->''"[The critics] will not have a pigeon-hole neatly labeled for it."''
-->--'''Father Robert Murray''', one of Creator/JRRTolkien's mentors, on the latter's ''[[Literature/TheLordOfTheRings magnum opus]]''%%quoted in Joseph Pearce's ''Tolkien Man and Myth''

Ah, the ghettos of fiction. [[PublicMediumIgnorance We're all familiar with them]]: [[AnimationAgeGhetto Cartoons are for kids]], (and Comic Books are for ''[[SarcasmMode slightly]]'' older kids,) [[SpeculativeFiction SpecFic]] [[SciFiGhetto is for nerds]], [[GirlShowGhetto Romance novels (and soaps) are for single women and housewives]], Rap is for gangstas, Classical Music is for snobs, New Media, ''especially'' [[UltraSuperDeathGoreFestChainsawer3000 Video Games]], [[NewMediaAreEvil are for unproductive deviants]], [[OldMediaAreEvil Printed works are for people with one foot in the grave]], etc.

In short, the medium, and to a lesser extent the genre, define the target audience. Entire classes of works are "pigeonholed" into "target" demographics, and woe unto [[PeripheryDemographic any fan]] who happens to fall one day, dollar, chromosome, or lateral inch outside of these appointed bounds. Some works surrender and even [[LesCollaborateurs embrace]] these holes, falling into [[FollowTheLeader unoriginality]] and {{Flanderization}}, [[MoneyDearBoy so long as the money keeps rolling in]].

Then, you get something which blows away the conventional notions. A work that dares to challenge a genre's or medium's [[{{Deconstruction}} natural]] [[WhatDoYouMeanItsForKids order]], or even, dare we say it, ''[[YouCanPanicNow threatens to expand its demographic]]!'' (Even if it's to [[FleetingDemographic retain viewers it already had]].) If it changes perceptions of the genre as a whole, then it could even be a GenreTurningPoint.

Often a work that breaks out of the ghetto (and its fans) will attract its own hatedom due to [[ComplainingAboutShowsYouDontWatch outsiders]] [[WhatDoYouMeanItsNotForKids rigidly holding]] [[WhatDoYouMeanItsNotForLittleGirls the ghetto lines]] while [[MovingTheGoalposts upholding their personal "defintions"]] of "TrueArt"; along with the genre's/medium's "normal" target audience saying that the work makes their (ghetto-compliant/sustaining) favorites "look bad" and/or employing NoTrueScotsman. In the case of a deviation to a [[LongRunners long-running franchise]], TheyChangedItNowItSucks often comes into play.

Contrast ItsPopularNowItSucks, wherein a work/creator who previously challenged established conventions accepts them to grow its fanbase or [[MoneyDearBoy pocketbook]].


[[folder:Anime & Manga]]
* Animation is [[AnimationAgeGhetto just for kids]], right? [[WhatDoYouMeanItsNotForKids Let me introduce you to]] ''Anime/NeonGenesisEvangelion''. Shocked as you might be, we haven't even reached {{seinen}} territory yet.
* Animation can't be art huh? Watch a couple of MamoruOshii and Creator/SatoshiKon films and try saying that with a straight face.

[[folder:Card Games]]
* ''TabletopGame/YuGiOh'' Before that, trading card game players were either [[MagicTheGathering D&D geeks]] or [[TabletopGame/{{Pokemon}} 10-year-olds]]. ''Yu-Gi-Oh'' fans attracted their own hatedom for being stereotyped as 10-year-olds, but it's still quite disturbing to see a trading card game where your soul is at stake.

[[folder:Comic Books]]
* Comic book fans get a lot of hate. Especially ''ComicBook/{{X-Men}}'' fans. But ''[[ThreeHundred 300]]'' was one exception, though ''300'' fans are generally accused of being gay. ''ComicBook/{{Watchmen}}'' is possibly a better example.
* ''{{Spider-Man}}'' in general. The movies made Spidey into a romantic.

* ''StarWars'' is rather cyclical. In the late 1970s and 1980s, it was cool, then nobody remembered it. In the mid-1990s, ''ShadowsOfTheEmpire'' and the VideoGame/DarkForcesSaga introduced the world to the ExpandedUniverse. Then came cries of TheyChangedItNowItSucks for the SpecialEdition and the prequels. On the other hand, the romantic subplot attracted a significant female fandom. And the Mandalorians have attracted a significant following in the military. Of course, ''Star Wars'' fans make fun of their own FanDumb.
* ''Franchise/StarTrek'' has {{Narm}}, {{Green Skinned Space Babe}}s, an {{Anvilicious}} group of [[AlwaysLawfulGood morally superior beings]], and a MarySuetopia. The fanfic coined the term MarySue. The spinoffs use physics terms but have no idea what they mean, if they mean anything. Of course, it's going to attract a lot of hate. Then came the 2009 ''Film/StarTrek'' movie.
* If you like gay romance, then you're either gay or a hormonal YaoiFangirl. And then came ''BrokebackMountain''.
* Although the TurnOfTheMillennium saw superhero movies becoming more consistently popular and well-received by critics, they were still generally seen as escapist fantasies that primarily appealed to comic book fans and younger demographics. Then came ''Film/TheDarkKnight'', which offered a psychologically complex world and cast, and Creator/HeathLedger portraying SelfDemonstrating/TheJoker with such depth and menace that he managed to become the first person to win an acting Oscar for a role in a superhero movie.

* If you like romance, you're a desperate housewife. Then came ''Literature/{{Twilight}}''. Of course, ''Twilight'' has its own {{Squick}}, especially ''Breaking Dawn''. Yeah, it went right back to the ghetto.
* Who would want to be seen reading a fantasy novel in public? Grow up, you hopeless {{nerd}}. Though ''Literature/HarryPotter'' and ''Literature/{{Discworld}}'' don't seem to count, even before they were republished with sombre covers to hide your shame.

[[folder:Live Action TV]]
* ''Series/StarTrekVoyager'' tried to do this. It ended up with {{Magical Native American}}s, a serious case of ShipTease that ended with Chakotay choosing another girl out of the blue, and using physics terms whose meaning the writers either didn't know or [[TheyJustDidntCare made up as they went along]].
* ''TrueBlood'' has successfully become the most popular thing on HBO, and has almost unanimous critical praise.

* White rappers attract only suburban wannabe gangsters...except {{Eminem}}.

[[folder:New Media]]
* The Internet itself. 1990s version: It's for [[TheInternetIsForPorn porn]], ''Franchise/StarTrek'', debates about [[UltimateShowdownOfUltimateDestiny the Empire taking on the Federation]], anime and [[RuleThirtyFour combinations of the foregoing]]. ThereAreNoGirlsOnTheInternet. 2000s version: [=MySpace=]! Napster! iTunes! [=BitTorrent=]! {{Facebook}}! There's still porn, but now teenage girls are sending it to their boyfriends.

* Unsuccessful attempt: Political talk radio is a right-wing medium, right? Certainly RushLimbaugh, Sean Hannity, and Glenn Beck would have you think so. Meet...pretty much all of Air America. [[AnalogyBackfire Which failed to compete with Rush and co. and shut down.]]
** Incidentally, Limbaugh ''himself'' is an (successful) example, taking political-commentary-based radio out of the droning doldrums and into the controversial and popular format it is today.[[note]]The three above, along with fringe conservative Michael Savage, plus two NPR talk programs, are the second-thru-seventh most listened to radio shows (NPR taking the 4 & 5 spots), according to TheOtherWiki, Summer 2011, with only AmericanTop40 surpassing them.[[/note]] Granted, the revocation of The Fairness Doctrine made it possible, but there still had to be a leader [[FollowTheLeader for everyone to follow]].

[[folder:Video Games]]
* Video games are an interesting case, since there are so many ghettoes. First, the "games are for kids" ghetto. ''StreetFighter'' and ''MortalKombat'' broke out of that.
* [=RPGs=] were for D&D fans and anime nerds, until ''FinalFantasyVII'' came out, as {{Animesque}} as it was.
* Video games were for men and boys, until virtual pets and, a year later, ''Franchise/{{Pokemon}}''. Naturally, ''Pokémon'' attracted its own {{hatedom}}.
** ''Pokémon'' also fit for popularizing the RPG with children.
* Likewise with ''VideoGame/TheSims'', which has also been cited as a major influence in getting women into gaming.
* Building on the above two, the development of "casual games" and the RhythmGame genre, along with the ability to purchase games on cell phones and iPods, made gaming a co-ed activity.
* ''VideoGame/GoldenEye1997'' and ''VideoGame/{{Halo}}'' broke the FPS out of the domain of the PC enthusiast.
* ''VideoGame/WorldOfWarcraft'' brought the MMORPG into the cultural mainstream.
* The {{Wii}} series of games as well as Nintendo's other Touch Generations games saw the demographic for gaming broaden outside the 18-34 demographic (though it had long existed in younger demographics as well).
* You absolutely could not sell a normal 2D Platformer as a full retail title on the 7th generation consoles, until ''VideoGame/NewSuperMarioBrosWii''.

[[folder:Western Animation]]
* As the AnimationAgeGhetto page explains, WesternAnimation was once an all-ages affair as complementary works to major movies, and this held true in the first decades of TV; this is why ''TheFlintstones'' and ''TheJetsons'' aired in PrimeTime in their heyday. Then {{demographics}} emerged, animation studios largely became separate from movie studios, and the dark days of the Ghetto began. This lasted for [[TheSeventies two long]] [[TheEighties decades]] until ''TheSimpsons'' aired on {{FOX}}. Subsequent shows upped the ante, until you were sure you ''didn't'' want your kids to watch WesternAnimation, at least after sunset.
* Cartoons aimed at female audiences [[GirlShowGhetto have nothing to offer male viewers]]... unless Creator/LaurenFaust was [[WesternAnimation/ThePowerpuffGirls involved]] [[WesternAnimation/FostersHomeForImaginaryFriends in their]] [[WesternAnimation/MyLittlePonyFriendshipIsMagic production]].
* [[{{Nickelodeon}} Nicktoons]] were (somewhat fairly) stereotyped as superficial, [[AnimationAgeGhetto immature]], and [[CoveredInGunge slimy]]. Then came ''WesternAnimation/AvatarTheLastAirbender'' and ''WesternAnimation/TheLegendOfKorra''.