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** If you're wondering their key to success amongst the crowd, part of it can be pointed to the fact that they drew really attractive playable female characters (most often by outsourcing various artists, so everyone gets a different artistic feel) as their super rare gacha prize, with some referring them as 'waifu' (as many of the higher rarity characters are often 5* rarity, or the rarest character, happen to be females). And with enough popularity on a character, the game will then release an alternate version of the character, or basically the same character with a {{Fanservice}} outfit depending on the season of the time (Summer is the most common for BeachEpisode and swimsuits) and different gameplay than the vanilla version, in the end, the amount of fortune by the waifu popularity will greatly increase with that.

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** If you're wondering their key to success amongst the crowd, part of it can be pointed to the fact that they drew really attractive playable female characters (most often by outsourcing various artists, so everyone gets a different artistic feel) as their super rare gacha prize, with some referring them as 'waifu' (as many of the higher rarity characters are often 5* rarity, or the rarest character, happen to be females). And with enough popularity on a character, the game will then release an alternate version of the character, or basically the same character with a {{Fanservice}} outfit depending on the season of the time (Summer is the most common for BeachEpisode and swimsuits) and different gameplay than the vanilla version, in the end, the amount of fortune by the waifu popularity will greatly increase with that. For those who didn't much care about waifu-ness, there is also the fact that if a gacha game is made out of a long-running franchise running through TheVerse, then that means the gacha game became one intercontinuity crossover of one's favorite franchise and a chance to see their favorite characters within the same franchise under one roof, instead of being separated through continuities and new verses.


* The Academy Awards faced an increasing number of controversies. Many hosts for the annual ceremony proved incredibly unpopular, while most Best Picture winners got their awards unexpectedly (with many an AwardSnub),[[note]]Although in most cases, the bookmakers eventually did similar predictions[[/note]] particularly in the cases of ''The Artist'' in 2011,[[note]]Beating ''The Tree of Life''[[/note]] ''Birdman'' in 2014,[[note]]''Boyhood'' was that year's favorite[[/note]] and 2015's ''Spotlight''.[[note]]With ''The Revenant'' being expected to win that year[[/note]] The latter year's ceremony would be overshadowed by complaints about the representation of non-white voters, with many black actors and filmmakers sitting out. The 2017 ceremony ended with another Best Picture upset, as the critical darling ''Moonlight'' ended up beating the popular front-runner ''La La Land'' in an embarrassing fashion. This snafu only cemented the notion that the Academy was shunning popular genres such as superhero, animated and fantasy features in favor of OscarBait. The Academy proposed a "Best Popular Movie" award for the 2019 ceremony, but quickly ditched it when ''that'' received complaints for being either just a nicer way to snub commercial movies or the "selling-out" of the last bastion of artistic integrity in awards. Plans to give out technical awards during commercial breaks for the 2019 event also ended up getting scrapped as many in the industry felt it was disrespectful to people who work in those categories. Kevin Hart, who was supposed to host the 2019 ceremony, dropped out after a number of his bigoted, raunchy gay jokes resurfaced, making the show the first without a host in thirty years as no one in Hollywood was available or wanted to take over; contrary to all expectations (and the memory of the infamous 1989 Oscars), the host-less Oscars went over well and other award shows decided to take a similar route. That year's ceremony ended with ''Film/GreenBook'' becoming one of the most controversial Oscar Best Picture winners in the awards' history for being yet another WhiteMansBurden narrative marginalizing a black {{Deuteragonist}}'s side of the story to gain more attention than minority narratives, beating as it did higher-profile nominees including that year's front-runner, Netflix's ''Film/{{Roma}}''. There was criticism over the multiple nominations and wins awarded to the musicals ''Bohemian Rhapsody'' and ''A Star is Born'', with many fearing the AMPAS -- long considered to have become too pretentious for its own good -- was now taking a path leading to a potential "Grammyfication", as well as the Marvel film ''Black Panther'' being nominated receiving complaints that it [[WereStillRelevantDammit was made to have a more commercial blockbuster appeal]] (ironically, the idea for a "Best Popular Film" category, which would have most likely have had films like ''Black Panther'' as nominees, was also criticized as treating them as "separate but equal). In spite of the lack of female and minority nominees, and a Twitter screw-up, the 2020 ceremony (again host-less) ran without any major hitches, with the South Korean black comedy ''Parasite'' becoming the first film not made in English to win Best Picture, with films such as ''1917'', ''Joker'', ''Ford v Ferrari'', ''Once Upon A Time in Hollywood'' and ''Jojo Rabbit'' receiving multiple awards, while ''The Irishman'', ''Marriage Story'' and ''The Two Popes'' (among others) led Netflix to outnumber the Hollywood majors in nominations in spite of winning few awards.

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* The Academy Awards faced an increasing number of controversies. Many hosts for the annual ceremony proved incredibly unpopular, while most Best Picture winners got their awards unexpectedly (with many an AwardSnub),[[note]]Although in most cases, the bookmakers eventually did similar predictions[[/note]] particularly in the cases of ''The Artist'' in 2011,[[note]]Beating ''The Tree of Life''[[/note]] ''Birdman'' in 2014,[[note]]''Boyhood'' was that year's favorite[[/note]] and 2015's ''Spotlight''.[[note]]With ''The Revenant'' being expected to win that year[[/note]] The latter year's ceremony would be overshadowed by complaints about the representation of non-white voters, with many black actors and filmmakers sitting out. The 2017 ceremony ended with another Best Picture upset, as the critical darling ''Moonlight'' ended up beating the popular front-runner ''La La Land'' in an embarrassing fashion. This snafu only cemented the notion that the Academy was shunning popular genres such as superhero, animated and fantasy features in favor of OscarBait. The Academy proposed a "Best Popular Movie" award for the 2019 ceremony, but quickly ditched it when ''that'' received complaints for being either just a nicer way to snub commercial movies or the "selling-out" of the last bastion of artistic integrity in awards. Plans to give out technical awards during commercial breaks for the 2019 event also ended up getting scrapped as many in the industry felt it was disrespectful to people who work in those categories. Kevin Hart, who was supposed to host the 2019 ceremony, dropped out after a number of his bigoted, raunchy gay jokes resurfaced, making the show the first without a host in thirty years as no one in Hollywood was available or wanted to take over; contrary to all expectations (and the memory of the infamous 1989 Oscars), the host-less Oscars went over well and other award shows decided to take a similar route. That year's ceremony ended with ''Film/GreenBook'' becoming one of the most controversial Oscar Best Picture winners in the awards' history for being yet another WhiteMansBurden narrative marginalizing a black {{Deuteragonist}}'s side of the story to gain more attention than minority narratives, beating as it did higher-profile nominees including that year's front-runner, Netflix's ''Film/{{Roma}}''. There was criticism over the multiple nominations and wins awarded to the musicals ''Bohemian Rhapsody'' and ''A Star is Born'', with many fearing the AMPAS -- long considered to have become too pretentious for its own good -- was now taking a path leading to a potential "Grammyfication", as well as the Marvel film ''Black Panther'' being nominated receiving complaints that it [[WereStillRelevantDammit was made to have a more commercial blockbuster appeal]] (ironically, the idea for a "Best Popular Film" category, which would have most likely have had films like ''Black Panther'' as nominees, was also criticized as treating them as "separate but equal).equal"). In spite of the lack of female and minority nominees, and a Twitter screw-up, the 2020 ceremony (again host-less) ran without any major hitches, with the South Korean black comedy ''Parasite'' becoming the first film not made in English to win Best Picture, with films such as ''1917'', ''Joker'', ''Ford v Ferrari'', ''Once Upon A Time in Hollywood'' and ''Jojo Rabbit'' receiving multiple awards, while ''The Irishman'', ''Marriage Story'' and ''The Two Popes'' (among others) led Netflix to outnumber the Hollywood majors in nominations in spite of winning few awards.


* The Franchise/MarvelCinematicUniverse hit its stride in this decade, with 2010 and '11's ''Film/IronMan2'', ''Film/{{Thor}}'', and ''Film/CaptainAmericaTheFirstAvenger'' setting up its big 2012 crossover ''Film/{{The Avengers|2012}}''. It has maintained success throughout the decade and has since become the highest grossing film series of all time with a total worldwide gross exceeding $22.5 billion! (''Film/BlackPanther2018'' also became the first superhero film to receive a Best Picture Oscar nomination while ''Film/AvengersEndgame'' beat out ''Avatar'' to become the highest grossing film of all time) Its success has led to rival studios attempting to launch their own SharedUniverse series or modify existing franchises into one, including the ''Franchise/DCExtendedUniverse'', ''Film/TheAmazingSpiderManSeries'', the ''Film/XMenFilmSeries'', the Franchise/UniversalHorror ''Film/DarkUniverse'', the Franchise/{{Godzilla}}[=/=]Film/KingKong ''Film/MonsterVerse'', and a ''Franchise/HarryPotter'' prequel/spinoff series. As of yet, none have replicated Marvel's success, with many of them being so caught up in setting up future films with their initial installments that said films suffer for it.

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* The Franchise/MarvelCinematicUniverse hit its stride in this decade, with 2010 and '11's ''Film/IronMan2'', ''Film/{{Thor}}'', and ''Film/CaptainAmericaTheFirstAvenger'' setting up its big 2012 crossover ''Film/{{The Avengers|2012}}''. It has maintained success throughout the decade and has since become the highest grossing film series of all time with a total worldwide gross exceeding $22.5 billion! (''Film/BlackPanther2018'' also became the first superhero film to receive a Best Picture Oscar nomination while ''Film/AvengersEndgame'' beat out ''Avatar'' to become the highest grossing film of all time) Its success has led to rival studios attempting to launch their own SharedUniverse series or modify existing franchises into one, including the ''Franchise/DCExtendedUniverse'', Franchise/DCExtendedUniverse, ''Film/TheAmazingSpiderManSeries'', the ''Film/XMenFilmSeries'', the Franchise/UniversalHorror ''Film/DarkUniverse'', the Franchise/{{Godzilla}}[=/=]Film/KingKong ''Film/MonsterVerse'', and a ''Franchise/HarryPotter'' prequel/spinoff series. As of yet, none have replicated Marvel's success, with many of them being so caught up in setting up future films with their initial installments that said films suffer for it.



** To detractors, including UsefulNotes/NewHollywood-era talents like Creator/MartinScorsese and Creator/FrancisFordCoppola, the content of such films consists of StrictlyFormula StatusQuoIsGod corporate-mandated fare that focuses primarily on elaborate action setpieces rather than plot, CharacterDevelopment, and atmosphere, and is removed from real-world concerns and complex/adult human emotions. To win the favor of conservative markets such as China (and even reactionary U.S. audiences) content is apolitical and minority characters are few: The Franchise/MarvelCinematicUniverse took 10 years to introduce a non-white lead and almost 11 for a solo female lead, with no significant LGBTQA+ characters ''at all'' in that time -- though that's accepted as being down to CEO Ike Perlmutter, with immediate moves being made to get ''Film/CaptainMarvel2019'' and ''Film/BlackPanther2018'' onscreen being made as soon as Creator/KevinFeige managed to take control of Marvel Studios -- and BloodlessCarnage to secure PG-13 ratings and draw in audiences that would [[AvoidTheDreadedGRating not watch films with a lower or higher rating]]. The films thus end up with a lack of thematic weight and artistic flair and won't endure the way even the poppiest blockbusters of previous decades did.

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** To detractors, including UsefulNotes/NewHollywood-era talents like Creator/MartinScorsese and Creator/FrancisFordCoppola, the content of such films consists of StrictlyFormula StatusQuoIsGod StrictlyFormula, StatusQuoIsGod, corporate-mandated fare that focuses primarily on elaborate action setpieces rather than plot, CharacterDevelopment, and atmosphere, and is removed from real-world concerns and complex/adult human emotions. To win the favor of conservative markets such as China (and even reactionary U.S. audiences) content is apolitical and minority characters are few: The Franchise/MarvelCinematicUniverse took 10 years to introduce a non-white lead and almost 11 for a solo female lead, with no significant LGBTQA+ characters ''at all'' in that time -- though that's accepted as being down to conservative CEO Ike Perlmutter, with immediate moves being made to get ''Film/CaptainMarvel2019'' ''Film/{{Captain Marvel|2019}}'' and ''Film/BlackPanther2018'' ''Film/{{Black Panther|2018}}'' onscreen being made as soon as Creator/KevinFeige managed to take control of Marvel Studios -- and BloodlessCarnage to secure PG-13 ratings and draw in audiences that would [[AvoidTheDreadedGRating not watch films with a lower or higher rating]]. The films thus end up with a lack of thematic weight and artistic flair and won't endure the way even the poppiest blockbusters of previous decades did.



* The Academy Awards faced an increasing number of controversies. Many hosts for the annual ceremony proved incredibly unpopular, while most Best Picture winners got their awards unexpectedly (with many an AwardSnub)[[note]]Although in most cases, the bookmakers eventually did similar predictions[[/note]], particularly in the cases of ''The Artist'' in 2011[[note]]Beating ''The Tree of Life''[[/note]], ''Birdman'' in 2014[[note]]''Boyhood'' was that year's favorite[[/note]] and 2015's ''Spotlight''[[note]]With ''The Revenant'' being expected to win that year[[/note]]. The latter year's ceremony would be overshadowed by complaints about the representation of non-white voters, with many black actors and filmmakers sitting out. The 2017 ceremony ended with another Best Picture upset, as the critical darling ''Moonlight'' ended up beating the popular front-runner ''La La Land'' in an embarrassing fashion. This snafu only cemented the notion that the Academy was shunning popular genres such as superhero, animated and fantasy features in favor of OscarBait. The Academy proposed a "Best Popular Movie" award for the 2019 ceremony, but quickly ditched it when ''that'' received complaints for being either just a nicer way to snub commercial movies or the "selling-out" of the last bastion of artistic integrity in awards. Plans to give out technical awards during commercial breaks for the 2019 event also ended up getting scrapped as many in the industry felt it was disrespectful to people who work in those categories. Kevin Hart, who was supposed to host the 2019 ceremony, dropped out after a number of his bigoted, raunchy "homo jokes" resurfaced, making the show the first without a host in thirty years as no one in Hollywood was available or wanted to take over; contrary to all expectations (and the memory of the infamous 1989 Oscars), the host-less Oscars went over well and other award shows decided to take a similar route. That year's ceremony ended with ''Film/GreenBook'' becoming one of the most controversial Oscar Best Picture winners in the awards' history for being yet another WhiteMansBurden narrative marginalizing a black {{Deuteragonist}}'s side of the story to gain more attention than minority narratives, beating as it did higher-profile nominees including that year's front-runner, Netflix's ''Film/{{Roma}}''. There was criticism over the multiple nominations and wins awarded to the musicals ''Bohemian Rhapsody'' and ''A Star is Born'' as well as the Marvel film ''Black Panther'', with many fearing the AMPAS -- long considered to have become too pretentious for its own good -- was now taking a path leading to a potential "Grammyfication". In spite of the lack of female and minority nominees, and a Twitter screw-up, the 2020 ceremony (again host-less) ran without any major hitches, with the South Korean black comedy ''Parasite'' becoming the first film not made in English to win Best Picture, with films such as ''1917'', ''Joker'', ''Ford v. Ferrari'', ''Once Upon A Time in... Hollywood'' and ''Jojo Rabbit'' receiving multiple awards, while ''The Irishman'', ''Marriage Story'' and ''The Two Popes'' (among others) led Netflix to outnumber the Hollywood majors in nominations in spite of winning few awards.
* After having success in producing their own television shows, streaming services such as Creator/{{Netflix}} and Amazon begun producing their own films. The results tend to be mixed though both have at times been able to gain critical success and some relative popularity. Amazon Prime's ''Film/ManchesterByTheSea'' helped them become the first streaming service to get a film nominated for an Academy Award for Best Picture while Netflix won a Documentary Feature Oscar with ''Icarus''. Whereas Amazon tends to give their films a standard theatrical release before uploading it to their service, Netflix tends to give their films a very short release before quickly placing it on their catalog. This has gotten Netflix some scrutiny from people in the film industry, even preventing them from competing at the 2018 Cannes Film Festival and receiving backlash from numerous people working in the film industry, especially from cinema owners. This has prevented them from acquiring rights to certain films even if they offer more money than traditional studios (ex: the rom-com hit Film/CrazyRichAsians). Netflix did give a small theatrical run to ''Film/{{Roma}}'', which ended up becoming their first film to get a nomination for Best Picture at the Oscars, but a couple of major theatre chains refused to screen it due to the small amount of time between the start of the theatrical run with the film's release on the streaming service. Some filmmakers -- such as Creator/MartinScorsese, whose ''Film/TheIrishman'' had a similar rollout to ''Roma'' the following year -- have defended Netflix, claiming they were willing to at least produce films, especially from underrepresented groups in Hollywood, that many major studios won't touch anymore in favor of those blockbuster tentpoles.

to:

* The Academy Awards faced an increasing number of controversies. Many hosts for the annual ceremony proved incredibly unpopular, while most Best Picture winners got their awards unexpectedly (with many an AwardSnub)[[note]]Although AwardSnub),[[note]]Although in most cases, the bookmakers eventually did similar predictions[[/note]], predictions[[/note]] particularly in the cases of ''The Artist'' in 2011[[note]]Beating 2011,[[note]]Beating ''The Tree of Life''[[/note]], Life''[[/note]] ''Birdman'' in 2014[[note]]''Boyhood'' 2014,[[note]]''Boyhood'' was that year's favorite[[/note]] and 2015's ''Spotlight''[[note]]With ''Spotlight''.[[note]]With ''The Revenant'' being expected to win that year[[/note]]. year[[/note]] The latter year's ceremony would be overshadowed by complaints about the representation of non-white voters, with many black actors and filmmakers sitting out. The 2017 ceremony ended with another Best Picture upset, as the critical darling ''Moonlight'' ended up beating the popular front-runner ''La La Land'' in an embarrassing fashion. This snafu only cemented the notion that the Academy was shunning popular genres such as superhero, animated and fantasy features in favor of OscarBait. The Academy proposed a "Best Popular Movie" award for the 2019 ceremony, but quickly ditched it when ''that'' received complaints for being either just a nicer way to snub commercial movies or the "selling-out" of the last bastion of artistic integrity in awards. Plans to give out technical awards during commercial breaks for the 2019 event also ended up getting scrapped as many in the industry felt it was disrespectful to people who work in those categories. Kevin Hart, who was supposed to host the 2019 ceremony, dropped out after a number of his bigoted, raunchy "homo jokes" gay jokes resurfaced, making the show the first without a host in thirty years as no one in Hollywood was available or wanted to take over; contrary to all expectations (and the memory of the infamous 1989 Oscars), the host-less Oscars went over well and other award shows decided to take a similar route. That year's ceremony ended with ''Film/GreenBook'' becoming one of the most controversial Oscar Best Picture winners in the awards' history for being yet another WhiteMansBurden narrative marginalizing a black {{Deuteragonist}}'s side of the story to gain more attention than minority narratives, beating as it did higher-profile nominees including that year's front-runner, Netflix's ''Film/{{Roma}}''. There was criticism over the multiple nominations and wins awarded to the musicals ''Bohemian Rhapsody'' and ''A Star is Born'' as well as the Marvel film ''Black Panther'', Born'', with many fearing the AMPAS -- long considered to have become too pretentious for its own good -- was now taking a path leading to a potential "Grammyfication". "Grammyfication", as well as the Marvel film ''Black Panther'' being nominated receiving complaints that it [[WereStillRelevantDammit was made to have a more commercial blockbuster appeal]] (ironically, the idea for a "Best Popular Film" category, which would have most likely have had films like ''Black Panther'' as nominees, was also criticized as treating them as "separate but equal). In spite of the lack of female and minority nominees, and a Twitter screw-up, the 2020 ceremony (again host-less) ran without any major hitches, with the South Korean black comedy ''Parasite'' becoming the first film not made in English to win Best Picture, with films such as ''1917'', ''Joker'', ''Ford v. v Ferrari'', ''Once Upon A Time in... in Hollywood'' and ''Jojo Rabbit'' receiving multiple awards, while ''The Irishman'', ''Marriage Story'' and ''The Two Popes'' (among others) led Netflix to outnumber the Hollywood majors in nominations in spite of winning few awards.
* After having success in producing their own television shows, streaming services such as Creator/{{Netflix}} and Amazon begun producing their own films. The results tend to be mixed though both have at times been able to gain critical success and some relative popularity. Amazon Prime's ''Film/ManchesterByTheSea'' helped them become the first streaming service to get a film nominated for an Academy Award for Best Picture while Netflix won a Documentary Feature Oscar with ''Icarus''. Whereas Amazon tends to give their films a standard theatrical release before uploading it to their service, Netflix tends to give their films a very short release before quickly placing it on their catalog. This has gotten Netflix some scrutiny from people in the film industry, even preventing them from competing at the 2018 Cannes Film Festival and receiving backlash from numerous people working in the film industry, especially from cinema owners. This has prevented them from acquiring rights to certain films even if they offer more money than traditional studios (ex: the rom-com hit Film/CrazyRichAsians).''Film/CrazyRichAsians''). Netflix did give a small theatrical run to ''Film/{{Roma}}'', which ended up becoming their first film to get a nomination for Best Picture at the Oscars, but a couple of major theatre chains refused to screen it due to the small amount of time between the start of the theatrical run with the film's release on the streaming service. Some filmmakers -- such as Creator/MartinScorsese, whose ''Film/TheIrishman'' had a similar rollout to ''Roma'' the following year -- have defended Netflix, claiming they were willing to at least produce films, especially from underrepresented groups in Hollywood, that many major studios won't touch anymore in favor of those blockbuster tentpoles.



* The popularity of film superheroes has also translated to TV: ''Marvel's Series/AgentsOfSHIELD'' sparked a slew of successful shows such as ''Series/{{Gotham}}'', ''Series/{{Supergirl|2015}}'', the [[Series/{{Arrow}} Arrowverse]] [[Series/TheFlash2014 shows]], and the [[Series/{{Daredevil 2015}} Marvel]] [[Series/JessicaJones2015 Netflix]] [[Series/LukeCage2016 shows]] (with ''Arrow'' having premiered one year before "S.H.I.E.L.D."). ''The Walking Dead'' has also become a testament on how influential comic books in general have been during the decade.

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* The popularity of film superheroes has also translated to TV: ''Marvel's Series/AgentsOfSHIELD'' sparked a slew of successful shows such as ''Series/{{Gotham}}'', ''Series/{{Supergirl|2015}}'', the [[Series/{{Arrow}} Arrowverse]] [[Series/TheFlash2014 Series/{{Arrowverse}} (''Series/{{Arrow}}'', ''Series/{{The Flash|2014}}'', ''Series/{{Supergirl|2015}}''), and the [[ shows]], and the [[Series/{{Daredevil 2015}} Marvel]] [[Series/JessicaJones2015 Netflix]] [[Series/LukeCage2016 shows]] (with Marvel Netflix shows (''Series/{{Daredevil|2015}}'', ''Series/{{Jessica Jones|2015}}'', ''Series/{{Luke Cage|2016}}'', ''Series/{{Iron Fist|2017}}'', ''Series/{{The Defenders|2017}}'' and ''Series/{{The Punisher|2017}}''), with ''Arrow'' having premiered one year before "S.''Agents of S.H.I.E.L.D.").''). ''The Walking Dead'' has also become a testament on how influential comic books in general have been during the decade.



* ''Series/SaturdayNightLive'' remained a major American cultural institution, hitting its 40-year anniversary in Fall 2015. Notably, the show underwent a major renaissance during the 2016 US Presidential Election and the ensuing Trump presidency, regularly offering up-to-date humorous commentary on major political developments in its cold open segments. While this certainly wasn't ''new'' (the show has always been known for its political humor), it won ''SNL'' unprecedented media attention after the producers managed to snag several high-profile guest stars to play public figures who regularly made headlines. Creator/AlecBaldwin won major acclaim for his portrayal of President UsefulNotes/DonaldTrump, while Creator/LarryDavid made multiple appearances as Senator Bernie Sanders, Creator/MelissaMcCarthy played White House Press Secretary Sean Spicer, Creator/MattDamon played Supreme Court Justice Brett Kavanaugh, Creator/RobertDeNiro played Special Counsel Robert Mueller, Creator/BillMurray played Steve Bannon, Creator/BenStiller played Michael Cohen, and Creator/MichaelKeaton played Julian Assange.
* Late-night television took a very sharp political turn once Donald Trump was elected president. Political humor previously consisted mostly of lighthearted jabs at political figures, Republicans and Democrats alike, and was often reserved exclusively for the president. With Trump, late-night hosts were more likely to call him, his administration, and Congressional Republicans out on unpopular policy and poor behavior. They were also much more partisan, often explicitly framing the story with the Republican side being in the wrong. While Democrats would still get typical light-hearted jabs, it would never come close to the hell the hosts rained down on the GOP, to the point that late-night hosts would, for the first time ever, them positively.

to:

* ''Series/SaturdayNightLive'' remained a major American cultural institution, hitting its 40-year anniversary in Fall 2015. Notably, the show underwent a major renaissance during the 2016 US Presidential Election and the ensuing Trump presidency, regularly offering up-to-date humorous commentary on major political developments in its cold open segments. While this certainly wasn't ''new'' (the show has always been known for its political humor), it won ''SNL'' unprecedented media attention after the producers managed to snag several high-profile guest stars to play public figures who regularly made headlines. Creator/AlecBaldwin won major acclaim for his portrayal of President UsefulNotes/DonaldTrump, while Creator/LarryDavid made multiple appearances as Senator Bernie Sanders, Creator/MelissaMcCarthy played White House Press Secretary Sean Spicer, Creator/ScarlettJohansson played Trump's daughter Ivanka Trump, Creator/MattDamon played Supreme Court Justice Brett Kavanaugh, Creator/RobertDeNiro played Special Counsel Robert Mueller, Creator/BillMurray played Steve Bannon, Creator/BenStiller played Michael Cohen, and Creator/MichaelKeaton played Julian Assange.
* Late-night television took a very sharp political turn once Donald Trump was elected president. Political humor previously consisted mostly of lighthearted jabs at political figures, Republicans and Democrats alike, and was often reserved exclusively for the president. With Trump, late-night hosts were more likely to call him, his administration, and Congressional Republicans out on unpopular policy and poor behavior. They were also much more partisan, often explicitly framing the story with the Republican side being in the wrong. While Democrats would still get typical light-hearted jabs, it would never come close to the hell the hosts rained down on the GOP, to the point that late-night hosts would, for the first time ever, treat them positively.


* The industry's increasing dependence on foreign markets also led to the de-emphasizing of the films' performers in favor of HighConcept premises and franchise brands; few performers who came to fame as superheroes were able to translate their success into other projects (unless it was ''another'' franchise), while people who were already names risked seeing their highbrow work being overshadowed by Character B in Franchise C. As a result, many publications have commented on the so-called "twilight of the movie star" and shining light on the fact practically ''all'' of the marquee performers of the TurnOfTheMillennium were forgotten by the mid-2010s (with the exceptions of Tobey Maguire and Brendan Fraser, even if only to remind how their lives circled down the drain after their peaks) and that filmmakers who saw huge success in previous decades, such as Creator/TimBurton or Creator/RobertZemeckis, became close to box office poison as they struggled to adapt to the new paradigm. (By comparison many 1990s stars, such as Creator/JeffGoldblum and Creator/KeanuReeves, are still finding steady work in both tentpoles and smaller titles, while Creator/JohnnyDepp and Creator/WillSmith still have significant cachet with foreign audiences.)

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* The industry's increasing dependence on foreign markets also led to the de-emphasizing of the films' performers in favor of HighConcept premises and franchise brands; few performers who came to fame as superheroes were able to translate their success into other projects (unless it was ''another'' franchise), while people who were already names risked seeing their highbrow work being overshadowed by Character B in Franchise C.C (for instance, Eddie Redmayne went from winning an Oscar for portraying Stephen Hawking in ''The Theory of Everything'' to becoming associated with ''Fantastic Beasts''' Newt Scamander). As a result, many publications have commented on the so-called "twilight of the movie star" and shining light on the fact practically ''all'' of the marquee performers of the TurnOfTheMillennium were forgotten by the mid-2010s (with the exceptions of Tobey Maguire and Brendan Fraser, even if only to remind how their lives circled down the drain after their peaks) and that filmmakers who saw huge success in previous decades, such as Creator/TimBurton or Creator/RobertZemeckis, became close to box office poison as they struggled to adapt to the new paradigm. (By comparison many 1990s stars, such as Creator/JeffGoldblum and Creator/KeanuReeves, are still finding steady work in both tentpoles and smaller titles, while Creator/JohnnyDepp and Creator/WillSmith still have significant cachet with foreign audiences.)



* By 2015, the mobile gaming boom began to decline, with no newer "killer apps" to match the popularity ''Angry Birds'' or ''Candy Crush'' got upon their releases. In response, developers began pushing "freemium" schemes. Japan seems to have a good following in this point, with RPG using gacha-based system like ''VideoGame/GranblueFantasy'' and ''VideoGame/FateGrandOrder''. Both games, however, continued to improve themselves to the point of becoming a force to be reckoned with, with ''VideoGame/FateGrandOrder'' becoming the new GatewaySeries for the Franchise/{{Nasuverse}}. 2017 is another turning point for this: Nintendo released what would be their most successful mobile game, ''VideoGame/FireEmblemHeroes'', internationally, to the point that they at times topped the download chart. This eventually pushed FGO to release the game in English language, and along with Granblue, the three competed as the top Mobile Gacha RPG in the market, possibly ushering a new age of gacha.

to:

* By 2015, the mobile gaming boom began to decline, with no newer "killer apps" to match matching the popularity ''Angry Birds'' or ''Candy Crush'' got upon their releases. In response, developers began pushing "freemium" schemes. "[[AllegedlyFreeGame freemium]]" schemes, introducing {{microtransactions}} on games of all stripes. Many of these games have begun to sell "LootBoxes" that provide RandomlyGeneratedLoot. While generally tolerated in free games as a sort-of NecessaryEvil, especially if the game provides ways to buy them without real money and/or the items were cosmetic in nature , when done improperly they enable a particularly nasty form of BribingYourWayToVictory where ''one'' bribe [[CrackIsCheaper is probably not going to be enough for you]]. While Lootboxes as we know them had begun with VideoGame/TeamFortress2, many other games started to slowly hop on the bandwagon not long after, VideoGame/PAYDAY2 in particular got mocked for it's Crimefest 2015 event, essentially being based about the safe/ drill system implemented into the game, despite the developers claiming that the game would never feature such mechanics, which then caused the developers to make changes to the system not even six months later to make all safes free to open. ''VideoGame/{{Overwatch}}'' launched in 2016 with Lootboxes in tow, much to the chagrin of a fair amount of players, with defenders coining the phrase ''"It's Just Cosmetic!"'' as justifications for purchasing them, which meant, for the longest time, ''Overwatch'' escaped criticism of its Lootboxes on a larger scale. At least, until the issue came to a head in 2017, when game-changing loot boxes were included in ''{{VideoGame/Star Wars Battlefront II|2017}}'' despite it, like previous examples listed here, already being a full-price AAA title. The backlash against this was so severe that even the mainstream news media outlets had picked up on it, which had the knock-on effect of '''''various World Governments''''' to begin investigating whether loot boxes violated gambling laws. In April 2018, The Belgium Gaming Commission made a ruling that loot boxes are considered gambling and thus effectively banned in Belgium under their gambling laws. As a result many of major video games modified their games that barred microtransactions in Belgium to comply with their gambling laws. Similarly, the Dutch Gaming Authority made a similar ruling effectively banning loot boxes in video games. The United Kingdom also started to query the matter, and after questioning [=EA=] about the systems in Parliament, which led to [=EA=] claiming [[BlatantLies that they call them "surprise mechanics"]] (which went down as well as one might expect), and after opening the query up to the public for feedback, the ''sheer number'' of responses condemning [=EA's=] words and attempted stonewalling got politicians agreeing that, on September 2019, Lootboxes should be regulated like gambling, justifying the decision in this [[https://publications.parliament.uk/pa/cm201719/cmselect/cmcumeds/1846/184606.htm House of Commons Report]] by pointing out that while the actual mental effects of Lootboxes haven't been fully conclusive, the amount of horror stories of kids draining their parents' bank accounts by accident making the news on such a regular basis led them to act on that alone. The report ends with Parliament strongly suggesting in-game measures being put in place in games in the near future.
**
Japan seems to have a good following in this point, with RPG using gacha-based system like ''VideoGame/GranblueFantasy'' and ''VideoGame/FateGrandOrder''. Both games, however, continued to improve themselves to the point of becoming a force to be reckoned with, with ''VideoGame/FateGrandOrder'' becoming the new GatewaySeries for the Franchise/{{Nasuverse}}. 2017 is another turning point for this: Nintendo released what would be their most successful mobile game, ''VideoGame/FireEmblemHeroes'', internationally, to the point that they at times topped the download chart. This eventually pushed FGO to release the game in English language, and along with Granblue, the three competed as the top Mobile Gacha RPG in the market, possibly ushering a new age of gacha.



** On the other hand, the gacha system in mobile games has also drawn controversy in the west and Japan alike, as the biggest concerns about gacha games is that many of them encouraging gambling among children [[BribingYourWayToVictory in order to obtain the strongest and rarest characters to beat hard content]] despite the fact that [[PeripheryDemographic many of the gacha games are designed for an adult audience]], although technically, these games tend to avoid 'Pay to Win' scenarios, most units are actually eligible enough to carry the game and the games had to be more generous in giving free resources occasionally... [[EvilIsEasy but paying money is an easier, quicker way.]] The Belgium Gaming Commission ruling of loot boxes have also technically banned gacha games in Belgium, forcing Creator/SquareEnix to pull three of their mobile games from app stores in Belgium.

to:

** On the other hand, the gacha system in mobile games has also drawn controversy in the west and Japan alike, to a similar degree as in the West, as the biggest concerns about gacha games is that many of them encouraging encourage gambling among children [[BribingYourWayToVictory in order to obtain the strongest and rarest characters to beat hard content]] despite the fact that [[PeripheryDemographic many of the gacha games are designed for an adult audience]], although technically, these games tend to avoid 'Pay to Win' scenarios, most units are actually eligible enough to carry the game and the games had to be more generous in giving free resources occasionally... [[EvilIsEasy but paying money is an easier, quicker way.]] The Belgium Gaming Commission ruling of loot boxes have also technically banned gacha games in Belgium, forcing Creator/SquareEnix to pull three of their mobile games from app stores in Belgium.



* The presence of {{Microtransactions}} has grown, starting in mobile games that have embraced the AllegedlyFreeGame model, and slowly being placed into paid games of all stripes. Many of these games have begun to sell "LootBoxes" that provide RandomlyGeneratedLoot. While generally tolerated in free games as a sort-of NecessaryEvil, especially if the game provides ways to buy them without real money and/or the items were cosmetic in nature, when done improperly they enable a particularly nasty form of BribingYourWayToVictory where ''one'' bribe [[CrackIsCheaper is probably not going to be enough for you]]. While Lootboxes as we know them had begun with VideoGame/TeamFortress2, many other games started to slowly hop on the bandwagon not long after, VideoGame/PAYDAY2 in particular got mocked for it's Crimefest 2015 event, essentially being based about the safe/ drill system implemented into the game, despite the developers claiming that the game would never feature such mechanics, which then caused the developers to make changes to the system not even six months later to make all safes free to open. ''VideoGame/{{Overwatch}}'' launched in 2016 with Lootboxes in tow, much to the chagrin of a fair amount of players, with defenders coining the phrase ''"It's Just Cosmetic!"'' as justifications for purchasing them, which meant, for the longest time, ''Overwatch'' escaped criticism of its Lootboxes on a larger scale. At least, until the issue came to a head in 2017, when game-changing loot boxes were included in ''{{VideoGame/Star Wars Battlefront II|2017}}'' despite it, like previous examples listed here, already being a full-price AAA title. The backlash against this was so severe that even the mainstream news media outlets had picked up on it, which had the knock-on effect of '''''various World Governments''''' to begin investigating whether loot boxes violated gambling laws. In April 2018, The Belgium Gaming Commission made a ruling that loot boxes are considered gambling and thus effectively banned in Belgium under their gambling laws. As a result many of major video games modified their games that barred microtransactions in Belgium to comply with their gambling laws. Similarly, the Dutch Gaming Authority made a similar ruling effectively banning loot boxes in video games. The United Kingdom also started to query the matter, and after questioning [=EA=] about the systems in Parliament, which led to [=EA=] claiming [[BlatantLies that they call them "surprise mechanics"]] (which went down as well as one might expect), and after opening the query up to the public for feedback, the ''sheer number'' of responses condemning [=EA's=] words and attempted stonewalling got politicians agreeing that, on September 2019, Lootboxes should be regulated like gambling, justifying the decision in this [[https://publications.parliament.uk/pa/cm201719/cmselect/cmcumeds/1846/184606.htm House of Commons Report]] by pointing out that while the actual mental effects of Lootboxes haven't been fully conclusive, the amount of horror stories of kids draining their parents' bank accounts by accident making the news on such a regular basis led them to act on that alone. The report ends with Parliament strongly suggesting in-game measures being put in place in games in the near future.


** To detractors, including UsefulNotes/NewHollywood-era talents like Creator/MartinScorsese and Creator/FrancisFordCoppola, the content of such films consists of StrictlyFormula StatusQuoIsGod corporate-mandated fare, with minority characters and concerns (mostly) brushed aside in favor of apolitical content to appease conservative markets such as China. The Franchise/MarvelCinematicUniverse took 10 years to introduce a non-white lead and almost 11 for a solo female lead, with no significant LGBTQA+ characters ''at all'' in that time -- though that's accepted as being down to CEO Ike Perlmutter, with immediate moves being made to get ''Film/CaptainMarvel2019'' and ''Film/BlackPanther2018'' onscreen being made as soon as Creator/KevinFeige managed to take control of Marvel Studios -- and BloodlessCarnage to secure PG-13 ratings and draw in audiences that would [[AvoidTheDreadedGRating not watch films with a lower or higher rating]]. The films thus end up with a lack of thematic weight and artistic flair and won't endure the way even the poppiest blockbusters of previous decades did.
** Supporters argue that those complaining are stuck in the SciFiGhetto and [[YoureJustJealous jealous]] that audiences prefer "popcorn movies" to [[TrueArtIsAngsty angst]] and [[TrueArtIsIncomprehensible artiness]], that these have essentially saved a business everybody thought was on the road to inevitable extinction at the beginning of the decade, and that they are not giving these films -- while DarkerAndEdgier R-rated superhero-related films such as ''Film/{{Logan}}'' and ''Film/{{Joker|2019}}'' have gained critical acclaim, these aren't considered as superhero films, but as dramas happening to feature characters from comic books -- proper credit for their dramatic and intellectual depth.
** A related issue is that [[CreativeSterility originality is seen as near-dead in a more cost-conscious Hollywood]] in the aftermath of the 2008 WGA strike, with all-new concepts virtually impossible to greenlight potential tentpole productions as studios instead raided their pre-established catalogs for material (i.e., Disney remaking/revamping many films in its animated canon as live-action or CGI-centric productions). In 2018 '''none''' of the top ten domestic grossers in the U.S. were original concepts or even first-ever adaptations of other media. They were all direct sequels, spinoffs, entries in cinematic universes, [[Film/BohemianRhapsody a musical based on the career of the group Queen]], or a [[WesternAnimation/TheGrinch2018 second big-screen adaptation]] of a famous Dr. Seuss story. Also not helping was that most of the few original IP tentpoles released in the decade (''Film/{{Transcendence}}'', ''Film/GodsOfEgypt'', ''Film/{{Skyscraper}}'') were met with mixed-to-negative critical reception and lackluster box office numbers. The key exception was the aforementioned resurgence of horror movies, but the niche appeal of the genre makes their audience reach limited compared to animated features and superhero films.
* The industry's increasing dependence on foreign markets also led to the de-emphasizing of the films' performers in favor of HighConcept premises and franchise brands. As a result, many publications have commented on the so-called "twilight of the movie star" and shining light on the fact practically ''all'' of the marquee performers of the TurnOfTheMillennium were forgotten by the mid-2010s (with the exceptions of Tobey Maguire and Brendan Fraser, even if only to remind how their lives circled down the drain after their peaks) and that filmmakers who saw huge success in previous decades, such as Tim Burton or Robert Zemeckis, became close to box office poison. (By comparison many 1990s stars, such as Creator/JeffGoldblum and Creator/KeanuReeves, are still finding steady work in both tentpoles and smaller titles, while Creator/JohnnyDepp and Creator/WillSmith still have significant cachet with foreign audiences.)
* The Academy Awards faced an increasing number of controversies: Many hosts for the annual ceremony proved incredibly unpopular, while most Best Picture winners got their awards unexpectedly (with many an AwardSnub)[[note]]Although in most cases, the bookmakers eventually did similar predictions[[/note]], particularly in the cases of ''The Artist'' in 2011[[note]]Beating ''The Tree of Life''[[/note]], ''Birdman'' in 2014[[note]]''Boyhood'' was that year's favorite[[/note]] and 2015's ''Spotlight''[[note]]With ''The Revenant'' being expected to win that year[[/note]]. The latter year's ceremony would be overshadowed by complaints about the representation of non-white voters, with many black actors and filmmakers sitting out. The 2017 ceremony ended with another Best Picture upset, as the critical darling ''Moonlight'' ended up beating the popular front-runner ''La La Land'' in an embarrassing fashion. This snafu only cemented the notion that the Academy was shunning popular genres such as superhero, animated and fantasy features in favor of OscarBait. The Academy proposed a "Best Popular Movie" award for the 2019 ceremony, but quickly ditched it when ''that'' received complaints for being either just a nicer way to snub commercial movies or the "selling-out" of the last bastion of artistic integrity in awards. Plans to give out the technical awards during commercial breaks for the 2019 event also ended up getting scrapped to backlash as many in the industry felt it was disrespectful to people who work in those categories. Kevin Hart, who was supposed to host the 2019 ceremony, dropped out after a number of his bigoted, raunchy "homo jokes" resurfaced, making the show the first without a host in thirty years as no one in Hollywood was available or wanted to take over, and contrary to all expectations (and the memory of the infamous 1989 Oscars), the host-less Oscars became successful and other award shows decided to take a similar route. That year's ceremony ended with ''Film/GreenBook'', becoming one of the most controversial Oscar Best Picture winners in the awards' history for being yet another WhiteMansBurden narrative marginalizing a black {{Deuteragonist}}'s side of the story to gain more attention than minority narratives, winning over higher-profile nominees, including that year's front-runner, Netflix's ''Film/{{Roma}}'', although there was criticism over the multiple nominations and wins awarded to the musicals ''Bohemian Rhapsody'' and ''A Star is Born'', as well as the Marvel film ''Black Panther'', with many fearing the AMPAS, for long considered to have become too pretentious for its own good, was now taking a path leading to a potential "Grammyfication". In spite of the lack of presence of female and minority nominees, and a Twitter screw-up, the 2020 ceremony (again host-less), ran without any major hitches, with the South Korean black comedy ''Parasite'' becoming the first film not made in English to win Best Picture, with films such as ''1917'', ''Joker'', ''Ford v. Ferrari'', ''Once Upon A Time in... Hollywood'' and ''Jojo Rabbit'' receiving multiple awards, while ''The Irishman'', ''Marriage Story'' and ''The Two Popes'' among others led Netflix to outnumber the Hollywood majors in nominations in spite of winning few awards.
* After having success in producing their own television shows, streaming services such as Creator/{{Netflix}} and Amazon begun producing their own films. The results tend to be mixed though both have at times been able to gain critical success and some relative popularity. Amazon Prime's ''Film/ManchesterByTheSea'' helped them become the first streaming service to get a film nominated for an Academy Award for Best Picture while Netflix won a Documentary Feature Oscar with ''Icarus''. Whereas Amazon tends to give their films a standard theatrical release before uploading it to their service, Netflix tends to give their films a very short release before quickly placing it on their catalog. This has gotten Netflix some scrutiny from people in the film industry, even preventing them from competing at the 2018 Cannes Film Festival and receiving backlash from numerous people working in the film industry, especially from cinema owners. This has prevented them from acquiring rights to certain films even if they offer more money than traditional studios (ex: the rom-com hit Film/CrazyRichAsians). Netflix did give a small theatrical run to ''Film/{{Roma}}'', which ended up becoming their first film to get a nomination for Best Picture at the Oscars, but a couple of major theatre chains refused to screen it due to the small amount of time between the start of the theatrical run with the film's release on the streaming service. Some filmmakers -- such as Creator/MartinScorsese, whose ''Film/TheIrishman'' had a similar rollout to ''Roma'' the following year -- have defended Netflix, claiming they were willing to at least produce films, especially from underrepresented groups in Hollywood, that many major studios won't touch anymore in favor of blockbuster tentpoles.

to:

** To detractors, including UsefulNotes/NewHollywood-era talents like Creator/MartinScorsese and Creator/FrancisFordCoppola, the content of such films consists of StrictlyFormula StatusQuoIsGod corporate-mandated fare, with minority characters fare that focuses primarily on elaborate action setpieces rather than plot, CharacterDevelopment, and atmosphere, and is removed from real-world concerns (mostly) brushed aside in and complex/adult human emotions. To win the favor of apolitical content to appease conservative markets such as China. China (and even reactionary U.S. audiences) content is apolitical and minority characters are few: The Franchise/MarvelCinematicUniverse took 10 years to introduce a non-white lead and almost 11 for a solo female lead, with no significant LGBTQA+ characters ''at all'' in that time -- though that's accepted as being down to CEO Ike Perlmutter, with immediate moves being made to get ''Film/CaptainMarvel2019'' and ''Film/BlackPanther2018'' onscreen being made as soon as Creator/KevinFeige managed to take control of Marvel Studios -- and BloodlessCarnage to secure PG-13 ratings and draw in audiences that would [[AvoidTheDreadedGRating not watch films with a lower or higher rating]]. The films thus end up with a lack of thematic weight and artistic flair and won't endure the way even the poppiest blockbusters of previous decades did.
** Supporters argue that those complaining are stuck in the SciFiGhetto and [[YoureJustJealous jealous]] that audiences prefer "popcorn movies" to [[TrueArtIsAngsty angst]] and [[TrueArtIsIncomprehensible artiness]], that these have essentially saved a business everybody thought was on the road to inevitable extinction at the beginning of the decade, and that they are not giving these films -- while proper credit for their dramatic and intellectual depth. (While DarkerAndEdgier R-rated superhero-related films such as ''Film/{{Logan}}'' and ''Film/{{Joker|2019}}'' have gained critical acclaim, these aren't considered as superhero films, but films so much as dramas happening to feature characters from comic books -- proper credit books, and the latter has been criticized for their dramatic and intellectual depth.
being TheThemeParkVersion of a New Hollywood drama by way of escaping the ghetto.)
** A related issue is that [[CreativeSterility originality is seen as near-dead in a more cost-conscious Hollywood]] in the aftermath of the 2008 WGA strike, with all-new concepts virtually impossible to greenlight as potential tentpole productions as studios productions. Studios instead raided their pre-established catalogs for material (i.e., Disney remaking/revamping many films in its animated canon as live-action or CGI-centric productions). In 2018 '''none''' of the top ten domestic grossers in the U.S. were original concepts or even first-ever adaptations of other media. They were all direct sequels, spinoffs, entries in cinematic universes, [[Film/BohemianRhapsody a musical based on the career of the group Queen]], or a [[WesternAnimation/TheGrinch2018 second big-screen adaptation]] of a famous Dr. Seuss story. Also not helping was that most of the few original IP tentpoles released in the decade (''Film/{{Transcendence}}'', ''Film/GodsOfEgypt'', ''Film/{{Skyscraper}}'') were met with mixed-to-negative critical reception and lackluster box office numbers. The key exception was the aforementioned resurgence of horror movies, but the niche appeal of the that genre makes their audience reach limited compared to animated features and superhero films.
* The industry's increasing dependence on foreign markets also led to the de-emphasizing of the films' performers in favor of HighConcept premises and franchise brands. brands; few performers who came to fame as superheroes were able to translate their success into other projects (unless it was ''another'' franchise), while people who were already names risked seeing their highbrow work being overshadowed by Character B in Franchise C. As a result, many publications have commented on the so-called "twilight of the movie star" and shining light on the fact practically ''all'' of the marquee performers of the TurnOfTheMillennium were forgotten by the mid-2010s (with the exceptions of Tobey Maguire and Brendan Fraser, even if only to remind how their lives circled down the drain after their peaks) and that filmmakers who saw huge success in previous decades, such as Tim Burton Creator/TimBurton or Robert Zemeckis, Creator/RobertZemeckis, became close to box office poison.poison as they struggled to adapt to the new paradigm. (By comparison many 1990s stars, such as Creator/JeffGoldblum and Creator/KeanuReeves, are still finding steady work in both tentpoles and smaller titles, while Creator/JohnnyDepp and Creator/WillSmith still have significant cachet with foreign audiences.)
* The Academy Awards faced an increasing number of controversies: controversies. Many hosts for the annual ceremony proved incredibly unpopular, while most Best Picture winners got their awards unexpectedly (with many an AwardSnub)[[note]]Although in most cases, the bookmakers eventually did similar predictions[[/note]], particularly in the cases of ''The Artist'' in 2011[[note]]Beating ''The Tree of Life''[[/note]], ''Birdman'' in 2014[[note]]''Boyhood'' was that year's favorite[[/note]] and 2015's ''Spotlight''[[note]]With ''The Revenant'' being expected to win that year[[/note]]. The latter year's ceremony would be overshadowed by complaints about the representation of non-white voters, with many black actors and filmmakers sitting out. The 2017 ceremony ended with another Best Picture upset, as the critical darling ''Moonlight'' ended up beating the popular front-runner ''La La Land'' in an embarrassing fashion. This snafu only cemented the notion that the Academy was shunning popular genres such as superhero, animated and fantasy features in favor of OscarBait. The Academy proposed a "Best Popular Movie" award for the 2019 ceremony, but quickly ditched it when ''that'' received complaints for being either just a nicer way to snub commercial movies or the "selling-out" of the last bastion of artistic integrity in awards. Plans to give out the technical awards during commercial breaks for the 2019 event also ended up getting scrapped to backlash as many in the industry felt it was disrespectful to people who work in those categories. Kevin Hart, who was supposed to host the 2019 ceremony, dropped out after a number of his bigoted, raunchy "homo jokes" resurfaced, making the show the first without a host in thirty years as no one in Hollywood was available or wanted to take over, and over; contrary to all expectations (and the memory of the infamous 1989 Oscars), the host-less Oscars became successful went over well and other award shows decided to take a similar route. That year's ceremony ended with ''Film/GreenBook'', ''Film/GreenBook'' becoming one of the most controversial Oscar Best Picture winners in the awards' history for being yet another WhiteMansBurden narrative marginalizing a black {{Deuteragonist}}'s side of the story to gain more attention than minority narratives, winning over beating as it did higher-profile nominees, nominees including that year's front-runner, Netflix's ''Film/{{Roma}}'', although there ''Film/{{Roma}}''. There was criticism over the multiple nominations and wins awarded to the musicals ''Bohemian Rhapsody'' and ''A Star is Born'', Born'' as well as the Marvel film ''Black Panther'', with many fearing the AMPAS, for AMPAS -- long considered to have become too pretentious for its own good, good -- was now taking a path leading to a potential "Grammyfication". In spite of the lack of presence of female and minority nominees, and a Twitter screw-up, the 2020 ceremony (again host-less), host-less) ran without any major hitches, with the South Korean black comedy ''Parasite'' becoming the first film not made in English to win Best Picture, with films such as ''1917'', ''Joker'', ''Ford v. Ferrari'', ''Once Upon A Time in... Hollywood'' and ''Jojo Rabbit'' receiving multiple awards, while ''The Irishman'', ''Marriage Story'' and ''The Two Popes'' among others (among others) led Netflix to outnumber the Hollywood majors in nominations in spite of winning few awards.
* After having success in producing their own television shows, streaming services such as Creator/{{Netflix}} and Amazon begun producing their own films. The results tend to be mixed though both have at times been able to gain critical success and some relative popularity. Amazon Prime's ''Film/ManchesterByTheSea'' helped them become the first streaming service to get a film nominated for an Academy Award for Best Picture while Netflix won a Documentary Feature Oscar with ''Icarus''. Whereas Amazon tends to give their films a standard theatrical release before uploading it to their service, Netflix tends to give their films a very short release before quickly placing it on their catalog. This has gotten Netflix some scrutiny from people in the film industry, even preventing them from competing at the 2018 Cannes Film Festival and receiving backlash from numerous people working in the film industry, especially from cinema owners. This has prevented them from acquiring rights to certain films even if they offer more money than traditional studios (ex: the rom-com hit Film/CrazyRichAsians). Netflix did give a small theatrical run to ''Film/{{Roma}}'', which ended up becoming their first film to get a nomination for Best Picture at the Oscars, but a couple of major theatre chains refused to screen it due to the small amount of time between the start of the theatrical run with the film's release on the streaming service. Some filmmakers -- such as Creator/MartinScorsese, whose ''Film/TheIrishman'' had a similar rollout to ''Roma'' the following year -- have defended Netflix, claiming they were willing to at least produce films, especially from underrepresented groups in Hollywood, that many major studios won't touch anymore in favor of those blockbuster tentpoles.



* The {{Young Adult|Literature}} genre has greatly dominated literature in this decade featuring two completely different styles: The first years of the decade were marked by the ''Literature/TheHungerGames'' series and its [[FollowTheLeader ilk]] (''Literature/{{Divergent}}'', ''Literature/TheMazeRunner'') featuring grungy, dystopian settings. Then, novels deliberately hearkening back to John Hughes' teen movies like ''Literature/TheFaultInOurStars'', ''Literature/PaperTowns'' and ''Literature/EverythingEverything'' became popular.

to:

* The {{Young Adult|Literature}} genre has greatly dominated literature in this decade featuring via two completely different styles: The first years of the decade were marked by the ''Literature/TheHungerGames'' series and its [[FollowTheLeader ilk]] (''Literature/{{Divergent}}'', ''Literature/TheMazeRunner'') featuring grungy, dystopian settings. Then, novels deliberately hearkening back to John Hughes' teen movies like ''Literature/TheFaultInOurStars'', ''Literature/PaperTowns'' and ''Literature/EverythingEverything'' became popular.



* Awards shows also become highly political after Trump took office, with celebrities beginning to use them as platforms to speak out about progressive causes like equal pay, the [=#MeToo=] movement, or immigration. Even ones aimed at kids would have implicitly political messages about unity and love.

to:

* Awards shows also become highly noticeably more political after Trump took office, with celebrities beginning to use them as platforms to speak out about progressive causes like equal pay, the [=#MeToo=] movement, or immigration. Even ones aimed at kids would have implicitly political messages about unity and love.



** This is also the decade that mainstream rock music vanished from the airwaves of mainstream pop and adult contemporary stations. This largely had to do with demographics. Pop radio has always targeted very young audiences and tended to skew towards female audiences, whose taste in music was seen as more universal compared to fringe genres that boys and men liked. However, the format’s listener base became increasingly nonwhite and more dependent on female and younger audiences than ever before, thus quickly diverging from the base of conservative white males who typically listened to mainstream rock. No song has successfully crossed over from the format since Shinedown’s top 10 hit “Second Chance” in June 2009, and even the alternative radio format had a near-complete blackout of crossover hits in 2010 and 2011 as the format struggled to find songs with mass appeal. The fact that alternative radio increasingly diverged from mainstream rock may have also had something to do with it; as the former had much more overlap with pop radio demographics than the latter, it was Bette positioned to cross over.

to:

** This is also the decade that mainstream rock music vanished from the airwaves of mainstream pop and adult contemporary stations. This largely had to do with demographics. demographics: Pop radio has always targeted very young audiences and tended to skew towards female audiences, women, whose taste in music was seen as more universal compared to fringe genres that boys and men liked. However, In this decade the format’s listener base became increasingly nonwhite and more dependent on female and younger audiences than ever before, audiences, thus quickly diverging from the base of conservative white males who typically listened to mainstream rock. No song has successfully crossed over from the that format since Shinedown’s top Top 10 hit “Second Chance” in June 2009, and even the alternative radio format had a near-complete blackout of crossover hits in 2010 and 2011 as the format struggled to find songs with mass appeal. The fact that alternative radio increasingly diverged from mainstream rock may have also had something to do with it; as the former had much more overlap with pop radio demographics than the latter, it was Bette positioned to cross over.


* The Academy Awards faced an increasing number of controversies: Many hosts for the annual ceremony proved incredibly unpopular, while most Best Picture winners got their awards unexpectedly (with many an AwardSnub)[[note]]Although in most cases, the bookmakers eventually did similar predictions[[/note]], particularly in the cases of ''The Artist'' in 2011[[note]]Beating ''The Tree of Life''[[/note]], ''Birdman'' in 2014[[note]]''Boyhood'' was that year's favorite[[/note]] and 2015's ''Spotlight''[[note]]With ''The Revenant'' being expected to win that year[[/note]]. The latter year's ceremony would be overshadowed by complaints about the representation of non-white voters, with many black actors and filmmakers sitting out. The 2017 ceremony ended with another Best Picture upset, as the critical darling ''Moonlight'' ended up beating the popular front-runner ''La La Land'' in an embarrassing fashion. This snafu only cemented the notion that the Academy was shunning popular genres such as superhero, animated and fantasy features in favor of OscarBait. The Academy proposed a "Best Popular Movie" award for the 2019 ceremony, but quickly ditched it when ''that'' received complaints for being either just a nicer way to snub commercial movies or the "selling-out" of the last bastion of artistic integrity in awards. Plans to give out the technical awards during commercial breaks for the 2019 event also ended up getting scrapped to backlash as many in the industry felt it was disrespectful to people who work in those categories. Kevin Hart, who was supposed to host the 2019 ceremony, dropped out after a number of his bigoted, raunchy "homo jokes" resurfaced, making the show the first without a host in thirty years as no one in Hollywood was available or wanted to take over, and contrary to all expectations (and the memory of the infamous 1989 Oscars), the host-less Oscars became successful and other award shows decided to take a similar route. That year's ceremony ended with ''Film/GreenBook'' winning Best Picture over higher-profile nominees such as ''Film/{{Roma}}'' (that year's front-runner), ''A Star is Born'', and ''Black Panther'', becoming one of the most controversial Oscar winners in the awards' history for being yet another WhiteMansBurden narrative marginalizing a black {{Deuteragonist}}'s side of the story to gain more attention than minority narratives.

to:

* The Academy Awards faced an increasing number of controversies: Many hosts for the annual ceremony proved incredibly unpopular, while most Best Picture winners got their awards unexpectedly (with many an AwardSnub)[[note]]Although in most cases, the bookmakers eventually did similar predictions[[/note]], particularly in the cases of ''The Artist'' in 2011[[note]]Beating ''The Tree of Life''[[/note]], ''Birdman'' in 2014[[note]]''Boyhood'' was that year's favorite[[/note]] and 2015's ''Spotlight''[[note]]With ''The Revenant'' being expected to win that year[[/note]]. The latter year's ceremony would be overshadowed by complaints about the representation of non-white voters, with many black actors and filmmakers sitting out. The 2017 ceremony ended with another Best Picture upset, as the critical darling ''Moonlight'' ended up beating the popular front-runner ''La La Land'' in an embarrassing fashion. This snafu only cemented the notion that the Academy was shunning popular genres such as superhero, animated and fantasy features in favor of OscarBait. The Academy proposed a "Best Popular Movie" award for the 2019 ceremony, but quickly ditched it when ''that'' received complaints for being either just a nicer way to snub commercial movies or the "selling-out" of the last bastion of artistic integrity in awards. Plans to give out the technical awards during commercial breaks for the 2019 event also ended up getting scrapped to backlash as many in the industry felt it was disrespectful to people who work in those categories. Kevin Hart, who was supposed to host the 2019 ceremony, dropped out after a number of his bigoted, raunchy "homo jokes" resurfaced, making the show the first without a host in thirty years as no one in Hollywood was available or wanted to take over, and contrary to all expectations (and the memory of the infamous 1989 Oscars), the host-less Oscars became successful and other award shows decided to take a similar route. That year's ceremony ended with ''Film/GreenBook'' winning Best Picture over higher-profile nominees such as ''Film/{{Roma}}'' (that year's front-runner), ''A Star is Born'', and ''Black Panther'', ''Film/GreenBook'', becoming one of the most controversial Oscar Best Picture winners in the awards' history for being yet another WhiteMansBurden narrative marginalizing a black {{Deuteragonist}}'s side of the story to gain more attention than minority narratives.narratives, winning over higher-profile nominees, including that year's front-runner, Netflix's ''Film/{{Roma}}'', although there was criticism over the multiple nominations and wins awarded to the musicals ''Bohemian Rhapsody'' and ''A Star is Born'', as well as the Marvel film ''Black Panther'', with many fearing the AMPAS, for long considered to have become too pretentious for its own good, was now taking a path leading to a potential "Grammyfication". In spite of the lack of presence of female and minority nominees, and a Twitter screw-up, the 2020 ceremony (again host-less), ran without any major hitches, with the South Korean black comedy ''Parasite'' becoming the first film not made in English to win Best Picture, with films such as ''1917'', ''Joker'', ''Ford v. Ferrari'', ''Once Upon A Time in... Hollywood'' and ''Jojo Rabbit'' receiving multiple awards, while ''The Irishman'', ''Marriage Story'' and ''The Two Popes'' among others led Netflix to outnumber the Hollywood majors in nominations in spite of winning few awards.


* The Franchise/DisneyAnimatedCanon had its biggest hits since TheNineties with ''Disney/{{Tangled}}'', ''Disney/WreckItRalph'', ''Disney/{{Frozen}}'', ''Disney/BigHero6'', ''Disney/{{Zootopia}}'', and ''Disney/{{Moana}}'', while ''[[Disney/RalphBreaksTheInternet Ralph]]'' and ''[[Disney/FrozenII Frozen]]'' would each get sequels six years later. The first and ''especially'' the third one and its sequel became extremely popular and revived the Disney Princess franchise after a decade.

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* The Franchise/DisneyAnimatedCanon had its biggest hits since TheNineties with ''Disney/{{Tangled}}'', ''Disney/WreckItRalph'', ''Disney/{{Frozen}}'', ''Disney/BigHero6'', ''Disney/{{Zootopia}}'', ''WesternAnimation/{{Tangled}}'', ''WesternAnimation/WreckItRalph'', ''WesternAnimation/{{Frozen}}'', ''WesternAnimation/BigHero6'', ''WesternAnimation/{{Zootopia}}'', and ''Disney/{{Moana}}'', ''WesternAnimation/{{Moana}}'', while ''[[Disney/RalphBreaksTheInternet ''[[WesternAnimation/RalphBreaksTheInternet Ralph]]'' and ''[[Disney/FrozenII ''[[WesternAnimation/FrozenII Frozen]]'' would each get sequels six years later. The first and ''especially'' the third one and its sequel became extremely popular and revived the Disney Princess franchise after a decade.



* Some of the last remaining cartoon voice actors of the "golden age" passed away during the decade: Stan Freberg died in 2015 at the age of 88, while June Foray passed away in 2017, just months shy of what would have been her 100th birthday. These deaths have left the few remaining actors from this era (arguably the most notable examples being [[WesternAnimation/{{Bambi}} Donnie Dunagan]] and [[Disney/SleepingBeauty Mary Costa]]) to carry on [[LastOfTheirKind in near-solitude]].

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* Some of the last remaining cartoon voice actors of the "golden age" passed away during the decade: Stan Freberg died in 2015 at the age of 88, while June Foray passed away in 2017, just months shy of what would have been her 100th birthday. These deaths have left the few remaining actors from this era (arguably the most notable examples being [[WesternAnimation/{{Bambi}} Donnie Dunagan]] and [[Disney/SleepingBeauty [[WesternAnimation/SleepingBeauty Mary Costa]]) to carry on [[LastOfTheirKind in near-solitude]].


* The presence of {{Microtransactions}} has grown, starting in mobile games that have embraced the AllegedlyFreeGame model, and slowly being placed into paid games of all stripes. Many of these games have begun to sell "LootBoxes" that provide RandomlyGeneratedLoot. While generally tolerated in free games as a sort-of NecessaryEvil, especially if the game provides ways to buy them without real money and/or the items were cosmetic in nature, when done improperly they enable a particularly nasty form of BribingYourWayToVictory where ''one'' bribe [[CrackIsCheaper is probably not going to be enough for you]]. While Lootboxes as we know them had begun with VideoGame/TeamFortress2, many other games started to slowly hop on the bandwagon not long after, VideoGame/PAYDAY2 in particular got mocked for it's Crimefest 2015 event, essentially being based about the safe/ drill system implemented into the game, despite the developers claiming that the game would never feature such mechanics, which then caused the developers to make changes to the system not even six months later to make all safes free to open. ''VideoGame/{{Overwatch}}'' launched in 2016 with Lootboxes in tow, much to the chagrin of a fair amount of players, with defenders coining the phrase ''"It's Just Cosmetic!"'' as justifications for purchasing them, which meant, for the longest time, ''Overwatch'' escaped criticism of its Lootboxes on a larger scale. At least, until the issue came to a head in 2017, when game-changing loot boxes were included in ''{{VideoGame/Star Wars Battlefront II|2017}}'' despite it, like previous examples listed here, already being a full-price AAA title. The backlash against this was so severe that even the mainstream news media outlets had picked up on it, which had the knock-on effect of '''''various World Governments''''' to begin investigating whether loot boxes violated gambling laws. In April 2018, The Belgium Gaming Commission made a ruling that loot boxes are considered gambling and thus effectively banned in Belgium under their gambling laws. As a result many of major video games modified their games that barred microtransactions in Belgium to comply with their gambling laws. Similarly, the Dutch Gaming Authority made a similar ruling effectively banning loot boxes in video games. The United Kingdom also started to query the matter, and after questioning [=EA=] about the systems in Parliament, which led to [=EA=] claiming [[BlatantLies that they call them "surprise mechanics"]] (which went down as well as one might expect), and after opening the query up to the public for feedback, the ''sheer number'' of responses condemning [=EA's=] words and attempted stonewalling got politicians agreeing that, on September 2019, Lootboxes should be regulated like gambling, justifying the decision in this [[https://publications.parliament.uk/pa/cm201719/cmselect/cmcumeds/1846/184606.htm House of Commons Report]] by pointing out that while the actual mental effects of Lootboxes haven't been fully conclusive, the amount of horror stories of kids draining their parents' bank accounts by accident making the news on such a regular basis led them to act on that alone. The report ends with Parliament strongly suggesting in-game measures being put in place in games before 2021/2022.

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* The presence of {{Microtransactions}} has grown, starting in mobile games that have embraced the AllegedlyFreeGame model, and slowly being placed into paid games of all stripes. Many of these games have begun to sell "LootBoxes" that provide RandomlyGeneratedLoot. While generally tolerated in free games as a sort-of NecessaryEvil, especially if the game provides ways to buy them without real money and/or the items were cosmetic in nature, when done improperly they enable a particularly nasty form of BribingYourWayToVictory where ''one'' bribe [[CrackIsCheaper is probably not going to be enough for you]]. While Lootboxes as we know them had begun with VideoGame/TeamFortress2, many other games started to slowly hop on the bandwagon not long after, VideoGame/PAYDAY2 in particular got mocked for it's Crimefest 2015 event, essentially being based about the safe/ drill system implemented into the game, despite the developers claiming that the game would never feature such mechanics, which then caused the developers to make changes to the system not even six months later to make all safes free to open. ''VideoGame/{{Overwatch}}'' launched in 2016 with Lootboxes in tow, much to the chagrin of a fair amount of players, with defenders coining the phrase ''"It's Just Cosmetic!"'' as justifications for purchasing them, which meant, for the longest time, ''Overwatch'' escaped criticism of its Lootboxes on a larger scale. At least, until the issue came to a head in 2017, when game-changing loot boxes were included in ''{{VideoGame/Star Wars Battlefront II|2017}}'' despite it, like previous examples listed here, already being a full-price AAA title. The backlash against this was so severe that even the mainstream news media outlets had picked up on it, which had the knock-on effect of '''''various World Governments''''' to begin investigating whether loot boxes violated gambling laws. In April 2018, The Belgium Gaming Commission made a ruling that loot boxes are considered gambling and thus effectively banned in Belgium under their gambling laws. As a result many of major video games modified their games that barred microtransactions in Belgium to comply with their gambling laws. Similarly, the Dutch Gaming Authority made a similar ruling effectively banning loot boxes in video games. The United Kingdom also started to query the matter, and after questioning [=EA=] about the systems in Parliament, which led to [=EA=] claiming [[BlatantLies that they call them "surprise mechanics"]] (which went down as well as one might expect), and after opening the query up to the public for feedback, the ''sheer number'' of responses condemning [=EA's=] words and attempted stonewalling got politicians agreeing that, on September 2019, Lootboxes should be regulated like gambling, justifying the decision in this [[https://publications.parliament.uk/pa/cm201719/cmselect/cmcumeds/1846/184606.htm House of Commons Report]] by pointing out that while the actual mental effects of Lootboxes haven't been fully conclusive, the amount of horror stories of kids draining their parents' bank accounts by accident making the news on such a regular basis led them to act on that alone. The report ends with Parliament strongly suggesting in-game measures being put in place in games before 2021/2022.in the near future.


* In the previous decades, the company Creator/{{SNK}} was known as the underdog company that could go toe-to-toe against the company juggernaut Creator/{{Capcom}} in terms of [[VideoGame/SNKVsCapcom fighting games.]] Unfortunately, they had to file for bankruptcy and stay out of the limelight while trying to re-gather their resources after they sold it out to Aruze and Playmore, eventually re-forming under the name 'SNK Playmore'. They continue to release their games in mostly spin-off titles and several hit-or-miss games and even Pachinko titles (the same venture that doomed Creator/{{Konami}}, read above), but eventually in this decade, it has gathered enough resources to return to its original name (just SNK) and unleashed several hit fighting games that brought them back to the limelight after their long absence: ''VideoGame/TheKingOfFighters XIV'' and ''VideoGame/SamuraiShodown (2019)'', which continued to be given post-release contents and also earned them spots in the EVO tournaments, and also lent their characters as GuestFighter in other games (most notably [[VideoGame/FatalFury Geese Howard]] in ''VideoGame/{{Tekken}} 7'', [[VideoGame/SamuraiShodown Haohmaru]] in ''VideoGame/SoulCaliburVI'', [[VideoGame/FatalFury Mai Shiranui]] in the fifth and sixth ''Video/DeadOrAlive'' titles alongside [[VideoGame/TheKingOfFighters Kula Diamond]] in the latter, and [[VideoGame/FatalFury Terry Bogard]] in ''VideoGame/FightingEXLayer'' and ''VideoGame/SuperSmashBrosUltimate''). In this decade, SNK has finally completed its '[[BackFromTheDead risen from the grave]] like a Phoenix' story phase.

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* In the previous decades, the company Creator/{{SNK}} was known as the underdog company that could go toe-to-toe against the company juggernaut Creator/{{Capcom}} in terms of [[VideoGame/SNKVsCapcom fighting games.]] Unfortunately, they had to file for bankruptcy and stay out of the limelight while trying to re-gather their resources after they sold it out to Aruze and Playmore, eventually re-forming under the name 'SNK Playmore'. They continue to release their games in mostly spin-off titles and several hit-or-miss games and even Pachinko titles (the same venture that doomed Creator/{{Konami}}, read above), but eventually in this decade, it has gathered enough resources to return to its original name (just SNK) and unleashed several hit fighting games that brought them back to the limelight after their long absence: ''VideoGame/TheKingOfFighters XIV'' and ''VideoGame/SamuraiShodown (2019)'', which continued to be given post-release contents and also earned them spots in the EVO tournaments, and also lent their characters as GuestFighter in other games (most notably [[VideoGame/FatalFury Geese Howard]] in ''VideoGame/{{Tekken}} 7'', [[VideoGame/SamuraiShodown Haohmaru]] in ''VideoGame/SoulCaliburVI'', [[VideoGame/FatalFury Mai Shiranui]] in the fifth and sixth ''Video/DeadOrAlive'' ''VideoGame/DeadOrAlive'' titles alongside [[VideoGame/TheKingOfFighters Kula Diamond]] in the latter, and [[VideoGame/FatalFury Terry Bogard]] in ''VideoGame/FightingEXLayer'' and ''VideoGame/SuperSmashBrosUltimate''). In this decade, SNK has finally completed its '[[BackFromTheDead risen from the grave]] like a Phoenix' story phase.


* The Franchise/DisneyAnimatedCanon had its biggest hits since TheNineties with ''WesternAnimation/{{Tangled}}'', ''WesternAnimation/WreckItRalph'', ''WesternAnimation/{{Frozen}}'', ''WesternAnimation/BigHero6'' and ''WesternAnimation/{{Zootopia}}''. The first and ''especially'' the third one became extremely popular and revived the Disney Princess franchise after a decade.

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* The Franchise/DisneyAnimatedCanon had its biggest hits since TheNineties with ''WesternAnimation/{{Tangled}}'', ''WesternAnimation/WreckItRalph'', ''WesternAnimation/{{Frozen}}'', ''WesternAnimation/BigHero6'' ''Disney/{{Tangled}}'', ''Disney/WreckItRalph'', ''Disney/{{Frozen}}'', ''Disney/BigHero6'', ''Disney/{{Zootopia}}'', and ''WesternAnimation/{{Zootopia}}''. ''Disney/{{Moana}}'', while ''[[Disney/RalphBreaksTheInternet Ralph]]'' and ''[[Disney/FrozenII Frozen]]'' would each get sequels six years later. The first and ''especially'' the third one and its sequel became extremely popular and revived the Disney Princess franchise after a decade.



* Creator/{{Pixar}}, which dominated the previous decade, has continued to churn out box-office hits but has found its prestige slipping since the ToughActToFollow of ''WesternAnimation/ToyStory3'', with ''WesternAnimation/Cars2'' getting a poor critical reception, and ''WesternAnimation/{{Brave}}'' got mixed notices and underperformed worldwide in spite of winning an Oscar. ''WesternAnimation/MonstersUniversity'' did do well with critics, though audiences were divided on it as well. After not releasing films in 2014, ''WesternAnimation/InsideOut'', the studio's first 2015 release received a standing ovation at ''Cannes'' and became a surprise hit, competing with ''Film/JurassicWorld'' on even terms. The same year though, they released ''WesternAnimation/TheGoodDinosaur'' which became their first BoxOfficeBomb. Their fortunes though seem to have begun rebounding. ''WesternAnimation/FindingDory'' became a big critical and financial hit while ''WesternAnimation/Cars3'' was considered to be an improvement on the previous one. ''WesternAnimation/{{Coco}}'' was met with critical acclaim and was a commercial success, and also scored 2 more Oscars for Pixar (Best Animated Feature and Best Song). ''WesternAnimation/Incredibles2'' has also been meant with acclaim and its huge 182 million opening weekend has giving it the record for best animated feature debut. It has since grossed over 1.2 billion dollars worldwide, making it Pixar's highest grossing film to date.

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* Creator/{{Pixar}}, which dominated the previous decade, has continued to churn out box-office hits but has found its prestige slipping since the ToughActToFollow of ''WesternAnimation/ToyStory3'', with ''WesternAnimation/Cars2'' getting a poor critical reception, and ''WesternAnimation/{{Brave}}'' got mixed notices and underperformed worldwide in spite of winning an Oscar. ''WesternAnimation/MonstersUniversity'' did do well with critics, though audiences were divided on it as well. After not releasing films in 2014, ''WesternAnimation/InsideOut'', the studio's first 2015 release received a standing ovation at ''Cannes'' and became a surprise hit, competing with ''Film/JurassicWorld'' on even terms. The same year though, they released ''WesternAnimation/TheGoodDinosaur'' which became their first BoxOfficeBomb. Their fortunes though seem to have begun rebounding. ''WesternAnimation/FindingDory'' became a big critical and financial hit while ''WesternAnimation/Cars3'' was considered to be an improvement on the previous one. ''WesternAnimation/{{Coco}}'' was met with critical acclaim and was a commercial success, and also scored 2 more Oscars for Pixar (Best Animated Feature and Best Song). ''WesternAnimation/Incredibles2'' has also been meant with acclaim and its huge 182 million opening weekend has giving it the record for best animated feature debut. It has since grossed over 1.2 billion dollars worldwide, making it Pixar's highest grossing film to date. They went out with a bang with ''WesternAnimation/ToyStory4'', which was just as well-received as any other entry in the series.



* Beginning in 2010, the MPAA (Motion Pictures Association of America) enacted stricter guidelines for its ratings in response to criticism about content seen on films rated "PG" or "PG-13". This move led to a situation where, 8 of every 10 films released in a given year carried either rating (with about half of all films being rated PG-13), while it became nearly impossible to get a film rated "G" (which had [[AvoidTheDreadedGRating already become associated]] with [[AnimationAgeGhetto films aimed at very young children]]) except for documentaries and some Pixar films -- 2016 was the first year in which not a single non-documentary film (theatrical or DTV) released that year was rated "G". In 2018, two films did fit the description (''The Big Bad Fox and Other Tales'' and ''Zoo Wars'') but both had very limited theatrical releases and were among the lowest-grossing films of the year. The fact the 2019 version of ''The Lion King'' got a "PG" rating in spite of being basically a shot-for-shot remake of a G-rated 1994 film became a sign the "G" rating was all but done in the mainstream.

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* Beginning in 2010, the MPAA (Motion Pictures Association of America) enacted stricter guidelines for its ratings in response to criticism about content seen on films rated "PG" or "PG-13". This move led to a situation where, 8 of every 10 films released in a given year carried either rating (with about half of all films being rated PG-13), while it became nearly impossible to get a film rated "G" (which had [[AvoidTheDreadedGRating already become associated]] with [[AnimationAgeGhetto films aimed at very young children]]) except for documentaries and [[GrandfatherClause some Pixar films films]] -- 2016 was the first year in which not a single non-documentary film (theatrical or DTV) released that year was rated "G". In 2018, two films did fit the description (''The Big Bad Fox and Other Tales'' and ''Zoo Wars'') but both had very limited theatrical releases and were among the lowest-grossing films of the year. The fact the 2019 version of ''The Lion King'' got a "PG" rating in spite of being basically a shot-for-shot remake of a G-rated 1994 film became a sign the "G" rating was all but done in the mainstream.



* Late-night television took a very sharp political turn once Donald Trump was elected president. Political humor previously consisted mostly of lighthearted jabs at political figures, Republicans and Democrats alike, and was often reserved exclusively for the president. With Trump, late-night hosts were more likely to call him, his administration, and Congressional Republicans out on unpopular policy and poor behavior. They were also much more partisan, often explicitly framing the story with the Republican side being in the wrong.
* Awards shows also become highly political after Trump took office, with celebrities beginning to use them as platforms to speak out about progressive causes like equal pay, the [=#MeToo=] movement, or immigration.

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* Late-night television took a very sharp political turn once Donald Trump was elected president. Political humor previously consisted mostly of lighthearted jabs at political figures, Republicans and Democrats alike, and was often reserved exclusively for the president. With Trump, late-night hosts were more likely to call him, his administration, and Congressional Republicans out on unpopular policy and poor behavior. They were also much more partisan, often explicitly framing the story with the Republican side being in the wrong.
wrong. While Democrats would still get typical light-hearted jabs, it would never come close to the hell the hosts rained down on the GOP, to the point that late-night hosts would, for the first time ever, them positively.
* Awards shows also become highly political after Trump took office, with celebrities beginning to use them as platforms to speak out about progressive causes like equal pay, the [=#MeToo=] movement, or immigration. Even ones aimed at kids would have implicitly political messages about unity and love.



** This is also the decade that mainstream rock music vanished from the airwaves of mainstream pop and adult contemporary stations. This largely had to do with demographics. Pop radio has always targeted very young audiences and tended to skew towards female audiences, whose taste in music was seen as more universal compared to fringe genres that boys liked. However, the format’s listener base became increasingly nonwhite and more dependent on female and younger audiences than ever before, thus quickly diverging from the base of conservative white males who listened to mainstream rock. No song has successfully crossed over from the format since Shinedown’s top 10 hit “Second Chance” in June 2009, and even the alternative radio format had a near-complete blackout of crossover hits in 2010 and 2011 as the format struggled to find songs with mass appeal.

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** This is also the decade that mainstream rock music vanished from the airwaves of mainstream pop and adult contemporary stations. This largely had to do with demographics. Pop radio has always targeted very young audiences and tended to skew towards female audiences, whose taste in music was seen as more universal compared to fringe genres that boys and men liked. However, the format’s listener base became increasingly nonwhite and more dependent on female and younger audiences than ever before, thus quickly diverging from the base of conservative white males who typically listened to mainstream rock. No song has successfully crossed over from the format since Shinedown’s top 10 hit “Second Chance” in June 2009, and even the alternative radio format had a near-complete blackout of crossover hits in 2010 and 2011 as the format struggled to find songs with mass appeal. The fact that alternative radio increasingly diverged from mainstream rock may have also had something to do with it; as the former had much more overlap with pop radio demographics than the latter, it was Bette positioned to cross over.


* Awards shows also become highly political, with celebrities beginning to use them as platforms to speak out about progressive causes like equal pay, the [=#MeToo=] movement, or immigration.

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* Awards shows also become highly political, political after Trump took office, with celebrities beginning to use them as platforms to speak out about progressive causes like equal pay, the [=#MeToo=] movement, or immigration.



* PopPunk, one of the defining genres of the past decade, experienced a huge drop in popularity during the early 2010s, becoming a source of mockery, mainly being kept alive through older acts like Music/Blink182 and Music/Sum41 still having a large fandom, while newer bands have enjoyed a crossover fandom with Metalcore and PostHardcore, with bands like Music/TheWonderYears, Knuckle Puck, and Transit forming the DefendPopPunk subgenre, categorized by heavier, downtuned guitars and loud/soft dynamics with very personal lyrics. By the second half of the decade, the genre has witnessed an unexpected bout of nostalgia (primarily through mentions from celebrities who grew up/came-of-age during pop punk's heyday), although more for its subversive stance (coincidentally or not, these {{Shout Out}}s began during the 2016 election campaign and the rise of the anti-establishment campaigns of Bernie Sanders and Donald Trump) rather than for the music itself.

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* PopPunk, one of the defining genres of the past decade, experienced a huge drop in popularity during the early 2010s, becoming a source of mockery, mainly being kept alive through older acts like Music/Blink182 and Music/Sum41 still having a large fandom, while newer bands have enjoyed a crossover fandom with Metalcore and PostHardcore, with bands like Music/TheWonderYears, Knuckle Puck, and Transit forming the DefendPopPunk subgenre, categorized by heavier, downtuned guitars and loud/soft dynamics with very personal lyrics. By the second half of the decade, the genre has witnessed an unexpected bout of nostalgia (primarily through mentions from celebrities who grew up/came-of-age during pop punk's heyday), although more for its subversive stance (coincidentally or not, these {{Shout Out}}s began during the 2016 election campaign and the rise of the anti-establishment campaigns of Bernie Sanders and Donald Trump) Trump, the former of who had strong support amongst the genre’s musicians and fans) rather than for the music itself.



* The FightingGame genre is undergoing something of a renaissance. The success of ''VideoGame/StreetFighterIV'', ''VideoGame/{{Tekken}} 6'', and ''VideoGame/BlazBlueCalamityTrigger'' in the late 2000s led to announcements of expansions and sequels, among them ''VideoGame/TheKingOfFighters XIII'', ''VideoGame/ArcanaHeart 3'', ''[[VideoGame/SoulSeries Soulcalibur V]]'', ''Tekken Tag Tournament 2'', ''VideoGame/DeadOrAlive 5'', ''VideoGame/MarvelVsCapcom3'', and ''VideoGame/StreetFighterXTekken'', though the latter two are particularly divisive and possibly contributed to Creator/{{Capcom}}'s decline. The ''VideoGame/SuperSmashBros'' series released its fourth installment(s) as well and its fifth came out four years afterwards. In addition to established titles, there's also some new blood in the fighting arena, like ''VideoGame/{{Skullgirls}}'', ''VideoGame/DaemonBride'', and ''VideoGame/RivalsOfAether'', as well as spin-offs for non-fighting games like ''VisualNovel/UminekoWhenTheyCry'' fighting game and ''VideoGame/Persona4Arena''. The decade so far also saw the revival of the ''Franchise/MortalKombat'' franchise with its [[VideoGame/MortalKombat9 newest installment/reboot]] and its [[VideoGame/MortalKombatX sequel]], in addition to a [[VideoGame/InjusticeGodsAmongUs pseudo-spinoff starring DC Comics characters]] and a [[VideoGame/Injustice2 sequel to that later]], winning back fans who'd been disappointed by its brush with the PolygonCeiling. And of course, Creator/ArcSystemWorks, the company behind ''VideoGame/BlazBlue'', has continued to grow thanks to its now-flagship series, with the possibility of becoming the next top FightingGame company following fan disillusionment towards Capcom.

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* The FightingGame genre is undergoing something of a renaissance. The success of ''VideoGame/StreetFighterIV'', ''VideoGame/{{Tekken}} 6'', and ''VideoGame/BlazBlueCalamityTrigger'' in the late 2000s led to announcements of expansions and sequels, among them ''VideoGame/TheKingOfFighters XIII'', ''VideoGame/ArcanaHeart 3'', ''[[VideoGame/SoulSeries Soulcalibur V]]'', ''Tekken Tag Tournament 2'', ''VideoGame/DeadOrAlive 5'', ''VideoGame/MarvelVsCapcom3'', and ''VideoGame/StreetFighterXTekken'', though the latter two are particularly divisive and possibly contributed to Creator/{{Capcom}}'s decline. The ''VideoGame/SuperSmashBros'' series released its fourth installment(s) as well and its fifth came out four years afterwards. In addition to established titles, there's also some new blood in the fighting arena, like ''VideoGame/{{Skullgirls}}'', ''VideoGame/DaemonBride'', and ''VideoGame/RivalsOfAether'', as well as spin-offs for non-fighting games like ''VisualNovel/UminekoWhenTheyCry'' fighting game and ''VideoGame/Persona4Arena''. The decade so far also saw the revival of the ''Franchise/MortalKombat'' franchise with its [[VideoGame/MortalKombat9 newest installment/reboot]] and its [[VideoGame/MortalKombatX sequel]], two]] [[VideoGame/MortalKombat11]], in addition to a [[VideoGame/InjusticeGodsAmongUs pseudo-spinoff starring DC Comics characters]] and a [[VideoGame/Injustice2 sequel to that later]], winning back fans who'd been disappointed by its brush with the PolygonCeiling. And of course, Creator/ArcSystemWorks, the company behind ''VideoGame/BlazBlue'', has continued to grow thanks to its now-flagship series, with the possibility of becoming the next top FightingGame company following fan disillusionment towards Capcom.



* Crossovers and GuestFighter concept within video games has became MUCH more common in the latter years of this era. The first phenomenon of this is most probably ''VideoGame/SuperSmashBros Brawl'', which included not just Franchise/SonicTheHedgehog, but also [[Franchise/MetalGear Solid Snake]] into the roster. The next Smash Bros game went above that and added Franchise/MegaMan, VideoGame/PacMan, [[Franchise/StreetFighter Ryu]], [[VideoGame/FinalFantasyVII Cloud Strife]] and VideoGame/{{Bayonetta}}. Afterwards, adding GuestFighter from another company in one game became a lot more common and outlandish choices started popping up more. For instance, ''VideoGame/{{Tekken}} 7'' features [[Franchise/StreetFighter Akuma]], [[VideoGame/FatalFury Geese Howard]], [[VideoGame/FinalFantasyXV Noctis Lucis Caelum]] and [[VideoGame/TheWalkingDead Negan]]; ''VideoGame/Injustice2'' features the Franchise/TeenageMutantNinjaTurtles, ''VideoGame/FightingEXLayer'' featured ''[[VideoGame/FatalFury Terry Bogard]]'', several collaboration projects by gacha games (example: [[Anime/KaraNoKyoukai Ryougi Shiki]] appearing in ''VideoGame/FateGrandOrder'' [[note]]The character is written by the same author responsible for the Fate series[[/note]], ''Series/KyoryuSentaiZyuranger'' and ''Series/SpaceSheriffGavan'' appearing in ''VideoGame/SuperRobotWarsXOmega'', [[VideoGame/NierAutomata 2B and 9S]] appearing in ''VideoGame/FinalFantasyBraveExvius'', and later joined with A2 in ''VideoGame/StarOceanAnamnesis'', while 2B herself would appear alongside [[VideoGame/TheWitcher Geralt of Rivia]] in ''VideoGame/SoulCaliburVI'', [[Characters/GranblueFantasyEventCharacters a lot of event characters from many other series within Granblue Fantasy, a game that started out as an original setting...]] This is topped with ''VideoGame/SuperSmashBrosUltimate'' adding the protagonist of ''VideoGame/{{Persona 5}}'' as a DLC.)

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* Crossovers and GuestFighter concept within video games has became MUCH more common in the latter years of this era. The first phenomenon of this is most probably ''VideoGame/SuperSmashBros Brawl'', which included not just Franchise/SonicTheHedgehog, but also [[Franchise/MetalGear Solid Snake]] into the roster. The next Smash Bros game went above that that, bringing back Sonic and added also adding Franchise/MegaMan, VideoGame/PacMan, [[Franchise/StreetFighter Ryu]], [[VideoGame/FinalFantasyVII Cloud Strife]] and VideoGame/{{Bayonetta}}. Afterwards, adding GuestFighter from another company in one game became a lot more common and outlandish choices started popping up more. For instance, ''VideoGame/{{Tekken}} 7'' features [[Franchise/StreetFighter Akuma]], [[VideoGame/FatalFury Geese Howard]], [[VideoGame/FinalFantasyXV Noctis Lucis Caelum]] and [[VideoGame/TheWalkingDead Negan]]; ''VideoGame/Injustice2'' features the Franchise/TeenageMutantNinjaTurtles, ''VideoGame/FightingEXLayer'' featured ''[[VideoGame/FatalFury Terry Terry]] [[VideoGame/TheKingOfFighters Bogard]]'', ''[[VideoGame/DeadOrAlive Dead or Alive 5]]'' bringing in four ''VideoGame/VirtuaFighter'' characters, two more ''VideoGame/NinjaGaiden'' characters to join ''NG'' protagonist and ''[=DoA=]'' mainstay Ryu Hayabusa, plus [[VideoGame/SamuraiWarriors Naotora]] and [[VideoGame/FatalFury Mai]] [[VideoGame/TheKingOfFighters Shiranui]] as DLC, ''DoA 6'' bringing back the ''Ninja Gaiden'' characters and Mai while introducing the latter's fellow ''KoF'' fighter Kula Diamond, and several collaboration projects by gacha games (example: [[Anime/KaraNoKyoukai Ryougi Shiki]] appearing in ''VideoGame/FateGrandOrder'' [[note]]The character is written by the same author responsible for the Fate series[[/note]], ''Series/KyoryuSentaiZyuranger'' and ''Series/SpaceSheriffGavan'' appearing in ''VideoGame/SuperRobotWarsXOmega'', [[VideoGame/NierAutomata 2B and 9S]] appearing in ''VideoGame/FinalFantasyBraveExvius'', and later joined with A2 in ''VideoGame/StarOceanAnamnesis'', while 2B herself would appear alongside [[VideoGame/TheWitcher Geralt of Rivia]] and [[VideoGame/SamuraiShodown Haohmaru]] in ''VideoGame/SoulCaliburVI'', ''VideoGame/SoulCaliburVI'' (after [[VideoGame/AssassinsCreedII Ezio Auditore]] appeared in [[VideoGame/SoulCaliburV its predecessor]]), [[Characters/GranblueFantasyEventCharacters a lot of event characters from many other series within Granblue Fantasy, a game that started out as an original setting...]] This is topped with ''VideoGame/SuperSmashBrosUltimate'' adding Simon and Richter Belmont from ''Franchise/{{Castlevania}}'' and [[Franchise/StreetFighter Ryu's longtime]] MovesetClone [[Franchise/StreetFighter Ken Masters]], and even more so with the DLC roster bringing in the protagonist of ''VideoGame/{{Persona 5}}'' as a DLC.5}}'', several from ''VideoGame/DragonQuest'', the return of [[VideoGame/BanjoKazooie Banjo and Kazooie]] to Nintendo consoles, and another guest appearance for Terry Bogard.)



* In the previous decades, the company Creator/{{SNK}} was known as the underdog company that could go toe-to-toe against the company juggernaut Creator/{{Capcom}} in terms of [[VideoGame/SNKVsCapcom fighting games.]] Unfortunately, they had to file for bankruptcy and stay out of the limelight while trying to re-gather their resources after they sold it out to Aruze and Playmore, eventually re-forming under the name 'SNK Playmore'. They continue to release their games in mostly spin-off titles and several hit-or-miss games and even Pachinko titles (the same venture that doomed Creator/{{Konami}}, read above), but eventually in this decade, it has gathered enough resources to return to its original name (just SNK) and unleashed several hit fighting games that brought them back to the limelight after their long absence: ''VideoGame/TheKingOfFighters XIV'' and ''VideoGame/SamuraiShodown (2019)'', which continued to be given post-release contents and also earned them spots in the EVO tournaments, and also lent their characters as GuestFighter in other games (most notably [[VideoGame/FatalFury Geese Howard]] in ''VideoGame/{{Tekken}} 7'' and [[VideoGame/FatalFury Terry Bogard]] in ''VideoGame/SuperSmashBrosUltimate''). In this decade, SNK has finally completed its '[[BackFromTheDead risen from the grave]] like a Phoenix' story phase.

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* In the previous decades, the company Creator/{{SNK}} was known as the underdog company that could go toe-to-toe against the company juggernaut Creator/{{Capcom}} in terms of [[VideoGame/SNKVsCapcom fighting games.]] Unfortunately, they had to file for bankruptcy and stay out of the limelight while trying to re-gather their resources after they sold it out to Aruze and Playmore, eventually re-forming under the name 'SNK Playmore'. They continue to release their games in mostly spin-off titles and several hit-or-miss games and even Pachinko titles (the same venture that doomed Creator/{{Konami}}, read above), but eventually in this decade, it has gathered enough resources to return to its original name (just SNK) and unleashed several hit fighting games that brought them back to the limelight after their long absence: ''VideoGame/TheKingOfFighters XIV'' and ''VideoGame/SamuraiShodown (2019)'', which continued to be given post-release contents and also earned them spots in the EVO tournaments, and also lent their characters as GuestFighter in other games (most notably [[VideoGame/FatalFury Geese Howard]] in ''VideoGame/{{Tekken}} 7'' 7'', [[VideoGame/SamuraiShodown Haohmaru]] in ''VideoGame/SoulCaliburVI'', [[VideoGame/FatalFury Mai Shiranui]] in the fifth and sixth ''Video/DeadOrAlive'' titles alongside [[VideoGame/TheKingOfFighters Kula Diamond]] in the latter, and [[VideoGame/FatalFury Terry Bogard]] in ''VideoGame/FightingEXLayer'' and ''VideoGame/SuperSmashBrosUltimate''). In this decade, SNK has finally completed its '[[BackFromTheDead risen from the grave]] like a Phoenix' story phase.



* VS debate webshows which put emphasis on the UltimateShowdownOfUltimateDestiny between fictional characters had grown in popularity in the decade. While the general idea is OlderThanTheyThink, ''WebAnimation/DeathBattle'' managed to take the premise that ''Series/DeadliestWarrior'' pioneered earlier and expanded it even further, becoming Website/ScrewAttack's flagship show in the process. Other shows such as ''Cartoon Fight Club'', ''Superpowered Beatdown'' and ''WebAnimation/OneMinuteMelee'' (which was originally a spin-off of ''Death Battle'' before becoming its own brand following its departure from [=ScrewAttack=]) had emerged in its wake, and communities dedicated to VS debates had sprung up all over the internet, becoming SeriousBusiness.

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* VS debate webshows which put emphasis on the UltimateShowdownOfUltimateDestiny between fictional characters had grown in popularity in the decade. While the general idea is OlderThanTheyThink, ''WebAnimation/DeathBattle'' managed to take the premise that ''Series/DeadliestWarrior'' pioneered earlier and expanded it even further, becoming Website/ScrewAttack's flagship show in the process. Other shows such as ''Cartoon Fight Club'', ''Superpowered Beatdown'' and ''WebAnimation/OneMinuteMelee'' (which was originally a spin-off of ''Death Battle'' before becoming its own brand following its departure from [=ScrewAttack=]) had emerged in its wake, and communities dedicated to VS debates had sprung up all over the internet, becoming SeriousBusiness. Perhaps the biggest name of them all, however, did their battles in a very unconventional manner: ''WebVideo/EpicRapBattlesOfHistory''.



* After seeing a slump during the [[TurnOfTheMillennium latter half of the previous decade]] (with ''WesternAnimation/PhineasAndFerb'' being the sole highlight of the period), animated cartoons on TV have taken a noticeable upswing in acclaim and popularity, with shows like ''WesternAnimation/AdventureTime'', ''WesternAnimation/RegularShow'', ''WesternAnimation/MyLittlePonyFriendshipIsMagic'', ''WesternAnimation/GravityFalls'', ''WesternAnimation/StevenUniverse'', and ''WesternAnimation/TheLegendOfKorra'' (the sequel series to ''WesternAnimation/AvatarTheLastAirbender'') getting critical acclaim and huge fanbases, and Creator/CartoonNetwork is making a comeback after the [[NetworkDecay CN Real]] debacle, not just with some of the aforementioned shows, but also bringing back ''Creator/{{Toonami}}'', which embodied the resurgence of anime among Western audiences. That said, there have still been plenty of series that fared poorly with critics and audiences.

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* After seeing a slump during the [[TurnOfTheMillennium latter half of the previous decade]] (with ''WesternAnimation/PhineasAndFerb'' being the sole highlight of the period), animated cartoons on TV have taken a noticeable upswing in acclaim and popularity, with shows like ''WesternAnimation/AdventureTime'', ''WesternAnimation/RegularShow'', ''WesternAnimation/MyLittlePonyFriendshipIsMagic'', ''WesternAnimation/GravityFalls'', ''WesternAnimation/StevenUniverse'', ''WesternAnimation/TheLoudHouse'', and ''WesternAnimation/TheLegendOfKorra'' (the sequel series to ''WesternAnimation/AvatarTheLastAirbender'') getting critical acclaim and huge fanbases, and Creator/CartoonNetwork is making a comeback after the [[NetworkDecay CN Real]] debacle, not just with some of the aforementioned shows, but also bringing back ''Creator/{{Toonami}}'', which embodied the resurgence of anime among Western audiences. That said, there have still been plenty of series that fared poorly with critics and audiences.


* {{Light Novel}}s, which were initially [[NoExportForYou exclusive to Japan]] in the 2000s, have begun to gain traction in the west during the latter half of the 2010s. Prior to this, previous attempts to market light novels in the west have failed, but Creator/YenPress came up with a brilliant strategy to market light novels as just YoungAdultLiterature to readers outside the Otaku sphere, [[CrazyEnoughToWork and it worked]]. ''LightNovel/SwordArtOnline'' also helped to put light novels in the spotlight, showing marketers that light novels can be just as profitable in the west as manga. Since then, other publishing companies like Creator/SevenSeasEntertainment have jumped on the bandwagon of distributing light novels overseas, and many popular series that didn't get localizations previously like ''LightNovel/HaruhiSuzumiya'', ''LightNovel/ACertainMagicalIndex'' and ''LightNovel/{{Toradora}}'' have finally seen the light of day on western shores.

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* {{Light Novel}}s, which were initially [[NoExportForYou exclusive to Japan]] in the 2000s, have had begun to gain traction in the west during the latter half of the 2010s. Prior to this, previous attempts to market light novels in the west have failed, but Creator/YenPress came up with a brilliant strategy to market light novels as just YoungAdultLiterature to readers outside the Otaku sphere, [[CrazyEnoughToWork and it worked]]. ''LightNovel/SwordArtOnline'' also helped to put light novels in the spotlight, showing marketers that light novels can be just as profitable in the west as manga. Since then, other publishing companies like Creator/SevenSeasEntertainment have had jumped on the bandwagon of distributing light novels overseas, and many popular series that didn't get localizations previously like ''LightNovel/HaruhiSuzumiya'', ''LightNovel/ACertainMagicalIndex'' and ''LightNovel/{{Toradora}}'' have had finally seen the light of day on western shores.



* VS debate webshows which put emphasis on the UltimateShowdownOfUltimateDestiny between fictional characters had grown in popularity in the decade. While the general idea is OlderThanTheyThink, ''WebAnimation/DeathBattle'' managed to take the idea that ''Series/DeadliestWarrior'' pioneered earlier and expanded it even further, becoming Website/ScrewAttack's flagship show in the process. Other shows such as ''Cartoon Fight Club'', ''Superpowered Beatdown'', and ''WebAnimation/OneMinuteMelee'' (which was originally a spin-off of ''Death Battle'' before becoming its own brand following its departure from [=ScrewAttack=]) have emerged in its wake, and communities dedicated to VS debates have sprung up all over the internet, becoming SeriousBusiness.

to:

* VS debate webshows which put emphasis on the UltimateShowdownOfUltimateDestiny between fictional characters had grown in popularity in the decade. While the general idea is OlderThanTheyThink, ''WebAnimation/DeathBattle'' managed to take the idea premise that ''Series/DeadliestWarrior'' pioneered earlier and expanded it even further, becoming Website/ScrewAttack's flagship show in the process. Other shows such as ''Cartoon Fight Club'', ''Superpowered Beatdown'', Beatdown'' and ''WebAnimation/OneMinuteMelee'' (which was originally a spin-off of ''Death Battle'' before becoming its own brand following its departure from [=ScrewAttack=]) have had emerged in its wake, and communities dedicated to VS debates have had sprung up all over the internet, becoming SeriousBusiness.


* VS debate webshows which put emphasis on TheUltimateShowdownOfUltimateDestiny between fictional characters had grown in popularity in the decade. While the general idea is OlderThanTheyThink, ''WebAnimation/DeathBattle'' managed to take the idea that ''Series/DeadliestWarrior'' pioneered earlier and expanded it even further, becoming Website/ScrewAttack's flagship show in the process. Other shows such as ''Cartoon Fight Club'', ''Superpowered Beatdown'', and ''WebAnimation/OneMinuteMelee'' (which was originally a spin-off of ''Death Battle'' before becoming its own brand following its departure from [=ScrewAttack=]) have emerged in its wake, and communities dedicated to VS debates have sprung up all over the internet, becoming SeriousBusiness.

to:

* VS debate webshows which put emphasis on TheUltimateShowdownOfUltimateDestiny the UltimateShowdownOfUltimateDestiny between fictional characters had grown in popularity in the decade. While the general idea is OlderThanTheyThink, ''WebAnimation/DeathBattle'' managed to take the idea that ''Series/DeadliestWarrior'' pioneered earlier and expanded it even further, becoming Website/ScrewAttack's flagship show in the process. Other shows such as ''Cartoon Fight Club'', ''Superpowered Beatdown'', and ''WebAnimation/OneMinuteMelee'' (which was originally a spin-off of ''Death Battle'' before becoming its own brand following its departure from [=ScrewAttack=]) have emerged in its wake, and communities dedicated to VS debates have sprung up all over the internet, becoming SeriousBusiness.

Added DiffLines:

* VS debate webshows which put emphasis on TheUltimateShowdownOfUltimateDestiny between fictional characters had grown in popularity in the decade. While the general idea is OlderThanTheyThink, ''WebAnimation/DeathBattle'' managed to take the idea that ''Series/DeadliestWarrior'' pioneered earlier and expanded it even further, becoming Website/ScrewAttack's flagship show in the process. Other shows such as ''Cartoon Fight Club'', ''Superpowered Beatdown'', and ''WebAnimation/OneMinuteMelee'' (which was originally a spin-off of ''Death Battle'' before becoming its own brand following its departure from [=ScrewAttack=]) have emerged in its wake, and communities dedicated to VS debates have sprung up all over the internet, becoming SeriousBusiness.


** ''Gundam'' itself hit a roadblock even in Japan thanks to the decried third part of ''Anime/MobileSuitGundamAGE'', therefore reducing Gundam into doing OVA of the UC timeline, which by itself, may inflict ArchivePanic, and while the newest AU title, ''Anime/MobileSuitGundamIronBloodedOrphans'', were more well-received, it still had a substanstial detractors, thus not bringing it back to prominence like ''00''. At the very least, several older titles like ''Anime/CodeGeass'' ventured a new alternate continuity with the movies whereas ''Anime/MazingerZ'' continued its very first anime continuity with its DistantFinale, ''Anime/MazingerZInfinity'', which was well received, but didn't shake the scene of the mecha genre further.

to:

** ''Gundam'' itself hit a roadblock even in Japan thanks to the decried third part of ''Anime/MobileSuitGundamAGE'', therefore reducing Gundam into doing OVA of the UC timeline, which by itself, may inflict ArchivePanic, and while the newest AU title, ''Anime/MobileSuitGundamIronBloodedOrphans'', were more well-received, it still had a substanstial detractors, thus not bringing it back to prominence like ''00''. ''Gundam'' as a franchise is still standing tall, but that's because they discovered a way to channel their other venue of entertainment into anime: ''Anime/GundamBuildFighters'', combining their Gunpla building hobby into a series of shows, although it was no longer the similar format of HumongousMecha combined with drama like the other usual ''Gundam'' shows.
**
At the very least, several older titles like ''Anime/CodeGeass'' ventured a new alternate continuity with the movies whereas ''Anime/MazingerZ'' continued its very first anime continuity with its DistantFinale, ''Anime/MazingerZInfinity'', which was well received, but didn't shake the scene of the mecha genre further.

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