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Seinfeld
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* {{Seinfeld}} deconstructed the {{Sitcom}}, breaking with many conventions of the genre, though the LaughTrack remains. Self-described as a series about nothing; neither a DomCom, KidCom or WorkCom. The title character exists in RealLife, and there is barely any continuous plot. [[FollowTheLeader Many others have followed.]]
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** ''TheBachelor and other dating shows deconstruct the RomanceNovel.
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** ''TheBachelor ''TheBachelor'' and other dating shows deconstruct the RomanceNovel.
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* Series/TheColony is a ZombieApocalpyse (or some other viral apocalypse scenario) with the zombies cut out.
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** {{Series/Survivor}} deconstructs the {{Robinsonade}}.
** TheBachelor and other dating shows deconstruct the RomanceNovel.
** TheMakeover in reality shows is a deconstruction of the ComingOfAgeStory.
** Series/TheColony is a ZombieApocalpyse (or some other viral apocalypse scenario) with the zombies cut out.
** TheBachelor and other dating shows deconstruct the RomanceNovel.
** TheMakeover in reality shows is a deconstruction of the ComingOfAgeStory.
** Series/TheColony is a ZombieApocalpyse (or some other viral apocalypse scenario) with the zombies cut out.
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** {{Series/Survivor}} ''{{Series/Survivor}}'' deconstructs the {{Robinsonade}}.
**TheBachelor ''TheBachelor and other dating shows deconstruct the RomanceNovel.
**TheMakeover ''TheMakeover'' in reality shows is a deconstruction of the ComingOfAgeStory.
** * Series/TheColony is a ZombieApocalpyse (or some other viral apocalypse scenario) with the zombies cut out.
**
**
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* ''Series/{{Firefly}}'''s primary ''raison d'etre'' is to deconstruct the SpaceOpera genre. For example, the series opens with an epic battle in which The Alliance soundly defeats the [[RagtagBunchOfMisfits Independent Worlds]]; TheCaptain's epic romance never even gets off the ground due to the personality clashes between him and his love interest, and the RaygunGothic setting is rendered completely moot by the fact that the protagonists are too broke to afford any of the cool technology, and most of that stuff is unreliable anyway. And our heroes survive in this world by stealing, running away and generally being [[CombatPragmatist combat pragmatists]]. The CoolStarship they live in is constantly breaking down, and needs proper maintenance which they cannot afford. One of the early defining moments of the series was when they're about to [TheFarmerAndTheViper let a captured enemy go]] and he gives them a "TheLastThingYouEverSee" speech. So they kick him into a jet intake. It also deconstructs the ActionGirl, WaifFu, and SuperSoldier concepts with River, showing just how utterly and completely insane, emotionally-damaged, and traumatized a girl with those capabilities would be.
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* ''Series/{{Firefly}}'''s primary ''raison d'etre'' is to deconstruct the SpaceOpera genre. For example, the series opens with an epic battle in which The Alliance soundly defeats the [[RagtagBunchOfMisfits Independent Worlds]]; TheCaptain's epic romance never even gets off the ground due to the personality clashes between him and his love interest, and the RaygunGothic setting is rendered completely moot by the fact that the protagonists are too broke to afford any of the cool technology, and most of that stuff is unreliable anyway. And our heroes survive in this world by stealing, running away and generally being [[CombatPragmatist combat pragmatists]]. The CoolStarship they live in is constantly breaking down, and needs proper maintenance which they cannot afford. One of the early defining moments of the series was when they're about to [TheFarmerAndTheViper [[TheFarmerAndTheViper let a captured enemy go]] and he gives them a "TheLastThingYouEverSee" speech. So they kick him into a jet intake. It also deconstructs the ActionGirl, WaifFu, and SuperSoldier concepts with River, showing just how utterly and completely insane, emotionally-damaged, and traumatized a girl with those capabilities would be.
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* ''Series/{{Firefly}}'''s primary ''raison d'etre'' is to deconstruct the SpaceOpera genre. For example, the series opens with an epic battle in which The Alliance soundly defeats the [[RagtagBunchOfMisfits Independent Worlds]]; TheCaptain's epic romance never even gets off the ground due to the personality clashes between him and his love interest, and the RaygunGothic setting is rendered completely moot by the fact that the protagonists are too broke to afford any of the cool technology, and most of that stuff is unreliable anyway. And our heroes survive in this world by stealing, running away and generally being [[CombatPragmatist combat pragmatists]]. The CoolStarship they live in is constantly breaking down, and needs proper maintenance which they cannot afford. One of the early defining moments of the series was when they're about to let a captured enemy go and he gives them a "TheLastThingYouEverSee" speech. So they kick him into a jet intake. It also deconstructs the ActionGirl, WaifFu, and SuperSoldier concepts with River, showing just how utterly and completely insane, emotionally-damaged, and traumatized a girl with those capabilities would be.
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* ''Series/{{Firefly}}'''s primary ''raison d'etre'' is to deconstruct the SpaceOpera genre. For example, the series opens with an epic battle in which The Alliance soundly defeats the [[RagtagBunchOfMisfits Independent Worlds]]; TheCaptain's epic romance never even gets off the ground due to the personality clashes between him and his love interest, and the RaygunGothic setting is rendered completely moot by the fact that the protagonists are too broke to afford any of the cool technology, and most of that stuff is unreliable anyway. And our heroes survive in this world by stealing, running away and generally being [[CombatPragmatist combat pragmatists]]. The CoolStarship they live in is constantly breaking down, and needs proper maintenance which they cannot afford. One of the early defining moments of the series was when they're about to [TheFarmerAndTheViper let a captured enemy go go]] and he gives them a "TheLastThingYouEverSee" speech. So they kick him into a jet intake. It also deconstructs the ActionGirl, WaifFu, and SuperSoldier concepts with River, showing just how utterly and completely insane, emotionally-damaged, and traumatized a girl with those capabilities would be.
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* ''Series/{{Firefly}}'''s primary ''raison d'etre'' is to deconstruct the SpaceOpera genre. For example, the series opens with an epic battle in which The Alliance soundly defeats the [[RagtagBunchOfMisfits Independent Worlds]]; TheCaptain's epic romance never even gets off the ground due to the personality clashes between him and his love interest, and the RaygunGothic setting is rendered completely moot by the fact that the protagonists are too broke to afford any of the cool technology, and most of that stuff is unreliable anyway. And our heroes survive in this world by stealing, running away and generally being [[CombatPragmatist combat pragmatists]]. One of the early defining moments of the series was when they're about to let a captured enemy go and he gives them a "TheLastThingYouEverSee" speech. So they kick him into a jet intake. It also deconstructs the ActionGirl, WaifFu, and SuperSoldier concepts with River, showing just how utterly and completely insane, emotionally-damaged, and traumatized a girl with those capabilities would be.
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* ''Series/{{Firefly}}'''s primary ''raison d'etre'' is to deconstruct the SpaceOpera genre. For example, the series opens with an epic battle in which The Alliance soundly defeats the [[RagtagBunchOfMisfits Independent Worlds]]; TheCaptain's epic romance never even gets off the ground due to the personality clashes between him and his love interest, and the RaygunGothic setting is rendered completely moot by the fact that the protagonists are too broke to afford any of the cool technology, and most of that stuff is unreliable anyway. And our heroes survive in this world by stealing, running away and generally being [[CombatPragmatist combat pragmatists]]. The CoolStarship they live in is constantly breaking down, and needs proper maintenance which they cannot afford. One of the early defining moments of the series was when they're about to let a captured enemy go and he gives them a "TheLastThingYouEverSee" speech. So they kick him into a jet intake. It also deconstructs the ActionGirl, WaifFu, and SuperSoldier concepts with River, showing just how utterly and completely insane, emotionally-damaged, and traumatized a girl with those capabilities would be.
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* The made for TV movie ''Film:MenDontTell'' can be seen as the deconstruction on the DomesticAbuse genre. Rather than the man abusing the woman, it's the woman abusing the man. What's worse is that everyone viewed him as the abuser and is even arrested.
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* The made for TV movie ''Film:MenDontTell'' ''Film/MenDontTell'' can be seen as the deconstruction on the DomesticAbuse genre. Rather than the man abusing the woman, it's the woman abusing the man. What's worse is that everyone viewed him as the abuser and is even arrested.
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* The made for TV movie ''Film:MenDontTell'' can be seen as the deconstruction on the DomesticAbuse genre. Rather than the man abusing the woman, it's the woman abusing the man. What's worse is that everyone viewed him as the abuser and is even arrested.
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*** In the two-part episode "The Maquis", Sisko himself deconstructs the RousseauWasRight attitudes that had become commonplace in Starfleet--and ''Star Trek'' as a whole--by the time of the "NextGen" era, with his "It's easy to be a saint in Paradise" speech. As the show writers often noted, this speech, more than anything else, determined the direction for the rest of the show.
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*** In the two-part episode "The Maquis", Sisko himself deconstructs the RousseauWasRight attitudes that had become commonplace in Starfleet--and ''Star Trek'' as a whole--by the time of the "NextGen" "Next-Gen" era, with his "It's easy to be a saint in Paradise" speech. As the show writers often noted, this speech, more than anything else, determined the direction for the rest of the show.
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*** In the two-part episode "The Maquis", Sisko himself deconstructs the RousseauWasRight attitudes that had become commonplace in Starfleet--and ''Star Trek'' as a whole--with his "It's easy to be a saint in Paradise" speech. As the show writers often noted, this speech, more than anything else, determined the direction for the rest of the show.
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*** In the two-part episode "The Maquis", Sisko himself deconstructs the RousseauWasRight attitudes that had become commonplace in Starfleet--and ''Star Trek'' as a whole--with whole--by the time of the "NextGen" era, with his "It's easy to be a saint in Paradise" speech. As the show writers often noted, this speech, more than anything else, determined the direction for the rest of the show.
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** Specifically, ''Deep Space Nine'' is legendary for taking away from its protagonists all the "cushions" of ''[[Series/StarTrekTheOriginalSeries The Original Series]]'' and [[Series/StarTrekTheNextGeneration The Next Generation]]'' that come with "The starship and crew encounter people, interact with them, have a conflict, resolve it by causing some kind of change in said people--and then warp off to have another adventure". Specifically, by securing the protagonists in a fixed location (a space station, as opposed to a ship), they now have to deal with the ''consequences'' of whatever changes they have a part in creating--and eventually the consequences ''of'' those consequences. Unlike in the previous two shows, Sisko and company are forced to live with what their actions bring about--and find themselves having to weigh their options accordingly.
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** Specifically, ''Deep Space Nine'' is legendary for taking away from its protagonists all the "cushions" of ''[[Series/StarTrekTheOriginalSeries The Original Series]]'' and [[Series/StarTrekTheNextGeneration ''[[Series/StarTrekTheNextGeneration The Next Generation]]'' that come with "The starship and crew encounter people, interact with them, have a conflict, resolve it by causing some kind of change in said people--and then warp off to have another adventure". Specifically, by securing the protagonists in a fixed location (a space station, as opposed to a ship), they now have to deal with the ''consequences'' of whatever changes they have a part in creating--and eventually the consequences ''of'' those consequences. Unlike in the previous two shows, Sisko and company are forced to live with what their actions bring about--and find themselves having to weigh their options accordingly.
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** Specifically, ''Deep Space Nine'' is legendary for taking away from its protagonists all the "cushions" of ''[[Series/StarTrekTheOriginalSeries The Original Series]]'' and [[Series/StarTrekTheNextGeneration The Next Generation]]'' that come with "The starship and crew encounter people, interact with them, have a conflict, resolve it by causing some kind of change in said people--and then warp off to have another adventure". Specifically, by securing the protagonists in a fixed location (a space station, as opposed to a ship), they now have to deal with the ''consequences'' of whatever changes they have a part in creating--and eventually the consequences ''of'' those consequences. Unlike in the previous two shows, Sisko and company are forced to live with what their actions bring about--and find themselves having to weigh their options accordingly.
*** In the two-part episode "The Maquis", Sisko himself deconstructs the RousseauWasRight attitudes that had become commonplace in Starfleet--and ''Star Trek'' as a whole--with his "It's easy to be a saint in Paradise" speech. As the show writers often noted, this speech, more than anything else, determined the direction for the rest of the show.
*** In the two-part episode "The Maquis", Sisko himself deconstructs the RousseauWasRight attitudes that had become commonplace in Starfleet--and ''Star Trek'' as a whole--with his "It's easy to be a saint in Paradise" speech. As the show writers often noted, this speech, more than anything else, determined the direction for the rest of the show.
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** ''Series/KamenRiderRyuki'' was the first time (ignoring the mostly forgotten ''Film/ShinKamenRiderPrologue'') ''Kamen Rider'' actually took a massively different direction. In the past, Riders (and there are generally few) were either straight heroes or anti heroes who would ultimately fight for the greater good, the villains were CardCarryingVillains part of a bigger organization, and the monsters were created by the villains and never played a substantial role. ''Ryuki'' changes all that; it has a total of ''13'' Riders, with only ''two'' of them unambiguously good, with all the Riders being forced to fight each other or be killed by their Contract Monster, which is nothing more than a special MonsterOfTheWeek. The BigBad works on his own and is revealed at the very end to be a tragic anti villain who only wants to protect his sister. And as for the eleven Riders who aren't straightforward heroes, while one is the classic ''Kamen Rider'' anti hero, the others vary from {{Well Intentioned Extremist}}s to irredeemable sociopaths, with one of them being the codifier for evil Riders. The franchise picked up with these changes and added some more to later series, culminating in a deconstruction of ''Ryuki'' itself in ''Gaim.''
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** ''Series/KamenRiderRyuki'' was the first time (ignoring the mostly forgotten ''Film/ShinKamenRiderPrologue'') ''Kamen Rider'' actually took a massively different direction. In the past, Riders (and there are generally few) were either straight heroes or anti heroes who would ultimately fight for the greater good, the villains were CardCarryingVillains {{Card Carrying Villain}}s part of a bigger organization, and the monsters were created by the villains and never played a substantial role. ''Ryuki'' changes all that; it has a total of ''13'' Riders, with only ''two'' of them unambiguously good, with all the Riders being forced to fight each other or be killed by their Contract Monster, which is nothing more than a special MonsterOfTheWeek. The BigBad works on his own and is revealed at the very end to be a tragic anti villain who only wants to protect his sister. And as for the eleven Riders who aren't straightforward heroes, while one is the classic ''Kamen Rider'' anti hero, the others vary from {{Well Intentioned Extremist}}s to irredeemable sociopaths, with one of them being the codifier for evil Riders. The franchise picked up with these changes and added some more to later series, culminating in a deconstruction of ''Ryuki'' itself in ''Gaim.''
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** ''Series/KamenRiderGaim'' was the deconstructor for ''Ryuki'' and the following Heisei era shows. In addition to what ''Ryuki'' offered, the Heisei era also contains elements such as villains in a human disguise, Riders having a duty to fight for justice and always prevailing over evil Riders, who generally don't earn that many victories after their debut, and being MerchandiseDriven. ''Gaim'' increases the importance of the evil Riders, corrupts some of the more decent Riders,
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** ''Series/KamenRiderGaim'' was the deconstructor for ''Ryuki'' and the following Heisei era shows. In addition to what ''Ryuki'' offered, the Heisei era also contains elements such as villains in a human disguise, Riders having a duty to fight for justice and always prevailing over evil Riders, who generally don't earn that many victories after their debut, and being MerchandiseDriven. ''Gaim'' increases the importance of the evil Riders, corrupts some of the more decent Riders, and generally paints the evil ones in a much more threatening light. But the real blow comes when the abuse of Lockseeds, which were made to be the MerchandiseDriven aspect of the show, causes disease to break out among civilians. Even worse, the monsters aren't disguising themselves as humans; instead, the monsters' home is turning humans into the mindless monsters, one of whom was the very first MonsterOfTheWeek and another being a depowered Rider. When the latter is killed, the Rider who did so gloated about how it was for justice, as it is a Rider's job, and knocked the protagonist out.
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* ''Franchise/KamenRider'' has a deconstruction (''Ryuki'') and a deconstruction of the deconstruction and its legacy (''Gaim''):
** ''Series/KamenRiderRyuki'' was the first time (ignoring the mostly forgotten ''Film/ShinKamenRiderPrologue'') ''Kamen Rider'' actually took a massively different direction. In the past, Riders (and there are generally few) were either straight heroes or anti heroes who would ultimately fight for the greater good, the villains were CardCarryingVillains part of a bigger organization, and the monsters were created by the villains and never played a substantial role. ''Ryuki'' changes all that; it has a total of ''13'' Riders, with only ''two'' of them unambiguously good, with all the Riders being forced to fight each other or be killed by their Contract Monster, which is nothing more than a special MonsterOfTheWeek. The BigBad works on his own and is revealed at the very end to be a tragic anti villain who only wants to protect his sister. And as for the eleven Riders who aren't straightforward heroes, while one is the classic ''Kamen Rider'' anti hero, the others vary from {{Well Intentioned Extremist}}s to irredeemable sociopaths, with one of them being the codifier for evil Riders. The franchise picked up with these changes and added some more to later series, culminating in a deconstruction of ''Ryuki'' itself in ''Gaim.''
** ''Series/KamenRiderGaim'' was the deconstructor for ''Ryuki'' and the following Heisei era shows. In addition to what ''Ryuki'' offered, the Heisei era also contains elements such as villains in a human disguise, Riders having a duty to fight for justice and always prevailing over evil Riders, who generally don't earn that many victories after their debut, and being MerchandiseDriven. ''Gaim'' increases the importance of the evil Riders, corrupts some of the more decent Riders,
** ''Series/KamenRiderRyuki'' was the first time (ignoring the mostly forgotten ''Film/ShinKamenRiderPrologue'') ''Kamen Rider'' actually took a massively different direction. In the past, Riders (and there are generally few) were either straight heroes or anti heroes who would ultimately fight for the greater good, the villains were CardCarryingVillains part of a bigger organization, and the monsters were created by the villains and never played a substantial role. ''Ryuki'' changes all that; it has a total of ''13'' Riders, with only ''two'' of them unambiguously good, with all the Riders being forced to fight each other or be killed by their Contract Monster, which is nothing more than a special MonsterOfTheWeek. The BigBad works on his own and is revealed at the very end to be a tragic anti villain who only wants to protect his sister. And as for the eleven Riders who aren't straightforward heroes, while one is the classic ''Kamen Rider'' anti hero, the others vary from {{Well Intentioned Extremist}}s to irredeemable sociopaths, with one of them being the codifier for evil Riders. The franchise picked up with these changes and added some more to later series, culminating in a deconstruction of ''Ryuki'' itself in ''Gaim.''
** ''Series/KamenRiderGaim'' was the deconstructor for ''Ryuki'' and the following Heisei era shows. In addition to what ''Ryuki'' offered, the Heisei era also contains elements such as villains in a human disguise, Riders having a duty to fight for justice and always prevailing over evil Riders, who generally don't earn that many victories after their debut, and being MerchandiseDriven. ''Gaim'' increases the importance of the evil Riders, corrupts some of the more decent Riders,
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* You could say ''Franchise/LawAndOrder'' deconstructs both cop shows and courtroom dramas. It doesn't end when the suspect is caught. It's just the beginning of a long litigation process and there's no guarantee the suspect will be found guilty or even that the right person is prosecuted.
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** Series/TheColony is a ZombieApocalpyse (or some other viral apocalypse scenario) with the zombies cut out.
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** Series/TheColony is a ZombieApocalpyse (or some other viral apocalypse scenario) with the zombies cut out.out.
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** TheMakeover in reality shows is a deconstruction of the ComingOfAgeStory.
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** TheMakeover in reality shows is a deconstruction of the ComingOfAgeStory.ComingOfAgeStory.
** Series/TheColony is a ZombieApocalpyse (or some other viral apocalypse scenario) with the zombies cut out.
** Series/TheColony is a ZombieApocalpyse (or some other viral apocalypse scenario) with the zombies cut out.
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*''Series/DeadLikeMe'' is a more realistic take on UrbanFantasy. The reapers perform an important but unrewarding and unprofitable service so they either get jobs or live rough to get by. Decades of being responsible for people's deaths takes an emotional toll on reapers and they cope in various and not necessarily healthy ways.
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* Similarly, good luck watching another AntiHero show after watching ''Series/BreakingBad''. The show essentially tears apart the whole notion of "good guys do the wrong thing to achieve the right goal." All characters who do the wrong thing, regardless of their intentions, ''they pay.'' The main character, VillainProtagonist who manufactures meth to provide for his wife and children, ends up getting disowned by them. His lawyer, AmoralAttorney who covers up his crime and connects him to the criminal underworld, end up having to change identity and live in exile. His brother-in-law DEA, CowboyCop who tries to bring him down without calling for backup, ends up getting killed by his criminal associates. His begrudging partner, HitmanWithAHeart who puts up with his schemes to pay for his granddaughter's future, ends up getting murdered after their feud gets too hot. Basically, the show's message is this: you CantGetAwayWithNuthin if you're ''BreakingBad''. Whatever your ends, if your means ain't legal, it's just going to be AllForNothing.
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* Similarly, good luck watching another AntiHero show after watching ''Series/BreakingBad''. The show essentially tears apart the whole notion of "good guys do the wrong thing to achieve the right goal." All characters who do the wrong thing, regardless of their intentions, ''they pay.'' The main character, VillainProtagonist who manufactures meth to provide for his wife and children, ends up getting disowned by them. His lawyer, AmoralAttorney who covers up his crime and connects him to the criminal underworld, end up having to change identity and live in exile. His brother-in-law DEA, CowboyCop who tries to bring him down without calling for backup, ends up getting killed by his criminal associates. His begrudging partner, HitmanWithAHeart who puts up with his schemes to pay for his granddaughter's future, ends up getting murdered after their feud gets too hot. Basically, the show's message is this: you CantGetAwayWithNuthin if you're ''BreakingBad''.''Series/BreakingBad''. Whatever your ends, if your means ain't legal, it's just going to be AllForNothing.
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* Similarly, good luck watching another AntiHero show after watching ''BreakingBad''. The show essentially tears apart the whole notion of "good guys do the wrong thing to achieve the right goal." All characters who do the wrong thing, regardless of their intentions, ''they pay.'' The main character, VillainProtagonist who manufactures meth to provide for his wife and children, ends up getting disowned by them. His lawyer, AmoralAttorney who covers up his crime and connects him to the criminal underworld, end up having to change identity and live in exile. His brother-in-law DEA, CowboyCop who tries to bring him down without calling for backup, ends up getting killed by his criminal associates. His begrudging partner, HitmanWithAHeart who puts up with his schemes to pay for his granddaughter's future, ends up getting murdered after their feud gets too hot. Basically, the show's message is this: you CantGetAwayWithNuthin if you're ''BreakingBad''. Whatever your ends, if your means ain't legal, it's just going to be AllForNothing.
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* Similarly, good luck watching another AntiHero show after watching ''BreakingBad''.''Series/BreakingBad''. The show essentially tears apart the whole notion of "good guys do the wrong thing to achieve the right goal." All characters who do the wrong thing, regardless of their intentions, ''they pay.'' The main character, VillainProtagonist who manufactures meth to provide for his wife and children, ends up getting disowned by them. His lawyer, AmoralAttorney who covers up his crime and connects him to the criminal underworld, end up having to change identity and live in exile. His brother-in-law DEA, CowboyCop who tries to bring him down without calling for backup, ends up getting killed by his criminal associates. His begrudging partner, HitmanWithAHeart who puts up with his schemes to pay for his granddaughter's future, ends up getting murdered after their feud gets too hot. Basically, the show's message is this: you CantGetAwayWithNuthin if you're ''BreakingBad''. Whatever your ends, if your means ain't legal, it's just going to be AllForNothing.
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** {{Series/Survivor|Survivor}} deconstructs the {{Robinsonade}}.
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** {{Series/Survivor|Survivor}} {{Series/Survivor}} deconstructs the {{Robinsonade}}.
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* The Deconstruction entry at the ''Film/StarTrekIITheWrathOfKhan'' presents a case about the movie being the Genre Deconstruction of ''Series/StarTrekTheOriginalSeries'', and the EmotionalTorque entry, in that same page, argues that this Genre Deconstruction saved the franchise.
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* The Deconstruction entry at the ''Film/StarTrekIITheWrathOfKhan'' presents a case about the movie being the Genre Deconstruction of ''Series/StarTrekTheOriginalSeries'', and the EmotionalTorque entry, in that same page, argues that this Genre Deconstruction saved the franchise.franchise.
* Some reality shows, game shows and documentaries deconstruct classical fiction genres by playing them out in RealLife; more or less.
** {{Series/Survivor|Survivor}} deconstructs the {{Robinsonade}}.
** TheBachelor and other dating shows deconstruct the RomanceNovel.
** TheMakeover in reality shows is a deconstruction of the ComingOfAgeStory.
* Some reality shows, game shows and documentaries deconstruct classical fiction genres by playing them out in RealLife; more or less.
** {{Series/Survivor|Survivor}} deconstructs the {{Robinsonade}}.
** TheBachelor and other dating shows deconstruct the RomanceNovel.
** TheMakeover in reality shows is a deconstruction of the ComingOfAgeStory.
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* You could say LawAndOrder deconstructs both cop shows and courtroom dramas. It doesn't end when the suspect is caught. It's just the beginning of a long litigation process and there's no guarantee the suspect will be found guilty or even that the right person is prosecuted.
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* You could say LawAndOrder ''Franchise/LawAndOrder'' deconstructs both cop shows and courtroom dramas. It doesn't end when the suspect is caught. It's just the beginning of a long litigation process and there's no guarantee the suspect will be found guilty or even that the right person is prosecuted.
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* Similarly, good luck watching another AntiHero show after watching BreakingBad. The show essentially tears apart the whole notion of "good guys do the wrong thing to achieve the right goal." All characters who do the wrong thing, regardless of their intentions, ''they pay.'' The main character, VillainProtagonist who manufactures meth to provide for his wife and children, ends up getting disowned by them. His lawyer, AmoralAttorney who covers up his crime and connects him to the criminal underworld, end up having to change identity and live in exile. His brother-in-law DEA, CowboyCop who tries to bring him down without calling for backup, ends up getting killed by his criminal associates. Basically, the show's message is this: you CantGetAwayWithNuthin if you're BreakingBad. Whatever your end, if your means ain't legal, it's just going to be AllForNothing.
to:
* Similarly, good luck watching another AntiHero show after watching BreakingBad.''BreakingBad''. The show essentially tears apart the whole notion of "good guys do the wrong thing to achieve the right goal." All characters who do the wrong thing, regardless of their intentions, ''they pay.'' The main character, VillainProtagonist who manufactures meth to provide for his wife and children, ends up getting disowned by them. His lawyer, AmoralAttorney who covers up his crime and connects him to the criminal underworld, end up having to change identity and live in exile. His brother-in-law DEA, CowboyCop who tries to bring him down without calling for backup, ends up getting killed by his criminal associates. His begrudging partner, HitmanWithAHeart who puts up with his schemes to pay for his granddaughter's future, ends up getting murdered after their feud gets too hot. Basically, the show's message is this: you CantGetAwayWithNuthin if you're BreakingBad. ''BreakingBad''. Whatever your end, ends, if your means ain't legal, it's just going to be AllForNothing.
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just go into more details
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* Similarly, good luck watching another AntiHero show after watching BreakingBad. The show essentially tears apart the whole notion of "good guys do the wrong thing to achieve the right goal." All characters who do the wrong thing, regardless of their intentions, ''they pay.'' The main character, who manufactures meth to provide for his wife and children, ends up getting disowned by them. His lawyer, who covers up his crime and connects him to the criminal underworld, end up having to change identity and live in exile. His brother-in-law DEA, who tries to bring him down without calling for backup, ends up getting killed by his criminal associates. Basically, the show's message is this: you break the rules, you suffer.
to:
* Similarly, good luck watching another AntiHero show after watching BreakingBad. The show essentially tears apart the whole notion of "good guys do the wrong thing to achieve the right goal." All characters who do the wrong thing, regardless of their intentions, ''they pay.'' The main character, VillainProtagonist who manufactures meth to provide for his wife and children, ends up getting disowned by them. His lawyer, AmoralAttorney who covers up his crime and connects him to the criminal underworld, end up having to change identity and live in exile. His brother-in-law DEA, CowboyCop who tries to bring him down without calling for backup, ends up getting killed by his criminal associates. Basically, the show's message is this: you break the rules, you suffer.CantGetAwayWithNuthin if you're BreakingBad. Whatever your end, if your means ain't legal, it's just going to be AllForNothing.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* Similarly, good luck watching another AntiHero show after watching BreakingBad. The show essentially tears apart the whole notion of "good guys do the wrong thing to achieve the right goal." All characters who do the wrong thing, regardless of their intentions, ''they pay.'' The main character, who manufactures meth to provide for his wife and children, ends up getting disowned by them. His lawyer, who covers up his crime and connects him to the criminal underworld, end up having to change identity and live in exile. His brother-in-law DEA, who tries to bring him down without calling for backup, ends up getting killed by his criminal associates. Basically, the show's message is this: you break the rules, you suffer.
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moved to the deconstructor fleet page
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* The B plot of ''Series/{{Community}}'' episode [[Recap/CommunityS1E24EnglishAsASecondLanguage English as a Second Language]] is a deconstruction of ''GoodWillHunting'. Abed pulls a paraphrasing of Ben Affleck's "the best part of my day" speech from on Troy, to try to get him to 'use his gift' and become a plumber. The next day, Abed turns to find that Troy is no longer sitting next to him in class... but not because he's inspired and has dropped out, but because Troy has switched seats because he's offended that his best friend would actually think the prospect of him just leaving without a word would be the best part of his day. Turns out, that would actually be a really horrible and offensive thing to say to a friend, no matter how gifted.
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%% Note: If you wish to add examples, please explain in detail. For instance, sketch the basic premise of the genre that is being deconstructed and how the example deconstructs the genre.
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%% Also remember: Darker and Edgier is not inherently Deconstruction, nor is the inverse true.
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%% Note: If you wish to add examples, please explain in detail. For instance, sketch the basic premise of the genre that is being deconstructed and how the example deconstructs the genre.
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%% Also remember: Darker and Edgier is not inherently Deconstruction, nor is the inverse true.
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* ''Series/MySoCalledLife'' is essentially a deconstruction of teen comedies, although the creators never declared it as such. Tropes like PlayingCyrano and ASimplePlan are played seriously, showing how unpleasant they would be in real life. And the parents, instead of being [[AdultsAreUseless cartoonishly clueless]], are clueless in a [[ParentsAsPeople more realistic, and more painful, way]].
* Good luck watching another [[CopShow crime drama]], even [[PoliceProcedural a relatively realistic one]], after watching ''TheWire'''s deconstruction of the genre.
** The earlier ''HomicideLifeOnTheStreet'' started the process.
* ''TheGruenTransfer'' analyzes and deconstructs advertising.
** Similarly, the "Ad Road Test" segment in ''TheChasersWarOnEverything'' took situations in ads to see how they would work in the real world.
* Though ''[[SoapOpera telenovelas]]'' are rarely prone to deconstruct the genre, a Colombian one named "''La mujer en el espejo''" ("Woman in the mirror") deconstructed the hell out of the archetypal plot of "Former {{Pollyanna}} is [[WomanScorned betrayed by her love interest]] and gets into a RoaringRampageOfRevenge via [[PaperThinDisguise becoming fashionable]] and [[CorruptCorporateExecutive ruthless]]". According to this one, the only real way one no one could recognize you is having a DealWithTheDevil to [[TheOtherDarrin literally transform into another woman]]. Pity that you now are SoBeautifulItsACurse; your family obviously doesn't recognize you (which is very inconvenient when you're trying to advise and protect them from the villains), [[GlamourFailure mirrors show your real appearance]], who becomes your detached conscience and berates all your bad decisions, including the aforementioned deal; and your love interest liked you much better the way you were.
* ''Series/{{Firefly}}'''s primary ''raison d'etre'' is to deconstruct the SpaceOpera genre. For example, the series opens with an epic battle in which The Alliance soundly defeats the [[RagtagBunchOfMisfits Independent Worlds]]; TheCaptain's epic romance never even gets off the ground due to the personality clashes between him and his love interest, and the RaygunGothic setting is rendered completely moot by the fact that the protagonists are too broke to afford any of the cool technology, and most of that stuff is unreliable anyway. And our heroes survive in this world by stealing, running away and generally being [[CombatPragmatist combat pragmatists]]. One of the early defining moments of the series was when they're about to let a captured enemy go and he gives them a "TheLastThingYouEverSee" speech. So they kick him into a jet intake. It also deconstructs the ActionGirl, WaifFu, and SuperSoldier concepts with River, showing just how utterly and completely insane, emotionally-damaged, and traumatized a girl with those capabilities would be.
* ''Series/MalcolmInTheMiddle'' could be said to be a deconstruction of all the classic family SitCom tropes. Instead of being cute and innocent, the kids are evil little troublemakers. Instead of being a stern authority figure the father is a spineless coward. Instead of being a kind loving Matriarch, the mother is strict, arbitrary, unreasonable, and has a volcanic temper. Instead of living in a nice, pristine, two-story suburban house, they live in a small, trashed-out home. (though it does look nice when it's clean) The parents have actual financial trouble, struggling to take care of three to four children while the dad works a dinky office job and the mom, instead of staying at home like most sitcom moms, works in a grocery store. Oh, and of course the lack of a LaughTrack. Malcolm was only following in the footsteps of ''TheSimpsons'' and ''MarriedWithChildren'', making this more a case of SeinfeldIsUnfunny, as Malcolm definitely took it further.
* A dark deconstruction of a typical DomCom can be found in ''{{Titus}}'' in which it shows how a dysfunctional family can be messed up in the real world. It also plays around with several other tropes. For example; Titus' and friends' antics lead to bad publicity for their garage, leading to their biggest client demanding his money back, leading to the garage in financial trouble, leading to him drinking to drive Erin away, and so on. In most sitcoms, the guys would just make idiots of themselves publicly, learn A Lesson, then it would be forgotten by the next episode.
* The new ''Series/{{Battlestar Galactica|Reimagined}}'' massively deconstructed [[Series/BattlestarGalacticaClassic the old one]], by showing how it "really" would look like if the last people were fleeing from a genocide. By proxy, the show also deconstructed "light" sci-fi like ''StarWars''.
** Arguments have been made that the show is much less of a deconstruction, than it is simply a DarkerAndEdgier re-imagining; since it fails to address many of the problems of the original. This may be reinforced by the fact that the Cylons have been changed from an irreconcilable alien ''other'', to an ''Anvilicious'' screed about [[HumansAreBastards mankind being destroyed by their own sins]]; interspersed with plenty of {{Fanservice}} and FetishFuel (two words: "dungeon ship"). Further reinforced by the fact that most of the major characters devote epic amounts of time to their personal dysfunctionalities; and seem to be only tangentially concerned with the fact that their entire race has been almost completely wiped out.
** It also does away with the SnapBack that fans of ''Franchise/StarTrek'' are familiar with. In ''Trek'', the ship could get shot up with no ill effects next episode. With ''Galactica'', especially following the Battle of New Caprica, you see what effect an epic space battle would have on a ship with no access to a station for repairs.
** The show also deconstructs [[TheAce the Ace pilot]] [[JerkWithAHeartOfGold with a heart of gold]] -- Starbuck, and how messed up such a person would really be.
** It could also be argued that BSG deconstructs ''Series/StarTrekVoyager'', given Ronald D. Moore's criticism of that series [[http://www.space.com/sciencefiction/tv/moore_voyager_001207.html in his famous interview]].
* ''[[http://en.wikipedia.org/wiki/Bodies_(TV_series) Bodies]]'' is basically a deconstruction of hospital dramas.
* ''Series/TheSopranos'' takes DamnItFeelsGoodToBeAGangster and all its consequences and plays them for drama.
* Many people believe that ''{{Glee}}'' is a {{deconstruction}} of traditional musicals. Unlike other musicals, in ''Glee'' most of the musical numbers take place either during a performance or in the character's imaginations, and sometimes both. When a character does try singing their feelings in real life to help their problems, it doesn't work out so well. Other people see ''Glee'' as a {{deconstruction}} of ''HighSchoolMusical''. Whereas ''HighSchoolMusical'', being a DisneyChannel program for young children, doesn't show many real life high school problems, ''Glee'' deals with teen sex, teen pregnancy, homosexuality, homophobia, and drug use. This, however, is unintentional, as the creator of the show, Ryan Murphy, has stated that he's never seen ''HighSchoolMusical''.
** It's for these reasons that ''Glee'' is sometimes called "the most depressing show on television, [[CrapsaccharineWorld presented as the happiest show on television]]."
** ''Glee'' has largely abandoned its "deconstructing the musical" roots as the seasons have worn on, enthusiastically embracing the idea of bursting into song as a cure for all life's problems.
* ''Series/PrettyGuardianSailorMoon'' ends up deconstructing [[Manga/SailorMoon its own source material]] in increasingly surprising ways as it diverges from the original story, until, by the end, [[spoiler: Sailor Moon herself has become the OmnicidalManiac villain; the senshi's power source, the Silver Crystal, turns out to have really been an ArtifactOfDoom; and erstwhile villain Queen Beryl is revealed to have actually been trying to save the world, albeit only so she could rule it.]] The deconstruction arises here as a result of the audience's own [[MagicalGirl genre expectations]] about the senshi's PowerOfFriendship and the motivation of the {{Card Carrying Villain}}s, and how naive and dangerous it'd actually be for the heroines to make such assumptions.
* ''Franchise/StarTrek'' experienced a successful {{Deconstruction}} with ''[[Series/StarTrekDeepSpaceNine Deep Space Nine]]'', a successful {{Reconstruction}} with ''[[Series/StarTrekVoyager Voyager]]'', a {{Deconstruction}} with ''[[Series/StarTrekEnterprise Enterprise]]'', and {{Reconstruction}} with the 2009 film.
* ''The Ten Commandments'' miniseries shows the many hard choices (abandoning his family, alienating his adoptive mother, causing his blood brother to do a FaceHeelTurn, killing his most loyal comrade to enforce God's authority) Moses had to make in following God.
** Of course, loyalty to God and His cause above all else (sometimes including apparent good sense) is one of the major themes of Literature/TheBible from the very beginning.
* In a very unique example, as the vast majority of deconstructions are very cynical in nature, ''Series/TheWestWing'' (a highly idealistic show) could be seen as a deconstruction of the popular conventions of what constitutes political immorality: the Press Secretary spins information not to cover up the government's guilt, but to protect the jobs of heads of state and militaries from the influence of political whims; politicians make unsavory deals with amoral lobbyists and scheming congressmen not for personal gain, but to rescue legislation that would help out thousands of people; the President's speeches and public appearances are carefully scripted not to make him look good, but to prevent confusion and possible panic from people who don't have Masters' in public policy; etc, etc.
* The B plot of ''Series/{{Community}}'' episode [[Recap/CommunityS1E24EnglishAsASecondLanguage English as a Second Language]] is a deconstruction of ''GoodWillHunting'. Abed pulls a paraphrasing of Ben Affleck's "the best part of my day" speech from on Troy, to try to get him to 'use his gift' and become a plumber. The next day, Abed turns to find that Troy is no longer sitting next to him in class... but not because he's inspired and has dropped out, but because Troy has switched seats because he's offended that his best friend would actually think the prospect of him just leaving without a word would be the best part of his day. Turns out, that would actually be a really horrible and offensive thing to say to a friend, no matter how gifted.
* ''[[Series/TwentyFour 24]]'' deconstructed the entire spy thriller genre - even its first season is a far cry from the "torture is everything" mantra in the later seasons. A government agent, who wants nothing more than to spend some downtime reconciling with his wife, gets press-ganged into investigating a potential assassination plot. All of Jack Bauer's co-workers are either revealed as moles or are heavily set up to be one. Jack is willing to defend Los Angeles, no matter how difficult the people (friend and foe alike) around him make it. Everyone that Jack works with either gets killed as a result of his leadership, or hate his guts because he sold them out prior to the events of the series. Jack goes through the entire season looking increasingly haggard and tired, and nods off in the morning while trying to find his family. Jack's wife goes through a HumiliationConga (including getting kidnapped, being raped, having to flee a safehouse with her daughter and ending up with amnesia) that all amounts to nothing when [[spoiler:she gets gutshot by her husband's co-worker and dies after revealing to Jack that she was pregnant]]. The best thing Jack achieves throughout the series are [[PyrrhicVictory hollow victories]] - he's never any better off; even at the end of the series, he has to flee the U.S. after being branded a fugitive.
* You could say LawAndOrder deconstructs both cop shows and courtroom dramas. It doesn't end when the suspect is caught. It's just the beginning of a long litigation process and there's no guarantee the suspect will be found guilty or even that the right person is prosecuted.
* Though [[CrapsaccharineWorld on the surface it looks like business as usual]], ''Series/PowerRangersRPM'' deconstructs much of [[PowerRangers its franchise]]. We see exactly the kind of threat the villain can present (99% of the world has been nuked), the PluckyComicRelief is not an InstantExpert upon becoming a Ranger (and is just competent enough to avoid being TheLoad), the TeenGenius designing all the gear got her skills from being in a secret think tank for most of her life and has NoSocialSkills [[SacrificedBasicSkillForAwesomeTraining as a result]], and there is immense pressure to keep the {{Mid Season Upgrade}}s coming [[ExponentiallyEscalatingArmsRace lest the villain get ahead]]. Things that don't get deconstructed tend to be lampshaded and made fun of; gratuitous StuffBlowingUp was questioned once, and the aforementioned Teen Genius regularly gets offended when the Ranger suits are referred to as [[SpandexLatexOrLeather "spandex"]].
* ''Series/{{Naeturvaktin}}'' is a fairly standard WorkCom CringeComedy centring around Georg, a ControlFreak PointyHairedBoss with awful politics. The sequel ''{{Dagvaktin}}'' is about just how awful and non-wacky it would be to have to work with someone like that in real life, ''and'' how [[CryForTheDevil genuinely messed-up they would have to be to become that kind of person in the first place.]] Several episodes of ''{{Dagvaktin}}'' are [[GenreShift straight-up drama with no jokes at all]], dealing realistically with the spiral of bullying, abuse, child abuse and murder which Georg ends up perpetrating.
* The Deconstruction entry at the ''Film/StarTrekIITheWrathOfKhan'' presents a case about the movie being the Genre Deconstruction of ''Series/StarTrekTheOriginalSeries'', and the EmotionalTorque entry, in that same page, argues that this Genre Deconstruction saved the franchise.
* Good luck watching another [[CopShow crime drama]], even [[PoliceProcedural a relatively realistic one]], after watching ''TheWire'''s deconstruction of the genre.
** The earlier ''HomicideLifeOnTheStreet'' started the process.
* ''TheGruenTransfer'' analyzes and deconstructs advertising.
** Similarly, the "Ad Road Test" segment in ''TheChasersWarOnEverything'' took situations in ads to see how they would work in the real world.
* Though ''[[SoapOpera telenovelas]]'' are rarely prone to deconstruct the genre, a Colombian one named "''La mujer en el espejo''" ("Woman in the mirror") deconstructed the hell out of the archetypal plot of "Former {{Pollyanna}} is [[WomanScorned betrayed by her love interest]] and gets into a RoaringRampageOfRevenge via [[PaperThinDisguise becoming fashionable]] and [[CorruptCorporateExecutive ruthless]]". According to this one, the only real way one no one could recognize you is having a DealWithTheDevil to [[TheOtherDarrin literally transform into another woman]]. Pity that you now are SoBeautifulItsACurse; your family obviously doesn't recognize you (which is very inconvenient when you're trying to advise and protect them from the villains), [[GlamourFailure mirrors show your real appearance]], who becomes your detached conscience and berates all your bad decisions, including the aforementioned deal; and your love interest liked you much better the way you were.
* ''Series/{{Firefly}}'''s primary ''raison d'etre'' is to deconstruct the SpaceOpera genre. For example, the series opens with an epic battle in which The Alliance soundly defeats the [[RagtagBunchOfMisfits Independent Worlds]]; TheCaptain's epic romance never even gets off the ground due to the personality clashes between him and his love interest, and the RaygunGothic setting is rendered completely moot by the fact that the protagonists are too broke to afford any of the cool technology, and most of that stuff is unreliable anyway. And our heroes survive in this world by stealing, running away and generally being [[CombatPragmatist combat pragmatists]]. One of the early defining moments of the series was when they're about to let a captured enemy go and he gives them a "TheLastThingYouEverSee" speech. So they kick him into a jet intake. It also deconstructs the ActionGirl, WaifFu, and SuperSoldier concepts with River, showing just how utterly and completely insane, emotionally-damaged, and traumatized a girl with those capabilities would be.
* ''Series/MalcolmInTheMiddle'' could be said to be a deconstruction of all the classic family SitCom tropes. Instead of being cute and innocent, the kids are evil little troublemakers. Instead of being a stern authority figure the father is a spineless coward. Instead of being a kind loving Matriarch, the mother is strict, arbitrary, unreasonable, and has a volcanic temper. Instead of living in a nice, pristine, two-story suburban house, they live in a small, trashed-out home. (though it does look nice when it's clean) The parents have actual financial trouble, struggling to take care of three to four children while the dad works a dinky office job and the mom, instead of staying at home like most sitcom moms, works in a grocery store. Oh, and of course the lack of a LaughTrack. Malcolm was only following in the footsteps of ''TheSimpsons'' and ''MarriedWithChildren'', making this more a case of SeinfeldIsUnfunny, as Malcolm definitely took it further.
* A dark deconstruction of a typical DomCom can be found in ''{{Titus}}'' in which it shows how a dysfunctional family can be messed up in the real world. It also plays around with several other tropes. For example; Titus' and friends' antics lead to bad publicity for their garage, leading to their biggest client demanding his money back, leading to the garage in financial trouble, leading to him drinking to drive Erin away, and so on. In most sitcoms, the guys would just make idiots of themselves publicly, learn A Lesson, then it would be forgotten by the next episode.
* The new ''Series/{{Battlestar Galactica|Reimagined}}'' massively deconstructed [[Series/BattlestarGalacticaClassic the old one]], by showing how it "really" would look like if the last people were fleeing from a genocide. By proxy, the show also deconstructed "light" sci-fi like ''StarWars''.
** Arguments have been made that the show is much less of a deconstruction, than it is simply a DarkerAndEdgier re-imagining; since it fails to address many of the problems of the original. This may be reinforced by the fact that the Cylons have been changed from an irreconcilable alien ''other'', to an ''Anvilicious'' screed about [[HumansAreBastards mankind being destroyed by their own sins]]; interspersed with plenty of {{Fanservice}} and FetishFuel (two words: "dungeon ship"). Further reinforced by the fact that most of the major characters devote epic amounts of time to their personal dysfunctionalities; and seem to be only tangentially concerned with the fact that their entire race has been almost completely wiped out.
** It also does away with the SnapBack that fans of ''Franchise/StarTrek'' are familiar with. In ''Trek'', the ship could get shot up with no ill effects next episode. With ''Galactica'', especially following the Battle of New Caprica, you see what effect an epic space battle would have on a ship with no access to a station for repairs.
** The show also deconstructs [[TheAce the Ace pilot]] [[JerkWithAHeartOfGold with a heart of gold]] -- Starbuck, and how messed up such a person would really be.
** It could also be argued that BSG deconstructs ''Series/StarTrekVoyager'', given Ronald D. Moore's criticism of that series [[http://www.space.com/sciencefiction/tv/moore_voyager_001207.html in his famous interview]].
* ''[[http://en.wikipedia.org/wiki/Bodies_(TV_series) Bodies]]'' is basically a deconstruction of hospital dramas.
* ''Series/TheSopranos'' takes DamnItFeelsGoodToBeAGangster and all its consequences and plays them for drama.
* Many people believe that ''{{Glee}}'' is a {{deconstruction}} of traditional musicals. Unlike other musicals, in ''Glee'' most of the musical numbers take place either during a performance or in the character's imaginations, and sometimes both. When a character does try singing their feelings in real life to help their problems, it doesn't work out so well. Other people see ''Glee'' as a {{deconstruction}} of ''HighSchoolMusical''. Whereas ''HighSchoolMusical'', being a DisneyChannel program for young children, doesn't show many real life high school problems, ''Glee'' deals with teen sex, teen pregnancy, homosexuality, homophobia, and drug use. This, however, is unintentional, as the creator of the show, Ryan Murphy, has stated that he's never seen ''HighSchoolMusical''.
** It's for these reasons that ''Glee'' is sometimes called "the most depressing show on television, [[CrapsaccharineWorld presented as the happiest show on television]]."
** ''Glee'' has largely abandoned its "deconstructing the musical" roots as the seasons have worn on, enthusiastically embracing the idea of bursting into song as a cure for all life's problems.
* ''Series/PrettyGuardianSailorMoon'' ends up deconstructing [[Manga/SailorMoon its own source material]] in increasingly surprising ways as it diverges from the original story, until, by the end, [[spoiler: Sailor Moon herself has become the OmnicidalManiac villain; the senshi's power source, the Silver Crystal, turns out to have really been an ArtifactOfDoom; and erstwhile villain Queen Beryl is revealed to have actually been trying to save the world, albeit only so she could rule it.]] The deconstruction arises here as a result of the audience's own [[MagicalGirl genre expectations]] about the senshi's PowerOfFriendship and the motivation of the {{Card Carrying Villain}}s, and how naive and dangerous it'd actually be for the heroines to make such assumptions.
* ''Franchise/StarTrek'' experienced a successful {{Deconstruction}} with ''[[Series/StarTrekDeepSpaceNine Deep Space Nine]]'', a successful {{Reconstruction}} with ''[[Series/StarTrekVoyager Voyager]]'', a {{Deconstruction}} with ''[[Series/StarTrekEnterprise Enterprise]]'', and {{Reconstruction}} with the 2009 film.
* ''The Ten Commandments'' miniseries shows the many hard choices (abandoning his family, alienating his adoptive mother, causing his blood brother to do a FaceHeelTurn, killing his most loyal comrade to enforce God's authority) Moses had to make in following God.
** Of course, loyalty to God and His cause above all else (sometimes including apparent good sense) is one of the major themes of Literature/TheBible from the very beginning.
* In a very unique example, as the vast majority of deconstructions are very cynical in nature, ''Series/TheWestWing'' (a highly idealistic show) could be seen as a deconstruction of the popular conventions of what constitutes political immorality: the Press Secretary spins information not to cover up the government's guilt, but to protect the jobs of heads of state and militaries from the influence of political whims; politicians make unsavory deals with amoral lobbyists and scheming congressmen not for personal gain, but to rescue legislation that would help out thousands of people; the President's speeches and public appearances are carefully scripted not to make him look good, but to prevent confusion and possible panic from people who don't have Masters' in public policy; etc, etc.
* The B plot of ''Series/{{Community}}'' episode [[Recap/CommunityS1E24EnglishAsASecondLanguage English as a Second Language]] is a deconstruction of ''GoodWillHunting'. Abed pulls a paraphrasing of Ben Affleck's "the best part of my day" speech from on Troy, to try to get him to 'use his gift' and become a plumber. The next day, Abed turns to find that Troy is no longer sitting next to him in class... but not because he's inspired and has dropped out, but because Troy has switched seats because he's offended that his best friend would actually think the prospect of him just leaving without a word would be the best part of his day. Turns out, that would actually be a really horrible and offensive thing to say to a friend, no matter how gifted.
* ''[[Series/TwentyFour 24]]'' deconstructed the entire spy thriller genre - even its first season is a far cry from the "torture is everything" mantra in the later seasons. A government agent, who wants nothing more than to spend some downtime reconciling with his wife, gets press-ganged into investigating a potential assassination plot. All of Jack Bauer's co-workers are either revealed as moles or are heavily set up to be one. Jack is willing to defend Los Angeles, no matter how difficult the people (friend and foe alike) around him make it. Everyone that Jack works with either gets killed as a result of his leadership, or hate his guts because he sold them out prior to the events of the series. Jack goes through the entire season looking increasingly haggard and tired, and nods off in the morning while trying to find his family. Jack's wife goes through a HumiliationConga (including getting kidnapped, being raped, having to flee a safehouse with her daughter and ending up with amnesia) that all amounts to nothing when [[spoiler:she gets gutshot by her husband's co-worker and dies after revealing to Jack that she was pregnant]]. The best thing Jack achieves throughout the series are [[PyrrhicVictory hollow victories]] - he's never any better off; even at the end of the series, he has to flee the U.S. after being branded a fugitive.
* You could say LawAndOrder deconstructs both cop shows and courtroom dramas. It doesn't end when the suspect is caught. It's just the beginning of a long litigation process and there's no guarantee the suspect will be found guilty or even that the right person is prosecuted.
* Though [[CrapsaccharineWorld on the surface it looks like business as usual]], ''Series/PowerRangersRPM'' deconstructs much of [[PowerRangers its franchise]]. We see exactly the kind of threat the villain can present (99% of the world has been nuked), the PluckyComicRelief is not an InstantExpert upon becoming a Ranger (and is just competent enough to avoid being TheLoad), the TeenGenius designing all the gear got her skills from being in a secret think tank for most of her life and has NoSocialSkills [[SacrificedBasicSkillForAwesomeTraining as a result]], and there is immense pressure to keep the {{Mid Season Upgrade}}s coming [[ExponentiallyEscalatingArmsRace lest the villain get ahead]]. Things that don't get deconstructed tend to be lampshaded and made fun of; gratuitous StuffBlowingUp was questioned once, and the aforementioned Teen Genius regularly gets offended when the Ranger suits are referred to as [[SpandexLatexOrLeather "spandex"]].
* ''Series/{{Naeturvaktin}}'' is a fairly standard WorkCom CringeComedy centring around Georg, a ControlFreak PointyHairedBoss with awful politics. The sequel ''{{Dagvaktin}}'' is about just how awful and non-wacky it would be to have to work with someone like that in real life, ''and'' how [[CryForTheDevil genuinely messed-up they would have to be to become that kind of person in the first place.]] Several episodes of ''{{Dagvaktin}}'' are [[GenreShift straight-up drama with no jokes at all]], dealing realistically with the spiral of bullying, abuse, child abuse and murder which Georg ends up perpetrating.
* The Deconstruction entry at the ''Film/StarTrekIITheWrathOfKhan'' presents a case about the movie being the Genre Deconstruction of ''Series/StarTrekTheOriginalSeries'', and the EmotionalTorque entry, in that same page, argues that this Genre Deconstruction saved the franchise.
