%% All examples have been alphabetized; please place examples following that format.

[[quoteright:350:http://static.tvtropes.org/pmwiki/pub/images/DiscoSucks.jpg]]
[[caption-width-right:350:The exact moment this trope was born.]]

->'''Angelica:''' Aunt Didi, what's disco?\\
'''Didi:''' Oh, nothing, sweetheart. It's something that happened a long time ago and it's never, never coming back, so don't you worry.
-->-- ''WesternAnimation/{{Rugrats}}'', "Garage Sale" [[note]] Ironically, the pilot of ''WesternAnimation/AllGrownUp'' was all about [[HilariousInHindsight Stu and Didi competing in a disco dance competition]][[/note]]

This is something -- an individual work, a creator/performer/artist, an entire genre -- that was very, very popular in its day. But at some point, it somehow just got too popular. It was talked about on ''every'' radio station, on ''every'' TV network, on ''every'' chat room (not that they'd been invented then...). It was [[WolverinePublicity overexposed until people got bored with it]], and it got so much publicity and [[SturgeonsLaw so many bad]] [[FollowTheLeader imitators]] that there was plenty of time to notice each and every flaw and dissect them under a microscope. Soon, small insignificant flaws become regarded as [[FranchiseOriginalSin unavoidable and unforgivable sins]]. The final tell-tale sign is when ridicule, or even hatred, comes not just for [[{{Hatedom}} the thing itself]], but for [[FanHater its fans]]. [[AcceptableTargets They become the subject of nasty, highly-specific stereotypes]], and [[SugarWiki/GushingAboutShowsYouLike gushing about how you like it]] online is considered {{troll}}ing.

Ten years later, almost nobody will admit that they ever liked it, and the only mention in the media will be [[AnyoneRememberPogs cheap jokes about the fad]]. [[ILoveTheExties Retrospectives]] of the time in which it was popular will either point to it as a symbol of [[IWasQuiteAFashionVictim everything wrong with that time period's taste in music, television, cinema, fashion, literature, etc]]., or quietly skip over it and [[OldShame pretend it never happened]]. It may get revived decades later as SoBadItsGood or by BileFascination, but it's unlikely to be popular on its own merits again. In fiction (and RealLife), a DiscoDan is a rare admirer who refuses to accept the judgment of history and passionately holds on to the belief that the dead thing is still as big as it always was -- usually with comical results.

Of course, twenty years later, [[PopularityPolynomial the situation may change again]]. Then again, maybe not.

Sometimes caused by people saying that ItsPopularNowItSucks too much, but not always: at its height, these people usually exist, but are typically not very vocal. It's particularly common with things that never had a cult following to begin with -- they went from nowhere to everything, and then back to nowhere, very suddenly. This is essentially HypeBacklash after something faded from popularity with the haters still remaining.

For a more detailed examination of the ways a work can become Deader Than Disco, see [[Analysis/DeaderThanDisco the Analysis page]].

Compare JumpingTheShark, PeripheryHatedom, DeadHorseGenre, DarthWiki/FallenCreator, {{Hatedom}}, and DiscreditedMeme. Contrast VindicatedByHistory and NostalgiaFilter. If a single work is perceived as rendering something Deader Than Disco, it's a CreatorKiller, FranchiseKiller or GenreKiller. Compare ''and'' contrast UnintentionalPeriodPiece, when a work can be precisely dated to a specific era, but it may (or may not) have remained popular up to the present day. Compare OvershadowedByControversy, where uproar sparked by or around a work is more well-known than the work itself.

Not to be confused with DeaderThanDead, which is a completely different trope, or GratuitousDiscoSequence, which is actually about disco. Has nothing to do with [[TheDeadCanDance the dead dancing to disco]], either.

----
!!Examples

[[index]]
* DeaderThanDisco/{{Music}}
[[/index]]

[[foldercontrol]]

[[folder:Advertising]]
* Cigarette ads on television were banned in the UK in 1965[[note]]Loose tobacco and cigars, however, were permitted to be advertised until 1991. Cinema ads continued up until 1999, while radio ads were permitted until 2003.[[/note]], and in the US in 1970. Nowadays, they're looked back on as a symbol of how naive people were at the time about [[SmokingIsNotCool the dangers of tobacco use]], and as symbols of '50s and '60s kitsch. The knowledge that [[http://www.snopes.com/radiotv/tv/marlboro.asp at least four of the men]] who played the Marlboro Man in advertisements later [[DeathByIrony died of lung cancer]] wound up making Marlboro's ads in particular HarsherInHindsight, especially knowing the lengths to which tobacco companies went to deny or downplay the health risks of smoking.
* Erin Esurance was a highly popular mascot for Esurance during the latter half of the 2000s. A [[YouGottaHaveBlueHair pink-haired]], SpyCatsuit-clad ActionGirl inspired by shows like ''Series/{{Alias}}'' and ''WesternAnimation/KimPossible'', she was a hit among young men and women and ''greatly'' boosted Esurance's brand appeal, both intentionally and with unexpected surges of [[RuleThirtyFour pornographic fan art]] involving her. In fact, there was ''so much'' porn of the character -- some of which popped up when people merely searched for Esurance on a search engine -- that Esurance had no choice but to [[http://www.cbsnews.com/news/esurance-axes-erin-after-the-secret-agent-took-on-an-x-rated-life-of-her-own ax the character]] in 2010 and scrub all references to her from their website. Then everyone started questioning why you need some kind of spy, even [[SexSells a sexy one]], to sell ''auto insurance'', and all but dismissed her. By TheNewTens, she was actually [[http://www.cbsnews.com/news/the-erin-esurance-autopsy-she-was-less-popular-than-microsofts-clippy less popular than Microsoft's Clippy]], and is understandably Esurance's OldShame.
* In-Universe example: An ad for Pringles potato chips actually mentions this trope. When the kid asking a question about the world's largest disco ball, he gets "Dude, disco is dead." as the answer.
[[/folder]]

[[folder: Anime and Manga]]
[[AC: Companies]]
* Creator/FourKidsEntertainment was once a powerhouse in importing anime like ''Anime/{{Pokemon}}'' and ''Anime/YuGiOh'' and dubbing them for American audiences. By censoring and editing these shows for children's television, 4Kids gained a minor, perhaps unfair, {{hatedom}} among anime purists, but these translations were nevertheless commercially successful enough for the company to import and produce more titles like ''[[Manga/OjamajoDoremi Magical Doremi]]'', ''WesternAnimation/WinxClub'', ''Anime/SonicX'' and ''WesternAnimation/TeenageMutantNinjaTurtles2003''.\\\
Arguments about the company's editing practices came to a head with ''Manga/OnePiece'', which remains the unfortunate darkest mark on their reputation. This dub took the company's (in)famous practices, such as [[{{Bowdlerise}} excessive censorship]], replacing ''all'' the music (capped off with a ThemeTuneRap), skipping over several important episodes, [[CutAndPasteTranslation remixing elements]] of episodes, drastic changes to the plots, [[CulturalTranslation Americanization]], and low quality voice acting, and cranked them UpToEleven, all the while showcasing none of their redeeming qualities. All of this directed ire on the entire company by some people. While [=4Kids=] wanted nothing to do with the show since they were aware of how un-family friendly it was, Toei forced them to dub it anyway as they would only license other shows to [=4Kids=] as part of a packaged deal. Because of this, that adaptation unfortunately led to [[KeepCirculatingTheTapes an "allowance" on fansubbers to continue subbing certain series]], as [=4Kids=]' DVD releases rarely, if ever, had any of the original Japanese audio. Also of note, Sanji's voice actor David Moo retired from the anime industry altogether in no small part because of fan ire against him for not only his performance but things that weren't really his fault, and became a Brooklyn-based bartender. Not helping matters is that Moo's only ''other'' notable role, Xellos in ''Anime/{{Slayers}}'' is also extremely polarizing.\\\
The hatred garnered from their dubs would be worn out as the company became significantly less prominent than it used to be, and its fan following became the only people who still cared. As the 2000s anime boom wore down, [=4Kids=] sold the rights to their biggest CashCowFranchise, ''Pokémon'', to The Pokémon Company International in 2006. After [=4Kids=] legally dropped the license to ''One Piece'' in 2006, Creator/FUNimation [[note]]which ironically enough was the company's home video partner from 2002 to 2009, with exceptions being ''Pokémon'' and ''One Piece''[[/note]] picked up the rights one year later and redubbed the whole series far more faithfully to the original. Meanwhile, 4Kids' focus shifted away from anime to homegrown properties and acquisitions from other countries, which generally fit the company's creative philosophy much better and have obtained much more faithful treatment. What anime they still dubbed was generally well-received — or, at least, drew less ire. With Creator/KidsWB's demise in 2008, 4Kids became — for better or for worse — the last remnant of what was once an institution. In 2009, the series and merchandising rights to ''Teenage Mutant Ninja Turtles'' were bought out by Creator/{{Nickelodeon}} as a component of their purchase of [[Franchise/TeenageMutantNinjaTurtles the franchise]]. Nick would also snatch up the ''WesternAnimation/WinxClub'' franchise in the following year.. With only ''Yu-Gi-Oh!'' and a few lesser shows left, 4Kids filed for Chapter 11 bankruptcy in April 2011 months after the departure of longtime CEO Alfred R. Kahn. Creator/TVTokyo and Nihon Ad Systems then filed a lawsuit against 4Kids over ''Yu-Gi-Oh!'', accusing them of underpaying anime licencors and conspiring with Funimation to avoid royalty payments by hiding the income. Later, an auction resulted in the company being sold in pieces; Creator/{{Konami}} picked up the ''Yu-Gi-Oh!'' franchise and placed it under the 4K Media division, while Creator/SabanBrands acquired the rest of [=4Kids=]' anime and cartoons.\\\
Once one of the most popular English anime producers, 4Kids has been held up as ''the'' example of everything wrong with dubbing, to the point that most of their productions are long off the air, with ''Pokémon'' seeming to be the only dub of theirs, as well as their homegrown properties and acquisitions, still viewed in a positive light. The company later re-emerged as 4Licensing Corporation with only a handful of shows left and a new focus on making sports apparel, but in September 2016, [[HistoryRepeats they filed for bankruptcy]] ''[[http://www.businesswire.com/news/home/20160922006380/en/4Licensing-Corporation-Files-Chapter-11-Bankruptcy again]]'' and folded the next year. With all their former licenses scattered between different companies and their financial problems, anime fans will no longer be able to experience the company's notorious practices, which may be fortunate for some, but it is unfortunate for others.

[[/folder]]

[[folder: Architecture]]
* Brutalist architecture, as explained in [[http://gizmodo.com/7-endangered-examples-of-the-most-hated-architectural-s-1636643535 this article]]. Buildings in this style were designed so that form followed function, their few windows and tons of unfinished concrete often making them look like fortresses, and they were indeed very durable and cheap to build, leading to the proliferation of brutalist structures in urban centers and on university campuses in the 1960s and '70s. However, while modernist structures from that same time period are still beloved today, brutalist structures aren't. For many people, they evoked the image of flood channels and highway overpasses, and before long they came to be seen as blights on the landscape. Furthermore, while they were easy to build and keep standing, keeping them looking decent was a different story altogether, as unfinished concrete has a tendency to crack and stain very easily, especially in humid climates. Finally, the proliferation of brutalist structures in the Eastern Bloc gave the style an indelible association with Soviet-style communism; many dystopian sci-fi films from the '70s and '80s used such buildings as symbols of the oppressive regime. Nowadays, "brutalist" is often used a synonym for any ugly concrete building or public space, and few people still defend the style. To add insult to injury, quite a few brutalist structures were built to replace either the function of a building of a previous era of architecture or built in the place of a bombed out or torn down building of a previous style. Given that [[PopularityPolynomial many of those styles have gained in public perception]], just how ''anybody'' could ever consider this oppressive Soviet style concrete hunk a better fit for the site/purpose than whatever it replaced is often another accusation leveled at brutalism, of which the style itself is innocent. It is unlikely that the building style will be respected after the destruction of Grenfell Tower, London in 2017, in which the poorly-done cladding was blamed for helping the fire escalate.
* The "[=McMansion=]" style, with its soaring ceilings, open plans, enormous rooms, and enough square footage to comfortably hold [[Series/NineteenKidsAndCounting one of those]] [[Series/TableFor12 huge families from a]] Creator/{{TLC}} [[JonAndKatePlusEight reality show]], was an incredibly popular style of American home construction from the late 20th century up through around 2005-07. But in the wake of the late '00s recession, those same attributes made the costs of heating and cooling them prohibitive for a great many people. The fact that most [=McMansions=] were built in exurbs located up to an hour's drive or more from the nearest major city -- and where land was cheap enough to put them within financial reach of people who weren't named Trump or Kardashian -- also hurt them when gasoline stopped being cheap. (Such exurbs themselves often found themselves going from {{boom town}}s to {{dying town}}s virtually overnight.) Finally, [=McMansions=] made up a majority of the houses foreclosed upon during the subprime mortgage crash, as their sheer size often made them too expensive for most people to purchase without a loan.
* Utopian architecture and urban planning boomed in the first two-thirds of the 20th century, when architects and futurists of every political stripe and cultural outlook sought to find a way to "reengineer the city" in a manner more conductive to progress towards an envisioned utopian society. Among the more famous proposals were Frank Lloyd Wright's "Broadacre City" that served as a blueprint for postwar {{suburbia}}, Paolo Soleri's {{arcolog|y}}ies, Creator/WaltDisney's original "Experimental Prototype Community of Tomorrow" (which later evolved into [[Ride/DisneyThemeParks Disney World]]), and Le Corbusier's unrealized "Plan Voisin" for central UsefulNotes/{{Paris}} and his more successful plan for Chandigarh, UsefulNotes/{{India}}. These designs fell out of favor in TheSeventies as a new generation of urban planners criticized them for ignoring the human inhabitants of cities, trying to force them into the architect or planner's vision instead of designing cities around their needs. Today, this sort of utopianism is rarely seen within serious study of architecture and urban planning. It has made a minor comeback among environmentalists seeking to build sustainable alternatives to car-focused urban centers, but beyond that, it's been mostly relegated to the realms of science fiction and [[{{Zeerust}} retro-future kitsch]]. [[http://gizmodo.com/celebration-florida-the-utopian-town-that-america-jus-1564479405 This article]] by Kelsey Campbell-Dollaghan for ''Gizmodo'', about the master-planned community of Celebration, Florida, illustrates the mistrust that many Americans have of such proposals.[[labelnote:In this case...]]Celebration was built along New Urbanist principles, which sought to design a new type of suburban town that would be more walkable, close-knit, and environmentally friendly than the sprawl that characterized many American suburbs. Many people who have lived in or visited Celebration have described it as a creepy StepfordSuburbia, with the town's association with Creator/{{Disney}} not helping in the slightest.[[/labelnote]]
[[/folder]]

[[folder: Comic Books]]
[[AC:Creators]]
* It's hard to imagine, but there was a time when Chuck Austen was a well-regarded figure and a legitimately popular up-and-comer in the world of comics. After a number of fits and starts, he was catapulted to fame by the twelve-issue miniseries ''US War Machine'', which played on the mix of the manga boom and the popularity of mature comics to become a surprise hit. When he was placed on ''ComicBook/UncannyXMen'', running simultaneously with Creator/GrantMorrison's seminal ''ComicBook/NewXMen'', it was no surprise at all to readers.\\\
The result? ''The Draco'', an utterly nonsensical story about Nightcrawler being a demon and a conspiracy to appoint him Pope. An arc that served as a bizarre retelling of Theatre/RomeoAndJuliet that featured midair public sex. Juggernaut turning good and banging ComicBook/SheHulk for no reason. The introduction of CreatorsPet Annie Ghazikhanian. Austen also had short runs on many other famous books, from ''ComicBook/TheAvengers'' to ''ComicBook/CaptainAmerica'', each time being chased off by increasingly irritated fans. He eventually jumped ship to DC, who handed him ''Action Comics'', at which he proceeded to write a DerailingLoveInterests plot that pleased neither Lois fans nor Lana fans. It would be his last mainstream work. Chris Sims [[http://comicsalliance.com/ask-chris-89-the-rise-and-fall-of-chuck-austen/ summed him up]] thusly:
-->"When you look at that crowd of new comics writers that was really making waves at the start of this century, guys like [[Creator/BrianMichaelBendis Bendis]] and Creator/GeoffJohns, Austen was right in there with them, with four solid years as one of the most prominent writers in that crop of creators. And yet, the best thing you can say about Austen’s work in super-hero comics is that ''occasionally'', it wasn’t'' absolutely terrible''."
* Creator/RobLiefeld, while never a critical favourite, [[CriticalDissonance was nevertheless considered one of the most successful writers/artists during]] UsefulNotes/TheDarkAgeOfComicBooks. He created several famous characters, such as ComicBook/{{Deadpool}} and ComicBook/{{Cable}}. He also helped start Creator/ImageComics and was influential through his work on ''Comicbook/YoungBlood''. However, after the Dark Age ended, he became a laughingstock for being a LazyArtist (not drawing feet, creating unrealistic/generic character designs, and overusing pouches), and for copying other people (for example, Deadpool started of as an {{Expy}} of {{ComicBook/Deathstroke}}). Today ''Youngblood'' is usually seen as SoBadItsGood (though the later revivals of the series in 1998, 2008 and 2012 were better received) and even Liefeld himself considers the first few issues of the series to be an OldShame (though many have praised the ''Youngblood'' trade paperback for fixing many of the problems the original issues had) which is generally considered a poor rip-off of the ''Comicbook/TeenTitans'', and Image has moved away from superhero comics like it. Cable and Deadpool are still popular, but that's [[MyRealDaddy thanks to other writers]] who developed them in different ways than Liefeld and are generally considered their ''true'' creators by fans. What little goodwill Liefeld still had by the 2000s dried up after a much-publicized feud with Creator/PeterDavid after the latter revealed that the character Shatterstar, who had been created by Liefeld for ''ComicBook/XForce'' and was at the time being used by David in ''ComicBook/XFactor'', was bisexual. This move was very well-received by fans, but Liefeld was incensed that the move had been made without consulting him and many felt his comments on the subject were worryingly close to biphobic (though WebVideo/AtopTheFourthWall's numerous reviews of his comics didn't help). Nowadays, the only times you hear about Liefeld is mockery of his art-style or his lackluster characters, and comic book fans consider him to be the ultimate embodiment of everything wrong with The Dark Age Of Comics.

[[AC:Specific Works]]
* "Endgame", the famous 4-part supposed-to-have-been GrandFinale for ''ComicBook/ArchieComicsSonicTheHedgehog'', at one time was a popular storyline, with how the stakes seem to rise, culminating in a one-on-one NoHoldsBarredBeatdown between Sonic and Robotnik. However, due to a combination of time passing and the bad publicity garnered towards writer Ken Penders in the wake of his lawsuit that led to the comic being forced into a ContinuityReboot, many fans have begun to call it nothing more than an IdiotPlot.
* ''[[Comicbook/{{Tintin}} Tintin in the Congo]]'' is one of the most infamous instance in Europe. Back in 1931, it was both a commercial and critical success within Belgium and the rest of Europe, spawning a franchise for decades to come. After UsefulNotes/WorldWarII, it was widely criticized, even among Tintin fans, for its racist portrayal of the Congolese people, who are drawn to look like monkeys and are depicted as stupid and infantile. Likewise, the fact that the hero hunts lots of the local wildlife is hard to enjoy now that many species of said wildlife are critically endangered. The attitude towards hunting can be seen as ValuesDissonance today, but the explicit racism goes far beyond that and has led to the book being removed from public libraries in Europe. Also, it doesn't help that the story is quite crude compared to the intricate plots of later Tintin albums. Creator/{{Herge}} himself later came to regard the story (along with its predecessor ''Tintin in the Land of the Soviets'') as an OldShame, calling it "bourgeois" and "paternalistic". Those who read it now do so chiefly for completeness or as [[ValuesDissonance a historical relic of the colonial era]].
* Dreamwave's ''ComicBook/TransformersGenerationOne'' comics went though this ''hard.'' When they were first announced, they had 'superstar manga-like artist' Pat Lee doing both all the promotions and a whole lot of art. The cast was straight from the old cartoon, coming during a period of 80s revival that ate those characters up like popcorn. It was advertised as a superb comeback, and sure enough, Dreamwave's entire original miniseries cracked the top ten in sales charts, with most issues even making it to #1. The success spread to the ''Anime/TransformersArmada'' comic as well, making it one of the only non-G1 comics to achieve mainstream success. They followed up with ''Transformers: The War Within'', probably the most influential series to ever have Optimus Prime on the cover. Packaging art and merchandise of the time switched to a Dreamwave-esque style, and many of the designs of the various series (particularly ''War Within'') would be incorporated into the following ''Anime/TransformersCybertron.''\\\
But even at the height of its popularity, Dreamwave had its detractors. Complaints about fanfic-y plots and a fetish for the [[FirstInstallmentWins original 1984-85 cast]] abounded, and the general feel of the line reeked of [[DarkerAndEdgier faux-maturity]]. The artwork soon became one of the biggest complaining points, with "puffyformers" and "DullSurprise" becoming common fandom terms to describe Pat Lee's art style (which all other artists on the payroll were forced to use). These complaints intensified with rumors that Pat Lee himself wasn't just a bad artist; he was a complete scumbag who refused to pay his employees, took credit from much better artists, and siphoned company funds into buying himself a Porsche. When Dreamwave went bankrupt from a mixture of flagging sales and Lee's embezzling, the public opinion of Dreamwave as a company flipped completely into "hate." Since then, aside from ''War Within'', Dreamwave's books have pretty much vanished from the eyes of both the fandom and Hasbro (outside of the occasional [[PaletteSwap Sunstorm]] toy), and many of the writers and artists who got their start there seem to regard it as an OldShame. Even ''stylistically'' resembling Dreamwave books (using mostly the '84/85 cast, [[MythologyGag quoting]] ''WesternAnimation/TheTransformersTheMovie'', killing off PunyHumans [[TakeThat or]] [[WesternAnimation/ChallengeOfTheGoBots GoBots]]) is enough to get alarm bells going in some circles.
[[/folder]]

[[folder:Fashion]]
* The toothbrush mustache was once a very stylish look for men like Creator/CharlieChaplin during the early [[TheTwentiethCentury 20th century]]. Then along came [[UsefulNotes/AdolfHitler a certain Austrian politician]] donning that style (which Chaplin himself famously exploited in ''Film/TheGreatDictator''), and ruining it forever by association, to the point where the look is ''still'' widely known as the "Hitler mustache".
* Excessive artificial tanning (be it from spraying or using a bed) has gone out this way. Tanning was very popular, and it was especially huge in the 2000s when spray tanning was massively popular with celebrities to achieve that sun-kissed glow. However, some took the practice [[http://www.dailymail.co.uk/femail/article-3474768/The-WORST-fake-tan-fails-time-revealed-avoid-them.html too far]], resulting in no shortage of mockery. Moreover, thanks in part to an increased awareness of skin cancer and a resurgence of heavy makeup in the 2010s, tans are no longer seen as a prerequisite for beauty, as the popularity of paler skinned celebrities like Creator/ChristinaHendricks, Creator/RobertPattinson, Creator/BenedictCumberbatch, Dita Von Teese, and Music/KatyPerry has shown. As demonstrated by the also DTD ''Series/JerseyShore'' (and others), excessive tanning is now far more likely to be mocked than swooned over (as exemplified with [[http://www.revelist.com/politics/donald-trumps-fake-ass-tan/766 Donald Trump]]). The Kardashians, who continue to artificially bronze themselves, and their imitators, once had thousands who followed in their footsteps of tanning are now mocked for one of the same reasons that got them so big.
* The leisure suit became popular from the [=1960s=] to the [=1970s=] when the abundance of synthetic materials, cheap prices, and a dislike for formality made it the fashion symbol for men. Its height of popularity was during the Seventies, when it was frequently associated with disco culture. But when disco, well, [[TropeNamer became dead]], the leisure suit went with it -- and by the Eighties, it was commonly considered emblematic of [=70s=] kitsch. Today it is little known for anything other than clueless fashion sense, such as the ''VideoGame/LeisureSuitLarry'' video game series.
[[/folder]]

[[folder:Film]]
[[AC:Specific Films]]
* ''Film/{{The Birth of a Nation|1915}}'' was the first EpicMovie, the film that proved cinema to be a viable entertainment medium rather than [[ItWillNeverCatchOn a passing fad]], and the pioneer of countless filmmaking techniques. Modern-day film scholars and critics are still more than willing to acknowledge ''this'' part of its legacy even though it's rated G. However, to say that the film's writing and story has [[ValuesDissonance not aged well]]... well, there's a reason why it's only watched today by film students (for the technical/historical aspects) and by people studying the history of racism. [[TheKlan A big, white-hooded, cross-burning reason.]]
* As discussed in [[http://www.gq-magazine.co.uk/entertainment/articles/2011-03/15/gq-film-godfather-part-four this article]], ''Film/TheGodfatherPartIII'' received mostly positive reviews when initially released, with some critics like Gene Siskel and Alexander Walker ranking it among 1990's best. It also was a respectable box office success and earned seven Oscar nominations, including Best Picture. Backlash began soon afterwards, triggered by multiple sources: criticism of Creator/SofiaCoppola's performance, press coverage of its TroubledProduction,[[note]]Coppola himself would specifically blame Peter J. Boyer's ''Vanity Fair'' article "Under the Gun," which focused largely on the film's casting difficulties.[[/note]] author Mario Puzo distancing himself from the movie, director Creator/FrancisFordCoppola openly commenting that [[MoneyDearBoy he made the film to clear his debts]], and a scathing ''Series/SaturdayNightLive'' parody. Being shutout at the Oscars intensified the criticism. The final nail in the coffin was, ironically enough, ''Film/{{Goodfellas}}'', another mafia movie released the same year quickly capturing the same reputation as the first two ''Godfather'' films. Within a decade ''Part III'' became a punch-line, frequently mocked throughout the '90s as a [[{{Sequelitis}} textbook bad sequel]] or being on the bad end of DuelingMovies. While not as universally reviled today, it remains a ContestedSequel even among ''Godfather'' fans.

[[AC:Specific Filmmakers And Stars]]
* [[Creator/SeltzerAndFriedberg Aaron Seltzer and Jason Friedberg]] started off as simply writing parodies like the polarizing ''Film/SpyHard'' and the first ''Film/ScaryMovie''. Fed up with being unable to find directors for their future work, the duo decided to write, produce, and direct their own movies. While these films got trashed by critics, most of them did decently at the box office.\\
\\
However, this was not the case with 2008's ''Disaster Movie'', which more than lived up to its title. ''Disaster'' zoomed to the top of the [=IMDb=]'s Bottom 100 upon release, landed a 1% on Rotten Tomatoes and bombed at the box office. After 2010's ''Film/VampiresSuck'', Seltzer and Friedberg lost major studio backing and went indie. The bottom completely fell out when their first two indie projects, ''The Starving Games'' and ''Best Night Ever'', both got a rare [[ZeroPercentApprovalRating 0%]] on Rotten Tomatoes (and both had horrible box office returns, to the point where the latter's budget has apparently not been made known to the public). Their trend of utter failure has only continued with ''Superfast!'' [[EpicFail only making a]] ''[[EpicFail twentieth]]'' [[EpicFail of its budget in box office profits]]. They're still busy making movies, but the future isn't looking very bright for them, and when you have fellow bad parodist Marlon Wayans announcing he's done with parody movies after ''his'' latest failure with critics, that's saying something.\\
\\
Today, Seltzerberg are considered the prime suspects of [[GenreKiller killing the parody genre]] (though Marlon Wayans isn't seen as much better). The pop culture references in their films [[UnintentionalPeriodPiece have all dated horribly]], and they made no effort to make ''good'' references to start with [[ShallowParody as they base their parodies on trailers rather than going through the trouble of sitting through the movies they're parodying]].

[[AC:In-universe examples]]
* The {{Trope Namer|s}} gets a reference in ''Film/{{Airplane}}'', where a radio announcer triumphantly proclaims that WZAZ is "[[TemptingFate where disco lives forever!]]" just before the plane knocks down its rooftop transmitting antenna. This film came out in 1980, so the joke was extremely timely - the creators note on the dvd commentary that they witnessed this joke being met with applause in a theatre.
[[/folder]]

[[folder:Literature]]
[[AC:Genres]]
* During the 1850s, there existed an entire genre of [[http://en.wikipedia.org/wiki/Anti-Tom_literature "anti-Tom" literature]] (or plantation literature), written mainly by authors from the Southern US [[TheMoralSubstitute in reaction to]] the anti-slavery work ''Literature/UncleTomsCabin''. Such books were {{Author Tract}}s that portrayed [[HappinessInSlavery slavery as a benevolent system that existed for the good of black people]], and the arguments against the "peculiar institution" as a sack of lies. Abolitionists were used as {{straw|Character}}men, presented as either [[SoapboxSadie misguided fools]] who would often [[HeelFaceTurn "come around"]] by the end once they saw the "reality" of slavery, or as [[CardCarryingVillain mustache-twirling Damn Yankee villains]] who were out to destroy the Southern way of life, motivated less by compassion for the slaves than by personal gain. For [[ValuesDissonance obvious reasons]], this genre died out very quickly after [[UsefulNotes/TheAmericanCivilWar the Civil War]], while ''Uncle Tom's Cabin'' has gone on to be regarded as one of the UsefulNotes/{{great American novel}}s.
* The 2000s saw a boom in books about "elite" high school girls. Following the success of the film ''Film/MeanGirls''[[note]]which could be argued, in hindsight, to be an UnbuiltTrope example of the genre due to its examination of the culture of school bullying and deconstruction of the AlphaBitch character type[[/note]], books about the lives of incredibly rich, spoiled teenagers became a big market, with one of the more successful examples, ''Literature/GossipGirl'', being turned into an even more successful [[Series/GossipGirl TV series]]. However, due to the AlphaBitch stereotype being so firmly ingrained in pop culture, it is ''very difficult'' to make such characters likable or sympathetic. Moreover, as youth bullying became a hot topic towards the end of the decade, ValuesDissonance turned the main characters of these books into {{Villain Protagonist}}s, while the Great Recession around the same time made the large displays of wealth that were often featured in them look tacky and tasteless. Nowadays, if many of these series are remembered at all, it's mainly as SnarkBait among the people who grew up reading them.
* Samuel Richardson's ''Pamela; or, Virtue Rewarded'' was a best-seller in 1740. Its psychological analysis was revolutionary for its time and remains important, but its story...has not aged at all well, to say the least. Many people nowadays take the side of Richardson's rival, Henry Fielding, arguing that its morally perfect main lead and tale of LoveRedeems makes the novel virtually impossible to connect to. It's much less popular now than it used to be. Richardson's other main novel, ''{{Literature/Clarissa}}'', has fared better.
** Perfect characters in general were once looked up to rather than disliked in centuries long past. They were seen as great moral guides. Nowadays, people revile such characters for being unrealistic and uninteresting, failing to highlight the reality that the very definition of human is imperfect.

[[AC: In-Universe Examples]]
* The non-fiction book ''But What If We're Wrong?'' by Chuck Klosterman is an examination of this trope and [[VindicatedByHistory its inverse]], asking how future generations might look back on the pop culture, political debates, social structures, and scientific theories of both the present day and the 20th century very differently from how we regard them, much like how we look back on the prevailing ideas and culture of the Middle Ages through the 19th century. The introduction alone recounts how Creator/{{Aristotle}}'s theory of gravity stood for two thousand years as 'conventional wisdom' before being discredited by Sir UsefulNotes/IsaacNewton[[note]]Later in the book, given how many times he wound up going back to Aristotle as an example, Klosterman jokingly suggests that he should've titled the book ''Aristotle: The Genius Who Was Wrong About Fucking Everything''.[[/note]], how Creator/HermanMelville's ''Literature/MobyDick'' was initially a critically-roasted, [[CreatorKiller career-killing]] flop until the post-UsefulNotes/WorldWarI generation rediscovered it as a classic, and all the [[{{Zeerust}} hilariously wrong predictions]] made by futurists in the 20th century.\\\
{{Disco}} itself gets a mention in the chapter on popular music, in which Klosterman examines the rivalry between disco and PunkRock in TheSeventies and how, while disco was far more commercially successful in the short term, it was soon written off as a stupid dance craze while punk rockers like the Music/SexPistols stood the test of time... at least, before disco saw a reappraisal in the '10s ([[DeaderThanDisco/{{Music}} as discussed on the music subpage]]), which he argues could lead to the two genres' positions in the popular consensus flipping at some point (and possibly flipping again down the line). In the same chapter, he notes how the mass culture's memory of the rise of RockAndRoll essentially pushed from popular memory all of the non-rock musicians of TheFifties who were not named Music/FrankSinatra, and argues that there's a good chance that many of the musicians and bands that we now view as the standard-bearers for rock music may well be forgotten once their fans grow old and die off. In his view, the canon of artists who define rock in a hundred years (like John Philip Sousa for {{march}}es or Music/BobMarley for {{reggae}}) will likely exclude some legends that we in the 2010s are ''sure'' will stand the test of time -- and may include some second-string bands that are dismissed as fluff today.
[[/folder]]

[[folder: Live-Action TV]]
[[AC:Genres]]
* The JiggleShow. Starting in TheSeventies, there was a surge in the popularity of shows like ''Series/ThreesCompany'', ''Series/CharliesAngels'', and to a lesser extent the ''Series/WonderWoman'' series and ''Series/TheDukesOfHazzard'', which were long on beautiful actresses who [[{{Gainaxing}} didn't wear bras]] but generally seen as a little short on plot. Even at the time, they were seen as GuiltyPleasures, the joke being that their fanbases were made up mostly of sexually frustrated men who would be willing to sit through thirty minutes of flimsy dialogue for the chance to see Suzanne Somers in [[BeachEpisode a bikini]] or Farrah Fawcett run after a bad guy in a [[SweaterGirl tight sweater]]. The genre received a second wind in TheNineties with ''Series/{{Baywatch}}'' and its assorted copycats, but with the rise of easily accessible pornography on the internet and more liberal views towards sexual matters, shows that once expected to coast solely on the beauty of their casts increasingly found themselves disappointed, especially once more 'respectable' programs began showing more sexually provocative content up to and including (on the premium cable networks) full-on nudity. This was best demonstrated in 2011, when ''Series/ThePlayboyClub'' and a {{revival}} of ''Charlie's Angels'' both got canned after only a few poorly-rated episodes and scathing reviews. Today, the era of "jiggle television" is remembered as fairly quaint and embarrassing, a relic of the days when television had just learned it could start pushing boundaries but not yet really knowing what to do with its newfound freedom.

[[AC:Series]]
* ''1st and Ten'' was one of cable television's (in general) first attempts to lure the lucrative sitcom audience away from the "Big Three" (Creator/{{ABC}}, Creator/{{CBS}}, and Creator/{{NBC}}), by taking advantage of their freedom to include occasional cursing and nudity. It ran for six seasons on HBO for a total of 80 episodes. While the complete series was released on DVD in 2006, the majority of episodes on the "Complete Collection" DVD are the {{bowdlerized}} syndicated versions. To add insult to injury, it's been excluded from the streaming video platform HBO Go. Besides having some dialog and scenes edited for content, syndication versions ran for 22 minutes (as opposed to 30 minutes on HBO), and included a laugh track. While ''1st and Ten'' was novel for its time (while language could nonetheless still be considered 'HBO-ish', it wasn't excessively vulgar) when compared to sitcoms on broadcast network television, it seems rather cheesy (with its pretty awful acting, cliched dialogue, continuity catastrophes, editing errors, and an off-and-on laugh track) in a modern context. The participation of O.J. Simpson most certainly didn't help its long-term legacy.
* ''Series/AmericanIdol'' was a massive cultural juggernaut when it premiered in 2002, shooting to the top of the ratings and giving Creator/{{Fox}} enough power to compete with Creator/{{ABC}}, Creator/{{CBS}} and Creator/{{NBC}}. However, a series of problems that plagued the show would come to a head as the years went by. First, the winners (who were supposed to be the most popular contestants from the most popular show in the country) failed to establish successful careers (Music/KellyClarkson and Music/CarrieUnderwood are the only ones who've achieved long-lasting success), often being [[TheRunnerUpTakesItAll overshadowed by the runners-up]]. Second, the PowerTrio of judges Simon Cowell, Music/PaulaAbdul and Randy Jackson eventually broke up, being replaced with a revolving door of panelists who either didn't [[ReplacementScrappy have the same appeal]] with the viewers or were just ill-suited for the job. The show's increasing emphasis on the HopelessAuditionees and strong competition from NBC's ''Series/TheVoice'' further accelerated the show's freefall in the ratings, and a general backlash against {{reality TV}} as a whole didn't help either. Furthermore, the show's voting system became less credible, coming under fire especially with Music/AdamLambert's shocking loss to Kris Allen in Season 8[[note]]Short version: AT&T stores in Arkansas, Allen's home state, were accused of helping his fans cast massive numbers of votes for him by providing instructions on how to "power-text", or send hundreds of text messages at a time. It just so happens that AT&T was one of the show's sponsors...[[/note]]. The final nail in the coffin came in 2014, when CBS moved the ''Series/{{Survivor}}'' season finale to Wednesday to coincide with ''Idol'' and solidly beat it in the ratings; when this happened again the following year, Fox decided to put the show out of its misery. The fifteenth and final season aired in 2016, ending a month earlier than usual, possibly to let the series end on a relatively high note and avoid another repeat of the ''Survivor'' fiasco. While several former contestants have achieved varying levels of success in the years since, ''American Idol'''s cultural impact is clearly over, being viewed solely as a symbol of all the worst aspects of the reality TV craze of the 2000s. That said, Creator/{{ABC}} [[http://www.billboard.com/biz/articles/news/tv-film/7791773/american-idol-officially-returning-at-abc will revive the show]] for the 2017-18 season (NBC had first intended reviving it), and it remains to be seen if they can help ''Idol'' escape this trap.
* ''Series/JerseyShore'' was a monster hit in the early '10s. Whether out of genuine love or for SnarkBait, everyone talked about it when it was around, and a number of terms it popularized (such as "grenade", "fist pumping", and "GTL") entered the pop-culture lexicon. A host of ripoffs emerged, such as ''Buckwild'' (''Jersey Shore'' [[AC:[[RecycledInSpace with]] [[DeepSouth rednecks!]]]]) and ''Series/TheOnlyWayIsEssex'' (''Jersey Shore'' [[AC:[[TransAtlanticEquivalent with British kids!]]]]), and so did spin-offs of the show (out of the three made, only ''Snooki & Jwoww'' made it past a first season, although to diminishing ratings before it too was cancelled). Enough controversy and criticism (particularly from actual UsefulNotes/{{New Jersey}}ans and Italian-Americans) swirled around it to get [[http://en.wikipedia.org/wiki/Controversy_and_criticism_of_Jersey_Shore a whole page on Wikipedia]] almost as long as the page for the show itself. But not even a few years after it was canceled, it was all but forgotten, with even the hatedom slowly dying off as they were now more than willing to pretend the show never existed. Now, when people make ''Jersey Shore'' jokes, they get laughed at for being so out-of-date.
* ''Series/LittleBritain'' was a hit at the TurnOfTheMillennium for its of-the-moment satire of British life, colorful {{catchphrase}}-driven characters, and lowbrow, shock-driven humor. It was popular enough that a live tour combining reenacted sketches and new pieces was a success as well. However, keeping up its momentum was tough. By Series 3, the established characters and running gags had worn themselves into the ground, the new characters seemed to have no purpose except shock value, and the show and its actors were now so overexposed and overmarketed that audiences were sick of them. Combine that with a critical backlash against the traditional BritCom format with the success of ''Series/TheOfficeUK'' and Creator/RickyGervais, and its days were numbered. The total flop of the retooled Series 4 (''Little Britain USA'', co-produced with Creator/{{HBO}}) was the last nail in the coffin. In addition, it didn't age well; its constant pokes at minority groups were controversial enough even at the time, and are now seen as [[ValuesDissonance outright cringeworthy]]. If you ask any teenager who didn't watch it when they were younger, chances are they don't know about it, and if you ask someone who ''did'' grow up with it, chances are they regret it. While its leads/creators Creator/DavidWalliams and Matt Lucas have gone on to other successes (the former as a children's author, the latter as an actor in a variety of productions), ''Little Britain'' is just a relic of its time. ''Series/WalliamsAndFriend'', which came out in 2016, did an unflattering sketch about ''Little Britain'' which makes it clear that David Walliams regards it as an OldShame. In the sketch, Walliams confesses that he made ''Little Britain'' by stealing unused ''Series/HarryEnfieldAndChums'' sketches "from a skip", since he "wasn't even a comedian at the time", while we're shown StylisticSuck ''Little Britain'' "clips" which emphasise the show's racism, ableism, and transphobia ("It's alright to make fun of you for being in a wheelchair because you don't really need one!").
* ''Series/NorthernExposure'' received a total of 57 award nominations during its five-year run and won 27, including the 1992 Primetime Emmy Award for Outstanding Drama Series, two additional Primetime Emmy Awards, four Creative Arts Emmy Awards, and two Golden Globes. It also ranked among the top 10 viewed by 18- to 49-year-olds when it was part of the CBS' 1992–1993, and 1993–1994 schedules. Despite all of this, nowadays, ''Northern Exposure'' is hardly seen (to digitally stream or purchase) or referenced anywhere. While all six seasons have been officially released to DVD, they have caused controversy among the show's fans due to their high prices and the changes to the soundtrack introduced in order to lower their costs. To be more specific, the release of Season 1 did contain the original music, but retailed for $60 due to the cost of music licensing. Subsequent seasons replaced most of the music with generic elevator-style music, resulting in a lower-cost release. With that being said, ''Northern Exposure'' was never (in hindsight) a really influential show in the sense that present-day shows owe their vibe in part to it (for fans of WesternAnimation/TheCritic- ''gotta see moose, gotta see moose''). In essence, quirky fish-out-of-water dramedies like ''Northern Exposure'' are not currently a mainstay on network television (''Series/HartOfDixie'' withstanding). It isn't like the show's creators went on to create other similar shows — like, say, David E. Kelley. The most famous or notable writer alum is David Chase, who is usually cited as being "the creator of ''Series/TheSopranos'' before being cited as "a producer of ''Northern Exposure''." Also the show's leads didn't exactly enjoy much success on other major shows (the closest probably being John Corbett via his role on ''Series/SexAndTheCity'') since. ''Northern Exposure'' towards the end was suffering from a serious case of SeasonalRot partially due to the producers simply running out of ideas as well as the abrupt departure of series star, Rob Morrow. It was voted to be [[http://www.rollingstone.com/tv/news/12-worst-tv-shows-of-all-time-w441775 one of the twelve worst shows of all time]] by ''Rolling Stone''.
* In TheNineties, older viewers (some Boomer Christians and earlier) might explain why ''Series/TouchedByAnAngel'' [[http://en.wikipedia.org/wiki/Touched_By_An_Angel#Ratings was a Top 10 show]] at the height of its run. It often outdrew ''WesternAnimation/TheSimpsons'' in its Sunday nighttime slot (despite [[CriticalDissonance never being a critical favorite]] and regarded as {{glurge}} at its worst), it launched a SpinOff in ''Promised Land'' (which lasted three seasons), and reruns of the show were central to the young [[Creator/{{ION}} PAX]] network's lineup. When its time slot was switched to Saturday nights for its final two seasons, ratings plunged, and while it's still in cable reruns, it's mostly seen as an overly sentimental, Glurge-friendly joke now.
[[/folder]]

[[folder: New Media]]
* Website/GeoCities, which allowed many early denizens of the 'Net to make their own Web pages without needing to know how to use HTML. However, SturgeonsLaw was in full force, as seen in [[http://www.techradar.com/us/news/internet/web/geocities-closes-fond-memories-of-free-sites-and-terrible-web-design-644763/2#articleContent this]] article: "It didn't take long before this simple change altered the face of the internet. [=GeoCities=] gave everyone a place to call home, and then proved that most of us don't really have a lot to say. It didn't take long before [=GeoCities=] became home to the bottom of the Internet. Crackpot theories. Inane ramblings. Worm distribution." and "I think that most people set up a GC page as a novelty and then abandoned it leaving a whole lot of cyber-trash behind. That kind of ruined the overall [=GeoCities=] vibe; it wasn't long before you had to muck through a few dozen one-offs to find a page that was regularly maintained and had good, interesting content." [=GeoCities=] was often seen as a haven of garishly colored pages full of blink tags and animated [=GIFs=]. Furthermore, the rise of blogging, as well as social media like Facebook and [=YouTube=], rendered the concept of a free personal homepage obsolete, while those who still wanted to build their own websites moved on to more advanced tools.
* {{Internet}} portals like Prodigy, [=CompuServe=], iMagination, etc. They were called portals because that's how you usually entered the Internet -- they had a lot of links to useful sites, news and a content listing. When the Internet was fledgling during the '90s, they were extremely popular. However, the more efficient, less resource-intensive, and free World Wide Web put them on a steady decline. Now, they're remembered as a symbol of all that was wrong with the mainstream internet in the '90s, seen as restrictive "walled gardens" that went against the open, freedom-minded ethos of the emerging tech culture. America Online, historically the largest and most successful of these services, is the only one that still remains, and even that's all but [[WereStillRelevantDammit on its last legs]], used [[http://time.com/3856066/aol-verizon-deal-dial-up-internet/ primarily]] by older people and those in rural areas that still lack reliable high-speed internet access (the company maintains its dial-up service to this day).
* Website/MySpace was ''the'' social media platform in the 2000s, boasting over 60 million users at the height of its popularity and helping to catapult numerous musicians (most notably from the {{emo|Music}} genre) into the mainstream. However, due to the rise of competing social media sites (especially Website/{{Facebook}}) over the years, around 2008-09 the site began hemorrhaging users as they moved on to other platforms. After founder and unofficial "mascot" Tom Anderson was fired, the site went through a change in management in 2010, attempting to rebrand itself as a "Social Entertainment" site. The site tried repeatedly to reinvent itself and attract back users, but [[TheyChangedItNowItSucks most of the changes were poorly received]] by the few users still sticking around (mostly roleplayers, who would end up also leaving [=MySpace=] for other blogging platforms like Website/LiveJournal and Website/{{Tumblr}}) and often reeked of WereStillRelevantDammit-type desperation. After being bought and sold to a revolving door of companies and individuals, the site was {{retool}}ed into a virtual Facebook copy, while also deleting all the existing blogs, comments, and messages (or at least making them inaccessible) without ''any'' prior warning whatsoever, which did not amuse the remaining fanbase.\\\
[=MySpace=] is still around as a social networking site, albeit now with a heavier emphasis on music and entertainment. However, between the existence of Facebook ([[DefeatMeansFriendship with Tom himself even stating that he much preferred it]]) and other competing platforms, [=MySpace=]'s GloryDays are nothing more than a distant memory for many '00s kids, and it's not likely to recapture any of that any day soon, being considered the Internet equivalent to a DyingTown. Anytime [=MySpace=] is ever talked about nowadays, it's often to laugh about how it seemed to be a breeding ground for {{Emo Teen}}s, {{Attention Whore}}s, and [[PaedoHunt pedophiles]].
[[/folder]]

[[folder: Professional Wrestling]]
* Wrestling/AshleyMassaro was very popular when she was first introduced. She won the third Wrestling/WWEDivaSearch easily by fan votes and was liked for her unique look -- as well as expressing a desire to wrestle. In her initial months, she was held up as a Diva with lots of potential. Things went downhill around the time she was chosen to pose for ''Magazine/{{Playboy}}''. After a disastrous match at ''[=WrestleMania=] 23'' with Wrestling/{{Melina}}, constant injuries, as well as fellow Divas such as Wrestling/MichelleMcCool, {{Wrestling/Layla}}, Wrestling/CandiceMichelle, and Wrestling/KellyKelly putting work in to become better wrestlers, fans disappeared from Ashley's side. The final nail came when she was exposed as possibly working for a high-class escort agency, and requested to be released in order to care for her ill daughter. While she attempted to make a comeback on the indies, she eventually got a reputation for no-showing events she was advertised for(it was eight years before she had any match that got anyone's attention and the average wrestling fan can't be expected to stick with anything for more than {{seven|yearrule}}). Nowadays, she's remembered as a representation of everything that was wrong with the Divas division after Wrestling/{{Lita}} and Wrestling/TrishStratus retired.
* Wrestling/TheNexus. There was a time when the WWE version of NXT was not very well liked, but fans were of the opinion that if The Nexus was the goal all along, then the terrible show was worth it. NXT was a "contest" style show with "rookies" ranging from true rookies, to guys with a decent amount of experience to one guy who had been wrestling since Wrestling/{{WCW}} still existed. Instead of building up to matches between the best guys, like a regular wrestling show, more time was given to obstacle courses, trivia and drinking soda pop. The only wrestler who managed to look halfway decent was Wrestling/BryanDanielson, who was actively buried on commentary, given the most losses and then eliminated through NewRulesAsThePlotDemands. But after winning the contest, Wrestling/WadeBarrett unexpectedly turned up on the next WWE show leading all the other "rookies" on a rampage to destroy everything and everyone in their path out of retaliation for being put on through such a terrible experience. It became the most positively received WWE event of the year, up to that point. Bryan Danielson, the most experienced and popular wrestler, being arbitrary fired did hurt the enthusiasm a little, but he was still wrestling on the independent circuit and stating he had no ill will over it while the remaining "rookies" continued to destroy everything in their path, convincing fans The Nexus would still go down in history as one of WWE's most iconic stables. Then the inevitable big showdown on pay per view ended with The Nexus suffering a humiliatingly anticlimactic loss. Gone was all the momentum and WWE's attempts to restore The Nexus just reminded people of why they hated the NXT show. Bryan Danielson returned, and still very popular, but that didn't help The Nexus as he was no longer associated with it. Instead, the less likable Wrestling/CMPunk was added to the group to invigorate it, but fans began to ignore the "New Nexus" altogether and focus solely on Punk, since he was much more interesting in the ring and on the microphone that the rest put together. Wade Barrett tried to duplicate The Nexus's initial success with "The Corre", and did a pretty good job, much better than "The New Nexus" until, once again, the big fight came on pay per view and [[HistoryRepeats The Corre were destroyed, losing all momentum in the process.]] NXT would try to produce another revival of The Nexus with "Genesis" but this attempt didn't even get off to a good start, was the reason for CM Punk's entry as opposed to more focus on "rookies" and again resulted in the firing of the most popular wrestler, with the added scandal of WWE releasing the technically true but disingenuous statement of Wrestling/LowKi asking for his release. NXT would eventually take on a standard wrestling show formula, becoming much more popular in the process, making WWE's first effort that much more hated, and causing fans to proclaim a stable of "rookies" was destined to fail from the beginning, The Nexus mainly being brought up to mock how Danielson was fired, it's three "successors" [[FanonDiscontinuity not even getting that much,]] or to say Wrestling/TheShield PowerTrio is what The Nexus should have been.
* Wrestling/AlbertoDelRio spent years on the Mexican circuit as Dos Caras, Jr, getting attention and work with enterprises of other countries. He signed a contract with US based WWE in 2009. His Wrestling/TedDiBiase meets Wrestling/JohnBradshawLayfield meets Wrestling/EddieGuerrero gimmick was a huge hit with fans, becoming one of the most popular heels on the WWE roster, winning the Royal Rumble six months into his debut, and scoring a championship match at ''[=WrestleMania=] 27'' against Wrestling/{{Edge}} in what would be the latter's final match. While his loss there quickly dried up his momentum, he was able to rebound at that year's Money in the Bank, winning the contract for the WWE Championship and ultimately cashing it in on CM Punk at that year's edition of ''[=SummerSlam=]''.\\\
That win, however, both marked the peak of his success and set off his fall from it, as people saw the cash-in an an attempt to bury Punk and cut off all the momentum he had from the "Summer of Punk" angle. Del Rio's booking as a champion would be very weak, losing the title to Wrestling/JohnCena in his first defense and winning it right back from him shortly afterwards. After losing the WWE Championship to Punk at ''Survivor Series'' to start his legendary 434-day reign, Del Rio quickly faded into the background, taking a few months off to heal before returning to feud with Sheamus for the World Heavyweight title. The feud, which was quickly decried by fans as boring and seemingly endless, failed to do anything for either man's career. Del Rio turned face not long after his feud was finished and won the WHC from Wrestling/TheBigShow, but it bombed so badly that he went back to being a heel shortly afterwards. Del Rio would be barely an afterthought for the next year, ultimately being released after getting into a fight with a backstage worker. Del Rio was able to redeem himself the year afterwards thanks to his work in The World Wrestling League, Wrestling/LuchaUnderground and Wrestling/{{AAA}} as "El Patron", and eventually returned to WWE in 2015, winning the United States championship from John Cena and getting a massive pop from the crowd. But not even a day after his return, all the work he did to repair his battered image was completely undone, as the fans quickly reverted to showing nothing but apathy towards him. His involvement with the League of Nations only made things worse, but the final straw in his career was his relationship with Wrestling/{{Paige}}, as the two ultimately started to get continuously into trouble with the WWE Wellness Policy, and less than a year later Del Rio was once again released from his contract. He went over to Impact Wrestling immediately afterwards, where he was hotshoted to the GFW title, even though people could not care much less about it, and his title reign became yet another symbol of TNA's slow, painful death.\\\
The final nail in the coffin came from the downward spiral his personal life went through, as he became increasingly bitter and resentful towards the way WWE treated him, and his relationship with Paige reached a point where the two divorced amidst allegations of DomesticAbuse on Del Rio's part. Today, Alberto Del Rio is seen by fans as an example of an overhyped heel who failed to make any lasting impact, reeked of mediocrity, and at the end of the day proved to be an utterly embarrassing person outside kayfabe, so much so that few people will admit to having ''ever'' liked him.
[[/folder]]

[[folder: Sports]]

[[AC: Styles and Trends]]
* In the [=1990s=] and early [=2000s=], multiple baseball stars used performance-enhancing drugs such as steroids in order to boost their statistics. For example, Mark [=McGwire=] (1998) and later Barry Bonds (2001) broke the season records for most home runs. It was an open secret that at least some of these high-performing athletes were utilizing banned chemical assistance to perform their feats, and while no one was exactly shouting "yay steroids!" in public, the audience' acceptance of their use and cheers of approval for their users amounted to a tacit endorsement. By January 2004, the MLB set rules to suspend players if they tested positive for [=PEDs=]. Originally a player would be suspended for up to a whole year after four offenses, but the rule was quickly changed to a lifetime ban after three offenses. In his 2005 autobiography ''Juiced'', former MLB star Jose Canseco admitted to using [=PEDs=], and accused several other players of taking drugs. As a result, many of the [=90s=]' top power hitters, and a few pitchers such as Roger Clemens, saw their chances at the Hall of Fame plummet instantly. Most of these players had long since retired, and only a few lasted more than a year on the Hall of Fame ballots. These days, the era of rampant steroid use in baseball is considered an OldShame by most players and fans, and few will admit to having been okay with their widespread use in the sport.

[[AC: Specific Athletes]]
* Cyclist Lance Armstrong is, perhaps, the biggest and most tragic example of an athlete falling from grace in the 21st century. He was an American sporting hero at the TurnOfTheMillennium, having not only won seven UsefulNotes/TourDeFrance titles, but having done so after beating testicular cancer. He used his profile to establish a highly successful charity dedicated to curing cancer, the Lance Armstrong Foundation, whose Live Strong yellow rubber bracelets became a ubiquitous fashion item mid-decade. However, it had long been rumored that Armstrong's cycling success was a bit less than squeaky-clean, and that he had been doping his way to the top. When those rumors were confirmed in 2012, Armstrong was forced to step down from the foundation bearing his name, and the International Cycling Union (the governing body for the sport) stripped him of his seven Tour de France titles.[[note]]Although it should be noted that none of his vacated titles were awarded to any of his competitors since nearly all of them were ''also'' found to be guilty of doping.[[/note]] Now, while he still has his supporters due to his charity work, a lot of people view him as an embarrassment to the sport as well as an utter scumbag, considering he ''sued'' people for defamation and ''won'' despite their doping claims eventually being revealed as the truth. A common joke was that the Live Strong bracelets should now read "Lie Strong".
[[/folder]]

[[folder: Stand-Up Comedy]]
* Creator/DaneCook was one of the most popular stand-up comedians circa 2005, particularly among high school and college students (he was notably one of the first entertainers to use Website/MySpace to build up a huge fanbase). By 2005/06, he had gained over 2 million [=MySpace=] friends, and his CD ''Retaliation'' went double-platinum and became the best-selling comedy album in over 30 years. Then came the severe HypeBacklash from critics who were not amused by his comedic style (consisting primarily of observational humor and telling [[ShaggyDogStory long-winded anecdotes]]) as well as hate coming from ''within'' the stand-up community, with numerous accusations of plagiarism and joke theft (most notably of Creator/LouisCK). As Cook's [[FleetingDemographic fanbase outgrew him]], many joined the ranks of his {{Hatedom}}, until he was seen as the poster child for dumb college humor aimed at audiences that don't know any better and few would admit to having been fans in the first place.
[[/folder]]

[[folder: Theater]]

[[AC: Genres and Trends]]
* MinstrelShows were some of the most popular forms of entertainment in the 19th and early 20th centuries, being viewed as good, clean, light comedy. They were also very culturally significant as one of the first uniquely American forms of artistic expression. As times changed, however, the nasty racial undertones that lay at the core of the genre fundamentally discredited it. The practice of {{blackface}} -- using heavy makeup on a white actor so they can play a caricature of black stereotypes -- is a particular source of OldShame. Today, it is only used in period works as either DeliberateValuesDissonance or shock comedy. A notable turning point was in ''Film/WhiteChristmas'', the 1954 remake of sorts of 1942's ''Holiday Inn''. Like ''Holiday Inn'', ''White Christmas'' has a minstrel-show number; unlike ''Holiday Inn'', the performers wear tuxedos, top hats, and gloves, but ''not'' black makeup.

[[AC: Specific Shows]]
* The infamous HappilyEverAfter version of Shakespeare's ''Theater/KingLear'' by Nahum Tate. The 1681 rewrite (which Tate boasted "rectifies what was wanting in the Regularity and Probability of the Tale") ends with the good guys surviving, Lear regaining his throne, and Edgar and Cordelia marrying. It proved so popular with Restoration audiences (who ''hated'' Shakespeare's KillEmAll DownerEnding - purely his own invention and diverging drastically from his source material, the ''Literature/HistoriaRegumBritanniae'', in which the legendary king's story has a cheerful conclusion) that it completely eclipsed Shakespeare's ''King Lear'' for the next 150 years, enjoying hundreds of productions, while the original ''Lear'' languished in obscurity and went all but unperformed. In the 1830s reverent fans of the Bard began to restore Shakespeare's original ending to performances, and the Tate version gradually fell out of favor, increasingly derided by Victorian critics as sentimental and trite. Since the start of the twentieth century, the Tate play has only been revived a few times, and then only as a quaint historical curiosity. It's mostly remembered today as one of the earliest and oddest examples of {{Disneyfication}}.
[[/folder]]

[[folder:Video Games]]
* [[PressXToNotDie Quick time events]] in videogame. It has its origins from Full Motion Video gaming and it's popularized by Videogame/{{Shenmue}}, Videogame/ResidentEvil4, and Videogame/GodOfWar, among others, the gameplay mechanics allows breathtaking movie-like action to be executed with simple button presses. However the gameplay mechanic suffers from overuse and ridicule, especially from several game critics like WebAnimation/ZeroPunctuation, with Videogame/ResidentEvil6 criticized for its overuse. Today even sequels of said games or games by the same makers who often known to use such gameplay mechanic (such as Creator/PlatinumGames) makes no use of QTE, unless in very rare occasions.
* Several in-universe examples occur in the ''VideoGame/GrandTheftAuto'' series.
** Over the course of the series, [[Radio/GTARadio Lazlow]] goes from being one of the hottest [=DJs=] and {{radio}} hosts in America to a washed-up joke who's best known for payola scandals and personal indiscretions, is shilling for the "[=ZiT!=]" cellphone app to pay the bills, and gets ridiculed on the street by passerby. Throughout the series, we get to catch up on him at all the points in his career, from his rise (''[[VideoGame/GrandTheftAutoViceCityStories VCS]]'', ''[[VideoGame/GrandTheftAutoViceCity Vice City]]'') to the peak of his popularity (''[[VideoGame/GrandTheftAutoSanAndreas San Andreas]]'', ''[[VideoGame/GrandTheftAutoIII GTA III]]'') to after his fall (''[[VideoGame/GrandTheftAutoIV GTA IV]]''). He has [[PopularityPolynomial received a second wind]] by ''[[VideoGame/GrandTheftAutoV GTA V]]'' in the form of hosting a TV talent show, but his {{jerkass}} demeanor is cranked UpToEleven.
** In ''Vice City'', set in 1986, [[FakeBand Love Fist]] is shown to be one of the biggest bands in the world, with two of their songs playing on [[Radio/GTARadio the rock station]] and with them going on a world tour that's been [[BannedInChina banned in several countries]]. However, in ''San Andreas'', set six years later, they appear to have been largely forgotten, with the DJ on the classic rock station asking "[[AnyoneRememberPogs whatever happened to Love Fist?]]" Love Fist was a parody of the stereotypes of HairMetal and [[BritishRockStar the musicians that performed it]], so it makes sense that, [[{{Grunge}} by 1992]], the band would be washed up like many other hair metal acts were at the time.
** In ''[[VideoGame/GrandTheftAutoIV GTA IV]]'', set in 2008, the website [=MyRoomOnline.net=] is a parody of Website/{{Myspace}}, [[EmoTeen its]] [[PaedoHunt users]], and the culture that surrounded it. By ''[[VideoGame/GrandTheftAutoV GTA V]]'', set five years later, [=MyRoom=] is a shell of its former self referred to as "the ghost town of the internet", having been driven into irrelevancy by the Website/{{Facebook}} parody Lifeinvader and forced to sell its domain name, reflecting how Myspace went out of style in the late 2000s and early 2010s.
[[/folder]]

[[folder: Western Animation]]
[[AC:Genres and Trends]]
* Ethnic and gender stereotypes or caricatures (along with cartoon violence) were very prevalent in cartoons made during TheGoldenAgeOfAnimation or during World War II. However, starting in 1968, these were increasingly censored in TV re-airings or the cartoons that did contain them were banned altogether, such as the WesternAnimation/CensoredEleven. The first to go were gags about Black people, then one by one jokes about Asians, Native Americans, women, and the like all received informal bans. Today, the only cartoons that still use these jokes, albeit under a satirical hood, are adult cartoon series.

[[AC:Series]]
* Believe it or not, ''WesternAnimation/JohnnyTest'' was actually fairly popular during its first few years – having a higher budget and completely different production team, not to mention Creator/KidsWB having a hand in its production (alongside the Canadian network Creator/{{Teletoon}}), probably helped. When Teletoon and Creator/CookieJarEntertainment took on the sole responsibility of production after Kids WB died out in 2008 (Creator/WarnerBros still owns copyright and trademarks), the show's quality began to drop severely and it's now one of the most hated cartoons ''of all time''. Even the early seasons are viewed as being not much better in hindsight. Not helping was the fact that it continued production well into 2014, mainly because of [[https://en.m.wikipedia.org/wiki/Canadian_content CanCon policies]] forcing Canadian animation to be constantly churned out in spite of the show's abysmal ratings. The series ended with little fanfare after TV producer David Straiton filed a lawsuit against series creator Scott Fellows (who at that point had zero involvement with the show) for not crediting him as a co-creator for ''Johnny Test''. It's very telling that its season boxsets are sold solely in ''grocery store bargain bins'', and even Creator/CartoonNetwork (who, being a Creator/TimeWarner subsidiary, inherited the American broadcast rights) seems to despise it as almost all of their promotions for it reek of OurProductSucks. It's even believed that the whole show was a SpringtimeForHitler ploy GoneHorriblyWrong. Today, the show is the poster child for [[AdoredByTheNetwork shows overexposed by the network]] at the expense of others, and is seen as the face of everything wrong with Cartoon Network (the show being most prominent during what is widly considered the channel's DorkAge didn't help), Canadian animation, and modern animation in general.
* [[WesternAnimation/ScoobyDooAndScrappyDoo Scrappy-Doo]] is an example of a character fitting this trope. In 1979, he was credited with preventing Scooby-Doo's cancellation, and was loved by children. As a result, the show focused on him even more in the 1980s, annoying older fans. He now came off as a SmallAnnoyingCreature, not appealing to the younger fans and alienating older ones. He is now one of the most loathed characters in Western Animation, to the point of being the TropeNamer to this wiki's [[TheScrappy term for hated characters]], being listed as one of the worst TV moments in the book ''Literature/WhatWereTheyThinkingThe100DumbestEventsInTelevisionHistory'' (at #7), and being the BigBad of the [[Film/ScoobyDoo 2002 live action movie]]. Few modern incarnations of Scooby Doo even ''acknowledge'' him, and the times they do, [[TakeThatScrappy it's NEVER with kindness]].

[[AC: In-universe examples]]
* {{Discussed}} in ''WesternAnimation/GIJoeARealAmericanHero'', which actually used the line "Deader than Disco" in one of the episodes.
-->'''Cobra Commander:''' As of now, your little project is deader than disco!
* In the ''WesternAnimation/{{Rugrats}}'' episode "Garage Sale" (which provides the page quote for the trope), Angelica asks her aunt Didi what disco is. Didi just says that disco is never coming back. The episode was made in 1992, when the anti-disco backlash was still strong. A decade later, both in-universe and in real life, the "All Growed Up" pilot special would feature precisely Didi and Stu taking part in a disco competition, showing how by that time the genre had become acceptable to like again.
* This trope is mentioned in ''WesternAnimation/TheLoudHouse'' episode "Tattler's Tale", when Lincoln mentions that if his dad found out that he destroyed his disco ball he'd be as dead as disco.
[[/folder]]

[[folder: Real Life]]
[[AC:Automobiles]]
* The [[http://www.popularmechanics.com/cars/a6424/how-the-chevy-vega-almost-destroyed-gm/ Chevrolet Vega]] was showered with praise by automotive critics when it debuted in 1970, including ''Motor Trend''[='=]s 1971 Car of the Year award and ''Car and Driver''[='=]s Best Economy Sedan for three years running (1971-73). The sleek, comfortable, nimble compact flew off of dealership lots, and it was hailed as proof that General Motors could compete with Volkswagen and Toyota at their own game. However, once those critics and early buyers had their cars for more than a couple of years, they changed their tune ''fast''. The Vega had a multitude of engineering and build quality problems that, before long, made it notorious for rust, breakdowns, excessive oil consumption, and being a death trap in crashes, turning its name into a byword for TheAllegedCar and a symbol of GM's -- and Detroit's -- DorkAge in the '70s. By the end of the decade, even many junkyards wouldn't take Vegas, as it was assumed that there were virtually no usable parts that could be stripped off of them before they were simply thrown into the crusher and sold for scrap. Nowadays, Americans remember it as one of the worst cars ever built, a car whose initial praise is now treated as an OldShame by those magazines.
* [[HummerDinger The Hummer]]. Created in 1992 as a civilian version of the military HMMWV (or "Humvee"), its parent company AM General was purchased by General Motors in 1999, and it soon became one of the most popular SUV brands in the United States, especially after the launch of the smaller, less expensive H2 and H3 models. The original H1 model earned a reputation as [[NighInvulnerability the ultimate off-road vehicle]], made famous by Creator/ArnoldSchwarzenegger (who owned several of them), while the H2 and H3 offered the same swagger to people who didn't have six figures to shell out[[note]]By the time it was discontinued in 2006, the H1 cost up to $150,000 depending on the model[[/note]]. All of them were status symbols, popular for limousine conversions and modifications; custom [=H2s=] with [[PimpedOutCar massive rims and chrome plating]] were a common sight in the GlamRap videos of the era.\\\
However, sales for the brand started to plummet in the summer of 2008 during the oil crisis (they were notorious for guzzling gas even at the height of their popularity[[note]]Even the "compact" H3 model got 14 mpg in city driving and 18 on the highway, while the H2 scored a miserable 10 city / 13 highway[[/note]], and stayed low once the financial crisis and subsequent recession hit later that year. Production was halted when GM declared bankruptcy in June of 2009, and after the company emerged from bankruptcy a month later attempts were made to re-brand the Hummer as a more eco-friendly vehicle with a smaller hybrid electric/gas version, which didn't get very far. After GM's attempt to sell the brand to the Sichuan Tengzhong Automobile company in China failed, they completely discontinued the Hummer brand in late 2009. Today, the brand is remembered as a poster child for the excesses of TurnOfTheMillennium consumerism, and not many people will admit to having owned one. Only the original H1 model still gets any respect nowadays, and even that comes almost entirely from off-road enthusiasts, while its H2 and H3 siblings are seen as pure style-over-substance road boats that were basically {{nerf}}ed versions of the H1, cheapening the brand and giving it its current reputation. William Clavey of ''Jalopnik'', looking back on the H2 years later, [[http://jalopnik.com/the-hummer-h2-is-a-grand-and-opulent-bad-idea-1796613645 described it]] as "an automotive equivalent to the phrase 'we’ve gone too far.'"
* The [[https://en.wikipedia.org/wiki/Hardtop#Pillarless_hardtops pillarless hardtop]] body style. Introduced by General Motors in 1949, it quickly became very popular and was offered by pretty much every major American automaker by the dawn of TheSixties. However, concerns about rollover safety in TheSeventies led to it being phased out alongside the convertible, and while convertibles made a comeback in TheEighties with the introduction of roll bars (both built-in and retractable), the hardtop has stayed dead.

[[AC:Food and Drink]]
* Zima was a clear alcopop beverage that popped up in the 1990s during the "clear craze" where beverage manufacturers started selling clear drinks (such as Crystal Pepsi and Tab Clear). Zima was marketed heavily by its manufacturer, Coors Brewing Company, as a manly alternative to wine coolers for guys who didn't like beer. For a while the drink became very popular, but to Coors' horror, most of its drinkers were women in their 20s (the drink was also popular with teenagers due to an urban legend that Zima couldn't be detected on police breathalyzer tests). Coors then attempted to sell Zima to the male demographic by releasing a bourbon-flavored variant, but was unsuccessful. After a while Zima began to gain a reputation as a "girly man" drink and became the butt of jokes by stand-up comedians. The drink's popularity plummeted after its first year, but it managed to linger for another decade before Coors quietly decided to discontinue domestic sales of the drink. These days the only place you can still buy Zima is Japan, although it was briefly brought back for sale in June 2017. To this day some men ''still'' make jokes to each other about Zima being a drink for wimps.

[[AC:Other]]
* The "scene" and "emo" subcultures as practiced by many a Website/{{MySpace}}-using EmoTeen are similarly dead in the water. When [=MySpace=] and emo music were big, MoralGuardians around the world took potshots at "emo and scene kids" as the look was ''everywhere'' on the Internet. [[FleetingDemographic Then those teens became young adults and grew out of it.]] The bands at the heart of the subculture have either broken up or moved on, and the genre itself is now [[DeaderThanDisco/{{Music}} buried deeper than disco]] too. [=MySpace=] and other online services that catered to scene/emo kids have either folded or lost users who moved on as well. The whole thing became synonymous with [[{{Wangst}} wrist-slitting whiners]], and by TheNewTens, the labels 'emo' and 'scenester' were only being used as insults.
* Back in the 1960's, [[https://en.wikipedia.org/wiki/Aluminum_Christmas_tree Aluminum Christmas trees]] were a very popular decoration in the USA. Their demise is usually attributed to the famous 1965 cartoon ''WesternAnimation/ACharlieBrownChristmas'', where they were used as a symbol for kitsch and commercialization of Christmas, causing the general public to view them as tacky and embarrassing; the aluminum tree was pretty much dead by the time the 1970's rolled in. Today, they're almost entirely forgotten (there's a reason why "AluminumChristmasTrees" is used on this very wiki as a term for something that modern audiences cannot believe actually existed), except as a reminder of how kitschy TheSixties could be.
[[/folder]]

----