So, some work had the ''gall'' to be a GenreKiller in some fashion. But then some work comes along and manages to revitalize that entire genre! That of course would be the Genre Relaunch. Commonalities in a relaunch include {{Reconstruction}}, a GenreThrowback, a {{retool}}, or being an exceptionally good work.

See also PopularityPolynomial. This is a subversion of DeaderThanDisco.



[[folder:Anime & Manga]]
* ''Anime/{{Free}}'' and ''Manga/{{Haikyuu}}'' have more or less relaunched interest of sports anime in the North American fanbase.
* ''Manga/AttackOnTitan'' and ''Anime/DragonBallKai''[[note]]Actually a high-definition redux of ''Anime/DragonBallZ'', but has been praised for rapidly reducing {{Filler}} and the huge amounts of InactionSequence[[/note]], similarly, have relaunched interest in Shonen anime and manga in North America, after what could be considered a DorkAge for said demographic.
* Although ''LightNovel/ReZero'' and ''LightNovel/{{Konosuba}}'' were written by close friends and were conceived as a satire on ClicheStorm and MartyStu in the already almost absent in the anime and discredited genre of TrappedInAnotherWorld, the commercial success and critical recognition of their adaptations in 2016 led to the return of this genre to anime-mainstream in later years.
* From the late 80's to the mid-90's, the anime industry as a whole was on a huge decline as a result of numerous big-budget films like ''Manga/{{Akira}}'' and ''Anime/MyNeighborTotoro'' underperforming at the box office, causing many to feel that there was a lack of interest in the medium and motivating many Japanese animation studios to work instead on Western animation. However, the runaway success of ''Anime/NeonGenesisEvangelion'' catapulted anime back into mainstream attention; many studios vied to capitalize on the show's success in many different ways, and in the end anime itself was brought back into the limelight after it spent so much time teetering on the edge of an industrial collapse.

* The point of the Pre-Raphaelite Brotherhood was to do this for classical art.

[[folder:Comic Books]]
* ''ComicBook/KingdomCome'' revived the Silver Age super hero.

[[folder:Films -- Animation]]
* This has happened at least three times for the feature-length Creator/{{Disney}} {{animated musical}}:
** ''Disney/{{Cinderella}}'' made the Disney musical popular for 1950s audiences after the genre had been [[GenreKiller killed off]] by the failures of films like ''Disney/{{Pinocchio}}'' and ''Disney/{{Bambi}}'' in the early 1940s due to UsefulNotes/WorldWarII. It lasted until 1959, when the expensive ''Disney/SleepingBeauty'' flopped and killed it off again.
** ''Disney/TheLittleMermaid'' reintroduced the world to the Disney musical formula in 1989, and 1991's ''Disney/BeautyAndTheBeast'' made it a viable (and profitable) film-making approach. This unfortunately led to numerous imitators in the 1990s, which (coupled with Disney's refusal to do anything ''but'' musicals throughout the decade after ''Disney/TheRescuersDownUnder'' bombed at the box office) had turned it stale by the end of the decade. The popularity of 2001's ''WesternAnimation/{{Shrek}}'' essentially killed off the musical formula, which led to Disney not using it for almost ten years. However, 2009's ''Disney/ThePrincessAndTheFrog'' managed to make the Disney musical popular again with critics, 2010's ''Disney/{{Tangled}}'' made it popular again with families, and 2013's ''Disney/{{Frozen}}'' made it popular again with everyone else.
* ''Film/WhoFramedRogerRabbit'' is widely credited with revitalizing the Western animation industry and bringing it out of the [[UsefulNotes/TheDarkAgeOfAnimation Dark Age]], [[OlderThanTheyThink though]] ''WesternAnimation/YellowSubmarine'' is often considered to be the work that made people start taking the medium seriously again.
* Subverted with traditional animation, as ''Disney/ThePrincessAndTheFrog'' and the 2011 ''Disney/WinnieThePooh'' movie were intended to re-spark the medium. But following the two's completion, Disney higher-ups closed up their 2D department again as the box office numbers for these two didn't measure up to their CG counterparts. However the success of ''WesternAnimation/TheSecretOfKells'' and GKIDS' commitment to such films lead to hand drawn animation's revival [[AudienceShift in the indie market]].
* After the success of ''WesternAnimation/TheRugratsMovie'', studios began churning out multiple animated movies based on TV shows, [[SturgeonsLaw all of varying quality]]. The over-saturation of these movies, combined with lackluster box office numbers, quickly caused animated TV to film adaptations to fall out of favor, with some even arguing they contributed to the decline of traditional animation due to "cheapening" the medium and coming out around the same time the AllCGICartoon was becoming popular. Despite the success of ''WesternAnimation/TheSimpsonsMovie'', it wouldn't be until the critical and financial success of ''WesternAnimation/TheSpongebobMovieSpongeOutOfWater'' in 2015 when [[WesternAnimation/MyLittlePonyTheMovie2017 animated]] [[WesternAnimation/TeenTitansGoToTheMovies TV to]] [[WesternAnimation/BobsBurgers movie]] [[WesternAnimation/TheLoudHouse adaptations]] would start to see a comeback, and ironically help revive 2D animation after killing it a decade earlier!

[[folder:Films -- Live-Action]]
* ''Film/SaturdayNightFever'' and ''Film/{{Grease}}'' brought back the movie musical after the disaster that was ''Theatre/HelloDolly''.
* ''Film/MoulinRouge'' and ''Film/{{Chicago}}'' did that a second time after the genre's reputation was killed by ''Film/{{Xanadu}}'' and ''Film/CantStopTheMusic''.
* 1998's ''Film/{{Blade}}'', 2000's ''Film/XMen1'', and 2002's ''Film/SpiderMan1'' brought redemption to the superhero movie industry after the travesty of the Schumacher ''Franchise/{{Batman}}'' films.
** The above revival also ensured that subsequent films would be DarkerAndEdgier teenage- and adult-oriented films rather than the all-ages kind that had been before, such as ''Film/TheDarkKnight'' and ''Film/ManOfSteel''. However, family-marketed superhero films are on the rise again, thanks to 2012's ''Film/TheAvengers2012'', 2014's ''Film/GuardiansOfTheGalaxy'', ''Film/TeenageMutantNinjaTurtles2014'' and ''Film/PowerRangers2017''.
** 2018's ''Film/BlackPanther'' helped re-establish the popularity of a Black superhero film after the flop that was ''Film/BladeTrinity''
* The ''Franchise/PiratesOfTheCaribbean'' franchise made pirates fun for the twenty-first century (although its influence has mostly been in literature rather than in more films).
* The DisasterMovie genre was left for dead by 1980, but experienced a resurgence in 1996 with Creator/RolandEmmerich's ''Film/IndependenceDay''.
* The ''Franchise/{{Scream}}'' series did the same for [[SlasherMovie slasher movies]] by hanging a massive lampshade over the genre's numerous clichés, while still employing them to scary effect. It took nearly a full decade for the resurgence to die back down, being done in by two things: a massive glut of uninspired, low-quality slashers that either couldn't emulate ''Scream''[='s=] cheeky postmodernism, or simply didn't even try to, and the UsefulNotes/{{Columbine}} Massacre making any what Creator/RogerEbert called "dead teenager" movies very uncomfortable by way of TooSoon.
* 3D movies have had this [[PopularityPolynomial a few times]] - in the 2000s, first with IMAX 3D, then animated flicks such as ''WesternAnimation/ThePolarExpress'', and culminating in 2009's ''Film/{{Avatar}}''.
* ''Film/TheLordOfTheRings'' trilogy directed by Creator/PeterJackson, it can be said, effectively brought HighFantasy (or perhaps even MedievalEuropeanFantasy) in general to the attention of film audiences, but results from attempted films of this genre have been mixed, on one hand, we got successes like ''Film/TheChroniclesOfNarnia''. On the other; commercial flops like ''Film/{{Eragon}}''. It's often stated that the ''Series/GameOfThrones'' HBO series has re-killed HighFantasy, however.
* There'd hardly been any SwordAndSandal epic movies since ''Film/{{Cleopatra}}'' had come out in 1963. Then along came a little film called ''Film/{{Gladiator}}'' in 2000, and the genre became big again.
* R-rated comic book/superhero movies had declined after ''Film/{{Watchmen}}'' underperformed at the box office, as well as studios believing that the R-rating was box office poison compared to the more economically viable PG-13. This sentiment was not helped by the fact that the few that did come out between 2009 and 2015 weren't big hits. However, after Marvel made waves with the likes of ''Series/{{Daredevil}}'' and ''Series/JessicaJones'' on Netflix, combined with the smash hit films ''Film/Deadpool2016'' and ''Film/{{Logan}}'', it seems that superhero media for more mature audiences may well be experiencing a resurgence.

* The spy genre, which had floundered since the end of the Cold War, became relevant again thanks to 9/11 and TheWarOnTerror.

[[folder:Live-Action TV]]
* This happened at least twice in the GameShow genre:
** ''Series/{{Jeopardy}}'' helped re-popularized quiz-type game shows, which were previously thought dead after the rigging scandals of the 1950s. In fact, the show's signature "answer and question" format was inspired by a discussion between creator Merv Griffin and his wife about those very scandals. Between the 1950s and ''Jeopardy!'''s debut, most game shows were either {{Panel Game}}s or very low-stakes parlor games such as ''Series/{{Password}}''.
** After a rather dormant period in the late 1990s, the genre got another major reboot in 1999 with the success of ''Series/WhoWantsToBeAMillionaire'' The show revitalized the entire genre and was the TropeMaker for many game show elements in use today -- AllOrNothing money ladders, {{Lifelines}}, dramatic sets and music, {{Commercial Break Cliffhanger}}s and of course, massive payoffs. This led to the WhoWantsToBeWhoWantsToBeAMillionaire trope.
* As mentioned on the GenreKiller page, the once great genre of British telefantasy was pretty much killed by ''Series/CrimeTraveller'' (some might argue that it was killed by the cancellation of ''Series/DoctorWho'', and ''Crime Traveller'' was just a death rattle). Since ''Doctor Who'''s revival in 2005 showed that there's still a vast audience for SF&F, we've had ''Series/{{Primeval}}'', ''Series/{{Merlin|2008}}'', ''Series/{{Life on Mars|2006}}'', ''Series/AshesToAshes'', ''Series/{{Torchwood}}'', ''Series/{{Being Human|UK}}'', the ''Literature/{{Discworld}}'' TV movies...
** Meanwhile, the revival of ''Doctor Who'' is credited with bringing back the concept of family shows, that is, programs that the whole family could gather together for.
* Live network television musicals entered a dormancy in the middle of TheFifties. Creator/{{NBC}} revived them in 2013, with a ''Theatre/TheSoundOfMusic'' telecast starring Music/CarrieUnderwood. While it scored high ratings, it took two more years for the medium to re-enter critical favor, when NBC broadcast ''Theatre/TheWiz'' to great acclaim. A few months later, Creator/{{FOX}} opened the door for other networks to stage their own musicals, by airing a warmly-reviewed ''Film/{{Grease}}'' production that scored even higher ratings than ''The Wiz'' did.

* ThrashMetal had a resurgence in the mid 2000s on the backs of bands like Music/{{Evile}} and Music/MunicipalWaste.
* {{Boy Band}}s were practically D.O.A. after the Music/BackstreetBoys and Music/{{NSYNC}} faded in 2001-02 [[labelnote:*]]Though this largely applies to the West; in Asia, boy bands have been consistently popular, particularly in China, Japan, & South Korea[[/labelnote]]. The Jonas Brothers were popular for a few years from 2007 to 2009, but that was more of a pop-rock act as opposed to a traditional boy band. Following the success of Music/JustinBieber, "classic" boy bands like Series/BigTimeRush, Music/TheWanted, and JLS started popping up. JLS and The Wanted had good success in the UK, but were nowhere near as popular as acts like Take That and Westlife were and made no impact internationally. Big Time Rush, meanwhile, had a hit show on Nickelodeon, but as a band weren't very successful mostly because their launch was parallel to the rise of Bieber.
** The act that would truly re-ignite the Boy Band craze formed on the next season of the hit UK show Series/TheXFactor. Music/OneDirection were put together by Simon Cowell after their members narrowly missed the cut as solo acts. Although the group finished third, their debut single "What Makes You Beautiful" debuted at #1 in the UK. One Direction would go on to achieve massive worldwide success, and even broke into one market that most of their predecessors failed to make it in: the United States. The Wanted also had a massive global hit with "Glad You Came" around the same time One Direction started to break through, but their hype was quickly extinguished by their rivals.
** One Direction would go on to dethrone Bieber as the biggest teen phenomenon in the world. The Canadian's sales figures began to plummet and he started to lose awards and records to the boy band. Other boy bands like Union J, The Vamps, Emblem3, Midnight Red, and [=IM5=] are looking to achieve success, but it's unlikely that any boy band -- or Bieber-esque solo singer, for that matter -- will overtake One Direction any time soon.
* This happened to {{Disco}} of all things in 2013. Music/DaftPunk's "Get Lucky", Music/BrunoMars' "Treasure", and Music/RobinThicke's "Blurred Lines" were able to revive worldwide interest in the disco genre, leading to several followers and even expanding to other forms of R&B in 2014.
* After ''Music/{{Loveless}}'' made all other {{shoegazing}} works pale in comparison, the genre died in the early-mid '90s. It's since seen a resurgence in the '10s, lead by the Brooklyn scene rather than the traditional northern English scene.
* PoliticalRap is having a resurgence, though it is mainly limited to the Flemish scene. One of the most famous political rappers there is Keondalini.
* NuMetal has seen something of resurgence since around 2012, after dying unceremoniously in 2004. Bands like Music/{{Issues}}, Music/InThisMoment, Music/HollywoodUndead, Of Mice & Men, Music/FromAshesToNew, Emmure, and Saint Asonia prove the genre isn't completely non-viable like it used to be. Throw that in with various deathcore bands like Music/SuicideSilence, Whitechapel, Upon a Burning Body, and Attila taking noticeable influence from the genre. Add that with the fact that bands who previously abandoned the genre returned to their roots, most notably Music/{{Staind}}, Music/{{Slipknot}}, Music/PapaRoach, and Music/LinkinPark. It'll probably never be anywhere near as popular as it once was, but it's something.
* Music/{{Adele}}'s second album ''21'''s massive success singlehandedly brought back R&B and neo-soul genre to the mainstream pop music.

* [[RuleOfCautiousEditingJudgment No matter what one may think of his politics]], it's hard to deny that Radio/RushLimbaugh did this with non-music radio in general, and [[TalkShow talk radio]] in particular, starting in the late '80s. His openly and proudly partisan style, made possible by the repeal of the Fairness Doctrine[[note]]An FCC regulation stating that broadcasters a) have an obligation to discuss "controversial issues of public importance", and b) must give airtime to contrasting viewpoints on such issues.[[/note]] in 1987, caused radio broadcasters to realize that there was still money to be made broadcasting news and talk shows, leading to a proliferation of right-wing talk radio hosts in TheNineties.

[[folder:Tabletop Games]]
* Role-playing games like ''The Black Hack'' and similar "retro-clones" have created the Old-School Revival movement, which aims to replicate the mechanics of the First and Second Editions of ''TabletopGame/DungeonsAndDragons'' and other games of the early stage of the roleplaying moment. The impact of this revival has been so powerful that even the Fifth Edition of ''D&D'' aims to follow a similar design course.

[[folder:Video Games]]
* Creator/{{Nintendo}} and the [[UsefulNotes/NintendoEntertainmentSystem NES]] single-handedly brought the home video game console market back from the dead in North America, after UsefulNotes/TheGreatVideoGameCrashOf1983.
* Titles such as ''VisualNovel/PhoenixWrightAceAttorney'' and the Creator/TelltaleGames ''VideoGame/SamAndMaxFreelancePolice'' {{retool}} helped restart the popularity of {{Adventure Game}}s in America after roughly a decade of dormancy. Note that this genre was never dead overseas, however; it largely mutated into genres such as {{Visual Novel}}s.
* Depending on who you ask, the strategy RPG genre was revived by either ''VideoGame/FinalFantasyTacticsAdvance'', ''VideoGame/DisgaeaHourOfDarkness'', or the first Western release of ''Franchise/FireEmblem'' on the UsefulNotes/GameBoyAdvance: three games that came out in 2003.
* The rise of Website/{{Kickstarter}} has caused a spike of interest in reviving the PointAndClick adventure games. In particular, Creator/DoubleFine's ''VideoGame/BrokenAge'' raising over a million dollars in a day has caused a lot of FollowTheLeader.
** Similarly, a few companies are hoping to use Kickstarter to revive Interplay-style [=RPGs=] like ''VideoGame/{{Fallout}}'' and ''VideoGame/PlanescapeTorment''.
* The success of ''VideoGame/CastleCrashers'' revitalized interest in the side-scrolling BeatEmUp.
* Starting in the mid 2000's, there was a resurgence in popularity with older styles of video games from the 8-bit and 16-bit era, with many existing franchises from the those eras seeing revivals [[GenreThrowback heavily influenced by nostalgia]].
** The 2D fighting game genre was in decline until the release of ''VideoGame/StreetFighterIV'' and ''VideoGame/BlazBlueCalamityTrigger'' in 2009.
** ''VideoGame/NewSuperMarioBros'' revived interest in 2D platformers.
* The recent success of ''VideoGame/ShadowWarrior2013'', ''VideoGame/WolfensteinTheNewOrder'', and ''VideoGame/{{DOOM}}'' has created a revived interest in old-school style shooters.
* Space simulators in the vein of ''VideoGame/{{Elite}}'' and ''VideoGame/WingCommander'' are headed in this direction thanks to the advent of crowdfunding, helped in no part by the success of ''VideoGame/StarCitizen'''s campaigns (leading to record-breaking amounts of funding); as well as the critical acclaim and commercial success of ''VideoGame/EliteDangerous'' and the amount of press revolving around games like ''VideoGame/NoMansSky''.
* ''VideoGame/GuitarHeroLive'' and ''VideoGame/RockBand 4'' were released in 2015, restoring interest in the RhythmGame that died in 2010.
* The turn based tactical genre seemed to be heading down the drain around the start of UsefulNotes/TheNewTens, until the one-two punch of ''VideoGame/XCOMEnemyUnknown'' and ''VideoGame/FireEmblemAwakening'' came out to near unanimous acclaim and commercial success.

[[folder:Western Animation]]
* ''WesternAnimation/AdventureTime'' and ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' brought a resurgence on WesternAnimation in many ways in the 2010's.
** The former helped Creator/CartoonNetwork WinBackTheCrowd, along with ''WesternAnimation/RegularShow'' and ''WesternAnimation/YoungJustice''.
** The latter, along with WesternAnimation/TransformersPrime, showed that there was not only a market for MerchandiseDriven shows as long as they're well made and well written, but even marked a renewed interest in making cartoons for girls [[note]][[ExecutiveMeddling Not that]] [[Creator/CartoonNetwork Stuart Snyder]] [[ExecutiveMeddling was listening]][[/note]], but that [[TestosteroneBrigade boys and men could enjoy cartoons for girls]]; [[EstrogenBrigade like girls and women could enjoy cartoons for boys.]]
* While adult animation has always been a thing, it more or less died out in the mid-30's as a result of the MoralGuardian-championed UsefulNotes/HaysCode and the rise of the AnimationAgeGhetto during UsefulNotes/TheDarkAgeOfAnimation. The revival of the subgenre was a gradual one; the works of Creator/RalphBakshi such as ''WesternAnimation/FritzTheCat'' and ''WesternAnimation/{{Coonskin}}'' are often considered the start of the revival, albeit a niche one, while ''WesternAnimation/BeavisAndButthead'', ''WesternAnimation/TheSimpsons'', and ''WesternAnimation/SouthPark'' are all credited with restoring adult animation to mainstream status.
** It saw another decline in the late-2000s/early-2010s when many adult cartoons started focusing too much on [[AllAdultAnimationIsSouthPark vulgarity and dark humor]], but managed to get relaunched again (albeit in a rather slow process) with the successes of ''WesternAnimation/BojackHorseman'', ''WesternAnimation/RickAndMorty'', and even ''WesternAnimation/SausageParty''.