->''"[The critics] will not have a pigeon-hole neatly labeled for it."''
-->-- '''Father Robert Murray''', one of Creator/JRRTolkien's mentors, on ''Literature/TheLordOfTheRings''%%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 outsiders [[WhatDoYouMeanItsNotForKids rigidly holding]] [[WhatDoYouMeanItsNotForLittleGirls the ghetto lines]] while [[MovingTheGoalposts upholding their personal "definitions"]] 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.

Remember ghettos are created by society, convention, advertisers and critics and have no bearing on how artists actually work. Artists actually draw influences from a wide variety of references and don't see their work in the way categories are created. Thanks to changes in society, evolving trends and growing sophistication (and vice versa) of audiences, this is very much a CyclicalTrope and subject to PopularityPolynomial. Contrast ItsPopularNowItSucks, wherein a work/creator who previously challenged established conventions accepts them to grow its fanbase or [[MoneyDearBoy pocketbook]].


[[folder:Anime & Manga]]
* The 1988 film adaptation of ''Manga/{{Akira}}'' is arguably '''THE''' production that freed anime from the ghetto, if only for its {{Gorn}} and NightmareFuel. Its story is also held in high regard, with many ranking it as one of the greatest science fiction/animated films of all time, showing that anime isn't just cheesy kiddie fare.
* 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.
* For the first several years of the 21st century, anime was stereotyped as [[{{Moe}} cutesy-looking]], formulaically-animated material with outrageous premises; meanwhile, anime fans became stereotyped as OccidentalOtaku who vehemently believe in Japanese superiority, drawing massive amounts of mockery on the internet. Then came 2014. ''Manga/JoJosBizarreAdventure'' drew swarths of newfound positive attention in America for its over-the-top presentation and [[MemeticMutation memetic]] nature, while ''Webcomic/OnePunchMan'' became an overnight sensation when it premiered in 2015, with its unique visual style and engagingly comical storytelling. At this point, the hatedom towards anime has become far less prominent, to the point of the standard cries of "weeaboo" all but vanishing, and the uniqueness of ''Jojo'' and ''OPM'' have led many to declare them as the saviors of anime.
* Animation can't be art, huh? Watch a couple of Creator/MamoruOshii, Creator/HayaoMiyazaki, or Creator/SatoshiKon films and try saying that with a straight face.

[[folder: Asian Animation]]
* For a long time it was assumed that the only east Asian country that could make cartoons of high quality was Japan, with all others being in need of a foreign script to make something good. Then the South Korean adult horror/drama animated film ''The King Of Pigs'' came along in 2011 and a lot of animation enthusiasts declared that this was one of the best animated films that ever came out.

[[folder:Card Games]]
* ''TabletopGame/YuGiOh'' Before that, trading card game players were either [[TabletopGame/MagicTheGathering fantasy 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]]
* Newspaper strips and funnies were always widely respected but it's generally agreed that George Herriman's ''ComicStrip/KrazyKat'' which was both a popular success and a favorite of the likes of Creator/PabloPicasso and defended by art critics ''and'' William Randolph Hearst himself, raised the profile of comics to fine art.
* Creator/CarlBarks is an example of an artist working on licensed Creator/{{Disney}} characters, jobs-for-hire and yet creating amazing stories that were popular and influential on the likes of Creator/OsamuTezuka, Creator/RobertCrumb, Creator/ArtSpiegelman, Creator/StevenSpielberg works which are written for children and yet entertain adults of all generations. The ComicBook/DisneyDucksComicUniverse revolved around Scrooge [=McDuck=] (created by Barks, ''not'' by Creator/WaltDisney) has had the kind of crossover success and influence that is really rare for comics artists, or people working in what would later be called ExpandedUniverse.
* Superhero comics were popular among kids and teenagers of TheForties and TheFifties but it was Creator/MarvelComics that really raised the genre to have a crossover appeal with the counter-culture, college educated teenagers mostly as a result of GenreBusting stories by merging superhero adventure with aspects of romance, coming-of-age, science-fiction and horror.
* Creator/FrankMiller's ''ComicBook/BatmanTheDarkKnightReturns'' (with partial assist from ''ComicBook/TheKillingJoke'') was this for Franchise/{{Batman}}. Before Miller, Batman was remembered for [[Series/{{Batman}} the campy 60s TV show]] and his comics was in a period of weak sales. Miller's revision of Batman was actually the crest of an ongoing wave[[note]](before him Dennis O'Neill, Steve Engelhart and Neal Adams brought back some of the darkness to the character)[[/note]] but his story, as Miller is fond of saying, "Gave Batman his balls back" and paved the way for the Creator/TimBurton films, the Franchise/{{DCAU}}, the Creator/ChristopherNolan [[Film/TheDarkKnightTrilogy films]] and the ''VideoGame/BatmanArkhamSeries''.
* Creator/AlanMoore's ''ComicBook/{{Watchmen}}'' is the only graphic novel to be featured in Time Magazine's 100 Best Books of the 20th Century. It was seen as the work that raised the medium to the sophisticated storytelling used in novels and movies but at the same time using methods only possible with comics, and likewise using pulp superheroes and science-fiction tropes that used to be seen as the NarmCharm of superhero comics to tell a meaningful story about the human condition.
* Creator/NeilGaiman's ''ComicBook/TheSandman'' is a case of one ghetto crossing into another. Namely it was a comic book that merged elements from superhero stories, horror comics (Creator/ECComics) and with a dollop of Creator/WillEisner's ''ComicBook/TheSpirit'' to tell a modern fantasy story that was as popular and influential as the works of Creator/TerryPratchett, Creator/LewisCarroll, and Creator/JRRTolkien. It caused quite a fuss when one of its issues won a World Fantasy Award, and the rules were changed to bar graphic novels. Gaiman's book also attracted attention from literary readers such as Creator/NormanMailer, Creator/SamuelRDelany and others.
* Creator/ArtSpiegelman's ''ComicBook/{{Maus}}'' also demonstrated that comics could tackle subjects like UsefulNotes/TheHolocaust and earn the same kind of respect and attention as Anne Frank's diary and ''Film/SchindlersList''.

* ''Film/{{The Birth of a Nation|1915}}'' brought cinema out of the ghetto of carnivals and side-show attractions and cement it as a mass-medium greater than theatre, music hall and the circus, leading to a rush of investment in new productions by people seeking to make money in the movie business, and indirectly inventing Hollywood. Of course, its glorification of the UsefulNotes/KuKluxKlan is indefensible, but as critic Dave Kehr noted, it was where movies as an art and a business truly began.
* ''Film/TheWizardOfOz'' is a fantasy film and a musical, yet is one of the most beloved classics from UsefulNotes/TheGoldenAgeOfHollywood. "Over The Rainbow" is an iconic song and Margaret Hamilton's Wicked Witch of the West is an instantly recognisable villain.
* TheWestern as a result of PopularityPolynomial, SocietyMarchesOn keeps being updated and ebbing and flowing in popularity:
** ''Film/{{Stagecoach}}'' was the first western to attract the seriousness, critical attention and commercial appeal. It was nominated for Best Picture but for a long time, it was the yardstick by which all westerns were measured against, including Creator/JohnFord's later Westerns.
** Creator/GeorgeStevens' ''Film/{{Shane}}'', as well as ''Film/HighNoon'', became the second yardstick for westerns as a serious genre. Both movies tried to create a more psychological approach to the genre which attracted it a broader audience than the usual BMovie westerns.
** TheNineties produced Creator/ClintEastwood's ''Film/{{Unforgiven}}'' and Creator/KevinCostner's ''Film/DancesWithWolves'', both of which were 2 of 3 Westerns to win Best Picture at the Academy Awards. They are also seen as {{Genre Killer}}s, especially ''Unforgiven''. Westerns were produced afterwards but practically no movie has had the critical and commercial success those films enjoyed.
* Creator/OrsonWelles' ''Film/CitizenKane'' is seen as the movie that brought cinema to the level accorded to theatre, literature and painting. It was a movie with a form, subject and theme that inspired more film-makers and artistic movements than any other, and it was heavily debated by intellectuals across all fields.
* Creator/StanleyKubrick made ''Film/TwoThousandOneASpaceOdyssey'' specifically to break out of the science-fiction ghetto and introduce concepts and ideas from modernist literature and philosophy. He was disappointed in science-fiction movies made before his film and approached it in the aim to raise its profile with a more realistic and enigmatic approach to familiar tropes: space travel, artificial intelligence and alien life forms. Kubrick's eschewal of science-fiction WorldBuilding (space jargon, technology, alien species) was part of the reason why it had the cross-demographic success it did.
* Horror movies used to be seen as lowbrow and pulp entertainment, opposed to family values and of dubious merit. Yet some movies escaped the ghetto:
** Creator/AlfredHitchcock was a PigeonHoledDirector who was usually associated with an elegant type of {{thriller}} featuring high production values and A-list stars. He was fascinated by Creator/WilliamCastle's cheap horror productions, which were held in even ''lower'' esteem, and was curious to see if he could make a movie of that kind and raise it out of its ghetto. Hitchcock made ''Film/{{Psycho}}'' cheaply with little known actors and created perhaps the most commercially successful horror movie ever made, one of cinema's most iconic villains and launched the slasher genre, and also scored one of the few Best Director nominations he ever received.
** Supernatural horror was seen as being dated but during the UsefulNotes/NewHollywood era, movies like ''Film/RosemarysBaby'' and ''Film/TheExorcist'' managed to attract mainstream success, and would feature respectable critically acclaimed A-list actors rather than B-movie stars. It achieved this via blending regular horror with religious themes and sexual imagery.
** ''Literature/{{Carrie}}'' is a horror movie that has a lot of blood and gratuitous nudity. It's also held up as a classic and got ''two'' Oscar nominations in the acting categories.
** ''Film/TheSilenceOfTheLambs'' had copious amounts of blood, gore and disturbing sexual themes and profanity, and likewise having British Thespian Creator/AnthonyHopkins in the role of an urbane villain (the usual MoneyDearBoy for such actors, cf, Creator/AlecGuinness and Obi Wan Kenobi). Yet, despite a February release and lack of fanfare, it not only won Best Picture but also netted Best Director, Best Actor (for Hopkins playing a SerialKiller, a role far away from the usual OscarBait), and Best Actress.
** ''Film/Scream1996'' is credited for pulling the slasher subgenre out of its rut, films at that point known for being very formulaic and attracting few viewers outside of horror aficionados. ''Scream'' played on many of the genre's cliches, made the killer's identity a mystery rather than defaulting to a stock [[InsaneEqualsViolent escaped mental patient]], incorporated humor, cast bankable actors, and was generally enjoyable for a mass audience and pulled in many more demographics, becoming the first slasher film to break $100 million.
** 2017 gave us two big examples:
*** ''Film/GetOut2017'', a horror thriller by Creator/JordanPeele about [[WhereDaWhiteWomenAt a black man visits his white girlfriend's family]] for the weekend and discovers a sinister conspiracy, was able to earn over $250 million worldwide at the box office on a budget of barely $5 million. It also earned top critical notices for its social commentary on PositiveDiscrimination, cultural appropriation, its endless foreshadowing and - unsurprisingly given who it's written by - its humor. It also became one of the few horror films to receive an Academy Award nomination for Best Picture and even netted Peele an Oscar for Best Original Screenplay.
*** ''Film/It2017'', an adaptation of one of Creator/StephenKing's [[Literature/{{It}} famous stories]] about an EldritchAbomination taking the form of a MonsterClown eating children and a small band of children who fight against the beast, was able to smash box office records in ''[[DumpMonths September]]'' thanks to a lot of hype, not much in the way of competition and excellent reviews calling the film one of the best adaptations of King's works ever. On top of that, it beat the records previously held by the aforementioned ''Exorcist'' by going on to become the highest grossing horror film ''ever''.
* Until ''Film/TheGodfather'', gangster pictures and crime movies were seen as disposable genre movies, and famous stars who started their careers in popular gangster films such as Creator/HumphreyBogart and Creator/JamesCagney won critical acclaim, in their day and age, for their non-genre performances[[note]]James Cagney for instance won his only Oscar for the musical biopic ''Film/YankeeDoodleDandy'', Bogart who started playing gangsters, then played detectives in many FilmNoir, eventually won an Oscar for ''Film/TheAfricanQueen''[[/note]]. Yet after Coppola's film, an instant-classic and commercial powerhouse, gangster movies and crime dramas was raised in profile and esteem, and Creator/MarlonBrando and Creator/RobertDeNiro won Oscars for playing the same character Vito Corleone. The film's multiple oscars also led many producers to give gangster movies higher budgets and production values than previously associated. Along with ''Film/TheDeparted'' by Creator/MartinScorsese, Coppola's ''Godfather'' movies are the only crime movies to ever win Best Picture, and the only franchise to boast two Best Picture oscars.
* ''Franchise/StarWars'' is rather cyclical. In the late 1970s and 1980s, it was cool, then nobody remembered it. In the mid-1990s, ''Literature/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 heroes]], and a MarySuetopia. The fanfic coined the term MarySue. The spinoffs use physics terms [[{{Technobabble}} 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.
* Once, if you likef gay romance, then you were either gay or a hormonal YaoiFangirl. And then came ''Film/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 ComicBook/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.
* ''Film/MadMaxFuryRoad'' attracted critical acclaim unlike any action blockbuster in the last few decades by going completely against the mold. Its strict adherence to ShowDontTell storytelling, simplicity and use of PracticalEffects set it apart from the others and gained it legions of admirers among both mainstream moviegoers and arthouse critics alike, and its feminist themes saw a huge PeripheryDemographic grow around it, with many women finding it a highly refreshing turn from the usual cliches found in other action movies. This eventually led to unprecedented attention during awards season, including the Oscars, which gave it six awards[[note]]More awards than any other 2015 film[[/note]] and nominations for Best Picture and Director.
* ''Film/LordOfTheRings'' is based on a HighFantasy novel that, while respected, would still fall into the ghetto. By the time the movies came out, they were worldwide successes - achieving unanimous praise among audiences and critics alike. Put it this way; before they came along, big budget fantasy epics just weren't done. After their success (though ''Film/HarryPotter'' deserves some of the credit too) - ''Film/TheChroniclesOfNarnia'', ''Film/TheGoldenCompass'', ''Series/GameOfThrones'' - and a whole crop of others. Likewise other remakes of Disney properties such as ''Film/AliceInWonderland2010'' and ''{{Film/Maleficent}}'' directly follow the style.
* Teen dystopia literature is looked down upon (just read the attitudes towards ''Literature/{{Divergent}}'' and ''Literature/TheMazeRunner''). However ''Film/TheHungerGames'' is out of the ghetto, the movies doing incredibly well with critics and audiences. They turned Creator/JenniferLawrence into a superstar in Hollywood and definitely helped usher in more films with ActionGirl protagonists.
* ''{{Film/Titanic 1997}}'' is a big budget romantic epic that was one of the highest grossing movies of all time - and is the first film in history to win Best Film at both the Oscars and the ''MTV Movie Awards''. The ItsPopularNowItSucks backlash came on pretty quickly, but the PopularityPolynomial has ensured that it's out of the ghetto.
* ''Film/TheMartian'' is a sci-fi story that grossed well over $600 million worldwide and appeared in many critics 'Best of 2015' lists. It was nominated outside the technical awards that sci-fi usually falls into at the Oscars - getting nominations for Best Picture, Best Actor and Best Adapted Screenplay.
* ''Film/MeanGirls'' is a teen movie about a GirlPosse in high school, with plenty of pink on the advertising. It's considered a 'girls movie' but that doesn't stop it from being one of the most popular movies of the 2000s - and the MemeticMutation turning it into one of the most quotable movies ever.
* ''Film/PansLabyrinth'' is a DarkFantasy movie with FairyTaleMotifs. When it was shown at the Cannes Film Festival it received a twenty-two minute standing ovation and now has a 95% rating on Website/RottenTomatoes. Some of the movie's fans have [[DoingInTheWizard tried to rationalise the fantasy elements as being all in Ofelia's imagination]] but WordOfGod says the magic is real.


* Literature/DonQuixote raised chivalric poetry and other heroic stories (regarded as the junk stories of Renaissance Europe) into high art, of course it did this by parodying and making fun of those legends but Cervantes did it with total familiarity with the genre and its tropes and in the process introduced readers outside the genre to the chivalric stories, via WeirdAlEffect.
* 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}}. ''Literature/HarryPotter'' and ''Literature/{{Discworld}}'' don't seem to count, even before they were republished with sombre covers to hide your shame. Before that there was ''Literature/{{Gormenghast}}'' and ''Literature/TheElricSaga''.
* In UsefulNotes/VictorianBritain, the reading public and their predecessors didn't really make the same genre-groupings that we do today, so by virtue of never having been ghettoized to begin with, the following works remain "respectable" despite inspiring later genre fiction:
** Creator/RobertLouisStevenson wrote horror (''Literature/DrJekyllAndMrHyde'', ''Film/TheBodySnatcher'') and adventure novels (''Literature/TreasureIsland'', ''The Master of Ballantrae'') and remains on school curiculum while contemporary authors in the same genre are relegated to YA or Pulp magazines.
** Creator/LewisCarroll's ''Literature/AlicesAdventuresInWonderland'' despite [[TropeMaker inventing children's literature]] and codifying many fantasy tropes, has never really been pigeonholed or ghettoized. He remains highly popular among the literary public, avant-garde, highbrow and low-brow, and the Alice books despite being written for children and popular among them, is considered "serious" literature among adults as well.
** Creator/MaryShelley's ''Literature/{{Frankenstein}}'' is considered one of the greatest novels in the language and is taught as required reading in classrooms. She is occassionally joined by Creator/JulesVerne and Creator/HGWells. Yet SciFiGhetto is created for all who come after them.
** Today authors who work in LitFic write "serious literature" a catch-all term for serious fiction, but authors in earlier times indulged in GenreRoulette all the time, the likes of Creator/CharlesDickens, Creator/HenryJames, Creator/HonoreDeBalzac, Creator/{{Stendhal}}, Creator/WalterScott and Creator/AlexandreDumas all wrote in multiple genres (romance, horror, historical fiction, adventure novels, picaresque), and made no real distinction between "serious" and "literate" works.
* ''Literature/FiftyShadesOfGrey'' is one of the first openly erotic novels to break into the mainstream and to be marketed as upmarket populist literature, occupying the top shelves of high street bookshops.

[[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 made up as they went along.
** It's predecessor ''Series/StarTrekTheNextGeneration'', was a much more successful example, earning a considerable amount of acclaim from fans and critics alike during it's run, and is still fondly remembered.
* ''Series/TrueBlood'' has successfully become the most popular thing on Creator/{{HBO}}, and has almost unanimous critical praise.
* ''Series/GameOfThrones'' is a fantasy series and yet is one of the most popular shows outside of the ghetto and like its literary inspiration shattered the Tolkien-esque vision of fantasy in favor of AlternateUniverse medieval history.

* Music/RichardWagner's idea of Gesamtkunstwerk was an attempt to close the ghettoes of {{Opera}} and ClassicalMusic, high and low art, popular song and high culture. His productions were the blockbusters of his days.
* No one's quite sure when rock and roll became mainstream and respectable, but everyone agree that Music/TheBeatles have something to do with it.
* White rappers attract only suburban wannabe gangsters...except Music/{{Eminem}}.
** Music/{{Pitbull}} says hello to you all.
* Music/GeorgeGershwin was obsessed with making American music respectable and had an inferiority complex towards classical music. Even if Ravel and Stravinsky for example, absolutely loved Gershwin's music and kept telling him to be "a first-rate Gershwin" rather than a "second-rate Ravel/Stravinsky". Gershwin was obsessed with creating an authentic American opera, and this led to ''Theatre/PorgyAndBess''. Thanks to SocietyMarchesOn, where {{Jazz}} has become HighArt as has the American Musical to some extent, a lot of Gershwin's attempts at respectability have dated poorly compared to his authentic work as a popular composer.
* Music/BobDylan's "Like A Rolling Stone" was a raucous blaze through the ghetto of Folk and Country Music into Rock music.
* Any time a performer from a somewhat niche genre (country, jazz, classical) is nominated for - or wins - one of the Big Four Grammys (Album of the Year, Record of the Year, Song of the Year, Best New Artist). Take Herbie Hancock's 2008 Album of the Year win for ''River: The Joni Letters''.

[[folder:New Media]]
* TheInternet itself:
** 1990s version: It's for [[TheInternetIsForPorn porn]], ''Franchise/StarTrek'', ''Franchise/StarWars'', debates about [[Franchise/StarWars the Empire]] [[UltimateShowdownOfUltimateDestiny taking on]] [[Franchise/StarTrek the Federation]], {{Anime}} and [[RuleThirtyFour combinations of the foregoing]]. ThereAreNoGirlsOnTheInternet.
** 2000s version: [=MySpace=]! Napster! iTunes! [=BitTorrent=]! Website/{{Facebook}}! There's still porn, but now teenage girls are sending it to their boyfriends.
** 2010s version: Website/{{Facebook}}! Website/{{Twitter}}! Website/{{Tumblr}}! Website/{{Instagram}}! Website/{{Youtube}}! [[MemeticMutation Memes]]! Selfies! Nude Selfies! Men with [[WesternAnimation/MyLittlePonyFriendshipIsMagic Ponies]]! There's still porn, but now in HD! All of them accessible [[GoingMobile in the palm of your hand]]!

* Unsuccessful attempt: Political talk radio is a right-wing medium, right? Certainly Radio/RushLimbaugh, Sean Hannity, and Radio/GlennBeck 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 Creator/{{NPR}} talk programs, are the second-thru-seventh most listened to radio shows (NPR taking the 4 & 5 spots), according to Wiki/TheOtherWiki, Summer 2011, with only Radio/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. ''Franchise/StreetFighter'' and ''Franchise/MortalKombat'' broke out of that.
* [=RPGs=] were for D&D fans and anime nerds, until ''VideoGame/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/BatmanArkhamSeries'' did this for superhero games and licensed games as a whole. After its release, its respectful approach to the source material but innovative gameplay and level design became the gold standard for all licenses, inspiring ''VideoGame/MiddleOfEarthShadowOfMordor'' and other games in different genres. The tradition movie tie-in also declined in popularity and the idea of a licensed character separate from movie and literary source material has become the norm.
* ''VideoGame/GoldenEye1997'' and ''VideoGame/HaloCombatEvolved'' broke the FPS out of the domain of the PC enthusiast to the point that it became the biggest genre in console gaming.
* ''VideoGames/GrandTheftAutoIII'' via notoriety of its subject matter, its innovative sandbox design and subversive content brought more mainstream awareness for gaming as a whole than any other release, and created a market for games for an adult audience. Later releases such as ''VideoGame/GrandTheftAutoIV'' and ''VideoGame/GrandTheftAutoV'' got mainstream success and critical notices in the leading newspapers that only movies and music albums ever got.
* ''VideoGame/WorldOfWarcraft'' brought the MMORPG into the cultural mainstream.
* The UsefulNotes/{{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).
* By the end of the 2000s, the PlatformGame had gone from the biggest part of the gaming industry to the less significant. You could try your luck with a 3D Platformer, but there was no way that you could not sell a normal 2D Platformer as a full retail title...then ''VideoGame/NewSuperMarioBrosWii'' happened.
* {{Mobile Phone Game}}s in the West were usually stereotyped as being cheap, [[ItsEasySoItSucks easy]], cashgrabs (if they're licenced), and heavily PayToWin thanks to many of them using a gacha format. ''VideoGame/FireEmblemHeroes'', being an RPG more in line with mainstream ''Franchise/FireEmblem'' games, doesn't seem to have that stigma attached to it, and remains one of the West's most played games.

[[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 ''WesternAnimation/TheFlintstones'', ''WesternAnimation/TheJetsons'' and ''WesternAnimation/JonnyQuest'' aired in UsefulNotes/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 three long decades until ''WesternAnimation/TheSimpsons'' aired on Creator/{{FOX}}. Subsequent shows upped the ante, until you were sure you ''didn't'' want your kids to watch western animation...at least after sunset.
** While television animation has seen some improvement ([[AllAdultAnimationIsSouthPark though a new stigma arose as a result]]), American animated film still tend to be categorized as children's works, with a side of AllAnimationIsDisney. Very few "adult" American animated films have been produced, and most of those are spin-offs of TV series. At least, that was the case before ''WesternAnimation/SausageParty'' became an unexpected success in 2016.
* While Creator/{{Disney}} had oft-been credited as the masters of the animation business since its heyday, resulting in the aforementioned AllAnimationIsDisney trope, the [[UsefulNotes/TheRenaissanceAgeOfAnimation Disney Reinassance]] certainly broke many ghettos: animated feature films are now seen as huge moneymakers, critical darlings worthy of Best Picture nods, and they're no problem with getting considerable star power for their voice acting.
* Cartoons aimed at female audiences [[GirlShowGhetto have nothing to offer male viewers]]... until Creator/LaurenFaust's ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' gained a large PeripheryDemographic of men 18-34.
* [[Creator/{{Nickelodeon}} Nicktoons]] were (somewhat fairly) stereotyped as superficial, [[AnimationAgeGhetto immature]], and [[CoveredInGunge slimy]]. Then came ''WesternAnimation/AvatarTheLastAirbender'' and ''WesternAnimation/TheLegendOfKorra''. Both shows also broke out of the MinorityShowGhetto, and the latter out of the GirlShowGhetto. Part of their critical success relative to other Nicktoons might be due to averting the ComedyGhetto, being two of the only primarily dramatic shows in the lineup.
* Creator/DisneyXD's was explicitly made to be the male counterpart to the heavily female-centric Creator/DisneyChannel, but that didn't stop ''WesternAnimation/StarVsTheForcesOfEvil'' from cultivating a large female audience.
* ''WesternAnimation/VeggieTales'' broke out of the Christian programming ghetto, being one of the few ReligiousEdutainment shows sold in mainstream movie stores. It has proven funny and entertaining enough to develop a fanbase outside of its Christian target audience.