An unbuilt trope is a work that ''seems'' like a {{deconstruction}} but is ''actually'' the {{Trope Maker|s}} itself, in many cases even the TropeCodifier that popularized the trope and often {{Misblamed}} for the current saturated use of the trope 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 [[Manga/AstroBoy 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 [[KickTheDog yell at the little boy for not growing up]]? Did... he just [[MoralEventHorizon sell his son into slavery]]!? [[GoshDangItToHeck 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 [[TropeMakers 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 [[TropeCodifier 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. It's like showing a chair to someone who doesn't know a thing about the concept and asking them to describe it; without understanding the primary characteristics of what makes a chair "a chair", they draw from all of their observations, like the material it's made of or its specific shape - the fact that it makes for a nice sitting apparatus may cross their minds, but only as one factor among many. The trope could have taken on its current form for many reasons: the imitators could have been part of the MisaimedFandom of the work they drew inspiration from; they may have consciously decided that the original was unsatisfying and thus needed to be LighterAndSofter or DarkerAndEdgier; later appearances of the trope may have [[TropeDecay decayed]] (or been {{Flanderiz|ation}}ed) 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 [[LostInImitation hacks come after]], only able to [[TheyCopiedItSoItSucks 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 ''Literature/TheLordOfTheRings'' was considered such, by some critics, when it first came out), and the later authors are the ones that constructed the mythos and the popular cliches. Alternatively, the deconstructed or {{parod|y}}ic 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. [[EdutainmentShow 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 OlderThanTheyThink or UrExample.

The reverse of SeinfeldIsUnfunny and DeadUnicornTrope. See AudienceColoringAdaptation and LostInImitation for the process of how an idea can gradually lose nuance with new incarnations. Sister trope of EarlyInstallmentWeirdness. Related to FunnyAneurysmMoment, HilariousInHindsight, and HarsherInHindsight, if it predicts a problem that won't be relevant until well after it's first shown. By definition, this kind of trope cannot have a work double as its UrExample[=/=]{{Trope Maker|s}} and TropeCodifier.

* UnbuiltTrope/AnimeAndManga
* UnbuiltTrope/ComicBooks
* [[UnbuiltTrope/LiveActionFilm Films Live-Action]]
* UnbuiltTrope/{{Literature}}
* UnbuiltTrope/LiveActionTV
* UnbuiltTrope/{{Music}}
* UnbuiltTrope/MythologyAndReligion
* UnbuiltTrope/VideoGames
* UnbuiltTrope/WesternAnimation


* Steve Harvey, a pioneer of the WhiteDudeBlackDude 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.

[[folder:Fairy tales]]
* Many old {{Fairy Tale}}s are subject to {{Grimmification}}, being deconstructed into DarkerAndEdgier stories. However, many of the tales that Creator/TheBrothersGrimm recorded were never meant to be kid-friendly. Some were horror stories, written by and for adults, or cautionary tales meant to [[ScareEmStraight scare children straight]]: For example, early versions of "Literature/LittleRedRidingHood" 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 "Literature/LittleRedRidingHood" 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.
* One of the older versions of ''Literature/SleepingBeauty'' had the prince rape the comatose woman. DarkerAndEdgier versions that take the nonconsensual kiss and turn it into a rape are less original than the author might think.
* The PrinceCharming in many fairytales is not actually that charming, when you take a closer look. Sometimes he is so stupid he goes against the heroines counsel and is thus tricked into forgetting her, is so easily influenced by his mother that he is willing to kill his wife because his mother says she committed a crime, and doesn't notice the servant girl forced the princess to change clothes with her and is about to marry him. Modern versions that try to deconstruct the trope by portraying the prince as ShelteredAristocrat may be closer to the original tales than adaptations that play the trope straight.

[[folder:Fan Works]]
* ''FanFic/ATrekkiesTale'' for its original MarySue character, the eponymous Mary Sue. If anything, she lacked most Mary Sue traits and was a ParodySue in a SelfInsertFic, despite being the {{Trope Namer|s}}. Makes sense given that this trope is OlderThanTheyThink.
* Innortal's original Loops in ''FanFic/TheInfiniteLoops'' can be seen as this. The loops is about characters getting [[GroundhogDayLoop 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 BlueAndOrangeMorality 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 {{Jerkass}}ess, a far cry from loopers that later joined in when the community formed.
* ''FanFic/UndocumentedFeatures'' today seems ridiculous, almost like an over the top parody of the MegaCrossover. An yet it was this story that made the MegaCrossover popular in fan fiction.
* ''FanFic/TheDracoTrilogy'' [[TropeCodifier codified]] and [[TropeNamers named]] the DracoInLeatherPants trope, in which a villainous or otherwise unlikeable character from canon is depicted in a more flattering light. However, unlike most later examples, the story actually gives focus to Draco's HeelFaceTurn, explaining why he's hanging out with the good guys.

[[folder:Films -- Animation]]
* Classic Disney movies are associated with PrinceCharming rescuing the PrincessClassic from distress. Yet the princes in ''Disney/SnowWhiteAndTheSevenDwarfs'' and ''Disney/{{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 didn't appear until the 16th movie of the Franchise/DisneyAnimatedCanon - Prince Philip [[note]]3rd of the princes associated with the official Disney princesses[[/note]] from ''Disney/SleepingBeauty'' (and even he would have failed miserably if he had not had help from supernatural beings).
* Additionally PrincessClassic 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 ''Disney/TheLittleMermaid'' make it feel almost like a {{Reconstruction}} of later Franchise/DisneyPrincess films that follow it. For one, the {{musical}} elements are purposely integrated into the story so as not to feel out of place: the heroine having a beautiful singing voice is actually a plot point rather than a stock character trait, and the elaborate musical numbers are fully justified by having Sebastian be a concert composer. For another thing, Eric is one of the [[PlayedStraight straightest]] examples of PrinceCharming in the Franchise/DisneyAnimatedCanon since ''Disney/SleepingBeauty'', only differing from previous princes in that he has more CharacterDevelopment. But ''The Little Mermaid'' was the film that '''started''' Disney's renaissance in the 1980s: it set the template for what became the "standard" Disney movie by being an elaborate Broadway-style musical (with the music being the primary storytelling method) rather than a simple fantasy story with a few musical numbers [[note]] Case in point: the VillainSong didn't really become a Disney tradition until Ursula's "Poor Unfortunate Souls", since most previous Disney movies didn't feel the need to give ''every'' major character their own song[[/note]], and it came out before later movies like ''Disney/{{Aladdin}}'' and ''Disney/BeautyAndTheBeast'' started purposefully subverting the PrinceCharming trope. So it reconstructed the Disney formula before anyone thought to deconstruct it.
* The first animated film to popularise AnachronismStew - ''{{Disney/Aladdin}}'' - had a justification for it that its numerous imitators ignore. The reason that TheGenieKnowsJackNicholson is because Genie has the power to look through time, which is why he makes a lot of contemporary pop culture references.
* ''Disney/SleepingBeauty'' is the first Disney movie to use TrueLovesKiss 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 [[EvilCannotComprehendGood 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 DeusExMachina it would often be used as.
* Despite often being labeled as [[TastesLikeDiabetes "cute and harmless"]], some of the classic movies from the Franchise/DisneyAnimatedCanon had several dark elements, such as FamilyUnfriendlyViolence, and nightmarish sequences. The first few movies of the canon, such as ''Disney/SnowWhiteAndTheSevenDwarfs'', ''Disney/{{Pinocchio}}'', and ''Disney/{{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 ''Disney/{{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.
** This is especially evident for ''Bambi'' which became the TropeCodifier for many [[TastesLikeDiabetes cutesy baby forest animal]] franchises, so much many forget the ominous tone of the film, particularly the latter half where Bambi is no longer an innocent fawn, but a badass buck that nearly perishes repeatedly against a storm of rivals, hunting threats and natural disasters. There are also at least two deaths in the film, neither of which are a DisneyVillainDeath. It is telling that [[Disney/BambiII the midquel]] [[SequelGap released over half a century later]] is LighterAndSofter with more cute banter, though even then follows the unexpectedly dark construction of the original far more than nearly any of the film's copycats did within that time.
* In a way, ''Disney/{{Fantasia}}'' provides the UrExample of ConspicuousCG. The snowflakes at the very end of the "Nutcracker" segment were actually filmed in live-action with the animated sprites composited on top of them, evoking the same kind of jarring contrast as in this trope.

* The Trollface.jpg has been used countless times across the Web to illustrate the act of, well, {{troll}}ing. 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 little more than a minor annoyance. It also implies that most "trolls" are just people [[ParodyRetcon retroactively claiming they were trolling]] after other people criticize their opinions for being utter nonsense, totally bogted, and/or just plain idiotic. 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 Creator/AynRand-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).
** Economic theories' principal ideas are explored first in literature before being codified: ''The Wealth of Nations'' (published in 1776) codifies [[CripplingOverspecialization Division of Labour]], [[MundaneUtility RealPrice]], and [[ConspicuousConsumption Nominal Price]]. [[WorthlessYellowRocks Coinage]] was first explored in ''Literature/RobinsonCrusoe'', published in 1709. The idea of every human activity (including art) being [[OnlyInItForTheMoney dependent on its economic value]] was first exposed by ''Literature/LePereGoriot'', published in 1819, before The Communist Manifesto (published in 1848) was published by Creator/KarlMarx.
* The first well-recognized discussion of TheSingularity (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 "[[AGodAmI becoming God]]".
* TheSpartanWay, when an army uses a [[TrainingFromHell horrifically brutal training regime]], sometimes recruiting from young teens, to create the ultimate BadassArmy. 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 SlaveRace into complacency, so they couldn't operate very far from home. Since their system only produced {{elites|AreMoreGlamorous}}, 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 ProudWarriorRaceGuy 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.
* Grant Wood's 1930 painting ''American Gothic'' was the trope maker of The AmericanGothicCouple. Contemporary and later audiences have seen it as a caricature of American countryside conservatism ({{Eagleland}}). Wood however intended the painting to be an earnest tribute to the simple countryside life, and a realistic reconstruction of UsefulNotes/TheAmericanDream.
* Somebody who thinks that celebrity tabloids are nothing but vapid, pointless gossip would likely be shocked if they were to read old issues of ''[[ Confidential]]'', the magazine that invented the modern celebrity tabloid in TheFifties. It was as gossipy as any of its heirs, but its reporting on celebrity misdeeds was meant to serve a point: namely, to whip up outrage and moral indignation about the [[HorribleHollywood "corruption" in Hollywood]] through muckraking journalism of a sort that they felt the rest of the press was too afraid to touch. In particular, it was a driver of UsefulNotes/TheHollywoodBlacklist, with editor Howard Rushmore (who had previously been a director of research for Senator Joe [=McCarthy=] himself) seeking to destroy alleged communists and fellow travelers in Hollywood by smearing them as sexual deviants. For all the stereotypes of the tabloids being major players in the HollywoodHypeMachine, they were originally a reactionary effort to demolish that system.

[[folder:Pro 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 SissyVillain in wrestling! Sounds like a subversion of the big, macho, ugly WrestlingMonster, right? Well, it's [[Wrestling/GeorgeWagner Gorgeous George]] - the very first gimmick wrestler to become nationally popular, back in the late 1940s.
* The poetry-spouting Wrestling/SuperstarBillyGraham defied the DumbMuscle stereotype as early as 1977, despite being one of the first major bodybuilders in wrestling. Suddenly Wrestling/TripleH's "blue-blood" gimmick from the mid-'90s doesn't seem so weird, does it?
* The very first evening gown match between {{Wrestling/Sable}} and Wrestling/LunaVachon had a different 'psychology' than the CatFight the rest would become known for. As it was a DistaffCounterpart 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 StatuesqueStunner who's a slim blonde AllAmericanFace PluckyGirl. Likewise Wrestling/TrishStratus is recognised as the TropeCodifier. While she ticks the blonde PluckyGirl parts, she's rather short, more of an AmazonianBeauty (as a former fitness model rather than glamour model) and Canadian to boot. The other tropes seem to come from {{Wrestling/Madusa}} who was the AllAmericanFace but not particularly glamorous and {{Wrestling/Sable}} who was a StatuesqueStunner but also a FauxActionGirl. What's notable is that none of those three were MsFanservice inside the ring. While Sable and Trish were dressed sexily ''outside'' the ring, their actual gear was fairly modest.
* Wrestling/MoneyInTheBank 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.

* ''Radio/ImSorryIHaventAClue'' comes across a DeconstructiveParody of the comedy PanelGame format, with ([[TakeOurWordForIt implicitly]]) cheap production values, a [[AnythingThatMoves voraciously sexual]] LovelyAssistant who never shows up, a panel lineup that's barely changed since 1972, players who don't even [[ThePointsMeanNothing get points]], games that range from HurricaneOfPuns to excuses to force the panelists to sing (with one regular guest being genuinely tone-deaf) to pure {{Calvinball}}, impenetrable {{Running Gag}}s 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 DenserAndWackier (''Radio/JustAMinute'') or just disappeared, changing the central joke to be a swipe at the format itself.

[[folder:Tabletop Games]]
* Despite being the {{Trope Namer|s}} of GetOutOfJailFreeCard, ''TabletopGame/{{Monopoly}}'' jail is a CardboardPrison that only requires you to roll doubles, pay $50, or use said card to get out. Furthermore, since people in jail can [[LuxuryPrisonSuite still collect rent and trade properties without fear of paying rent to others]], staying in jail as long as possible is a good late-game strategy. In fact, players are required to ''leave jail'' after three turns whether they want to or not, whether by rolling doubles, paying the $50 bail, or playing the card. (A common {{House Rule|s}} is to disallow a player in jail collecting rent.)
* ''TabletopGame/SpaceHulk'', the 1989 board game spinoff of ''TabletopGame/{{Warhammer 40000}}'', takes the time to deconstruct the RuleOfCool that would later come to define the series. The huge bulky [[PoweredArmor 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 [[ArmorIsUseless 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 [[TabletopGame/DungeonsAndDragons D&D]] settings, created by Gary Gygax himself, is ''TabletopGame/{{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 [[PlayerCharacter PCs]] even have political ambitions and personal grudges as their motivations for accepting the mission).
** Early ''D&D'' has a lot of this going on, due to its true roots being in pulpy sword-and-sorcery rather than the Tolkien-esque aesthetic that many people ascribed to it. Motivations were often nakedly mercenary, characters were expected to assume meaningful responsibilities as they grew stronger, combat was grungy and lethal, and many dungeons were designed with thoughtful solutions in mind. Some of the first player characters created were Mordenkainen and Robilar, a WellIntentionedExtremist and a BloodKnight, respectively. And for all its role in codifying MedievalStasis, the aforementioned Greyhawk featured both a crashed alien spaceship and an order of paladins wielding guns.

* ''Theatre/{{Lysistrata}}'' created and named the LysistrataGambit. The play was however written as a farce; the point was to ridicule the idea of women in politics. A modern audience might however read the feminist interpretation as SeriousBusiness. Also while many depictions of this portray it as easy for the women, due to the idea AllMenArePerverts and AllWomenArePrudes, the women in Lysistrata find it just as difficult as the men and when Lysistrata first suggests the idea are horrified. The play also shows that the sex strike on its own isn't enough to stop the war; the women also seize the treasury to prevent the war from progressing, the idea being that the war is being prolonged by corrupt politicians so they have opportunities to enrich themselves. The sex strike helps but there are other factors.
* ''Theatre/DonGiovanni'' has an example of PlayingCyrano that predates ''Theatre/CyranoDeBergerac'' by a century. The example is pretty complicated, but what it boils down to is that Giovanni acts as PlayingCyrano 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 FanSequel 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''.
** Also, the trope PlayingCyrano is LostInImitation: always ASimplePlan that inevitably crashes because WhoWouldBeStupidEnough to fall for it? The TropeCodifier is the only work that really explores that question: the ruse works DespiteThePlan for more than a decade, setting Cyrano and Roxanne to a sad, unfulfilled life. This is because Cyrano [[InternalizedCategorism is so ugly he cannot conceive Roxanne could love him]], Roxanne is a [[FanDumb monomaniacal fan]] of beauty that cannot think the fair Christian could be the BrainlessBeauty, and Christian, literally the OnlySaneMan in this LoveTriangle, [[TheHeroDies dies before he can save his best friends from their own hypocrisy]].
* Creator/GeorgeBernardShaw's ''Theatre/{{Pygmalion}}'' is the {{Trope Maker|s}} for the PygmalionPlot, but its view of Eliza's transformation is more cynical, and, [[LostInImitation 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 ExecutiveMeddling.
* Karel Čapek's classic drama ''Theatre/{{RUR}}'' [[TropeNamers single-handedly coined the term "robot"]] and [[TropeMakers 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 Human}}s, 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, [[LostInImitation 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 [[TurnedAgainstTheirMasters 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 ''Theatre/{{Hamlet}}'', and [[JustForFun/TheZerothLawOfTropeExamples it's been around a while]].
** Hamlet himself is one of the first instances of an AntiHero. 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 LethallyStupid 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 DespairEventHorizon and into suicide.
* The BastardBastard is one of the most familiar tropes of Shakespearean-type stories. A story where the bastard is portrayed as sympathetic, justifying his evil by saying how [[FreudianExcuse society perceives him as evil]] and he is being treated as TheUnfavourite? Sounds like a new idea? It was done in ''Theatre/KingLear'', with Edmund, the archetypal BastardBastard of fiction. Also Edmund shows he isn't entirely evil, as while dying he tries to do some good and save Cordelia.
* ''Theatre/RomeoAndJuliet'' is the TropeCodifier for StarCrossedLovers, but the play also works as a GenreDeconstruction of the more upbeat typical CommediaDellArte plot. So the ZanyScheme doesn't work out, and five young people come to die. The survivors get at best a BittersweetEnding, as the sudden deaths of their beloved children can finally make the two families lay their stupid feud to rest.
* ''Theatre/TheTempest'':
** 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 [[JerkassHasAPoint 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:''' [[FullCircleRevolution The latter end of his commonwealth forgets the beginning!]]
** With his reverence for nature, Gonzalo's aforementioned utopian speech almost sounds like something out of Creator/HenryDavidThoreau... but it's delivered by a drunken AbsentMindedProfessor who's unaware that [[DramaticIrony his "utopian" island is actually home to a temperamental sorcerer whose rules it with an iron fist]]. And said speech comes in a play where ''the very first words spoken onstage'' are a dialogue about how humankind will always be vulnerable to nature's fury, delivered by a crew of frazzled sailors as they weather a storm.
* ''Theatre/{{Macbeth}}'': LadyMacbeth defined the trope for women who drive their less ambitious husbands to villainy, but the {{Trope Namer|s}} is quickly driven mad by her guilt, and the pressure of intrigue.
* AncientGreece probably started BreakingTheFourthWall before they ''invented'' the FourthWall.
* ''Theatre/{{Pagliacci}}'' concludes with a MonsterClown stabbing people to death in front of a live audience, but the reason the drama is so effective is precisely because the trope is unbuilt and ''nobody'' expects a clown to be scary, let alone murder anyone. In fact, Canio (the clown) is trying to play a NonIronicClown, while he is actually a SadClown but TheShowMustGoOn. He's not a psychopath or a monster, just a guy trying to bring a little laughter into people's hearts on the stage who finally snaps when his wife turns against him.
* Creator/NoelCoward is famous for his light comedies of manners set in upper class drawing rooms where warring couples spend the play hurling witty comments at each other. So a play in which the couple are both deeply damaged individuals in which the man is concealing a drug addiction and possibly repressed homosexuality while the woman is indulging in a stream of meaningless love affairs with much younger men...oh and the couple are not lovers but mother and son (for extra Freudian undertones). Sounds like a DarkerAndEdgier deconstruction of Coward's plays, right? The play is the actually The Vortex and was one of Noel Cowards earliest plays, written well before the drawing room comedies with which he made his name.


[[folder:Web Original]]
* ''Webcomic/BobAndGeorge'' [[TropeCodifier codified]] many of the tropes for {{Sprite Comic}}s, but reading it now makes it read like a big deconstruction of the very tropes it so codified. The AuthorAvatar 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 [[KnightOfCerebus a real threat shows up]]. The same characters' obsession with [[TrademarkFavoriteFood ice cream]] also leads them to making things worse when they would rather eat ice cream than stop Dr. Wily. Having NoFourthWall means the characters constantly complain about being in a comic at all, insulting both the comic creator and its readership. Finally, [[spoiler:the entire comic turns out to be a ShaggyDogStory when it's revealed that Bob and George's mom set the whole comic up as a gigantic GambitRoulette 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 [[ARealManIsAKiller toughen up George]]]]. The ending of the comic is also intentionally unsatisfying, [[spoiler:with the characters all deciding to [[ScrewThisImOuttaHere forget the whole thing]] and go to Acapulco]].
* ''WebVideo/MarbleHornets'':
** 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 Franchise/TheSlenderManMythos it wasn't the progenitor of them and is largely [[FollowTheLeader what the rest all follow]].
** With the use of the AxCrazy 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'', [[spoiler: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, [[StrawmanHasAPoint it's pretty hard to argue with that.]]
* The LeeroyJenkins trope is derived from the ''Machinima/LeeroyJenkinsVideo'', 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 TotalPartyKill 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 that ''kills the healers using it'' are highlights). Even though the plans was doomed to fail from the very start, LeeroyJenkins as a trope is still synonymous with wrecking plans by being reckless.
* ''Webcomic/NuzlockeComics'' invented and popularized a certain SelfImposedChallenge for ''Franchise/{{Pokemon}}'' 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 PyrrhicVictory over Mewtwo, and his White version storyline has N actively murdering Ruby's Pokemon to [[WhatTheHellHero blame it on him and his challenge]].
* A lot of the fictional reviewers that arose on the Internet were inspired by WebVideo/TheNostalgiaCritic and WebVideo/TheAngryVideoGameNerd. They tend to not notice that both reviewers are also massive deconstructions of the CausticCritic 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 ButtMonkey of their own show.
* ''WebAnimation/ZeroPunctuation'', meanwhile, is probably the TropeCodifier for caustic criticism on the Internet, especially in the video game community. But its causticness is almost always [[AccentuateTheNegative 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 [[SelfDeprecation 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 featuring 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, in the first one (with VideoGame/DukeNukem soundclips) only Peggy gets upset; the others find it amusing until she starts screaming her head off.
* ''WebVideo/DesertBusForHope'' is essentially a parody of [[{{Telethon}} video-gaming marathons for charity]] that started years before any normal ones, like [[WebVideo/AwesomeGamesDoneQuick AGDQ]], existed. The only "game" they play is a ridiculously boring bus-driving simulator--ostensibly, viewers donate to [[ComedicSociopathy torment the hosts by making them play it longer]], but the actual attractions are the sketch comedy, nerd-celebrity guests, and prize giveaways.
* ''Franchise/TwitchPlaysPokemon'' had a good chunk of the lore written for ''[[LetsPlay/TwitchPlaysPokemonRed Red]]'' focus on aspects of the series that would later be taken for granted by its characters. The protagonist was often seen as either a loon or a remote-controlled {{Ridiculously Human Robot|s}}, the [[HearingVoices voices in his head]] were very much a ''bad'' influence rather than a fun companion, centering the blame for most mishaps on [[TheScapegoat someone who happened to be there]] was shown to hurt the poor 'mon they inflicted it on, and it was said that the moment Red returned home he collapsed from lack of sleep. His appearance in ''[[LetsPlay/TwitchPlaysPokemonCrystal Crystal]]'' was split between isolating himself from Kanto since he was paranoid it would happen to him again, trying to fight AJ on the grounds that the voices in their heads would leave if he won, and foregoing all of it to have a friendly competition with someone for once instead of being forced to do it.