Unbuilt Trope

An unbuilt trope is a work that seems like a deconstruction but is actually the Trope Maker itself.

Picture the following scenario:

Boy, replacement goldfish is kind of a weird idea isn't it? Replacing someone you loved like that always struck you as kind of odd. The kind of person who would do that must not be a paragon of mental stability.

One day you decide to read an old comic. In it, a scientist's son dies and he becomes obsessed with making him anew, a perfect version that can never be beaten, at that! He's a madman! What's this... how can he yell at the little boy for not growing up? Did... he just sell his son into slavery!? Mother of Pearl! You've never seen someone really examine the morality of replacement goldfish like that!

So you buy the full stack of volumes and look at the production date. 1952? 1952! It pre-dates every replacement goldfish you've ever seen. How can someone turn this vision into that?

Because the work was the trope maker, it could freely explore the ramifications of the trope before it solidified (or in some cases, congealed) into its current form. It seems like a deconstruction, but at the time there was no trope to deconstruct; there was just an interesting idea to explore. It wasn't expected to conform to a certain pattern because the pattern had not yet been established. The trope could have taken on its current form for many reasons: the imitators could have been part of the Misaimed Fandom of the work they drew inspiration from; they may have consciously decided that the original was unsatisfying and thus needed to be Lighter and Softer or Darker and Edgier; later appearances of the trope may have decayed (or been Flanderized) compared to the original, defining appearance; they may simply have decided to take what they wanted from the story, and calling the original their inspiration caused people to assume the original was similar plotwise; or the imitators may not have had the talent required to depict the trope with the same depth that the original author did. After all, frequently a genius invents the trope and works it out with skill, and the hacks come after, only able to vaguely copy it or intentionally simplify it to make it easier to work with.

It can also go the other way around: the original is bland and unappealing (even The Lord of the Rings was considered such when it first came out), and the later authors are the ones that constructed the mythos and the popular cliches. Alternatively, the deconstructed or parodic form of the trope, rather than the original, became more popular and accepted over the long run.

Remember that this trope is not to gush about "the original" and how the rest of the works "don't get" the genius. Only about the source of the conventions in a certain genre. Just because a work came early doesn't make it better or more genuine, in the same way that sketches are not better than the final work. If a work simply is an example of a trope that's more commonly associated with a later, more well known work, you may be looking for Older Than They Think or Ur-Example.

The reverse of Seinfeld Is Unfunny and Dead Unicorn Trope. See Ink Stain Adaptation and Lost in Imitation for the process of how an idea can gradually lose nuance with new incarnations. Sister trope of Early Installment Weirdness. Related to "Funny Aneurysm" Moment, Hilarious in Hindsight, and Harsher in Hindsight, if it predicts a problem that won't be relevant until well after it's first shown.


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    Anime and Manga 
  • The above example is from Astro Boy. Thanks to his sophisticated storytelling, a lot of Osamu Tezuka's work is like this. It's difficult to convince people that Pluto isn't so much a darker and edgier version of the tale, so much as a mere perspective flip.
  • Imagine just how messed up life would be for an ordinary person in a world where all the real power is wielded by a relatively small number of people, and that power is not financial or political, but militaristic. Democratic government is essentially meaningless since no union of ordinary people can stand against the might of a lone badass. Because everyone knows that violence is the force that drives the wheel of civilization, fights occur constantly, and everyone with a bit of ability wants to claw their way as high up the badass scale as possible, whether for the sake of protecting innocents or enforcing their own will on others. The only genuinely powerful people who have any interest in being in charge are usually megalomaniacs and/or sociopaths. Governments tend to be either tyrannies, or farcical constructs whose laws can only be adequately be enforced by sympathetic vigilantes and a few Knight Templar civil servants who butt heads with them at every opportunity. Countries are constantly in flux between the two as evil overlords are dethroned by good guys, replaced with ineffectual governments, and conquered again by new bad guys. The series... Fist of the North Star. One of the first shonen fighting series.
  • Galaxy Express 999 in its various incarnations is a very pessimistic account of prospects for The Singularity, despite coming out in 1978, nearly a decade before Vinge introduced the term.
  • Go Nagai:
  • Skull Man has all the trappings of a Nineties Anti-Hero, complete with killing numerous people just for the hell of it. And yet it also does a good job of pointing out the protagonist is murdering relatively innocent people and by his own standards, he'd have to kill every person in Japan to accomplish his goals. It also originated in 1970.
  • Neon Genesis Evangelion:
    • Rei Ayanami was the creator of the Rei Ayanami Expy. She also happens to be deconstruction of the archetype, as she is a Came Back Wrong under-aged clone of the main character's mother and is inhabited by the soul of an Eldritch Abomination that goes on to destroy the world. She's a significant victim of a Misaimed Fandom, as she was intended to fall directly into the Uncanny Valley, and to coming this close to climbing out of that valley only to plummet back down into the depths, even creepier than she was before. However, since the initial uncanny valley was fueled primarily by her enigmatic nature, the fan's interest was piqued. Even after The Movie ended the series and made Rei suddenly not so cute anymore, she remained, and to some degree, still remains the queen of waifus — a symbol of the Otaku's disinterest in real women. Rei is also thought to be a prototype of modern Moe... and she is also a deconstruction of it for much the same reasons.
    • Gendo helped popularize the Manipulative Bastard... and is portrayed as a deeply screwed up man who has only become ruthless because of the loss of his wife. In the end, he gets effortlessly Out-Gambitted by Rei, who steals the role he had planned for himself and gives it to Shinji instead. Most other examples do not ever really get distracted much in their plans and if they are main characters, they get portrayed positively, often absurdly so. The idea that a Manipulative Bastard could actually be taken care of in an unexpected way is usually unheard of.
  • Sailor Moon, and the Magical Girl Warrior genre inspired by it, is cited as being at the extreme idealistic end of the Sliding Scale of Idealism Versus Cynicism, favoring The Power of Friendship over a bullet between the eyes as a way to defeat evil. But in the original 0, the Sailor Senshi rarely attempted to redeem villains and had no problem with killing them. This concept got revived with Sailors Uranus and Neptune in their anime debut.
  • Saint Seiya popularized the Rescue Arc as well as the convention of having a sequence of enemies impeding the heroes, but it also deviates heavily from later versions of it. The Gold Saints were above the level of strength Seiya and company could bring to the table and frequently the battles had to be determined by outside forces intervening.
  • Dragon Ball Z:
    • The Super Saiyan form helped start the concept of people with a Super Mode, but is shown in a very nuanced light; while it's not exactly a Superpowered Evil Side, it often takes a toll on the sanity or morality of its user, and when it's first attained, it's not clear whether or not it's a good thing.
    • The Trope Namer and Codifier for Power Levels, according to Word of God, was a concept meant to illustrate how inaccurate and frivolous it would be to try and numerically quantify someone's fighting ability. Numerous times the villains end up losing because they miscalculate the ability of their opponents by their power levels alone, not accounting for skill or tactics.
    • Many shonen works inspired by Dragon Ball feature Blood Knight heroes who enjoy fighting challenging tough opponents. However, Goku and especially Vegeta are responsible for exaggerating many of the problems in the series because of their love of fighting. Vegeta often would let villains like Cell and Freeza power up all for the sake of an exciting and challenging battle, although in the case of Freeza, Vegeta truly believed he wouldn't become that much stronger. The villains then proceed to cause rampant destruction and suffering on others and could've easily been stopped in their weaker forms. During the Cell Saga, Vegeta lets Cell absorb the androids to so he can fight Cell's superior perfect form. Later Goku heals Cell so he can fight the unprepared Gohan on equal grounds.
  • Barefoot Gen shows how brutal society in Japan could be after the bombings; after Grave of the Fireflies, it gets worse off from here.
  • In a similar way to Gendo, Haruhi Suzumiya popularized the idea of overpowered Reality Warpers. The series also spends a lot of time demonstrating how ridiculously dangerous Haruhi's powers would be: she nearly destroys the universe several times, without even knowing she's capable of doing so. Her self-serving powers have also caused her to become an unbelievably self-centered jerkass, and it takes her a long time to begin growing out of it.
  • After the Merchandise-Driven anime, several spinoffs, and a number of less-memorable wannabes, it's easy to forget that the original Yu-Gi-Oh! was one of the darkest manga this side of Death Note. The early chapters are about a lonely, bullied geek taking revenge on his tormentors through deadly games involving torture, disfigurement, and Mind Rape. Even after Yugi mellows out a bit and the focus shifts to card games, the story is full of gruesome and sometimes horrific imagery. And then there are the villains: Kaiba and Marik both had abusive fathers, and in Marik's case it was so severe he developed a Split Personality. Pegasus is driven by a desperate and obsessive need to see his lost love again. Dark Bakura is the spirit of a man who had survived the genocide of his village and was consumed by the desire for revenge. Lesser villains are often weirdos and loners with haunting pasts who take their gimmicks way too far. Almost universally, they are obsessed with this card game and the power it gives them, and have a penchant for Death Traps, cruelty, and twisting the knife. For all the series gets criticized for harping on the value of friendship, there's a disturbing implication that Yugi's True Companions are literally the only thing that keep him from becoming as bad as or worse than the people he's fighting against. And in the ending, Yami Yugi the master card gamer accepts Redemption Equals Death, crossing over into the land of the dead so that his "good half" can move on to a normal life. Far from being a celebration of tabletop gaming, the story is about how obsessing over a hobby to escape your problems turns you into a nasty, miserable, misanthropic person.
  • Pokémon is one of the most famous examples of Mons anime. But earlier seasons, especially first episode deconstructs the whole Pokemon experience.
    • Ash Ketchum in the early seasons is an example of what happens when you let an inexperienced and ignorant child into such a world. In the first episode, his incompetence at best gets him laughed at, and at worst, nearly get him and Pikachu killed. Criminal organizations, like Team Rocket, weren't bumbling nuisances but were very real threats to him. His initial gym victories were not won by skill, but because he did the gym leaders favors. Hell, two of his most powerful Pokemon (Pikachu and Charizard) were very disobedient because they didn't respect such as hapless kid. He didn't really earn his badges: he usually got them by doing favors and because the person in question felt sorry for him. He doesn't end up actually facing his rival in their first tournament because he lost before Ash ,and he doesn't actually win said tournament, due to laziness and bad luck.Sure, Ash eventually became a decent trainer through his loyalty, tenacity, courage, and love but it took a while to get there.
    • Other early episodes deal with other problems with a Pokemon world, like abandonment, disobedience, crime, and the origins of Mewtwo which is a tragic and frightening example of the experimentation that can exist.
    • Mewtwo's portrayal in the first movie, in particular, can come across as a pretty sharp indictment of many aspects of Mons series. The treatment of a highly intelligent and powerful creature as a subservient entity and a means to an end (like in the games, where Mewtwo is a Bonus Boss and a Purposely Overpowered fighter) by humans is what turns Mewtwo into a villain, well before the source material would question if the concept of Pokemon training was ethically right in Pokémon Black and White 12 years later. And while Ash's sacrifice destroyed his vendetta, he still felt lost and alone in the world.
    • Some later movies also tackled the subject of Olympus Mons. Greedy humans who tried to capture and exploit the power of Legendary Pokemon for their own selfish desires wound up dooming a city or even the entire world due to the Pokemon's Cosmic Keystone powers that the setting depends on. During the fallout and efforts to save the day, the movie's guest stars didn't just follow the heroes; they fought, and sometimes even died in action. It wasn't until Pokémon Diamond and Pearl that the games took on the consequences of capturing what boils down to a Physical God.

  • The Golden Age of Comic Books, at times, was significantly darker than The Silver Age of Comic Books and more mature than The Dark Age of Comic Books:
    • Most of this is because comics were only just escaping the influence of pulp fiction. The Golden Age also straddled the same time period as the second World War. When your countrymen are killing and dying on foreign shores to protect life and liberty, it makes sense that your comic book heroes would kill and die too. This can be overstated, though, particularly with regard to the most famous superhero characters. For instance, as professional Batmanologist Chris Sims has noted, "Sure, Batman might’ve fought vampires and carried a gun for like three issues, but by the end of that first year, it was all cat-wrestling and trips to Storybook Land."
    • If you read the very first Batman/Joker story, it almost looks like someone decided to actually combine the violence and murder of Frank Miller's Batman: The Dark Knight Returns with the campiness of the Adam West version. (This was also before Bob Kane decided NOT to have the Joker be one of the villains that spew terrible puns) It has simplistic art and bad dialogue, but people actually die laughing with huge unnatural smiles on their faces. It also has the Joker painting his face with flesh-colored makeup, which many have thought was created for the 1989 Tim Burton film (and in the comic, the makeup is not a Paper-Thin Disguise, but actually works). Furthermore, in this first story the Joker never smiles, bringing to mind the dour Joker of Miller's All-Star Batman & Robin, the Boy Wonder.
    • The Human Bomb stories going back to 1941 always had a fair amount of Wangst in them. Everything he touched exploded, and the stories like something from Marvel from the seventies often explored how that would affect his psyche. Some of the time. Some of the time they played it as a joke.
    • If you tell someone there's a comic book where the Human Torch is burning someone's arm to the bone on the cover, they'll probably think "what have comics come to these days?" or "man, they'd do anything to be edgy in the 90s." What they probably wouldn't think is "it's amazing what they put on comic book covers before there were rules about what you could put on comic book covers." Unless they've seen the issue in question.
    • Golden Age Superman stories surprisingly have more in common with modern Superman than their Silver Age counterparts, in that Superman was portrayed more as a defender of the common man than the super powered lawman he later evolved into, and stories often had political and social themes to them. In general, many characters treated Supes as a thorn in the side of the establishment, just as one might expect they would in Real Life.
  • Watchmen:
    • To a modern reader, Rorschach feels like a deconstruction of the Nineties Anti-Hero, when he was largely the inspiration for many Darker and Edgier heroes, whose creators missed the point, namely that Rorscharch is kind of incompetent. He loses in a fight against the police, gets caught and unmasked. He also fails to solve the mystery because of his Entertainingly Wrong conclusions. It's the more Boring but Practical minded Nite Owl who actually manages to take them to the bad guy's lair. Alan Moore is bemused that so many people consider what he thought was Rorscharch's unattractive qualities — his paranoia, his propensity for violence and self-righteousness — heroic rather than tragic.
    • This is even more true with Watchmen's other anti-hero, The Comedian. He has all the mannerisms and attitudes of later "badass" gun using characters like Cable and The Punisher, who became increasingly popular in the decades right after Watchmen was published. He's also a rapist, a war criminal, and an all around asshole.
  • Marshal Law, while deconstructing traditional superheroes, managed to deconstruct the '90s anti-hero in the '80s: At one point Marshal Law accuses the Public Spirit, a Superman analog, of inspiring an entire generation of heroes to go to war in the Zone, in what can only be described as "Super-Nam". The Public Spirit turns this around by telling Law that Law's own vigilante actions have also inspired people, except in a more horrific manner. We then find that Law, the 90s anti-hero, inspired the main villain to take up his actions in the first place, thus completing the cycle. The reader is left to conclude that Law and the Spirit are both extremely messed up people. Additionally, Kevin O'Neill's artwork for the series was intended as a parody of Jack Kirby-influenced superhero comic art. Rob Liefeld and his imitators would later produce something very similar with serious intent.
  • Marvel's Secret Wars (preceding Crisis itself) was the start of the Crisis Crossover... and for the most part it never crossed over into the characters' books. You'd just get a few panels of the character disappearing for the crossover and reappearing.
  • Wolverine was the Trope Namer for Wolverine Claws, but unlike a lot of other examples of the trope, stories with him have actually addressed that having claws come out of his hands HURTS; in fact some stories with him depicted blood coming out of his hands whenever he uses his claws and a period where he didn't have his Healing Factor addressed that without it he had to constantly bandage his hands whenever he used his claws without his Healing Factor to repair them. While also considered one of the Trope Codifiers for the Healing Factor power, having it had drawbacks like meaning anesthesia can't be used on him.
  • Jack Kirby's O.M.A.C. seemed to utterly defy classification when it hit the stands in 1974, and didn't make it to nine issues. The series has since established a cult following, who have placed it firmly into the Cyberpunk genre: ten years before Neuromancer, you had a hero who gained his powers from an AI satellite, put in place to hold off nuclear exchanges and nullify attempts at corporate espionage. Long before Blade Runner and Ghost in the Shell popularized the concept, OMAC was showing sympathy to Ridiculously Human Robots and discussing ideas like memory and identity in a world where a person's memories can be removed or rewritten. The cover of the first issue, showing a weird anti-erotic robot woman in a box with her face where her crotch should be, could be seen as a condemnation of the excesses of Internet porn, decades before there was porn on the Internet. One blogger even pointed out that it actually analyzed cyberpunk themes more than the 2011 reboot.
  • Azrael from Batman was one of the first examples, and probably the most famous, of the Anti-Hero Substitute, taking over from Bruce Wayne when Wayne was temporarily paralyzed. He's depicted as a violent, mentally unstable sociopath and egotist who's doing more harm than good with his brutal and militaristic methods of crime fighting. By the end of the arc he's become the Big Bad whom the original Batman must put down before his extremism destroys Gotham. Word of God confirms that the entire arc was preplanned to demonstrate to over-excited Dark Age fanboys that a totally ruthless and brutal Batman was a bad idea. The fact that we have a full trope page for Anti-Hero Substitute should tell you about how well the message went over.
  • Marvel's Transformers comics preceded all other Transformers fiction, but also went a hefty way to deconstructing the premise and clichés that the cartoon would thoughtlessly use. Characters could be Killed Off for Real at any time if their toys weren't in stock, sometimes the Decepticons won battles, the Autobots often won at heavy costs, there were shown to be evil Autobots and good Decepticons, the ineffectual Megatron gets taken out by issue 25 and replaced by the legitimately dangerous Shockwave, the Matrix of Leadership is depicted as an unknowable force that can be both good and evil, and the human sidekicks often meet tragic fates including being killed off.
  • Despite Mr. Fantastic being the trope namer for Reed Richards Is Useless, canon states that he actually does patent a lot of his gadgets; he just doesn't sell the insanely dangerous ones like interdimensional transporters. It's also been shown that a chunk of his money comes from other companies paying him to not release stuff expressly because the devices would drive them into bankruptcy through competition they couldn't hope to match.
  • Vampirella sometimes get the credit of being the first "Bad Girl", decades before the genre. Only that she often was a Damsel in Distress, a thing no Bad Girl wants to be caught with alive...

    Fan Fic 
  • A Trekkie's Tale for its original Mary Sue character, the eponymous Mary Sue. If anything, she lacked Common Mary Sue Traits and was a Parody Sue in a Self-Insert Fic, despite being the Trope Namer. Makes sense given that this trope is Older Than They Think.
  • Innortal's original Loops in The Infinite Loops can be seen as this. The loops is about characters getting stuck in a time loop, and the wacky shenanigans that ensue in attempt to keep themselves sane. Despite the fact that the loops reset everything though, most loopers make a conscious effort to uphold a moral code, as well as make sure they don't go too far in their shenanigans. Innortal's original loopers? Not so much... Their 'stir craziness' that results in 'wacky shenanigans' often results in them resorting to some rather morally ambiguous actions to keep themselves sane, and they often treat non-loopers more as playthings than actual people because of the loops making them immortal, and them resetting back to how they originally were when the loop does. Since nothing's permanent, the loopers didn't have to worry about any major punishment for their actions, resulting in the original seven devolving into more Blue and Orange Morality as time goes on, because there's literally nothing stopping them from doing anything they want. A lot of the original sevens actions to keep themselves sane are viewed upon as terrible by the readers and future loop writers at large, and the original seven come off as major Jerkassess, a far cry from loopers that later joined in when the community formed.

     Film - Animated 
  • Classic Disney movies are associated with Prince Charming rescuing the Princess Classic from distress. Yet the first two in Snow White and Cinderella don't do much in the way of rescuing, aside from whisking the princess away to a happy ending. The first Disney prince to actually resemble the character archetype was the third in the Canon - Prince Philip from Sleeping Beauty.
  • Additionally Princess Classic in the first three Disney films has one major difference from the commonly associated list - none of the three princesses were raised in a privileged life. Snow White and Cinderella were servants, while Aurora was raised in the forest. None of them enter royal life until the end of their films.
  • Parts of The Little Mermaid make it feel almost like a Reconstruction of later Disney Princess films that follow it. For one, the heroine having a beautiful singing voice is actually a plot point and not just a stock character trait - since Ariel's voice is what Eric remembers and it's part of Ursula's plan to keep them apart. What's more is that it was the first Disney film to really merge fairy tales with Broadway - and this is fully justified by having one of the supporting characters be a concert composer. Likewise the Disney Renaissance was all about parodying or subverting Prince Charming - but Eric is this character type played completely straight, albeit with more Character Development than the previous princes.
  • The first animated film to popularise Anachronism Stew - Aladdin had a justification for it that its numerous imitators ignore. The Genie is implied to be a time traveller, which is why he makes a lot of contemporary pop culture references.
  • Sleeping Beauty is the first Disney movie to use True Love's Kiss as the solution to a spell (earlier in Snow White, the cure was actually Love's First Kiss). But it has a completely justified in-story reason for it; as Maleficent has cursed the princess to die, Merriweather can only soften the spell by turning it into an enchanted sleep with the kiss as the escape clause. The fact that she is able to do this illustrates that Maleficent is so evil, she can't imagine someone saving the princess that way - the same reason they are able to successfully hide Aurora from her for sixteen years. So the kiss has a reason for working, rather than being a Deus ex Machina it would often be used as.

    Film - Live Action 
  • Charlie Chaplin was the first major movie star to direct his own films, as well as one of the first to produce them with some degree of independence from the Hollywood studio system. Which is all the more impressive because Chaplin was one of the first movie stars ever.
  • Metropolis is one of the first science fiction movies ever, set in a futuristic city dominated by technology. And what's it about? How cool all the machines are? How awesome that robot is? No. It's about unionized labour and class division. That said even H. G. Wells pointed out that its class politics were stupid and the real interest was in the technology and decor.
  • Along with Cecil B. DeMille, D.W. Griffith was one of the first of the big-shot Hollywood film directors. He shaped nearly every aesthetic aspect of the American motion picture as we understand it today. And yet as early as the mid-1910s, Griffith was already experimenting with editing styles which would not catch on with filmmakers in his own country for nearly half a century, and to a great extent are still not common today. His “art-house” masterpiece, Intolerance, showcased a rapid-fire montage style that defied conventional Hollywood editing techniques - techniques that, by and large, Griffith himself had invented.
  • 1939's The Wizard of Oz popularized, if not introduced, the visual effect of portraying mundane life in monochrome or bland lighting and using lush color to present the more exciting and wonderful world of freedom and adventure. However, most later films and commercials that use the technique don't center the plot around a protagonist who specifically desires to return to her relatively uneventful and colorless life in the end.
  • The use of Alucard as a Sdrawkcab Alias first arose in Son of Dracula in 1943, the middle of the monster movie craze. Every single character figures it out almost immediately.
  • The Fifties Alien Invasion craze began with It Came from Outer Space. (The War of the Worlds came first, but was an adaptation of a 1897 novel.) Thing is, the "invasion" in the film is nothing of the sort. The aliens are neither conquerors nor infiltrators, but stranded travelers trying to repair their ship. While they do take hostages, they're more then willing to release them in exchange for a promise of safety. The vigilante mob led by the local sheriff turns out to be a much more serious problem. The film was a reaction to the xenophobia that dominated the American consciousness during the early 1950's; portraying the outsiders as being as scared of us as we were of them was a fairly bold statement for its time. But as the Cold War worsened, the genre's priorities shifted to milking the Red Scare for all it was worth.
  • Although the giant monster movie genre has come to be synonymous with gleefully watching the invincible monsters tear apart the puny human cities, some of the earlier ones had a far more "realistic" and nuanced view of this. In The Beast from 20,000 Fathoms, half of the movie consists of the hero, labeled as a delusional foreigner, trying to convince the American authorities that the rhedosaurus really exists at all. And when it shows up, it's not Immune to Bullets, but – being a recently-resurrected dinosaur – carries all manner of hideous diseases we've never seen. The Amazing Colossal Man, one of the earliest (if not the earliest), is about the giant's slow Sanity Slippage as the mental and physical strain of his transformation takes it's toll, complete with a Downer Ending.
  • If you primarily know of John Wayne's work through Pop Culture Osmosis, watching his 1962 film The Man Who Shot Liberty Valance can be a bit jarring. While not Wayne's first movie as a leading man (that was The Big Trail), it's largely responsible for solidifying American pop culture's image of him: it was the first movie to cast him as a Loveable Rogue cowboy in a ten-gallon hat and a neckerchief who defends the weak while snarking cynically, and it spawned his iconic Catch Phrase "Pilgrim", among other things. It's also a vicious Genre Deconstruction of Westerns that's ultimately about the death of the Old West, and it ends with Wayne's character dying alone and unremembered after succumbing to his alcoholism, while another man marries his only love and takes the credit for his final heroic deed.
  • Part of Alien's enduring success was how many tropes it either inverted or highlighted in a unique way before they became popular in media.
    • While it didn't codify the Final Girl trope (Halloween and The Texas Chain Saw Massacre (1974) had done so in the five years prior to its release), most final protagonists were set up with some degree of focus and major development. In stark contrast, Ripley was played by Sigourney Weaver, who (at that time) was the least-known member of the cast, had a handful of film cameos to her credit and is Out of Focus for a third of the film. No one expected that the cast would be killed off in descending order based on their star power (John Hurt and Harry Dean Stanton were the biggest stars in the cast at the time), and which still hasn't been replicated in films that feature a Dead Star Walking.
    • Whereas most modern films have a self-destruct that is triggered by entering commands into a computer or flipping a switch, Alien's self-destruct sequence is played as realistically and procedurally as it can in a science-fiction film. The procedure requires Ripley to read the directions before she initiates the process, which entails slowly pulling out rods and inserting them in four reactors. The process takes a solid minute to initiate, and has a Failsafe Failure that causes Ripley to just miss the window of opportunity when she tries to reverse it after encountering the xenomorph. Likewise, the Exact Time to Failure tells Ripley how much time she has before the failsafes are rendered inoperable, in stark contrast to any film that has a countdown. The self-destruction also results in the ship going up in several pieces, rather than the "single explosion" that has been seen in most modern films. Notably, when this same sequence was repeated verbatim in Alien: Isolation, some players found it to be too drawn-out and slow given the action taking place on-screen at the time.
  • Aliens:
    • The film is credited with kick-starting the gritty, grizzled Space Marine trope that's permeated science fiction and popular culture for decades afterwards. A group of hardened veteran soldiers (or just one) mow down hordes of mooks/aliens/monsters with their advanced weaponry, saving civilisation while spouting boasts, one liners, and snark left and right. It's easy to forget then that the Colonial Marines in Aliens are portrayed as arrogant, trigger-happy jarheads who, despite their overwhelming confidence, had never faced anything even remotely like the xenomorphs, and suffered for it. They collapsed into panic and disarray the moment they made actual contact, they got slaughtered because they had no idea what they were up against, and their incompetence resulted in the entire facility being blown to pieces by accident. It's not a display of badassery so much as it is a sci-fi version of 'Nam. Furthermore, the only marine who survived the ordeal was the one who followed the orders of Ellen Ripley, who is not only a civilian but also a woman and the main character, something rare even today in similar genres. The final confrontation is between two Mama Bears, Ripley and the alien queen, completely counter to the hyper-masculine narratives permeating the versions that followed.
    • The film also subverted the Punch Clock Hero trope long before it became commonplace in television and film. When Ripley is court-martialed and drummed out for destroying the Nostromo in the previous film, she simply picks up work at Gateway Station's docks and doesn't make any waves for a fair stretch of time. Even when Burke and Gorman come to recruit her for the mission, she refuses on the grounds that it's not in her job description and the mission sounds uneventful. It takes another bad dream to convince her to go, and even then, she acts largely as a civilian advisor (who doesn't like the soldiers she's traveling with) until two-thirds of the way through the film.
    • While a handful of films released around this time were beginning to embrace the Kid Sidekick/Tagalong Kid tropes (most notably Indiana Jones and the Temple of Doom two years earlier), Aliens was actively subverting it via the Newt character. While most kid characters simply existed to be rescued or provide witty comebacks, Newt is the only one of the group who fully understands the danger on LV-426. She listens to commands and follows them, has a wry sense of humor at times, and at one point, Ripley and the others defer to her judgement (in the maintenance ducts after fleeing from the attack on Medical). All this for a kid who's no more than ten years old.
  • Many early Italian Exploitation Films tried to paint themselves as "True Art", rather than just shocking for the sake of shocking. Indeed many sub-genres of Exploitation have their origins in Italian "art films", only to be copied by other lesser film makers who just didn't care. Ever hear of Salo or the 120 Days of Sodom? While being one of the most disgusting, shocking, and offensive movies ever made, it's not pointlessly so, but rather a satire on Italian Fascism. Anyone going into Cannibal Holocaust will expect disturbing and gorny. But a thought provoking commentary on Imperialism?
  • Gojira:
    • The originator of the Godzilla franchise is nothing like the kaiju genre it spawned. Godzilla is a clear metaphor for the horrors of nuclear weaponry, with the nuclear bombing of Japan was fewer than 10 years past at the time. Godzilla is an evil abomination of nature, and his rampage is not treated as gleeful a spectacle of destruction, the film including extended scenes of little kids painfully dying of radiation burns and other horrors.
    • Both the Trope Maker and the Trope Namer for the Godzilla Threshold, it went much farther in examining the moral and psychological implications of such an idea than many works that came after it. In addition to examining the political ramifications of the Oxygen Destroyer used to kill Godzilla, its inventor, Dr. Daisuke Serizawa, is depicted as a tragic, self-loathing figure who genuinely hates the fact that his only great creation is a horrific weapon of war, as he's also a battle-scarred veteran who witnessed the worst of World War II as a young man. Serizawa's hatred of his Oxygen Destroyer is so great that it destroys his relationship with his intended bride, Emiko, and he's so devoted to protecting the world from his creation that he only agrees to use it against Godzilla after destroying his notes, ultimately committing a Heroic Suicide in the final scene so that the secret of the Oxygen Destroyer dies with him.
  • And similarly, Them! came out in 1954, when the giant monster movie was still new, and the first half of the movie is clearly... a Police Procedural (just with really bizarre clues), until we finally see what 'they' actually are. Them! itself was extremely influential. A number of its successors imitate the police procedural structure... even when, in terms of the plot, there's actually no mystery as to what's going on.
    • Also, similar to The Beast from 20,000 Fathoms, the giant ants are easily killed by conventional weapons. There's just so many that it's impractical unless they're trapped in a closed location like a nest or a sewer.
  • Part of the reason why It's A Wonderful Life is a holiday classic is that it's one of the first – and very few – films to tackle the subject of holiday depression, doing it long before cynical takes on Christmas became common in pop culture. And unlike so many of those later films, this one does not play the depression for comedy, although there are some welcome moments of comic relief here and there.
  • Several works explored the ramifications and possibilities of the Reality Show, years before Big Brother and Survivor, the Trope Codifiers for reality television, were a speck in anyone's eyes:
  • The Cowboy Cop trope has been deconstructed multiple times before it was ever played straight later on without a hint of irony primarily in the action movies of the 1980s and 1990s.
    • Bullitt was actually the first Cowboy Cop movie, but seen today, it looks like a deconstruction of the genre: the cop (Steve McQueen) ignores his superiors and dismisses the quite reasonable demands of a slimy politician (Robert Vaughan) out of distrust, but accidentally kills all the witnesses and ruins any chances of finding the real mob bosses. The film ends with him staring into a mirror, realizing just how badly he's screwed up.
    • Dirty Harry also qualifies as an unbuilt trope. Harry's methods aren't actually shown all that positively. His Jack Bauer Interrogation Technique on the Scorpio Killer is downright horrific and ends up doing no good. And in the end he throws away his badge after disregarding orders and endangering innocents.
    • The French Connection did something similar. Popeye Doyle is The Shield's Vic Mackey before Vic Mackey – goes against the books, quick to jump the leash, and at least a little bigoted. And what happens when he goes in guns blazing in the final Darkened Building Shootout? He kills a police contact, providing enough chaos for the kingpin to get away, and a "Where Are They Now?" Epilogue explains that he ended up getting transferred out of Narcotics for the clusterfuck.
    • Where the Sidewalk Ends, from 1950, predates them all. The protagonist is a true Cowboy Cop, rampaging all over the city in his pursuit of justice – or he would be, if he didn't have to spend so much time dealing with the consequences of his actions.
  • Blow-Up contains the Unbuilt Trope version of the Enhance Button. It's based on the realistic version of the trope: a photographer in a dark room. Unlike most other versions of the Enhance Button, enhancing the image is a time-consuming process, and the final result is so grainy that the photo might not show what it seems to show. Ultimately, it's like two mimes playing tennis.
  • Harold and Maude: Harold is a Defrosting Emo Teen before there was emo. And what's more, the Manic Pixie Dream Girl who helps him defrost is an elderly woman.
  • That paragon of 1980s action flicks, Conan the Barbarian (1982) is an introspective, dialogue-light opera exploring Nietszchean ideas about Man versus Society.
  • Saturday Night Fever portrays disco lifestyle in a manner that is decidedly unsentimental and depressing enough to be labeled as a grim deconstruction. A slew of imitators that followed were unapologetically feel-good escapist fantasies – which SNF isn't.
  • They Call Me MISTER Tibbs, a sequel to In the Heat of the Night, predated Shaft by some years and was a more conventional crime drama than later street-crime-seen-through-the-eyes-of-a-black-protagonist productions. Sweet Sweetback's Baadasssss Song came out shortly after Tibbs and added, among other things, the fast-paced action scenes with funk music backgrounds that later became really popular through Shaft.
  • Despite its influence on the modern day slasher film genre and kickstarting the career of Wes Craven, the original The Last House on the Left really bears no similarity to modern day slasher films at all. There is no shocking out of nowhere "jump scenes" or tension that has become a trademark of the genre, the killings are slow, obvious and fairly realistic and shocking in that manner. The Soundtrack Dissonance is quite obvious and fairly odd, as is the comedic bits sprinkled throughout. Furthermore all the killers including the gang and parents are both seen as normal people, not almost supernatural and indestructible beings. By today's standards it'd almost be seen as a dark comedy instead of a horror film.
  • Gunnery Sergeant Hartmann from Full Metal Jacket is the Trope Codifier for Drill Sergeant Nasty, but his methods lead to one of the recruits snapping and killing him, then committing suicide.
  • Thanks to his Actionized Sequels, Rambo is shorthand for a badass soldier who takes on whole armies and wins while suffering only minor setbacks at best, and when the average person thinks of his films, they think ultra-patriotic war movies in which the enemies of America are destroyed. With this, it's easy to forget that the first film, First Blood, was an anti-war film protesting the degree to which veterans of The Vietnam War were dehumanized and mistreated. Rambo here is a homeless man unable to keep a job thanks to his now-useless skill set, who is tormented daily by PTSD from the war and the fact that he is the only survivor of his squad (he learns right at the start that the only other survivor he knew of is dead), but keeps his feelings bottled up just to function as a human being. His enemies are not a foreign army, but local small-town policemen who abuse him for no good reason, symbolizing the civilian mistreatment of veterans returning from the war and how veterans felt about it.

    The one time Rambo is against a group of enemies, it is a single-digit number and he takes them on one at a time using stealth and cunning. When faced with 200, he backs down and surrenders with encouragement from his ex-commander, and his reign of terror ends in him suffering a mental breakdown where he lets out all his bottled-up feelings summarizing how tormented and unable to live as a civilian he's become. What's more is that throughout the film, he goes out of his way to not kill anybody because he just wants the abusive cops to leave him alone; the only exception is both a complete accident and a Karmic Death. That's not even getting into how the film was intended to end with Rambo killing himself because he can't adapt to civilian life, or how it was based on a novel where Rambo does kill lots of people but is portrayed as a villain! The overall impression one gets from First Blood is a deconstruction of Rambo's popular image—or it would be, if it weren't his debut.
  • Drunken Master, the first film of the "Jackie Chan learns Kung Fu" series. In it, Jackie's character was very good at fighting to begin with (he bests his teachers), and was actually sent to the Training from Hell as punishment, though ultimately he ended up becoming much better at Kung Fu than before. But in many subsequent films, Jackie plays an absolute novice with no previous fighting skills who suddenly becomes the best fighter in a very short time, much less time than in that first movie.
  • Animal House actually does a lot in deconstructing Wacky Fratboy Hijinks, as it's pointed out how the wild and destructive Deltas do things that no sane college administration would allow; things that would get real college students arrested. Though the Deltas do ultimately get their revenge on the Dean and the snobbish Omegas by the end, it's a Pyrrhic Victory –- in spite of it all, they're expelled from the college, and it's heavily implied that at least some of them end up drafted into the Army and sent to Vietnam. As Dean Wormer perfectly puts it, "Fat, drunk and stupid is no way to go through life, son."
  • The Death Wish saga pioneered the urban Vigilante Man concept, but it also showed how dangerous it would be.
  • Viewed today, Michael Bay's The Rock can come off as a deconstruction of the mindless action and gung ho American patriotism that Bay's films are frequently criticized for—even though it was the second movie of his career, and his first military thriller. For one thing, the main antagonists are American terrorists fighting for an unusually sympathetic cause, with the Corrupt Bureaucrats that motivated them presented as the true villains. For another, the movie spends almost as much time condemning America's treatment of veterans and presenting a damning view of government secret-keeping as it does on action. Furthermore, the heroes aren't military types - once a Navy SEAL team is slaughtered, it's up to what the general in charge describes as "a 70-year-old convict and a lab rat" to save the day.
  • The Siege is a movie that looks at how a major terrorist attack in New York would disrupt life greatly... three years before September 11, 2001.
  • Starship Troopers:
    • This Cracked article makes an interesting case that, viewed today without context, the film could easily be mistaken for a satire on the War on Terror. A militaristic right wing government, complacent in its own superiority, suffers a devastating disaster that destroys a major population center. They blame a race of far off aliens on an isolated desert planet that couldn't possibly be responsible, and go to war, egged on by media saturated with propaganda. They quickly get bogged down in a quagmire. After capturing the leader, and torturing it horribly, they declare victory. Except it was made in 1997.
    • The film inadvertently breathed new life into the Space Marine trope when people didn't catch that it was a Stealth Parody of the original novel. The "hardened badass" marines are actually unquestioning drones who are poorly trained and get slaughtered by the thousands because of their incompetent strategies and leadership. The buglike monsters they're mowing down are strongly implied to be a formerly innocent and peaceful race who are defending their homes from the xenophobic humans, who are using them as a scapegoat for their personal woes.
  • Funny Games plays like a Genre Deconstruction of the torture porn genre that was popular in the mid-2000s... except that it was made in 1997, as a testimony against any violent media. In fact, the popularity of the genre during this period may have been what prompted its Shot for Shot Remake in 2007.
  • Get Carter feels at times like a brutal deconstruction of the Brit gangster flick that emerged in the late 90's due to directors like Guy Ritchie and Matthew Vaughan. The villains are shown as ruthless and incredibly sleazy, the killings are done in a very matter-of-fact manner with little blood and no dramatic tricks, it's set in bleak Newcastle rather than London, there is a complete absence of any pop soundtrack or any form of music and the lead character is cold-hearted and utterly ruthless, not shown as any better than the men he kills. Were it made today, it would almost certainly be a Genre Deconstruction. Yet it was made in 1971, long before British Gangster films became big.
  • Akira Kurosawa's Rashomon actually deconstructs many aspects of the oft-imitated plot structure that it lends its name to. Instead of using its famous "Three contradictory flashbacks" format as a simple plot gimmick, it's a deeply philosophical character study that uses the format as a vehicle for discussing human beings' inherent inability to tell the truth, examining the moral implications of this idea in full. At one point, one character even concludes that almost all of mankind's evils arise from their attempts to avoid confronting the truth by lying to themselves. By the end, the story has ceased to be about a murder trial at all, and become the story of said character's struggle to regain his faith in humanity. Notably, the traditional "Fourth true flashback" is also strongly hinted to be another lie. We're initially led to believe that the Woodcutter (a neutral witness to the murder) is the only one telling the truth...until it turns out that he also left out several details to cover up the fact that he was the one who stole the murder weapon.
  • The Blair Witch Project was the Trope Codifier for the found-footage genre, but when compared to the many slick, big-budget imitators that followed, it feels like a deconstruction. For one thing, Heather's insistence upon filming everything even when logic suggests she put the camera down for once, a staple of found-footage horror movies, is suggested by Josh to be her way of coping with the fact that she's lost in the woods — the screen on the camcorder all makes it feel less real. This also causes a rift between her and the rest of the group, with Mike and Josh telling her several times to turn the camera off, and even attacking her over it. Furthermore, the film's tiny budget and rambling improv style mean that the camera catches as many mundane events as it does exciting action beats — exactly what you'd expect to find on a camcorder that's been lost in the woods.
  • Network, a 1976 satire of television news, has been described as one of the most chilling movies ever made due to its deconstruction of a lot of the tropes present in 24-Hour News Networks – nearly two decades before such networks were an omnipresent force in news reporting. Howard Beale, for one, predates most examples of the Pompous Political Pundit, both real and fictional. It's also shown that his "mad as hell" attitude comes not from political extremism or another nefarious purpose, but is the result of him literally going mad as a result of working in television for too long. The network, meanwhile, is happy to feed his insanity in the name of the ratings that his unhinged rants produce, using it as an excuse to dissolve the news department and place it under the control of its entertainment division.note  As noted above, it also takes aim at Reality TV, long before it ever became a phenomenon.
  • Likewise with Cannibal Holocaust in 1980, which was arguably the first found-footage horror film ever made. It's also the first found-footage film to be as much about how the footage was found as the actual content of it (predating Sinister by over thirty years), with the main story concerning an anthropologist and a TV network recovering the missing film crew's surviving reels, examining them, and debating whether to show them on television. We see that the film crew had staged horrific abuses against the native peoples for the purpose of capturing violence on film and exploiting stereotypes of Amazon tribes, the fact that they had cameras at all being a major contributing factor in their uncivilized actions. After watching it, the network executives are so disgusted that they refuse to air the footage, instead choosing to destroy it.
  • The Bourne Identity is celebrated for revolutionizing the spy thriller flicks. However, the first film itself is not about spying; Bourne is an assassin, and a rogue one at that. Instead of taking down terrorists or criminals, Bourne is only interested in his survival, the primary Big Bad in the movie works for the U.S. government, and he himself is not killed by Bourne, but by a backstabbing partner of his. Likewise, the film goes to great lengths to not only subvert most conventions of the genre, but show (contrary to every spy flick made before or afterwards) just how terrifying someone with such a set of skills can be, even to the main character himself. The people who seem to be the most terrified are the average government workers themselves, who can only sit and watch in horror as one man effortlessly dismantles most of their operations and assets on his own. The main character is incredibly disturbed that he can analyze places and people so efficiently, and can't comprehend basic concepts like just asking someone for a pair of keys. One of the assassins is a university professor who moonlights as a silent, stalking assassin, who expresses remorse upon his plight when fatally wounded. It's the complete antithesis of the following films, which fall into much straighter spy thriller tropes.
  • After reading books and watching shows like The Clique, Pretty Little Liars, and Gossip Girl, one might be inclined to view Mean Girls as a response to such stories, intended to deconstruct their catty heroines and antagonists by portraying the damage that such soapy high school backstabbing does to young people in real life. Nope – it was made in 2004, and in fact a case could be made that its success directly inspired the aforementioned books/shows and their imitators (including, ironically, its own sequel).
  • George A. Romero's Living Dead Series:
    • Night of the Living Dead (1968) never used the word "zombie", and also broke some of the major zombie "rules"; its zombies can not only run, but are intelligent enough to open car doors (or at least, know to reach for the handle) and use melee weapons. Furthermore, it showed the main characters wiped out by their own incompetence while the world outside quickly figured out what was going on and was systematically wiping out the last of the zombies by morning. Both sequel series retcon this in different ways, but as a standalone film it's completely clear that the disaster is over. Later films either always treat zombie uprisings as an apocalyptic event, or joke about how stupid that is (like Shaun of the Dead).
    • Dawn of the Dead (1978) implied that the only reasons why someone would actually want a Zombie Apocalypse or some other doomsday disaster to happen are because they hold a grudge against some part of society, fantasize about being a badass, want to run wild, or some mixture of such – all the way back in 1978, three decades before Cracked said the same thing. To demonstrate this, the film has a racist cop who uses the zombie outbreak as an excuse to shoot minorities and immigrants without consequence, rednecks who treat zombie killing as an excuse to get drunk and party, and lastly, the biker gang that loots the mall. Also (especially in the extended versions of the film), the zombie apocalypse comes with a lot of ennui — the protagonists slowly develop cabin fever as they're boarded up inside the mall trying to survive, with increasingly little to do to let off steam once the novelty of having a mall all to themselves wears off.
  • WarGames: Every hacking-related trope from the past 30+ years owes its existence to this film, right down to the first cinematic reference to the term "firewall". Yet the hacker boy who saved the world nearly precipitated its destruction in the first place. (Way to save on major characters.) It doesn't help that much of what gave War Games its punch is fading from collective memory. Having a plucky young hacker almost precipitate World War III was an allegory on how nonsensical the Cold War was to the average person.
  • While Airport is regarded by many as the Trope Codifier of the Disaster Movie (especially aviation-themed entries in the genre), many of its conventions were used some fifteen years earlier in the 1954 John Wayne film (he starred and co-produced) The High and the Mighty (based on the novel of the same name by Ernest K. Gann) about the struggle of an airliner's crew to get its plane and passengers to a safe landing after an engine fails midway through a flight from Honolulu to San Francisco. Some may see it as being a deconstruction of the genre, considering that nobody dies or is even injured, and that the plane, in the end, lands safely at the San Francisco airport.
  • Die Hard actually does a lot in deconstructing the Right Man in the Wrong Place and Action Survivor tropes. It was itself something of a deconstruction of the Hollywood Action Hero popular in The '80s by showing what it would be like for an actual Badass Normal (with great emphasis on the "Normal") police officer trapped in such a situation, though many of its imitators and even some of its later sequels largely ignored this. John McClane witnesses a bunch of terrorists take his wife and her co-workers hostage, immediately recognises he's out of his elements and tries to call for help, but they don't really believe him. He's undoubtedly a badass, and wins in the end, but a night of battling terrorists with bare feet and no armor leaves him badly roughed up. By the end, he's seriously injured and grateful that it's finally over.
  • Inspirationally Disadvantaged is also unbuilt, as many early examples use it to mock and/or criticize society unlike later examples that would be the basis of award-winning tales of inspiration.
    • Being There is remembered as the 1979 smash hit about a mentally-challenged gardener who ends up earning the favor of the US President with his profound wisdom. The truth is Chance lacks any profound wisdom, introspection, or intelligence because of mental illness, his few social cues he has from watching television. Chance only gets as far as he does because his soft-spoken ways make him seem like a man of great insight. The film is more a satire of how society's perceptions of an individual end up mattering more than the individual itself.
    • The Elephant Man: It more or less comes across as a sad Deconstruction of the concept. Yes Merrick is a very cultured individual underneath his deformities. Yes, he is getting better treatment than he got at the sideshow. However, it is pointed out that holding him up as a symbol is not that different from putting him a sideshow because as Mothershead said "He's just getting stared at again". Not to mention that his deformities end up killing him in the end.
    • Rain Man was possibly the first major Hollywood movie to explore autism, thus also being the Trope Namer for an autistic individual with sharp skills. Charlie does become less of a Jerkass through his bond with Raymond. However, Charlie also learns he can't really solve Raymond's mental problems, and certainly not after one road trip, and Raymond's sharp memory are not enough for him to live a normal life. In his first night at Charlie's house, Raymond started a fire. Charlie returning Raymond back in the institution is seen as the correct decision, since it will give Raymond the stable environment he needs.
  • Watching the original Friday the 13th (1980) today, it can be strange to note just how unlike many other '80s slasher movies it actually is.
    • The Friday the 13th series is widely seen as a Trope Codifier for the Death by Sex trope in the slasher genre, but the original film actually had a surprisingly nuanced (and justified) take on it. The killer, Pamela Voorhees, specifically targeted lustful teenagers because her son Jason drowned in Crystal Lake after his camp counselors snuck off to have sex when they were supposed to be watching him. Even in later movies, where Jason became the Breakout Villain, it was heavily implied that Jason targeted lustful teenagers partly to uphold his mother's legacy, and partly because he was essentially a traumatized child who never got to grow up, and sex was so far beyond his comprehension that it terrified him. When later slashers from outside the Friday series took the more surface-level elements of this trope, they were often accused of misogyny and Reactionary Fantasy. It's ironic that most of them were inspired by a film about a mother on a bloody Roaring Rampage of Revenge.
    • Speaking of Pamela Voorhees, she was almost an inversion of many of the tropes of the slasher villains who followed in her wake. For one thing, she was a middle-aged woman, which is still a rarity in the genre. Furthermore, many '80s slashers wore masks but otherwise had their identities known for much of the film. Not only did Pamela not wear a mask or otherwise try to conceal her identity, but while we get several Murderer P.O.V. shots, the killer's identity is a mystery for most of the film, a setup that wouldn't really become popular in slasher films until the '90s when Scream popularized it. While Michael Myers had a profound influence on many later slasher villains, including Pamela's son Jason, Pamela herself did not, to the point where "who was the killer in the original Friday the 13th?" became a common trick question (as seen in the aforementioned Scream).
    • Alice is the Final Girl of the first film but lacks a few of the obvious traits associated with that character type. For one she has no problem smoking and drinking with the rest of her friends and doesn't seem to be any more of less responsible than them. She's also blonde while the rest of the female victims are brunette. While she doesn't show her breasts on camera, she does appear in a bikini and is about to stripnote  when the storm interrupts her. Additionally it's hinted she could be having an affair with Steve. Laurie Strode from Halloween is a far more archetypal Final Girl than Alice.
  • Several films explored violence in public schools years before Columbine and other school shootings brought the issue into public consciousness .
  • The Producers: The film is a Trope Namer for Springtime for Hitler, but it also shows the consequences of Bialystock and Bloom making an unexpectedly successful play: having oversold shares in the production of the play, they now have obligations they can't pay back, and face charges of fraud. And once their attempt to blow up the theater falls apart, their impassioned plea in court in ignored and they are found "Incredibly guilty" by the judge.
  • The film Now Voyager has one of the first instances of the Beautiful All Along trope. Bette Davis's character gets this kind of makeover...but it doesn't improve her life in any way.
  • The Screwball Comedy is this to the Romantic Comedy. Furthermore, characters like Katharine Hepburn's in Bringing Up Baby are this for the Manic Pixie Dream Girl; she's less the reward to the stuffy, nerdy male lead and more his crucible. The humor comes from just how much havoc she can wreak on his life. Likewise rather than livening up David's life, Susan instead yanks him into hers.
  • This Is Spinal Tap is the Trope Maker for the Mockumentary. However, it is not a straight parody of the Rockumentary shot at the band's Glory Days; instead it's a deconstructed Rockumentary where the characters are Jaded Washouts. Also, it was Played for Laughs while later mockumentaries might be more serious.
  • Mission: Impossible: The famous "Mission: Impossible" Cable Drop scene was the result of the heroes with their high tech gear breaking into a high tech vault nearly getting screwed because there was a rat in the vents, which made Krieger, the guy holding Ethan Hunt's rappelling rope, sneeze. At the end of the scene, they're nearly done in by simply dropping something (Krieger's knife).
  • The Matrix was the Trope Codifier for Bullet Time, though many forget that Neo didn't completely dodge all of the bullets fired at him, getting grazed badly enough for the Agent to almost corner him for the kill.
  • Screwed In Tallinn, Swedish original title Torsk på Tallinn, is a 1999 mockumentary which indulges in all the awkward aspects of the Mail-Order Bride phenomenon, while it was still rather uncommon in Sweden; both in Real Life and in popular culture.
  • Despite being considered the archetypal example of the buddy cop film, Lethal Weapon and its sequels subvert and deconstruct many aspects of the genre. There are undercurrents of drama, but these are played with realistic seriousness rather than the campy melodrama of later examples. Roger Ebert argued that direct parodies of these films don't work for this reason; the creators are trying to introduce jokes into a film series that already has tons of jokes, with things like exploding toilets and guys eating dog biscuits.
    • Unlike most main characters in cop films, the lead (Riggs) suffers from suicidal tendencies and post-traumatic stress as a result of his wife's death, so much so that he nearly kills himself multiple times over in the course of his work.
    • The characters routinely get called out for their antics, to the point that they're demoted several times. In 4, the Chief gives them a promotion under the express order that they'll stay away from field work. The characters also repeatedly face serious consequences for acting like cowboys, and they have reputations in the precinct for being reckless in the line of work.
    • The series played with the concept of the Bulletproof Vest long before it was prevalent in most crime works. In the first film, Riggs wears a vest and survives a drive-by shooting, but endlessly complains about how much the impact hurt for the rest of the film. In the third, a character survives an impact from a "cop-killer" bullet by using two vests at the same time, although this still causes injuries.
    • The Plucky Comic Relief is forced on the characters against their wishes, and although he does have some legitimate skill, he's kidnapped and suffers in 2 before being rescued by the main characters.
    • The second film has one of the most famous examples of Diplomatic Immunity being exploited in fiction. Yet the climax subverts it, with Murtagh just shooting the bad guy dead and not getting in trouble for it due to the guy being a criminal who was attacking the duo, just like what would happen in real life.

    Fairy tales 
  • Many old Fairy Tales are subject to Grimmification, being deconstructed into Darker and Edgier stories. However, many of the tales that The Brothers Grimm recorded were never meant to be kid-friendly. Some were horror stories, written by and for adults, or cautionary tales meant to scare children straight: For example, early versions of "Little Red Riding Hood" had the wolf kill the grandmother, trick Red into drinking her blood and eating her flesh, and, ultimately, eat Red. And what English readers got is actually toned down from the German; several stories were omitted in their entirety for the early English editions because they were considered too offensive, and others were changed to be more palatable.
  • The fairy tale "Little Red Riding Hood" is probably the archetypal "Stranger Danger" story. However it features elements that nowadays seem like not only a deconstruction, but a particularly angry one at that. The attack happens not outside, but in a house belonging to the girl's grandmother, a place where one would think she'd be safe, and the Big, Bad Wolf preys on her by assuming the grandmother's identity. Furthermore, the attacker gaining entry into said house is not the sole responsibility of the girl. Had it been written today, "Little Red Riding Hood" would've been seen as a stinging critique of the idea of "Stranger Danger", a reminder that most child predators are relatives of the children they prey on.

    Live Action TV 
  • By the time Reality TV shows became popular, COPS had already established itself as a Long Runner. In addition, while most reality TV shows play up reactions, have slick editing and large production costs, COPS has No Budget, and while the show is edited, it's entirely unscripted and unplanned. The cameramen are often police officers themselves, and there have been times that the cops on-screen not only acknowledge the cameramen - something most reality shows tend to avoid - but a few instances where the cameraman puts the camera down to help with an arrest.
  • The Twilight Zone (1959):
    • Imagine an episode where a man searches a deserted creepy town looking for any signs of life or civilization, but continues to find nothing, just signs that someone was there at one point but unable to find anyone who still is, with the implication that he may be the last man on Earth. Only for it to be revealed that it all had a fairly mundane and actually somewhat plausible explanation, the man hallucinated the whole thing while in an isolation booth as part of an Air Force experiment. Is this a later episode trying to subvert the show's standard format? No, it's the pilot episode.
    • "Five Characters in Search of an Exit", with its famously chilling Twist Ending, would be a deconstruction of Toy Story if it hadn't come out three decades before it. The old question, "What happens to sentient toys when they're abandoned by their owner?" isn't just an unsettling bit of Fridge Horror—it's the entire premise. Five dolls, who aren't aware that they're dolls, wake up in a Salvation Army bin with no way of knowing where they are or how they got there, and the entire episode follows them slowly going insane as they futilely try to escape.
    • The episode "Number Twelve Looks Just Like You" is an absolutely vicious take on the Unnecessary Makeover trope as a teenage girl who doesn't fit the conventional definition of beauty is repeatedly encouraged to get a surgical procedure to enhance her appearance and make her like everyone else. She repeatedly refuses and cites the importance of knowledge and character over appearance only to be kidnapped and forced into it. The episode's ending with her as an exact copy of her friend and having lost any trace of her original personality is chilling. And it was made in 1963. It's less a Deconstruction and more of a prophecy about the onset of innumerable plastic surgery shows where women are encouraged to cut apart their bodies to be considered acceptable.
  • Star Trek:
    • The whole concept of the Prime Directive has been reversed over the years. In Star Trek: The Original Series, the idea made a great deal more sense: Starfleet could not interfere with internal politics of pre-warp civilizations, but exceptions could sometimes be tolerated when another warp-capable civilization like the Klingons had already interfered, and the idea of not saving innocent people from a natural disaster would have been unheard of. In later series, Starfleet regularly allows natural disasters to wipe out whole civilizations, but has no problem meddling in internal politics.
    • The famous Star Trek: The Next Generation episode "Lower Decks" is both the Trope Maker and the Trope Namer for the Lower Deck Episode, but it's also a deconstruction of the Redshirt trope that's devoted to showing the audience the true perils of life as a low-ranking Starfleet crewman. The episode's four viewpoint characters spend their days constantly fighting for the main characters' respect and assisting on dangerous missions that they're kept in the dark about, and the episode even ends with the death of one of them, using the moment to show that every death on the Enterprise is a tragedy for the ship's captain.
    • The TOS episode "Mirror, Mirror" helped to popularize the Mirror Universe trope, but showed that the universes weren't really that different as the later Mirror Universe episodes on Star Trek: Deep Space Nine and Star Trek: Enterprise would show them to be. Even though his mirror counterpart had a Beard of Evil, Spock was, as the show put it, "A man of honor in both universes", and not strictly evil in the mirror universe despite clearly being on the side of the angels in the primary reality. Also, the Aliens of the Week, the Halkans, were Actual Pacifists in both the 'real' universe and in the Mirror Universe.
  • Doctor Who:
    • A commonly remarked-upon part of the show's premise is that it's about an old, sinister, extremely powerful man who goes travelling extra-legally with naive, sexy young women and holds total power over whether they come with him, get abandoned or die – and that this is played for Wish Fulfillment rather than as a really creepy variant of the Dirty Old Man. However, in the very first episode, it's clear that the reason Ian and Barbara are scared for Susan's safety is because they think her mysterious grandfather, the Doctor, is keeping her locked up in a police box in a junkyard, and refusing to let her see the outside world. Even after they are taken into the TARDIS, they believe that her grandfather has brainwashed her into believing they are aliens in order to keep her distressed and dependent on him, and Barbara attempts to explain to her that it is a game that he is playing with her.
    • There's an ongoing joke that Daleks cannot take over the universe because their impractical design means that they can't climb stairs, even though the Daleks everyone remembers can fly. Nevertheless, the very first Dalek serial, "The Daleks", deals with this restriction seriously – not only can they not climb stairs (which is irrelevant, as they use exclusively lifts to get around their city) they die if they ever lose contact with the floor, relying on electricity channelled through metal floors to power them. The TARDIS crew kill a Dalek by blinding it and forcing it to roll over a coat, cutting off the connection and its life support system, and later the Doctor kills every Dalek in the city by shorting out the power. This story also dealt with Daleks being rather sad, pathetic beings, and even features the main cast making fun of the Daleks' monotone, distorted voices, with Susan laughing out loud when she first hears a Dalek attempt to say her name. It also deconstructs the way that the Doctor's inquisitive nature leads him and his companions into danger: The Doctor wants to explore a city on another planet but his companions refuse. He sabotages the TARDIS, forcing them to search the city. They are captured, as usual, but almost die from radiation poisoning as the meter wasn't checked.
    • The third First Doctor story, "The Edge of Destruction", is an absurdly dark look at how miserable and paranoid it would be to be unworldly humans living aboard a Sapient Ship that travels semi-autonomously across time and space with a mysterious alien at the helm – by this point, Ian and Barbara's hatred of the Doctor is enough that both think the other may have tried to murder him (and they did not choose to be his companions either, instead being kidnapped by him), the Doctor hates Ian and Barbara for being human interlopers who may be trying to steal or hurt his ship, and Susan, while appearing to be The Ingenue, is just as inscrutable and alien as her grandfather and has a violent mental breakdown, babbling about creatures living inside her, and attacking Ian with a pair of surgical scissors. During all of this, they are dealing with a Negative Space Wedgie, the effects of which are so unlike anything that they have seen before that they constantly wonder if this is actually a malevolent force or something the TARDIS, which has a mind of its own impossible to understand outside of its species, is doing for their sake. Another aspect is that the TARDIS being unreliable and the Doctor being unable to control it is usually portrayed comically. However this serial shows how dangerous it could really be when the TARDIS goes wrong, here a spring coming loose on the console nearly destroys the ship by throwing it back in time to the creation of a galaxy. Meanwhile, the Doctor being unable to control the ship was a major plot point as it meant he was unable to return his companions home.
    • In "The Aztecs", the third historical story, Barbara tries and fails to save Aztec civilisation by ending human sacrifice. The ending is at best bittersweet, with the High Priest of Sacrifice ending up in control and the only consolation is that the High Priest of Art leaves society to meditate on his faith.
    • The first time we see a human space empire is in "The Sensorites", where the humans coming to the Sense-Sphere is treated as a bad thing, as a previous mission is hiding on the planet and poisoning the inhabitants in an attempt to steal their minerals. The Sensorites themselves are portrayed sympathetically, trying to protect themselves while the main villain is the scheming City Administrator. The story could also be seen as a slight Deconstructive Parody of Ditto Aliens, as the Sensorites can only recognise each other by their clothes, enabling the villain to take the place of one simply by killing them and stealing their clothes. Even so he avoids getting close to anybody who knew this Sensorite well and points out his disguise only works on those who saw the Sensorite at a distance or in passing.
    • "The Rescue" is a deconstruction of the show's whole modus operandi. The TARDIS team land on a planet where a young woman, Vicki, in a crashed spaceship is waiting to be saved by a rescue vessel, while also being kept prisoner by an alien named Coquillion who has killed the rest of the crew. Barbara murders the young woman's pet monster, assuming it was trying to eat her, and the Doctor talks to the other survivor of the crash about dealing with Coquillion, after which he points out that they have nothing to gain from doing that, as the rescue ship is already coming. This culminates in Vicki telling them all that they have no right to go around landing on other people's planets assuming they know exactly what to do when they aren't living there and have no real idea what's going on or if their attempts to fix it are just making everything worse, that she hates them, and that they should all just leave. It is all fixed in the end, but only because the Doctor had already lived on the planet for a while prior to the story, listens to Vicki's point of view while still questioning things she's too entrenched in her own ways to question herself, and because the natives of the planet eventually take matters into their own hands and deal with Coquillion. Furthermore, Coquillion isn't an alien at all, he is the other survivor who invented a phony alien plot to cover up his murder of the rest of the crew.
    • "Mission to the Unknown" and its sequel "The Daleks Master Plan" seem like a Darker and Edgier version of the sort of genre Star Trek popularised. Marc Cory of the Space Security Service finds out about the Dalek plan to invade the Solar System but is trapped on the planet, he records a message and is able to warn Earth in a Heroic Sacrifice... no he gets killed just before he can send the message. Bret Vyon comes across as a bit of a jerk from his determination to his mission, for the first time a companion of the Doctor dies, TWICE! Bret is killed by another agent, his sister Sara Kingdom is killed with the Daleks in a potentially Senseless Sacrifice. The main villain, along with the Daleks, is Guardian of the Solar System and The Quisling Mavic Chen and the Head of the SSS is also a Quisling. The story ends without a feeling of triumph, Steven reminding the Doctor of those who died and the Doctor saying "What a waste... What a terrible waste." These stories both aired in 1965 (though Master Plan ran to 1966), before Star Trek premièred.
    • Steven Moffat's run of the new series is often praised for deconstructing the Doctor's legend and personality, and the relationship between the Doctor and his companions. The show's first attempts at doing this were actually in Season 3, which had two stories ("The Massacre" and "The Savages") which examined these themes. "The Massacre" features a situation in which the companion sees someone who appears to be the Doctor in disguise arranging a Final Solution, assumes that the Doctor must be planning something, ends up unable to save any of the victims due to his misguided attempts to help with whatever the Doctor must be planning, and the real Doctor refuses to save anyone under his belief that history cannot be changed (leading to a What the Hell, Hero? moment and Steven even attempting to quit). "The Savages" is the first time the Doctor finds a planet that not only knows who he is but venerates him – a culture that drains life energy from an underclass to power the machines they use to watch his adventures.
    • The Doctor is usually portrayed as an Insufferable Genius which is often played as a cute, charming quirk, especially in the new series. In Classic Who, the First Doctor was shown to be almost unbearable because of this – as he mellowed out, he would occasionally lapse back into this manner of thinking, and then have a short scene afterwards where he would apologise for being rude, admitting he has No Social Skills. The Second Doctor averted the trope entirely, but when it was revived for the Third Liz Shaw's reason given for quitting being the Doctor's The Watson is because she can't stand his massive ego any more, feeling he only uses her as a prop to make him look clever. It's not really until Tom Baker shows up that this part of his nature is played as just adorkable, because his natural presence was likeable enough he could say the most horrible things and make them sound harmless.
    • The stereotypical depiction of the Companion is someone pretty, with long hair, in a short skirt, who is well meaning but very stupid, has Ship Tease with the Doctor that never goes anywhere, constantly talks about how clever the Doctor is, and gets into trouble and clings onto people a lot. This is an exact description of Second Doctor companion Jamie, who is male.
    • Victoria's main trait is being the Screaming Woman, but rather than being The Load, her capacity for screaming is a useful tactic on several occasions (most memorably, it is weaponised to murder the Monster of the Week in "Fury From the Deep" and to stun a man pointing a gun at her in "Tomb of the Cybermen", among others). Her screaming is also approached realistically as she admits that she's terrified all the time travelling with the Doctor, and leaves the TARDIS for a more peaceful life. (Although it would have been a bit more realistic for her to have done so one episode earlier.)
    • The Pertwee era is sometimes criticised for portraying the idea of the Doctor working with the military in a positive light, even though he's against most of their methods of accomplishing anything and it seems rather against his anti-authoritarian morality. The Pertwee era started out portraying this situation very uneasily, with the Doctor openly thinking of the Brigadier as an idiot and even trying to steal from him and lie to him to go around behind his back (and only being forced into working with him due to his TARDIS not working). In the second story of this era, the Brigadier commits a genocide, with the Doctor looking down on the explosion and calling it 'murder'.
    • The Time Lords are generally portrayed as isolationist and out of touch, allowing horrible things to happen around the Universe out of a pledge for non-interference and using the Doctor to do their work. However, their first appearance showed them willing to interfere directly in stopping a plan to conquer the Galaxy involving time travel that was being assisted by a renegade of their race. Later that story they apparently exile the Doctor to Earth partially so he can help protect the planet.
  • The standard hero of a Paranormal Investigation show is a brooding fanservicing badass motivated by justice or Revenge. The Ur-Example of this type of show, Kolchak: The Night Stalker, has its title character be a bumbling, middle aged tabloid reporter with questionable taste in fashion, is uninterested in romance, usually defeats the Monster of the Week by sheer dumb luck, and is largely in it for the fame and fortune that exposing the supernatural would bring him.
  • Even the Standard '50s Father is unbuilt. People forget that in the very earliest sitcoms from the late 1940s and early '50s, the father was often not smart or competent; the sitcom Life of Riley established the caricature of the Bumbling Dad for television. (And for that matter, the idea of the wife and/or mother being The Ditz instead of a perfect mom did not begin with Edith Bunker or Marge Simpson.) Our idea of the Standard Fifties Father more or less owes its existence to Robert Young, who, in the mid-1950s, agreed to star in Father Knows Best only on the condition that his character would be portrayed as competent.
  • Libby Chessler in Sabrina the Teenage Witch is the Former Trope Namer for the Alpha Bitch and is something of a Trope Codifier (though the character had been around in various 80s teen movies). Ironically she doesn't fit many of the usual requirements: she's not blonde, she's not any more rich than the others, she doesn't have a Beta Bitch. She's also Hollywood Pudgy compared to Sabrina. The only common traits she does fit are being The Cheerleader, having a Girl Posse and of course being mean.
  • I Dream of Jeannie and Bewitched are the most well known Fantastic Comedies of the 1960s, and are often held up as Reactionary Fantasies. The reality is they these shows were very much not. Darrin and Tony were not controlling husbands, but normal guys wanting to live normal lives and by their own merits. Samantha also wanted a normal life, and Jeannie only served Tony because she was the first person she had seen in centuries, after having been in a bottle. The show also explores the consequences of having a supernatural female partner.
    • Darrin had to endure harassment from Samantha's relatives, who wanted nothing to do with mortals.
    • Tony doesn't profit from Jeannie, because it would mean he would have property he can't report to the government. Jeannie's behavior has also brought him unwanted attention from his superiors, harassment from supernatural forces like the Blue Djinn and Jeannie's twin sister, and he's had to deal with less-scrupulous people who wanted to profit Jeannie, including his own best friend.
  • The Farscape episode that named Humanity Is Superior is a subversion/deconstruction of the very trope it titled. Crichton is only "superior" in the sense that his incredibly poor eyesight allows him to avoid being killed instantly by the Monster of the Week. His ranting about how awesome humans are just ends up making him look like an even bigger idiot and the rest of Moya's crew just roll their eyes at him.

  • The Trollface.jpg has been used countless times across the Web to illustrate the act of, well, trolling. Yet, the comic that it originated in was a demonstration of how trolls want to believe that they're driving people incoherent with rage, while the troll is actually being met with slightly annoyed indifference. It also suggests that most "trolls" are just people expressing their own moronic opinions, and then retroactively claiming they were trolling after other people criticize their opinions. And the phrase most associated with Trollface.jpg ("Problem, officer?") originally had nothing to do with trolling (and the troll face was actually referred to as the person's "cool face").
  • Many people who read Adam Smith's The Wealth of Nations, the book that codified free trade and capitalist economics, are often surprised to see Smith's belief that the invisible hand of the market was not applicable in all situations (such as provision of health care and education), his endorsement of unions (then illegal) as a means of preventing workers from competing against each other and thus driving down wages, and his criticism of acting purely on self-interest. Read today, The Wealth of Nations seems less like the Ayn Rand-style endorsement of laissez-faire capitalism that its reputation suggests, and more a critique of such (if not by an out-and-out Marxist, then certainly a left-leaning progressive or an old-school Tory).
  • The first well-recognized discussion of The Singularity (called the Omega Point) came to be in the writings of Pierre Teilhard de Chardin, a Catholic priest, and it was more like "achieving a complete union with God" rather than "becoming God".
  • The Spartan Way, when an army uses a horrifically brutal training regime, sometimes recruiting from young teens, to create the ultimate Badass Army. When the actual city of Sparta tried this some 2500 years ago, they were tactically inflexible to the point of being outright crippled. The army existed mostly to scare the Slave Race into complacency, so they couldn't operate very far from home. Since their system only produced elites, it took forever to replace losses, which in turn meant they ended up having a rather small army made up almost entirely of heavy infantry. An enemy army with a detachment of hit-and-run skirmishers — or worse, cavalry — could run circles around the Spartans, and if the Spartans lost more than a few hundred they would have to consider surrendering the entire war. To top it all off, with a Proud Warrior Race Guy mentality they didn't see any reason to adapt and evolve their fighting style; this came back to bite them in the ass in the Battle of Sphacteria (425 BCE), where Athens had the entire Spartan playbook on file and could just walk all over the precious Spartan hoplites. As a result Spartans were rarely on the offensive, and if they were it was to raid more slaves. And this is not even getting into Persian accounts, which described Sparta as thoroughly corrupt and easily bribed for allegiance.

  • Bill Haley. Look at that thirtysomething clown, with his dweeby bow tie and stupid curled cowlick, trying to convince us he’s cool. What a poser...Wait, you say he invented modern pop music?
  • Franz Liszt's Totentanz with its dissonant usage of the Dies Irae theme, making it sound like actual post-Stravinsky Modern Classical, when it's "only" Liszt's progressive style coupled with Romantic Irony.
  • Tom Lehrer's "The Masochism Tango" did this for the Obligatory Bondage Song.
  • The entire "heavy metal" style of rock music is an Unbuilt Trope for purely semantic reasons. Throughout The '70s and The '80s, groups that we rightly think of as heavy metal today (Black Sabbath, etc.) were disdained as "not music" or even outright ignored by the music media. (A notable exception was Judas Priest, who – at least for a time – successfully bridged the divide between "serious" metal and pop-metal.) Until The '90s, what heavy metal really meant to most people was the "wailing guitar" music of groups like Led Zeppelin, AC/DC, Van Halen, or Bon Jovi. Good luck finding any of those groups in the "metal" section of your record store today.
    • Led Zeppelin are also a good example because whilst they were very influential on metal, it's often glossed over in favor of Black Sabbath or Iron Maiden's influence. It should be noted that Robert Plant and John Bonham were actually very good friends with the members of Black Sabbath, and often exchanged ideas, and the two bands saw themselves as peers. As an example, the influence of "Communication Breakdown" on "Paranoid" should give a clue.
    • Also, at the time, many groups (including Black Sabbath) didn't define the music they were making as "heavy metal", but "heavy rock", "hard rock", or other similar terms.
    • Black Sabbath were subjected to a lot of Misaimed Fandom and Misaimed Hatedom from supporters and detractors alike, who assumed that they were a "Satan-worshipping" band. In truth, Ozzy and the gang considered themselves a "hippie" band, and they experimented with other styles of music besides "death rock." They were also Roman Catholics, and their music contained many Christian themes. For example, the Title Track from their Self-Titled Album features an image of Satan inspired by a nightmare of Butler's, a depiction that is very clearly evil with Ozzy screaming out to God for help. The track "After Forever" from their third album also has a very clear Christian message. Their inclusion and portrayal of the occult could be seen as a deconstruction of Satanic symbolism in later metal.
    • Today, most people tend to think of metal as a genre focusing on aggression and speed. While this is true for the most part, this was not the kind of music Black Sabbath played. In fact, they relied on slow tempos to create an atmosphere of fear, despair, and magic, and it can be said their music became less and less extreme with the years in that regard. The style their early albums spawned is known as Doom Metal today, which many people (falsely) assume is a reaction to more aggressive forms of metal.
    • Then there's a sub-example with Venom, the coiners of the phrase "Black Metal". Musically, the only thing their first albums have in common with modern black metal is poor recording quality. Unlike later black metal bands, they were absolutely not serious about what they sang, and occult/satanic songs were alongside one or two silly songs about sex or music itself. The band are in fact very similar to Motorhead, but their satanic elements made people think of them as more metal.
  • Killing Machine, the first Judas Priest album to generate a hit single or two (and generally considered the first metal album to receive mainstream media attention), was released in 1979 and therefore sounds a great deal like a 1970s record. The intro to the very first track, "Delivering the Goods", suggests that Priest deliberately mashed together the hard "funk" rock of the early-to-mid-'70s with the speed and thrash metal of the '80s and beyond - and, in fact, that's almost exactly what they did.
  • KISS have long been perceived as a silly subversion of the Heavy Metal genre, specifically in their performance of music that is usually nowhere near as grotesque as their appearance would suggest. In fact, along with Alice Cooper, they created the metal stereotypes, and thus were free to tweak them as much as they wished. In fact, early Kiss were unsure of what their own sound should be; ironically, their earliest albums hardly sound like they are by Kiss at all: their debut album from early 1974 sounds more like a Rolling Stones record, particularly on the tracks “Firehouse” and “Cold Gin.” Their second album, Hotter Than Hell, is radically experimental and innovative, with songs that seem to predict the future, anticipating thrash and death metal (“Parasite”) and the “grunge” alternative style of Nineties groups like Pearl Jam (“Goin’ Blind”, “Got to Choose”). Not until their third album (Dressed to Kill) would Kiss really begin to promote their trademark high-energy “power-pop” style; and not until their fourth album (Destroyer) would they embrace it fully (and even that album had the soft ballad "Beth" on it).
  • The band that in 1978 released the self-titled Van Halen is definitely not the caricature that typified the later Hair Metal bands with which Van Halen is often identified. Eddie’s guitar solos on this album, while impressive, are not as gonzo as the ones later heard from copycat groups like Quiet Riot (or, for that matter, as the ones on later Van Halen records); their emphasis is on artistry, rather than shock value or cheesiness. Van Halen also deconstruct the “party-animal” image of the later groups: while the tone of the first album is generally lighthearted, there are also some brooding, relatively low-key songs such as “Ain’t Talkin’ ’Bout Love.”
  • Listen to any Punk Rock band from the mid-seventies. They sound almost nothing like what we think of as punk music, and barely have anything in common with each other musically. At the time, Punk Rock was just music played by punks. Some particularly pedantic critics even define the rockabilly of the 1950s and the "garage rock" of the 1960s as "punk," which sounds pretty misleading until you remember that those styles of music indeed directly influenced punk (and, less directly, metal).
    • For more specific examples, compare The Ramones (almost like a deconstruction of the '90s pop punk bands) and Richard Hell and the Voidoids (chaos with a loose basis in rockabilly, aka psychobilly 10 years before it happened).
    • The fact that a lot of the original punk rock sound harkens back to eras earlier than the 1970s (from Phil Spector's "wall of sound" to '50s rockabilly) is that punk rock sought to rebel against the rock music conventions of the time. This was the era of big arena rock bands and prog rock bands that had overly elaborate orchestration (though punk rock pioneer Johnny Rotten was a big fan of some prog rock bands). Additionally, the most notable proto-punk band, The Stooges, played fast little rock & roll numbers with great enthusiasm and was an antidote to the hippie rock that was in the mainstream in the very early 1970s (another such band was the Velvet Underground, who was the original "indie" rock band). So those people who bitch about the original punk rock bands not sounding like an obnoxious California punk-style band are missing the point about punk rock as an idea (especially since punk rock started in New York).
  • The Dictators were a part of punk rock from the very beginning, getting started even before The Ramones did. But to many present-day listeners hearing their most famous song, the aptly-titled “Faster and Louder”, for the first time, the Dictators sound not so much punk as they do metal - specifically, a poppier take on speed/thrash metal (if it had existed in the late 1970s).
  • The earliest New Wave bands of the late 1970s (The Cars, Talking Heads) did not really sound like the Eighties “synthpop” groups with which they have come to be associated, or sounded like them only occasionally. This was because their genre was just getting started; in fact, it could be said that American pop music in general was getting started all over again, what with punk having reinvented the wheel. In the beginning, New Wave simply meant “hard rock done in a smooth style”, which did not necessarily indicate synthesizers. While most of the New Wave groups did eventually adopt the stereotypically ’80s “space-age” synthesizer flourishes they became known for, that was not quite the brand of music they created.
  • If you’re under the age of 40, you’ll be forgiven for looking at Parallel Lines-era Deborah Harry (of Blondie fame) and thinking "aging Baby Boomer trying to co-opt the younger generation’s music." The "aging Baby Boomer" part was true enough (Harry was already in her thirties when the group hit it big, a little too old to be a pop sensation), but Blondie had been a part of the punk/new wave scene from its very earliest New York days, and in fact all those younger female pop stars (Madonna, etc.) ended up imitating Harry rather than the other way around.
  • It goes without saying that early Emo has nothing in common with bands labeled it under the mainstream definition of the term. However it doesn't sound much either like later "classic" Emo bands or their successors today. Trope Makers Rites of Spring were really just a punk band with more personal and introspective lyrics and a bit more melody to their music, something that is hardly uncommon in modern day punk.
  • Similarly, bands considered "screamo" before the term existed don't sound much like modern day screamo bands and weren't much different than Hardcore Punk of the time, just a bit screamier and more chaotic.
  • More than three decades later, the Sugar Hill Gang's "Rapper's Delight" sounds very silly, like a passive-aggressive mockery of rap music being performed by "uncool" adults. It is in fact the Trope Maker both for the rap genre and for the hip-hop lifestyle in general.
  • Time Zone was a supergroup consisting of Afrika Bambaataa and John Lydon. In 1984, they ended up inventing Rap Metal with their protest song "World Destruction," predating Faith No More's early albums, Run-D.M.C. and Aerosmith's "Walk This Way," Anthrax and Public Enemy's "Bring the Noise," as well as Rage Against the Machine.
  • A lot of the stylistic influences and Trope Codifiers for Glam Rap did a lot to deconstruct and play with the tropes their music would later be known for. In many cases, these rappers did not flinch from portraying the "ghetto fabulous" lifestyle as incredibly negative and destructive:
    • The Notorious BIG definitely helped lay the seeds for the mid-90s to 2000s dominance of Glam Rap with his album Ready To Die, and songs like "Big Poppa" and "Juicy" could lay claim to being some of the first major Glam Rap songs. The same album also portrayed Biggie's "ashy to classy" drug dealer character as incredibly paranoid("Everyday Struggle"), driven by grinding poverty("Things Done Changed") and outright guilt-ridden and suicidal(When I die, fuck it, I'm gonna go to hell/cause I'm a piece of shit, it ain't hard to fuckin' tell from "Suicidal Thoughts").
    • Likewise, Biggie's prodigy JayZ definitely demonstrated this on his debut album Reasonable Doubt, which portrays his man of wealth and taste in a much more Lonely at the Top way, with an immense price paid by both himself("Regrets") and others("Dead Presidents II", "D'Evils"). Even the song on that album that most strongly sounds like Glam Rap, "Ain't No Nigga", plays with a lot of the player tropes, making it highly ambiguous as to whether Jay-Z or Foxy Brown(who provides the female point of view) is the real player in the relationship.
    • Even Dr. Dre and Snoop Dogg, who largely embraced these tropes in their early records, get in on it. Dr. Dre's "Lil' Ghetto Boy" ends with Karmic Retribution when Snoop Dogg's character is in jail and Dre's character gets shot in a robbery gone bad. Snoop would go further in each direction - on Doggystyle, the same record that gave us "Gin & Juice", Snoop portrays many Glam Rap tropes as the product of a literal Deal with the Devil on "Murder Was The Case".
  • In 1991, Just D became the first mainstream group to rap in Swedish. Their self-ironic style with a vocabulary more experimental than most Swedish hip hop acts today, deconstructed a genre which hardly existed yet.

    Mythology and Religion 
  • In The Epic of Gilgamesh, the divine god-king is a tyrannical rapist; Enkidu, though remembered, is never avenged; and Gilgamesh's quest ends in stupidity-induced failure. Although, it's really unclear how much of this is Values Dissonance – the rape thing might (or might not) have simply been a demonstration of how strong and cool Gilgamesh was, to audiences of the time.
    • Gilgamesh attempted to Ascend to a Higher Plane of Existence in the later half of his epic. Interestingly, he failed - the first of an indeterminate number of tests he had to pass in order to accomplish this was to go for an entire week without sleep, which he was unable to do.
  • The Shahnameh: The core character of Shahnameh is regarded as a hero; however, he suffers from moral ambiguity and mostly struggles to solve his own problems rather than the problems of his people, which is supposed to be his main duty.
  • The Bible might, as many other ancient stories, seem Troperiffic when read today. Still, because of its age, length and significance, it might have made more tropes than any other work.
    • Picture if you will a being that exists outside of space and time that can make and unmake the universe at will just with its voice, who sometimes sends messengers into the mortal world to manipulate mortals into performing seemingly insignificant actions as small parts of a very long-term plan that is inscrutable to all beings except itself, that has the power not only to destroy said people's bodies but also to lock their souls into an eternal state of And I Must Scream for failing to follow said plan, and that is so incomprehensible to human beings that the mere sight of its true form would kill them instantly and even a small fraction of its power is able to induce visceral terror in even its most loyal of servants. No, it's not some Lovecraftian Eldritch Abomination; that's God Himself. And He's not out to destroy or mutate the reality He created with His sheer might; He's the benevolent guardian of humanity who sends a manifestation of Himself (Jesus) to show them the light, and protect them from a lesser-but-actually-evil entity (Satan).
    • The Old Testament as a whole (with a few exceptions) is this. Your society believes that it worships the supreme god, and that as long as it does so it will be completely prosperous; then a foreign superpower comes in and conquers your city and destroys the building where your god lives and sends your people away from their land where they have to compromise their cultural identity to survive. Then a bunch of you start writing about a god and a world that are a lot more complicated than "do good and get rewarded."
    • The Serpent is the Trope Maker of the Smug Snake. While later interpretations feature the trope as a Big Bad Wannabe, the Serpent is described as an independent Big Bad. The Serpent is punished by being forced to walk on its belly; implying that the snake was not very snake-like, or maybe not a literal snake in the first place; its appearance can also be read as a "Just So" Story. The Serpent might also be the Ur-Example of a Talking Animal (and the only Biblical example besides Balaam); it is however banished from God, just because a talking animal disrupted His creation.
    • Kill 'em All: Protest about divine massacres in the Old Testament is as old as the Old Testament itself. When God tells Abraham that he intends to destroy Sodom and Gommorah, Abraham begs him to not kill the innocent with the wicked. He first gets God to agree that finding forty righteous men would be enough to spare the cities, then gradually haggles down the number until God settles on finding at least ten. The Book of Exodus also has Moses beg God to not wipe out Israel as punishment for the golden calf incident, saying it would alienate anyone else who hears about it from wanting to follow the Lord.
    • Sodom and Gomorrah are early examples of the Vice City. They get literally deconstructed by God, however.
    • The Bible contains some of the oldest examples of The Hero's Journey. They do celebrate the courage of protagonists such as Noah, Moses and David; however as the stories show that they are subjects of God and His will no less than any other person, deconstructing their heroism in a context where people actually believed that God was almighty. Many heroes have a Fatal Flaw, and Anyone Can Die.
      • Noah seems to be the Ur-Example. While the archetypical hero is young when he gets the Call to Adventure, Noah is six hundred years old when the action begins. He does complete the quest and gets permission to live Happily Ever After; though when he returns to dry land, he ends up in an embarrassing scene, drunk and naked.
      • Moses gets a Call to Adventure and goes through a lengthy quest; The return is however not a return to his native Egypt, but to The Promised Land which the Jews had left centuries ago.
    • Talking about Moses; the Exodus is the Ur-Example and Trope Codifier of The Promised Land. Moses however dies before the arrival, and the Hebrews need to fight wars to displace the indigenous population, foreshadowing the later Real Life history of the Holy Land, as well as many other colonial "promised land" campaigns. And the Hebrews hardly lived Happily Ever After.
    • Mosaic law: Thou Shalt Not Kill has been a maxim for many non-violence movements, as well as an argument against capital punishment. However, it is a misquote; it was actually "Thou shalt not murder". The Torah justifies death penalty for many crimes, and wars are shown to produce heroes and villains alike.
    • The phrase An eye for an eye (Exodus 21:23) is usually interpreted as quite the opposite of Thou Shalt Not Kill. In modern times, this perceived contradiction makes skeptics disregard Mosaic law as Double Speak. Another interpretation of An eye for an eye is divine justification to Pay Evil unto Evil and Disproportionate Retribution; making Revenge a common theme for later Bible-inspired stories of fiction and Real Life events. The Torah does however prohibit revenge in passages such as Leviticus 19:18, and instead enforces trial and regulated punishment. The eye for an eye principle was further deconstructed by Jesus, who told people to Turn the Other Cheek.
      • Even "an eye for an eye" is actually all about Proportionate Retribution; by the standards of the time, the appropriate punishment for "he put out my eye" was often considered to be "let's kill him and his entire family."
    • The Trope Namer of the Uriah Gambit is in the Second Book of Samuel, where King David sends Uriah to die on the battlefield. However, in the first book of Samuel, it was the young David who was sent on suicide missions by king Saul... and succeeding.
    • The story of Samson can be retroactively seen as a deconstruction of the Messianic Archetype. He knew he was The Chosen One and abused his special status and he was overconfident with his powers leading to him getting betrayed by Delilah. In the end he pushed those pillars down and killed the Philistines out of revenge because he had nothing left to live for. For the irony-challenged, however, Samson is purely a Badass folk hero who gets a Great Way to Go.
    • Delilah is often thought of as an originator of The Vamp, Honey Trap and Femme Fatale tropes, but her relationship with Samson didn't begin in deceit; the Philistines approached her when they were already together. In films, though, she is typically depicted as being sent to seduce Samson, as already having some personal fixation on him, or even as offering her services to the Philistines herself instead of the other way around. Also, the Biblical text never says whether or not her love for Samson was genuine.
    • The story of Balaam is a deconstruction of the Stubborn Mule, as well as an example of Truth in Television. Balaam was hired to curse the Israelites, but was held back by his mule, who refused to cooperate. When the mule was granted to speak, she revealed that she was protecting him from the invisible angel in front of them, who would have killed Balaam had the mule cooperated. The fact that the stubbornness exhibited by donkeys and mules is really an act of self-preservation is largely overlooked in future media.
    • "Jonah and the Whale." "In the belly of a whale" is often used to refer to a period in a story where the protagonist is caught in a situation with no hope. However, in the story of Jonah the whale is actually not a punishment but God's way of saving Jonah from drowning. It also represented him giving Jonah a second chance by taking him back to land. Note, though, that the Bible itself compares being in the whale as a trial, when Christ compares the three days in the whale with his upcoming three days dead before resurrection.
      • There is also what would now seem a deconstruction of the idea of prophecy. The prophesy of Nineveh's destruction is true, but seeing the people's repentance God changes his mind. He doesn't cancel the judgement entirely, but he postpones it to come to pass for a future generation. When Jonah complains about this God spends the last chapter of the book calling him a bloodthirsty idiot.
    • The designs of the various kinds of angels are amazing. Take the seraphim: They have six wings; two covering their face, two covering their feet, and two to fly. The cherubim, no connection to the cute baby angels you might knownote , have "four faces and four wings, with straight feet with a sole like the sole of a calf's foot, and "hands of a man" under their wings. Each had four faces: "The face of a man, the face of a lion on the right side, the face of an ox on the left side, and the face of an eagle." If you saw that in a manga, movie, comic book or something else like that, it'd be praised for its innovativeness.
    • The Massacre of the Innocents created the Nice Job Breaking It, Herod! trope. However, Herod himself dies while Jesus is still a child (The Bible provides no exact dates; according to modern scholarship, Jesus was born in 7 BC, while Herod died in 4 BC, at the age of 70) so he would never confront the grown-up Jesus anyway.
      • The Book of Exodus has a probable Ur-Example this trope, with an ironic twist. Pharaoh wants to kill the Hebrew boys. Ironically, his daughter ends up adopting a Hebrew boy, who really defeats the next Pharaoh.
    • The Gospel of Mark can be considered to be this in comparison to the other gospels of the New Testament, at least according to this essay. Of all four gospels, it is by far the most ambiguous concerning the nature of Jesus' feats, identity and resurrection, and it contains no references to his birth or childhood. It's also the oldest of the four gospels.
    • Jesus's parable of the Rich Man of Lazarus is an ancient Jacob Marley Warning. The rich man tormented in Hell requests Abraham (a stand-in for God) to send Lazarus to warn his living family. Abraham refuses to send any message to the living, since those who didn't follow the prophets, would not pay heed even if a man came Back from the Dead. This parable foreshadows Christ's later returns from the dead, to propagate his message.
    • The Antichrist is a concept introduced by The Bible; namely by the Epistles of John (not to be confused with the gospel of John). However, they do not describe Antichrist as a human or superhuman being, but as the Real Life collective of Christianity's opponents. In post-Apostolic theology, as well as modern popular culture, Antichrist has been equated by the Beast and Satan.
    • The Book of Revelation has inspired The End of the World as We Know It and most apocalyptic stories. However, the book of Revelation has a Happy Ending, in contrast to most of the imitators.
  • Classical Mythology:
    • The original Greek myths must seem like "grim 'n' gritty" reboots of romantic legends to college students who read them after encountering the "cleaned-up" versions as children. Zeus, for one, is no benevolent deity but a very self-centered and even sadistic god; Heracles, meanwhile, is a hot-tempered idiot and barely a hero at all.
    • Any attempt at making Hades seem a sympathetic or tragic character as opposed to the mythological equivalent of Satan in Greek lore might seem like an attempt to re-think a traditional character or push a Sympathy for the Devil theology. However, in original myths, Hades is often portrayed as a neutral and sometimes even benevolent side-character who only lashes out against "heroes" when they break the rules or betray him.
  • See Sadly Mythtaken for more.

    Professional Wrestling 
  • Suppose you saw a heel wrestler who wasn't all that muscular and put bobby pins in his bleached-blond hair and entered the arena to a neoclassical music score and had Chanel perfume sprayed all over his body before the match so it would disinfect any germs his opponent got on him. Wow, a Sissy Villain in wrestling! Sounds like a subversion of the big, macho, ugly Wrestling Monster, right? Well, it's Gorgeous George - the very first gimmick wrestler to become nationally popular, back in the late 1940s.
  • The poetry-spouting "Superstar" Billy Graham defied the Dumb Muscle stereotype as early as 1977, despite being one of the first major bodybuilders in wrestling. Suddenly Triple H's "blue-blood" gimmick from the mid-'90s doesn't seem so weird, does it?
  • The very first evening gown match between Sable and Luna Vachon had a different 'psychology' than the Cat Fight the rest would become known for. As it was a Distaff Counterpart to the Tuxedo Match, the gowns were torn off piece by piece - rather than in one go as in later matches.
  • The ideal WWE Diva is thought of as a Statuesque Stunner who's a slim blonde All American Face Plucky Girl. Likewise Trish Stratus is recognised as the Trope Codifier. While she ticks the blonde Plucky Girl parts, she's rather short, more of an Amazonian Beauty (as a former fitness model rather than glamour model) and Canadian to boot. The other tropes seem to come from Madusa who was the All American Face but not particularly glamorous and Sable who was a Statuesque Stunner but also a Faux Action Girl. What's notable is that none of those three were Ms. Fanservice inside the ring. While Sable and Trish were dressed sexily outside the ring, their actual gear was fairly modest.
  • Money In The Bank as a gimmick match is known for featuring a couple of wrestlers that everyone knows won't win the briefcase or get pushed as a serious title contender - but will provide some nice highspots in that kind of match. The first MITB match at WrestleMania 21 however is notable in that its only participants were guys who had either already held the title or been pushed as title contenders. Shelton Benjamin was the only mid-carder in the match and even he was enjoying a bit of a serious push as the Intercontinental Champion.

  • I'm Sorry I Haven't A Clue comes across a Deconstructive Parody of the comedy Panel Game format, with (implicitly) cheap production values, a voraceously sexual Lovely Assistant who never shows up, a panel lineup that's barely changed since 1972, players who don't even get points, games that range from Hurricane of Puns to excuses to force the panelists to sing (with one regular guest being genuinely tone-deaf) to pure Calvinball, impenetrable Running Gags and a host who loathes everyone and everything on the show and spends most of his/her time subjecting it all to the most withering snark imaginable. It even bills itself as 'the antidote to panel games'. It was actually one of the first comedy panel games to get big in the UK. Its original parodic target were the contemporary serious panel shows, and the original joke was that it used the format as a space for doing silly and rude things rather than witty and erudite ones. Nowadays, the panel show format is almost exclusively a comedy genre and the serious games have either got Denser and Wackier (Just a Minute) or just disappeared, changing the central joke to be a swipe at the format itself.

    Stand Up Comedy 
  • Steve Harvey, a pioneer of the White Dude, Black Dude routine, went to great lengths to show how the Black Dude was just as messed up and irrational as his white counterpart, as his antics were likely to have him end up in far worse shape than if he wasn't so focused on the 'Black' way of doing things.

    Tabletop Games 
  • Space Hulk, the 1989 board game spinoff of Warhammer 40,000, takes the time to deconstruct the Rule of Cool that would later come to define the series. The huge bulky Terminator Armor suits were originally designed for servicing plasma reactors, not military boarding actions, which you can imagine is a problem when the marines are trying to navigate claustrophobic service tunnels. The suits look awesome, sure, but that isn't doing squat against the Genestealers. What's more, the armor doesn't even work, and the Genestealers can tear right through it. It wasn't until later editions that a justification was thought up: most space hulks are filled with radiation far more lethal than the Genestealers, so the Terminator Armor is seen as a necessary handicap on the occasion it's used at all.
  • One of the earliest D&D settings, created by Gygax himself, is Greyhawk - a setting which spotlighted a lot of military conflicts and citystate-based realpolitik (think the Renaissance) in its background. One of its adventures, The City of Skulls, is kicked off when the good-aligned king recruits adventurers to go on a politically motivated rescue mission (the pregenerated PCs even have political ambitions and personal grudges as their motivations for accepting the mission).

  • Don Giovanni has an example of Playing Cyrano that predates Cyrano de Bergerac by a century. The example is pretty complicated, but what it boils down to is that Giovanni acts as Playing Cyrano to his servant, Leporello, and Donna Elvira. The only reason he does this, though, is so that he can get Elvira out of the way; he wants to seduce her chambermaid. What's more, Leporello doesn't even want Elvira; Giovanni is forcing him to seduce her. Might be worth noting that Rostand, the author of Cyrano, wrote a Fan Sequel to Moliere's Don Juan which has substantially the same plot. While this work was written several decades after Cyrano, it could have been in his mind when writing Cyrano.
  • George Bernard Shaw's Pygmalion is the Trope Maker for the Pygmalion Plot, but its view of Eliza's transformation is more cynical, and, unlike in the adaptations, she has no final reconciliation with Henry Higgins. Although Shaw remained as the writer for both the play and film versions, the 'happy' ending in the film is a case of Executive Meddling.
  • Karel Čapek's classic drama R.U.R. single-handedly coined the term "robot" and invented a lot of robot-related tropes in science fiction. The catch? If you've actually read the play, you know the robots are more like vat-grown Artificial Humans, not machines. The idea of robots being non-organic only appeared in some of the early stage productions of the play, and for some reason, the image stuck, even though it contradicted the original text. It also hit a lot of other robot tropes before they were tropes. Sapient beings created by assembly line? Check. Commentary on the dangers of science run amok? Check. Robots analogous to slaves? Check. Inevitable robot rebellion leading to the extinction of the human race? Probably the original Robot Apocalypse plot.
  • There is a play in which the rich, eccentric protagonist brings the plot to a screeching halt to address the real-life competition between the theater in which his show is playing, and the theater across the street. Beyond that, the play is suffused from beginning to end with theatrical metaphors, and one of the most famous sequences includes the characters onstage watching a play even as the audience is watching them. A radical new experiment in metatheater, playing now at your favorite off-Broadway location, and critiquing the excess of artificiality in contemporary theater? No – it's Hamlet, and it's been around a while.
    • Hamlet himself is one of the first instances of an Anti-Hero. An Anti-Hero who ends up getting dozens of people killed out of petty revenge, most of whom had absolutely nothing to do with the conspiracy he's taking revenge against. Indeed, Hamlet comes off as Lethally Stupid at times. Not to mention he's so obsessed with his vengeance that he ends up abusing/neglecting his girlfriend to the point of driving her over the Despair Event Horizon and into suicide.
  • The Bastard Bastard is one of the most familar tropes of Shakespearean-type stories. A story where the bastard is portrayed as sympathetic, justifying his evil by saying how society perceives him as evil and he is being treated as The Unfavourite? Sounds like a new idea? It was done in King Lear, with Edmund, the archetypal Bastard Bastard of fiction. Also Edmund shows he isn't entirely evil, as while dying he tries to do some good and save Cordelia.
  • Romeo and Juliet is often cited by the general public as one of the greatest love stories of all time, and is the Trope Codifier of Star-Crossed Lovers and Love at First Sight. What most people forget is that it ends with both Romeo and Juliet dead over a stupid, melodramatic mistake. A lot of innocent people also end up dead or traumatized because of their reckless behavior, including members of their own families. The two come off as a pair of hormone-addled teenage drama queens who act as if they're meant to be together forever, and they start acting this way after they've known each other for a grand total of five minutes. It also implies that the feud intensified their feelings by making them Forbidden Fruit, and that the kind of circumstances that lead to Star-Crossed Lovers tend to lead to things sucking for everyone. The Prince of Verona is completely fed up with the Montagues and Capulets, and he's the one who gets the actual last word of the play.
  • The Tempest
    • One notable scene between Gonzalo, Antonio and Sebastian is essentially a cynical deconstruction of Anarchism... written more than two centuries before it was a recognized philosophical system. While awed by the beauty of Prospero's island, Gonzalo waxes lyrical about the perfect self-governing utopia that he would build if he were allowed to stay there forever, before Antonio (the villain) points out that one can't force a whole population to conform to a "perfect" system unless one is willing to impose it on them by force—which contradicts the notion of a world with no authority figures.
    Gonzalo: In the commonwealth I would by contraries execute all things; for no kind of traffic would I admit; no name of magistrate; letters should not be known; riches, poverty, and use of service, none; contract, succession, bourn, bound of land, tilth, vineyard, none; no use of metal, corn, or wine, or oil; no occupation; all men idle, all; and women too, but innocent and pure; no sovereignty—
    Sebastian: Yet he would be king on it...
    Antonio: The latter end of his commonwealth forgets the beginning!

    Video Games 
  • The first Clock Tower on the SNES is credited as being the first Survival Horror game that made a lot of tropes for the genre, but it also gave the player even less to work with than most games under that label do. Jennifer is an ordinary girl who is way in over her head, and has no way to fight back against the horrors she encounters. The controls are also intentionally awkward and clunky to emphasize how little experience Jennifer has with combat, and the most you can do to escape a threat is to run and hide. The few times Jennifer actually does neutralize a threat, it's either due to sheer dumb luck, or because someone else already figured out how to do it. Finally, no matter what you do, it's impossible to save everyone, with almost all the characters being Doomed by Canon.
  • Mons started with Atlus' apocalyptic Shin Megami Tensei RPG series, 10 years before the trope codifier Pokémon even existed. In this case, your character and others recruit the services of demons, angels and gods. However, cosmic power in the hands of imperfect humans just ends up causing social collapse, mass murder and nuclear war. Furthermore, the battles aren't about a sports league, a criminal syndicate, or even Duels Decide Everything, but a struggle for survival and power in a ruined world, and the explicit goal of most games is the power to decide the fate of the world.
  • Those used to the later games in the series would be surprised to learn that Team Rocket in the original Pokémon games were a ruthless, fairly competent Mafia-like organization that are all but stated to have killed multiple Pokemon. It wasn't until later games that the series started going the The Family for the Whole Family route it's now famous for (and Team Rocket's later portrayal might also have been due to influence from the anime). Pokémon Origins comes off as heavily Darker and Edgier to those used to the newer games, but it's actually a fairly faithful adaptation of Pokémon Red and Blue.
  • Utsuge started with the 1999 visual novel Kanon. However, though the game puts you in a standard plotline of All-Loving Hero trying to fix a group troubled girls, nearly every route reveals that you were the original cause of the girl in question's problems.
  • Cloud wasn't the first stereotypical spiky-haired angsty JRPG hero, but he is most certainly the first one people think of. However, viewed backwards, Cloud in Final Fantasy VII is a deconstruction of that exact stereotype, in that while his serious issues are treated sympathetically, you are supposed to dislike him for his selfishness and shortsightedness, and his masculinity is constantly challenged by having him succeed in humiliating ways. His angst is frequently played for Black Comedy as well as for drama, and even his Anime Hair is criticized by the game. His quest to take down Sephiroth is alarmingly one-sided, to the point of a Stalker with a Crush-style obsession that even the other characters find disturbing. On top of all this, he's not even supposed to be The Hero; that guy (Zack) got killed, and now his sidekick (Cloud) is trying to take his place. He's literally role playing a hero to escape from his own terrible self-esteem and inability to talk to girls.
    • Cloud Strife is frequently viewed as the Trope Codifier of the angsty pretty-boy JRPG hero, but his dialogue is a lot less angsty in his game than many remember. If anything, Tifa or Sephiroth wear their neuroses on their sleeves much more openly than the protagonist.
    • Similarly, Cloud is credited with kicking off the tendency for JRPG leads to be amnesiac and/or phlebotinum rebels, but he actually reads like a deconstruction of how those tropes usually go down. His memories are screwed up, but when the truth comes out, rather than turning out to be some sort of plot-relevant badass, he was a mook before the plot went down. He got experimented on, but rather than nifty powers, he got insanity and the ability to be mind-controlled by the Big Bad.
  • The Karma Meter as it's understood today almost always gives players a choice to play as a Villain Protagonist, allowing or even encouraging players to Kick the Dog and do things For the Evulz willy-nilly without any real drawbacks, and as such they've often been perceived as overly shallow. However, Ultima IV, the first game to use a Karma Meter, used it to explore the consequences of the player's actions and the nature of right and wrong. Video Game Cruelty Punishment is ubiquitous, the game cannot be completed unless you max out all your virtues, the game's plot revolves around the journey to become a true hero, and the whole thing was plotted out as an experiment to see if a video game could encourage good moral values in players.
  • How about an RPG where the characters are unchosen anonymous schlubs (of any race, class, or gender), where Anyone Can Die and any death (even outside of combat) can risk a Final Death? And you do not have to fight every encounter you run into, as there are actually good monsters that do not mind your company? Where you may luck into some of the best equipment early, and some of said equipment (including the Infinity+1 Sword) can break at any time? And there are no useless spells in the game? And the Final Boss does not have thousands of HP but is really a Squishy Wizard not much stronger than (and as vulnerable as) an individual member of your party? (His minions may be trouble, though.) This game is Wizardry, one of the first RPGs ever written.
  • Planescape: Torment, released in 1999, featured an influence mechanic long before more mainstream role-playing games picked up on it. It also portrays such a mechanic as deeply screwed up, the result of a protagonist who bears a cursed seal, the Mark of Torment, which draws other tormented souls to him... and that's when he hasn't spent a lifetime manipulating them into following him.
  • Knights of the Old Republic II: The Sith Lords features a similar deconstruction of Magnetic Hero and Relationship Values, both of which predate better-known examples (the game was released in 2004).
  • Some of the original cast of Virtua Fighter, the first 3D fighting game, already broke the mold when the game was released. The resident Jeet Kun Do fighter, Jacky, was not a Bruce Lee Clone, but a blond American. The main character, Akira, a Japanese man in a Karate gi, did not practice karate or even another Japanese martial art, but a specific style of Chinese kung fu, Baji. On top of that, despite being the main character, he is by far the most difficult to play effectively, and is often a Mid Boss in the arcade modes.
  • Desert Bus viciously picks apart and deconstructs both the idea trying to make video games realistic and of taking video games so seriously long before either became trends; it predates games like Spec Ops: The Line. It points out how ignoring both Acceptable Breaks from Reality and the Necessary Weasel just makes a boring and miserable game that the player probably won't waste their time on it.
    • The idea of making video games realistic and taking video games so seriously actually had a reconstruction that is even older than the above described deconstruction in the form of the Flight Simulator genre (which includes games such as Microsoft Flight Simulator), which shows that Acceptable Breaks from Reality and the Necessary Weasel can be ignored easily if one manages to replicate an engaging real-life process. In this case it is the fact that there are plenty of factors that you have to take into account during the flight of the plane (weather conditions, altitude etc.) in order to use several buttons that all result in different effects as well as the fact that there needs to be near-perfect control of the plane during the different phases that the plane goes through (landing being a prime example of that) that make for an engaging experience.
  • Super Mario 64 was the Trope Maker for the Free Rotating Camera, but also had the Justification of it being an In-Universe Camera controlled by a Lakitu member of a news crew reporting on Mario's adventure. They were as much a character in the game as anyone else, serving as the narrator proving exposition on your progress through it. Rare now is the game where third-person perspective is anything more then a gameplay mechanic lacking In-Universe explanation.
  • In the The Legend of Zelda series, Americans Hate Tingle because he's an obnoxious greedy Man Child. This hatred stems primarily from his role in Wind Waker; he was hated a lot less in his debut game Majora's Mask because A) his obnoxious greedy Man Child behavior fits with the game's running theme of Surreal Horror, and B) Tingle's own father criticizes Tingle for being an obnoxious greedy Man Child.
  • The First-Person Shooter genre has plenty of Acceptable Breaks from Reality, such as Bottomless Magazines, Regenerating Health, Respawn on the Spot and an automatic Level-Map Display, regardless of setting. Imagine an FPS game made to deconstruct the genre; it would have a more realistic, historical setting without superpowers or superweapons. Ammo would probably be limited, and the player character would be nearly as easily killed as in Real Life, with the possibility of Game Over. In other words just like Wolfenstein 3D, released in 1992, which is the Trope Codifier for the First-Person Shooter genre, and the first mainstream title.
    • Its more popular successor Doom is also this trope, perhaps moreso. People who know old-school FPS only by reputation come in expecting balls-to-the-wall action, hoards of enemies, and Ludicrous Gibs. And while the game has its fair share of that, the overall experience is far more tactical. Ammo and health packs are limited, and your marine can't take much damage either. On the "Ultra-Violence" difficulty (hard mode; considered "proper" by fans and canon by the devs) you're constantly scrounging for suppliesnote , and it's very important to know which weapon is best in each situation. You need to take advantage of easy kills through sniping and infighting, and sometimes just running for it is the best strategy. When you do get in to a pitched battle, it's only half thrilling setpiece — the other half is a harrowing ordeal that ends with you barely alive and low on ammo. Secret areas and pickups can often feel mandatory to find, and instead of being in out-of-the-way dead-ends or little easter eggs they're mostly hidden inside false walls, many times with monsters. In many ways the game seems more like System Shock than its own imitators.
    • Duke Nukem 3D is remembered mainly for its crass humor, not so much for its creative level design and environments offering a then-unparalleled level of interactivity. It was one of the first FPS games to feel like it was taking place in a real place, rather than a set of rooms and corridors strung together for the player's benefit. And while Duke may be a repulsive character by today's standards, it's worth noting that he was the first FPS protagonist to have any characterization AT ALL.
  • SimCity is arguably the Trope Codifier for Construction And Management Games. However, much of the lasting appeal of the classic 1989 title, as well as the sequels, comes from the disaster scenarios, and the ability to unleash disasters upon a thriving city. Most later titles in the genre (at least not city-builders) play the concept straight, and neither have disasters, nor the humor of SimCity. SimCity is, literally and figuratively, a Genre Deconstruction made by the first widespread game of the genre.
  • The Civilization series got the ball rolling on the 4X genre: Explore, Expand, Exploit, Exterminate. It's that last one that's unbuilt. No matter how fun it might be, going to war in any of the Civ games is incredibly costly, and will almost certainly set back any of your other goals the longer you're in one. Going into war unprepared can even cause your empire to fall apart from bankruptcy or civil unrest, and that's assuming you win.
  • Railroad Tycoon, released in 1990, is the first Tycoon Game by name, and among the first successful business simulation games for the PC platform. While many Tycoon-titled games, as well as the Spiritual Successor Sid Meier's Railroads! are intended for a young audience, with cartoonish graphics, and a simplified economic model, the Railroad Tycoon series has a real-world setting with an elaborate economic system, and gave an early example of a Wide Open Sandbox.
  • The Call of Duty Modern Warfare sub-series has a reputation for being the trilogy that started the wave of Modern Military Shooters that acted as little more than jingoistic terrorist murder simulators, with heavy America Saves the Day overtones. It's often forgotten that the first game in the trilogy was actually a subversion of these sorts of games. America does not in fact, kill the main terrorist, and all their actions in the Middle Eastern area of the campaign ends in complete nuclear destruction. Not to mention that the game heavily implies that the Middle Eastern nation was a U.S. puppet state rich in oil, all of their missions are named after anti-war movies (with a tank being called "War Pig", after an anti-war song), and in the end, it's not the U.S., but the British SAS that manage to defeat the main bad guys. In addition, the game has the player complicit in many morally questionable actions (such as murdering enemies in their sleep and picking them off silently in an AC-130), and overall paints them in a rather dubious light. To the opposing side, the West seems like little more than imperialistic bullies who can only be brought down by nuclear weapons. Quite a far cry from the overly patriotic and nationalistic tone that the later Modern Warfare games have.
  • Halo is one of the first shooters on the Xbox console, and the Trope Maker for several first person shooter cliches,. However both the games and the expanded universe are far more serious then you'd expect from a Sci-Fi FPS. Many of the aliens you fight are not actually malicious, but rather trying to stay safe from the Prophets. Nearly every game has a Bittersweet Ending, with Master Chief losing his friends and allies. Halo: Reach even ends with almost the entire team dead, including you. The "good guys" are willing to kidnap children and forcefully make them Super Soldiers, and the psychological effects of warfare are addressed. Most victories come from lucky flukes (Like the Elites starting a rebellion against the Covenant). The Expanded Universe also shows that having a One-Man Army on your side is little consolation when your enemy can glass planets.

    Web Original 
  • Bob and George codified many of the tropes for Sprite Comics, but reading it now makes it read like a big deconstruction of the very tropes it so codified. The Author Avatar constantly gets abused, kidnapped or exploited for his control, and having him gone throws everything into chaos. The massive amounts of stupidity displayed by the cast makes them all but useless when a real threat shows up. The same characters' obsession with ice cream also leads them to making things worse when they would rather eat ice cream than stop Dr. Wily. Having No Fourth Wall means the characters constantly complain about being in a comic at all, insulting both the comic creator and its readership. Finally, the entire comic turns out to be a Shaggy Dog Story when it's revealed that Bob and George's mom set the whole comic up as a gigantic Gambit Roulette so that George would be willing to kill Bob if it came to that, both to scare Bob into not being such a Jerkass, and to toughen up George. The ending of the comic is also intentionally unsatisfying, with the characters all deciding to forget the whole thing and go to Acapulco.
  • Marble Hornets:
    • Many of the problems stem from how the protagonist lacks discretion and publicly broadcasts all his findings, actions, and plans online in a way that anyone and everyone can see what he's up to, including his (potential) enemies and allies. It would be considered a Deconstruction of the various web series in The Slender Man Mythos it wasn't the progenitor of them and is largely what the rest all follow.
    • With the use of the Ax-Crazy masked people stalking the protagonists and Totheark sending confusing and vaguely threatening video messages, it became popular in other web series to give the Slender Man proxies who acted in a similar manner. However, in Marble Hornets, it turns out the crazy masked people are not necessarily working for the Operator, whereas those whom take the closest thing to its proxies are more lucid.
    • The tendency for people in Slender Man stories to film everything is called out by another character when it's pointed out in-universe that the protagonist has no plan beyond "film everything and see what happens." Not only does this not really give them any answers, it ruins the lives of everyone around him over his insistence on doing it. Given what happens to the characters throughout the story, it's pretty hard to argue with that.
  • The Leeroy Jenkins trope is derived from the Leeroy Jenkins Video, which has gone memetic as a descriptor of players/characters who attack impulsively without thinking. However, while the eponymous individual does display that behavior in the original video, the video also shows his teammates as fitting the opposite extreme and being overly cautious and methodical in their planning. Further, the Total Party Kill which results is in part because they stuck to their original plan despite changed circumstances. The plan itself is also completely insane, and involves intentionally sabotaging themselves at every point (pulling all the enemies at once and disabling their own casters by misusing an ability are highlights). Even though the plans was doomed to fail from the very start, Leeroy Jenkins as a trope is still synonymous with wrecking plans by being reckless.
  • Whomp!: The comic that named the trope Klingon Scientists Get No Respect has him getting overpowered at the end, despite the trope usually being playing so the people are forced to realize that they should respect all their society's jobs, because they're all essential.
  • Nuzlocke Comics invented and popularized a certain Self-Imposed Challenge for Pokémon players, along with the tradition of writing a webcomic about their Trainer OC's adventure. Ruby, the writer for the original, lost his first challenge to Steven Stone, his Fire Red version challenge ended in a Pyrrhic Victory over Mewtwo, and his White version storyline has N actively murdering Ruby's Pokemon to blame it on him and his challenge.
  • A lot of the fictional reviewers that arose on the Internet were inspired by The Nostalgia Critic and The Angry Video Game Nerd. They tend to not notice that both reviewers are also massive deconstructions of the Caustic Critic trope. The Nerd is stuck in the past (the one time he reviewed a newer generation game, he was utterly bamboozled by it) and has major anger issues, while the Critic is a bitter jerk who's become a Caustic Critic largely because of his incredibly screwed up childhood which was plagued with parental abuse. Both are the Butt Monkey of their own show.
  • Zero Punctuation, meanwhile, is probably the Trope Codifier for caustic criticism on the Internet, especially in the video game community. But its causticness is almost always amped up to an absurd degree—even while implying that he actually liked the game in question—and Yahtzee frequently diverges into ranting about his own fans or himself, or rambling incoherently. The character comes off as more of an eloquent loon than a critical genius.
  • Most people know Ventrilo Harassment videos for uptight gamers getting irrationally upset over soundboards early on while later installments feature all but one person having a good time (or in a few rare cases, everyone's having a good time). However, the first one (with Duke Nukem soudclips) actually only Peggy gets upset, the others initially find it amusing.

    Western Animation 
  • Scooby-Doo:
    • Despite being the trope namer for Scooby-Dooby Doors, nearly every time that any iteration of Scooby-Doo used this gag, it deconstructed it or poked fun at it. The most common ways it did so were having the characters bump into the villain who was supposed to be chasing them, or having some other character pop out of nowhere, with the Scooby Gang wondering who they were.
    • The original show has several episodes that subvert, play with, or deconstruct the Scooby-Doo Hoax and other such clichés associated with the show. For example, one episode has the creepy Old Man Jenkins-type character not only turn out to be innocent of the hauntings, but aid the Gang in catching the villain by calling the police when he feared for their safety. Another has the Gang investigating a house with two ghosts; in the end, it turns out that the ghosts were two separate people not associated with each other, both using the same trick but completely unaware of the other's presence. Whereas one of said men was a typical crook, the other turned out to simply be a friendly man who was trying to keep thieves and vandals off his property until he could recover the fortune his grandfather left behind. "The Ghost of Mr Hyde" also played with the convenient clue-finding formula, with the real culprit planting obvious clues to frame a more suspicious-looking character.
  • Despite often being labeled as "cute and harmless", some of the classic movies from the Disney Animated Canon had several dark elements, such as Family-Unfriendly Violence, and nightmarish sequences. The first few movies of the canon, such as Snow White and the Seven Dwarfs, Pinocchio, and Bambi had pretty dark atmospheres and were more focused on drama than on comedy, being considerably more serious than most of the animated movies that came later. The Night on Bald Mountain segment from Fantasia was exactly the opposite of what could be normally expected from a Disney film, being darker and edgier than most of the animations produced in the same time. It even went so far as to unashamedly display female frontal nudity, something that not even the PG rated Disney films of the last few years would ever consider doing.
  • Disney's Silly Symphonies cartoons, which popularized the "cute animals in cute situations" trope that launched a thousand imitators in the 1930s, actually play out like a deconstruction of those types of shorts: characters end up in bizarre locations, there's a fair amount of fast-paced slapstick, there are fourth wall jokes that point out the ridiculousness of the situation... really, any of the shorts that aren't like this are usually experimental cartoons that are Played for Drama, like The Old Mill. Like any Follow the Leader scenario, the imitators copied only the base aesthetics of the shorts, and not the reasons why they were so popular in the first place. By the time the 1940s rolled around, and Silly Symphonies parodies became popular, all they were really doing was parodying the tropes that the imitators themselves used, and not necessarily the tropes of the series itself.
  • My Little Pony was just a sugar bowl of cutesy ponies until Lauren Faust got her hands on the franchise and created My Little Pony: Friendship Is Magic, right? Try the original My Little Pony TV Specials, where the ponies had to be brave and resourceful to deal with a monster centaur who transformed captured ponies into winged beasts to bring eternal night using the dark rainbow, and later a monstrous cat junkie who wanted to turn them into slaves to make her Fantastic Drug.
  • Watching The Simpsons episode, "Bart Gets an F", can be a bit of a shock for casual viewers that know Bart Simpson as a carefree hooligan with an authority problem. In that episode, Bart's poor academic performance almost leads him into an emotional breakdown when he's faced with the prospect of repeating the fourth grade, and it's suggested that his troublemaking ways are a façade that helps him cope with his massive insecurity (an idea that was further explored in many later episodes). The most shocking part? It was only the first episode of the show's second season, and it came out long before Bart's name became synonymous with "lovable troublemaker" in popular culture. (Of course, Bart's angst in this episode comes not so much from within himself as it does from the society around him; if his parents and teachers are disappointed in him, he will start to care.)
  • Batman: The Animated Series is often credited with bringing superhero cartoons out of the Animation Age Ghetto. But imagine a superhero cartoon that featured drama, citywide destruction, and the use of actual firearms, social commentary, and excellent animation years before the 90s? Then go back to the Fleischer Studios Superman, possibly the first major animated production of a superhero, made just a few years after Superman's comic debut.

Alternative Title(s):

Unconstructed Trope