History Horrible / Theater

** The current version of ''CrissAngelBelieve''. The first version was poorly received, but it has its fans. In 2010, he dropped the acrobatics and storyline, and reduced it to a lame ass stand-up comedy show with one dance act and lame tricks that can be seen at an elementary school talent show -- doves appear from his jacket and so forth. Worse, there's ''still'' a hideous amount of SpecialEffectsFailure (wire harnesses visible, trapdoors obvious), and he often makes racist remarks and embarrasses people in the audience (but not in the traditional Cirque way, where the poor bastard still has fun regardless). It's baffling that it bears the Cirque namesake now; it only continues to run because of the 10-year contract Angel signed with the Luxor resort.

# It isn't horrible because a caustic critic panned it. There has to be legit reasons for it being too awful to even exist.

Theater is a hard art form to pull off. If done well, it comes off as enjoyable and masterfully done. Then there's the examples which calling them High school worthy would be an [[InsultToRocks insult to high school productions]], especially seeing as some high school productions are fantastic.

# A production can still be running, doesn't mean it doesn't belong here. As long as they draw universal hatred from critics and audiences alike, they belong here.

* Acclaimed company CirqueDuSoleil are known for their usually well-reviewed productions, and were in negotiations to launch an off-Broadway resident show in the wake of their success with their seasonal production ''{{Wintuk}}'' in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humour, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its tryout run in Chicago and even after a substantial retool opened to condemnation from audiences and critics. Hoping to spark interest, a tour was attempted, but it made it only to one stop in New York, and a Canadian stop before being canceled altogether. With ''CrissAngelBelieve'' getting panned hardcore, ''ZAIA'' struggling to sell tickets in China, and ''OVO'' and ''VivaElvis'' getting mixed receptions in North America, this further ran Cirque's reputation into the ground. Actually, thanks to the retool's delays ''Banana Shpeel'' and ''OVO'' [a tour] were '''dueling shows''' in New York; ''OVO'' opened first and would receive far better reviews. Thankfully the company managed to make a comeback creatively with 2010's ''Totem'', and even made a happy return to New York with a better-received show, ''Zarkana'', in 2011.
** The current version of ''CrissAngelBelieve''. The first version was poorly received, but it has its fans. In 2010, he dropped the acrobatics and story and reduced it to a lame ass stand up comedy show, with one dance act, and lame tricks that can be seen at an elementary school talent show (doves appear from his jacket and so forth). Not to mention, there's a hideous amount of SpecialEffectsFailure to be found (wire harnesses visible, trapdoors obvious), and he often makes racist remarks and embarrasses people in the audience (but not in the traditional Cirque way, where the poor bastard still has fun regardless). It's baffling that it bears the Cirque namesake, and only runs because of the 10 year contract Angel signed with Luxor.
* One would think that a stage musical based off of ''LordOfTheRings'' would be a recipe for success, right? Not so, if the 2006 production was any indication. After being unable to find a suitable British theatre to mount the production, the producers (who had spent an estimated $27 million on elaborate effects, licensing fees and rotating sets) decided to stage a test run in Toronto, [[CanadaEh Canada]]. The reviews, however, were scathing. Despite being scored by the film's composer (Howard Shore) and featuring a cast of heavyweight dramatic actors, the musical was a plodding, confusing mess that haphazardly cut out large chunks of the source material (even though the musical was almost ''four hours'' long). The rest was filled with overwrought narration, hammy performances and ridiculous effects (the Balrog is represented by a large tissue-paper blow-up doll that is backed by wind blowing into the audience's faces). [[http://www.macleans.ca/article.jsp?content=20070709_107127_107127 The producers promised Toronto's mayor that "The Nerds Would Come"]] - in the end, the show was panned by critics and audiences, closed down after five months (despite the producers promising the show would run much, much longer) and resulted in a financial loss for both the producers (who opened the show in [[http://www.cbc.ca/news/arts/theatre/story/2007/06/19/uk-lotr-opening.html London]] a year later, to the exact same result) and the city of Toronto.

* Back in the 1800s, someone made a production called ''The Play Without An "A"'', the script being made without words with an "A" in it. The end result was really difficult to perform. Nowadays it ''might'' be considered SoBadItsGood, but it was released in ''France at the time when everyone was very high society and thought humor was impudent and disgraceful''. The play only ran once, but the audience was so disgusted by it they rioted and stopped the play. It hasn't seen the light of day since.

* [[WebVideo/DoctorHorriblesSingAlongBlog Doctor Horrible.]] [[IncrediblyLamePun Get it?]]

* [[WebOriginal/DoctorHorriblesSingAlongBlog Doctor Horrible.]] [[IncrediblyLamePun Get it?]]

* Acclaimed company CirqueDuSoleil are known for their usually well-reviewed productions, and were in negotiations to launch an off-Broadway resident show in the wake of their success with their seasonal production ''{{Wintuk}}'' in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humour, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its tryout run in Chicago and even after a substantial retool opened to condemnation from audiences and critics. Hoping to spark interest, a tour was attempted, but it made it only to one stop in New York, and a Canadian stop before being canceled altogether. With ''CrissAngelBelieve'' getting panned hardcore, ''ZAIA'' struggling to sell tickets in China, and ''OVO'' and ''VivaElvis'' getting mixed receptions in North America, this further ran Cirque's reputation into the ground. (In fact, thanks to the retool's delays ''Banana Shpeel'' and ''OVO'' [a tour] were dueling shows in New York; ''OVO'' opened first and would receive far better reviews.) Thankfully the company managed to make a comeback creatively with 2010's ''Totem'', and even made a happy return to New York with a far better-received show, ''Zarkana'', in 2011.

* Andrew Lloyd Webber's ''ThePhantomOfTheOpera'' had quite a few [[TheMockbuster mockbusters]] in the wake of its success, but none could be as painful as a 1991 Florida production which hoped to trick people by using a similar poster design to the Webber production. The show contained painfully bad writing with predictably bad songs, topped by a ridiculous ending. It was actually filmed and released on video, getting the same reception, perhaps even worse.

* The first version of ''Theatre/SpiderManTurnOffTheDark''. The second version of the show has fans, opened to lukewarm reception and fits on the [[SoBadItsGood other end of the spectrum]], however the first issue of the show suffered from severe bouts of AdaptationDisplacement, and CriticalResearchFailure, glacial pacing, technical issues galore, craptacular music and terrifyingly wooden acting. It also had the most cringe worthy example of a greek chorus which consisted of a group of teenagers writing a comic book. Audiences routinely condemned it and it didn't fare much better with critics either. It never saw the light of day, and was limited to previews, the majority of which had massive technical issues (one incident involving Spider Man's wire harness breaking and falling a considerable height). Taymor was fired and Bono & The Edge threatened to disown it unless it was retooled considerably. Which it was, and the result was a much better received and more popular with audiences and critics. Critics still hated it, but it has fans and continues to attract more people today.
----

* One would think that a stage musical based off of ''LordOfTheRings'' would be a recipe for success, right? Not so, if the 2006 production was any indication. After being unable to find a suitable British theatre to mount the production, the producers (who had spent an estimated $27 million on elaborate effects, licensing fees and rotating sets) decided to stage a test run in Toronto, [[CanadaEh Canada]]. The reviews, however, were scathing. Despite being scored by the film's composer (Howard Shore) and featuring a cast of heavyweight dramatic actors, the musical (which ran almost ''four hours'' long) was a plodding, confusing mess that haphazardly cut out large chunks of the source material (even though the musical was almost ''four hours'' long). The rest was filled with overwrought narration, hammy performances and ridiculous effects (the Balrog is represented by a large tissue-paper blow-up doll that is backed by wind blowing into the audience's faces). [[http://www.macleans.ca/article.jsp?content=20070709_107127_107127 The producers promised Toronto's mayor that "The Nerds Would Come"]] - in the end, the show was panned by critics and audiences, closed down after five months (despite the producers promising the show would run much, much longer) and resulted in a financial loss for both the producers (who opened the show in [[http://www.cbc.ca/news/arts/theatre/story/2007/06/19/uk-lotr-opening.html London]] a year later, to the exact same result) and the city of Toronto.

* The first version of ''Theater/SpiderManTurnOffTheDark''. The second version of the show has fans, opened to lukewarm reception and fits on the [[SoBadItsGood other end of the spectrum]], however the first issue of the show suffered from severe bouts of AdaptationDisplacement, and CriticalResearchFailure, glacial pacing, technical issues galore, craptacular music and terrifyingly wooden acting. It also had the most cringe worthy example of a greek chorus which consisted of a group of teenagers writing a comic book. Audiences routinely condemned it and it didn't fare much better with critics either. It never saw the light of day, and was limited to previews, the majority of which had massive technical issues (one incident involving Spider Man's wire harness breaking and falling a considerable height). Taymor was fired and Bono & The Edge threatened to disown it unless it was retooled considerably. Which it was, and the result was a much better received and more popular with audiences and critics. Critics still hated it, but it has fans and continues to attract more people today.

* The first issue of ''SpiderManTurnOffTheDark''. The second issue of the show has fans, opened to lukewarm reception and fits on the [[SoBadItsGood other end of the spectrum]], however the first issue of the show suffered from severe bouts of AdaptationDisplacement, and CriticalResearchFailure, glacial pacing, technical issues galore, craptacular music and terrifyingly wooden acting. It also had the most cringe worthy example of a greek chorus which consisted of a group of teenagers writing a comic book. Audiences routinely condemned it and it didn't fare much better with critics either. It never saw the light of day, and was limited to previews, the majority of which had massive technical issues (one incident involving Spider Man's wire harness breaking and falling a considerable height). Taymor was fired and Bono & The Edge threatened to disown it unless it was retooled considerably. Which it was, and the result was a much better received and more popular with audiences and critics. Critics still hated it, but it has fans and continues to attract more people today.

* The first issue of SpiderManTurnOffTheDark. The second issue of the show has fans, opened to lukewarm reception and fits on the [[SoBadItsGood other end of the spectrum]], however the first issue of the show suffered from severe bouts of AdaptationDisplacement, and CriticalResearchFailure, glacial pacing, technical issues galore, craptacular music and terrifyingly wooden acting. It also had the most cringe worthy example of a greek chorus which consisted of a group of teenagers writing a comic book. Audiences routinely condemned it and it didn't fare much better with critics either. It never saw the light of day, and was limited to previews, the majority of which had massive technical issues (one incident involving Spider Man's wire harness breaking and falling a considerable height). Taymor was fired and Bono & The Edge threatened to disown it unless it was retooled considerably. Which it was, and the result was a much better received and more popular with audiences and critics. Critics still hated it, but it has fans and continues to attract more people today.

* Back in the 1800s, someone made a production called ''The Play Without An "A"'', the script being made without words with an "A" in it. The end result was really difficult to perform. Nowadays it ''might'' be considered SoBadItsGood, but it was released in ''France at the time when everyone was very high society and thought humor was impudent and disgraceful''. The play only ran once, but the audience was so disgusted by it they rioted and stopped the play. It hasn't seen the light of day since.

* The first issue of SpiderManTurnOffTheDark. The second issue of the show has fans, opened to lukewarm reception and fits on the [[SoBadItsGood other end of the spectrum]], however the first issue of the show suffered from severe bouts of AdaptationDisplacement, and CriticalResearchFailure, glacial pacing, technical issues galore, craptacular music and terrifyingly wooden acting. It also had the most cringe worthy example of a greek chorus which consisted of a group of teenagers writing a comic book. Audiences routinely condemned it and it didn't fare much better with critics either. It never saw the light of day, and was limited to previews, the majority of which had massive technical issues (one incident involving Spider Man's wire harness breaking and falling a considerable height). Taymor was fired and Bono & The Edge threatened to disown it unless it was retooled considerably. Which it was, and the result was a much better received and more popular with audiences and critics. Critics still hated it, but it has fans and continues to attract more people today.

* Acclaimed company CirqueDuSoleil are known for their usually well-reviewed productions, and were in negotiations to launch an off-Broadway resident show in the wake of their success with their seasonal production ''{{Wintuk}}'' in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humour, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its tryout run in Chicago and even after a substantial retool opened to condemnation from audiences in New York, lasting about two months total. Hoping to spark interest, a tour was attempted, but it made it only to one Canadian stop before being canceled altogether. With ''CrissAngelBelieve'' getting panned hardcore, ''ZAIA'' struggling to sell tickets in China, and ''OVO'' and ''VivaElvis'' getting mixed receptions in North America, this further ran Cirque's reputation into the ground. (In fact, thanks to the retool's delays ''Banana Shpeel'' and ''OVO'' [a tour] were dueling shows in New York; ''OVO'' opened first and would receive far better reviews.) Thankfully the company managed to make a comeback creatively with 2010's ''Totem'', and even made a happy return to New York with a far better-received show, ''Zarkana'', in 2011.

* Acclaimed company CirqueDuSoleil are known for their usually well-reviewed productions, and were in negotiations to launch an off-Broadway resident show in the wake of their success with their seasonal production {{Wintuk}} in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humour, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its tryout run in Chicago and even after a substantial retool opened to condemnation from audiences, lasting about two months total. Hoping to spark interest, a tour was launched, which made it to about two stops; one in New York and one in Canada before being canceled altogether. With ''CrissAngelBelieve'' was getting panned hardcore, ''ZAIA'' struggling to sell tickets in China, and ''OVO'' and ''VivaElvis'' getting mixed receptions in North America, this further ran Cirque's reputation into the ground. (In fact, thanks to the retool's resultant delays ''Banana Shpeel'' and ''OVO'' [a tour] were dueling shows in New York; ''OVO'' opened first and would receive far better reviews, further crippling the sister show.) Thankfully the company managed to make a comeback creatively with 2010's ''Totem'', and even made a happy return to New York with a far better-received seasonal show, ''Zarkana'', in 2011.

* Acclaimed company CirqueDuSoleil are known for their usually well-reviewed productions, and were in negotiations to launch an off-Broadway resident show in the wake of their success with their seasonal production {{Wintuk}} in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humour, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its tryout run in Chicago and even after a substantial retool opened to condemnation from audiences AND critics in New York, lasting about two months total. Hoping to spark interest, a tour was launched, which made it to about two stops in Canada before being canceled altogether. With ''CrissAngelBelieve'' was getting panned hardcore, ''ZAIA'' struggling to sell tickets in China, and ''OVO'' and ''VivaElvis'' getting mixed receptions in North America, this further ran Cirque's reputation into the ground. (In fact, thanks to the retool's resultant delays ''Banana Shpeel'' and ''OVO'' [a tour] were dueling shows in New York; ''OVO'' opened first and would receive far better reviews, further crippling the sister show.) Thankfully the company managed to make a comeback creatively with 2010's ''Totem'', and even made a happy return to New York with a far better-received seasonal show, ''Zarkana'', in 2011.

## A production can still be running, doesn't mean it doesn't belong here. As long as they draw universal hatred from critics and audiences alike, they belong here.
## Merely being offensive in its subject matter or a flop is not sufficient. Hard as it is to imagine at times, there is a market for all types of deviancy, no matter how small a niche it is. It has to fail to appeal even to that niche to qualify as this. (If you're unsure whether it belongs here or not, visit the discussion page and give us your input.)
## It isn't horrible because a caustic critic panned it. There has to be legit reasons for it being too awful to even exist.

'''Notes:'''
* 1. A production can still be running, doesn't mean it doesn't belong here. As long as they draw universal hatred from critics and audiences alike, they belong here.
* 2. Merely being offensive in its subject matter or a flop is not sufficient. Hard as it is to imagine at times, there is a market for all types of deviancy, no matter how small a niche it is. It has to fail to appeal even to that niche to qualify as this. (If you're unsure whether it belongs here or not, visit the discussion page and give us your input.)
* 3. It isn't horrible because a caustic critic panned it. There has to be legit reasons for it being too sucky to even exist.

* Acclaimed company CirqueDuSoleil are known for their usually well-reviewed productions, and were in negotiations to launch an off-Broadway resident show in the wake of their success with their seasonal production {{Wintuk}} in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humour, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its tryout run in Chicago and even after a substantial retool opened to condemnation from audiences AND critics in New York, lasting about two months total. Hoping to spark interest, a tour was launched, which made it to about two stops in Canada before being canceled altogether. With ''CrissAngelBelieve'' was getting panned hardcore, ''ZAIA'' struggling to sell tickets in China, and ''OVO'' and ''VivaElvis'' getting mixed receptions in North America, this further ran Cirque's reputation into the ground. (In fact, thanks to the retool's resultant delays ''Banana Shpeel'' and ''OVO'' [a tour] were dueling shows in New York; ''OVO'' opened first and would receive far better reviews from local critics, further crippling the sister show.) Thankfully the company managed to make a comeback creatively with 2010's ''Totem'', and even made a happy return to New York with a far better-received seasonal show, ''Zarkana'', in 2011.

* PhantomOfTheOpera had quite a few [[TheMockbuster mockbusters]] upon its premiere, none could be as painful as the 1991 "Phantom of the Opera", which hoped to trick people by using a similar poster design to the Webber production. The show contained painfully bad writing with predictably bad songs, and an ending that makes absolutely no sense whatsoever. Its video release got the same reception, if maybe even worse.

* Acclaimed company CirqueDuSoleil are known for their usually well-reviewed productions, and were in negotiations to launch an off-Broadway resident show in the wake of their success with their seasonal production {{Wintuk}} in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humour, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its tryout run in Chicago and even after a substantial retool opened to condemnation from audiences AND critics in New York, lasting about two months total. Hoping to spark interest, a tour was launched, which made it to about two stops in Canada before being canceled altogether. With ''CrissAngelBelieve'' was getting panned hardcore, ''ZAIA'' struggling to sell tickets in China, and ''OVO'' and ''VivaElvis'' getting mixed receptions in North America, this further ran Cirque's reputation into the ground. Thankfully the company managed to make a comeback creatively with 2010's ''Totem'', and made a happy return to New York with a new seasonal show, ''Zarkana'', in 2011.

* Acclaimed company CirqueDuSoleil are known for their usually well reviewed productions, and were in negotiations to put together a broadway tour together since they had success with their seasonal production {{Wintuk}}, in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on Vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humour, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its run in Chicago and opened to condemnation from audiences AND critics. Hoping to spark interest, a tour was launched, which made it to about two stops before being canceled altogether. While CrissAngelBelieve was getting panned hardcore and Ovo and Viva Elvis were getting mixed reception, this further ran Cirque's reputation into the ground. Thankfully they managed to make a comeback creatively with Totem.

* One would think that a stage musical based off of ''LordOfTheRings'' would be a recipe for success, right? Not so, if the 2006 production was any indication. After being unable to find a suitable British theatre to mount the production, the producers of the musical (who had spent an estimated $27 million on elaborate effects, licensing fees and rotating sets) decided to stage a test run in Toronto, [[CanadaEh Canada]]. The reviews, however, were scathing. Despite being scored by the film's composer (Howard Shore) and a cast of heavyweight dramatic actors, the musical (which ran almost ''four hours'' long) was a plodding, confusing mess that haphazardly cut out large chunks of the plot out for the sake of time while filling the rest with overwrought narration, hammy performances and ridiculous effects (the Balrog is represented by a large tissue-paper blow-up doll that is backed by wind blowing into the audience's faces). [[http://www.macleans.ca/article.jsp?content=20070709_107127_107127 The producer promised Toronto's mayor that "The Nerds Would Come"]] - in the end, the show was panned by critics and audiences, closed down after five months (despite the producers promising the show would run much, much longer) and resulted in a financial loss for both the producers (who opened the show in [[http://www.cbc.ca/news/arts/theatre/story/2007/06/19/uk-lotr-opening.html London]] a year later, to almost the exact same result) and the city of Toronto.

* Acclaimed company p CirqueDuSoleil, who are known for their usually well reviewed productions, were in negotiations to put together a broadway tour together since they had success with their seasonal production {{Wintuk}}, in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on Vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humour, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its run in Chicago and opened to condemnation from audiences AND critics. Hoping to spark interest, a tour was launched, which made it to about two stops before being canceled altogether. While CrissAngelBelieve was getting panned hardcore and Ovo and Viva Elvis were getting mixed reception, this further ran Cirque's reputation into the ground. Thankfully they managed to make a comeback creatively with Totem.

* CirqueDuSoleil, who are known for their usually well reviewed productions, were in negotiations to put together a broadway tour together since they had success with their seasonal production {{Wintuk}}, in New York. The result was ''Banana Shpeel'', a production so bad it didn't even appeal to die-hard fans of Cirque, or even Guy Laliberte ''himself''. The show was a twist on Vaudeville humour, and promised a mix of slapstick and acrobatics. Instead, the show consisted of an annoying JerkAss running around [[ChewingTheScenery shouting nonsense]], lame bathroom humor, stupid slapstick gags about being spat on or slapped, with maybe two Cirque-ish acts. The show flopped in its run in Chicago and opened to condemnation from audiences AND critics. Hoping to spark interest, a tour was launched, which made it to about two stops before being canceled altogether. While CrissAngelBelieve was getting panned hardcore and Ovo and Viva Elvis were getting mixed reception, this further ran Cirque's reputation into the ground. Thankfully they managed to make a comeback creatively with Totem.

!!Examples (more-or-less in alphabetical order):