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* While much of ''TabletopGame/Warhammer40000'' is indeed based around CoolVsAwesome armies fighting in fantastically improbable situations, there's more than a few sources that depict the 40k universe in a deconstructed manner. For example, the short-story ''"What It's Like."'' deconstructs the ChaoticEvil AxCrazy Chaos Space Marines, generally seen as [[HarmlessVillain triggerhappy, moustache-twirling villains]] OOT, by explaining just how relentless and brutal each Marine has to be to not be stabbed in the back and left to be [[NightmareFuel chewed on by Daemons for eternity]], showing just how tragic these villains really are. Other works, like ''The Last Church"'' deconstruct the ideals and motives behind [[DarkMessiah The Emperor of Mankind]]'s actions, who is generally thought to be the best, last hope for humanity, and shows just how [[EvilIsPetty petty]], [[FlatEarthAtheist ignorant]], and ultimately [[ItsAllAboutMe egocentric]] he was.

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* While much of ''TabletopGame/Warhammer40000'' is indeed based around CoolVsAwesome armies fighting in fantastically improbable situations, there's more than a few sources that depict the 40k universe in a deconstructed manner. For example, the short-story ''"What "What It's Like."'' " deconstructs the ChaoticEvil AxCrazy Chaos Space Marines, generally seen as [[HarmlessVillain triggerhappy, trigger-happy, moustache-twirling villains]] OOT, by explaining just how relentless and brutal each Marine has to be to not be stabbed in the back and left to be [[NightmareFuel chewed on by Daemons for eternity]], showing just how tragic these villains really are. Other works, works like ''The "The Last Church"'' Church" deconstruct the ideals and motives behind [[DarkMessiah The Emperor of Mankind]]'s actions, who is generally thought to be the best, last hope for humanity, and shows just how [[EvilIsPetty petty]], [[FlatEarthAtheist ignorant]], and ultimately [[ItsAllAboutMe egocentric]] he was.


* ''Series/TheSopranos'' serves largely as a deconstruction of UndyingLoyalty in TheMafia. Easily one of the biggest deconstructions. Instead of portray TheMafia as synonym of loyalty (like ''Film/TheGodfather''), here is the opposite. [[spoiler:Very few members are really loyal (it's telling something that Silvio was the single most loyal member of the mob) and most of them are more than willing to betray their partners for vengeance, resentment or {{greed}}]].

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* ''Series/TheSopranos'' serves largely as a deconstruction of UndyingLoyalty in TheMafia. Easily one of the biggest deconstructions. Instead of portray portraying TheMafia as a synonym of loyalty (like ''Film/TheGodfather''), here is the opposite. [[spoiler:Very few members are really loyal (it's telling something that Silvio was the single most loyal member of the mob) and most of them are more than willing to betray their partners for vengeance, resentment or {{greed}}]].


* ''Film/AlmostFamous'' is a deconstruction on the illusion of rock-star life. It seems glamorous at first, but then the fame starts getting to your head and you start doing stupid things that you would never do in the right mind. Fame leads to an idea of invulnerability and often creates tension between band members (often brought on by record execs to force them to create a big radio hit against the will of the band member's better judgment or creative being all for the sake of profit). It just goes to show that the rock-star life is nothing more than a gilded cage.

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* ''Film/AlmostFamous'' is a deconstruction on the illusion of rock-star life. It seems glamorous at first, but then the fame starts getting to your head and you start doing stupid things that you would never do while in the your right mind. Fame leads to an idea of invulnerability and often creates tension between band members (often brought on by record execs to force them to create a big radio hit against the will of the band member's better judgment or creative being all for the sake of profit). It just goes to show that the rock-star life is nothing more than a gilded cage.



* ''Film/FourLions'' is a deconstruction of the LaResistance genre films. The protagonists, four jihadists, are hopelessly incompetent and amateurish and their ally Barry is but an AxCrazy thug, while the British police and army show ruthless efficiency on eliminating the protagonists. It also deconstructs the tropes that the WarOnTerror has created relating to the counter-terrorists. The police and army make multiple mix-ups that only cause more death and suffering ([[spoiler: Such as capturing and torturing one of the terrorist's pacifist brother, shooting an innocent funrunner, and utterly failing to stop two terrorists from doing their suicide bombing when they were in fact willing to stop]]), and the terrorists actually manage to do their job better [[spoiler:when they accidentally kill Osama Bin Ladin.]] So really, both sides are deconstructed.

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* ''Film/FourLions'' is a deconstruction of the LaResistance genre films. The protagonists, four jihadists, are hopelessly incompetent and amateurish amateurish, and their ally Barry is but an AxCrazy thug, while the British police and army show ruthless efficiency on in eliminating the protagonists. It also deconstructs the tropes that the WarOnTerror has created relating to the counter-terrorists. The police and army make multiple mix-ups that only cause more death and suffering ([[spoiler: Such such as capturing and torturing one of the terrorist's pacifist brother, shooting an innocent funrunner, and utterly failing to stop two terrorists from doing their suicide bombing when they were in fact willing to stop]]), and the terrorists actually manage to do their job better [[spoiler:when they accidentally kill Osama Bin Ladin.Laden.]] So really, both sides are deconstructed.



** The Creator/PierceBrosnan films featured quite a few reality checks on the series formula, namely the fact that he's openly described as "a relic of the Cold War" by the new M in ''Film/GoldenEye'' and that rather than villains who were fairly conventional and stereotypical in motivations, it instead featured villains like Alec Trevelyan, Elektra King and Renard who were more psychologically motivated and even tragic in their own right. Even the disliked ''Film/DieAnotherDay'' showed what would happen if James Bond actually got captured in enemy territory, like with most spies, he's disavowed by his government, subject to torture and brutal conditions for a year and later released in a PrisonerExchange for the same bad guy he was pursuing in the first place.
** The Creator/DanielCraig set of films play out like deconstructions and reconstructions of the Bond character and universe by showing what a lonely, damaged outsider Bond is and has to be in order to do his job. Though this was in many ways, already tackled in earlier films like ''Film/OnHerMajestysSecretService, Film/LicenceToKill''.

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** The Creator/PierceBrosnan films featured quite a few reality checks on the series formula, namely the fact that he's openly described as "a relic of the Cold War" by the new M in ''Film/GoldenEye'' ''Film/GoldenEye'', and that rather than villains who were fairly conventional and stereotypical in motivations, it instead featured villains like Alec Trevelyan, Elektra King and Renard who were more psychologically motivated and even tragic in their own right. Even the disliked ''Film/DieAnotherDay'' showed what would happen if James Bond actually got captured in enemy territory, territory; like with most spies, he's disavowed by his government, subject to torture and brutal conditions for a year and later released in a PrisonerExchange for the same bad guy he was pursuing in the first place.
** The Creator/DanielCraig set of films play out like deconstructions and reconstructions of the Bond character and universe by showing what a lonely, damaged outsider Bond is and has to be in order to do his job. Though in many ways this was in many ways, already tackled in earlier films like ''Film/OnHerMajestysSecretService, Film/LicenceToKill''.''Film/OnHerMajestysSecretService'' and ''Film/LicenceToKill''.



** The classic ([[DeadUnicornTrope but apocryphal]]) White Hat=Good and Black Hat=Evil division in Westerns is turned since the film's villains are the "townsfolk" whipped into a frenzy by Emma Small and they are all dressed in black, while the protagonists and the outlaws are dressed in colorful clothes of different shades. Indeed, it's Small's insistence on seeing her enemies as entirely evil and in cahoots with each other, ignoring the divisions between them that leads to violence.
** It also examines the attraction and danger of gun violence. Turkey, the young outlaw of the Dancin' Kid's gang associates masculinity with being a a fast shooter, whereas Johnny Logan is a RetiredOutlaw who is fleeing his outlaw past by trading a weapon for a pistol.
** Frontier justice is nothing more than brutal KangarooCourt that leads to the townsfolk and authorities acting like another gang, and in many ways being far worse than the outlaws. Emma Small the "leader" of the posse uses the Dancin' Kid and other crimes as an excuse for her personal rivalry with Vienna.
* ''Film/{{Scanners}}'' sets up a fairly standard [[TheHerosJourney Hero's Journey]], as [[TheHero Cameron Vale]], blessed with PsychicPowers, is sent by wise old [[{{Mentor}} Dr. Paul Ruth]] to defeat Ruth's former pupil, [[BigBad Darryl Revok]], who also has PsychicPowers. Vale befriends a white-haired girl, Kim Obrist, who can help him infiltrate Revok's organization. Not unsurprisingly, it is revealed that both Cameron and Darryl are the two sons of Paul. With us so far? And then Darryl [[LampshadeHanging points out]] what kind of father would abandon his sons like that, and weaponize one against the other, and, indeed, [[GuineaPigFamily would test a potentially dangerous new drug on his pregnant wife]], thus making Cameron and Darryl psychic in the first place. "[[CallingTheOldManOut That was Daddy.]]" Also, the psychic stuff is [[BlessedWithSuck quite eerie]]: the scanners suffer severe social and psychological side effects from hearing other peoples thoughts (the main character starts the movie homeless, and another scanner murdered his family when he was a child).

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** The classic ([[DeadUnicornTrope but apocryphal]]) White Hat=Good Hat = Good and Black Hat=Evil Hat = Evil division in Westerns is turned turned, since the film's villains are the "townsfolk" whipped into a frenzy by Emma Small and they are all dressed in black, while the protagonists and the outlaws are dressed in colorful clothes of different shades. Indeed, it's Small's insistence on seeing her enemies as entirely evil and in cahoots with each other, ignoring the divisions between them them, that leads to violence.
** It also examines the attraction and danger of gun violence. Turkey, the young outlaw of the Dancin' Kid's gang gang, associates masculinity with being a a fast shooter, whereas Johnny Logan is a RetiredOutlaw who is fleeing his outlaw past by trading a weapon for a pistol.
** Frontier justice is nothing more than brutal KangarooCourt that leads to the townsfolk and authorities acting like another gang, and in many ways being far worse than the outlaws. Emma Small Small, the "leader" of the posse posse, uses the Dancin' Kid and other crimes as an excuse for her personal rivalry with Vienna.
* ''Film/{{Scanners}}'' sets up a fairly standard [[TheHerosJourney Hero's Journey]], as [[TheHero Cameron Vale]], blessed with PsychicPowers, is sent by wise old [[{{Mentor}} Dr. Paul Ruth]] to defeat Ruth's former pupil, [[BigBad Darryl Revok]], who also has PsychicPowers. Vale befriends a white-haired girl, Kim Obrist, who can help him infiltrate Revok's organization. Not unsurprisingly, it is revealed that both Cameron and Darryl are the two sons of Paul. With us so far? And then Darryl [[LampshadeHanging points out]] what kind of father would abandon his sons like that, and weaponize one against the other, and, indeed, [[GuineaPigFamily would test a potentially dangerous new drug on his pregnant wife]], thus making Cameron and Darryl psychic in the first place. "[[CallingTheOldManOut That was Daddy.]]" Also, the psychic stuff is [[BlessedWithSuck quite eerie]]: the scanners suffer severe social and psychological side effects from hearing other peoples people's thoughts (the main character starts the movie homeless, and another scanner murdered his family when he was a child).



* The 2008 movie ''Film/{{JCVD}}'' is a deconstruction of ActionGenreHeroGuy, which made it special is that the actor, ''Creator/JeanClaudeVanDamme'' is star of such character archetype. But not in JCVD.

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* The 2008 movie ''Film/{{JCVD}}'' is a deconstruction of ActionGenreHeroGuy, which ActionGenreHeroGuy. What made it special is that the actor, ''Creator/JeanClaudeVanDamme'' is star of such Creator/JeanClaudeVanDamme, often plays that character archetype. But not in JCVD.''JCVD''.



* ''Film/{{Hanna}}'' is a deconstruction of both the KidHero trope and the idea of giving a child superhuman abilities. The main character gets hunted down constantly, every person she comes in contact with are threatened with death, and the antagonists are all willing to kill test subjects of a ''child'' SuperSoldier project.
* ''Film/StarTrekIITheWrathOfKhan''. The subtitle of this movie could just have easily been ''The Deconstruction of [[TheKirk Kirk]]''. Most of the core traits associated with Kirk and what their consequences in RealLife would probably be are examined and pulled apart. The adventurer who faces a problem on a weekly basis, solves it and promptly [[ResetButton forgets it ever happened]] is suddenly brought face to face with one of those problems from a decade and a half before, and discovers the consequences of his thoughtlessness can be [[RoaringRampageOfRevenge measured by the body count]]. The suave lady-killer with a girl in every port discovers that one of his conquests (and it's implied that it's the only one he ever truly loved) has resulted in [[LukeYouAreMyFather a son he either never knew he had or knew but never spent any real time with]] and who hates him. His tendency to play fast and loose with the rules leads to his ship being crippled and a score of dead cadets, all of which could and should have been avoided by simply raising the shields, and his trait of [[TakeAThirdOption finding novel solutions to intractable problems]] ends the life of [[spoiler:his best friend and trusted right hand]]. It also shows what happens when you take the dashing, devil-may-care heroic adventurer, let him get old and put him in a desk job: a full-blown mid-life crisis.

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* ''Film/{{Hanna}}'' is a deconstruction of both the KidHero trope and the idea of giving a child superhuman abilities. The main character gets hunted down constantly, every person she comes in contact with are is threatened with death, and the antagonists are all willing to kill test subjects of a ''child'' SuperSoldier project.
* ''Film/StarTrekIITheWrathOfKhan''. The subtitle of this movie could just have easily been ''The Deconstruction of [[TheKirk Kirk]]''. Most of the core traits associated with Kirk and what their consequences in RealLife would probably be are examined and pulled apart. The adventurer who faces a problem on a weekly basis, solves it and promptly [[ResetButton forgets it ever happened]] is suddenly brought face to face with one of those problems from a decade and a half before, and discovers the consequences of his thoughtlessness can be [[RoaringRampageOfRevenge measured by the body count]]. The suave lady-killer with a girl in every port discovers that one of his conquests (and it's implied that it's the only one he ever truly loved) has resulted in [[LukeYouAreMyFather a son he either never knew he had had, or knew but never spent any real time with]] with]], and who hates him. His tendency to play fast and loose with the rules leads to his ship being crippled and a score of dead cadets, all of which could and should have been avoided by simply raising the shields, and his trait of [[TakeAThirdOption finding novel solutions to intractable problems]] ends the life of [[spoiler:his best friend and trusted right hand]]. It also shows what happens when you take the dashing, devil-may-care heroic adventurer, let him get old and put him in a desk job: a full-blown mid-life crisis.



* In ''Film/TheCableGuy'', Creator/JimCarrey deconstructs the kind of character he usually plays. In the beginning we're introduced to what at first seems to be the same kind of quirky, eccentric, wacky, CatchPhrase spewing character seen in other Jim Carrey films. However, as the plot unfolds Carrey's character becomes a deranged stalker, and goes from being a funny character to a deeply disturbing one. We learn that this character is a severely mentally unbalanced social outcast, that his "wacky" antics are in fact reckless and dangerous, and actually ruin the life of the one person he considers to be his friend, and that his obsession with spewing famous {{Catch Phrase}}s come from the fact that he has an unhealthy obsession with TV, to the point that he has a hard time [[CannotTellFictionFromReality telling the difference between it and reality]].
* Creator/WoodyAllen's aptly-titled film ''Film/DeconstructingHarry'' is both a deconstruction of Allen's own work and the concept of AuthorAvatar characters and autobiographical fiction in general. It could also be considered a deconstruction of authors literally writing themselves into thier own work, both played straight (Harry Block is a pretty obvious autobiographical character) and inverted (in-universe, Harry's characters come to life to interact with and deconstruct ''him''. How's that for a mind-screw?

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* In ''Film/TheCableGuy'', Creator/JimCarrey deconstructs the kind of character he usually plays. In the beginning we're introduced to what at first seems to be the same kind of quirky, eccentric, wacky, CatchPhrase spewing character seen in other Jim Carrey films. However, as the plot unfolds unfolds, Carrey's character becomes a deranged stalker, and goes from being a funny character to a deeply disturbing one. We learn that this character is a severely mentally unbalanced social outcast, that his "wacky" antics are in fact reckless and dangerous, dangerous and actually ruin the life of the one person he considers to be his friend, and that his obsession with spewing famous {{Catch Phrase}}s come comes from the fact that he has an his unhealthy obsession with TV, to the point that he has a hard time [[CannotTellFictionFromReality telling the difference between it and reality]].
* Creator/WoodyAllen's aptly-titled film ''Film/DeconstructingHarry'' is both a deconstruction of Allen's own work and the concept of AuthorAvatar characters and autobiographical fiction in general. It could also be considered a deconstruction of authors literally writing themselves into thier their own work, both played straight (Harry Block is a pretty obvious autobiographical character) and inverted (in-universe, Harry's characters come to life to interact with and deconstruct ''him''. How's that for a mind-screw?



* ''Film/Terminator2JudgmentDay'' provided deconstructions of both the KidHero and the MamaBear as well as militant feminism in the forms of John Connor and his mother, Sarah, from the previous film. John is an alienated, anti-social outsider who doesn't fit in, doesn't get along with his foster parents and hasonly one friend due to his mother's odd ball way of raising him due to the fact that she had to prepare him for the end of the world. Sarah, meanwhile, has become violent and emotionally unstable over the years since the end of the [[Film/TheTerminator first film]] as she had to step up to the plate, training not just herself but her son, and suffering the heart ache of losing Kyle Reese, the soldier sent back to protect her, whom she fell in love with and who was in fact John's father all along, without either of them knowing it. John is far from a likable protagonist when we first meet him, and Sarah is not exactly pleasant, but this is what happens to a Chosen One and the mother mentor burdened with terrible knowledge. Eventually reconstructed when [[spoiler: their preparations allow them to stop Judgement Day.]]
* Creator/ChristopherNolan[='s=] ''Film/TheDarkKnightTrilogy'', plays out very much like a deconstruction of Batman/Bruce Wayne: the tragedy that started his journey, learning the ropes, confronting evil beyond his understanding, losing the woman he loved who ironically didn't love him back and then spending 8 years morbidly mourning her due to not knowing the truth of her feelings, the physical damage done to his body and the consequences of not taking care of himself during 8 years of exiled depression, etc. Basically: taking apart the romanticism of Batman by showing just how screwed up (though well meaning) a person Bruce Wayne would actually be. [[spoiler:Fortunately Nolan's Bruce eventually lets go of his pain and moves on with his life, unlike his comic book and DCAU counterparts - see below in Western Animation]].

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* ''Film/Terminator2JudgmentDay'' provided deconstructions of both the KidHero and the MamaBear as well as militant feminism in the forms of John Connor and his mother, Sarah, from the previous film. John is an alienated, anti-social outsider who doesn't fit in, doesn't get along with his foster parents and hasonly has only one friend due to his mother's odd ball way of raising him due to the fact that she had to prepare him for the end of the world. Sarah, meanwhile, has become violent and emotionally unstable over the years since the end of the [[Film/TheTerminator first film]] as she had to step up to the plate, training not just herself but her son, and suffering the heart ache of losing Kyle Reese, the soldier sent back to protect her, whom she fell in love with and who was in fact John's father all along, without either of them knowing it. John is far from a likable protagonist when we first meet him, and Sarah is not exactly pleasant, but this is what happens to a Chosen One and the mother mentor burdened with terrible knowledge. Eventually reconstructed when [[spoiler: their preparations allow them to stop Judgement Day.]]
* Creator/ChristopherNolan[='s=] ''Film/TheDarkKnightTrilogy'', ''Film/TheDarkKnightTrilogy'' plays out very much like a deconstruction of Batman/Bruce Wayne: the tragedy that started his journey, learning the ropes, confronting evil beyond his understanding, losing the woman he loved who ironically didn't love him back and then spending 8 years morbidly mourning her due to not knowing the truth of her feelings, the physical damage done to his body and the consequences of not taking care of himself during 8 years of exiled depression, etc. Basically: taking apart the romanticism of Batman by showing just how screwed up (though well meaning) a person Bruce Wayne would actually be. [[spoiler:Fortunately Nolan's Bruce eventually lets go of his pain and moves on with his life, unlike his comic book and DCAU counterparts - see below in Western Animation]].



** The film is a deconstruction of Superman's origin, treating it as humanity's first encounter with extra-terrestrial life. The flashback sequences show how an emotionally fragile child/teen with superpowers needs constant guidance and even then there's no guarantee that his adoptive parents know what's best. The absence of Lex Luthor also highlights how an alien who looks human but with god-like abilities isn't just a victim of bad publicity, but genuinely unsettling, which contradicts most depictions of Superman being easily accepted by the masses. The film ultimately points to signs that Superman will be reconstructed in subsequent films (and Creator/ZackSnyder even noted that Superman would be more well-adjusted to being a hero in the sequel, ''Film/BatmanVSupermanDawnOfJustice''), but it used deconstruction as a way to redefine the character for a new audience.

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** The film is a deconstruction of Superman's origin, treating it as humanity's first encounter with extra-terrestrial life. The flashback sequences show how an emotionally fragile child/teen with superpowers needs constant guidance guidance, and even then then, there's no guarantee that his adoptive parents know what's best. The absence of Lex Luthor also highlights how an alien who looks human but with god-like abilities isn't just a victim of bad publicity, but genuinely unsettling, which contradicts most depictions of Superman being easily accepted by the masses. The film ultimately points to signs that Superman will be reconstructed in subsequent films (and Creator/ZackSnyder even noted that Superman would be more well-adjusted to being a hero in the sequel, ''Film/BatmanVSupermanDawnOfJustice''), but it used deconstruction as a way to redefine the character for a new audience.


And while it is true that dystopian settings and outcomes carry a far greater amount of conflict [[AnthropicPrinciple and thus make for]] [[RuleOfDrama far better story fodder than positive ones,]] giving a Deconstruction a cynical outlook just for the sake of there being a plot is not necessary; [[EarnYourHappyEnding a story can be absolutely rife with conflict and still have an idealistic worldview overall.]] For example, the post-scarcity society just described might not sound like an interesting place to set a story, but a writer could still prominently include it by having the story ''build up'' to that outcome, say, by showing the medieval society struggle with scarcity and/or following the cleric as he progressively learns the art of food creation magic over the majority of the plot, with the struggle over scarcity being purged from the setting at or near the story's climax as post-scarcity becomes a reality in-universe.

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And while it is true that dystopian settings and outcomes carry a far greater amount of conflict [[AnthropicPrinciple and thus make for]] [[RuleOfDrama far better story fodder than positive ones,]] giving a Deconstruction a cynical outlook just for the sake of there being a plot is not necessary; [[EarnYourHappyEnding a story can be absolutely rife with conflict and still have an idealistic worldview overall.]] For ]][[note]]For example, the post-scarcity D&D society just described might not sound like an interesting place to set a story, but a writer could still prominently include it by having the story ''build up'' to that outcome, say, by showing the medieval society struggle with scarcity and/or following the cleric as he progressively learns the art of food creation magic over the majority of the plot, with the struggle over scarcity being purged from the setting at or near the story's climax as post-scarcity becomes a reality in-universe.
in-universe.[[/note]]


Sometimes the best fodder for deconstruction in a story or setting is not its major themes, but [[LawOfConservationOfDetail the aspects that are discussed the least, if at all.]] For instance, a work in which gender, sexuality, poverty, race, politics, etc. should have been important but were never dealt with adequately is ripe for a deconstruction. Contrariwise, a work that attempts to pre-emptively avert being deconstructed in this way by stating that certain topics aren't dealt with because they are specifically irrelevant to the story/setting, when there is actually no good reason they ''should'' be irrelevant, is also ripe for deconstruction.

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Sometimes the best fodder for deconstruction in a story or setting is not its major themes, but [[LawOfConservationOfDetail the aspects that are discussed the least, if at all.]] For instance, a work in which gender, sexuality, poverty, race, politics, etc. should have been important but were never dealt with adequately is ripe for a deconstruction. Contrariwise, a work that attempts to pre-emptively avert being deconstructed in this way by stating that certain topics aren't dealt with because they are specifically irrelevant to the story/setting, when there is actually no good reason they ''should'' be irrelevant, is also ripe for deconstruction.


* ''VideoGame/PersonaQShadowOfTheLabyrinth'': The fourth boss, Shadow Rei/Best Friend, deconstructs the idea of Shadows in general. Shadows are physical manifestations of a person's repressed emotions and desires, and the [[VideoGame/Persona4 Investigation Team]] all gained their Personas by acknowledging and accepting theirs, but Best Friend isn't just teenage desires and confusion -- it's ''death''. Accepting your flaws is one thing, but accepting that your life has ended (and in Rei's specific case, also amounted to nothing) is quite another. Like Mitsuo in ''Persona 4'', Rei rejects her shadow even after it's defeated and it just fades away, and Rei after getting her memories back is every bit an emotional wreck as when she first met Chronos.
** ''VideoGame/Persona5'' deconstructs them harder. While the Shadows of ''VideoGame/Persona4'' are, as mentioned above, teenage desires and confusion, ''Persona 5'' shows that Shadows can also become the dark sides of some truly monstrous individuals.

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* ''VideoGame/PersonaQShadowOfTheLabyrinth'': The fourth boss, Shadow [[spoiler:Shadow Rei/Best Friend, Friend]], deconstructs the idea of Shadows in general. Shadows are physical manifestations of a person's repressed emotions and desires, and the [[VideoGame/Persona4 Investigation Team]] all gained their Personas by acknowledging and accepting theirs, but Best [[spoiler:Best Friend isn't just teenage desires and confusion -- it's ''death''. Accepting your flaws is one thing, but accepting that your life has ended (and in Rei's specific case, also amounted to nothing) is quite another. Like Mitsuo in ''Persona 4'', Rei rejects her shadow even after it's defeated and it just fades away, and Rei after getting her memories back is every bit an emotional wreck as when she first met Chronos.
**
Chronos.]]
*
''VideoGame/Persona5'' deconstructs them harder. While the Shadows of ''VideoGame/Persona4'' are, as mentioned above, teenage desires and confusion, ''Persona 5'' shows that Shadows can also become the dark sides of some truly monstrous individuals.


* ''Series/TheBoys2019'': Of the superhero genre. Superheroes in general are real {{jerkass}}es with more concern toward money or their images than anything else. Frequently they will get away with even reckless homicide given the hero worship they receive-others are even secretly ''murderers''. Others are just hypocritical or creeps. Regardless, they mostly get away with all of it due to their powers, superheroes' prestige and good publicity. They have an entire corporation that manages them, with corporate sponsorship, licensed products and publicists smoothing over their images. Given what they can get away, some people really hate them, up to the point of a homicidal campaign.

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* ''Series/TheBoys2019'': Of the superhero genre. Superheroes in general are real {{jerkass}}es with more concern toward money or their images than anything else. Frequently they will get away with even reckless homicide given the hero worship they receive-others are even secretly ''murderers''. Others are just hypocritical or creeps. Regardless, they mostly get away with all of it due to their powers, superheroes' prestige and good publicity. They have an entire corporation that manages them, with corporate sponsorship, licensed products and publicists smoothing over their images. Given what they can get away, some people really hate them, up to the point of a homicidal campaign.


* The 2008 movie ''Film/{{JCVD}}'' is a deconstruction of Creator/JeanClaudeVanDamme himself, as an out-of-luck delusional actor as opposed to the real-life moderately successful actor. [[http://en.wikipedia.org/wiki/JCVD Read the synopsis here.]]

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* The 2008 movie ''Film/{{JCVD}}'' is a deconstruction of Creator/JeanClaudeVanDamme himself, as an out-of-luck delusional actor as opposed to ActionGenreHeroGuy, which made it special is that the real-life moderately successful actor. [[http://en.wikipedia.org/wiki/JCVD Read the synopsis here.]]actor, ''Creator/JeanClaudeVanDamme'' is star of such character archetype. But not in JCVD.

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* ''Series/StrangerThings'' deconstructs the EldritchAbomination with its BigBad, the Mind Flayer. Yes, the Mind Flayer is an immensely powerful, wholly unique being, but because it's so powerful and thus so used to getting what it wants, it [[ManChild essentially has the mindset of a toddler]]. It doesn't know how to deal with resistance or setbacks to its plans, only being able to throw a temper tantrum in response. And since it's so unique and self-reliant, it has [[NoSocialSkills no idea how to interact with and blend into a social species like humans]], to the point where it has to effectively leave its hosts on autopilot most of the time, because when it takes them over directly, it [[PaperThinDisguise can't act in a way that doesn't immediately clue every human in to what it actually is]]. Furthermore, since its sheer power makes it used to easy victory, whenever it is significantly harmed, or ''especially'' defeated in one of its plans, it will launch into a full blown [[EvilIsPetty petty revenge]] mode from which it will never leave, [[StupidEvil even when the petty revenge is severely detrimental to its long-term goals]]. In short, while it is powerful and dangerous, it also showcases all the ways that existing as an EldritchAbomination would [[RealityEnsues limit a person psychologically]].


* As the series goes on ''WebAnimation/{{RWBY}}'' is becoming more and more of a deconstruction of fairy tale adventures and MagicalGirl settings.
** The world of Remnant is populated by civilized Humans and Faunus and the chaotic, uncivilized Grimm, who are fantastical, fairy tale-esque monsters...who outnumber Humans and Faunus by the ''billions'', civilization is almost entirely powerless against them, and have driven mankind to the brink of extinction.
** The civilized world is comprised of four major kingdoms, each focused on a specific aspect of society...and they are all at one another's throats due to political and idealogical differences that they are unable to put aside, even as the Grimm pound at their doors.
** A young, teenage girl is constantly built up to become a major character and hero, who will have a grand destiny before her...[[spoiler:and fails miserably to stop TheDragon because she's just a kid and Cinder is a fully grown woman who just became a PhysicalGoddess, and is brutally murdered in a SenselessSacrifice that accomplishes nothing but traumatizing her friends.]]
** Main character Yang is a BoisterousBruiser who has been able to bounce back from nearly everything thrown at her...but when [[spoiler:the villains publicly disgrace her in the eyes of the world, destroy her home, and [[AnArmAndALeg cripple her]], her bravado completely shatters and she is riddled with realistic depression and PTSD because, like Pyrrha, she was just a kid who had her entire world turned upside down in a traumatic way.]]
** The story is initially presented as a typical BlackAndWhiteMorality story...then [[spoiler:The BigGood is heavily implied to have an incredibly shady past, TheDragon is heavily implied to have a tragic backstory that caused her to hate the concept of destiny and the Maiden system and want to dismantle it, one of her enforcers ''does'' have a tragic backstory (Emerald was basically homeless and destitute until Cinder gave her food, a home, and ''care'', which is why she's so loyal to her), Hazel lost his sister as a direct result of Ozpin's actions, and BigBad Salem's VillainSong heavily implies she has ''very'' good and legitimate reasons to hate Ozpin and want to see him fall.]]
** The White Fang are the center of the FantasticRacism conflict in the show involving Faunus, at first thought of revolutionists fighting against racism for equality...[[spoiler: Except that as the series goes on, it's made clear that the conflict is anything but BlackAndWhiteMorality. The White Fang are constantly going to extreme degrees to the point that, at their most positive, they're WellIntentionedExtremist . Likewise, some people have understandable motives behind their racism (Such as Weiss who disliked Faunus because the only Faunus she ever knew where the White Fang, who killed her friends and family and made her home life a living hell.) It's also shown, in disturbingly close TruthInTelevision fashion, that not everyone in the White Fang have good intentions (As is the case with Adam Taurus, a high ranking member who wants to kill every human he can find) and that such extremism leads to them being ostracized by their peers (a Faunus who has no ties to the White Fang actively dislikes the group, equating them to a cult.)]]
** Partway through the story, the main heroine has a confrontation with a cynical FallenHero, who fell because she believes that the BigBad can't be stopped and that there's no point in trying to fight her. The heroine, naturally, refutes her. [[spoiler:Except the FallenHero is proven to be absolutely right. Salem has CompleteImmortality that not even the gods can undo, has never once actually lost any of her battles with Ozpin, and a being explicitly stated to know the answer to literally any question outright states that it is literally impossible to defeat Salem in ''any'' way.]]
** The BigGood is notorious for operating on a need to know basis when it comes to information. [[spoiler:This ends up causing a ''massive'' rift between him and the rest of the cast when they finally have enough of his secretive nature and how much its cost them.]]
** While Qrow's chronic alcoholism was played for laughs at first, it takes a dark, realistic turn once [[spoiler:he learns about Salem's aforementioned CompleteImmortality and that the man he dedicated his life to has been lying to him since day one. Suddenly, his "quirky" alcoholism becomes the desperate coping mechanism of a bitter, broken man struggling to come to terms with the fact that his whole life has been a lie. Going even further, Qrow's alcoholism starts to become an outright liability, as it renders him useless against the Apathy Grimm and all but shatters Ruby's previously ironclad faith in him.]]
** Overall, the story of ''RWBY'' portrays a fantasy world straight out of a fairy tale...and then goes to pains to show us that it is very much ''not'' a fairy tale. Its a very real, all or nothing, life or death war of survival against an enemy that's almost incomprehensibly stronger, better equipped, and better organized than the heroes, people have died and many more will die before its over, and any semblence of victory [[BitterSweetEnding will come at a heavy price]].

to:

* As the series goes on ''WebAnimation/{{RWBY}}'' is becoming more and more of a deconstruction of fairy tale adventures and MagicalGirl settings.
** The world of Remnant is populated by civilized Humans and Faunus and the chaotic, uncivilized Grimm, who are fantastical, fairy tale-esque monsters...who outnumber Humans and Faunus by the ''billions'', civilization is almost entirely powerless against them, and have driven mankind to the brink of extinction.
** The civilized world is comprised of four major kingdoms, each focused on a specific aspect of society...and they are all at one another's throats due to political and idealogical differences that they are unable to put aside, even as the Grimm pound at their doors.
** A young, teenage girl is constantly built up to become a major character and hero, who will have a grand destiny before her...[[spoiler:and fails miserably to stop TheDragon because she's just a kid and Cinder is a fully grown woman who just became a PhysicalGoddess, and is brutally murdered in a SenselessSacrifice that accomplishes nothing but traumatizing her friends.]]
** Main character Yang is a BoisterousBruiser who has been able to bounce back from nearly everything thrown at her...but when [[spoiler:the villains publicly disgrace her in the eyes of the world, destroy her home, and [[AnArmAndALeg cripple her]], her bravado completely shatters and she is riddled with realistic depression and PTSD because, like Pyrrha, she was just a kid who had her entire world turned upside down in a traumatic way.]]
** The story is initially presented as a typical BlackAndWhiteMorality story...then [[spoiler:The BigGood is heavily implied to have an incredibly shady past, TheDragon is heavily implied to have a tragic backstory that caused her to hate the concept of destiny and the Maiden system and want to dismantle it, one of her enforcers ''does'' have a tragic backstory (Emerald was basically homeless and destitute until Cinder gave her food, a home, and ''care'', which is why she's so loyal to her), Hazel lost his sister as a direct result of Ozpin's actions, and BigBad Salem's VillainSong heavily implies she has ''very'' good and legitimate reasons to hate Ozpin and want to see him fall.]]
** The White Fang are the center of the FantasticRacism conflict in the show involving Faunus, at first thought of revolutionists fighting against racism for equality...[[spoiler: Except that as the series goes on, it's made clear that the conflict is anything but BlackAndWhiteMorality. The White Fang are constantly going to extreme degrees to the point that, at their most positive, they're WellIntentionedExtremist . Likewise, some people have understandable motives behind their racism (Such as Weiss who disliked Faunus because the only Faunus she ever knew where the White Fang, who killed her friends and family and made her home life a living hell.) It's also shown, in disturbingly close TruthInTelevision fashion, that not everyone in the White Fang have good intentions (As is the case with Adam Taurus, a high ranking member who wants to kill every human he can find) and that such extremism leads to them being ostracized by their peers (a Faunus who has no ties to the White Fang actively dislikes the group, equating them to a cult.)]]
** Partway through the story, the main heroine has a confrontation with a cynical FallenHero, who fell because she believes that the BigBad can't be stopped and that there's no point in trying to fight her. The heroine, naturally, refutes her. [[spoiler:Except the FallenHero is proven to be absolutely right. Salem has CompleteImmortality that not even the gods can undo, has never once actually lost any of her battles with Ozpin, and a being explicitly stated to know the answer to literally any question outright states that it is literally impossible to defeat Salem in ''any'' way.]]
** The BigGood is notorious for operating on a need to know basis when it comes to information. [[spoiler:This ends up causing a ''massive'' rift between him and the rest of the cast when they finally have enough of his secretive nature and how much its cost them.]]
**
''WebAnimation/{{RWBY}}'': While Qrow's chronic alcoholism was played for laughs at first, it takes a dark, realistic turn once [[spoiler:he learns about Salem's aforementioned CompleteImmortality and that the man he dedicated his life to has been lying to him since day one. Suddenly, his "quirky" alcoholism becomes the desperate coping mechanism of a bitter, broken man struggling to come to terms with the fact that his whole life has been a lie. Going even further, Qrow's alcoholism starts to become an outright liability, as it renders him useless against the Apathy Grimm and all but shatters Ruby's previously ironclad faith in him.]]
** Overall, the story of ''RWBY'' portrays a fantasy world straight out of a fairy tale...and then goes to pains to show us that it is very much ''not'' a fairy tale. Its a very real, all or nothing, life or death war of survival against an enemy that's almost incomprehensibly stronger, better equipped, and better organized than the heroes, people have died and many more will die before its over, and any semblence of victory [[BitterSweetEnding will come at a heavy price]].
]]


* Creator/GrantMorrison apparently tried to deconstruct Cyclops/Scott Summers, the X-Men's fearless leader, following his being possessed by Apocalypse, with his ''New X-Men'' run, by trying to show the insecurities and emotional vulnerability behind his stoicism, but all he really succeeded in doing was making him look like a jerk. Creator/JossWhedon ultimately did the Cyclops deconstruction better in his ''Astonishing X-Men'' run that followed Morrison.

to:

* Creator/GrantMorrison apparently tried to deconstruct Cyclops/Scott Summers, the X-Men's fearless leader, following his being possessed by Apocalypse, with his ''New X-Men'' ''ComicBook/NewXMen'' run, by trying to show the insecurities and emotional vulnerability behind his stoicism, but all he really succeeded in doing was making him look like a jerk. Creator/JossWhedon ultimately did the Cyclops deconstruction better in his ''Astonishing X-Men'' run that followed Morrison.

Added DiffLines:

* ''VideoGame/RedDeadRedemption2'' deconstructs the western outlaw life heavily:
** Life as an outlaw is neither fun or romantic. The gang constantly move from place to place and live in perpetual fear and paranoia of the outside world and even each other, [[spoiler:which is what destroys them in the end.]]
** Dutch's IdiotHero plan to pull [[OneLastJob one big score]] and then leave in the chaos is woefully unworkable. There's nothing they can realistically do to secure enough money to provide for twenty-plus people, nevermind get them all out of the country and set up new lives elsewhere. All their attempts do is get them into deeper and deeper shit, and the authorities pull more and more resources and manpower to hunt them down.
** [[HiddenDepths Most of the gang have talents and skills they could easily put to honest lives]] if only they weren't trapped in a futile cycle of crime. Javier is a skilled hunter and fisherman and can also play the guitar very well. Mary-Beth is a talented writer [[spoiler:and true enough becomes a novelist in the epilogue.]] And Swanson the alcoholic clergyman [[spoiler:moves to New York, kicks his habit and becomes a respected priest.]]


* IndecisiveDeconstruction: A work which straddles the line between being an example of a particular genre and deconstructing it.


* ''Webcomic/TheOrderOfTheStick'' has a lot of GenreSavvy characters, but Tarquin carries it to the point where he sees the other characters as nothing more than plot devices and tropes. When he kills [[spoiler:Nale, his own son]] one of the reasons he gives is that he has no place in the narrative anymore. Even Tarquin's allies are getting fed up with his story nonsense.
** Tarquin actually manages to Deconstruct TheGoodGuysAlwaysWin. When Tarquin's [[MadDictatorsHandsomeSon good son]] [[SpoonyBard Elan]] points out that heroes always take down evil empires like his, Tarquin notes that for heroes to take them down, they must first ''exist,'' generally for decades or longer. Sure, he might get violently killed in the end, but he'll rule for years, and it'll make a great story when ''Elan himself'' overthrows him. Elan is so freaked out to hear his [[GenreSavvy beloved tropes]] twisted this way that he has a full-fledged panic attack.

to:

* ''Webcomic/TheOrderOfTheStick'' has a lot of GenreSavvy characters, but Tarquin carries it to the point where he sees the other characters as nothing more than plot devices and tropes. When he kills [[spoiler:Nale, his own son]] one of the reasons he gives is that he has no place in the narrative anymore. Even Tarquin's allies are getting fed up with his story nonsense.
meme obsession.
** Tarquin actually manages to Deconstruct TheGoodGuysAlwaysWin. When Tarquin's [[MadDictatorsHandsomeSon good son]] [[SpoonyBard Elan]] points out that heroes always take down evil empires like his, Tarquin notes that for heroes to take them down, they must first ''exist,'' generally for decades or longer. Sure, he might get violently killed in the end, but he'll rule for years, and it'll make a great story for future dictators to take inspiration from when ''Elan himself'' overthrows him. Elan is so freaked out to hear his [[GenreSavvy beloved tropes]] twisted this way that he has a full-fledged panic attack. Luckily he figures out a counter-deconstruction to tick his father off: [[spoiler:if 'liberating' the empire will cause chaos and corruption anyway, why not ignore it entirely and let it rot itself over time from its FascistButInefficient policies? It's a boring, anticlimactic ending that has about as many casualties as barging in and killing anyone guarding the tyrant, now with reduced inspiration.]]

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