManhattan received]] [[Film/Halloween5TheRevengeOfMichaelMyers installments]] that sent their respective series into [[FranchiseZombie irreversible decline]]. While a few CultClassic slasher films trickled out in the early '90s, for the most part the genre was on the extreme low end of the PopularityPolynomial, its GloryDays long in the past. In the more cynical '90s, the old slashers were seen as a mess of {{cliche|Storm}}s, [[MonsterMisogyny misogyny]], [[TooDumbToLive dumbass characters]], and [[NoBudget bargain-bin production values]], especially with the rise of more intellectual horror films like ''Film/TheSilenceOfTheLambs'' and ''Film/JacobsLadder''.
** The genre was [[GenreRelaunch revived]] in 1996 by ''Film/{{Scream|1996}}''. Ironically, ''Scream'' was an attempt by Creator/WesCraven (creator of ''A Nightmare on Elm Street'') to [[SpringtimeForHitler do this deliberately]], burying the slasher genre once and for all by making a movie that picked apart and {{lampshade|Hanging}}d the tropes of the genre, which he felt would make it impossible to take seriously anymore. [[SubvertedTrope It backfired]], though -- ''Scream'' was a SleeperHit that spawned three sequels and [[FollowTheLeader a host of copycat films]]. Given the fact that the genre was relaunched by a deconstruction, however, it should come as no surprise that the genre quickly plunged back into self-parody. A number of lampoon movies, such as the ''Film/ScaryMovie'' series and ''Film/ShriekIfYouKnowWhatIDidLastFridayTheThirteenth'', were released, and even some of the older franchises joined in (''Film/JasonX'', for instance, took the ''Friday the 13th'' franchise [[RecycledInSpace into space]] and heavily riffed on the series' formula). The UsefulNotes/{{Columbine}} massacre in 1999 sparking a TooSoon reaction to the mostly teen-oriented slasher genre, among both MoralGuardians and their target audience, also didn't help matters. The finishing blows came in 2002 with the release of ''Film/TheRing'' and ''Film/TwentyEightDaysLater'', a pair of horror films with adult protagonists that eschewed the slasher formula, both of which were highly successful. While ultraviolent horror films would soon come back into style thanks to the TorturePorn boom, traditional slashers made since are mostly either remakes or {{Genre Throwback}}s, the latter usually either going DirectToVideo or running the indie/arthouse circuit.
* Film journalist Stephen Metcalf [[http://www.slate.com/articles/arts/the_dilettante/2012/08/tony_scott_s_days_of_thunder_did_it_rescue_hollywood_from_the_grips_of_producers_like_don_simpson_.single.html argues]] that the [[TroubledProduction wretched production excesses]] of ''Film/DaysOfThunder'' in 1990, and their attendant impact on the film's profits, killed the kind of blatantly commercial "triumph" movies that producers Don Simpson and Creator/JerryBruckheimer had made so much money for Paramount with during the 1980s, films that were sort of a backlash against the [[UsefulNotes/NewHollywood auteur-era movies]] that had prevailed before ''Heaven's Gate''. Afterwards, studios would let directors assert themselves creatively again, and it's no coincidence that ''Days'' director Creator/TonyScott's critical reputation improved over the course of the '90s.
* ''Film/Jaws3D'' and ''Film/JawsTheRevenge'' not only killed any attempt to continue the franchise centered around the smash hit masterpiece ''Film/{{Jaws}}'', but ensured any further movies centered around killer sharks would not be taken seriously anymore. ''Jaws'' itself is also partly to blame for killing the genre because many shark-centered films following it couldn't shake off accusations of taking cues from the film. The only serious, shark-centered film to have received a worldwide theatrical release since ''Jaws: The Revenge'' was ''Film/DeepBlueSea'', which despite being a box office success ended up suffering the same problems many post-''Jaws'' films got pinned with, and another serious killer shark movie wouldn't come to worldwide theaters until 17 years later, with ''Film/TheShallows''. While that movie was surprisingly well-received, it ended up getting dumped alongside ''WesternAnimation/FindingDory'' and ''Film/IndependenceDayResurgence'' to generate enough interest.
* A localized killer: the disappointing box office performance of ''Film/UniversalSoldier'' made it Carolco's third and final yearly science fiction blockbuster following the major successes that were ''Film/{{Total Recall|1990}}'' and ''Film/Terminator2JudgmentDay''.
* ''Franchise/JurassicPark'' in 1993 is another example of one film's smash success making it impossible for subsequent films to live up to it. [[Film/TheLostWorldJurassicPark Sequels to]] [[Film/JurassicParkIII the original]] [[Film/JurassicWorld film notwithstanding]], no-one has bothered to make a serious dinosaur movie since; and all films and video games that have happened to feature dinosaurs have, without exception, contained conscious nods to the franchise. Even the 1998 American ''Film/{{Godzilla|1998}}'' film riffed on it in trailers, and featured suspiciously velociraptor-like chase scenes with baby Godzillas.
* ''Film/{{Showgirls}}'' killed any chance of an NC-17-rated movie being seen as anything more than porn to the mainstream movie-going crowd. The rating is now limited to art house fare such as ''Film/TheDreamers'', ''Film/LustCaution'', ''Film/KillerJoe'', ''Film/{{Shame}}'', and ''Film/{{Nymphomaniac}}''.
* In addition to launching the CG animated movie craze, the original ''WesternAnimation/ToyStory'' in 1995 was also largely responsible for ending the "kid empowerment" movie trend of the early-mid '90s. After ''Film/HomeAlone'', there was a glut of kids movies which either [[FollowTheLeader ripped off that movie]] (''Mr. Nanny'', ''Film/CampNowhere'', ''Film/ThreeNinjas'', etc.) or placed kids in absurdly powerful positions and situations (''Film/CopAndAHalf'', ''Film/RichieRich'', ''Film/BlankCheck'', ''Film/LittleBigLeague'', ''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.
* ''Toy Story'' also marked the decline of the live-action family film, which had been thriving for the first half of the decade, but it was now overshadowed by the greater potential CG offered while adult-oriented comedies were in resurgence. Attempts to make family films more cynical almost ended up evaporating the genre by the early 2000s, as it happened to the careers of the actors associated with it. The success of Adam Sandler's "Happy Madison" productions eventually supplanted it by adding more mature content and mixing in other genres. "Traditional" family comedies were eventually banished to DTV in the 2010s after a slew of financial failures.
* ''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 Creator/GeenaDavis and director Creator/RennyHarlin. The genre was not exactly a thriving one at release, but this made sure no one would even attempt another shot at it. Even after the success of ''Franchise/PiratesOfTheCaribbean'', no-one seems interested in pirate movies that don't belong to that franchise.\\\
''Pirates of the Caribbean'' 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]]. Also, both ''Pirates of the Caribbean'' and ''One Piece'' have very heavy fantasy elements that make them rather different to the pure swashbuckler. Add to that the major underperformance of ''[[Film/PiratesOfTheCaribbeanDeadMenTellNoTales Dead Men Tell No Tales]]'' at the domestic box office (though mitigated by strong overseas box office), which is no good sign either for the franchise or the movie genre ''POTC'' maintained alive on its own.
* ''Film/BatmanAndRobin'' and ''Film/{{Steel}}'', both from 1997, are credited for being the reason why SuperHero films were a dead genre for some five years. They might have even killed a planned ''Franchise/SailorMoon'' adaptation at Creator/{{Disney}} (though its underperformance on the small screen, [[ScrewedByTheNetwork not helped by clumsy syndication scheduling placements]], certainly didn't help matters, either). More importantly, they killed the superhero movie as a form of all-ages family entertainment. Creator/JoelSchumacher's ''Batman'' movies had undergone heavy ExecutiveMeddling to make them more family-friendly and MerchandiseDriven, which played a huge role in their negative reception by fans, critics, and moviegoers. As a result, the next generation of superhero films in the mid '00s excised all traces of {{camp}} and went the DarkerAndEdgier route -- Creator/ChristopherNolan's [[Film/TheDarkKnightSaga Batman films]] were essentially gritty crime dramas featuring Batman, while even more lighthearted films like ''Film/XMen1'' and ''Film/SpiderMan1'' had substantially darker storylines (and, in ''X-Men''[='=]s case, [[MovieSuperheroesWearBlack costumes]]) than superhero films past. Ironically, the fact the "dark superhero" era became somewhat of a joke made these kinds of films as difficult to take seriously as the campy ones by the late 2000s, not helped by the acclaim received by the ''Dark Knight'' trilogy. Around the same time, the newly-formed Franchise/MarvelCinematicUniverse began to explicitly target superhero films at families again.
** Superhero films went through a near-miss in 1987, where the box office and critical disaster of ''Film/SupermanIVTheQuestForPeace'' would have likely signaled the death of superhero films, if it wasn't for ''Film/{{RoboCop|1987}}'' becoming a SleeperHit that year and ''Film/{{Batman}}'' becoming a success in 1989.
* A subversion: In the '90s, many MartialArtsMovie makers and fans feared that the upcoming handover of Hong Kong back to China in 1997 would result in this (the Asian financial crisis of the late '90s also played a part). But while the Hong Kong film industry did experience a crisis in the late '90s, others saw opportunity... especially other Asian countries. Countries such as South Korea, Japan, and Thailand began producing their own martial arts films, hoping to fill the void, and creating some new stars in the process, such as Tony Jaa and Jeeja Yanin. And as it turned out, the Chinese takeover of Hong Kong did not signal the death knell of martial arts movies there, either, particularly with the rise of "arthouse" martial arts films such as ''Film/CrouchingTigerHiddenDragon'', ''Film/{{Hero}}'', and ''Film/HouseOfFlyingDaggers''. While the Chinese takeover and the Asian financial crisis did mark the end of the "Classic Age" of Hong Kong cinema, China and Hong Kong continue to produce many martial arts films today.
* The 1998 ''Film/{{Godzilla|1998}}'' movie, along with the remake of ''Film/MightyJoeYoung'' that same year, killed off the American [[{{Kaiju}} giant monster movie]] for at least a decade. Creator/PeterJackson's planned remake of ''Film/{{King Kong|2005}}'', for one, was delayed in the wake of their failures. The modest successes of ''Film/{{Cloverfield}}'' and ''Film/PacificRim'' are credited with at least helping the genre regain some niche appeal, enough that a reboot of ''Film/{{Godzilla|2014}}'' arrived theaters in 2014 and turned out to be a SleeperHit.
* When ''Film/WildWildWest'' reared its ugly head in 1999, it was torn apart by critics and the audience. Creator/RogerEbert gave it a spot on his [[RogerEbertMostHatedFilmList most hated list]], it became an OldShame to Creator/WillSmith and Warner, and pushed ideas of westerns that crossed over into sci-fi/fantasy into the far background for over a decade. Eventually, Hollywood tried again with ''Film/CowboysAndAliens'', which got a better reception but still mixed reception and bombed heavily. Disney had their own fantasy-esque western in the works, a reboot of ''Film/TheLoneRanger'', and nearly pulled the plug on it. When they finished it, studio chairman Rich Ross had been sent packing, and the film bombed even harder and got worse reviews than ''Cowboys And Aliens'', giving the third strike to the idea of making a western with superfluous sci-fi/fantasy/mystical elements in it. No attempt to try this idea again has materialized since.
* The failures of ''Film/TheAdventuresOfRockyAndBullwinkle'' (2000) and ''Film/LooneyTunesBackInAction'' (2003) killed the sub-genre of "[[RogerRabbitEffect cartoon characters living in the real world]]" that ''Film/WhoFramedRogerRabbit'' (1988) and ''Film/SpaceJam'' (1996) popularized.
* In an odd twist, ''The Adventures of Rocky and Bullwinkle'' also heralded the above sub-genre being shortly succeeded afterwards by the similar "live-action/CG character" sub-genre; with the industry seeing a boom in live-action films aimed at families/kids that featured non-human characters [[StarringSpecialEffects presented in CGI]] (with the majority of them being adaptations of popular works in other media). While this style of films had first taken its roots with ''Film/{{Casper}}'' (1995), the genre only really took off with the commercially successful 2002 ''Film/ScoobyDoo'' adaptation, which was then followed by a glut of similar films throughout the TurnOfTheMillennium. By TheNewTens, however, audiences' perception of these films began to fall in line with reviewers; who (with [[Film/StuartLittle rare]] [[Film/{{Paddington}} exceptions]]) largely panned the subgenre for their [[StrictlyFormula increasingly repetitive formulas]] of narrative beats, low-brow humor, "[[UncannyValley realistic]]" depictions of characters, and -- concerning adaptations -- [[InNameOnly having little to do with the source material]]. Combined with increased competition and popularity of CGI animated films (especially due to Illumination's successful entrance into the industry, and Disney's return to form following their 2000s-era DorkAge), and the success of ''Film/{{Ted}}'' (an adult DeconstructiveParody of the subgenre), the collapse of the genre finally took hold during the mid-2010s, which saw a trio of sequels to previously successful adaptations (2013's ''Film/TheSmurfs2'', 2015's ''Film/AlvinAndTheChipmunks: The Road Chip'', and 2016's ''Film/TeenageMutantNinjaTurtlesOutOfTheShadows'') all domestically underperform at the box office. With ''The Smurfs'''s third live-action/CG film being nixed for [[Film/SmurfsTheLostVillage a completely CGI reboot]], and no plans for future ''Alvin'' or ''Turtles'' sequels being put on the table, the sub-genre seems to have entered its death knell.
* The works of Creator/SeltzerAndFriedberg in the '00s have been blamed for killing parody movies; even slightly better ones like ''Film/SuperheroMovie'' (probably not helped by being named in the same " Movie" style used by S&F) have been lumped in with their disasters.
* WebVideo/TheNostalgiaCritic [[https://www.youtube.com/watch?v=84q44jNhrV8 argues]] that the flop of 2001's ''Film/{{Monkeybone}}'' killed the '90s trend of dark fantasy comedies that tried to [[FollowTheLeader imitate the style]] of Creator/TimBurton. Burton himself, of course, would keep making films in this vein, but beyond him, the style wouldn't come back into vogue until ''WesternAnimation/{{Coraline}}'' towards the end of the decade, which was ironically helmed by the director of ''Monkeybone'', Henry Selick.
* ''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/TheCatInTheHat'' killed off Dr. Seuss' work being made into [[LiveActionAdaptation live-action films]] as his widow hated it so much, she stopped them from being made. Animated adaptations, while not great, have at least gotten better reception.
* ''Film/LaraCroftTombRaiderTheCradleOfLife'' in 2003, ''Film/{{Catwoman}}'' in '04, and ''Film/{{Elektra}}'' in '05 killed off the idea of the [[ActionGirl female action protagonist]] in Hollywood cinema for quite a long time, with writer Creator/DavidHayter claiming that the ''ComicBook/BlackWidow'' movie that was in the works at the time was shelved for this reason. Later big-budget Hollywood movies did have {{Action Girl}}s, but usually in secondary roles as love interests or fanservice characters. ''Film/{{Haywire}}'' and ''Film/{{Salt}}'' both attempted to revive the genre and did moderately well, but not enough to create a critical mass in its favor. Since then, the massive success of ''Film/TheHungerGames'' franchise, as well as the growing demand for superhero movies starring someone other than {{White Male Lead}}s, has led to WB finally releasing a ''Franchise/WonderWoman'' movie in 2017, as well as Marvel announcing a ''[[ComicBook/MsMarvel Captain Marvel]]'' movie for 2018. The critical and commercial success of ''Film/{{Wonder Woman|2017}}'' solidified the viability of female-led action/superhero films as major blockbusters (see below).
* While, in hindsight, the writing was on the wall for the [[UsefulNotes/{{VCR}} VHS]] format as a viable platform for major home media releases from the moment UsefulNotes/{{DVD}}s took off, the VHS release of ''Film/HarryPotterAndThePrisonerOfAzkaban'' in 2004 is said to have sped the process along by several years. To wit: the film was made using Super 35, an extremely open film format that allowed for a variety of compositions, and yet the pan-and-scan VHS release was just that -- panned and scanned from an anamorphic Scope print, and horribly so, by some videophile accounts. It's telling that releases for the niche D-VHS format stopped shortly after, and major label releases on VHS stopped by 2007. It's been said that director Creator/AlfonsoCuaron hated the Academy ratio so much he deliberately sabotaged the 4:3 composition on the VHS release, with some theorizing Cuaron wanted to give DVD the shot in the arm he felt it needed to definitively secure its then-recent lead over VHS.
* In 2004, the films ''Film/FatSlags'' and ''Sex Lives of the Potato Men'' proved so bad that there was actually concern in the UK that ''the entire British film industry'' was going down the tubes. The £1 million grant that ''Potato Men'' had received from the National Lottery through the UK Film Council was especially criticized. [[SubvertedTrope It turned out to be a false alarm]], with British cinema surviving into the present day and thriving during the early 2010s, but it takes a special kind of film to make ''an entire country'' think that its film studios are in trouble.
* The overwhelmingly negative reviews of 2004's ''Film/ChristmasWithTheKranks'' dried up interest in doing Yuletide comedies, which had been popular ever since ''Home Alone'' came out 14 years earlier. Films with a Christmas theme aimed to mature audiences have become popular however in the 2010s, such as ''A Madea Christmas'', ''Film/{{Krampus}}'' and ''[[Film/BadMoms A Bad Moms Christmas]]''.
* ''Film/The40YearOldVirgin'' in 2005 and ''Film/{{Superbad}}'' in 2007 are often credited with killing the teen SexComedy. On one hand, the success of ''The 40-Year-Old Virgin'' proved that sex comedies aimed squarely at grown adults (with teenagers playing only supporting roles) could be just as successful as teen-oriented films like ''Film/AmericanPie''. On the other, ''Superbad'' mocked and deconstructed the genre so viciously that viewers could no longer take it seriously, cementing the public view of teen sex comedies as being weird, pathetic, lowbrow schlock that toed the line between sexy and sexist. The rise of [[TheInternetIsForPorn internet porn]], allowing such films' target audience to easily access far more explicit material than what could be shown in an R-rated film, merely [[https://melmagazine.com/the-internet-killed-the-teen-sex-comedy-c67fd771678f read the genre's obituary]]. Subsequent attempts at reviving the genre, like ''Film/ProjectX'', have been widely reviled.
** And by 2010, even adult comedies began to lose popularity because of audiences getting more sensitive over their content (among other reasons). Their decline has actually brought cries of a "kid-ification" of the movie industry.
* ''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.
* In spite of doing well at the box office, the [[Film/BlackChristmas2006 2006 remake]] of 1974's ''[[Film/BlackChristmas1974 Black Christmas]]'' got such horrible reviews that it convinced Hollywood not to give the [[HorrorDoesntSettleForSimpleTuesday Christmas Horror]] genre another chance for almost a decade. Director Glen Morgan blamed the studio for the poor critical reception, saying he was unhappy with Dimension Films [[ExecutiveMeddling ordering dozens of reshoots and script rewrites]] to the movie, though backlash from MoralGuardians regarding the film's content and release date (it was released on Christmas Day) could also be to blame. It wasn't until around 2015 when another Christmas Horror movie, ''Film/{{Krampus}}'', was released to theaters. Thankfully, ''Krampus'' was both favorably received and was an instant box office success, sparking hope that the genre may be [[WinBackTheCrowd headed back to Hollywood interest]].
* The twin failures of 2007's ''Film/{{Hostel}} Part II'' and ''Film/{{Captivity}}'' marked the beginning of the end for the TorturePorn subgenre of graphically ultraviolent horror films. The ''Franchise/{{Saw}}'' series endured for a few more years as a FranchiseZombie, but the only other subsequent standalone theatrical release in the genre, 2009's ''Film/TheCollector'', played to empty theaters, and ''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}}'' single-handedly 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 ''[[Toys/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. The box-office failure of the LiveActionAdaptation of ''Film/JemAndTheHolograms'' only confirmed it was dead.
* The failure of ''Film/SpeedRacer'' in 2008 likely killed the PG-rated blockbuster. It's even been stated that it led Warner Bros. to scrap 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... not that its success changed WB's mind about PG-rated blockbusters, although Marvel did see an enormous potential in them. Furthering this attitude for the studio is the box-office failure of ''Film/{{Pan}}'' while more mature works like ''Film/BatmanVSupermanDawnOfJustice'' and ''Film/SuicideSquad2016'' have become successful.
* ''{{Literature/Twilight}}'' in 2008 and ''Film/TheHungerGames'' in 2012 killed the child-led blockbuster franchises that ''Film/HarryPotter'' had popularised. The young adult novels featuring child protagonists stopped getting adapted in favour of books with teen protagonists -- and films such as ''Film/TheGiver'' and ''Film/SeventhSon2015'' [[AgeLift aged up their twelve-year-old protagonists significantly]]. Not helping matters was the ''Harry Potter'' leads also having entered their twenties by the time the final films were made. Disney felt the effects of this too with ''Film/AliceInWonderland2010'' and ''Film/OzTheGreatAndPowerful'' -- based on stories with child protagonists, but featuring adults as the leads instead. ''{{Film/Pan}}'' was an attempt at a child-led franchise that ended up bombing spectacularly. Warner Bros. later focused the film adaptation of ''Film/FantasticBeastsAndWhereToFindThem'' on adult protagonist Newt Scamander, to much greater success critically and commercially.
* Not one film in particular, but the 2000s trend of remaking Asian horror films for Americans ended soon after 2008, which had no fewer than three movies of this type reach wide release -- ''Film/OneMissedCall'', ''Film/TheEye'', and ''Film/{{Shutter}}''. While they turned a profit, all three were poorly reviewed (especially ''One Missed Call'', which has 0% on ''Website/RottenTomatoes'') and none were what you'd call big hits. This, combined with the fact that the found footage horror trend had started that year with ''Film/{{Quarantine}}'' and ''Film/{{Cloverfield}}'', killed off the subgenre (the last entry was January 2009's ''The Uninvited''). ''Film/{{Rings}}'' was an attempt at a GenreRelaunch that ended up being a massive critical and commercial failure.
* In the 2000s, most romance movies, with few exceptions (such as ''Film/EternalSunshineOfTheSpotlessMind'' and ''Film/FiveHundredDaysOfSummer''), could be split into two camps: a) pandering rom-coms occupied by the likes of Creator/JenniferAniston and Katherine Heigl, and b) weepy, melodramatic movies that [[FollowTheLeader copied]] ''Literature/TheNotebook''. ''How Do You Know'' in 2010 and ''Film/{{Bridesmaids}}'' in 2011 killed the first type, the former due to its TroubledProduction (the result of director Creator/JamesLBrooks' perfectionism causing the budget to spiral out of control), and the latter by way of raising the bar and successfully adapting the Creator/JuddApatow style of raunchy humor and character-focused writing to a female-oriented comedy. While straight examples of type B still exist somewhat, if only due to Creator/NicholasSparks' name recognition, it's commonly accepted that, for most modern films that fall into that category, you have to do something unique like [[Film/TheSpectacularNow making the guy a teenage alcoholic]], [[Film/TheFaultInOurStars making the guy and girl have cancer]], or [[Film/{{Her}} having the girl be an AI system]].
* [[http://bloody-disgusting.com/editorials/3291581/horror-isnt-doomed/ This article]] by Bloody-Disgusting makes the case that ''Film/ParanormalActivity4'' and ''Film/TheDevilInside'' in 2013 killed the {{found footage|Films}} horror film, at least within the mainstream. After ''[=PA4=]''[='=]s [[{{Sequelitis}} marked decline in quality]] compared to prior entries in the series (which had helped [[FromClonesToGenre popularize found footage]] to begin with), and ''The Devil Inside''[='=]s [[NeverTrustATrailer misleading advertising]] and frustrating [[NoEnding lack of ending]], audiences became skeptical of similar efforts in the subgenre. This led to subsequent found footage films like ''Devil's Due'', the final two ''Paranormal Activity'' films, and ''Film/AsAboveSoBelow'' underperforming at the box office; most subsequent hits in the genre, like ''Film/{{VHS}}'' and ''Film/WillowCreek'', have largely been on the indie circuit.
* The critical and box office failures of ''Film/{{Movie 43}}'' and ''Inappropriate Comedy'' in 2013 have seemed to kill the anthology movie altogether, after it had mostly been on life support for the past two decades. ''Film/CloudAtlas'' seemed to be a brief shot in the arm for the genre, but even that failed to be a hit.
* While the triplet failures of ''Film/BeautifulCreatures'', ''Film/TheMortalInstrumentsCityOfBones'', and ''Film/VampireAcademy'' weren't enough to kill the YA novel adaptation as a whole, they were enough to kill off the ParanormalRomance subgenre, which had been on its way out in YA literature as far back as late 2010. The failures of the latter two were bad enough to cause studios to rethink their YA adaptation strategies, going for the ones that were bound to make a lot of money from the get-go -- namely, dystopian Sci-Fi (not helping matters was that the ''Literature/TheMortalInstruments'' series was already getting flak from the community for being extremely derivative). The ''{{Literature/Twilight}}'' series survived into 2012, but only as a FranchiseZombie. Since 2012, with ''Film/TheHungerGames'' popularizing YA dystopian fiction, its success was enough to finally get the long-awaited adaptations of ''Literature/TheGiver'', ''Literature/EndersGame'', ''Literature/TheMazeRunner'', and ''Literature/{{Divergent}}'' made.
* The failure of ''Film/ScoutsGuideToTheZombieApocalypse'' in 2015 ended the zombie film boom that began over a decade prior with ''Film/TwentyEightDaysLater'' and ''Film/DawnOfTheDead2004''. With ''Film/{{Zombieland}}'' and ''Film/WorldWarZ'' failing to launch franchises as their sequels [[DevelopmentHell are still sitting on the drawing board]], zombie films are rapidly dropping in popularity. Zombie TV shows still remain successful, however, with shows such as ''Series/TheWalkingDead'', ''Series/ZNation'', and ''Series/{{iZombie}}'' being incredibly popular.
* In an example of a movie being so ''good'' (or at least popular) that no one wanted to make anything else like it, consider James Cameron's ''Film/{{Titanic}}''. There had been many previous movies about the famous sunken ship, but after Cameron's film became the highest-grossing movie of all time (only being overtaken by another Cameron film, ''Avatar'') it's not likely that there will be any more since people see it as the definitive version.
* YA dystopian movies would themselves fall just a few years after YA paranormal romance films with the BoxOfficeBomb of ''The Divergent Series: Allegiant'' in 2016. Not only was this film [[FranchiseKiller the final theatrically-released entry in the franchise]] (there were plans to turn the fourth film, ''Ascendant'', into a MadeForTVMovie with a reduced budget, that have since been stuck in DevelopmentHell), it seems to have caused studios to take the hint that the genre had grown oversaturated. Perhaps noticing the decline in popularity, Creator/TwentiethCenturyFox opted not to split the third ''Maze Runner'' book into two films.[[note]]That film would suffer a TroubledProduction that led to its release being pushed back into 2018, though that was due less to financial pressure and more due to an injury suffered by the film's star on set.[[/note]] By the time ''The Death Cure'' was released, dystopian films ended up being replaced by more down-to-earth teen/young-adult romances.
* The failure of the ''Allegiant'' movie also put an end to the MovieMultipack trend, after an already lukewarm reception to ''Film/TheHungerGamesMockingjay'' being split in two parts. Shortly after that film bombed, both huge comic-book movie tentpoles ''Film/AvengersInfinityWar'' and ''Film/{{Justice League|2017}}'' were first retitled to lose the words "Part 1" and "Part 2" and then announced to be shooting separately and following a more traditional model of "a standalone(-ish) movie with a sequel" instead of being a "multi-pack" experience. At this point, the only remaining announced multipack examples would be ''Film/{{Avatar}} 2'' to ''Avatar 5'', which are currently still planed to shoot concurrently (with ''2'' and ''3'' shooting separately from ''4'' and ''5'') and release with one year between each individual movie of either pair and three years between the pairs themselves.
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[[/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 about this in ''Literature/DonJuan'':
-->''Cervantes smiled Spain's chivalry away;''\\
''A single laugh demolished the right arm''\\
''Of his own country; — seldom since that day''\\
''Has Spain had heroes.''
* ''Literature/MadameBovary'' by Creator/GustaveFlaubert deconstructed romantic fiction archetypes, helping to end the era of romanticism in fiction and making way for realism.
* UsefulNotes/TheAmericanCivilWar killed off plantation literature, also known as 'anti-Tom' literature, a genre that emerged in the 1850s [[TheMoralSubstitute in response to]] the anti-slavery novel ''Literature/UncleTomsCabin''. Mostly written by writers from the Southern United States (though a few writers were Northern 'doughfaces' who sympathized with the South and its 'peculiar institution'), these novels were {{author tract}}s dedicated to portraying plantation slavery as [[HappinessInSlavery a benign, benevolent system]] that was beneficial to the 'childlike Negroes' and served as the bedrock of civilization, and abolitionists as either misguided {{Soapbox Sadie}}s or [[StrawCharacter the very incarnation of pure evil]]. Nowadays, the genre is DeaderThanDisco together with slavery itself, remembered only as a historical curiosity in the grand scheme of the run-up to the Civil War.
* UsefulNotes/WorldWarI largely killed [[http://en.wikipedia.org/wiki/Invasion_literature the "invasion story" genre]], which typically detailed [[DayOfTheJackboot foreign invasions of the British Isles]] by some flavor of Germans or French (depending on [[RippedFromTheHeadlines who Britain had higher tensions with at the moment]]). ''Literature/TheWarOfTheWorlds'', while a more fantastical spin than the norm, is the most well-known example. The genre still persisted post-WWI, with [[DirtyCommunists communists]] or [[AlienInvasion aliens]] replacing the Europeans as the go-to foe of choice (covert invasions were a staple of pulp literature right up until UsefulNotes/WorldWarII), but it never regained anything close to its former popularity. Instead, it was replaced by SpyFiction during the UsefulNotes/ColdWar and techno-thrillers [[TheGreatPoliticsMessUp afterwards]], both of which can be seen as {{spiritual successor}}s of a sort to the genre.
* ''Literature/ASongOfIceAndFire'', along with its television adaptation, ''Series/GameOfThrones'', has done this to a degree for traditional high fantasy. It has become much more rare to see new high fantasy since the series' rise in popularity in favor of similarly darker deconstructions of the genre, as well as being ToughActToFollow. Whether the genre is truly dead remains to be seen.
* The decline of video game strategy guides is sometimes attributed to the official American ''VideoGame/FinalFantasyIX'' guide. Creator/SquareEnix, wanting to promote their site, Playonline.com, forced Prima to gut the entire thing and redirect users to the site for more info, while at the same time locking the site behind passwords that users could only find out by buying and reading the gutted guide. Considering the game came out in 2000, it was outright impossible for many to connect to the internet; those who could found the site was barely any improvement over a print guide, and considering it was rare for people to have their desktop set up in the same room as their TV and game consoles, it was incredibly inconvenient to access while actually playing the game, to boot. Many purchasers ended up finding sites like Website/GameFAQs, and many buyers, figuring it was the general direction of strategy guides from that point forward, stopped buying them. Nowadays, strategy guides are usually only found in stores dedicated to gaming, and even then, it's usually only in a small section of it.
* To a similar degree, dedicated guides to {{cheat code}}s and other {{easter egg}}s in video games have died out because most developers have simply stopped taking the time to put cheat codes or easter eggs into their games - most cheat codes are in the realm of the rare PC release that allows players to use the developer's console (hidden behind two or three different activation flags and, for obvious reasons, not available in the online mode that is where 80% of their playtime comes from) or console ones on singleplayer-only releases from a long-running developer [[GrandfatherClause that was particularly associated with them back in the day]], and easter eggs too, save for a small handful of devs that were famous for them, tend to be one-offs existing solely to add an {{achievement|System}} that can't be acquired just from playing the game normally. Websites dedicated for the purpose still exist, but for all intents and purposes they're more as dedicated retro pieces than a serious source of info to help players with modern games - most pages for a [[UsefulNotes/TheSeventhGenerationOfConsoleVideoGames seventh-]] or [[UsefulNotes/TheEighthGenerationOfConsoleVideoGames eight-generation]] game are simply a copy-and-paste of the game's own list of achievements, ''maybe'' with hints on what exactly you need to do to unlock them if you're lucky.
* ''Literature/LordOfTheFlies'' was intended to be a DeconstructorFleet of the then popular KidsWildernessEpic {{Robinsonade}} genre of books such as ''Coral Island'', and ''Two Years Vacation'', which launched the TeenageWasteland genre, while leaving the other genre decried as overtly-idealistic by audiences, [[WeirdAlEffect assuming they actually know what those books are and inspired Lord of the Flies]]. The KidsWildernessEpic did find a revival in TheNineties as television programs and film, but the {{Robinsonade}} aspect was scrapped during that period.
[[/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 ''Series/ToTellTheTruth'' were at their peak. ''Series/{{Jeopardy}}'' helped America trust ''quiz'' shows again in 1964, but it was not until about 1973 and ''The $10,000 Pyramid'' when game shows really began offering five-figure sums again [[note]](and note the change in name from "quiz show" to "game show"; the former name was still associated with rigged challenges)[[/note]]. Even after the genre came back into vogue, the effects of the scandals left a permanent mark; these new game shows had winnings caps and somewhat smaller amounts of money to be won, and it wouldn't be until 1998 when '''really''' big-money games returned in the form of ''Series/WhoWantsToBeAMillionaire''
** The return to more "traditional" game shows in the 70s and 80s brought new shows that actually had ''game'' to them, like the aforementioned ''Pyramid'', along with ''Series/ThePriceIsRight'', ''Series/TicTacDough'', ''Series/TheJokersWild'', and ''Series/FamilyFeud'', and thus helped kill off panel games in TheSeventies and TheEighties. That particular death was culminated in 1990 with a short-lived revival of ''To Tell the Truth'' that [[TroubledProduction went through five hosts]] in the course of one season.
** And then the nighttime syndicated versions of ''Series/WheelOfFortune''[[note]]which ran on daytime from 1975-1991[[/note]] and ''Jeopardy!'' (which began in 1983 and 1984, respectively, and aren't going anywhere in the near future) killed off the concept of daytime game shows by TheNineties — between 1992 and 2008, ''Price'' was the ''only'' game show on daytime network television.
** And on that topic, the saturation of ''Millionaire'', as well as [[WhoWantsToBeWhoWantsToBeAMillionaire several big-name copycats]], mostly killed off the big-money prime-time game show genre by the mid to late 2000s. It was given a shot in the arm with ''Series/DealOrNoDeal'' (and the 2007 WGA strike helped to extend that shot), but ''Deal'' quickly devolving into a gimmick-fest (making its ultra-bare-bones format all the more blatantly obvious) while concurrently falling into ''Millionaire''-esque WolverinePublicity, combined with the failure of ''Series/MillionDollarMoneyDrop'' and ''Series/MillionSecondQuiz'', put the finishing touches on the genre. ''Series/TheWall'' may give it a chance at redemption since it was renewed for a second season, but only time will tell.
* The VarietyShow's demise has been linked to the abject failure of Creator/{{NBC}}'s ''Series/PinkLadyAndJeff'' in 1980 [[note]](the SketchComedy genre, as seen with ''Series/SaturdayNightLive'', ''Series/{{SCTV}}'' and other shows, is still alive and well, even in this day and age of Internet comedy)[[/note]], even though the genre (much like the movie musical) had been on life support for years[[note]]More precisely since Sonny and Cher split up, the genre being relegated afterwards to summer replacements[[/note]]. There were a few more shows in the genre afterwards, but none was the kind of blockbuster that could make programmers and audiences forget how bad this one was. ''Pink Lady and Jeff'' managed to make David Hofstede's 2004 book ''Literature/WhatWereTheyThinkingThe100DumbestEventsInTelevisionHistory'', which also took [[TakeThat potshots]] at Fred Silverman, who greenlighted ''Pink Lady and Jeff'' and got fired from NBC shortly after the show tanked.
* According to Chris "Rowdy C" Moore of WebVideo/TVTrash, ''Series/UnhappilyEverAfter'' killed off the live-action working-class dysfunctional family sitcom that ''Series/MarriedWithChildren'' popularized at the start of the 1990s, along with ''Series/{{Roseanne}}'' and ''Series/GraceUnderFire'', to be replaced by the age of urban single-based sitcoms like ''Series/{{Friends}}'' and ''Series/{{Seinfeld}}''. Some dysfunctional family shows, like ''Series/{{Titus}}'' and ''Series/MalcolmInTheMiddle'' cropped up in the early 2000s and gained positive to mixed reviews, but it wasn't enough to revive the genre. The American version of ''Series/{{Shameless}}'' is trying to turn this around (or, at the very least, reinvent the genre for premium cable).
* ''Series/MarriedWithChildren'' and, to an initially lesser extent ''WesternAnimation/TheSimpsons'', killed off the functional family sitcom boom of the late '80s heralded by ''Series/TheCosbyShow''. Even shows inspired by Cosby, like ''Series/HomeImprovement'' or ''Series/EverybodyLovesRaymond'' are more cynical than ''The Cosby Show''. Averted however for many black family sitcoms of the '90s which came about because of Cosby such as ''Series/FamilyMatters'' and ''Series/TheFreshPrinceOfBelAir.'' See MinorityShowGhetto.
* Though critically acclaimed and considered a CultClassic today, the ratings failure and early cancellation of ''Series/{{Action}}'' basically assured that the TV-MA rating is more or less a kiss of death for a network show and there has never been an attempt by the Big Four since for a truly adult-aimed comedic series. It's a different story on cable, where less restrictive rules allow for more creative freedom.
* The failure of ''Pablo y Andrea'' (2005) caused Televisa to stop producing telenovelas aimed at children. By the time that telenovela came out, most of the target audience had 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. The 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 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 Keenan Ivory Wayans Show'' and ''Vibe'' a season prior) 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 fans and critics. ''Series/{{Torchwood}}'' was already a divisive show seeing as it was a more adult-oriented spin-off from the (generally) family-friendly ''Series/DoctorWho'', but added {{Americanitis}} in addition to Jack Harkness and Gwen Cooper being reduced to a side-story in their own show and an unnecessary RomanticPlotTumor with Jack having a new boyfriend didn't help matters either. The negative reception of the show was also enough to put ''Torchwood'' as a whole on hiatus, and its future remains uncertain (it can't have a FullyAbsorbedFinale in ''Doctor Who'' due to its adults-only nature, especially after all this time, but it's not popular enough to warrant closure on its own).
* Creator/{{MTV}}'s BoyBand spoof ''2ge+her'' arguably struck one of the first blows in the slow death of MTV itself by exposing a number of cynical tropes about how their flagship music program, ''Total Request Live'', operated in the late '90s/early '00s. Website/YouTube also killed off their original flagship tradition of showing music videos on the channel. After all, why watch MTV in the hopes that some particular music video will play on it when you can go straight to it online?
* [[http://www.escapistmagazine.com/articles/view/moviesandtv/columns/highdefinition/12756-Remembering-Comedy-Central-s-The-Colbert-Report This article]] by Creator/BobChipman argues that ''Series/TheColbertReport'' killed off the PompousPoliticalPundit TalkShow by parodying its form and style so effectively that it became impossible (especially for younger Gen-X and millennial viewers) to take seriously anymore. While ''Series/TheOReillyFactor'', the main show that Creator/StephenColbert was parodying, remained on the air for more than two years after ''Colbert'' ended, 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 comparatively younger faces of the network (like Greg Gutfeld, Kimberly Guilfoyle, and Tucker Carlson) largely eschew the style. Glenn Beck's 2011 departure from the network followed by O'Reilly's firing in 2017 only furthered this trend. The comparatively low-octane panel discussion show "The Five" now occupies one of the network's key primetime slots, while Sean Hannity remains the sole surviving "old school" blustery host — and even ''his'' future has been the source of much speculation.
* ''Series/TheOfficeUK'', ''Series/{{Extras}}'' and ''Series/TheThickOfIt'', while not outright killing the classic BritCom format, made them seem like quaint relics of the 1960s and '70s, and resulted in critics generally losing respect for the classic style. Fewer and fewer of them have been produced as the 2000s and 2010s have progressed, and some are predicting that the horribly-received ''The Wright Way'', made by Brit Com mainstay Creator/BenElton, may prove to be the final nail in the coffin for it as an art form, with the few holdouts (most notably ''Mrs. Brown's Boys'') being critical failures, regardless of how popular they can be. Beyond the U.K. they're even deader: Cable networks/blocks like BBC America, Comedy Central, and Adult Swim used to import/rerun popular British sitcoms and sketch comedy shows regularly, but completely gave up on them in TheNewTens. BBC America hasn't had any comedies on their schedule in years, preferring to focus on ''Series/TopGear'', ''Series/DoctorWho'', dramatic series/miniseries, documentary shows, and ''The Graham Norton Show''. (The last time they aired a British comedy series in any capacity was an after-hours run of the final season of ''Series/TheThickOfIt'' in 2015 -- and only because [[Creator/PeterCapaldi the lead actor]] went on to topline ''Doctor Who''.) PBS still imports a few comedies, such as ''Moone Boy'' and ''Vicious'', but none have received substantial critical attention or ratings.
** However, some British comedies get a cult following in the US if they are available on Netflix or Hulu.
* 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 all the phone-in game show formats that exist, allowed één, who already did not permit phone-in game shows on their own network, to have so much control over the phone-in game show format that Medialaan, the only company that aired those type of shows, was forced to cancel 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 the entire phone-in game show genre there, to the point that some people think that the genre is banned in Belgium.
* Soap operas may be popular in the US, the UK, Latin American and Asian countries among others, but one country they'll never be popular in is Canada, thanks to the 2000s notorious flop ''Train 48''. The show was an attempt at persuading networks in Canada to have their own soaps, however the show was, reception-wise and production-wise, a disaster. The show was a loosely-based remake of popular Australian improvised dramedy ''Going Home'', which was about a number of commuters chatting about popular topics at night on a commuter train.\\\
The show had an admittedly novel production concept - the show would be (sort-of) written, filmed, edited and broadcast all in the same day, on an actual replica train traveling from Toronto to Burlington, with improvisation by the actors. This probably would have been a good idea had anyone had a clue what they were doing. The actors clearly had no idea how to make the improv flow, and the discussion topics were both incredibly dull, and inaccessible to people who had no idea what they were talking about. The show also had gotten criticism for its poor audio mixing (the actors couldn't even be heard at times over the trains' loud engines) and {{Jittercam}} (which did get better as the show neared its end, but not by much). When the writers heard about these criticisms, they attempted to spice things up in 2005 by bringing in comedy (which predictably failed - one such case was a mother being fooled into thinking the video game ''Halo'' [[WhatDoYouMeanItsNotForKids was a game about catching angel halos]]), "dramatic" storylines about outlandish concepts like a snake getting loose on the train, or someone getting shot, or hostage threats - none of these worked and after 2 years, the show was abruptly halted in 2005 due to an increasingly poor reception and ratings. Another criticism was that the show never made it clear where people were going, so the final scene showed the characters getting off the train in Burlington.\\\
The poor ratings (the show was featured in the 7:30 death slot too - this was before digital cable and satellite with "Eastern time channels" were more popular), production costs of $45,000 per episode, and awful reception not only killed the idea as a whole, but also convinced some networks to drop their airings of American or British soaps too, and the show is seen as one of the worst Canadian TV shows of all time.
* ''Franchise/PowerRangers'' was such a success that no other American tokusatsu adaptation has been able to get too far off the ground. Usually they just end up viewed as rip-offs.
* [=VH1=] released a host of popular "celebreality" dating shows in the mid- to late 2000s, starting with ''Series/FlavorOfLove'' (itself a spin-off of a spin-off), which ran for several seasons, and the next most popular series, ''Series/RockOfLove'', where contestants would compete to date celebrities Flavor Flav and Bret Michaels, respectively. Popular losing bachelorettes from those shows ended up getting their own dating shows such as ''Series/ILoveNewYork'', ''Daisy of Love'', and ''Megan Wants a Millionaire,'' and losers from ''those'' shows even got their own spinoffs (''Real Chance of Love''). Popular contestants from ''Flavor of Love'' and eventually ''Rock of Love'' would end up on ''Series/CharmSchool'', while all contestants were eligible to compete for money on ''Series/ILoveMoney''. Though spin-offs kept multiplying, the genre itself was already suffering -- not only were ratings dipping lower as viewers started losing interest in Z-listers whose only claim to fame was being in a genre perceived as seedy and trashy, but many felt the channel was oversaturated with spin-offs, as well as the fact that the scripted nature of the apparent "reality" series, though always apparent, was getting more and more obvious. The death blow to the "celebreality" genre came at the close of the decade with a contestant named Ryan Jenkins, who was a competitor in ''Megan Wants a Millionaire'' and won the third season of ''I Love Money''. Jenkins' [[https://en.wikipedia.org/wiki/Death_of_Jasmine_Fiore wife Jasmine was found dead]] with Jenkins the only suspected killer; he committed suicide while attempting to flee. [=VH1=] quickly pulled the plug on the remaining episodes of ''Megan'' and cancelled ''I Love Money'' without showing Jenkins's winning season, broadcasting only the already-filmed fourth season after a year. All future celebreality projects were shelved, including the third season of ''New York'' and future seasons of ''Flavor'' slated for the following year. The passing of time and the shock of the violent incident chilled most interest in the genre, and [=VH1=] has toned down reality programming in general to this day, with most of the celebreality contestants, the majority of whom failed to achieve fame outside of [=VH1=], fading into obscurity.
* In the Philippines, celebrity gossip talk shows used to be dominate the weekend afternoon time-slots and was a favorite pastime for celebrity-obsessed viewers. However on the midst of social networking where many Filipinos would rather read gossip news online and many celebrities discuss their views on their social media accounts, these gossip talk shows slowly lost their purpose. As a result, the longest-running talk shows such as ABS-CBN's ''The Buzz'' and GMA Network's ''Startalk'' ended up cancelled and the afternoon weekend timeslots are filled for Tagalog-dubbed movies instead.
* The low sales of ''Series/TheNoddyShop'' merchandise and VHS tapes[[note]]which was mainly because the characters in the toy store framing device, who were the most popular characters amongst kids and not Noddy himself, were not given any merchandise and the segments weren't released to video like its predecessor ''Series/ShiningTimeStation''.[[/note]] as well as the target audience finding the puppet segments framing ''WesternAnimation/{{Caillou}}'' boring two years later killed off children's series that used [[FramingDevice framing devices]] to sandwich foreign shows together in order to make them more marketable to Americans.
[[/folder]]

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

[[folder:Radio]]
* The "Golden Age of Radio" naturally ended with the rise of television during the early 1950s. In 1952-53 ''Amos 'n' Andy'' was the top show on the air with a 14.2 share; the following season, ''People Are Funny'' reached the top spot with a paltry 8.4 share, coinciding with the moment more than half of all U.S. households had a TV.
* The television series ''Series/HarryEnfieldAndChums'' is credited with killing off an entire genre of radio presenting with its "Smashie and Nicey" sketches about two ageing Boomer music radio [=DJs=] with dated musical tastes constantly reeling off the same tired, clichéd patter. In 1993-4, a new regime at Creator/TheBBC's Radio 1 promptly sacked many older [=DJs=] who were considered to have been potential targets of the parody. Enfield and Paul Whitehouse themselves later said that they hadn't intended the parody so aggressively and were sad to think that it might have contributed to people losing their jobs.
[[/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 ''Theatre/MissSaigon'' proved a huge international success later in 1991, it was the last megamusical to do so. Subsequent megamusicals are mostly limited to European and sometimes Asian runs -- though the production values and budgets of such shows as ''Theatre/TheLionKing'', ''Theatre/{{Wicked}}'', and especially ''Theatre/SpiderManTurnOffTheDark'' occasionally compare to those of the megamusicals.
* The onstage mauling of Roy Horn by a white tiger at Siegfried & Roy's Las Vegas show in 2003 effectively killed the use of wild animals in StageMagician shows and circuses. It had already been falling out of favor since the '90s due to the rise of upscale, purely human-focused, acrobatic circuses in the vein of Creator/CirqueDuSoleil and protests by animal rights groups, but this incident marked the turning point. By the '10s, the Ringling Bros and Barnum & Bailey Circus (the last traditional circus in the Northern Hemisphere) would announce plans to phase out their iconic elephants, a decision that, combined with other factors, killed it by 2017.
* Up through the 1980s, Las Vegas showrooms were dominated by {{Variety Show}}s in the mold of Paris' Foliés Bergére, alternating beautiful, scantily-clad showgirl routines with a hodgepodge of variety acts that ranged from celebrity impersonators to comedians to Rat Pack-style singers 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 rather outdated approach of older shows lost its luster quickly, Cirque brought even more spectacular productions to other Vegas showrooms in subsequent years, and the classic format died for good when ''Jubilee!'', which opened in 1981, closed in 2016. Newer attempts at "Vegas-style" shows are really straightforward variety showcases -- they might bring out showgirls for a few numbers, but as equals to the acts that once played second fiddle to them at best and as window dressing at worst.
* Back in the 18th century, ballet was a very popular form of court entertainment, particularly in France, where royalty codified it through such standards as the five positions of the arms and feet, around which the whole art form revolves, and it was also used as a measure of human strength, itself still true to an extent today. Then the French Revolution happened, and suddenly ballet found itself out of fashion to the point where it was a common subject of mockery directed towards the excesses of the recently-deposed ruling class. Only in the Romantic period did ballet experience a GenreRelaunch, and only after the [[{{Pun}} rise]] of pointework, spearheaded by the great Marie Camargo, and the creation of ballets with fantasy elements such as ''Theatre/LaSylphide'' and ''Theatre/{{Giselle}}''.
[[/folder]]

[[folder:Video Games]]
* UsefulNotes/TheGreatVideoGameCrashOf1983 is called that for a reason: Caused chiefly by an [[SturgeonsLaw overabundance of competitors]] in a fledgling market and competition from superior micro-computers,[[note]]the [[{{Misblamed}} much maligned]] ''Pac-Man'' PortingDisaster and ChristmasRushed ''E.T.'' game were merely [[TheLastStraw final straws]] by comparison,[[/note]] it killed the home console market in the United States for about two years. Perhaps more importantly, it effectively wiped out North American game/console development, to the point where it took over two decades to fully regain the ground that had been lost to Japanese competitors. There wasn't a successful game console from an American company between the UsefulNotes/{{Atari 2600}}, which died around 1983, and the Microsoft UsefulNotes/{{Xbox}}, released in November of 2001, ''eighteen years'' later. That's how badly it crashed.
** When Creator/{{Nintendo}} debuted the UsefulNotes/NintendoEntertainmentSystem in 1985, they bundled it with a light gun and [[VideoGame/RoboticOperatingBuddy battery-operated robot peripheral]] primarily to disguise the fact that it actually was a ''video game'' console. [[CrazyEnoughToWork It worked]].
-->[[Webcomic/PennyArcade "You know what? Fuck off. Everyone's always bringing up that fucking robot."]]
** In the UK, meanwhile, it didn't even make as much impact as two years. Brits started using eight bit microcomputers as the main way of playing home videogames in 1982, which would last until the late 80s/early 90s when consoles started taking off (with the Megadrive and SNES).
* After the roaring success of ''VideoGame/SuperMario64'' in 1996, the platformer genre tried hard to [[FollowTheLeader play follow-up]] and suddenly almost every platformer coming out had to be a collect-a-thon. Despite the trend resulting in some classics like ''VideoGame/BanjoKazooie'' and ''VideoGame/SpyroTheDragon'', the genre quickly wore out its welcome on one simple fact--all of the imitators [[ShallowParody only copied the collection aspects]] of ''Mario 64'' as opposed to the expressiveness of Mario's versatile moveset, which could be utilized whenever the player wanted, but more importantly were never truly required to complete puzzles. But the straw that broke the camel's back is generally considered to be Rare's ''VideoGame/DonkeyKong64'', which took the collect-a-thon formula and cranked it UpToEleven with not only 200 Golden Bananas to collect, but hours upon hours of backtracking to collect more items and ''ridiculously''-specific moves often only usable for a single puzzle. Despite being a smash hit in sales, it managed to turn most people off of the already oversaturated genre. Many of the subgenre's pioneers proceeded to abandon it: the ''Spyro'' series eventually abandoned the collect-a-thon format in ''VideoGame/TheLegendOfSpyro'' and ''VideoGame/{{Skylanders}}'' revivals. ''[[VideoGame/JakAndDaxterThePrecursorLegacy Jak & Daxter]]'' started off in this formula, but [[GenreShift quickly turned]] into a third person shooter/platformer with little to no collecting from ''VideoGame/JakIIRenegade'' and on. And finally, the ''[[Franchise/SuperMarioBros Mario]]'' series gradually phased out the exploration in favor of more linear designs and fully embraced the formula of the 2D games with ''[[VideoGame/SuperMario3DLand 3D Land]]'' and ''[[VideoGame/SuperMario3DWorld 3D World]]''. To date, the only holdouts of the Collect-A-Thon are ''VideoGame/YookaLaylee'' and ''VideoGame/AHatInTime'', which are both deliberate homages to those kind of platformers. Eventually, ''VideoGame/SuperMarioOdyssey'' had Mario revisit the exploration of ''64'' to wide acclaim and sales, while also taking steps to modernize the experience with several new gimmicks and quality-of-life features to make it more compelling. Only time will tell if other 3D platformers will follow its example.
* The Anthropomorphic MascotWithAttitude platformers started petering out after ''VideoGame/{{Bubsy}}'' and the ''VideoGame/{{Battletoads}}'' dipped their toes into [[AnimatedAdaptation the world of multimedia franchising]] and [[WesternAnimation/{{Bubsy}} saw incredibly]] [[WesternAnimation/{{Battletoads}} disastrous results]]. When Bubsy subsequently crashed into the PolygonCeiling, the resulting backlash more or less exterminated every radical mascot that was not the {{Trope Namer|s}} Franchise/{{Sonic|TheHedgehog}}.
* ''VideoGame/FreeSpace 2'' destroyed the space shooter genre born of ''VideoGame/{{Elite}}'' and popularized by ''VideoGame/WingCommander''. It was not the fault of the game itself, which most critics consider the height of the genre and for which fans are ''still'' putting out new content both graphical and gameplay,[[note]]A common joke among fans of the game is that the reason it killed the genre was because it was so good that there was no point in making any further games: perfection had been achieved.[[/note]] but rather, how poorly it performed ''commercially'': its initial sales were so bad that the genre was assumed dead and further development was halted, which most attributed to Interplay's ([[InvisibleAdvertising lack of]]) marketing. Attempts were still made to revive the genre, such as 2000's ''VideoGame/TachyonTheFringe'' having Creator/BruceCampbell for its main character and gameplay additions like lateral thrusters, which was also featured in 2001's ''VideoGame/IndependenceWar2'', as well as games considered staples of the genre like ''VideoGame/{{Freelancer}}'', the ''[[VideoGame/{{X}} X-Series]]'', or ''VideoGame/{{Oolite}}'' (in and of itself a FanRemake of ''Elite''), but for a long while the genre was never able to reach the levels of popularity it had seen while ''Elite'' or ''Wing Commander'' were still going strong.\\
\\
Thankfully, the advent of Kickstarter and other crowdfunding websites has seemingly restarted the genre, with games like Chris Roberts' ''VideoGame/StarCitizen'', ''VideoGame/EliteDangerous'', and other games like ''VideoGame/StrikeSuitZero'' leading the charge.
* The unfortunate retail failure of ''VideoGame/UnrealTournamentIII'', backed up by many freeware first-person shooters, has led to the end of commercially released fast-paced deathmatch-centric shooters as the ''VideoGame/{{Unreal}}'' and ''VideoGame/{{Quake}}'' series, in place of team-based and/or "tactical" shooters like ''VideoGame/CallOfDuty''/''VideoGame/ModernWarfare'', the ''VideoGame/{{Battlefield}}'' series, and ''VideoGame/Left4Dead''. ''VideoGame/TeamFortress2'' is one of the few "Quake-like" games released in recent years, and while it is still being supported and heavily-played, it was actually first released in 2007; most everything else in its vein that has come out since ''[=UT3=]'' has been free-to-play (''[=TF2=]'' three years after its initial release, ''VideoGame/UnrealTournament4'') or an update on a classic game (''Quake Live''), alongside the rare [[GenreThrowback nostalgic throwback]] (''VideoGame/{{Strafe}}'', ''VideoGame/{{Dusk}}'').
** It could also be said for true tactical shooters in the vein of the older ''VideoGame/RainbowSix'' and ''VideoGame/GhostRecon'' games, the ones with planning and stealth as major elements where the slightest muckup led to the death of your squad, due to the line being blurred between the aforementioned team-based shooters and the "true" tactical ones taking on more actionized elements. Attempts to bring the genre back have had limited success at best, with only an actual ''Rainbow Six'' game in the vein of its predecessors, ''[[VideoGame/RainbowSixSiege Siege]]'', being particularly well-received (and even it had a rocky start); other attempts marketed as being in the spirit of those games, like ''VideoGame/TakedownRedSabre'', have met with near-universal negative reactions, mostly due to bad gameplay and [[ObviousBeta little polish]].
** 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}} sold ''Rock Band'' developer Harmonix for '''[[http://latimesblogs.latimes.com/entertainmentnewsbuzz/2011/01/viacom-sold-harmonix-for-50-saved-50-million-on-taxes.html 50 dollars]]''' and Activision briefly pulled the plug on future ''Guitar Hero'' games, and other developers, having bled money from their endeavors, have gotten out of the market. Due to its different audience and "real guitar" street cred, ''VideoGame/{{Rocksmith}}'' seems to be the last man standing. It took five years after their "final" release (or two, considering that ''Rock Band'' DLC had still gone on until 2013) for the two main competitors to come back to the market for the eighth generation, via ''Rock Band 4'' & ''VideoGame/GuitarHeroLive'', the latter of which completely overhauled its guitar controller and outright abandoned the bass guitar & drums. Lukewarm sales, however, suggest that even for the creative strides these games took to distance themselves from their predecessors, it's still for nothing. Activision disliked how the new ''Hero'' game did on the market to the point that they sold the studio that developed the game to Ubisoft, the publisher of the aforementioned ''Rocksmith''. Talk about ironic.
** Dance-based Rhythm Games still hold popularity however. The ''VideoGame/JustDance'' series may have been instrumental in killing off the once mighty ''Guitar Hero'' and ''Rock Band'' games. They were a less-expensive alternative, since they didn't require extra peripherals to play (unless you count the non-Wii versions which required a motion control sensor, but it's still cheaper). Also, its casual appeal due to its use of both modern and classic pop songs, not just strictly rock, was part of the why it largely supplanted ''Guitar Hero'' and ''Rock Band'' as the go-to game for parties.
* The FourX RealTimeStrategy subgenre was killed off when ''VideoGame/EmpireEarth'' screwed up with its third installment and ''VideoGame/AgeOfEmpires'' went bust with Ensemble closing down. Note that Ensemble going bust was ExecutiveMeddling by Microsoft, who shut them down after they cranked out nothing but successful games.
** ''VideoGame/SinsOfASolarEmpire'' revived the genre a bit, but it's one of the few notable releases and it came out in 2008.
* The Tycoon genre died when ''VideoGame/RollerCoasterTycoon'' title owner Frontier Developments was sued by Chris Sawyer, coupled off with many other famous companies which made such games going bust.
* The execrable UsefulNotes/WorldWarII FPS ''Hour of Victory'' seems to have killed off WWII shooters, with the only noticeably successful ones since ''VideoGame/CallOfDutyWorldAtWar'' coming out nearly a full decade afterward, like ''VideoGame/DayOfInfamy'' and the free-to-play ''VideoGame/HeroesAndGenerals''. However, it should be noted that the market had been absolutely saturated with WWII shooters for about a decade by then and the major franchises had shifted to a modern setting (''World at War'' was itself the final WWII-based ''Call of Duty'' game, made mostly as a fall-back because Activision [[ItWillNeverCatchOn was convinced the modern-day jump wouldn't stick]], and ending up only really noticed because of [[VideoGame/CallOfDutyZombies Nazi Zombies]]). Also, most of the damage was focused on games that follow the historical battles of the war; AlternateHistory-type games with plots that haven't been seen (or, for that matter, read about in your history class) a million times before, like ''VideoGame/SniperElite'' and ''VideoGame/{{Wolfenstein}}'', have still been going strong (the former helping itself by [[VideoGame/ZombieArmyTrilogy jumping on the zombies bandwagon]]).
* ''VideoGame/CallOfDuty'' can itself also be linked to the death of WWII shooters and the shift to modern/near-future settings, due to the extreme popularity of the ''VideoGame/ModernWarfare'' sub-series - nearly every shooter released since ''Call of Duty 4'' has been, in effect, [[FollowTheLeader a Call of Duty 4 clone.]] And now even the ''Modern Warfare'' style MMS [[note]]Modern Military Shooter, although in some cases (namely, those where the Russians aren't the bad guys again) one might be tempted to call it Muslim Murder Simulator[[/note]] craze seem to be dying down and moving towards 'near future'/sci-fi territory with ''VideoGame/CallOfDutyAdvancedWarfare'' and ''VideoGame/{{Titanfall}}''. Arguably, the combination of ''VideoGame/MedalOfHonor Warfighter'''s failure, rising sentiment against the US military's involvement in the Middle East, {{deconstruction game}}s such as ''VideoGame/SpecOpsTheLine'', and a backlash from gamers towards obviously-derivative modern day shooters, has led to this shift in subject. [[HereWeGoAgain And now the near-future movement of games are gaining some serious backlash]] with ''VideoGame/CallOfDutyInfiniteWarfare'', leading to the entry after that [[VideoGame/CallOfDutyWWII returning to World War II]].
* The PointAndClick genre in its inventory management form was practically killed off by the success of ''VideoGame/{{Myst}}'', and was only recently revived via digital distribution as well as the serial format. The failure of the [[AcclaimedFlop critically praised]] ''VideoGame/GrimFandango'' in 1998 was seen as the final nail on the coffin for the genre, even though ''VideoGame/EscapeFromMonkeyIsland'' was released two years later – albeit with considerably less acclaim than prior ''Monkey Island'' games.
** An alternative theory as to what killed point-and-click adventure games is presented by [[http://www.oldmanmurray.com/features/77.html this article]] on Website/OldManMurray - they filled themselves with so many [[MoonLogicPuzzle contrived and illogical puzzles]] that [[GuideDangIt no rational human being could conceive the answer to on their own]] that they effectively committed suicide by driving away their own playerbase.
** Creator/TelltaleGames reinvigorated the genre with episodic decision-and-story-focused adventure games like ''VideoGame/TheWalkingDead'' and ''VideoGame/TheWolfAmongUs'', though at the cost of decreased production on traditional moon-logic style adventure games like ''Sam and Max''.
* ''VideoGame/ResidentEvil4'', while highly successful and acclaimed both in its time and now, has been [[http://www.gamespot.com/resident-evil-4-hd/videos/great-games-terrible-legacy-resident-evil-4-6402604/ blamed]] for killing, or at least hastening the demise of, the SurvivalHorror genre in the '00s. This is largely due to its status as the FranchiseOriginalSin for the ''Franchise/ResidentEvil'' series, introducing many shooter-esque gameplay elements that would take over later games in the series, which other survival horror series would copy until, by TheNewTens, most "horror" games were basically action shooters with creepy-crawlies and gothic atmospheres. However, [[VideoGame/ResidentEvil7Biohazard the seventh game]] as well as ''VideoGame/{{PT}}'' (albeit [[VideoGame/SilentHills its full game]] being canned) and several indie productions (notably ''VideoGame/AmnesiaTheDarkDescent'' and ''VideoGame/{{Outlast}}'') seem to be making a movement of harkening back to the genre's roots.
* 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[[note]]it got to the point that Capcom famously sued Data East over their ''VideoGame/FightersHistory'' game, which they saw as plagiarism of ''SFII'', but Capcom lost simply because the ripped-off elements were considered ''scenes a faire'' (i.e. '''commonplace''' to the genre - emphasis ours)[[/note]]. Game mechanics we take for granted nowadays such as being able to attack before completing a walk cycle, having all of your basic moves available from the outset, lack of stage obstacles or crowd interference, or even just being able to jump high into the air, weren't always standard features of fighting games. Today, it's considered noteworthy if a fighting game breaks just two or three of the rules that ''SFII'' placed down, such as ''VideoGame/{{Bloodstorm}}'', ''VideoGame/{{Divekick}}'', and ''VideoGame/{{ARMS}}''.
* Traditional base-building RealTimeStrategy games were killed by a pair of independent factors:
** The more immediate hit was the release of Relic's ''TabletopGame/{{Warhammer 40000}}: VideoGame/DawnOfWar'' and ''VideoGame/CompanyOfHeroes'', which shifted RTS games from the traditional focus on strategy and base-building to focusing more on tactics, with emphasis on unit survival and micromanaging. It's telling that even ''VideoGame/CommandAndConquer'', one of the progenitors of traditional base-building RTS games, ended with [[VideoGame/CommandAndConquerTiberianTwilight a tactics-based game]] rather than [[VideoGame/CommandAndConquerRedAlert3 a strategy-based one]].
** The other hit took longer for its effects to be noticeable, but did more permanent damage - and, ironically, it was the release of one of the most preeminent games in the genre, ''VideoGame/WarCraft III'', which came with a robust map editor that lead to the invention of the MultiplayerOnlineBattleArena. While early MOBA-like concepts appeared in the ''VideoGame/StarCraft'' custom map, "Aeon of Strife," ''Warcraft''[='=]s addition of RPGElements like hero XP and items codified the fledgling genre. ''VideoGame/DefenseOfTheAncients'' became so popular that it spawned an entire new genre emphasizing micromanaging and tactics. As a result, the traditional RTS largely evaporated; in TheNewTens, with the end of both of the traditional RTS genre's progenitors (''Command & Conquer'' not seeing any attempts at a new game since 2013, ''Warcraft'' having long since shifted focus to [[MorePopularSpinoff the more popular and lucrative]] ''VideoGame/WorldOfWarcraft'') and the rise of ''VideoGame/Dota2'' as the most popular game on UsefulNotes/{{Steam}} for close to five years, the only traditional RTS releases of note have been [[UpdatedRerelease HD remakes]] of ''[=StarCraft=]'' and the first two ''VideoGame/AgeOfEmpires'' games, {{retraux}} games in the style of classic 90s ''C&C'' games, and the three parts of ''VideoGame/StarCraftII''.
* The day that ''VideoGame/RiseOfTheRobots'' was released is often cited as the moment when British gaming journalism died out. It was difficult before due to the massive oversaturation of video game magazines, which meant that they were all about hyping up the public for whatever game that would hit the store shelves, even if it was pretty bad. When a game that was DarthWiki/SoBadItsHorrible, led by the major gaming studio Time Warner Interactive, hit the store shelves, all British magazines that could make a review the day it came out were giving it high scores (Computer and Video Games rated it even as high as 92%) to be able to review the game before any other magazine across the country could get their hands on it, resulting in the game selling massive amounts of copies due to critics being unable to say anything even remotely negative about the game as that would mean that they would receive their review copies at a later date (Amiga Power, who gave the game a 5%, only got the game days after its release, and didn't get a review out until the January '95 issue two months later). After most readers realized that most magazines they were reading were saying that they should buy horrible products, you can expect that most readers stopped caring about what they had to say, resulting in the demise of many of them.
* ''Franchise/{{Pokemon}}'', for various reasons, has dominated the {{Mon}} genre so strongly it has made it very difficult for any other works in the genre to achieve mainstream popularity or sometimes even get made at all. Some, such as ''Franchise/{{Digimon}},'' are even assumed to be ''copying Pokémon'' by ''[[InsaneTrollLogic the mere name]]'' due to the public's lack of awareness that it's a genre that existed before ''Pokémon,'' not something pioneered by it.
** Averted with ''VideoGame/YokaiWatch'', which has quickly become a massive competitor to the Pokémon games, both of them leading weekly sales charts for months after they come out and has created a comparably large multimedia and merchandising empire -- [[AmericansHateTingle in Japan]]. Outside of Japan, however, this is closer to a straight example where, while managing to avoid accusations and the resulting stigma of being a ''Pokémon'' ripoff, ''Yo-Kai Watch'' has failed to gain any popularity above a CultClassic.
** The only other gaming aversion would be the ''Franchise/ShinMegamiTensei'' series and most of its spinoffs, which predated ''Pokémon'' and is considered the first successful franchise to use Mons, even if [[UnbuiltTrope it looks like a deconstruction]] compared to ''Pokémon''. Outside of ''Pokémon'', ''Yo-kai Watch'', and ''Shin Megami Tensei'', video game Mons series are few and far between and not known by most.
* The arcade racing genre suffered a decline in popularity and variety during the [[UsefulNotes/TheSeventhGenerationOfConsoleVideoGames seventh generation]], thanks to the commercial failures of ''VideoGame/{{Blur}}'' and ''VideoGame/SplitSecond'' (both of which lead to [[CreatorKiller the dissolution of their studios]]) as the industry shifted towards realism and how many [[ProductPlacement licenses]] they could get, which led to the dominance of ''VideoGame/{{Forza}}'' and ''VideoGame/GranTurismo'' as the go-to racing games. In the [[UsefulNotes/TheEighthGenerationOfConsoleVideoGames eighth generation]], only the fan favorite ''VideoGame/MarioKart'' and ''VideoGame/NeedForSpeed'' series remain active.
* The UsefulNotes/{{Kinect}} is widely seen as having killed motion controls for mainstream use, thanks to the glut of shovelware, technical issues, and games that barely worked plaguing the peripheral from its debut onward. At the time of the UsefulNotes/NintendoWii's launch, motion controls were seen as the future, and both Sony and Microsoft moved to quickly copy the idea with the Kinect and the [=PlayStation=] Move. Afterward, however, as people became aware of the technology's limitations and all three consoles' motion control peripherals became infamous for large amounts of shovelware, the phrase became something of a curseword, with both Nintendo and Sony heavily downplaying motion-control capabilities in the eighth generation (Nintendo instead focusing on an evolution of the UsefulNotes/NintendoDS' touchscreen for the UsefulNotes/WiiU, Sony essentially {{abandon|Ware}}ing the [=PlayStation=] Move in the upgrade to the UsefulNotes/PlayStation4). The nail in the coffin was Microsoft - whose fanbase had overall been the loudest in trashing motion controls - seeing their place at the top from the seventh generation slip after releasing an initial version of the UsefulNotes/XboxOne that came with Kinect built-in, and then seeing their fortunes reverse upon deciding to release a version without the Kinect only six months later. That said, motion controls seem to have found a niche with virtual-reality games, which is the only place where they're still considered the way to play, enough so that Sony has started acknowledging the [=PlayStation=] Move peripherals again solely for use as PSVR controllers.
* While pachinko and pachislot spinoffs of video games have been a longtime industry that largely went without much backlash, Konami's gambling and parlor branch began marketing a new ''Franchise/{{Castlevania}}'' pachinko spinoff subtitled ''Erotic Violence'' along with a ''VideoGame/MetalGear Solid'' pachinko spinoff that used the iconic [[spoiler:final confrontation between Naked Snake and The Boss]] from ''VideoGame/MetalGearSolid3SnakeEater'' in its trailer. Both of these games massively tainted the genre, especially in the eyes of [[AmericansHateTingle Western]] fans of Konami's properties, effectively killing any and all good reputation the pachinko industry had, with all licensed pachinko games going forward, regardless of series or company, being met with virtually nothing but seething hatred. Both of the aforementioned pachinko spinoffs coming off the heels of other big-name Konami controversies certainly do not help the pachinko genre's reputation in the slightest.
[[/folder]]

[[folder:Western Animation]]
* The theatrical short cartoon was killed, not by television, but instead by the "Paramount case", which forced major studios to get rid of their theater chains. While cartoons were popular, they were unprofitable because of their short length, and by the late 1960s, the genre was in irreversible decline.
* According to Stan Sakai, the reason the animated series of ''[[ComicBook/UsagiYojimbo Space Usagi]]'' was never greenlit was because of the flop of ''ComicBook/BuckyOHareAndTheToadWars'', with which it shared a rabbit protagonist and sci-fi setting. Networks were apparently reluctant to touch any animals-in-space properties for years afterwards. The saddest part? WordOfGod of ''Bucky'''s publisher says that despite the show's ratings success, ''Bucky'' -- and thus the genre -- died simply [[http://web.archive.org/web/20100122222436/http://www.nealadams.com/bucklicens.html because]] of a toy shipment screw-up leaving stores with more [[http://tfwiki.net/wiki/Shelfwarmer shelfwarmers]] than "wanted" figures; ''Bucky'' was MerchandiseDriven, therefore it was cancelled.
* According to [[http://www.escapistmagazine.com/videos/view/the-big-picture/7825-Celebritoons this episode]] of ''[[Creator/BobChipman The Big Picture]]'', the BandToon and other animated shows designed to promote certain celebrities (such as UsefulNotes/MuhammadAli and Wrestling/HulkHogan) was killed off twice, first in TheEighties by the rise of MerchandiseDriven cartoons that were more lucrative for marketers, and again at the TurnOfTheMillennium by the rise of RealityTV offering a less expensive, more direct way for celebrities to promote themselves on television.
* For that matter, the merch-driven "half-hour toy commercial" style of cartoon that reached its peak in the 80s was itself killed for over a decade by the [[https://en.wikipedia.org/wiki/Children%27s_Television_Act Children's Television Act]] of 1990, which placed strong restrictions on the advertising content of shows aimed at children. It was only with the rise of cable television (which isn't covered by the law) in the TurnOfTheMillennium when shows designed to sell products to children became big again.
* The above two combined with changing tastes would eventually deliver the coup d'grace for the SaturdayMorningCartoon block: in 1991, Creator/{{NBC}} attempted to stay relevant with ''WesternAnimation/YoYogi'', [[FranchiseKiller whose flop]] made networks think that the whole concept of a cartoon block was a thing of the past. In 1992 NBC introduced a teen-based block anchored by ''Series/SavedByTheBell'' and a Saturday edition of ''[[Series/{{Today}} Weekend Today]]''. Other networks were slowly phased out their cartoon blocks over the next decade-and-a-half, while independent stations did the same to syndicated cartoons. The rise of kid-oriented channels on cable only accelerated this trend by the 2000s. After the "Nick on CBS" block ended in 2006, Saturday morning cartoons on network television became strictly edutainment fodder, before dying out entirely in 2016 in favor of [[http://deadline.com/2016/06/kids-tv-shows-saturday-mornings-fcc-loophole-advertising-1201774658/ cheap-to-produce live-action edutainment shows]] that exploit loopholes to allow for product placement and more advertising than would otherwise be allowed.
* ''WesternAnimation/FatherOfThePride'' killed off the potential for computer-animated shows for adults, which is now [[AnimationAgeGhetto strictly seen as a format for family entertainment]] while the more "adult" fare is almost always 2D animation. It would be a while before ''WesternAnimation/SausageParty'' would revive any ideas of CGI adult animation.
* The ''extreme'' unpopularity of ''WesternAnimation/JohnnyTest'' has seemed to have killed off most mainstream attempts in the "kid uses super science and gadgets to deal with everyday life" genre of cartoons that started with shows like ''WesternAnimation/DextersLaboratory'' and ''WesternAnimation/TheAdventuresOfJimmyNeutronBoyGenius''.
* Though it might have had more to do with the general public just being sick of this kind of cartoon, the low ratings and poor critical reception of ''WesternAnimation/{{Brickleberry}}'' made it the last of the [[AllAdultAnimationIsSouthPark aggressively politically incorrect animated shows for adults]] which got popular in the 2000s. As of this writing, only ''WesternAnimation/MrPickles'' is still running, and only on a strictly niche appeal.
* The monster successes of ''WesternAnimation/PAWPatrol'', ''WesternAnimation/DanielTigersNeighborhood'' and the post-2012 output of Disney Junior ended the use of FakeInteractivity in preschool shows. Now, most new preschool-aimed content tries to teach kids lessons without talking down to them.
* In UsefulNotes/TheGoldenAgeOfAnimation, a common plot was one in which everyday items came to life in a store after-hours and had adventures. This was particularly prevalent in the '30s, with Creator/FrankTashlin directing two of the most well-known cartoons of the type in 1937's ''Speaking of the Weather'' and 1938's ''WesternAnimation/HaveYouGotAnyCastles''. Then came the 1946 short ''WesternAnimation/BookRevue'', which, while not the first parody of the genre (Tashlin's aforementioned works are sometimes listed as parodies of it as well), was so ''thorough'' in mocking its conventions that it was impossible to take that sort of plot seriously anymore, and people stopped making them.
[[/folder]]

[[folder:Other]]
* ''Pinball/PopeyeSavesTheEarth'' destroyed the faith between manufacturers, operators, and players that {{pinball}} was completely reliant upon: Prior to that, operators would buy pinball machines sight unseen as they always made back their price in people playing them. ''Popeye'' was the first outright flop, for a lot of different reasons. Because the operators were bound by contract with Williams Electronics to not return these machines, ''Popeye'' became something of a Christmas fruitcake, passed around but unwanted by anyone. Afterwards, operators would either think twice about buying a pinball machine or stopped buying them altogether, and by the end of the decade, every pinball manufacturer had pulled out of the business. Pinball used to be mainstream, and ''Popeye'' turned it niche.
* Referenced in the ''WebOriginal/AngryVideoGameNerd'' review of ''VideoGame/StarWarsMastersOfTerasKasi'', where he blames the lack of ''Franchise/StarWars'' fighting games on the titular game, remarking it was so bad that it killed the genre for the series.
[[/folder]]
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