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

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

* A {{Deconstruction}} that successfully brings every single flaw and illogical element of a genre to the fore, {{discredit|ed trope}}ing any subsequent attempts to play them straight.
* A [[TheParody parody]] (even [[SoBadItsGood accidental]]) that makes it difficult to 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 throughly derivative.
* A work so ''[[SoCoolItsAwesome good]]'' that [[ToughActToFollow nothing else can live up to it]]. This is rare, since these usually just attract [[FollowTheLeader imitators]], but there's [[SturgeonsLaw only so many derivative works the audience may take]] before switching to something else.
* A MagnumOpus that might not be necessarily good but is guaranteed to become classic due to utterly exhausting the genre and [[DeadHorseTrope beating every single trope in it to death]], making it nearly impossible to create further works within the genre's constraints without being accused of {{Plagiarism}} or CreativeSterility.
* Any shallow attempts at the genre's {{Reconstruction}} that end up JumpingTheShark due to introducing new elements without rhyme or reason, [[TheyChangedItNowItSucks making the renewed franchise seem like a mockery of its former self]].
* A work from ''outside'' the genre that exposes some of a genre's {{necessary weasel}}s [[ThePennyfarthingEffect as not so necessary]].

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

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

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

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


* The original {{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 [[SpiritualSuccessor Spiritual Successors]] such as YoutubePoop follow Dadaist ideology to a T.
* Futurism was an artistic and social movement that originated in Italy and Germany in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture and even gastronomy. Unfortunately, both the Fascists in Italy and the Nazis in Germany found the Futurist movement to be subversive and outlawed it. Futurist artists were targeted, and most died in concentration camps. For extra black irony, many of the most prominent Futurists had been enthusiastic, or at least ambiguously positive, about Fascism and Nazism, at least until they started getting jailed and murdered. This retrospectively tainted the entire movement, and the survivors quickly found new art movements to be a part of. As a result Futurism was as dead as Julius Caesar by 1944. Nonetheless the ideals of Futurism remain as significant components of modern Western culture, especially in ScienceFiction.

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

[[folder:Comic Books]]
* ''ComicBook/{{Watchmen}}'' and ''TheDarkKnightReturns'' caused a period of DarkerAndEdgier comic books by starting a trend of comic-book {{deconstruction}} and killing off the idealistic SilverAge-type [[TheCape hero]] (until ''ComicBook/KingdomCome'' made it viable again). Alan Moore, 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.
* ''DeathMate'', the IntercontinuityCrossover between ImageComics and ValiantComics, killed the NinetiesAntiHero, many of the creative elements that led to the archetype, and [[UsefulNotes/TheGreatComicsCrashOf1996 one of its parents.]]

[[folder:Films - Animation]]
* This was the fate of TheRenaissanceAgeOfAnimation: the failures of ''TreasurePlanet'' and ''SinbadLegendOfTheSevenSeas'', combined with the success of ''WesternAnimation/ToyStory'' and ''WesternAnimation/{{Shrek}}'', began the rapid decline of 2D animation, culminating in ''WesternAnimation/IceAge''. Shortly after that movie debuted with the biggest March opening for a film in history, Disney announced that it would be shutting down the Florida branch of its animation studio, setting off a chain of events that led to Disney abandoning hand-drawn animation altogether just two years later. DreamWorksAnimation also quit traditional animation altogether, but in a much more immediate fashion than Disney did. A brief resurgence appeared in 2009 when Disney made a commitment to producing a traditionally-animated film every two years, with ''Disney/PrincessAndTheFrog'' and ''Disney/WinnieThePooh'' performing just about as well as expected at the box office (albeit not much better than that, [[Film/HarryPotterAndTheDeathlyHallows considering]] [[{{Rio}} the]] [[{{Hop}} films]] [[ScrewedByTheNetwork the latter was put up against]]). After ''Pooh'', Disney decided against ''Disney/{{Frozen}}'' being an animated 2D project and later had it animated in 3D CGI, and eventually laid off 10 animators from their traditional animated division. [=DreamWorks=] has been dabbling in traditional animation a bit by having some hand-drawn animated scenes for both WesternAnimation/KungFuPanda [[WesternAnimation/KungFuPanda2 and its sequel]]. As a result, it seems that audiences and companies are still reluctant to give traditional animation another go, at least for the time being.
** Creator/{{Disney}}'s ''Disney/ThePrincessAndTheFrog'' is something of a subversion, in that it signaled the end of Disney's 2-D animated films, but led to a major revival of their Franchise/DisneyPrincess films. Appearing in 2009, Tiana was the first new "canonical" Disney Princess since ''1998'' (when Disney/{{Mulan}} joined the list), but the character's popularity led to [[Disney/{{Tangled}} Rapunzel]], [[WesternAnimation/{{Brave}} Merida]], [[Disney/{{Frozen}} Anna and Elsa]] joining the official roster in quick succession. Though all four characters' films were CGI-animated, they marked a return to the epic fairy-tales that Disney is best known for.
** Going even further back, the failure of ''[[Film/TheRescuers The Rescuers Down Under]]'' at the box office (coupled with the success of both ''Disney/TheLittleMermaid'' and ''Disney/BeautyAndTheBeast'') led Disney to focus exclusively on animated musicals throughout the 1990s. While this worked out very well for them in the short term, in the long term it ended up allowing studios like {{Pixar}} and DreamWorksAnimation to step in and fill the gap of non-musical animated films, just as audiences were beginning to grow tired of the musical formula. Despite Disney abandoning musicals shortly thereafter, this still knocked them down from first to fifth in terms of American animation studios throughout the 2000s, and (as mentioned above) it wasn't until a decade later that they were finally able to regain the ground they had lost by going back to their old approach of alternating between musical and non-musical animated films.
* The FracturedFairyTale replaced the AnimatedMusical as the go-to story genre during the 2000s thanks to the success of 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 ''Shrek The Third'' came out, the market had become overcrowded with them. The (perceived) financial disappointment of ''Shrek Forever After'' in 2010 (a year that otherwise saw a rather successful resurgence of [[WesternAnimation/ToyStory3 more]] [[Disney/{{Tangled}} traditional]] [[WesternAnimation/HowToTrainYourDragon animated]] [[WesternAnimation/DespicableMe films]]) ended up turning other animation studios off of using the formula, and the box office failure of ''Hoodwinked Too! Hood vs. Evil'' in 2011 seems to have killed the genre off for good.
* The failure of ''MarsNeedsMoms'' resulted in the shut-down of Creator/RobertZemeckis's studio and with it, the death of full form motion-capture animation for at least a while (though SerkisFolk mocap animation for live action features is still very much alive).
* ''Literature/ThePlagueDogs'' is known for being one of the most depressing animated films ever made. The Western audience wasn't ready at all, so the concept of dark, almost entirely uncomedic animated feature films was pretty much shelved in the aftermath. It wasn't until the late Noughties until the concept found a revival with works such as ''Animation/WaltzWithBashir''.

[[folder:Films - Live-Action]]
* Not one film in particular, but the 2000s trend of remaking Asian horror films for Americans ended soon after 2008, which had no fewer than four movies of this type reach wide release - ''Film/OneMissedCall'', ''Film/TheEye'', ''Film/{{Shutter}}'', and ''Film/{{Mirrors}}''. While they turned a profit, all four were poorly reviewed (especially ''One Missed Call'', which has 0% on RottenTomatoes) and none were what you'd call big hits. This, combined with the fact that the found footage horror trend had started that year with ''Film/{{Quarantine}}'' and ''Film/{{Cloverfield}}'', killed off the subgenre (the last entry was January 2009's ''The Uninvited'').
* In a lesser-known, slightly older example, ''Film/ConanTheDestroyer'' and ''Film/RedSonja'' may well have been the films that killed Sword and Sorcery in media for quite some time; their predecessor ''Film/{{Conan the Barbarian|1982}}'', however, was a classic example of Sword and Sorcery brought to film.
* SeltzerAndFriedberg have been blamed for currently 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.
* 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.
** And killed again by Creator/RolandEmmerich's ''Film/TwoThousandTwelve'', for being so over the top, they once again can no longer be taken seriously.
* ''Film/{{Catwoman}}'', ''Film/{{Elektra}}'' and the second ''[[Film/LaraCroftTombRaider Tomb Raider]]'', killed off the idea of the [[ActionGirl female action protagonist]] in Hollywood cinema for quite a long time. (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 favour. The success of ''Film/TheHungerGames'' might help bring about a new era in the genre, however.
* ''Film/CutthroatIsland'' was an attempt to revive the swashbuckling adventure movie. Instead it just sunk it farther down into its grave, along with [[CreatorKiller Carolco Studios, the careers of]] [[StarDerailingRole almost everyone involved]], and (along with their other collaboration ''Film/TheLongKissGoodnight'') the marriage of star Geena Davis and director Renny Harlin. The genre was not exactly a thriving one at release, but this made sure no one would even attempt another shot at it. Even after the success of ''Franchise/PiratesOfTheCaribbean'', no one seems interested in pirate movies that don't belong to that franchise.
** ''Franchise/PiratesOfTheCaribbean'' is also 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, "JohnnyDepp isn't in it? Pass."
** About the only other pirate-themed franchise that's still doing well is ''Franchise/OnePiece'', [[ValuesDissonance albeit]] [[{{Shounen}} for different reasons]].
** And both ''Pirates of the Caribbean'' and ''One Piece'' have very heavy fantasy elements that make them rather different to the pure swashbuckler.
* TheWestern was a major film genre for decades, first in its "traditional" form and then in the revisionist "SpaghettiWestern" form. However, people predicted the death of the genre as early as TheSixties due to oversaturation in theaters and, more importantly, on television, courtesy of shows like ''Series/{{Gunsmoke}}'', ''Series/{{Bonanza}}'', and ''Series/TheRifleman''. Revisionists like Creator/SergioLeone and Creator/SamPeckinpah gave the Western a brief shot in the arm in the late '60s, only to see ''their'' approach soon copied to the point of exhaustion. And the rise of crime dramas like ''Film/DirtyHarry'' made the Western redundant, transplanting its tropes into a contemporary setting. It was in TheSeventies when it became clear that the Western was on its last ride, with notable landmarks including ''Film/BlazingSaddles'' in 1974 (the first commercially successful Western parody) and the death of Creator/JohnWayne in 1979.\\
However, the point cited by most film geeks and historians as the ultimate bullet in the genre's head was ''Film/HeavensGate'' in 1980. That film was such a BoxOfficeBomb that it [[CreatorKiller killed its studio and its director's career]], and Hollywood became very reluctant to release big-budget Western films for several years afterward. Even successful {{reconstruction}} films like ''Film/{{Silverado}}'' couldn't jump-start the genre back to its original prominence. Almost all modern westerns now [[NewOldWest subvert some aspect of the genre]], such as ''Film/{{Unforgiven}}'', ''Film/BrokebackMountain'', ''Film/DjangoUnchained'',and the remake of ''Film/TrueGrit''. The catastrophic failure of the 2013 film version of ''Film/TheLoneRanger'' might well have killed the entire genre all over again.
* ''Heaven's Gate'' is also usually blamed for the end of the [[NewHollywood auteur films]] produced by Hollywood in the 1970s. Other flops, such as Steven Spielberg's ''Film/NineteenFortyOne'', Peter Bogdanovich's ''TheyAllLaughed'', Martin Scorsese's ''Film/NewYorkNewYork'' and Francis Ford Coppola'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 ''DaysOfThunder'' below).
* The film ''Film/HelloDolly'' had, for quite some time, the reputation of having killed the big-scale movie musical, as it was a flop for many years -- until re-couping its losses in the home video market.
** It was more the music than the form: either they had to feature catchy pop (''{{Grease}}''), become DarkerAndEdgier (''Film/{{Cabaret}}''), or both (''Film/SaturdayNightFever''). Probably the killing blow was struck by the old-fashioned ''Film/AtLongLastLove'', which also held to the long tradition of [[WTHCastingAgency hideously miscasting actors in musicals]].
** The late '60s were a bad time for musicals generally. This generally had to do with changing demographics: younger audiences went to the movies more, and traditional musicals skewed to the older crowd. First came ''Film/DoctorDolittle'' (1967), with its famously troubled production, critical panning and spectacle box office failure. Next year came Robert Wise's ''Star!'', conceived as a ''[[Film/TheSoundofMusic Sound of Music]]'' follow-up vehicle for Creator/JulieAndrews, which did as badly. 1969 saw the infamous ''Film/PaintYourWagon'', best-known for being spoofed on ''TheSimpsons''. Along with ''Dolly'', these films made old-fashioned musicals box office poison for a long time.
** The musical movie genre seem to at least partially recover in the early 2000s, with films like ''MoulinRouge'', ''{{Rent}}'', ''Film/{{Chicago}}'' being both critical and commercial successes, the latter of which actually won Best Picture that year. While musical movies are mostly Disney's turf now, a well-received musical movie still comes out every few years.
* The failure of ''TheWiz'' caused studios to give up on movies with mostly black casts for some time, outside of [[UncleTomFoolery comedies]], [[SaltAndPepper black cop/white cop pairings]], and "urban" dramas. The smash success of TylerPerry's films have helped Hollywood take more note of the African-American movie dollar.
** [[OlderThanTheyThink Long before Tyler Perry]], the 1988 EddieMurphy comedy ''ComingToAmerica'' helped bring back films with mostly black casts.
* The disastrous failures of ''Film/{{Cleopatra}}'' and ''The Fall of the Roman Empire'' killed the SwordAndSandal epic for over three decades, until ''Film/{{Gladiator}}'' [[PopularityPolynomial revived the genre]]. There have been a number of Roman and Greek-era action films in the following years.
** More generally, the historical epic largely disappeared after ''Film/RyansDaughter'' and ''Nicholas and Alexandra'' flopped in the early '70s. While occasional epics cropped up through the '80s and '90s (eg. ''Film/OutOfAfrica'', ''Film/{{Titanic}}'') they're now typically one-off events rather than the box office staple they once were.
* The twin failures of 2007's ''[[{{Hostel}} Hostel: Part II]]'' and ''Film/{{Captivity}}'' brought an end to the "TorturePorn" subgenre of graphically ultraviolent horror films. The ''Film/{{Saw}}'' series endured for a few more years as a FranchiseZombie, but the only other subsequent standalone theatrical release in the genre, 2009's ''The Collector'', played to empty theaters, and ''Hostel: Part III'' went DirectToVideo. ''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.
* The ''Franchise/JurassicPark'' films are an example of one series' smash success making it impossible for subsequent films to live up to it. No one has bothered to make a serious dinosaur movie since, and all films and video games that have happened to feature dinosaurs, have, without exception, contained conscious nods to the franchise. Even the American ''Film/{{Godzilla 1998}}'' film riffed on it in trailers, and featured suspiciously velociraptor-like chase scenes with baby Godzillas.
* The first ''Film/{{Scream|1996}}'' was an attempt to do this deliberately. Creator/WesCraven felt that the [[SlasherMovie slasher genre]] had grown tired and stale by the mid-'90s, and so he made a movie that picked apart and {{lampshaded}} the tropes of the genre, which he felt would make it impossible to take seriously anymore. Did it work? Well, there were three sequels and [[FollowTheLeader a host of copycat films]], so clearly, [[SpringtimeForHitler it didn't go as planned]].
* ''Film/{{Psycho}}'' and ''Film/BonnieAndClyde'' killed off many of the tropes associated with UsefulNotes/TheHaysCode, specifically with how violence was represented onscreen.
** ''Psycho'' killed an entire type of filmgoing: it's unthinkable now to just pay for a ticket halfway through a movie and catch the first half in the next showing, but people did it all the time. Until Creator/AlfredHitchcock made it a requirement to show up on time to see ''Psycho''.
** Many film historians also consider ''Film/{{Psycho}}'' to the be 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.
* ''Film/SchoolOfRock'', 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 ''HalfNelson'' and ''BadTeacher''). Recent attempts at reigniting the sub-genre (such as ''FreedomWriters'' and ''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/QuestForFire'' effectively killed the serious caveman movie by setting the bar so high that nobody could hope to compete.
** Also not helped by the not-serious-at-all ''Film/{{Caveman}}'' also being a success that year.
* ''Film/{{Chicago}}'' was supposed to revive the Hollywood musical. It has had a mixed impact.
** On the one hand, it nailed shut the coffin on old-style Hollywood musicals. ''Chicago'' has nothing but [[SourceMusic Diegetic Music]]: every musical number has an ''InUniverse'' audience, either through ShowWithinAShow or by framing the performances as fantasies inside Roxie's addled mind.
** On the other hand, it was the first musical to win Best Picture since ''{{Oliver}}'', showing that moviegoers still had patience for musicals, and has led to something of a revival. Additionally, it brought back the "backstage" musical, which we hadn't seen for quite a while. In the end, ''Chicago'' is simply the Movie Musical evolving into something new, and in that sense can be considered both a Genre Killer and a Genre Founder.
*** Marshall wasn't so lucky a second time however; his adaptation of ''Nine'' flopped critically and commercially, caused damage to the Weinstein Company, and killed off interest in the movie musical until 2012, when ''Film/RockOfAges'' (which didn't fare much better) and ''Film/LesMiserables2012'' (which did VERY well, but failed to win Best Picture) came out.
**** ''MammaMia'' (2008) was a huge hit - a slightly different genre, in that it's a JukeboxMusical - but certainly opened the door.
* The ThreeDMovie genre has been killed three times in the past six decades:
** The first culprit was ''The Moonlighters'', a forgettable Warner Western starring Barbara Stanwyck and Fred [=MacMurray=], in 1953. It didn't help that it had to compete against ''Film/TheRobe'', a flat classic in CinemaScope, during its run. The film did the least damage to the genre, though, as it only took ''Theatre/KissMeKate'' later that same year to put 3-D back on the map.
** The second culprit was ''Film/PhantomOfTheRueMorgue'', which was just as mediocre, if not moreso, than ''Moonlighters'' was. Its accomplice was ''Film/TheMadMagician'', a cheap ''Film/HouseOfWax1953'' clone involving stage magic instead of a wax museum, which did well at the box office but earned a sorry reputation. This time, though, the 3-D craze at the time went out not with a whimper, but a bang: the last classic '50s 3-D film, ''Film/RevengeOfTheCreature'', capped off this craze with a successful 3-D run, which still wasn't enough to save the craze.
** A third craze was ended nearly thirty years later by ''Spacehunter: Adventure in the Forbidden Zone'', a 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 ''[[TheAmityvilleHorror Amityville 3-D]]''.
** Since 2009, there have been numerous false alarms about the current 3D craze dying, brought about by the likes of ''WesternAnimation/BattleForTerra'', ''Film/ClashOfTheTitans'', ''Film/TheLastAirbender'', ''Film/TheNutcrackerIn3D'', and, most recently, ''Film/ConanTheBarbarian2011''. Despite all the rumours of the dying craze, though, it's still going on, having been kept afloat by 3D theatrical re-releases of several classic movies, including a couple of Disney animated features and a few Pixar movies. That said, studios have more of a vested interest in keeping 3-D around this time -- 3-D movies are much harder to [[DigitalPiracyIsEvil pirate]], a feature that the industry appreciates very much. Additionally, digital technology has greatly reduced the costs of producing 3-D movies.
** And now, for only the second time, it's been nearly thirty years since the last 3D craze had been shot down, and [[http://www.hollywoodreporter.com/thr-esq/disney-loses-court-battle-3d-642458 3D movies are once again in grave danger of going the way of the dinosaur, this time no thanks to a court ruling over 3D movie patents.]] [[HereWeGoAgain Yep, you probably know where this is headed.]] Earlier in the year and not long after acquiring the StarWars franchise, Disney cancelled the planned 3D re-releases of the entire StarWars franchise after the underperformance of the 3D re-release of ThePhantomMenace.
** However, it appears the current incarnation of 3D is finally to have entered in its death knell. The number of movies seeing a 3D release is down to 28 in 2014, and the failure of 3D television cuts off the valuable home video market. While 3D will still find a place in niche areas such as IMAX, its heyday in the wake of Film/{{Avatar}} is long gone.
* While ''{{Film/Showgirls}}'' wasn't enough to kill the career of screenwriter Joe Eszterhas, who did write a few more screenplays before finally being ruined by ''An Alan Smithee Film: Burn, Hollywood, Burn'' a few years later, it did kill any chance of an NC-17-rated movie being seen as anything more than porn to the mainstream movie-going crowd. ''The Dreamers'', ''Film/LustCaution'', ''Film/KillerJoe'', and ''Film/{{Shame}}'' are just a few recent attempts to put the adult film genre back on the commercial map, and while they were all fairly successful, their appeal was limited to the arthouse circuit.
* 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'', and their attendant impact on the film's profits, killed the kind of blatantly commercial "triumph" movies that producers Don Simpson and Creator/JerryBruckheimer had made so much money for Paramount with during the 1980s, films that were sort of a backlash against the [[NewHollywood auteur-era movies]] that had prevailed before ''Heaven's Gate''. Afterwards, studios would let directors assert themselves creatively again, and it's no coincidence that ''Days'' director Tony Scott's critical reputation improved over the course of the '90s.
* In addition to launching the CG Movie craze, the original ''WesternAnimation/ToyStory'' 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'', ''CampNowhere'', ''ThreeNinjas'', etc.) or placed kids in absurdly powerful positions and situations (''Film/CopAndAHalf'', ''Film/RichieRich'', ''Film/BlankCheck'', ''Little Big League'', ''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.
* The downfall of the Hollywood religious epic can be traced back to three factors, one of them immediate, one which took a few years to make its impact felt, and the other a more deep-seated cultural shift that went on for over a decade. The first was ''Film/TheGreatestStoryEverTold'', a 1965 AllStarCast production of Jesus' life that received mixed reviews and bombed at the box office, and is now best known for Creator/JohnWayne's narm-worthy [[OneSceneWonder cameo]] as [[http://www.youtube.com/watch?v=AejZxaYkekM one of the centurions at Jesus' crucifixion]]. The second was the fall of UsefulNotes/TheHaysCode in TheSixties, which removed a key justifying factor for religious epics -- they allowed filmmakers to get away with a lot more sex and violence than they would've been able to in a "secular" film, as they could respond to the Hays Office and MoralGuardians by claiming that they're trying to [[{{Bowdlerise}} censor]] Literature/TheBible. Finally, there was the rise of the Christian Right and the politicization of religion in the United States. This divided moviegoers into "secular" and "Christian" camps, each of which had their own, often mutually exclusive, demands for a religious epic, and also created the stereotype of Christian films as being {{anvilicious}} propaganda with poor production values.\\
Since then, there have been multiple attempted revivals of the religious epic, none of which have stuck so far. ''Film/ThePassionOfTheChrist'' was a massive hit in 2004, but that was financed entirely by Creator/MelGibson and not a studio; New Line's FollowTheLeader retelling of ''Film/TheNativityStory'' received a mixed reception despite a prime Christmas release window. While Creator/TheHistoryChannel's miniseries adaptation of ''[[Series/TheBible2013 The Bible]]'' was a smash success, and Website/IMDb lists a number of religious epics in the pipeline[[note]]A remake of ''Film/BenHur'', Creator/BradPitt as Pontius Pilate, and a Cain and Abel movie directed by Creator/WillSmith[[/note]], only time will tell if they're enough to bring back the genre. 2014's ''Film/SonOfGod'', a re-edit of ''The Bible'' miniseries, made a play for reviving epics on the big screen, but its very obviously low-budget production values and seemingly endless hype didn't make a strong case for it after the first weekend. ''Film/{{Noah}}'' opened at number #1 at the box office and seems to have gotten strongly positive reviews from critics, with the critics mostly being the extremely political Christian Right. Time will tell if ''Noah'' and the upcoming ''Exodus'' from RidleyScott will be enough to revive the genre.
** On a similar note, the sister genre of the modern religious thriller is close to a dead horse. Attempts to get more than a niche audience (''Film/TheDaVinciCode'') have had mixed success, and like the religious epic, have been undermined by the political climate. The next attempt is a big-budget film based on the ''Literature/LeftBehind'' series, to be released in 2014.
* ''Film/XXx: State of the Union'' ([[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. ''{{The Fast and the Furious}}'', the original ''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/SpeedRacer'' killed WB's plans for any future PG-rated blockbusters. It's even been stated that the film killed a proposed ''{{Shazam}}'' movie that was in the works at the time, in favor of DarkerAndEdgier superhero flicks like ''Film/TheDarkKnight'' and ''Film/ManOfSteel''. It's also telling that literally nobody expected ''Film/HarryPotterAndTheHalfBloodPrince'' to be rated PG... [[StatusQuoIsGod not that its success changed WB's mind about PG-rated blockbusters]].
* ''BasicInstinct2'', besides [[StarDerailingRole derailing]] Sharon Stone'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.
* If ''Film/{{Titanic}}'' created the very specific genre of "absurdly big budget love story used to chronicle a historical disaster", ''Film/PearlHarbor'' sure as hell ended it.
* The massive box office failure of ''Film/TheLoneRanger'' 2013 reboot film has caused many film studios to rethink their strategies concerning summer blockbusters. One of the most apparent victims is the planned 5th ''Franchise/PiratesOfTheCaribbean'' film, which has been delayed for at least another year. Disney in particular has vowed to limit the budgets of its own blockbusters that aren't part of the ''MarvelCinematicUniverse'' or ''Franchise/StarWars'' franchises.
* ''Film/BatmanAndRobin'' and ''Film/{{Steel}}'', both from 1997, are credited for being the reason why SuperHero films were a dead genre for the rest of the decade and some years after, and why all elements of camp were exorcised from the genre when the next generation of SuperHero films came around in the mid-2000s.
* As explained in [[http://twitchfilm.com/2011/03/how-the-pg-13-killed-the-films-it-was-meant-to-save.html this article]], the creation of the PG-13 rating 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''. However, the PG-13 rating divided "family" films into two ghettoes: PG became lumped in with [[AvoidTheDreadedGRating the G rating]] in both the popular consciousness and that of the MPAA (i.e. 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.
* 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/KingKong'', for one, was delayed in the wake of their failures. The modest successes of ''Film/{{Cloverfield}}'' and ''Film/PacificRim'' are credited with at least helping the genre regain some niche appeal, enough that a reboot of ''Film/{{Godzilla|2014}}'' hit theaters in 2014.
* [[http://bloody-disgusting.com/editorials/3291581/horror-isnt-doomed/ This article]] by Bloody-Disgusting makes the case that ''Film/ParanormalActivity 4'' and ''Film/TheDevilInside'' killed the {{found footage|Films}} horror film, at least within the mainstream. After ''[=PA4=]''[='=]s marked decline in quality compared to prior entries in the series, 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'' and ''Paranormal Activity: The Marked Ones'' 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'' have seemed to kill the anthology movie all together 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.
* ''Film/TheLongestDay'' started the cast-of-thousands war movie subgenre. The movie's mixture of realism, large-scale action and an AllStarCast made it a huge hit, and Hollywood started producing epic depictions of other historical battles. The genre remained extremely popular for the next decade, replacing the similarly lavish biblical and sword-and-sandal epics of the '50s. But audience interest gradually waned, until by the '70s most such epics flopped. Studios ignored warning signs, like the expensive failures of ''Film/ToraToraTora'' and Sergei Bondarchuk's ''Waterloo'', and kept green-lighting these movies even as box office take diminished.\\
Then came ''Inchon'' (1981), a KoreanWar epic bankrolled by Reverend Sun Myung Moon's Unification Church. Already a joke before release due to Moon's backing and its TroubledProduction, ''Inchon'' proved the final nail in this subgenre's coffin. Critics hated it, and it failed spectacularly, making back just $5,000,000 of a reported $45,000,000 budget. Since ''Inchon'', most Hollywood war movies focus on front line soldiers rather than a big picture view of specific battles. Due to cost and audience disinterest, the all-star approach is rarely revived today.
* In the 2000s, most romance movies, with the exception of ''Film/EternalSunshineOfTheSpotlessMind'' could be split into two camps: 1.) Lazy, pandering Rom Coms occupied by the likes of Creator/JenniferAniston and Katherine Heigl 2.) Overly weepy, melodramatic movies that [[FollowTheLeader copied]] ''Literature/TheNotebook''. It wasn't until ''Film/{{Bridesmaids}}'' came out and made the market for the first type dry up, and while straight examples of type 2 still somewhat exist, if only due to [[Creator/NicholasSparks Nicholas Sparks']] name recognition, it's commonly accepted that for most modern films that fall into latter category, you have to do something unique like [[Film/TheSpectacularNow making the guy a teenage alcoholic]] or [[Literature/TheFaultInOurStars making the guy and girl have cancer, but not letting that get in the way]] and [[Film/{{Her}} having the girl be an AI system]].

* ''Literature/DonQuixote'''s {{deconstruction}} of the ChivalricRomance, in which the main character (and [[KnightInShiningArmor the archetype he represented]]) is portrayed as insane and idiotic, is widely credited with helping to kill the genre. The genre was already in its death throes about a decade before Cervantes' novel, but it certainly dealt the final blow. Two hundred years later, Creator/LordByron complained in ''Literature/DonJuan'' that "Cervantes smiled Spain's chivalry away; / A single laugh demolished the right arm / Of his own country; — seldom since that day / Has Spain had heroes."
* ''Literature/MadameBovary'' by Creator/GustaveFlaubert deconstructed romantic fiction archetypes, helping to end the era of romanticism in fiction and making way for realism.
* UsefulNotes/WorldWarI largely killed [[http://en.wikipedia.org/wiki/Invasion_literature the "invasion story" genre]], which typically detailed [[DayOfTheJackboot foreign invasions of the British Isles]] by some flavor of Germans or French (depending on [[RippedFromTheHeadlines who Britain had higher tensions with at the moment]]). ''Literature/TheWarOfTheWorlds'', while a more fantastical spin than the norm, is the most well-known example. The genre still persisted post-WWI, with [[DirtyCommunists communists]] or [[AlienInvasion aliens]] replacing the Europeans as the go-to foe of choice (covert invasions were a staple of pulp literature right up until UsefulNotes/WorldWarII), but it never regained anything close to its former popularity. Instead, it was replaced by SpyFiction during the UsefulNotes/ColdWar and techno-thrillers [[TheGreatPoliticsMessUp afterwards]], both of which can be seen as {{spiritual successor}}s of a sort to the genre.
** The same war, along with [[UsefulNotes/WorldWarII its follow-up]], was also the ''trope'' killer for PatrioticFervour and WarIsGlorious in much of Europe. There was a lot of poetry that was very briefly popular in most of the initial belligerent states in the run-up to the First World War, which could be best summarised as "BRITANNIA[=/=]LA FRANCE[=/=]GERMANIA FUCK YEAH!" It made for [[HarsherInHindsight exceedingly uncomfortable reading]] after the first major setbacks, and was buried for good around the time casualties reached the one-million mark. Then, the atrocities committed by the ultra-nationalist Axis powers in the Second World War essentially poured concrete over said grave, rendering overt displays of patriotism unacceptable throughout much of Europe.
* ''Literature/ASongOfIceAndFire'', along with its television adaptation, ''Series/GameOfThrones'', has done this to a degree for traditional high fantasy. It has become much more rare to see new high fantasy since the series' rise in popularity in favor of similarly darker deconstructions of the genre, as well as being ToughActToFollow. Whether the genre is truly dead remains to be seen.

[[folder:Live-Action TV]]
* The QuizShow was discredited for nearly 20 years in the US after [[http://en.wikipedia.org/wiki/Quiz_show_scandals a series of scandals]] in TheFifties, in which it was learned that a number of popular quiz shows (most notably ''Series/TwentyOne'') were being [[ExecutiveMeddling rigged]] in order to increase tension, bring in ratings, and to give the victory to the contestant the producers wanted to win. After the scandals, the focus of questions generally shifted from knowledge to word games and puzzles, and low-stakes panel games like ''ToTellTheTruth'' were at their peak. ''Series/{{Jeopardy}}'' helped America trust ''quiz'' shows again in 1964, but it was not until about 1973 and ''The $10,000 Pyramid'' when game shows really began offering five-figure sums again [[note]](and note the change in name from "quiz show" to "game show"; the former name was still associated with rigged challenges)[[/note]]. Even after the genre came back into vogue, the effects of the scandals left a permanent mark; these new game shows had winnings caps and somewhat smaller amounts of money to be won, and it wouldn't be until 1998 when '''really''' big-money games returned in the form of ''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 the failure of ''Series/MillionDollarMoneyDrop'' and ''Series/MillionSecondQuiz'' pretty much put the finishing touches on the genre.
* The VarietyShow's demise has been linked to the abject failure of Creator/{{NBC}}'s ''Series/PinkLadyAndJeff'' in 1980 [[note]](the SketchComedy genre, as seen with ''SaturdayNightLive'', ''{{SCTV}}'' and other shows, is still alive and well, even in this day and age of Internet comedy)[[/note]]. There were a few more shows in the genre afterwards, but none was the kind of blockbuster that could make programmers forget how bad this one was.
* According to Chris "Rowdy C" Moore of WebVideo/TVTrash, ''UnhappilyEverAfter'' killed off the live-action working-class dysfunctional family sitcom that ''MarriedWithChildren'' popularized at the start of the 1990s, along with ''{{Roseanne}}'' and ''GraceUnderFire'', to be replaced by the age of urban single-based sitcoms like ''{{Friends}}'' and ''{{Seinfeld}}''. Some dysfunctional family shows, like ''{{Titus}}'' and ''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 ''{{Shameless}}'' is trying to turn this around (or, at the very least, reinvent the genre for premium cable).
* ''Series/MarriedWithChildren'' and, to a lesser extent ''WesternAnimation/TheSimpsons'', killed off the functional family sitcom boom of the late '80s heralded by ''Series/TheCosbyShow''. Even shows inspired by Cosby, like ''Series/HomeImprovement'' or ''Series/EverybodyLovesRaymond'' are more cynical than ''The Cosby Show''.
** Averted however for many black family sitcoms of the 90s which came about because of Cosby such as ''Series/FamilyMatters'' and ''Series/FreshPrinceOfBelAir.'' See MinorityShowGhetto.
* Though critically acclaimed and considered a CultClassic today, the ratings failure and early cancellation of ''{{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'' caused Televisa to stop producing telenovelas aimed at children.
* The massive failure of ''The Magic Hour'' (and to a lesser extent, ''The Kenan Ivroy Wayans Show'' and ''Vibe'' a season prior) pretty much killed the trend of urban-oriented, syndicated, late night talk shows (and syndicated late night talk shows in general) for the next 15 years, until Arsenio Hall revived his [[Series/TheArsenioHallShow talk show]] in September 2013.
* A temporary example: The failure of ''Series/CriminalMindsSuspectBehavior'' put a halt on shows getting random spin-offs despite the success of shows like ''Series/NCISLosAngeles''. It was a combination of a lackluster show and a fandom revolt since to fund the show, they had to end the contracts of two main female characters on ''Series/CriminalMinds''. This outraged not only the fans, but the actresses and the entire production team. It's no surprise that after ''Suspect Behavior'' ended, CBS rehired Paget Brewster and AJ Cook. The upcoming ''NCIS New Orleans'' and ''Once Upon a Time in Wonderland'' in late 2013 look to restore the trend a little bit, but for 2011-12, spin-offs were notably sparse.
** Another factor in the death of spin-offs was the show ''Series/TorchwoodMiracleDay''. The show was already in trouble when BBC had to sell production rights to Starz Entertainment, however the show was met with overwhelmingly negative reception from the fans and critics. ''{{Series/Torchwood}}'' was already a LoveItOrHateIt show seeing as it was a more adult-oriented spinoff from family-friendly Series/DoctorWho, but added {{Americanitis}} in addition to Jack Harkness and Gwen Cooper being reduced to a side-story in their own show and an unnecessary RomanticPlotTumor with Jack having a new boyfriend didn't help matters either. The negative reception of the show was also enough to put ''Torchwood'' as a whole on hiatus, and it's future is currently uncertain.
* Creator/{{MTV}}'s BoyBand spoof ''2ge+her'' arguably struck one of the first blows in the slow death of MTV itself by exposing a number of cynical tropes about how their flagship music program, ''Total Request Live'', operated in the late '90s/early '00s.
** {{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?

* ''Be Here Now'', the notorious 1997 flop by Music/{{Oasis}}, is generally regarded as having killed {{Britpop}}. It was actually a major success initially, earning gushing praise from critics[[note]]Many of those critics are now seen as having tried to avoid making the same mistake as when they gave mostly negative reviews to Oasis' last album ''(What's the Story) Morning Glory?'', which went on to be considered an era-defining classic.[[/note]] and selling eight million copies. However, once people had the chance to actually ''listen'' to it, they found that it was nowhere near as good as their first two albums, let alone the masterpiece that had been hyped up for months and which critics had been gushing about. The result was massive HypeBacklash that took the shine off of the biggest band in Britpop. Only a handful of bands (Oasis themselves, Music/{{Blur}}, Pulp, Supergrass, Super Furry Animals and, strangely enough, [[MyFriendsAndZoidberg Ocean Colour Scene]]) wound up surviving the collapse of Britpop for more than a couple years.
** A major factor in Britpop's demise? Probably. However, on top of the above, Music/{{Blur}} -- the other band most associated with the scene (and Oasis' arch-rivals in 1995's "Battle of Britpop") -- had already broken away from it a few months prior with their eponymous "Blur" album (primarily lo-fi and US alt-rock-influenced). Another arguable factor may be that by 1997 "Cool Britannia" had jumped on Britpop's bandwagon, with (e.g.) [[Music/SpiceGirls Geri Halliwell]] in a Union Jack dress and honeymoon-era TonyBlair schmoozing Britpop stars. This got old fast, and probably helped kill off the remainder of Britpop when it derailed.
** Music/{{Blur}}'s "Song 2" is often considered to be the last real "britpop" hit.
* One of the most famous stories in rock music is that the rise of {{grunge}}, particularly the sudden success of Music/{{Nirvana}}'s album ''Nevermind'' in 1991, did this to {{hair metal}} in the early '90s. In truth, hair metal was already on life support for a couple of years by that point, with at least three connected moments that can each be pointed to as genre killers, grunge only being the last of them. The first was the 1988 documentary ''[[http://en.wikipedia.org/wiki/The_Decline_of_Western_Civilization_Part_II:_The_Metal_Years The Decline of Western Civilization Part II: The Metal Years]]'', which is often credited with starting the backlash against hair metal thanks to its uncensored display of the hedonistic excesses of many bands and musicians. (It's been joked that Music/{{Warrant}} and Music/{{WASP}} did more to kill hair metal than Nirvana and Music/PearlJam ever did, and they're only half-joking.) Second, in the subsequent years all manner of DarkerAndEdgier bands like The Black Crowes, Music/GunsNRoses, and Music/{{Queensryche}} pushed hair metal off the rock charts. However, what few will argue is that grunge landed the death blow by giving a unified image to the growing backlash; while it didn't ''kill'' hair metal, it certainly wrote its obituary and buried its remains.\\
Since hair metal was the dominant genre of metal music within the mainstream rock scene, metal as a whole faded from the limelight for much of TheNineties as a result. Some genres, however, managed to avoid this. The general rule was that, as long as you paid due reverence to '80s AlternativeRock (Music/TheSmiths, Music/{{REM}}) and HardcorePunk (Music/MinorThreat, Music/BlackFlag), or you were playing something abrasive and unquestionably anti-mainstream, it was okay to play metal in TheNineties.
** Classic Music/{{heavy metal}} (Music/BlackSabbath, Music/DeepPurple, et cetera) and its {{spiritual successor}}s, {{doom metal}} and sludge metal, survived mainly because of the heavy influence those genres had on the development of grunge. Black Sabbath, for example, are cited as influences by Music/{{Soundgarden}}, Green River, Mudhoney, Music/TheSmashingPumpkins, Tad, and many others, while the sludge metal band the Melvins also had a major influence on grunge, taking influence from '80s {{hardcore punk}}.
** {{Thrash metal}} didn't even skip a beat, with three of the "big four" bands (Music/{{Metallica}}, Music/{{Megadeth}}, and Music/{{Anthrax}}) enjoying their best album sales shortly after the death of hair metal. Members of Metallica have even mentioned that they saw the rise of grunge as a good thing, meaning that radio stations and MTV were willing to take a chance on heavier music and darker themes. Somehow-these-aren't-hair-metal-for-some-arcane-reason bands like Music/VanHalen and Music/GunsNRoses stayed popular during grunge's early phase, and fell off more due to interpersonal conflict than chart failure.
** {{Alternative metal}} and {{groove metal}}, like grunge, emerged as a backlash against hair metal, becoming the defining metal sounds of the '90s for many American listeners. Music/AliceInChains, Music/{{Soundgarden}}, and Music/FaithNoMore were among the defining alt-metal bands of the era, and were often associated with the grunge aesthetic by mainstream listeners. Meanwhile, Music/{{Pantera}}, the biggest groove metal band of the '90s, consistently managed to fill large arenas, and their album ''Far Beyond Driven'' even managed to debut at #1 on the Billboard 100 (making it probably the heaviest and least-mainstream album to ever accomplish that feat). [[Music/TheSmashingPumpkins Billy Corgan]] even praised Dimebag as his favorite contemporary guitarist.\\
Eventually, the two genres, along with other, smaller subgenres (particularly {{rap metal}}), fused together in the mainstream consciousness and morphed into...
** NuMetal. Led by loud, angry bands such as Music/{{Korn}}, Music/{{Slipknot}}, Music/LinkinPark, and Music/LimpBizkit, it was seen as an antidote to the bubblegum {{boy band}}s, {{girl group}}s, and {{idol singer}}s that ruled the world of pop music after the fall of grunge (see below), bringing metal back to the forefront of youth culture for the first time in a decade. Nu metal reached the peak of its popularity in the years 1998-2001 before burning out sometime in the early '00s, with Music/{{Evanescence}}'s "Bring Me to Life" often cited as the genre's last big radio hit. While it's not exactly clear what the precise GenreKiller was beyond [[WolverinePublicity simple overexposure]], many people point to 9/11 causing listeners to turn away from that sort of "rage rock" and towards {{emo}}, {{metalcore}}, and related genres (most successful nu metal bands were American), as well as the failure of Limp Bizkit's album ''Results May Vary'' and Korn's ''Take a Look In the Mirror'' in 2003. In any event, by 2004 nu metal's reign on the rock charts was over.
** DeathMetal and BlackMetal both took off and hit their peaks in TheNineties. While they rarely, if ever, received radio airplay, they made for a particularly popular target for the era's MoralGuardians in both the US and Europe due to the brutality of the music itself, the [[{{Gorn}} lyrical]] [[KillEmAll subject]] [[RockMeAsmodeus matter]], and (in the case of black metal) the musicians' militant anti-Christian messages that often went well beyond the music.
* Grunge itself had two moments in 1994 that can be pointed to as Genre Killers, the trend in both of them being the genre's anti-commercial attitude running head-first into its sudden mainstream popularity. First, Music/{{Nirvana}} frontman Music/KurtCobain was DrivenToSuicide over his heroin addiction and his inability to reconcile his values with his success, which not only took out the biggest band in the scene, but made many rock fans leery of the DarkerAndEdgier attitudes that were synonymous with grunge[[note]]A phenomenon that repeated itself with GangstaRap a few years later; see below[[/note]]. Second, Music/PearlJam got into a nasty fight with Ticketmaster over their anti-consumer business practices, resulting in them canceling their tour that summer and finding it nearly impossible to tour nationally afterwards, which dealt a crippling blow to the fortunes of the ''second''-biggest band in the scene.\\
In the absence of Nirvana and Pearl Jam, grunge as a whole faded from the limelight in the mid-late '90s. Layne Staley's departure from Music/AliceInChains in 1996 due to his drug addiction (culminating in his death in 2002), followed by the breakup of Music/{{Soundgarden}} in 1997, were the final nails in the coffin of "traditional" grunge music. From there, the genre evolved into PostGrunge, a more polished and radio-friendly version that sanded off many of its more non-mainstream edges, eventually converging with hard rock and the remnants of nu metal in the '00s and dominating the American rock charts. In the UK, meanwhile, {{Britpop}} emerged in the mid '90s as a LighterAndSofter reaction to grunge, and soon supplanted it in mainstream popularity there.
* Gothenburg-tinged melodic {{metalcore}} is also damn near dead. For most of the '00s, acts like Music/KillswitchEngage, Music/ShadowsFall, Music/AsILayDying, Music/AllThatRemains, Music/{{Trivium}}, Music/{{Unearth}}, and Atreyu were ''the'' face of heavy music. Their ability to mix a less affected form of heaviness (rather than the mindlessly aggressive chest-thumping that was endemic in nu-metal) with pop sensibilities while also bringing back the complexity that nu-metal spurned allowed them to reach a wide variety of listeners, and their juxtaposition of American and European sounds was welcomed by a crowd that was thoroughly sick of nu-metal's stale gimmicks, misplaced teenaged angst, and moronic tough-guy antics. While all but the biggest nu-metal acts were either struggling or dead, melodic metalcore was booming. There was, however, a fair bit of opposition as well; a good deal of metal fans hated it for "cheapening" the genre and growing as artists in ways that seemed solely motivated by gaining critical approval, while punks hated it for usurping the name of "metalcore" from a lot of well-loved but less mainstream-friendly artists and for being overly commercial-leaning while still attempting to act as if they were in touch with their roots. In spite of this, the genre was absolutely gargantuan from 2003-2008, and the advent of [=MySpace=] helped it spread even further.\\
It was around 2009 that the first signs of trouble appeared in the form of falling show attendances and sales, and {{deathcore}}, its offshoot, was steadily beginning to displace it. It's unknown exactly what killed it, but deathcore and pop-influenced post-hardcore certainly helped, as did the death of [=MySpace=] and the arrest of As I Lay Dying frontman Tim Lambesis in 2013 for attempting to hire a [[ProfessionalKiller hitman]] to kill his wife. All That Remains and Trivium are the only acts remaining that are still anywhere near the level of success present in their heyday, and that's largely due to significant changes in sound. The other acts are still around, but they're playing to far smaller crowds than they're used to.
* Any metal music that is considered [[ItsPopularNowItSucks too mainstream]] (such as {{metalcore}} and, before that, NuMetal) tends to get called a genre killer by some metal fans. How much of this has to do with lingering memories of what hair metal did to the genre, and how much of it has to do with elitism and snobbery towards anything "mainstream", is hotly debated. And of course, there are those who view "mainstream" metal as [[GatewaySeries Gateway Music]] to the more "authentic" genres.
* ProgressiveRock has had several points that are regarded as killing the genre.
** The second album of {{supergroup}} {{Music/Asia}}, featuring members of {{Yes}}, KingCrimson, EmersonLakeAndPalmer, and several other prog legends, was regarded as a failure musically, and severely damaged prog's reputation. Said reputation was already in sustained free-fall by the time of {{Asia}}'s 1982 debut ([[KingCrimson Robert Fripp]] himself intimated as much back in 1975). Most (surviving) 70's prog bands were already greatly simplifying their sounds by 1980, in response to {{Punk|Rock}} and {{New Wave|Music}}; {{Asia}}, by their utter failure to craft anything remotely reminiscent/worthy of prog's 70's heyday, merely confirmed prog's demise for those who hadn't gotten the hint yet.
** One of the last albums from EmersonLakeAndPalmer, ''Love Beach'', is one of the most despised albums in music history, which the band was forced to make to meet out their record deal. The album largely abandoned the prog sound in favor of disco and dance music.
* In that vein, Styx's 1983 album ''Music/KilroyWasHere'' seems to have been the final nail in the coffin for the RockOpera and the ConceptAlbum (no successful examples of which had come out since Music/PinkFloyd's ''Music/TheWall'' four years earlier, anyway). It took twenty years for another rock opera concept album, Music/GreenDay's ''Music/AmericanIdiot'' in 2004, to enjoy massive success.
** ProgressiveMetal still experiments with Concept Albums, but in a more limited way. A good example is Queensryche's ''Operation Mindcrime.''
** RockOpera also still exists within Music/HeavyMetal, running the gamut in terms of quality.
* In parallel with Britpop, the British music press went hot for "intelligent drum'n'bass", the authentic new sound of black inner city Britain. Goldie's ''Timeless'' (1995), although a fine album, opened the door for floods of by-the-numbers d'n'b clones, and the genre quickly became a cliché of television background music and film soundtracks. His 1998 follow-up ''Saturnz Return'' was slammed by a jaded press as a self-indulgent, pretentious folly. The opening track, "Mother", was over ''[[EpicRocking sixty minutes long]]''. Both Goldie and intelligent drum'n'bass subsequently left the charts, never to return.
* Some people feel that GlamRap and pop-rap are currently doing this to GenreMotif/HipHop, just as HairMetal did to metal music in the late '80s. But like the metal example, undiluted straight forward rap/hip-hop was never particularly popular outside of urban communities. Even GangstaRap at its mid-'90s peak only created a handful of rappers with crossover appeal, most of them [[NoSuchThingAsBadPublicity powered by controversy]]. For all intents and purposes straight forward urban rap has always been a niche genre. In fact, the only time rap in general has ever been hugely successful was when it was infused with pop. The same thing can be said for HardRock, Music/HeavyMetal, and CountryMusic. These 4 genres were never really popular within the mainstream unless they were somehow diluted. The problem likely comes from the fact that pop oriented [[SwagRap cross over]] GlamRap just doesn't dominate top 40 radio, but the more urban specific niche radio as well. Causing a lot of resentment of that particular type of HipHop as it's the only genre radio is interested in playing now.
** To that end it gets more complicated if you believe the mainstream media and white America is the one that's driving hip-hop now instead of the inner city culture, blacks and latinos. Some even believing young urban black culture is being marginalized within Hip Hop culture.
* {{Boy Band}}s were a huge thing back in TheEighties and TheNineties, but the genre was eventually killed off in the early 2000s due to the rising success of white rappers and saturation of the boy band and girl group market, particularly by TV shows like ''Making The Band'' that didn't even try to hide their manufactured qualities. It didn't help that plenty of popular bands were already fading out of popularity--by the time the genre was done, most groups had gone on long hiatus (Music/NewKidsOnTheBlock, Music/SpiceGirls, Music/{{NSYNC}}) or changed their musical style and faded out of popularity (Music/BackstreetBoys, Music/{{Hanson}}). The genre has seen a recent revival in the form of TheJonasBrothers and Series/BigTimeRush, but mostly the industry has preferred to focus on solo {{Child Popstar}}s like Music/JustinBieber.
** In the UK the boy band has achieved a successful revival with the likes of Music/TheWanted and ''Series/TheXFactor'' graduates JLS and Music/OneDirection. While the former two failed to make much of an impact outside their home country, One Direction would go on to become massively successful worldwide, including one market where no UK boy band has ever become popular: the United States. Needless to say, they have gotten a lot of HypeBacklash, and are seen to share many of the traits people dislike about Justin Bieber (although their backlash hasn't become as big as his ever was). Many Bieber haters do, however, applaud them for running his career to the ground. Additionally, Music/TakeThat reformed in the UK to great success with older women.
* ''Live Earth,'' a massive benefit concert co-founded by former Vice President Al Gore, was a dismal flop garnering low ratings (especially for the UK and US) and created a massive "carbon footprint," precisely the type of thing the organizers wanted to prevent. The failure of ''Live Earth'' is widely believed to have killed off the concept of the benefit super-concert (in the same vein as Farm Aid and Live 8).
* Depending on where you sit regarding Drum & Bass, Music/{{Pendulum}} came close to this, by way of becoming the public face of the genre despite ''never intending to be in it''. Rob Swire himself isn't sure if this has happened, but appears to revel in it, as can be discerned from this extract from his rant on the Dogsonacid forums:
-->"Oh, and by the way -- I'm not sure if drum and bass is dead or dying (I've been in the studio / on tour too long to tell). However, if your genre was flimsy enough to be knocked over by ONE SINGLE RECORDING ARTIST who happened to -- god forbid -- sell some fucking records for the first time in about 5/6 years, then I'm glad it was us that got to drive the final stake through its stale pig shit heart -- and good riddance. Wake me up when your genre is making something that people outside the scene think is worth listening to again."
** Drum & Bass really suffered more from the development and rise of [[Main/HouseMusic Electro House]] and {{Main/Dubstep}} more than Pendulum; Pendulum even shifted almost completely to a rock style.
*** With the recent ElectronicMusic revival in the United States though, Drum and Bass has seen a (admittedly smaller) comeback of sorts.
* The twin failures of Chingy's ''Powerballin[='=]'' and Nelly's ''Brass Knuckles'' killed the St. Louis rap scene's mainstream popularity. The "Dirty South" movement (which also features Chicago native KanyeWest) has gone on to replace it in appeal and popularity.
* BrokeNCYDE simultaneously [[TropeCodifier codified]] and killed {{crunkcore}}. Their music is just competent enough to have spawned fans and imitators seeing some good in the genre, but [[SoBadItsGood hilariously bad]] enough to make literally everyone automatically hate the genre.
* The murder of Music/TupacShakur in 1996 and Music/TheNotoriousBIG in 1997, within six months of one another, put an end to the Golden Age of GangstaRap. The LighterAndSofter genre of GlamRap replaced it in the mainstream for much the same reason why post-grunge replaced grunge after Kurt Cobain's suicide; as WebVideo/TheRapCritic and WebVideo/TheNostalgiaChick [[http://thatguywiththeglasses.com/videolinks/team-nchick/nostalgia-chick/35488-will-smith-was-a-rapper-once put it]][[note]]At about the 6:21 mark[[/note]]:
-->'''Rap Critic:''' "[The murder of Biggie and Tupac] was a big wake-up call for hip-hop fans, because two artists that everyone knew were dead, victims of the lifestyle that was promoted in their music. Hip-hop had gone as dark as people wanted it to go, and they wanted something else.\\
'''Nostalgia Chick:''' Suddenly, the dangerous lives and poverty that some of these guys grew up in and rapped about... it was just a little too ''real''.
** Tupac's death also crippled the West Coast hip-hop scene. While the New York-based Bad Boy Records was able to survive Biggie's death (though not without difficulty), the same could not be said of Death Row Records, then the most powerful rap label on the West Coast and running a heated rivalry with Bad Boy. Tupac's death, combined with the myriad legal problems of the label's owner Suge Knight, did irreparable damage to Death Row, allowing both East Coast rappers (Mobb Deep, Music/{{DMX}}, Music/JayZ, Music/{{Nas}}, etc.) and Southern rappers (Music/LilJon, Music/LilWayne, Music/OutKast, Music/{{Pitbull}}, etc.) to dominate the rap game from the late '90s onward. Since then, the only major rappers from the West Coast to have achieved mainstream success are The Game and Music/KendrickLamar.
* A notorious case in Canada was Matt Dusk's epic 2006 flop ''Back in Town'', which ended up killing Canada's jazz-pop craze. Yes, believe it or not, there was a jazz-pop craze in Canada that lasted a good chunk of the 2000s. Diana Krall is often credited as the person who started it, with Music/MichaelBuble having furthered it with his international success. Perhaps one of the more unexpected hits was Matt Dusk's debut album ''Two Shots'', released in 2004, which boasted [[http://www.youtube.com/watch?v=60vps0QCbNU a lead single]] written by [[Music/{{U2}} Bono and The Edge]]. The album was a smash success and one of the top selling records of its year.\\
Ironically enough, Dusk ended up killing the craze with ''Back in Town'', commonly regarded among Canadian music fans as the textbook definition of a SophomoreSlump. It was much anticipated and hyped, and in fact actually didn't do too bad in its first week of release, debuting at #17 on the Canadian music chart. However, once people actually took the time to listen to it, they got a bizarre, more funk-influenced album that didn't fly well with the public and killed people's interest in him, and jazz-pop as a whole, with his sales taking a spectacular nosedive in the weeks that followed. Only the aforementioned artists ended up surviving the collapse of the subgenre, though Dusk ended up recording two virtually unheard of albums (try naming either of them without looking it up).
** Another Canadian case, which this time seems to have caused the whole world to have taken the hint: Ryan Malcolm, the winner of the first season of ''Canadian Idol''. There was massive hype surrounding him as he has quite the voice, and many voted for him to win, causing Jacob Hoggard (who later would find success with his pop-rock band Hedley) to lose out. What was the result? [[http://www.youtube.com/watch?v=PWnLS0eKoow "Something More"]], which despite becoming successful, was massively hated and even ended up being voted by critics as one of the worst songs of 2003- mainly because of how ultra-boring the music is and how cheesy and cliche the lyrics are. The album, despite selling 170,000 copies, ended up being his last, is often seen as a joke among the Canadian music public and since then, very few winners of any ''Idol'' show had seen any success (Kalan Porter was next, but suffered the same fate) among the public... until Carrie Underwood won on the American version. Even then, outside of the American version, none of the winners have been notable.
* Music/TheStrokes' ''First Impressions of Earth'' can be viewed as the breaking point of the post-punk[=/=]garage rock revival in the early-mid '00s. This movement had been characterized by elements of {{punk rock}}, indie rock, '60s {{garage rock}}, and {{New Wave|Music}}, combined into a [[ThreeChordsAndTheTruth stripped-down, back-to-basics guitar rock]] that many people at the time felt would be a revolution in rock music comparable to grunge ten years earlier, wiping away the morass of PostGrunge and NuMetal just as grunge had wiped away HairMetal. For a time, it was. Along with The Strokes, bands like Music/TheWhiteStripes, Music/{{Interpol}}, Music/TheYeahYeahYeahs, The Vines, and Music/TheHives led the movement, and from roughly 2002-05 they won widespread critical and commercial success.\\
By 2006, however, many bands were either gone, had collapsed, or had become more experimental, while bands like the Music/ArcticMonkeys, Music/TheFratellis, and Music/ArcadeFire were leading the way in both PopRevival and a new wave of indie rock. Only The Strokes and The White Stripes were still active, and even then only barely. ''First Impressions of Earth''[='=]s release was repeatedly delayed, and upon its final release was a critical and commercial failure, acting as the final nail in the coffin.
* {{Emo}} was always a whipping boy among critics and listeners alike, earning a LoveItOrHateIt reaction even at the height of its popularity in the mid-late '00s, so a backlash was inevitable. However, the decline of Website/{{Myspace}} in the early '10s was probably the chief catalyst for the genre falling out of favor. The rise of emo and Myspace occurred concurrently, and often fed one another; emo bands and labels were among the first to reach out to fans through Myspace in a big way, and fans in turn used the site as a platform to discuss, among other things, their favorite bands. When Myspace's users started abandoning the site for Website/{{Facebook}} and other social networking sites due to some [[TheyChangedItNowItSucks controversial changes]], that community withered, and before long, many of the bands associated with it followed suit.
** The finishing blow to emo was probably the breakup of Music/MyChemicalRomance, a band that had long been the face of emo (despite resenting it), in 2013. That same year, a number of bands associated with the genre (Music/PanicAtTheDisco, Music/{{Paramore}}, Music/FallOutBoy) abandoned it and released {{New Sound Album}}s, burying the genre in the mainstream. It still lives on, but chiefly in underground music scenes, where it has arguably more in common with indie rock than anything from the '00s. As of the early '10s, there has been something of a "traditional emo/screamo revival", with acts like The World Is a Beautiful Place & I am No Longer Afraid to Die, La Dispute, Touche Amore, Pianos Become the Teeth, and Tigers Jaw having managed to make a splash.
** Before the collapse of Myspace, emo was also facing competition from the "scene" subculture and the bands associated with that. Scene music and fashion became popular at the tail end of the '00s and the start of the '10s, as a LighterAndSofter reaction to emo with a lot more color and flamboyance; basically, the PerkyGoth to emo's moodier image. Scene music was itself affected by the decline of Myspace; it briefly managed to migrate to Website/{{Tumblr}}, but by the mid '10s it too had largely petered out.

[[folder:Pro Wrestling]]
* Wrestling/{{ECW}} never did another barbed wire match after Wrestling/{{Sabu}} vs Wrestling/TerryFunk. To quote Wrestling/PaulHeyman, "Because ''no-one'' could top that! And in good conscience, we didn't want anyone to try."
* Depending on who you ask, [[Wrestling/MondayNightWars 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 '90s.
* 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 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.

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

* 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.
* 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 ''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 ''TheShawshankRedemption'' is to StephenKing's.) Its 1990 New York production had all the ''hype'' of a megamusical though, and it ''did'' cost $8 million (a big budget at the time). When it closed in less than a year and lost its entire investment, ''The New York Times'' wondered if it was a bad sign for megamusicals. In retrospect, it was right, at least as far as Broadway was concerned; while ''MissSaigon'' proved a huge international success later in 1991, it was the last megamusical to do so. Subsequent megamusicals are mostly limited to European and sometimes Asian runs -- though the production values and budgets of such shows as ''Disney/TheLionKing'', ''Theatre/{{Wicked}}'', and especially ''Theatre/SpiderManTurnOffTheDark'' occasionally compare to those of the megamusicals.

[[folder:TV Tropes]]
* Stock phrase titles were never good trope namers to begin with, but two tropes can be traced to this titling convention's ultimate downfall: '''I Eat Metaphor For Breakfast''' and '''WhatYearIsThis'''. [[TropeRepairShop TRS]] threads for both ended up [[MinorCrimeRevealsMajorPlot uncovering a massive epidemic of]] TropeDecay involving stock phrases. As a result, in mid-2011 it was decreed that Administrivia/NoNewStockPhrases would be used as trope titles.
* '''Naughty Tentacles''' and Administrivia/TheSecondGoogleIncident killed Porn Tropes and led to the creation of a new organization of Tropers dedicated to screening new and existing pages for adult content. If a page was lucky, it came back locked. If not, it was hit with a salted nuke. Also, the creation of new porn-related pages is today considered by ThisVeryWiki to be our equivalent of a capital offense. As far as tropes go, '''Naughty Tentacles''' in particular is to blame for that.

[[folder:Video Games]]
* TheGreatVideoGameCrashOf1983 is called that for a reason: Caused chiefly by an [[SturgeonsLaw overabundance of competitors]] in a fledgeling market and competition from superior micro-computers,[[note]]the [[{{Misblamed}} much maligned]] Pac-Man PortingDisaster and ChristmasRushed E.T. game were merely [[TheLastStraw Final Straws]] by comparison,[[/note]] it killed the home console market in the United States for about two years. Perhaps more importantly, it effectively wiped out North American game/console development, to the point where it took over two decades to fully regain the ground that had been lost to Japanese competitors. There wasn't a successful game console from an American company between the {{Atari 2600}}, which died around 1983, and the Microsoft {{Xbox}}, released late 2001, ''eighteen years'' later. That's how badly it crashed.
** When Creator/{{Nintendo}} debuted the NintendoEntertainmentSystem in 1985, they bundled it with a light gun and battery-operated robot peripheral primarily to disguise the fact that it actually was a ''video game'' console. [[CrazyEnoughToWork It worked]].
-->[[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)
* ''{{Freespace}} 2'' destroyed the space shooter genre born of ''{{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. Its initial sales were so bad that the genre was assumed dead and further development was halted. Many consider the real problem to have been Interplay's marketing.
** 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.
*** Attempts were still made, such as the 2000 ''VideoGame/TachyonTheFringe'' having Creator/BruceCampbell for its main character and gameplay additions like lateral thrusters, which was also featured in the 2001 ''VideoGame/IndependenceWar2.''
** Thankfully, the advent of Kickstarter has seemingly restarted the genre, with games like [[Videogame/WingCommander Chris Roberts']] Star Citizen, the return of {{Elite}}, and other games like ''VideoGame/StrikeSuitZero''.
* The unfortunate retail failure of ''VideoGame/UnrealTournamentIII'', backed up by many freeware first-person shooters, has led to the end of commercially released fast-paced deathmatch-centric shooters as the ''VideoGame/{{Unreal}}'' and ''VideoGame/{{Quake}}'' series, in place of team-based and/or "tactical" shooters like ''VideoGame/CallOfDuty''/''VideoGame/ModernWarfare'', the ''VideoGame/{{Battlefield}}'' series, and ''VideoGame/Left4Dead''. ''VideoGame/TeamFortress2'' is one of the few "Quake-like" games released in recent years, and it came in 2007. Due to the continued updates, ''[=TF2=]'' could be seen as still being released. It could also be said for true tactical shooters in the vein of the older ''VideoGame/GhostRecon'' and ''VideoGame/RainbowSix'' games, the ones with planning and stealth as major elements and the slightest muckup led to the death of your squad due to the line being blurred.
** 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.]]
** Attempts to bring the genre of true tactical shooters back have also had limited success at best; games like ''VideoGame/TakedownRedSabre'', marketed as a return to the form of the original ''Rainbow Six'' and its ilk, have met with near-universal negative reactions.
* 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 (''{{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 3'' (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 Activision) has destroyed the genre's profitability. Following the commercial disappointments of the latest installments, {{MTV}} has sold ''Rock Band'' developer Harmonix for '''''[[http://latimesblogs.latimes.com/entertainmentnewsbuzz/2011/01/viacom-sold-harmonix-for-50-saved-50-million-on-taxes.html fifty dollars]]''''' and {{Activision}} has pulled the plug on future ''Guitar Hero'' games, and other developers, having bled money from their endeavors, have gotten out of the market. Due to its different audience and "real guitar" street cred, ''{{Rocksmith}}'' seems to be the last man standing.
* The FourX RealTimeStrategy subgenre was killed off when ''EmpireEarth'' screwed up with its third installation and ''VideoGame/AgeOfEmpires'' went bust with Ensemble closed down. Note that Ensemble going bust was ExecutiveMeddling by Microsoft who shut them down after they cranked out nothing but successful games. Recently resurrected with the long-awaited release of ''VideoGame/{{StarCraft II}}'', however it only brought life to the online multiplayer segment while the drawn-out single player campaigns are still not taken as seriously.
* 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 recently successful one being ''[[VideoGame/CallOfDuty World at War]]''. However, it should be noted that the market had been saturated with them for about a decade by then and the major franchises had shifted to a modern setting.
** ''Call of Duty'' can itself also be linked to the death of WWII shooters and the shift to modern/near-future settings, due to the extreme popularity of the ''VideoGame/ModernWarfare'' sub-series - nearly every shooter released since ''Call of Duty 4'' has been, in effect, [[FollowTheLeader a Call of Duty 4 clone.]]
*** And now even the ''Modern Warfare'' style MMS [[note]]Modern Military Shooter, although in some cases (namely, those where the Russians aren't the bad guys again) one might be tempted to call it Muslim Murder Simulator[[/note]] craze seem to be dying down and moving towards 'near future'/sci-fi territory with ''VideoGame/CallOfDutyAdvancedWarfare'' and ''VideoGame/{{Titanfall}}''. Arguably, the combination of [[GenreKiller Medal of Honor: Warfighter's]] failure, rising sentiment against the U.S. Military's involvement in the middle east and a backlash from gamers towards modern day shooters has lead to this shift in subject.
* The PointAndClick genre in its inventory management form was practically killed off by the success of ''VideoGame/{{Myst}}'', and was only recently revived via digital distribution as well as the serial format. The failure of the [[AcclaimedFlop critically praised]] ''VideoGame/GrimFandango'' in 1998 was seen as the final nail on the coffin for the genre, even though ''VideoGame/EscapeFromMonkeyIsland'' was released two years later – albeit with considerably less acclaim than prior ''Monkey Island'' games.
** An alternative theory as to what killed point-and-click adventure games is presented by [[http://www.oldmanmurray.com/features/77.html this article on]] OldManMurray - they committed suicide, in effect, by way of too many [[MoonLogicPuzzle contrived and illogical puzzles]].
** 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/DonkeyKong64'' drove many players away from 3D collect-a-thon adventures after playing it. It was widely considered a good game with a variety of mini-games, but this is what helped it become a Killer; players would slog through the game to uncover all the variety. With 200 golden bananas, along with about 10 other different kinds of things to collect for every individual Kong, most players who simply got to the end of this very large game, let alone those that strove to achieve HundredPercentCompletion, would be burnt out on any similar experience (specifically, the collect-a-thon part) for years afterwards.

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