%% The creator of AwkwardZombie allows whole comic pages to be used provided the link at the bottom is left: http://www.awkwardzombie.com/index.php?page=4
[[quoteright:350:[[Webcomic/AwkwardZombie http://static.tvtropes.org/pmwiki/pub/images/rsz_comic146_5639.gif]]]]

->''"Look on the bright side, Eddy. My parents say fads go in a cycle. In another ten years, we'll be back in style!"''
-->-- '''Double D''', ''WesternAnimation/EdEddNEddy''

It's a fact of life that something which portrays itself as "cutting edge" is eventually going to become mainstream, [[ItsPopularNowItSucks and from there passé]]. However, given enough time -- usually about 20 years -- what had been seen as [[DiscoDan behind the times]], [[DiscreditedMeme old hat]], or [[DeaderThanDisco just plain uncool]] suddenly begins to make a comeback, usually accompanied by words like "vintage," "nostalgic," and "classic." It's gone through the ups and downs of the popularity polynomial.

How often the item cycles back and forth between "cool" and "not cool" depends on many factors. If something reached a peak when you and your friends were kids, then when you become tweens or teens, it is a reminder of a childish time -- and as [[Creator/CSLewis the fear of childishness and the desire to be very grown up]] kick in, you don't want to think about it. But when you reach your later teens or become adults, it is seen as harmless. And once ''your'' kids discover it, it may even become cool again (as long as they don't associate it with their uncool parents). Now apply that on a larger scale.

Given enough cycles, it becomes an equivalent of CyclicTrope.

The name comes from the fact that we like {{a|ddedAlliterativeAppeal}}lliteration, and [[MostTropersAreYoungNerds some of us are math geeks]]. Here's also a [[TechnoBabble more detailed explanation]] about what a polynomial is and what it has to do with the ups and downs of popularity.

A ''polynomial'' in x is a sum of non-negative integer powers of x which are each multiplied by a real number. You might know some simple polynomials: y=ax+b, the equation for a straight line where a is the slope and b is the y-intercept, is a polynomial (it can be written as: y=ax[[superscript:1]]+bx[[superscript:0]]). That's called a polynomial of degree 1, because the highest power of x that appears is 1. A polynomial of degree 2 (y=ax[[superscript:2]]+bx+c) is called a parabola, and if you plot its graph it looks like a dish (which could be wide or narrow, or turned upside down, depending on what a, b, and c are).

Of course, there are polynomials of a higher degree than that, like y=4x[[superscript:5]]+8x[[superscript:4]]+15x[[superscript:3]]+16x[[superscript:2]]+23x[[superscript:1]]+42, which is of degree 5. Higher degree polynomials can create all sorts of curves when you plot them. Apart from the line and the parabola, you can get a lot of shapes, such as a lot of hairpin curves or a roller-coaster shape that goes on for a while before diving up or diving down.

So basically, in a polynomial in x of a high-degree you can expect y to go up and down as x grows.[[note]]This doesn't always happen-- exactly ''how'' often it happens is a difficult question in probability, but for our purposes the answer is "often enough."[[/note]] The trope name is about looking at the popularity of something as a polynomial in time: as time progresses, it becomes less popular, then more popular, then less popular again, and so on and so forth. Generally speaking, the higher degree the polynomial, the more times you switch from "cool" to "stupid" and back. The points where the popularity rises, flatlines, and then begins to decline are known as the polynomial's JumpingTheShark moments, and when it does the opposite- reverses a decline and starts to climb- rigorous mathematical notation is that it is GrowingTheBeard. Some fringe lunacy groups insist on an alternative terminology having to do with derivative signs and whatnot, but they can be safely ignored.

So if you were wondering what a polynomial was, [[AndKnowingIsHalfTheBattle now you know]].

See also ColbertBump (a resurgence triggered by a specific factor), DeadArtistsAreBetter (when a person's death [[NeverSpeakIllOfTheDead rehabilitates his or her reputation]]), CyclicTrope (when this happens to tropes) and DiscreditedMeme. Compare with TwoDecadesBehind, CareerResurrection, NostalgiaFilter and VindicatedByHistory. Contrast with DeaderThanDisco.


[[folder:Anime and Manga]]
* Anime in North America has had a roller coaster of popularity over the years, normally with a particular series leading the surge. In the mid '90s, anime surged big time thanks to particularly ''Anime/{{Pokemon}}'', ''Anime/DragonBallZ'', and ''Anime/SailorMoon''. Around the early 2000s, the popularity began to lower but then in the mid 2000s another boom kick started thanks to ''Manga/{{Naruto}}'' and ''Manga/{{Bleach}}''.
** Two particular anime that experienced this is ''Dragon Ball Z'' and ''Anime/NeonGenesisEvangelion''. Both acted as gateway series to the world of anime, ''Dragon Ball Z'' being the most popular shonen series and ''Evangelion'' once being regarded TrueArt. Around the early 2000s, HypeBacklash hit both series big time and it suddenly became wrong to openly admit to liking either series. Then later, with the creations of ''[[Anime/DragonBallKai Dragon Ball Z Kai]]'' and ''Anime/RebuildOfEvangelion'', respectively have renewed interest in both franchises.
* After multiple sequel series that had no relation to the original plot, characters, and nowhere near the success, the original episodes of ''Yu-Gi-Oh!'' have been recently remastered and re-released.

[[folder:Films -- Animated]]
* Disney has gone through ups and downs. During TheGoldenAgeOfAnimation, Disney's films were successes. However, after the death of Creator/WaltDisney, the confused company released a string of weak, underperforming films in TheSeventies. By TheEighties, Disney was better known as a theme park operator than a film maker. However, in 1989, ''Disney/TheLittleMermaid'', an animated film deliberately reminiscent of the Golden Age films of the 1940-50s, became an unexpected critical and commercial success and kicked off the [[TheRenaissanceAgeOfAnimation Disney Renaissance]] that lasted throughout the entire [[TheNineties Nineties]]. By the TurnOfTheMillennium though, audiences, tiring of the increasingly [[AwardBaitSong cliched]] [[TalkingAnimal formula]] [[RebelliousPrincess prevalent]] in these films, drifted towards the then-new AllCGICartoon popularized by Creator/{{Pixar}} and Creator/DreamWorksAnimation. Disney responded by impulsively shutting down their traditional animation studio and releasing a string of their own CGI cartoons, none of which made much of an impact. Disney later announced that in the wake of the increasing popularity of CGI and decreasing interest in hand-drawn animation, they would be focusing on CGI flicks for the foreseeable future.
** The pendulum swung back ''again'' in 2009 with the release of ''Disney/ThePrincessAndTheFrog'', which, while not the smash hit the studio was hoping for, still managed to be a formidable success. Content-wise, Disney has returned to stories similar to those of the '90s with ''Disney/{{Tangled}}'' and ''Disney/{{Frozen}}'' -- except reimagined with a new level of self-awareness and avoidance or subversion of the much-maligned typical Disney formulas. And both became critically acclaimed successes.

[[folder:Films -- Live-Action]]
* The 1967 film ''Film/ToSirWithLove'' laid this bare for the audience in a scene where Mark Thackeray (Creator/SidneyPoitier) informs his disbelieving students about many things that are OlderThanTheyThink: their clothing is from the 1920s, their hairstyles from the 16th century, and so on. A trip to a museum later in the film re-{{lampshade}}s it when one of the students is shown with his head next to that of a Renaissance statue -- and they both have the same haircut.
* For much of the late 20th century, film musicals were DeaderThanDisco, having effectively been [[GenreKiller killed]] by a parade of flops over 1967-69 (''Camelot'', ''Film/DoctorDolittle'', ''Film/PaintYourWagon'', ''Finian's Rainbow'', ''Film/ChittyChittyBangBang'', and finally ''Film/HelloDolly!''). While the genre persisted into TheSeventies via a few successful (mostly pop-rock) efforts, it gave up the ghost early in TheEighties. 2001's ''Film/MoulinRouge'' was the first live-action musical in years to attract positive attention, but a comeback truly kicked off the following year with the Oscar-winning film of ''Film/{{Chicago}}'', and has continued into the present with the likes of ''Theatre/{{Dreamgirls}}'', ''Film/{{Hairspray}}'', ''Film/MammaMia'' and ''Theatre/LesMiserables''. Disney even managed to make a highly successful franchise out of ''Film/HighSchoolMusical'', to the point where the third film was upgraded to a theatrical release. And now there's ''Series/{{Glee}}''...
* Hardly any [[SwordAndSandal ancient history films]] between ''Film/{{Cleopatra}}'' and ''Film/{{Gladiator}}''. Then it became a trend again, only to fall out of favor ''again'' due to the failures of later ones like ''Film/{{Alexander}}''. Then ''Film/ThreeHundred'' brought them back into vogue, this time tending to have more stylized aesthetics.
* This has happened more than once to the {{horror}} genre.
** [[HammerHorror Hammer Film Productions]]' remakes of [[UniversalHorror classic Universal monster movies]] in TheSixties helped to both restore interest in those films and restore a horror genre that, in TheFifties, had devolved into BMovie hell.
** In the first half of TheNineties, the horror genre (and the {{slasher|Movie}} genre in particular) was seen as stale, {{cliche|Storm}} and behind the times, filled with bad writing, cheap scares and [[UnfortunateImplications not-so-subtle misogyny]]. New horror movies were flopping at the box office left and right (even in the normally-reliable month of October), and the slasher icons of TheEighties viewed as walking punchlines. Then came ''Film/{{Scream|1996}}'', which {{deconstruct|ion}}ed, [[DeconstructiveParody parodied]] and {{lampshade|Hanging}}d all the genre's conventions, put them all back together, and single-handedly restored the genre to commercial viability, which it retains to this day.
* ZombieApocalypse movies, and zombies in general, were practically forgotten throughout the '90s. It wasn't until the early 2000s that ''Film/TwentyEightDaysLater'', the ''[[Film/DawnOfTheDead2004 Dawn of the Dead]]'' remake and ''Film/ShaunOfTheDead'' kickstarted the genre again.
* ''Film/{{Titanic}}'' became the highest-grossing movie ever and won 11 Oscars. Then the overexposure (particularly of the CelineDion theme), HypeBacklash, annoying Leo fangirls, and the overall schmaltzy and overblown tone of the movie damaged both its reputation and popularity. But by the time the movie turned 15 and got a 3D re-release in theaters, all was forgiven and forgotten.
* The original Creator/TimBurton ''Film/{{Batman}}'' movie was a massive hit and spawned a resurgence of similar comic book flicks (''Film/TheShadow'' and ''Film/ThePhantom'', among others), but after a string of sequels, ''Film/BatmanAndRobin'' came out and pretty much [[GenreKiller killed the]] {{superhero}} genre. A few years later, ''Film/{{Blade}}'' and ''Film/XMen1'' came out and slowly started making comic book movies a viable genre again (albeit usually [[MovieSuperheroesWearBlack with more subdued costumes]]), and ''Film/BatmanBegins'' effectively resurrected the Batman franchise. Cut to the present day, and not only are superhero movies routinely top earners at the box office, but ''Film/TheAvengers'' is now one of the highest grossing films of all time.
* {{Lampshaded}} in ''Film/TwentyOneJumpStreet''. While returning to his old high school, one of the leads notices an attractive young woman reading a comic book. He points out that when he was a teenager, only geeks read comics, and were usually mocked for doing so.
* Hard-R comedies tend to go in and out of style. They first took off in the late 1970s, with films like ''Film/AnimalHouse'' and ''Film/TheKentuckyFriedMovie'' pushing major boundaries in terms of what constituted "good taste"[[note]]although, technically, 1972's ''Film/PinkFlamingos'' still holds the record for "raunchiest movie ever made"[[/note]] and becoming hit films in the process. Unfortunately, a saturation of hard R movies in the early-1980s along with an increasing number that relied solely on VulgarHumor rather than witty writing dissolved the genre for a good decade and a half. During which time, the decidedly more kid friendly PG and PG-13 rated comedy of actors like Pee Wee Herman, Jim Carrey, Robin Williams and Adam Sandler became the norm. The Hard R comedy, however, came back in 1998 when ''Film/TheresSomethingAboutMary'' became a surprise critical and commercial hit. The genre thrived for the next three or four years with such box office bonanzas as ''Film/AmericanPie'' and ''Film/ScaryMovie''. However, shifting audience tastes and an over-emphasis on high school centered comedy (what with the audience for such movies moving on to college and/or adulthood) dissolved the genre yet again. It came back once more in 2005 with ''Film/TheFortyYearOldVirgin'', which was probably the first of its kind to be just as popular with adults as it was with teenagers. And the genre still thrives to this day.
* Vampire movies are in a full swinging pendulum of this. They will gain popularity for awhile, then play themselves out, only for the process to repeat.
* After his [[Film/GodzillaFinalWars last film]] in 2004, ''Franchise/{{Godzilla}}'' has received very little public or internet attention. But once footage and trailers for [[Film/{{Godzilla2014}} the 2014 reboot]] started being released in December of 2013, Godzilla started trending very often on social network sites, leading to revived interest in the franchise specifically (hence why many of the films were brought back into circulation after [[KeepCirculatingTheTapes years with no home video releases]]) and the {{Kaiju}} genre in general (hence the sustained interest in ''Film/PacificRim'' and the ContinuityReboot for ''Franchise/{{Gamera}}'').
* It's hard to remember, but once upon a time ''Film/MeanGirls'' was only a moderately successful movie (making $86 million at the North American box office against a $17 million budget). It came out to positive buzz but then faded into obscurity. It was released in 2004 and, at the time, got overshadowed by two [[Film/NapoleonDynamite specific]] [[Film/AnchormanTheLegendOfRonBurgundy movies]]. Thanks in particular to the rise of websites like Website/{{Tumblr}}, Film/MeanGirls ended up getting renewed popularity with a new generation of teenagers in TheNewTens.
* Franchise/TheMuppets: It may not be obvious to today's viewers, but the original film Film/TheMuppetMovie had any number of cameos from people who were, at the time, ''huge'' stars, and Series/TheMuppetShow guest stars were frequently leading lights either as actors or singers (or both) as well. They have made a huge comeback, now that the media industry is full of influential producers and talents who grew up on their show and still love them. There's no shortage of celebrities who want to perform with them, as [[Film/TheMuppets their 2011 film]] demonstrates.

* ''TheAeneid'' versus its predecessors, ''TheIliad'' and ''TheOdyssey''. For many years, ''The Aeneid'' was considered the true accounting of the war, and practically required reading for any aspiring creative worker. This is for several reasons, chief among them being that Vergil's work deals primarily with the history of Rome, and most Renaissance thinkers were Italian. It was also written in Latin, which was much more widely-understood than Homer's Greek. As a result, many writers ended up inheriting Vergil's interpretations, [[RonTheDeathEater which usually depicted the Greeks in a poor light.]] However, these days, it's reversed; most people have read or at least know the plot of Homer's works, while Vergil's are mostly read by Latin students. This may be due to the rising popularity of Greek mythology and culture, the proliferation of translated versions of Homer eliminating the language barrier, or the greater mass-appeal of a massive war and a decades-long adventure as opposed to Vergil's more introverted work. Audiences today read ''TheDivineComedy'' and wonder what poor Odysseus is doing at the Eighth Circle of Hell.

[[folder:Live Action TV]]
* Although easy to forget now that it's a massive media juggernaut seemingly beloved by all, ''Series/DoctorWho'' was considered a joke in the years between the mid '80s and 2005. It had been a very popular show at its height, but during its '80s DorkAge and after its cancellation in 1989 it was, at best, a CultClassic, and at worst, something for people to sneer at and assert that, no, ''they'' never watched if they wanted to maintain a shred of credibility. Then Creator/RussellTDavies and Creator/ChristopherEccleston came along, and suddenly everything changed. The show not only became a huge success in Britain and returned to omnipresence in pop culture, but for the first time it managed to cross ThePond and establish a substantial international fanbase, with ''Doctor Who'' merchandise sold in mainstream American music/video stores.
** Case in point: [[http://www.rotten.com/library/culture/doctor-who/ this article]] from the Rotten Library, written in 2005 just as ''Doctor Who'' was returning to television, exemplifies the dismissive attitudes (in this case, from an American perspective) that many people had towards the show at the time, ending with a joke about looking for "New ''Who''" on struggling Creator/{{PBS}} stations in between [[{{Telethon}} pledge drives]]. It would be [[HilariousInHindsight unimaginable]] for that same article to be written today.
* {{Game show}}s in general tend to go through cycles. They went through their first boom in TheFifties, and fell hard after it was revealed that several of them (most infamously ''Series/TwentyOne'') were [[ExecutiveMeddling rigged]] in order to create tension for viewers. Except for the PanelGame variants like ''IveGotASecret'' and low-stakes parlor games like ''Series/{{Password}}'', and a little thing called ''Series/{{Jeopardy}}'' that started in 1964, American audiences wouldn't fully trust game shows again until TheSeventies, when shows like ''Series/FamilyFeud'', ''Series/ThePriceIsRight'', ''Series/TheJokersWild'', ''The $10,000 Series/{{Pyramid}}'', and ''Series/WheelOfFortune'' became popular on network TV. The network games to die down in [[TheEighties the '80s]] when the current syndicated version of ''Wheel'' debuted, followed a year later by a syndie revival of ''Jeopardy!'' The market did get quite saturated around that point (no fewer than a dozen shows debuted in 1990 alone, including quite a few revivals, with none lasting more than a season). In the early 1990s, daytime game shows pretty much went by the wayside. Except for the juggernaut ''Series/ThePriceIsRight'', there wasn't a single daytime game show between the end of ''Series/CaesarsChallenge'' in 1993 and the ''Series/LetsMakeADeal'' revival that began in 2009. Meanwhile, cable became a haven for game shows for a while, but most of them were cheap, short-lived fluff outside a few {{Cult Classic}}s like ''SupermarketSweep'', ''{{Double Dare|1986}}'', etc. The cable boom also made way for Creator/{{GSN}}, which offered reruns of older shows.\\
The genre returned in a big way in the late '90s/early 2000s with ''Series/WhoWantsToBeAMillionaire'' and ''Series/TheWeakestLink'', as well as shows like ''{{Greed}}'' and the {{revival}} of ''Series/TheHollywoodSquares''. This boom also caused a deluge of [[WhoWantsToBeWhoWantsToBeAMillionaire their assorted clones]]. In the early 2000s, ''Millionaire'' and ''Link'' pulled in tens of millions of viewers and were watercooler discussion fodder, and their hosts (Regis Philbin and [[TheMeanBrit Anne Robinson]], respectively) were household names. On top of that, their flashiness and huge prize budgets mostly spelled the end of low-budget cable game shows. Then their networks [[AdoredByTheNetwork began marketing them to death]] (Creator/{{ABC}} aired ''Millionaire'' almost every night of the week), and reality shows like ''Series/{{Survivor}}'', ''Series/AmericanIdol'' and ''Series/TheAmazingRace'' started taking off and providing what were then innovative alternatives to the traditional quiz show model. Almost overnight, the shows were only surviving in syndication -- and even that wasn't enough to keep ''Link'' alive. To this day, their catch phrases ("Is that your final answer?" for ''Millionaire''; "You are the weakest link. Goodbye!" for ''Link'') are considered annoying as all hell. Game shows generally started to die off again, with one of the only success stories in the mid-2000s being ''Series/{{Lingo}}'' (2002-2007) on GSN. ''DealOrNoDeal'' sparked another brief revival in 2008, but its incredibly flimsy premise, ever-increasing gimmickry, and WolverinePublicity helped do it in. Meanwhile, through all the cycles the genre has gone through, the aforementioned syndie versions of ''Wheel'' and ''Jeopardy!'', and ''Price'' over on CBS, have remained consistently strong.
** In the UK, the genre seemingly died out at the end of the Millionaire Years (thanks to that show and others like The Weakest Link becoming a bit of a joke), but has recovered in recent years with shows like ''Pointless'', ''Series/TheChase'' and ''Eggheads'' getting good ratings and being nominated for TV awards.
* ''Series/MightyMorphinPowerRangers'' is very close to its 20 year mark, and it's quickly becoming a good example of this. It was a huge phenomenon in the early 90s, but it began to slowly dwindle until about 2002, when it was bought by Disney, when it got worse. It had a short burst of success then, but Disney was apathetic to the show at even the best of times, and it essentially culminated in its cancellation in 2009 after Series/PowerRangersRPM. However, soon after, the show was bought back by Saban, [[ChannelHop hopped]] over to Nickelodeon, and the franchise seems to be back on an upswing.
* In-universe example from ''Series/HowIMetYourMother'': Marshall and Ted take a long drive with just one song to listen to, "I'm Gonna Be (500 Miles)". In alternating hours, they either hate it or love it (though unlike in a standard PopularityPolynomial, the moments of high "popularity" don't follow the thing's absence, but rather that it has managed to sink in).
* The long-form MiniSeries in the U.S. In TheSeventies and TheEighties, this was seen as the premier format for high-quality television, with shows like ''{{Roots}}'', ''Series/JesusOfNazareth'', ''Series/{{V}}'', and ''Rich Man Poor Man'' allowing the networks and their writers to stretch their wings and bring Hollywood-level production values and big-name stars to the small screen. The then-Big Three networks would devote large chunks of their annual budget and {{sweeps}} time to air miniseries that could take up a whole week (or even more) of programming to keep audiences glued to the TV. During TheNineties, however, the quality of miniseries fell into the gutter as networks exploited the format as a {{sweeps}}-week RatingsStunt first and a method of storytelling second. The length of most miniseries also decreased, shrinking to just two parts and 4-5 hours, as networks grew more cost-conscious. By the TurnOfTheMillennium, a glut of crappy miniseries had virtually discredited the format.\\
However, the miniseries found new life on cable television in the late '00s, where many smaller networks saw it as a cost-effective alternative to producing long-running series .The FX hit ''Series/AmericanHorrorStory'' has been using a miniseries format in all but name. TheHistoryChannel aired ''[[Series/HatfieldsandMcCoys Hatfields and [=McCoys=]]]'', which became a huge success. History followed that up with ''Series/TheBible'' and ''Vikings'', with both having high ratings starting out, but in the case of the former, outside of a very specific niche audience of conservative Christians, after the show had aired, audience opinion of the series dropped (critics never liked it), and in the case of the latter, ratings fell during season 2. Nevertheless, ''The Bible'' was a bestseller on home video, ultimately becoming the most successful miniseries ever produced, and the format has now been seen in a more favorable light. Since then, there has been a glut of miniseries that have been produced or are currently in development, even among the broadcast networks that had abandoned the format years earlier. Networks have used the format to test potential long-form projects (''Series/{{Fargo}}'', ''[[Series/UndertheDome Under the Dome]]''), or they have been using them to revive long-running shows (''[[Series/{{TwentyFour}} 24]]'', ''Series/{{Heroes}}'', the original ''[[Series/LawandOrder Law & Order]]''). There are stand-alone projects being produced as well, a few of them being made to cash in on ''The Bible'' (NBC's ''AD'' and CBS' ''The Dovekeepers'', both of which share the [[Creator/MarkBurnett same]] [[https://en.wikipedia.org/wiki/Roma_Downey producers]] from ''The Bible'').



[[folder: General ]]

* In general, the TwoDecadesBehind rule of coolness applies:
** The [[TheFifties 1950s]] revival between [[TheSixties the late 1960s]] [[TheSeventies through]] [[TheEighties the 1980s]] [[TheNineties and even further]] with Music/ShaNaNa, ''Film/{{Grease}}'' and ''Film/StandByMe'' are remembered for sparking renewed interest in rock-and-roll.
*** The 1980s also revived 1960s guitar-based rock and jangly pop into college rock and AlternativeRock.
** The [[TheNineties 1990s]] and early 2000s revived [[TheSeventies 1970s]]-style hard rock and metal into grunge and post-grunge.
** The 2000s reinvigorated the 1980s' emphasis on synthesizers, vocal reverb, high production values, and relatively minimalistic, almost un-syncopated beats. (Fashion trends of TheNewTens, similarly, have appropriated the 1980s' love for striking colors and tight clothes.)
** TheNewTens is beginning to show a revival of [[TheNineties 1990s]] pop culture.
* The market for [[IdolSinger contemporary dance-pop music]] has seen great periods of popularity and decline, starting with the mid-to-late [[TheEighties 1980s]] led by Music/MichaelJackson's ''Music/{{Thriller}}'' and Music/{{Madonna}}'s early period, then falling to {{Grunge}} and hip-hop in TheNineties. It returned with the rise of the Music/SpiceGirls, Music/BackstreetBoys, Music/{{NSYNC}}, Music/{{Hanson}}, Music/ChristinaAguilera and Music/BritneySpears in 1998-1999, then gained a new audience when DisneyChannel and {{Nickelodeon}} stars like TheJonasBrothers, [[Series/LizzieMcGuire Hilary Duff]] and MileyCyrus branched out into teen pop careers in the mid-to late 2000s. Music/JustinBieber, Cody Simpson, Music/OneDirection, Music/CarlyRaeJepsen, BigTimeRush, ArianaGrande and AustinMahone seem to be flying the flag for the 2010s.
* Teen Pop tends to regularly go in and out of style. The genre first reached mainstream prominence in the early-1960's and remained popular throughout both TheSixties and TheSeventies with such groups as The Osmonds and The Jackson 5. The genre fell out of fashion once [[DeaderThanDisco disco backlash]] set in but regained strength in the late-1980's with such singers as Tiffany and Debbie Gibson. This brief resurgence in the popularity of the genre was, of course, halted by the rise of grunge in the early-90's and remained dormant until the late 90's, when Music/TheSpiceGirls and Music/BritneySpears broke through. While the genre saw possibly more success than ever before at this time, a massive backlash came about, with many accusing the era's pop stars of being plastic and corporate made. Meanwhile, many up-and-coming singers like Music/{{Pink}} and Music/AvrilLavigne rebelled against the teen pop craze by creating a harsher and more rock-oriented style of pop music. The resurgence of genres like post-grunge also took a significant bite out of the genre's popularity. By around 2007 (thanks in no small part to Britney's highly publicized CreatorBreakdown), teen pop was good as dead. Only to come back during TheNewTens with such singers as Music/MileyCyrus and Music/JustinBieber. Also, some teenage singers have managed to hold appeal to adults and males due to their more mature DarkerAndEdgier premises, namely Music/{{Lorde}} and Birdy.
** By proxy, the BoyBand craze. From approximately 1998 to 2001, boy bands such as the Music/BackstreetBoys and Music/{{NSYNC}} ''dominated'' the pop music scene, with multi-platinum albums and incessant airplay and TV spots. At one point, the Backstreet Boys even had ''Burger King kids' meal toys''!! Inevitably, the over-saturation led to a huge backlash and by 2002, it was like they never existed. The boy band stigma has largely prevented most former boy band members from having much of a solo career afterwards (except Music/JustinTimberlake, who beat the stigma by downplaying his association with *NSYNC, and is now as well-known as an actor as he is a singer). Another reason for the downfall of boy bands was the increasing popularity of pop-punk bands like Simple Plan, Good Charlotte, and Fall Out Boy, who soon became the next big thing among the younger demographic, and since they actually played instruments and wrote their own songs, they had much less of a stigma attached to them than boy bands did. In 2012, though, boy bands [[{{Uncanceled}} made a comeback]], with Nickelodeon-produced Series/BigTimeRush and British exports Music/TheWanted and Music/OneDirection. A lot of the boy bands from the '80s and '90s (Music/NewKidsOnTheBlock, the Music/BackstreetBoys, etc.) also started reunion concerts, which attracted a sizable number of twenty- and thirty-something females. One Direction in particular has reached a phenomenon on the level of - or possibly even exceeding - their predecessors. In March, they became the first ever UK group to debut Billboard's top 200 album chart at #1 with the American release of their first album. Their second album sold half a million copies when it was released in November and was able to knock TaylorSwift off the top of the charts. When their third album debuted at #1 in 2013, they became the ''first group in the nearly 60-year history of the Billboard 200 to debut their first three - and then four - albums at #1.'
* Music/TakeThat have had a phenomenal comeback after they reformed in 2006 after a decade apart - their three studio albums since their reformation vastly outselling their three before their breakup and their 2011 tour becoming the 22nd highest grossing in history.
* Vinyl records. They were already starting to become old-hat in TheSeventies with the introduction of audiocassettes. Then they went out of style in TheEighties as the cassette surpassed it in popularity and more importantly the compact disc took over the market, and they saw themselves pushed back to the indie rock genre and niche applications (particularly DJ-ing). However, the last five years have seen them come back to the forefront, thanks to a combination of factors: the audio distortion caused by the LoudnessWar having a nasty effect on CD audio quality (an effect that killed cassettes, and was ''not'' heard on vinyl, since such loudness can't be achieved on that medium), a growing preference for the sound of vinyl records (possibly for the reason discussed), the obsolescence of [=CDs=] themselves due to the internet, and the surging popularity of indie rock and dance music, the two genres that made the most use of vinyl records since TheEighties.
* While there were still bands playing more traditionally rooted styles of metal in the late 90s and early 2000s that received a fair amount of attention from fan of their particular styles, bands playing modern styles of metal, such as GrooveMetal and modern TechnicalDeathMetal, was grew to be more popular with the average metal fan. However, by the mid 2000s, several thrash metal bands began to receive a lot more attention than you would expect for a band playing that style in that period, and these bands kicked off the ThrashMetal revival, which remained fairly popular for a couple of years. In the meantime, interest in older forms of metal other than thrash was also increasing thanks to Darkthrone who adopted a more strightforward, punkier sound and inspired an entire "metalpunk" movement. This was followed by an old school DeathMetal revival, the rise of a "retro" doom/70s occult rock scene and "new wave" of traditional heavy metal. Many older bands had also reformed during this time. Though the bands playing more modern forms of metal were still as popular as ever, the interest in older forms of metal among people who would normally have ignored it had grown. With the subsequent interest in the music of the 1990s as of TheNewTens, metal has seen a major rise in stoner and sludge metal; additionally, while [[{{Metalcore}} melodic metalcore]] as people knew it from the 2000s is essentially dead (having largely been integrated into post-hardcore and/or modern rock), there has been a large uptick in traditional metalcore as people started rediscovering the founders of the genre, while a new form that mixes that style with Swedish death metal, crust punk, and powerviolence has also been making waves.
* Heavy metal in the mainstream suffered an deep slump in the early '90s, with {{grunge}} bands like Music/PearlJam and Music/{{Nirvana}} taking over the rock charts and {{MTV}}. The genre, which had ruled the rock music scene in TheEighties, was driven back underground; the few bands that did find success in TheNineties, like Music/AliceInChains, Music/{{Pantera}}, and Music/{{Metallica}}, were those with a DarkerAndEdgier sound that fit in with the anti-HairMetal sensibilities of the decade. However, as grunge burned out and transitioned into PostGrunge, metal made a comeback in the late '90s as an antidote to the {{boy band}}s and {{idol singer}}s of the era. {{MTV}} even celebrated this trend in 1999 with a TV special entitled ''The Return of the Rock'', featuring KidRock and various other extreme musicians.
* Swing music started off as a fringe genre of jazz, but through the '30s and '40s grew to be wildly popular. Then, in the aftermath of World War II, it suddenly fell out of favor. Teens and dancers abandoned swing for rock-n-roll or crooners like Music/FrankSinatra, while dedicated jazz fans abandoned swing for the more complex bebop. Up-and-coming jazz musicians preferred playing bebop, because it gave them more soloing time, and jazz clubs preferred booking bebop combos because they were smaller and thus less expensive than swing bands.
** Music/DukeEllington and his orchestra--who had originally been famous in the swing era--managed to make their comeback in 1956, when their performance at that year's Newport Jazz Festival drove the crowd to pandemonium. In the aftermath Duke was more renowned than he was back when swing was in, and this surge in popularity lasted until his death in 1974.
** Swing in general did ''not'' make a comeback with Duke. It did, however, make a brief revival in the '90s, largely thanks to musicians like Big Bad Voodoo Daddy and Brian Setzer.
* Hard to believe today, but rock 'n roll was as good as dead in the early '60s. Music/ElvisPresley got drafted and then turned to acting, the Day the Music Died took the life of Music/BuddyHolly, Music/LittleRichard became born-again and started recording exclusively gospel songs, Music/JerryLeeLewis derailed his career by marrying his [[KissingCousins 14-year-old cousin]], Music/ChuckBerry did the same with his own run-ins with the law, and the remaining artists were mostly recording forgettable novelty songs. It was felt that, soon, RockAndRoll would be swept in the dustbin of history where the MoralGuardians felt it belonged. Then came TheBritishInvasion, providing a new jolt of creativity and mainstream appeal to the genre, and since then it hasn't looked back.
* [[HipHop Rap music]] tends to sporadically go in and out of style. It enjoyed its first peak of mainstream success during the late '80s and early '90s, with artists like Music/MCHammer, Music/RunDMC and Music/VanillaIce bringing it out of the South Bronx and onto MTV and mainstream pop radio. However, the rise of GangstaRap and HardcoreHipHop in the mid '90s, while [[VindicatedByHistory now remembered]] as something of a golden age for rap music, earned the ire of the era's MoralGuardians due to its [[DarkerAndEdgier hard-edged]] lyrical content, causing rap to be driven off of mainstream radio playlists. The rise of {{grunge}} and AlternativeRock around the same time didn't help matters either. Rap came back in the late '90s through the mid '00s when Music/JayZ, Music/FiftyCent, Music/LilJon and other artists made GlamRap a fixture of nightclubs and parties all across America, while Music/{{Eminem}} put a white face on gangsta rap to become one of the biggest (and most controversial) stars of the era. Currently, it seems to be entering another hiatus, particularly now that {{synthpop}} and other forms of ElectronicMusic are back in vogue and competing with rap for attention at the aforementioned clubs and parties.
* Speaking of {{synthpop}}, it and ElectronicMusic in general dominated pop music in the '80s, hitting a peak during the "Second Summer of Love" in 1988-89. In the '90s and '00s, though, it was supplanted by RAndB, {{idol singer}}s, and alternative rock, and was viewed as overly-synthesized and artificial. Now, however, it's enjoying a resurgence, with artists like Music/LadyGaga, Music/{{Kesha}}, Music/LaRoux and Music/OwlCity bringing it back into the mainstream.
* The history of CountryMusic in America for the past few decades has essentially been a tug-of-war between those who performed a slicker sound inspired by pop and rock music (with frequent crossover forays on those charts) and those who preferred a more traditional country sound. From the late '50s through the '60s, the "Nashville sound" (also known as countrypolitan) dominated the country charts and had a significant presence on the pop charts, but it witnessed a backlash in the '60s from the rival "Bakersfield sound" and in the '70s from outlaw country artists, which both rejected the Nashville sound's pop styling and, in the latter's case, took on a DarkerAndEdgier attitude to boot. The film ''Film/UrbanCowboy'' in 1980 spawned a return of pop-country inspired by that film's soundtrack, which eventually produced a backlash in the late '80s in the form of the neotraditional movement, which drew its main influences from '40s and '50s country.\\
The "Class of 1989", a group of young artists led by Music/GarthBrooks and Music/ClintBlack, was a turning point in country music, marking its transition into a mainstream force throughout the American music world. The booming, Arkansas-based retail chain UsefulNotes/{{Walmart}}, using discount records as a loss leader to pull customers into the store, helped to popularize country outside of its rural base and bring it into suburban America. Furthermore, as explained in [[http://www.popmatters.com/pm/column/123260-pour-some-sugarland-on-me-why-country-music-is-the-new-classic-rock/ this article]], the collapse of HairMetal and ArenaRock in the early '90s and the rise of ThreeChordsAndTheTruth in mainstream rock music caused a lot of talented session musicians to pack up for Nashville, where that kind of guitar work was still in demand. This pulled into country music a lot of fans of "classic" rock styles who were turned off by {{Grunge}} and AlternativeRock, with Music/ShaniaTwain's 1997 smash hit ''Come On Over'' serving as the TropeCodifier for this sound.\\
Today, the "arena rock with a steel guitar" style remains the dominant trend within country music, albeit mixed with the "bro"-style rap-skewing country (e.g. Music/FloridaGeorgiaLine); time will tell how long it lasts. The 2010s have seen a backlash brewing, however, chiefly (and rather appropriately, given the aforementioned relationship with '80s hard rock) for the same reasons as the anti-hair metal backlash in TheNineties -- a perception that the genre has been overtaken by hedonistic party music and has lost touch with its roots, mirroring the criticism of GlamRap from old-school hip-hop fans. (The fact that [[CountryRap crossovers between country and hip-hop]] have been among the chief targets of this only heightens the comparisons.) It's been said that mainstream country music operates on a twenty year cycle, with the popular styles of country being reminiscent of what was popular in rock music [[TwoDecadesBehind twenty years prior]]; see, for example, the emergence of guitar-driven "arena country" in the mid-late '90s corresponding to the rise of arena rock in the mid-late '70s. If this is the case, then country may be facing a shift akin to the rise of grunge.
* {{Ambient}} electronic music was quite popular in the 1970s and '80s. It found a niche due to it's atmospheric, dreamlike quality. It found frequent use as the soundtracks of a significant number of radio shows, TV series, animated series, documentaries, planetarium shows, computer games, and theatrical films. This gained some artists a cult status that exists to this day, even if in some cases it may be a case of RetroactiveRecognition with respect to the artist's name. Some examples include Music/BrianEno, Jean Michael Jarre, Vangelis, Kitaro, Paddy Kingsland, Shuki Levy, the MOS Technology SID chip, Rob Hubbard, Jan Hammer, and Tangerine Dream. This genre of music seemed to experience a backlash by the 1990s, but this backlash was mostly limited to North America. The fact that most of these electronic artists were British, European or Japanese may have played a part in a large percentage of Americans turning their back on it, especially in the post 9/11 atmosphere that caused an glut of ultra-patriotism. Americans in the 2000s began to embrace more acoustic, classic, [[FolkMusic "back to their roots"]] sounds such as Rockabilly and other purely [[CountryMusic Americana]] styles.
** Although {{Ambient}} and similar genres are still not being produced very much outside of obscure indy composers, millenial hipsters appear to be embracing it mostly thanks to Youtube. And the EndOfAnEra feeling accompanying the release of Music/PinkFloyd's final album is causing people to rediscover Ambient music. Then, there is, of course, the current disillusionment with American culture in general as well as an increasing backlash against the corporate media agenda behind modern pop music. But it's unlikely to ever return to the mainstream due to it's non-commercial nature.
* The PowerBallad was once a staple of HairMetal groups during TheEighties. "Love Bites" (Music/DefLeppard), "Open Arms" (Music/{{Journey}}), "When the Night Goes Down" (Music/JudasPriest), "Carrie" (Music/{{Europe}}), "Is This Love" (Music/{{Whitesnake}}), "So Many Tears" (Music/{{Dokken}}) are just a handful of the songs that dealt with more emotional issues such as love and intimate relationships while de-emphasizing the sexual aspects. They not only showed off the voice range of the frontman, but they also revealed a more tender, sensitive side to these manly metal groups. The 80s had a very different view of masculinity, and this was more than a decade before the rise of gay culture subverted all previous conventions. Power ballads actually helped for hair and metal bands to earn air time on the radio since they had more appeal to the non hardcore audience. Today, however, extreme hypermasculinity is emphasized at the cost of more soulful emotional songs and power ballads were relegated to {{Narm}}. Straight men who were children of the 80s either tend to deny having liked them or find others questioning their masculinity. Power Ballads still find a place on old-school compilations, especially given the inevitable TestosteronePoisoning that is likely to shift music tastes once again in the near future.
* NuMetal. During the '90s, it brought metal back into the mainstream for the first time in nearly a decade and introduced the genre to a whole new generation of metal heads. It was built on the premise of [[GenreBusting defying]] and [[NeoclassicalPunkZydecoRockabilly mixing]] genres, with influences such a grunge, funk, and hip-hop. Bands like Music/{{KoRn}}, Music/{{Slipknot}}, and Music/LimpBizkit were some of the biggest acts in the industry, which were later joined by Music/LinkinPark, Music/PapaRoach, Music/{{Staind}}, and Music/{{Evanescence}}. However, it eventually died out as the audiences tastes shifted towards [[EmoMusic Emo]] and {{Metalcore}}. Meanwhile, it built such a massive hatedom from metalheads, who gave it derogatory nicknames like "mallcore", "whinecore", "poser metal", "MTV metal", and "sports rock". A stereotype of nu metal fans grew that they were either [[PrettyFlyForAWhiteGuy white trash]] or {{wangst}}y teens. Bands like Music/LinkinPark and Music/PapaRoach only stayed relevant by changing their sound into something more socially acceptable, and it became a taboo to admit being a nu metal fan, while rock radio stations practically blacklisted all songs that fell into the genre.\\
However, by the turn of TheNewTens, the vitriol towards nu metal significantly declined. The aforementioned emo and metalcore genres that were instrumental in killing nu metal off have died out themselves. Bands that kept to their style were met with commercial success (which includes [=KoRn=], Limp Bizkit, and Evanescence), while bands that abandoned the genre have re-integrated it into their sound with their latest albums (which includes Slipknot, Linkin Park, Papa Roach, and Staind). Moreover, the revivalist bands like Music/{{Issues}}, King 810, and Butcher Babies have all met commercial success. Other bands like In This Moment and Of Mice and Men weren't formerly nu metal switched to it, and got significantly bigger afterwards. The rock radio stations that blacklisted them for so long have started putting nu metal songs back into circulation and metal heads are much freer to talk about nu metal bands they like with much-less fear of persecution. This is possibly the result of an unspoken truce declared, when ''all'' forms of rock died out, they were more willing to accept people who like nu metal on the basis that they still like rock/metal. It's unlikely that it'll be anywhere near as big as it was in its peak, but it is, ''is'', becoming a genre that is once again socially acceptable to like.

[[folder: Specific ]]

* When Music/TheMonkees debuted in the mid-'60s, they had a string of Top 40 hits and a television program. However, desperate to break out of the mold, they produced the movie ''Film/{{Head}}'', which was such a colossal MindScrew that it killed whatever popularity they had left. But when {{MTV}} reran their TV show to celebrate their 20th anniversary, their career got a second wind, and a single off their greatest hits album (''That Was Then, This Is Now'') re-entered the Top 40 after a 20+ year absence (at the time, it was a record).
* It's easy to forget now, but near the end of his life, Music/MichaelJackson was known for only two things: his degenerating physical appearance and allegations of pedophilia. His death in 2009 pushed his bad qualities far enough into the background that it became [[TooSoon somewhat]] [[NeverSpeakIllOfTheDead disrespectful]] to bring them up. Radio stations were free to play his hits from TheEighties again, whereas before the only song of his that would receive any airplay was "Thriller" from ''Music/{{Thriller}}'' -- and then only around Halloween. Granted, the resurgance of interest didn't lasted as long as expected; aside from two successful Creator/CirqueDuSoleil JukeboxMusical variants, various postmortem releases -- the concert rehearsal film ''This Is It'', the unreleased tracks compilation ''Michael'', a 25th anniversary rerelease of ''Music/{{Bad}}'' accompanied by a Spike Lee documentary -- didn't live up to mountains of hype, and his post-1980s work remains largely overlooked. Still-ongoing (as of 2013) court cases regarding the ugly circumstances of his death don't help, nor does his [[VocalMinority rabid fanbase's]] unwillingness to tolerate those who don't think he was TooGoodForThisSinfulEarth and the greatest artist/entertainer of all time, as it's discouraged less-worshipful examinations of his work and impact. But at least his GloryDays work is acceptable again.
* Between 2004 and 2008, Music/BritneySpears was viewed as the DistaffCounterpart of Music/MichaelJackson. People felt that her career and reputation were beyond repair, and that she'd literally kill herself through her out-of-control lifestyle and craziness. Some people were already writing her obituary. The release of her albums ''Circus'' and ''Femme Fatale'', however, put her music back on top of the charts, restoring her to a level of popularity not seen since her TeenIdol days, while her being placed in the conservatorship of her father took her name out of the tabloids.
* Music/{{Weezer}}'s music video for [[http://www.youtube.com/watch?v=kemivUKb4f4 "Buddy Holly"]] is the ultimate illustration of the 20-year cycle: a video made in TheNineties about a [[HappyDays TV show]] from TheSeventies that was itself nostalgic for TheFifties.
* Music/{{Deftones}} were generally seen as being in somewhat of a downward slump after their apex, ''White Pony'', which was followed by two albums generally regarded as mediocre, ''Deftones'' (self-titled) and ''Saturday Night Wrist''. However, Chi Cheng's accident and the subsequent emotions it inspired in the band seemed to have spurred them into a new renaissance, abandoning the record they were working on at the time, ''Eros'', and instead producing ''Diamond Eyes'' and ''Koi No Yokan'', two of their most popular and highly regarded albums yet.
* Music/PinkFloyd, most specifically ''Music/TheDarkSideOfTheMoon'', has been described in a book as this:
-->As such ''Dark Side'' has outlasted almost all vagaries of fashion. {{Punk|Rock}} pilloried it, but the CD age rescued it; the hardcore late 1980s spat upon it, but the chemical generation spaced out to it; {{Britpop}} made it obsolete, but Music/{{Radiohead}} made it more relevant than ever. And not for one second did it ever stop selling.
* Music/EltonJohn began as a critically acclaimed singer-songwriter celebrated for classic albums like ''Elton John'', ''Tumbleweed Connection'', ''Madman Across The Water'' and ''Honky Chateau''. His public popularity grew in 1973 with the albums ''Don't Shoot Me I'm Only The Piano Player'' and the double album ''Music/GoodbyeYellowBrickRoad''. which spawned some of the biggest hits of TheSeventies. His popularity increased through the first half of the decade, and his outrageous image, employing crazy costumes and glasses made him a phenomenon and TeenIdol, [[CriticalBacklash even though the reviews were less enthusiastic]]. An infamous ''Rolling Stone'' magazine interview in 1976, where he [[StraightGay declared himself bisexual]] (later he'd claimed homosexuality), costed him much of his Middle American fanbase, and his own wish to stop touring, saw his fame taper off. Although he had a successful free concert in Central Park in 1980, sales and airplay were nowhere near as they were in the 1970s. He returned in the mid-1980s with albums like ''Too Low For Zero'' and ''Breaking Hearts'', and enjoyed more success in TheNineties after going sober (especially after co-writing songs for Disney/TheLionKing), and he still has occasional comebacks to this day.
* While few have ever denied the social and cultural impact of Al Jolson's work, from about the 1970s onwards it was generally considered not cool to give him anything more than the most cursory acknowledgement, partly due to the nature of his act, but mostly because of his {{blackface}} makeup. It wasn't until the 2000s -- and ironically mostly through the efforts of modern-day black performers -- that Jolson started to become a widespread cultural icon again, with the turning point widely being seen as when the city of New York agreed to name a section of Broadway after Jolson.
* Music/{{Kiss}} suffered a career meltdown in the late '70s, partly due to HypeBacklash (they were ''everywhere'') and partly because the two ascendant hard-rock styles of the era, punk and British metal, made Kiss's style sound pretty outdated. Their 1980 "concept" album, ''Music/MusicFromTheElder'', was a commercial disaster. They had a mini-comeback starting in 1983 when they removed their trademark white-and-black makeup and relaunched as a Music/BonJovi-style glam-metal band, but they never again enjoyed the level of popularity in which they had basked from 1975 to 1978...until 1996, when drummer Peter Criss and lead guitarist Ace Frehley (temporarily) rejoined the band, the makeup was slathered back on, and Seventies nostalgia hit America in a huge way.
* Much like Kiss in the '80s, Music/MarilynManson experienced a massive decline in the 2000s as his style of showmanship, fashion, and composition became the rock and metal mainstream. Furthermore, a string of personal disasters and albums whose content was now controversial for ''not'' being offensive and over-the-top enough, but more personal and heartfelt (especially the album ''Eat Me, Drink Me'', a guitar driven, straight-up rock album), caused the ''Music/AntichristSuperstar'' to become pretty much a joke. Then he quit Interscope, came out with his "comeback album" ''Born Villain'', and then decided to be on all the shows. ''Series/TheWalkingDead''[='=]s talk show? On it. ''Series/OnceUponATime''? On it. ''Series/{{Californication}}''? As himself. Additionally, Website/{{Tumblr}} exposed the tall, androgynous rock star to teen girls, with [[EstrogenBrigade the expected results]]. Thanks to him being friends with approximately all of Hollywood, along with finally having a stable life, he is now seen as the flip side of TheNewTens '90s love, inspiring many of the new acts on the scene, like Motionless In White and In This Moment. Even the usually critical metal media gushed about "Third Day Of A Seven Day Binge", and he got a Grammy nomination for "No Reflection" in 2012.
* Music/TheBeachBoys were one of the few groups in the early-to-mid-[[TheSixties 1960s]] to rival Music/TheBeatles in popularity and influence, first through "fun and sun" hits like "Surfin' U.S.A." and "Little Deuce Coupe", then via their more sophisticated sound of 1965-67. ''Music/PetSounds'' was misunderstood and sold poorly when it was released, [[VindicatedByHistory but has since gone on to be seen and one of the best albums ever made in the rock era]] and is regularly rereleased. Failure to appear at 1967's Monterey Pop Festival, personal crises and the abandonment of their ''Smile'' project derailed the band's momentum and brought them negative press, they were seen to be terminally unhip, and Music/BrianWilson's descent into drug-aggravated mental illness and the release of inconsistent (or equally misunderstood) albums decreased the band's popularity, but touring and performing their golden oldies kept the money flowing, at a time when they needed the funds when their publishing was sold for a pittance by the Wilsons' father Murry. A GreatestHits album, ''Endless Summer'', came out in 1974 and went to number one, and the return of Brian as writer/producer/performer led to a career comeback. Inconsistent or weird album squandered this opportunity, Dennis Wilson died in a tragic drowning incident in 1983, and the group entered a slow period that lasted until 1988, when "Kokomo" from that year's ''Film/{{Cocktail}}'' movie topped the charts. With Brian separated from the band by his svengali therapist Dr. Eugene Landy (who Brian hired in 1975 and finally fired in 1993), the group could not sustain the success of "Kokomo" via Mike Love's leadership, the "golden oldies" formula was wearing thin, and Carl Wilson succumbed to cancer in 1996. A reinterest in the band occured with 1992's boxed set ''Good Vibrations'', and Brian took to touring and recording playing ''Music/{{Smile}}'' and "Pet Sounds" on the road to massive success and critcal acclaim. They later scored their first Top Ten album in many years with Brian as full-time member with the 50th anniversary "reunion album", ''That's Why God Made The Radio'' in 2012, though Brian, David Marks and Al Jardine left the band a year later.
* Music/{{Metallica}} might just be the biggest example of this trope in musical history. When they first appeared on the scene in 1982 with their demo ''No Life Til Leather'' and, a year later, their debut album ''Kill 'Em All'', they became hugely popular with metalheads and served as one of the {{Trope Codifier}}s for the then-new genre of ThrashMetal. With each new album the band released, the band became ever more popular, even with the tragic loss of their EnsembleDarkhorse LeadBassist Cliff Burton, and their PowerBallad "One" even had a MusicVideo Released on {{MTV}}. In 1991, the band released ''Metallica'', aka "The Black Album," which featured a GenreShift from their complex thrash material to a more conventional and commercial HeavyMetal sound. Metal fans everywhere [[TheyChangedItNowItSucks cried]] [[RuinedForever foul]], but the album went on to sell 20 million copies and make the band one of the biggest in the world.\\
However, the album proved to be a FranchiseOriginalSin for Metallica, as the process of their sound moving away from metal and the HypeBacklash from disgruntled thrash fans would just keep going further and further. Over the course of TheNineties, the band gradually shed even more of their metal elements, cutting their hair and changing to a BluesRock[=/=]SouthernRock[=/=]AlternativeRock sound for the decidedly SoOkayItsAverage ''Load'' and ''Reload'' albums. While both albums were successful and spawned quite a few radio staples[[note]]Although "Fuel" is probably the only song that still gets regular play to this day[[/note]], they ultimately failed to match the popularity of The Black Album. They partially regained credibility among metal fans with the 1998 [[CoveredUp all covers album]] ''Garage, Inc.'' and a live collaboration with the San Francisco Symphony Orchestra one year later. However, in 2000, they became embroiled in the controversy over Napster, which was the first major blow to their mainstream credibility. After that, things went haywire for the band. Frontman James Hetfield went to rehab for alcoholism, bassist Jason Newstead left the band for good, and then the double whammy of ''St. Anger'' and the {{Documentary}} ''Some Kind of Monster'' hit in 2003/2004. ''St. Anger'' proved to be a disastrous trainwreck that sounded like a Music/{{Korn}} album GoneHorriblyWrong (although it did sell reasonably well), and ''Some Kind of Monster'' made the band (especially drummer Lars Ulrich) come across as pretentious prima donnas who were well past their prime. After that, the band's name was permanently sullied, and became a punchline in both the mainstream and amongst metalheads. Fortunately, the band had a WinBackTheCrowd period in 2008-2009 with the ''Death Magnetic'' [=LP=] (which, despite its problems with [[LoudnessWar clipping]] and accusations of the songs being too long, was widely considered to be a welcome return to form for the band), ''[[VideoGame/GuitarHero Guitar Hero Metallica]]'', and their induction into the Rock and Roll Hall of Fame. However, they fell from grace yet again with their controversial 2011 collaboration with Music/LouReed ''Lulu'', which was slammed by critics and reviled by fans. Today, Metallica's in bit of precarious position, as their anticipated new album (set to be released sometime in 2015) will likely be a crucial make-or-break moment for the band's credibility and popularity.

[[folder:Professional Wrestling]]
* Wrestling/HulkHogan. At the height of his popularity in 1985, he hosted ''Series/SaturdayNightLive'' and was on the cover of ''Sports Illustrated''. By the time 1994 rolled around (thanks in no small part to confirmed allegations of steroid use and a rather disastrous movie career), he was seen as a self-parody whose shelf life was such that he needed to [[FaceHeelTurn ditch the hero routine]] [[Wrestling/NewWorldOrder altogether]] just to [[WereStillRelevantDammit remain relevant]]. However, in 2002, his return to [=WrestleMania=] -- still in his villain persona -- resulted in the fans cheering him over the Rock. To this day, he and [[Wrestling/DwayneJohnson the Rock]] are among the closest things the Wrestling/{{WWE}} has produced to A-list deities.

* This happens to pro athletes all the time, even more so today in the age of multi-million dollar contracts, free agency, and intense media scrunity. You'd never know it today, but Ted Williams was booed everywhere in the American League, including Boston, for at least half of his career -- but time (and military service) has left him in a more favorable light. Alex Rodriguez seems to be on a downturn right now, but was one of the most popular players in the past and probably will be again before it's all said and done. Jennifer Capriati went from "tennis phenom" to "troubled teenager" to "elder stateswoman of tennis". Mike Tyson alone has jumped back and forth at least twice each.
* During UsefulNotes/TheFifties, the only place where UsefulNotes/{{baseball}} wasn't in a sorry state was UsefulNotes/NewYorkCity. The minor leagues were collapsing due to the availability of major league games on television, old stadiums were growing increasingly decrepit, the dominance of New York teams (particularly [[BoringInvincibleHero the Yankees]])[[note]]Of the ten World Series held in the '50s, eight were won by teams from New York. The only years when this wasn't the case were 1957, when the UsefulNotes/{{Milwaukee}} Braves pulled it off, and 1959, when the UsefulNotes/LosAngeles Dodgers won -- and just two years earlier, they had been the ''Brooklyn'' Dodgers.[[/note]] was causing fans outside New York to tune out, some teams were still refusing to integrate long after Jackie Robinson had broken down the color barrier, and the sport had no real presence (other than the aforementioned minor leagues) in the fast-growing "Sun Belt" of the South and the West Coast. All of this gave [[UsefulNotes/AmericanFootball football]], both professional and [[UsefulNotes/CollegiateAmericanFootball college-level]], enough room to build itself up as a serious rival to baseball's status as "America's pastime."\\
Then in 1957, the Brooklyn Dodgers and New York Giants [[note]]The baseball team, not the present-day NFL team. To avoid confusion, the football team is sometimes referred to as the "New York ''Football'' Giants," which is still its legal corporate name.[[/note]] moved to, respectively, UsefulNotes/LosAngeles and UsefulNotes/SanFrancisco, starting a trend for other teams looking to build new stadiums, which resulted in the sport's expansion beyond the East Coast and the Midwest. This was followed by the collapse of the long-running Yankees dynasty in TheSixties, meaning that fans of other franchises now had a chance to see their teams win the World Series. Suddenly, baseball was relevant again, and in a position to put up a real fight against football for the rest of the century.\\
Of course, [[CreatorProvincialism New York sportswriters]] are still likely to remember TheFifties as [[NostalgiaFilter baseball's "golden age"]], simply because it was the era in which the Yankees got the World Series rings they were ''entitled'' to, dammit! And if the Yankees didn't win, then the Dodgers or the Giants probably did.
* On a much smaller scale, sports like figure skating, women's gymnastics and, depending on where you live, [[TheBeautifulGame soccer]]. Every four years, during the OlympicGames and TheWorldCup, those sports take center stage and grab the headlines, and then afterwards, the athletes largely disappear into obscurity until the next big sporting event rolls around.
* George Steinbrenner is generally remembered as controversial but successful as owner of the New York Yankees from 1973 until his death in 2010, but there was a time when he was considered much more controversial than successful. Within a few years of becoming owner, he established a reputation as an often tyrannical and capricious but effective owner, using his vast reserves of money and the newly instituted system of free agency to put together a dysfunctional but winning team, winning the World Series in 1977 and 1978. They continued to be mostly a winning team for the next decade, but repeatedly fell short of playoff success, and then finished with a losing season each year from 1989 to 1992. This, coupled with his being removed permanently from the Yankees' baseball operations in 1990 for hiring a gambler to dig up dirt on star player Dave Winfield, caused him to be seen as a corrupt egomaniac who had ruined a once proud franchise. However, he was reinstated in 1993, and brought the Yankees back to their winning ways, partly because he took a less hands-on approach to the team, including stopping his infamous tendency to constantly replace managers. the Yankees won five more World Series before his death, insuring that his legacy would be overall positive.
* Brett Favre will likely become an example of this when he enters the Pro Football Hall of Fame. He was revered by fans as the guy who saved the Green Bay Packers franchise and brought them their first Super Bowl victory in 30 years when he retired for the first time following the 2007 season. He then un-retire before the 2008 season and was traded to the New York Jets. The move divided the Cheeseheads (Packers fans) to where the CBS affiliates in Green Bay and Milwaukee requested as many Jets games as possible to facilitate the large number of fans who still supported Favre. Following the season, Favre retired for a second time, then un-retired again only to sign with the Packers' hated rivals, the Minnesota Vikings which drew ire even from fans who'd continued to support him as a Jet. After a relatively successful year with the Vikings in which they beat the Packers twice, Favre retired again only to once-again come out of retirement. Fortunately for the Packers, ItGotBetter this time around. Not only did the Packers, led by former Favre understudy Aaron Rodgers easily avenge both of the previous years' losses to the Vikings en route to victory in Super Bowl XLV, but Favre had the worst season of his career that also saw him miss his first game since becoming the Packers starting QB in 1992 due to a late-season injury. To make matters worse, he was also involved in a scandal when it came to light that he attempted to have [[AllGuysWantCheerleaders an extra-marital affair with a Jets cheerleader]] during his stint in New York. He retired for good following the 2010 season, and steps are already being taken on both sides to repair Favre's relationship with the Packers organization and fans.

[[folder:Stand-Up Comedy]]
* The general subject matter in which comedians are allowed to traffic seems to shift this way and that constantly. Perhaps most notably, ethnic/racial and male-chauvinist humor has [[CrossesTheLineTwice gone back and forth across the line]] on more or less a decade-by-decade basis since TheSixties, with TheEighties probably the low point of acceptability.
* Similarly, political humor seems to wax and wane, depending on how high a profile America has on the world stage at a given moment.

* ''Theatre/{{RENT}}'' was a huge hit when it premiered on Broadway. It was acclaimed and loved by audiences, becoming one of the most popular Broadway musicals of the 1990s. Then, around the mid-2000s, the musical started to get dismissed as narmy and overrated by audiences. HypeBacklash had set in and the show eventually had its final showing in 2008. The failed film adaptation surely didn't help things. Fast-forward to the 2010s and it is again being recognized as a fantastic work of drama with interesting compositions that were unlike anything at the time. ''RENT'' continues to hold a high popularity and seems to be making a comeback with audiences.
* Terence Rattigan. Ask any critic or theater buff in the '40s and '50s, and they'd probably list Rattigan - author of '' Film/TheDeepBlueSea'', ''Film/SeparateTables'' and ''Film/TheWinslowBoy'', among others - as one of England's great playwrights, a master of witty dialogue and refined, well-plotted drama. Just a decade later, with the advent of the "Angry Young Men" (John Osborne, Harold Pinter, etc.) and their more emotional, formally fluid and class-driven work, Rattigan became despised for the very qualities that he'd been praised for. After decades of disfavor, critics in the '90s began analyzing Rattigan's plays through the prism of personal identity and sexual repression, viewing thematic content previous generations had ignored or dismissed. With frequent revivals and film adaptations of his work, Rattigan has regained his reputation.

[[folder:Video Games]]
* The Indie Game scene altogether is the end result of this. Many Indie Developers are themselves gamers who first got introduced into the medium during the 8 and 16-bit era of gaming. As a result, [[SpiritualLicensee they model their own games]] on the ones they grew up with.
* ''VideoGame/DukeNukemForever'' has gone through this cycle twice already. It was highly anticipated in the late '90s, became nothing more than a punchline to any joke about vaporware or ScheduleSlip during the 2000s, and then became legitimately anticipated again when it was finally released in 2011. Unfortunately, this trope, combined with TwoDecadesBehind, is also a major reason why it received such a lukewarm reaction. Critics pointed out that, after 15 years in development, its style of gameplay and presentation didn't hold up well against the landscape of modern shooters.
* Creator/{{Nintendo}}. In the '80s and early '90s, it was the embodiment of modern entertainment. In the late '90s and early 2000s, it became "the kiddy company" and slipped into last place. So what does Nintendo do? Rather than fight the "kiddy" associations, it embraces them (to the aggrieved cries of the hardcore gaming market), marketing the {{Wii}} to families, senior citizens, and other groups not traditionally viewed as "core" gamers. Thanks to this strategy, it was once again the dominant force in gaming. [[CasualVideoGame Casual gaming]] is largely responsible for Nintendo's resurgence, being followed up by Zynga, Popcap, smartphone apps, and motion controls for the other consoles. These casual-friendly developers eventually left Nintendo crowded out in the eighth generation. Now, Nintendo seems to have hit another low their UsefulNotes/{{Wii U}}, which has fallen to last place behind the UsefulNotes/{{PlayStation 4}} and UsefulNotes/XboxOne despite a one year head start. This is largely due to their attempt [[WinBackTheCrowd win back]] core gamers while [[MisaimedMarketing still trying to appeal to casuals simultaneously]]. Whilst it does have an audience with hardcore gamers and Nintendo fans, the casual fans have moved on to other products like smartphones and casual games. Now the Wii U is widely considered to be a commercial failure. Only time will tell if Nintendo will be able to experience this in the opposite direction once again.
* ''Franchise/{{Pokemon}}''. Back in the late '90s, it was the king of kid fads. But it quickly faded among people who only played it to be "cool", and in a few short years, the only people who would still publicly admit to liking it were small children (though the games were still system sellers). As the TurnOfTheMillennium came to a close, it started making a comeback. Kids can safely admit to liking it in public again, longtime fans are no longer bashed for it, and those kids who were only fans back in the day are now grown-ups old enough to wax nostalgic about it, as seen in the page image. In fact, a Japanese clothing company released a line of Poké-merchandise specifically targeted at adult Poké-fans, with an "artsier" bent to it. However, the above is mostly restricted to the games: while there is not as much hate for the ''Pokémon'' anime as around the Johto arc, it still hasn't recovered quite as much as the games did.
* Indie gaming, the Wii, and mobile gaming have brought back quite a few genres that were once assumed to have died.
** [=2D=] side-scrollers and platformers, such as ''Franchise/{{Castlevania}}'', ''VideoGame/{{Contra}}'', ''Franchise/SuperMarioBros'', and ''VideoGame/DoubleDragon'', once made up the bedrock of the industry. After the VideoGame3DLeap, they were viewed as quaint relics of the pre-PlayStation era, and were relegated to handhelds and cheap Flash games... until ''VideoGame/NewSuperMarioBros'' and ''VideoGame/NewSuperMarioBrosWii'' tore up the charts, and indie games like ''VideoGame/{{Braid}}'' and ''VideoGame/{{Eversion}}'' became critical darlings. Now, the side-scroller has once again become a major part of gaming, as seen with the latest installments in series like ''VideoGame/{{Mega|Man9}} [[VideoGame/MegaMan10 Man]]'', ''VideoGame/{{Sonic|TheHedgehog4}}'', ''VideoGame/{{Donkey Kong|CountryReturns}}'', ''VideoGame/{{Rayman|Origins}}'', and ''VideoGame/{{Kirby|sReturnToDreamLand}}'', as well as original games like ''VideoGame/LittleBigPlanet'', ''VideoGame/SuperMeatBoy'', and ''VideoGame/SplosionMan''.
** The SurvivalHorror genre originated as a nifty response to the technological limitations of fifth-generation consoles, and produced a mountain of {{killer app}}s for the young PlayStation console, most notably ''VideoGame/{{Resident Evil|1}}'' and ''VideoGame/{{Silent Hill|1}}'', which were among the premier game franchises in the second half of the '90s. In the TurnOfTheMillennium, however, the genre was squeezed out by rising budgets and the homogenization of the AAA game industry; both ''Resident Evil'' and ''Silent Hill'' went through {{Dork Age}}s brought on by attempts to compete with shooters, and other series likewise withered and died. However, starting in the late '00s, the genre made a comeback in the indie realm, with games like ''VideoGame/AmnesiaTheDarkDescent'', ''VideoGame/DayZ'', ''VideoGame/{{Slender}}'', and the ''VideoGame/FiveNightsAtFreddys'' games being well-received and spawning a wave of new horror efforts.
*** And with ''VideoGame/TheLastOfUs'' being a smash hit critically and commercially, with many even considering it the best game of the entire SeventhGeneration, the genre is on its way back to being a success with mainstream developers as well.
** After the leap to 3D, sprite graphics were considered hopelessly outdated, something only seen in bargain-bin {{shovelware}} and in "retro" collections that only got away with it due to the GrandfatherClause. But once again, indie and smaller developers looked at sprites and saw an inexpensive alternative to high-tech 3D graphics engines, especially now that technology allowed for the display of far more detailed sprites. ''Braid'', for instance, got a ton of mileage out of its artistic sprite characters.
** The AdventureGame, particularly the point-and-click puzzle variety, mostly dried up around the mid '90s around the same time Creator/LucasArts stopped making them in favor of ''Franchise/StarWars'' licensed games, upstaged by new genres such as the FirstPersonShooter. For a long time, they were all but absent except in the indie and hobby scene. Starting around 2008, however, Creator/TelltaleGames started making inroads with rebooting classic franchises such as ''Franchise/SamAndMax'', and the rise of digital distribution meant that companies like [=LucasArts=] and Creator/{{Sierra}} could offer their old games for sale to the public again. Fast forward to 2013, where adventure games feature heavily in the indie renaissance, Telltale's adaptation of ''VideoGame/TheWalkingDead'' wins multiple Game of the Year awards, and the mere promise of an adventure game by [=LucasArts=] veteran Creator/TimSchafer nets Creator/DoubleFine over $3 million on Website/{{Kickstarter}} and starts the craze of crowdfunding indie games (including other genres that fell victim to market trends and the blockbuster model).
* Retro gaming, in particular the 16-bit period. Emulators have led people to discover a lot of old classics that can be played for free, take up hardly any space and do not take any time to install. Companies have followed suit by reissuing older games. In addition, PS1 gaming is also making a comeback via the [=PlayStation=] Network and emulation on PSP. This doesn't apply to Europe, though, due to NoExportForYou issues.
* ''Franchise/MortalKombat'' in TheNineties: a ridiculously popular 2D fighting game, with blood and gore as a selling point. ''Mortal Kombat'' during the TurnOfTheMillennium: an overcomplicated, ridiculously unbalanced 3D fighting game series that was past its prime (the LighterAndSofter crossover with DC not helping anything), and suffered heavily from the PolygonCeiling. ''Mortal Kombat'' starting with the [[VideoGame/MortalKombat9 2011 reboot]]: a ridiculously popular fighting game that uses 3D graphics but is played on a 2D plane, with blood and gore as a selling point.
* The ''Franchise/SonicTheHedgehog'' series has gone on a wild roller coaster of this. When it came out, it immediately became on of the definitive games of [[The16BitEraOfConsoleVideoGames The 16-bit Era]] and put the SegaGenesis into a fierce [[UsefulNotes/ConsoleWars competition]] with Nintendo. During the time of the SegaSaturn, his popularity dipped because the series was strangely on main series hiatus, only existing through spinoffs. Come the {{Sega Dreamcast}}, the leap to 3D with ''VideoGame/SonicAdventure'' and ''VideoGame/SonicAdventure2'' was wildly popular and highly acclaimed, but subsequent games would take their [[PolygonCeiling notable flaws in the camera and controls]] and cause the series to have a bad reputation of being in 3D. This was exacerbated by the over-the-top DarkerAndEdgier ''VideoGame/ShadowTheHedgehog'', the infamous ObviousBeta ''VideoGame/SonicTheHedgehog2006'' and the shameful PortingDisaster of [[VideoGame/SonicTheHedgehog the original game]], causing the series to fall into SnarkBait. After ''VideoGame/SonicUnleashed'' introduced a new well-received style of play, with ''VideoGame/SonicColors'' and ''VideoGame/SonicGenerations'' refining it and removing any poorly received alternate gameplay styles, Sonic's popularity increased even more. It really says something when Sonic's appearing to market commercials (he hasn't done this since the '90s), and even appearing in ''[[Disney/WreckItRalph a movie]]'' when just until a few years before he was an object of scorn and ridicule among much of the gaming community. However, the series' popularity has dipped a little once again, with ''VideoGame/SonicLostWorld'' getting a lukewarm reception for its jarringly different gameplay and collection of other highly experimental playstyles.
* Video game development itself, in general. In the early years, pretty much every game was designed by a small group or a lone-wolf developer, as the hardware was simple and primitive. But by the mid '90s, demand for cutting-edge graphics, sound, and gameplay grew, and pretty much shut out all the small development groups in favor of only the largest ones, such as the "cast of hundreds" required and advertised in ''VideoGame/FinalFantasyVII''. By the late 2000s, retro gaming and [[ExecutiveMeddling corporate bloat]], while did not kill off most of the huge companies and their budgets, brought the indie developer back to life again.
** And indie gaming may now be threatened once again, ironically by one of the things that gave it such viability in the first place: large scale digital distributors such as Steam, who are driving sale prices to such ridiculous lows that many indie studios are now struggling to survive on the meagre profits they're forced to make.
* The [[EasternRPG JRPG]] genre in the West. During the '90s and early 2000s, it was viewed as the ultimate video game narrative genre, with awesome storylines that many said rivaled some Hollywood blockbusters. However, sometime during the mid 2000s, with the explosion of Western development teams and the decay of the Japanese industry, the tides changed dramatically, not helped by the fact that technological advances eventually allowed other genres to tell equally detailed stories. Not to mention that the ''Franchise/FinalFantasy'' series suffered a major dip in quality after ''VideoGame/FinalFantasyX''. During the late 2000s and early 2010s, thanks in no small part to the [[BaseBreaker incredibly polarizing critical and commercial reaction]] to ''VideoGame/FinalFantasyXIII'', the once overwhelmingly popular JRPG had become a dreaded video game genre, seen as a poison that had been holding video games back as a narrative medium for too long. The fact that most of these games relied on {{anime}} style art alienated non-anime fans. Fortunately in 2012, thanks to the critical and commercial success of ''VideoGame/{{Xenoblade}}'',[[note]]which was released for the Wii, of all consoles[[/note]] the JRPG made a comeback. The genre is now in good critical and commercial standing once again, with games like ''VideoGame/TheLastStory'', ''VideoGame/NiNoKuni'' and the sleeper hit ''VideoGame/BravelyDefault'' being cited as some of the finest games the genre has ever produced. Also, certain fondly remembered games have recently enjoyed well received remakes such as ''LunarSilverStarStory''.
* ''VideoGame/DonkeyKongCountry'': The series was huge in the mid '90s, with both critics and gamers praising it to no end. And, while ''DKC 3'' may not have had the impact the first two games had,[[note]]it was, after all, released two months after VideoGame/SuperMario64 - by which time, 2D platformers were perceived as a thing of the past[[/note]] the series remained very relevant well into the TurnOfTheMillennium. Sometime during the mid 2000s, HypeBacklash set in, and it became trendy among critics and gamers to badmouth the series. Most retrospectively attribute this to spite over Rare's decision in late 2002 to leave Nintendo for Microsoft, while others point to a well publicized quote by Creator/ShigeruMiyamoto proclaiming that the series was all graphics and no gameplay . Either way, the ''Donkey Kong Country'' series found its way onto many "Most Overrated Games of All Time" lists and was seen as a prime example of all that was wrong with the mid '90s shift to 3D. Fortunately, the backlash subsided greatly after ''VideoGame/DonkeyKongCountryReturns'' became a massive critical and commercial success. And the series' reputation has, since, returned to greatness among critics and gamers.

[[folder:Western Animation]]
* WesternAnimation as a whole went through this from the late 1960s to the late 1980s at least in so-called critical circles. While animation was already becoming less and less popular through the 1950s and much of the 1960s, the death of WaltDisney ushered upon a period of change. With a lot of the former mainstream on individual down turns, most of the success came from LimitedAnimation on tv, which while popular in society, the critical side denounced it as the {{dark age|OfAnimation}}. A typical device used in favor of this is that it transformed animation from DoingItForTheArt into [[AnimationAgeGhetto a gimmick used to entertain children]], Critics would later change tune when films such as ''Film/WhoFramedRogerRabbit'' [[TheRenaissanceAgeOfAnimation were released]]. Arguments as to how true this was will often result in one side arguing the other sees things through a NostalgiaFilter, but the other's counter point will be WhatDoYouMeanItsForKids This also applies to the TurnOfTheMillennium, where popularity suffered greatly with the likes of ''WesternAmnimation/JohnnyTest'' plaguing several cartoon channels, resulting in NetworkDecay. Then, ''Phineas and Ferb'' came out, after more than a decade of DevelopmentHell and became a massive hit ratings wise (From 2009 through 2012, often sided with/beat SpongeBob in the ratings) with children and adults, allowing shows like ''WesternAnimation/AdventureTime'', ''WesternAnimation/RegularShow'', and ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' for a new Renaissance of cartoons in the 2010s.
* ''Franchise/MyLittlePony'', after its enormous popularity during the 80s and early 90s, faded into obscurity by the latter half of the 90s. In 2010, along came ''WesternAnimation/MyLittlePonyFriendshipIsMagic'', which not only proved to be popular among viewers of [[PeripheryDemographic an unexpectedly wide age range]] but also [[FountainOfMemes exploded onto the Internet]], collecting more images, comments, and views on Website/KnowYourMeme than anything else.
* In the 2000s, ''WesternAnimation/{{Rugrats}}'' was one of the most hated (if not, the most hated) cartoons on the Internet. Many people didn't admit to liking the show in public anymore, people would get laughed at if they admitted to liking it and the show's popularity waned to incredible lengths. It got to the point of where nearly every review on IMDB for the show was negative and people wanted ''[[WesternAnimation/SpongeBobSquarePants SpongeBob SquarePants]]'' to outrun the show in longevity. Following ''[=SpongeBob=]''[='=]s SeasonalRot as well reruns of ''Rugrats'' on Nickelodeon and TeenNick's Series/The90sAreAllThat, people rediscovered the show and now the show is one of the most popular cartoons on the Internet (including its later episodes). People are actually admitting to their love for the show without getting laughed at, many people pine for a return of the show and it seems to have grown a larger fanbase than it did when it was on.
%%* LooneyTunes, anybody? They sure gained sudden popularity with the creation of TheBugsBunnyShow.

* Adam West. In the late 1960s, he was a primetime TV star and the actor charged with bringing Series/{{Batman}} back to life. Head to the '80s and the return of the [[DarkAge Dark Knight]], and West is a ''persona non grata'', firmly stuck as a reminder of the DorkAge Batman. But today? He's a staple voice actor in comedies such as ''WesternAnimation/FamilyGuy'' [[AdamWesting precisely because of his history as Batman]], and trademark [[LargeHam overdramatic voice]].
** In fact, the whole thing had a LampshadeHanging in ''WesternAnimation/BatmanTheAnimatedSeries.'' There was an episode wherein Bruce Wayne met the actor who'd played his childhood idol. The actor's life mirrored West's post-Batman life, and West did the voice acting.
* TheSeventies. Throughout the '80s, this decade was seen as America's DorkAge. Now it's seen as a more innocent time. [[FridgeLogic (Think about that for a second.)]] Elements from the '70s which have made comebacks since then include:
** Bell-bottom jeans.
** The afro.
*** The medium-length bowl cut with the fringe.
** Rollerskating thanks to Rollerblade pushing inline skates.
** [[TheStoner Stoners]] on TV.
** Disco. A great deal of popular music for the past two decades (especially between 2005 and 2011-12) has been essentially "Disco that Dared Not Speak Its Name". However, the ''word'' still has a ways to go. Thanks to bands like Music/DaftPunk and LCDSoundsystem, it's on its way back.
** {{Blaxploitation}} also makes a comeback every few years, although this is mainly so that people can [[BlaxploitationParody have a]] [[AffectionateParody giggle]] at the loud fashions and overuse of JiveTurkey, rather than recall the genre's roots as a supplement of the CivilRightsMovement.
*** Blaxploitation music is very well regarded by [=DJs=], and record collectors. It was also sampled by a lot of rappers. Even if the fashion is cliched, the music is still cool as ever.
* TheEighties. In the 90's, ''this'' was seen as America's DorkAge. However, many of the fashions and styles of that decade have made a comeback, with the returning popularity of everything from ''{{Transformers}}'' to leg warmers. Yes, ''leg warmers''.
** [[ZettaiRyouiki Leg warmers + skirts]] = [[{{Fanservice}} awesome.]] The inverted version (leggings under skirts) seems to have made a comeback in the mid [[TurnOfTheMillennium '00s]] after being absent since the [[TheEighties '80s]]. Here, it has some justification -- the revived trend started with teenage girls, who used the style to [[LoopholeAbuse exploit a loophole]] in many high school {{dress code}}s that established a minimum length for skirts. If you were wearing leggings underneath, you could wear as short a skirt as you wanted, since you were technically also wearing pants. Eventually, it became a fad for quite some time.
** There's a lot of synthpop inspired bands around these days, when it used to be the prime example for people to explain why the 80s sucked so much.
*** Hair Metal, the ''other'' example of why the 80's were so lame, also saw a small but noticeable resurgence in popularity.
** Conspicuous consumption, at least until 2005, then became unthinkable of after 2007.
* While TheNineties never had the cultural backlash the 70's or the 80's had, some trends from that decade are starting to come back, such as plaid flannel shirts and hi-top fades.
* The Yo-Yo. Not so much PopularityPolynomial as Popularity Sinusoid. It really does come around that regularly.
** [[FridgeBrilliance Which is fitting, when you think about it]].
** At one point, this was because the Coca Cola Company gave yo-yos a marketing push about every three years or so.
* Ventriloquism was once considered the deadest of all show business horses. Then all of a sudden Jeff Dunham came along, and earned his own TV special after several sold-out performances. Terry Fator also has his own Las Vegas show.
* Skateboarding has fluctuated in and out of popularity so much that nobody seems to care whether or not it's "in," least of all the skaters themselves.
** The game developers do; see also, ''{{Tony Hawk|ProSkater}} [[FranchiseKiller Ride]]''.
** Skateboarding was big in the mid-Seventies and late Seventies, largely on the back of the popularity of surfing at that time. It died away in the early Eighties, until, of all things, ''Film/BackToTheFuture'' mainstreamed it again.
* Modern social dance has undergone a huge revival, starting in the '90s. Latin clubs sprung up across the U.S., ballroom dancing got a big boost with ''DancingWithTheStars'', and swing dancing was resurrected by college students across the US and Europe.
** Combine that with TheSeventies above, and you get ''the return of roller disco''.
* American cars from TheFifties are beloved today, with their huge tailfins and large amounts of chrome. However, when they went out of style in TheSixties, they went out ''hard''. Back then, few people who could afford it would be caught dead driving around in a '57 Bel Air. It didn't help that a lot of that stylish chrome decoration had a tendency to fall off after a few years due to rust. It was only with the rise of Fifties nostalgia in general in TheSeventies and especially TheEighties and TheNineties that cars from that decade started to be more appreciated.
** The lifecycle of a car design has stretched considerably. Today, a new car can be exhibited at major shows almost a year before it hits the market; then comes a 5-7 year production cycle and upwards of a 20-year period before examples of a discontinued model that was popular when new are rare enough not to be an everyday sight. Expect at least another ten years after ''that'' for them to start showing up at classic-car events.
* The recent trend towards environmentalism and energy efficiency in the cultural consciousness has done this for a lot of seemingly "outdated" technologies and vehicles:
** The post-war American car market has constantly cycled between demand for larger, roomier, more powerful automobiles and smaller, more efficient ones. In TheFifties and TheSixties, the trend was toward "bigger is better" with land-yachts and muscle cars to show off the newfound wealth of America's middle class. Then, the Arab oil embargo caused demand to shift towards compact and midsize cars and, later, minivans for most of TheSeventies and TheEighties. As a new generation came of age with little memory of the energy crises, large vehicles came back into style, this time in the form of [[HummerDinger large SUVs]], in TheNineties and the TurnOfTheMillennium. Now, thanks to the spikes in gas prices of 2005 (post-Hurricane Katrina) and 2008, compounded with the economic recession, [=SUVs=] are out, and crossovers, hybrids and compacts are in, as well as...
** Minivans. As mentioned, they were huge in TheEighties as a fuel-efficient alternative to land-yacht station wagons (the fuel crises of TheSeventies still fresh in everyone's mind), but faded away in the late '90s, thanks to [=SUVs=], the perception that the average minivan owner was a boring "soccer mom" suburbanite, and the fact that the styling was getting blander -- compare, say, the [[http://en.wikipedia.org/wiki/File:1994-1996_Chevrolet_Lumina_APV.jpg Chevy Lumina]] and the [[http://en.wikipedia.org/wiki/File:1996-2000_Toyota_Tarago_(TCR10R)_GLi_van_02.jpg Toyota Previa]] to the [[http://en.wikipedia.org/wiki/File:2004-2007_Ford_Freestar.jpg Ford Freestar]]. While they haven't shaken their uncool reputation, minivans have seen a small resurgence after the decline of the [=SUV=] market, due to their similar capacity and greater fuel efficiency.
** Small "econo-box" autos and hatchbacks. During the height of the last "Bigger is Better" craze during TheNineties and the TurnOfTheMillennium, it seemed as though the only choices for new car owners were [[FateWorseThanDeath four-door sedans and body-on-frame SUVs]]. Lately, though, vehicles like the new Mini Cooper and various hybrids are selling so fast that it took years before the automakers could meet demand, and older models such as the Geo Metro and Volkswagen Beetle can sell for up to triple their Blue Book value on the used car market on the basis of fuel economy alone. The American automakers have even started importing some of their compact European models to meet this new demand, ending decades of NoExportForYou -- to such success that it has been cited as one of the reasons for the revitalization of Detroit's "Big Three" after decades of seemingly interminable decline.
** Up until TheSeventies, bicycles were seen primarily as transportation, and were built with full fenders and used either single speed or 3-speed internal gear hubs. Once the health craze launched a cycling boom, many people started switching to racing bikes, which strove to add more gears and lighter materials. Older cruisers, "English" 3-speeds, and even the steel 10-speeds made at the start of the biking boom came to be seen as extremely dorky. Recently, however, a shift back to the use of bikes for transportation has led to the return of internal gear hubs, single speeds, and even fixed-gear bikes, with specialty makers building custom steel frames instead of aluminum or carbon fiber. The racing bikes, by contrast, are now the ones that are seen as dorky, while the once-cool lycra riding uniforms associated with them are now viewed as symbols of the nadir of [[TheEighties '80s]] fashion.
** Streetcars. After UsefulNotes/WorldWarII, a combination of cheap gas and the growing popularity of buses (and, according to {{conspiracy theorist}}s, some [[http://en.wikipedia.org/wiki/Great_American_streetcar_scandal underhanded tactics]] by the auto industry) led to many streetcar lines falling out of use and eventually being dismantled. The few surviving ones, such as those in UsefulNotes/SanFrancisco and UsefulNotes/NewOrleans, persisted more for their historical and tourism value than anything else. When cities ''did'' invest in mass transit, it would often be in the form of buses and subways that wouldn't threaten the flow of automobile traffic on the streets. In the TurnOfTheMillennium, however, the green movement and fears over rising gas prices led several cities to build or expand "light rail" systems, which are essentially streetcars with decades worth of new technology.
** City centers. After UsefulNotes/WorldWarII, when the G.I. Bill[[note]]Short version -- a law passed near the end of the war that gave veterans access to higher education, as well as loans to buy homes and to start businesses.[[/note]], cheap gas, cheap land, the new Interstate Highway System, and the postwar baby boom created an enormous demand for housing that couldn't be met by the cities alone. As a result, this led to a massive boom in {{Suburbia}} and cities began to expand outward rather than upward leading to a phenomenon known as "white flight" in which middle-class white families moved out to the suburbs, taking their tax dollars with them and leaving the cities behind to decay. However, since as early as TheNineties, city centers have seen a resurgence in popularity especially among younger folk due to factors such as better public transit and walkability, proximity to work and cultural attractions, and frustration with suburban life and automobile gridlock.
* Facial hair in the West has gone in and out of style in a cyclical fashion for centuries among the elite following the same basic pattern as anything else: the ruling class has facial hair, everyone else has facial hair, the ruling class doesn't want to look like the lower class, the ruling class no longer has facial hair, and so on. The last time it was "in" in the West (i.e. would you expect your average CEO/congressman/stockbroker to have facial hair) was during the first several decades of the 20th century -- the last US president, for example, to have facial hair was UsefulNotes/WilliamHowardTaft, who was President from 1909-1913.
** Posession of a moustache ''will'' lead to jokes about you being a creepy possible pedophile with an addiction to disco (if you're older than 30) or an insufferable hipster (if you're younger than 30).
** A quick perusal of Pintrest's Men's Fashion section will show the many variety of beards worn by fashion models and actors, both current and former Silver Screen Studs.
** Facial hair seems to be making a ''very'' gradual comeback, or depending on how you look at it, it already has, with the most popular style being the PermaStubble. It can go back to clean shaven or full on beards from here.
** Mustaches were ''very'' common for men between about 1850 and 1900, then slowly started to disappear - partly for hygienic reasons and partly as a reaction against Victorian values. By the RoaringTwenties, only older or working-class men tended to have mustaches, and things remained that way until about 1970, when the hippie counterculture went mainstream. Thus began another golden age for the mustache, which lasted until about 1990 (by which point the Baby Boomers were seen as unhip). It's yet to return in full force, although it's still quite common among certain ethnic groups (Blacks and [[MagnificentMoustachesOfMexico Latinos]], to give two obvious examples) and in various European countries where facial hair is still considered manly and/or sophisticated.
* Eyewear (both CoolShades and NerdGlasses) has varied greatly through the years: Beginning in TheRoaringTwenties, and thanks to Creator/HaroldLloyd, glasses became a fashionable element[[note]]Prior to that, if you wore glasses, it was because you were an intellectual, a clergyman, an older person or TeddyRoosevelt[[/note]]. These were initially made of tortoiseshell, which by TheGreatDepression and through UsefulNotes/WorldWarTwo had been displaced by the more cost-efficient metal rims. Sunglasses also originated during the Jazz Age, first used by movie stars around 1922 and publicly introduced in 1929.
** Post-WWII spectacles were made of tortoiseshell, and later plastic[[note]]Shuron Ronsirs/Ray-Ban Browliners were introduced in 1947, Ray-Ban Wayfarers appeared in 1952[[/note]], which by the end of TheSixties were seen as too conformist. Then metallic frames took over[[note]]While first made in 1937, it wasn't until about '68 when Ray-Ban Aviators were used outside military circles[[/note]] during TheSeventies, but by the end of the decade, plastics returned big time[[note]]Wayfarers were boosted primarily by the film ''Film/TheBluesBrothers'' and by the NewWave movement[[/note]] to dominate TheEighties. TheNineties and UsefulNotes/TheOughts brought back metals[[note]]''Series/{{Jackass}}'' contributed to the Aviators' newborn popularity[[/note]] aside from sporty wraparounds, while TheNewTens did the same with plastic[[note]]80s nostalgia, {{Hipsters}} and ''Series/MadMen'' were instrumental for a return to Browlines[[/note]].
* {{Revolvers|AreJustBetter}} experienced this in TheNineties, at least in the American civilian market. TheEighties saw the rise of so-called "[[CoolGuns Wonder Nines]]," 9 millimeter handguns that held [[MoreDakka 15 rounds or more]], vastly outstripping the six-round capacity of most revolvers. Police forces switched over immediately, and civilians took to the new guns almost as quickly. In 1994, however, [[AmericanGunPolitics the Assault Weapons Ban]] was passed, heavily restricting, among other things, the sale of guns with magazines that held more than ten rounds. This stripped the Wonder Nines of [[MoreDakka their chief advantage]], allowing revolvers to retake market share. Even after the ban expired in 2004, this trope remained in effect in those states that still had their own laws on the books -- revolvers are noticeably more popular in, say, New York than they are in Florida.
** Note that this doesn't apply to police departments -- their weapons choices weren't affected by the ban, and [[EagleLand the greater magazine capacity is incredibly useful for their work.]]
* At the dawn of TheNineties, most observers in the computer world had given up UsefulNotes/{{Unix}} for dead, due to the fragmentation among vendors and the GNU Project's [[DevelopmentHell slowness in developing a free replacement]]. Then a Finnish grad student by the name of Linus Torvalds released the Linux kernel to the Internet. It was rapidly adopted by GNU and various Linux distributions (though Richard Stallman [[InsistentTerminology prefers you call it "GNU/Linux", thank you very much]]), have provided a viable alternative to Windows and Mac operating systems. Open source systems based on BSD also popped up in the early '90s (Mac OS X is based in part on [=FreeBSD=].) They're most successful as servers and in high-powered applications such as animation rendering and supercomputers.
* The programming language Lisp had been considered dead ever since the [[http://en.wikipedia.org/wiki/AI_Winter AI Winter]] caused all the funds for artificial intelligence research, which was the field most Lisp programmers worked in, to dry up. The language has seen a revivial of interest, however, in The TurnOfTheMillennium and TheNewTens largely thanks to Paul Graham.
* Baby names. There are some names that never go out of style, but others run in hundred-year cycles - in TheThirties "Shirley" was a little girl and "Zack" was a grizzled old prospector. Today Shirley's collecting Social Security and Zack's a young man in his teens or twenties. Such "time capsule names" tend to be popular for about 20 years and then become indelibly linked to the generation born when they were popular, until they're rediscovered a few decades after that generation dies off and then they become indelibly linked to the new one.
** One major reason for this is the tendency to name children after grandparents and great-grandparents.
** This is something for fiction writers to watch out for - one of the easiest ways to provoke outrage over sloppy research is to have an entire cast of 20- and 30-somethings with names that are popular baby names ''now'' but weren't in the '70s and '80s; or to have a period-set story where characters' names are typical of the generations that are that age today rather than the cohort the characters are supposed to belong to. An outlier or two is fine, but [[http://www.babynamewizard.com/archives/2009/3/sorry-what-was-that-i-couldnt-hear-you-over-your-name too many can be overwhelming.]]
* After [[TheGreatPoliticsMessUp the fall of the Iron Curtain]], socialism was considered as good as dead in the United States. After the 2007-08 financial crisis, people started to think that perhaps equitable distribution of resources might be a good idea. As seen in the Occupy movement, socialism is coming back as a viable political theory (although the word remains a taboo in mainstream US politics).
** Socialism hasn't had a chance in U.S. electoral politics at anything beyond the state level (and for that matter only in the smaller states, most notably Vermont) since the 1930s, partly because the New Deal was thought to have made socialism obsolete. But it was the early 1950s' RedScare that pretty much killed off American socialism, especially once the "Red hunters" were able to stir up class resentment against "left-wing intellectuals", giving us the current BourgeoisBohemian trope. Liberalism has since made a comeback, of course, but it is a bourgeois, ''cultural'' liberalism that most old-school socialists find obscene.
* The use of "Frisco" by natives of UsefulNotes/SanFrancisco, as explained in [[http://www.sfgate.com/entertainment/article/Frisco-that-once-verboten-term-for-the-city-by-2582886.php this]] ''Chronicle'' article.
* TV antennas have made a comeback with "cord cutters," people who watch online video using services like {{Creator/Netflix}} exclusively without signing up for cable and satellite services. When they do want to watch live TV, antennas work just fine. Since all terrestrial TV broadcasting in the U.S. is digital, there's none of the snow or ghosting associated with traditional TV antennas.
* Mime. Yes, mime. It was considered a great source of entertainment about a century ago, when it contributed so much of the humor in vaudeville, the circus, and (of course) silent movies. Then "talkies" came along in the late 1920s, and suddenly mime comedy was DeaderThanDisco (as depicted in ''SinginInTheRain'' and elsewhere). There were a few holdouts, of course - Creator/CharlieChaplin, [[TheMarxBrothers Harpo Marx]], cartoon characters like [[ClassicDisneyShorts Pluto]] who couldn't talk - but they were the exception, as most people in the 1930s and '40s preferred to be entertained by characters who said funny things rather than acting out funny things. Then Marcel Marceau came along in the 1950s and breathed new life into the art form, even elevating it to the level of high culture...which unfortunately ultimately backfired, as Marceau inspired [[FollowTheLeader a glut of amateurish imitators]] in the decades immediately following who once again cheapened the image of mime, even giving us the current EveryoneHatesMimes trope. Yet mime has never truly died: Countless performers who are not even often thought of as mimes, such as Rowan Atkinson, John Belushi, and JimCarrey, have proudly carried the tradition into the late twentieth century and beyond. Circus companies such as Ringling Bros. and Barnum & Bailey and the Big Apple Circus also have given miming and clowning more attention in recent decades (in part a side effect of wild animal-based acts falling out of favor with modern audiences), and Creator/CirqueDuSoleil and other "contemporary circus" companies pivot upon performers who can engage audiences with few or no words at all.
* Men's underwear seems to go through this cycle. The BVD underwear company introduced briefs for men in the 1930s - which caused a sensation, as they were skimpier than most women's panties at the time. This graudally brought about a change in men's intimate and leisurely fashions, with short underpants replacing the jockey shorts and long johns previously popular and male swimmers, bodybuilders and surfers wearing skimpy trunks instead of the one-piece swimsuits from the 1920s. By the 1970s and '80s, wearing midthigh-length shorts as underwear was thought to be hopelessly old-fashioned, with only older men daring to be caught in them. Then the pendulum swung back: in TheNineties, [[WildMassGuessing perhaps as a backlash against the burgeoning gay culture or maybe due to inspiration from the ultra-manly, proletarian fashion sense of Seattle grunge rock]], jockey shorts (especially plaid ones) became cool again, so that now wearing briefs is often thought of as effeminate. Eventually, though, at least for some men, the two sides met in the middle, so that now you can easily find in most department stores "boxer-briefs", which have elastic waistbands and legbands but cover everything above the mid-thigh. When it comes to ProfessionalWrestling, however, [[UnderwearOfPower this trope has always been inoperative]].
* Heavy cosmetics for women, such as lipstick and eyeshadow, have faded in and out of popularity over the course of the century, literally altering the face of Western womanhood. It became standard for women sometime about the 1930s and continued throughout the '40s and '50s, until it reached the point at which pictures of women from the mid-20th-century can sometimes [[UncannyValleyMakeup look clownish]]. A more barefaced look was popularized by female folk singers (JoanBaez, most famously) beginning in TheSixties, and then ''that'' became the standard. Heavy makeup returned with a vengeance in TheEighties; since then, it has gradually fallen out of favor again and is now relatively uncommon...though [[ZigZaggingTrope the line has not been a completely straight one]] and there are always exceptions.
* With the rise of coffeehouse culture in the U.S. in UsefulNotes/TheNineties, drip coffee was seen as something for old people or the terminally clueless by serious coffee afficionados. ''Real'' coffee came from espresso machines or a French press. But with the rise of "third wave" coffee culture, coffee lovers have rediscovered manual pour-over drip coffee makers. Ironcally, it tends to be popular in the Pacific Northwest, the region responsible for popularizing espresso in the U.S.
* Googie architecture went out of style soon after the 1950's but discovered a resurgence in the 80's that continues to this day thanks to its nostalgic style emblematic of the decade. The rocket-like tailfins, starbursts, and odd geometric shapes are still a staple of bowling alleys, hamburger restaurants, auto repair shops, and other businesses popular in the 50's, as well as signs for cities that became popular in that decade, most notably Las Vegas. There exist societies dedicated to preserving Googie buildings that escaped the mass demolitions in the 60's and 70's due to their perceived old-fashionedness during then, making it a case of DeaderThanDisco during disco's own time.
* {{Lego}}, popular plastic building blocks created in the 1930's. The toys have always been relatively popular, but in the late 90's/early 2000s, the Lego Company decided to start licensing popular franchises such as StarWars. Legos suddenly boomed in popularity with video games, fan made stop motion videos, and in 2014 a [[Film/TheLegoMovie highly successful movie]].
* Like facial hair, long hair on men cycles in and out of fashion. It was shocking at first in TheSixties, with Music/TheBeatles and the rise of the counterculture. In TheSeventies, long hair was ''de riguer'', before the PunkRock and [[NewWaveMusic New Wave]] subcultures heralded a return to shorter hairstyles through TheEighties with the rise of HairMetal bringing long hair back, albeit heavily styled. Unadorned long hair came back into fashion in TheNineties with the rise of {{Grunge}}, only for shorter styles to come back into fashion around TheOughts. Then the rise of {{Emo}} subculture popularized the much-derided style of the bangs covering the eyes. The backlash against the subculture in turn caused a return to shorter hairstyles. Then Music/JustinBieber and Music/OneDirection popularized slightly longer hairstyles for teenage males again.
* {{Pinball}} has seen its ups and downs in popularity. It was the dominant type of arcade game until the 1970's, when video games became inexpensive enough to manufacture for arcade owners, and intensified through the first half of the 80's with hits like ''VideoGame/PacMan'' and ''VideoGame/DonkeyKong''. Pinball then became popular again with ''Pinball/SpaceShuttle'' leading the charge, which featured an accurate scale model of a space shuttle inside, an impression no video game at the time could replicate. With nothing like it to follow up, however, pinball soon lost ground to video games again in the late 80's as video game technology became more advanced, allowing for more diverse gameplay and visuals where pinball, by nature, is stuck with a static image. This changed with ''Pinball/TheAddamsFamily'' in 1992, whose many modes and deep theme integration allowed pinball to once again compete on even terms with video games at arcades. By the end of the 90's, however, arcades in North America were becoming unpopular as console video gaming allowed people to play within their homes as much as they wanted, with this new environment providing even more complex video gaming. Pinball became DeaderThanDisco for many years until 2012: Ironically, whereas mobile gaming has cut huge chunks into console gaming, mobile gaming has brought awareness back to pinball, with numerous virtual pinball apps sparking new interest in the medium and prompting people to either find machines in public to play to see how they're like in person or, if one could afford it, buy pinball machines for home use outright. Pinball has also been riding on the back of the recent RetroGaming craze. The effect of this most recent upswing has been a 300% increase in sales for Creator/{{Stern}} between 2012 and 2014.
* Creator/CartoonNetwork; It was a revered channel for WesternAnimation in the late 90's, but suffered ''massive'' NetworkDecay in the mid 2000's, culminating in an overdose of Canadian imports and ''live-action shows''. Luckily, the success of ''WesternAnimation/AdventureTime'' and ''WesternAnimation/RegularShow'' has returned Cartoon Network to its former place.