Line #2 Main/GenreKiller


1	->''"At the end of this puzzle, you have to affix the improbable cat hair moustache to your lip '''with maple syrup!'''... Who killed {{Adventure Game}}s? I think it should be pretty clear at this point that Adventure Games committed suicide."''
2	-->-- '''Website/OldManMurray''', [[http://www.oldmanmurray.com/features/77.html "Death of Adventure Games"]], on the first major puzzle in ''VideoGame/GabrielKnight 3''
3
4	One order of magnitude greater than FranchiseKiller and TrendKiller, this is when a work somehow manages to take an ''entire genre'' down. A rare and unpredictable phenomenon that can, in extreme cases, cause a genre to become CondemnedByHistory. This can happen in a variety of ways.
5
6	* A {{Deconstruction}} that successfully brings every single flaw and an illogical element of a genre to the fore, {{discredit\|ed trope}}ing any subsequent attempts to play them straight.
7	* A {{parody}} (even [[SoBadItsGood accidental]]) that makes it difficult or impossible for anyone to take the genre seriously again.
8	* Something so incredibly bad that it leaves a bad taste in audiences' mouths for the entire genre.
9	* A [[{{Sequelitis}} particularly ghastly sequel]] runs the entire concept into the ground by the virtue of being thoroughly derivative.
10	* A work so ''[[SugarWiki/SoCoolItsAwesome good]]'' that [[ToughActToFollow nothing else can live up to it]]. This is rare since these usually just attract [[FollowTheLeader imitators]], but there's [[SturgeonsLaw only so many derivative works the audience may take]] before switching to something else.
11	** Alternatively, a TropeCodifier or {{Trope Maker\|s}} is so dominating that it kills off any competing or experimental [[SubGenre subgenres]] that don't adhere to the rules it sets down. For example, ''VideoGame/StreetFighterII'' and ''VideoGame/DoubleDragon'' so completely solidified the rules of the FightingGame and BeatEmUp (respectively) that they all but eliminated major gameplay deviations in their genres.
12	* A MagnumOpus that might not be necessarily good but is guaranteed to become classic due to utterly exhausting the genre and [[DeadHorseTrope beating every single trope in it to death]], making it nearly impossible to create further works within the genre's constraints without being accused of MediaNotes/{{Plagiarism}} or CreativeSterility.
13	* Any shallow attempts at the genre's {{Reconstruction}} that end up JumpingTheShark due to introducing new elements without rhyme or reason, [[TheyChangedItNowItSucks making the renewed franchise seem like a mockery of its former self]].
14	* A work from ''outside'' the genre that exposes some of a genre's {{acceptable breaks from reality}} as not so acceptable.
15	* A work outside the genre that somehow drives the audience away from the previous genre. For an example, by launching a new genre.
16	* Death of a representative icon of the genre, such as a visionary writer/director/musician/etc dying, or a major company with a focus on the genre shutting down.
17	* A work responsible for [[ValuesDissonance changing sociopolitical trends]] that renders common and defining themes in a genre uncomfortable, bigoted, or even offensive, such as MinstrelShows, which would have white actors in {{blackface}}.
18	* Marketing a product for the mainstream as opposed to hardcore exponents will eliminate some of the more esoteric genres or sub-genres that originally had appealed to a small but devoted niche audience. The reality of satisfying corporate profit requirements often involves appealing to the absolute LowestCommonDenominator and [[ViewersAreMorons "Dumbing it down"]]. Harder, more cerebral ScienceFiction like both ''Film/BladeRunner'' films tend to either fail at the box office or go unnoticed due to the unfavorable comparisons to softer, more fast-paced, action/character-oriented science fiction.
19
20	Some works, however, end up being the last straw for the genre by circumstances unrelated to their actual content but rather by their TroubledProduction and ExecutiveMeddling.
21
22	* A work that [[AcclaimedFlop is very good but turns out to be a commercial failure]], making everyone afraid to invest in this genre.
23	* Inversely, a work [[CriticProof is very popular but hated by critics]], thus giving the genre a reputation for appealing only to the {{lowest common denominator}}. It's rare for this to ''actually'' kill a genre even temporarily, since [[MoneyDearBoy there's lots of money to be made in appealing to the lowest common denominator]].
24	* A genre gets so expensive to produce or film convincingly that people aren't willing to lay down the money for it. Sometimes advances in CGI or computer programming can revive the genre -- for example, the EpicMovie was [[MediaNotes/FallOfTheStudioSystem briefly dead]] until advances in computer technology and animatronics were able to tamp down on the costs. Of course, disaster movies are becoming [[CyclicTrope rarer again for the same reason]]. Alternatively, it turns out that the technology needed to convincingly move the genre forward wasn't as viable as people thought. Gaze upon the many, many aborted attempts to have fully-3D characters replacing "real" actors in a movie or 3D gaming.
25	* Media producers come to regard another genre as more profitable and focus on that one, regardless of artistic merit (or lack thereof).
26	* Assorted [[DistancedFromCurrentEvents freak]] events or coincidences make a genre unviable or unpopular, and a particular work gets perceived as either being a tasteless [[ExploitationFilm exploitation plot]], RippedFromTheHeadlines in the worst possible sense, or worse, being [[NewMediaAreEvil directly held responsible]] for the unfortunate events in question.
27	* Actual top-down directives and limitations, whether from a government organization or a group of similar power and influence, making the genre impossible to produce anymore without getting into legal trouble.
28	* A BrokenBase between fans of different subgenres forms within the audience, with the factions being unwilling to engage with "rival" subgenres. If any of the subgenres' fandoms are large enough to sustain the genre on their own, they kill off the competing subgenres; if not, the genre as a whole dies.
29
30	These often aren't permanent: A good {{Reconstruction}}, revival, or cleverly marketed reboot can bring a genre BackFromTheDead if you pull it off right. Something of a CyclicTrope, as genres tend to go through periods of death, rebirth, and change. Also note that not every death of a genre is as the result of a Genre Killer -- sometimes, it's instead a long period of stagnation where no innovative works are produced (or those that are go unnoticed), resulting in the audience losing interest.
31
32	Compare CreatorKiller, StarDerailingRole, TrendKiller, GenreTurningPoint. Also compare TropeBreaker, where it's a culture change or technological advance in RealLife that takes a genre down by discrediting one of its chief tenets. Contrast GenreRelaunch, a work that brings a genre BackFromTheDead.
33
34	''When adding examples, be wary of OverlyNarrowSuperlative. If you have to add multiple qualifiers to describe the "genre", it probably isn't an example. DieHardOnAnX" is a genre, "French Die Hard on a Billionaire's Yacht between Greek Islands", [[Administrivia/TooRareToTrope isn't]]. Also, [[Administrivia/NoRecentExamplesPlease as TV Tropes does not know time]], please wait 10 years after the work's release.''
35	----
36	!!Example subpages:
37
38	[[index]]
39	* GenreKiller/{{Film}}
40	* GenreKiller/LiveActionTV
41	* GenreKiller/{{Music}}
42	* GenreKiller/VideoGames
43	[[/index]]
44
45	!!Other examples:
46
47	[[foldercontrol]]
48
49	[[folder:Multiple Media]]
50	* ''[[Film/ANewHope Star Wars]]'' killed NewWaveScienceFiction in ''both'' film and literature. The movement was tottering anyway by the time ''Star Wars'' was released, and its massive success convinced publishers and producers that there was more money to be made with simple action-adventure sci-fi than more cerebral stories that were often difficult to understand.
51	* Music/{{Madonna}} killed the "Nymphet Culture" in the ''entire'' entertainment industry. Throughout TheSeventies, there was a lot of media that simultaneously fetishized and infantilized young girls, often based off a [[MisaimedFandom perverse misreading]] of ''{{Literature/Lolita}}''. The movement was in its death throes at the time Madonna emerged on the public scene, but her raw and unapologetic sexuality instantly made it look creepy.
52	* SwordAndSorcery died in the mid-80s as the result of a glut of Franchise/ConanTheBarbarian clones, first in books and then in film following the success of [[Film/ConanTheBarbarian1982 the movie]], stagnating the genre and giving it a reputation as low-grade trash. The content of some of these works also gave critics who decried it for sexism and racism plenty of ammunition. Additionally, one of Sword and Sorcery's defining characteristics was brevity, and publishers were gravitating towards HighFantasy due to its potential for long sagas which would keep readers buying the next book in the series. In ''Flame and Crimson: A History of Sword and Sorcery'', author Brian Murphy singles out editor Lin Carter, who saw no need for the genre to evolve or to develop characters beyond stock archetypes. The main thing keeping the genre alive is ''TabletopGame/DungeonsAndDragons'', and it's quite telling that a common complaint about it is that ''D&D'' doesn't simulate anything but ''D&D'', as many of the works that inspired it have fallen out of the public eye.
53	[[/folder]]
54
55	[[folder:Anime and Manga]]
56	* The poor sales and cancellation of ''Waai!'' and ''Otonyan'' and the failure of the ''Manga/{{Himegoto}}'' anime killed off virtually all mainstream attempts in the OtokonokoGenre. Not helped by the GenreDeconstruction ''Manga/BokuraNoHentai'' coming along and pointing out the genre's numerous problems, namely the large amounts of transphobia and homophobia.
57	* ''Manga/{{Berserk}}'' has made it rather difficult for other Japanese DarkFantasy works full of copious sex and violence to gain traction, as it utilized all of the tropes of the genre to such a degree that many will be accused of attempting to ride Creator/KentaroMiura and Kouji Mori's coattails. Case in point: ''Anime/RedoOfHealer'' became immensely controversial for its glorification of sexual violence, ''Manga/CheatSlayer'' only lasted [[ShortRunners one chapter]] due to its graphic content and [[ShallowParody mean-spirited treatment of other works]], and even the more successful imitators such as ''Literature/GoblinSlayer'' tend to be a bit more LighterAndSofter.
58	* ''Manga/BigWindup'' was this for sports anime and manga [[AmericansHateTingle in the American market]] due to poor sales reported by Creator/{{Funimation}}. Most anime licensors in North America refused to license sports anime from that point on until a relatively popular swimming anime about handsome boys and six-packs (''Anime/{{Free}}'') and a sports anime about volleyball (''Manga/{{Haikyuu}}'') came into play in 2013/2014, which also led the sports anime genre to a GenreRelaunch.
59	* ''Manga/SailorMoon'' [[TropeCodifier codified]] the MagicalGirlWarrior subgenre, and in the process killed off the CuteWitch and MagicIdolSinger subgenres, with only a handful of shows in those subgenres being made since.
60	* Similarly to the ''ComicBook/{{Watchmen}}'' and ''ComicBook/TheDarkKnightReturns'' examples below, ''Anime/PuellaMagiMadokaMagica'' brought about [[MagicalGirlGenreDeconstruction a massive subgenre]] to the MagicalGirl genre, trying to make DarkerAndEdgier or GenreDeconstruction takes similar to the series. For awhile, LighterAndSofter entries were rare, with ''Anime/PrettyCure'' being the great stalwart against this rise.
61	* The "[[LittleSisterHeroine little sister]]" (''imouto'') genre was popularised in Japan by ''Literature/{{Oreimo}}'', which was liked for its mix of IncestSubtext, family drama and observations of otaku culture. A lot of imitators followed, many with little new to offer, culminating in the disastrous production of ''Literature/MySisterMyWriter''. Even ''Oreimo'''s ending showed a problem for the genre as a whole: it made the incest explicit, which alienated the audience that didn't want too much focus on it, but in a chaste and temporary way, that alienated anyone who wanted it to go all the way. The genre floundered because it could not appeal to both sides at once. ''Imouto'' shows are still being made, but as a type of pornography with explicit incest that are not aiming for any mainstream audience.
62	* The universally negative reception of ''Anime/AbunaiSisters'' killed off the potential for [[AllCGICartoon 3D anime]] for the early part of TheNewTens, as the series is infamous for poor-rendered CGI models and the weak, simplistic plots. It would be a while before ''Anime/HarlockSpacePirate'' and ''Anime/StandByMeDoraemon'' received positive reviews. Until now, most CGI anime series are more likely to use TwoDVisualsThreeDEffects or CelShading to give traditional anime impression rather than the "pure" CGI animation like the western counterpart.
63	[[/folder]]
64
65	[[folder:Arts]]
66	* Futurism was an artistic and social movement that originated in Italy and spread throughout Europe in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth, and violence, and objects such as the car, the airplane, and the industrial city. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture, and even gastronomy. Unfortunately, both [[UsefulNotes/FascistItaly the fascists in Italy]] and [[UsefulNotes/NaziGermany the Nazis in Germany]] found the Futurist movement to be subversive and outlawed it. Futurist artists were targeted, and most died in concentration camps. The USSR also clamped down on its own futurist movement in the '30s (along with all other modernist styles) following the rise of UsefulNotes/JosefStalin, favoring SocialistRealism instead. For extra black irony, many (though by no means all) of the most prominent Futurists, especially in Italy, had been enthusiastic or at least ambiguously positive about fascism, and fascism, in return, had taken a significant amount of intellectual inspiration from futurism - Filippo Marinetti was the author of the Futurist Manifesto that birthed the movement in 1909 and, ten years later, the Fascist Manifesto that kicked off Mussolini's political career. They embraced the movement due to their admiration of the dynamism of violence, nationalism, and power, at least until they themselves started getting jailed and [[DeathByIrony murdered]] for creating "degenerate art". This retrospectively tainted the entire movement, and the survivors quickly found new art movements to be a part of. As a result, Futurism was as dead as Julius Caesar by 1944. Nonetheless, the ideals of Futurism remain as significant components of modern Western culture, especially in ScienceFiction. (Usually this is without the obsession with war and violence, which comes off as ValuesDissonance these days.)
67	[[/folder]]
68
69	[[folder:Comic Books]]
70	* The comic industry's entire progress was largely altered by, of all things, a snowy season in 1977 and 1978. Though there were many other factors involved (increasing comic prices, an economic downturn, and newsstands in general being under fire), the snowy season caused comic sales to face a serious rough patch. This caused the [[https://en.wikipedia.org/wiki/DC_Implosion DC Implosion]], where DC cancelled 40% of its entire line, and Marvel is often credited to have only survived that period thanks to the surprise sales juggernaut that was ''[[ComicBook/StarWarsMarvel1977 Star Wars]]''. Because of this, newsstand circulation for comic books, which had long been in decline, went into freefall, which caused a pivot to dedicated comic shops. With audiences now consisting of those who visited direct-market comic shops, the industry began PanderingToTheBase, resulting in the slow death of every genre and style of comic aside from shared-universe superhero stories.
71	* ''ComicBook/{{Watchmen}}'' and ''ComicBook/BatmanTheDarkKnightReturns'' caused a period of DarkerAndEdgier comic books by starting a trend of comic-book {{deconstruction}} and killing off the idealistic [[MediaNotes/TheSilverAgeOfComicBooks Silver Age]]-type [[TheCape hero]] (until ''ComicBook/KingdomCome'' made it viable again). Creator/AlanMoore, the writer of ''Watchmen'', is incredibly aware of this, having spent the majority of his career after the novel trying to undo its influence on comics.
72	* While publishers had been de-emphasizing the youth market beginning in the 1970s, the rise of the "dark superhero" era in the early 90s and changing tastes regarding humor meant the end for family-friendly comics in the mainstream, with Archie Comics being the only "major" publisher focusing on children by 1995 (as well as the only one still associated with the Comics Code), and even ''they'' saw the writing on the wall. Attempts from other publishers to revive the genre have failed. And while superheroes have remained popular through movies and TV, superhero comics eventually became seen as having a very insular, gated community, while most general adult readers were more likely to flock to non-superhero comics such as ''ComicBook/TheWalkingDead'' and ''ComicBook/{{Saga}}''.
73	* NewspaperComics, which until the 1980s were considered an American institution (being read by millions daily aside from being a Sunday morning staple), also suffered because of the rise of CringeComedy and VulgarHumor in the mainstream in the early 90s, but the furor surrounding a 1994 ''Popeye'' storyline that newspapers saw as a satire of abortion, eventually led syndicates to avoid touchy subjects. These restrictions contributed to the rise of webcomics beginning in the late 90s, but also to the modern perception of comic strips as a key example of the supposed dullness of both pre-1970s American humor and American newspapers in general.
74	* ''ComicBook/{{Deathmate}}'', the IntercontinuityCrossover between Creator/ImageComics and Creator/ValiantComics. In addition to [[CreatorKiller the continued existence of Valiant]], it killed the NinetiesAntiHero pioneered by the above and many of the creative elements that led to the archetype. It also helped contribute to the death of [[MediaNotes/TheGreatComicsCrashOf1996 the entire industry as it existed at that point in time]], due to comic shops preordering massive numbers of the comics, then having to deal with the fallout when Image's half of the crossover came out [[ScheduleSlip long after interest in it had dried up]].
75	* The end of World War II killed most [[MediaNotes/TheGoldenAgeOfComicBooks Golden Age]] superheroes -- in the post-war period, people weren't that interested in reading about people fighting to save the world anymore, and other genres took over. Among the few survivors were ''ComicBook/{{Superman}}'', ''ComicBook/{{Batman}}'', and ''ComicBook/WonderWoman''.
76	* In the '50s, the stringent censorship of MediaNotes/TheComicsCode killed the crime and horror genres in American comics. This was entirely intentional, as the increasingly gruesome stories had drawn enough fire from the MoralGuardians that comics ''as a whole'' were in danger of being prohibited in many states.
77	* Both ''ComicBook/DeKiekeboes'' as well as the works of Raoul Cauvin destroyed the trend of ethnic stereotyping in BelgianComics and FrancoBelgianComics respectively. The former proved that a realistic portrayal of foreigners and foreign countries is much more profitable (the comic book has a respectable number of readers that read it because the realistic portrayal of foreign countries allows them to feel like if they are going on a vacation). The latter stereotyped jobs and popularized the trend of job stereotyping, making ethnic stereotyping feel rather unnecessary since the trend of stereotyping is already being done, without any UnfortunateImplications included. Some comic books still use ethnic stereotypes (such as ''ComicBook/{{Urbanus}}''), but it is more [[GrandfatherClause out of tradition]] (it predated both) than because of anything else. Speaking of which...
78	* ''ComicBook/{{Urbanus}}'' killed off most of the family-friendly comic book series in its native Flanders. Before there was a humongous amount of comic books that involved family-friendly comedy (such as ''Boule Et Bille'', ''Olivier Blunder'' etc.) that were very popular for being both in color at a time when most comic books were in black and white (or rather: blue/black and red) and being accepted by religious groups. When ''Urbanus'' showed Flanders that RefugeInAudacity, VulgarHumor, and BlackComedy could be popular among Flemish families and sell in masses (becoming the [[CashCowFranchise 3rd best-selling comic book]] in the ''De Standaard'''s best-sellers list) without backlash from MoralGuardians, the lack of them in the older comic books, which always used alternative ways for humor, [[UnintentionalPeriodPiece quickly showed how outdated they could become]]. Nowadays, most comedy comic books in Flanders feature one of the above in one way or another, separating the Belgian comic from the Dutch comic.
79	* ''ComicBook/SpiderMan'': The series is often labeled as killing off the standard "adult hero with KidSidekick" formula, as a consequence of being the TropeCodifier in comics for the KidHero. Other than [[LegacyCharacter new]] versions of Characters/{{Robin}}, mostly getting a pass via the GrandfatherClause, very few sidekick heroes have debuted since then, since the Kid Hero allowed for the same reader-identification youth appeal, without the headache of justifying a sidekick, a trope that was never very popular among creators to begin with, or the patronizing nature of the EscapistCharacter being a secondary one. Most of the younger sidekicks who existed before Spider-Man (including quite a few Robins) are now treated as essentially solo heroes who happen to operate with the approval of their old mentor.
80	[[/folder]]
81
82	[[folder:Fan Works]]
83	* Thanks to ''Fanfic/CupcakesSergeantSprinkles'' and its equally reviled [[FollowTheLeader imitators]], pretty much no one will ever write slasher fics with ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' characters again.
84	* There are good [[Anime/PrettyCure Curefics]], and there are bad Curefics, and then there are these:
85	** After ''Fanfic/PrettyCurePerfumePreppy'', don't expect reference-driven Curefics to be taken seriously again for the foreseeable future.
86	** ''FanFic/PrettyCureBukatsudoEnergetic'', a Curefic masterpiece, has become such a ToughActToFollow that nowadays, it's impossible to write a JapaneseSchoolClub-themed Curefic without being accused of ripping this one-off.
87	* ''Fanfic/RhymeAndReason'', the first ''WesternAnimation/ChipNDaleRescueRangers'' fanfic ever written that was meant to be one in the first place, almost killed off CDRR fanfiction entirely in 1996. The two reasons were [[DoorStopper its sheer length]] and [[ToughActToFollow its high reputation]]. Most Rangerphiles thought, "If that's what CDRR fanfic is supposed to be, sorry, but I can't write anything even close to this." It took the launch of the fanfic series ''The Adventures of Gadget Hackwrench'' the next year to get other Rangerphiles into writing (although not for that series) and kick off the CDRR fanfic tradition.
88	* The ''Literature/GoodOmens'' fic ''Fanfic/TheSacredAndTheProfane'' ended up all but killing the [[RoleSwapAU "what if Aziraphale was the one to fall instead of Crowley"]] genre for a while, thanks to a combination of it being a ToughActToFollow and it being a dark {{deconstruction}} of the concept. It wasn't until [[Series/GoodOmens2019 the TV adaptation]] aired that more writers started to take a stab at it.
89	[[/folder]]
90
91	[[folder:Literature]]
92	* ''Literature/DonQuixote'''s {{deconstruction}} of the ChivalricRomance, in which the main character (and [[KnightInShiningArmor the archetype he represented]]) is portrayed as insane and idiotic, is widely credited with helping to kill the genre. The genre was already in its death throes about a decade before Cervantes' novel, but it certainly dealt the final blow. Two hundred years later, Creator/LordByron complained about this in ''Literature/DonJuan'':
93	-->''Cervantes smiled Spain's chivalry away;''\
94	''A single laugh demolished the right arm''\
95	''Of his own country; — seldom since that day''\
96	''Has Spain had heroes.''
97	* ''Literature/MadameBovary'' by Creator/GustaveFlaubert deconstructed romantic fiction archetypes, helping to end the era of romanticism in fiction and making way for realism.
98	* UsefulNotes/TheAmericanCivilWar killed off plantation literature, also known as 'anti-Tom' literature, a genre that emerged in the 1850s [[TheMoralSubstitute in response to]] the anti-slavery novel ''Literature/UncleTomsCabin''. Mostly written by writers from the Southern United States (though a few writers were Northern 'doughfaces' who sympathized with the South and its 'peculiar institution'), these novels were {{author tract}}s dedicated to portraying plantation slavery as [[HappinessInSlavery a benign, benevolent system]] that was beneficial to the 'childlike Negroes' and served as the bedrock of civilization, and abolitionists as either misguided {{Soapbox Sadie}}s or [[StrawCharacter the very incarnation of pure evil]]. Nowadays, the genre is dead together with slavery itself, remembered only as a historical curiosity in the grand scheme of the run-up to the Civil War.
99	* UsefulNotes/WorldWarI largely killed [[http://en.wikipedia.org/wiki/Invasion_literature the "invasion story" genre]], which typically detailed [[DayOfTheJackboot foreign invasions of the British Isles]] by some flavor of Germans or French (depending on [[RippedFromTheHeadlines who Britain had higher tensions with at the moment]]). ''Literature/TheWarOfTheWorlds'', while a more fantastical spin than the norm, is the most well-known example. The genre still persisted post-WWI, with [[DirtyCommunists communists]] or [[AlienInvasion aliens]] replacing the Europeans as the go-to foe of choice (covert invasions were a staple of pulp literature right up until UsefulNotes/WorldWarII), but it never regained anything close to its former popularity. Instead, it was replaced by SpyFiction during the UsefulNotes/ColdWar and techno-thrillers afterwards, both of which can be seen as {{spiritual successor}}s of a sort to the genre.
100	* ''Literature/LordOfTheFlies'' was intended to be a DeconstructorFleet of the then-popular KidsWildernessEpic Robinsonade genre of books such as ''Literature/TheCoralIsland'' and ''Literature/TwoYearsVacation''. This launched the TeenageWasteland genre while leaving the other genre decried as overtly-idealistic by audiences, [[ParodyDisplacement assuming they actually know those books even existed]]. The kids' wilderness epic did find a revival in TheNineties as television programs and film, but the Robinsonade aspect was scrapped during that period.
101	* It's largely forgotten now, but back between the wars, there was a very popular trend for PurpleProse-laden "rural gothic" novels, verging on a minor sub-genre. Either way, it was killed off when Stella Gibbons wrote ''Literature/ColdComfortFarm'', which is good enough to be remembered despite it having survived its targets.
102	[[/folder]]
103
104	[[folder:Pro Wrestling]]
105	* The [[UsefulNotes/ThePartitionOfIndia separation of India and Pakistan into two separate countries]] significantly weakened professional wrestling in both and led to the decline of almost all forms of wrestling, even those invented in India such as Pahelwani, like the Maharajas who enjoyed the contests and ensured the athletes could make a living at it suddenly found themselves without wealth or power. Professional Wrestling retained a cult following and aspiring Indian pro wrestlers such as Dara Singh (Maple Leaf Wrestling), Gama Singh (Stampede), and [[Wrestling/TheGreatKhali Giant Singh]] (All Pro Wrestling) find success after training abroad but new promotions in India itself do not tend to enjoy much longevity, most fans only being familiar with African (World Wrestling Professionals), Japanese (Wrestling/{{New Japan\|ProWrestling}}) or most commonly USA (Wrestling/{{WWE}} or [[Wrestling/ImpactWrestling TNA]]) companies and only experiencing pro wrestling live when one of them comes over.
106	* The commercialization of VHS tapes and cable television had weakened {{kayfabe}} and the territorial system by exposing {{plot hole}}s and reducing the draw of world champions since fans no longer had to wait to see them come to their region. Both kayfabe and the territories were on their way to bouncing back due to creative efforts to counter these developments in the early 1980s but Wrestling/VinceMcMahon Jr took advantage of this period of weakness to publicly break kayfabe in a bid to lower his operating costs and further weaken the territorial system.
107	* Wrestling/{{ECW}} made an effort not to do another barbed wire match after Wrestling/{{Sabu}} vs Wrestling/TerryFunk in 1997. To quote Wrestling/PaulHeyman, "Because ''no-one'' [[ToughActToFollow could top that!]] And in good conscience, we didn't want anyone to try."
108	* ''WCW Monday Nitro'' pretty much killed the traditional "{{Jobber}} squash match"[[note]]"Jobber" as in guy that gets no entrance, has ring gear that cost no more than $20, and is probably using his real name. Not a guy that usually loses but is still on the WWE roster page, in the video games, etc...[[/note]]. With a roster of around 200 people and only one hour of (always live) TV to fill a week Eric Bischoff promised only name talent on ''Nitro'', forcing ''Monday Night Raw'' to (eventually, once they got enough people) respond in kind. Old fashioned jobbers could still be seen on the B and C shows for a couple more years but were basically gone by the turn of the millennium. The concept made something of a comeback in Wrestling/AllEliteWrestling in 2019, with signed wrestlers squashing unsigned local or indie talent on their ''Dark'' and ''Dark Elevation'' Website/YouTube shows.
109	* Depending on who you ask, WWE buying out the competition brought an end to the popularity of pro wrestling. A combination of the emergence of UsefulNotes/MixedMartialArts and the stagnation of WWE have both played a role in this. The loss of a series of star wrestlers (as in stars even non-wrestling fans knew) and other popular top-level talents over the course of the mid-2000s to injuries, retirement, death, firings, moves to other companies or to other careers also contributed to the decline[[note]]Not to mention the loss of ''potential'' stars that never step foot in a wrestling ring because they pursue a career in MMA instead, some cite this as the main reason wresting rosters have gotten smaller over the last 20 years ("smaller" as in the size of the wrestlers themselves, not the amount of wrestlers), all the big guys are trying to get into UsefulNotes/{{UFC}}. Probably also not helping was all of the "Big 4" American sports leagues getting into a major round of expansion right around the same time the territory system collapsed, meaning a lot of guys that could have potentially washed out of their sport and decided to try wrestling aren't washing out because there's more jobs available[[/note]]. That said, pro wrestling is still ongoing and WWE remains quite popular, but it's widely accepted that wrestling will simply never again be as popular as it was during its peak in the mid-to-late '80s and WWE will never be as popular as it was at its peak in the mid to late 90s. That is to say, even as WWE experienced its greatest success, the industry around it had shrunken as a whole, with there being few national promotions left in the entire ''world'', much less the United States.
110	* WWE can't take all the blame for itself, and neither can the sport of MMA. Things like Wrestling/{{WCW}} buying out the contracts of wrestlers it never intended to use just so other people couldn't use them, and the fact no one bothered to, say, file antitrust suits in the face of the WWF and Jim Crocket's antics also helped[[note]]Probably because in the days of kayfabe people in the wrestling business, ''especially'' promoters, were '''terrified''' of courtrooms, last thing anybody needed was someone asking if wrestling was fake while the person being asked was under oath[[/note]]. The "Rock N Wrestling" Era also brought in a number of admittedly successful businessmen and Hollywood types who saw the money pro wrestling was making but really didn't understand how it worked, such as WCW's (Jim Herd's) idea that Wrestling/RicFlair couldn't draw and had to be turned into Spartacus. Pro Wrestling is an industry that had been growing through means of questionable legality since the founding of the Wrestling/{{N\|ational Wrestling Alliance}}WA, then largely screwed itself and let in outsiders it used to adamantly keep out in the name of self-protection who screwed it further.
111	* The foundation of the very first mixed martial arts company, Shooto, in 1985 was the beginning of the end for 'shoot style' wrestling promotions like the Wrestling/UniversalWrestlingFederation in particular, as mixed martial arts was essentially "shoot style but better" to the general public. What few shoot-style promotions survived either became hybrids that showcase MMA too like the Inoki Genome Federation or openly adopted the tropes of other pro wrestling styles like LLPW.
112	* While territorial wrestling promotions were already on life support for more than a decade by this time, the final death blow was arguably the collapse of the Memphis-based [=USWA=] (United States Wrestling Association). [=USWA=] was one of the few territorial promotions to make a name for itself during the Pro Wrestling Boom of the 1980s, as a sort of development league for the WWE, due in no small part to the legendary [[Wrestling/JerryLawler Jerry "The King" Lawler's]] partial ownership of them. Unfortunately, the rise of the Monday Night Wars combined with some horrible company mismanagement doomed the league to the point where, by late 1996, they were reduced to doing shows at a poorly maintained ''flea market-owned "stadium"'' in Memphis. Combined with the relatively poor quality of their matches and wrestling talent by this time ([[https://www.youtube.com/watch?v=iq-PNas37j4 just watch this video of one of their final shows]]), the [=USWA=] finally folded in November of 1997[[note]][[DarthWiki/FromBadToWorse with one of its owners, Larry Burton, convicted for fraud and racketeering]][[/note]]. And the final nail was hit on the coffin of territorial wrestling (unless you consider WWC the last of the territories, which itself saw a much slower decline for many different reasons).
113	* The absolutely vicious reception to Wrestling/DwayneJohnson's "Rocky Maivia" gimmick probably wasn't what killed the "[[{{Face}} white meat babyface]]" character (think Wrestling/RickySteamboat) as a viable draw in pro wrestling, but it was definitely the sign that it was no longer going to work. In this case it was more a general culture shift that was represented across all media that saw heroic characters adopt a more gritty and realistic persona, with the AntiHero trope really taking off in films, video games, comic books (see NinetiesAntiHero) and wrestling. The {{Deconstruction}} of the "white meat babyface" by Wrestling/KurtAngle (who played it ridiculously over the top to intentionally get heel heat, which worked in spades) officially lowered the coffin into the ground. Wrestling/{{Sting}} is the one exception, as he was still using the character up until his ([[TenMinuteRetirement second]]) retirement in Wrestling/{{AEW}}, though even he had to go DarkerAndEdgier, ditching the bleach blonde hair and colorful facepaint to blatantly rip off ''Film/TheCrow''.
114	* On the other side of the spectrum is the ForeignWrestlingHeel, a staple of pro wrestling for decades until the 90s, had its ability to draw major money killed off due to events that (mostly) had nothing to do with wrestling:
115	** The first and most obvious one was the end of the UsefulNotes/ColdWar. With the U.S. no longer in conflict with anyone for most of the 90s (save for minor skirmishes here and there that are largely forgotten[[note]]The WWF did try to exploit the [[UsefulNotes/TheGulfWar first Iraq war]] by turning Wrestling/SgtSlaughter into an "Iraqi sympathizer", which flopped so badly that Vince was forced to move ''Wrestling/WrestleMania VII'' from the 80,000 seat L.A. Colosseum to the 17,000 seat L.A. Sports Arena on account of poor ticket sales, though the WWF claimed it was due to security reasons[[/note]]) promoters had to invent foreign heel gimmicks from whole cloth, the majority of which were total flops. While Wrestling/{{Yokozuna}} was able to get over in spite of his silly "dirty foreigner from a place we've been allies with for 40 years" evil sumo gimmick (probably because he was [[WrestlingMonster 500 lbs]] and from [[Wrestling/SamoanDynasty the family]], the Japanese bit was just a hat on a hat), stuff like evil Finnish militant environmentalist Ludvig Borga died a pretty quick death. When we finally did get into another war about a decade later the Muhammad Hassan incident[[note]]Hassan (actually an Italian-American from upstate New York named Mark Copani) was doing a pretty ingenious gimmick where he wasn't playing an "evil Arab" but rather a man lashing out because he felt he was being perceived as one after 9/11. His career was over after one segment (a "terrorist attack" on Wrestling/TheUndertaker) on ''WWE Smackdown'', while the segment itself wasn't particularly controversial the fact that it was left in the broadcast after the [[https://en.wikipedia.org/wiki/7_July_2005_London_bombings London 7/7 attack]] had occurred earlier in the day definitely ''was'' controversial (''Smackdown'' was taped Tuesday and aired Thursday Night, the bombing happened Thursday morning) and Copani was [[SquashMatch completely demolished by Taker on PPV]], then released shortly thereafter, he elected to retire and pursue a career in education[[/note]] showed that UsefulNotes/TheWarOnTerror was a little too hot for wrestling to touch. Time will tell if the situation in Ukraine leads to the Evil Russian making a comeback in wrestling.
116	** The second was, like the white meat babyface example above, a general shift in culture represented in all media that made these sort of evil ethnic/foreigner gimmicks seem like an outdated cartoonish relic from the "carny era" at best and downright racist at worst.
117	** The third, and the one that will likely keep it from making a serious comeback on a big stage, is the huge amount of money the TV networks are paying to air wrestling, which means they get a say and can kill anything too controversial right out of the gate. Same goes for any big money sponsors. Not to mention the country you're portraying as evil might take issue. Sure, a Evil Chinese heel might be topical right now, but then you literally get BannedInChina, so kiss those 1.5 billion potential customers goodbye. Today if you see a foreign heel he's either being used [[{{Jobber}} underneath]] as comedy fodder, using a gimmick that's a deliberate throwback (like [[Wrestling/RusevAndLana Rusev]]), or subverted in a way like "they're bad and they're from another country" rather than "they're bad ''because'' they're from another country."
118	** One narrow exception that does still often work: the arrogant heel from a Commonwealth or Western European country that brags about their homeland's socialist ways while putting down America for its crime, poverty, and other issues. It helps that race doesn't really come into play. Wrestling/BretHart drew ''huge'' heel heat with this towards the end of his WWF run in 1997[[note]]In the United States anyway, in Canada and Europe he was (and still is) a huge babyface[[/note]], and when done right it usually draws the good kind of boos rather than the "We don't want to see this" kind of boos.
119	* Although it had been petering out even before then (the last match of its type occurring in 2006), the adoption of the TV-PG rating by Wrestling/{{WWE}} in 2008 probably permanently killed off the "strip" matches (Evening Gown, Bra and Panties) that had been more or less standard fare for fans of the Divas for nearly a decade. The only similar match since then has been the 2012 Tuxedo Match between Wrestling/SantinoMarella and Ricardo Rodriguez, and that was obviously [[PlayedForLaughs played for humor]], not sexual titillation. While a Diva might still have [[ComedicUnderwearExposure her underpants exposed from time to time for a quick laugh]], there will not be any more overly hyped, blatant attempts at {{Fanservice}}, at least not in the foreseeable future. WWE does occasionally do costume-themed matches (usually for the sake of a ChristmasEpisode) but the focus is usually primarily on wrestling - with {{Fanservice}} restricted to photoshoots on WWE.com.
120	* ''{{Wrestling/Wrestlicious}}'' killed off the stream of ''{{Wrestling/GLOW}}'' imitators. While ''POWW'' and ''Wrestling/{{WOW\|WomenOfWrestling}}'' did decently enough, ''Wrestlicious'''s obviously TroubledProduction caused it to not reach TV until two years after it had first been taped (and additional tapings had to be done as many of the original girls had signed to major companies since). A second season was announced but has been in DevelopmentHell. With the success of promotions like ''{{Wrestling/SHIMMER}}'', ''SHINE Wrestling'' and others offering healthy alternatives to WWE programming - and a renewed focus on the Divas in WWE themselves - not many people are interested in {{Camp}} wrestling anymore. One could argue that ''WOW'' started the kill - as ''Wrestlicious'' had a predecessor called ''CRUSH''. A pilot was taped and shipped around but never picked up. ''Wrestlicious'' was only funded by the lottery winnings of JV Rich. (Then again, WOW did surprise many naysayers with a comeback about a decade later, with two then regulars of SHINE winning its {{tag team}} title belts no less. It was nowhere near getting a national TV deal like GLOW before it or the international attention of contemporary SHINE, much less SHIMMER, but GLOW's brand of the camp is not dying quietly).
121	* {{Wrestling/Paige}} put an end to the concept of a token non-girly Diva. When she entered NXT, her 'Anti-Diva' character was actually quite popular and she enjoyed great reactions. However, not long afterward on the main roster Wrestling/AJLee (who started off with a similar "hey guys, cheer for me because I'm not girly" image) enjoyed a massive push - becoming a Diva with a very interesting character. NXT also added Divas with fun characters like [[CuteClumsyGirl Emma]], [[CloudCuckooLander Bayley]], [[AlphaBitch Summer Rae]] and [[BoisterousBruiser Sasha Banks]]. The success of ''Series/TotalDivas'' also helped flesh out the personalities of many main roster Divas. So that by the time Paige debuted on the main roster, her character was met with lukewarm popularity, and crowd reactions gradually died down. Paige wasn't well-received until her character was given more depth beyond [[RealWomenDontWearDresses "I'm not a girl, I'm just like you"]] - meaning there won't likely be any Divas trying to grab fans by claiming to be TheLadette any time soon. Former TagTeam partner Wrestling/{{Ivelisse\|Velez}} got a huge pop when she stomped into Family Wrestling Entertainment and announced her hatred of divas ([[DracoInLeatherPants and that wasn't the intent]]), but in the long term, she was the only one outside of Puerto Rico's independent circuit getting any mileage out of "anti-diva" after Sienna Duvall and Epiphany retired.
122	* Scaffold match:
123	** It’s generally agreed that scaffold matches were killed after an incident where Wrestling/NewJack threw Vic Grimes off a scaffold with the intent to ''kill him''[[note]]That's what New Jack ''claimed''. Look at the video, Grimes clearly jumps into the spot and just misses[[/note]]. Big Japan Pro Wrestling kept doing them, Pro Wrestling Unplugged and TNA tried to bring back scaffolds in the US, but a scaffold match was no longer the money drawing attraction it had been since post territorial fans don't hate wrestlers enough to want to see them die, which just leaves them with a below-average match.
124	** Two other things managed to kill the scaffold match. The first was a disastrous scaffold match that saw P.N. News and Bobby Eaton take on Steve Austin and Terry Taylor at the 1991 ''Great American Bash'' that was absolutely ''savaged'' by fans and wrestling critics, and is still to this day widely considered the worst PPV-opening match of all time[[note]]Being on what's widely considered to be the worst wrestling PPV ever also doesn't help[[/note]]
125	** The second was the proliferation and eventual mass overexposure of the "TLC"[[note]]Tables, Ladders, and Chairs[[/note]] match and others like it, which would often feature ''multiple'' bumps that were ''worse'' than what would have been the FINISH to a scaffold match. Add in stuff like Mick Foley getting thrown from an even higher height onto a concrete floor and the idea of selling a (pretty much guaranteed to be bad) match where one big bump that guys now often pop right back up from ends it becomes kind of silly.
126	* The authority figure trope had been played well for several decades, but when Wrestling/TheAuthority was created and began abusing power and the roster simply for fun, as well as [[InvincibleVillain constantly winning over and over again]], the trope began losing steam and, two years after the end of the angle, authority figures in wrestling vanished or were made into feuds that were not part of the main event.
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128
129	[[folder:Radio]]
130	* MediaNotes/TheGoldenAgeOfRadio naturally ended with the rise of television during the early 1950s. In 1952-53 ''Amos 'n' Andy'' was the top show on the air with a 14.2 share; the following season, ''People Are Funny'' reached the top spot with a paltry 8.4 share, coinciding with the moment more than half of all U.S. households had a TV.
131	* The television series ''Series/HarryEnfieldAndChums'' is credited with killing off an entire genre of radio presenting with its "Smashie and Nicey" sketches about two aging Boomer music radio [=DJs=] with dated musical tastes constantly reeling off the same tired, clichéd patter. In 1993-4, a new regime at Creator/TheBBC's Radio 1 promptly sacked older [=DJs=] who were considered to have been potential targets of the parody. Enfield and Paul Whitehouse themselves later said that they hadn't intended the parody so aggressively and were sad to think that it might have contributed to people losing their jobs.
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133
134	[[folder:Theater]]
135	* Bizet's ''Theatre/{{Carmen}}'' killed the ''opera comique'' by blurring the traditional line that set it apart from regular opera until the former no longer existed as a distinct genre.
136	* Creator/AndrewLloydWebber's ''Theatre/AspectsOfLove'' is a curious case. While he spearheaded the big-budget, pop-operatic, {{spectacle}}-laden "megamusical" trend of TheEighties, this show -- his first since ''Theatre/ThePhantomOfTheOpera'', his biggest hit -- is not and was never meant to be one of those. It's a SoapOpera about {{Love Triangle}}s, and with the sole possible exception of the circus near the end of the second act contains no major set pieces whatsoever. It's to Webber's oeuvre what ''Film/TheShawshankRedemption'' is to Creator/StephenKing's. Its 1990 New York production had all the ''hype'' of a megamusical though, and it ''did'' cost $8 million (a big budget at the time). When it closed in less than a year and lost its entire investment, ''The New York Times'' wondered if it was a bad sign for megamusicals. In retrospect, it was right, at least as far as Broadway was concerned; while ''Theatre/MissSaigon'' proved a huge international success later in 1991, it was the last megamusical to do so. Subsequent megamusicals are mostly limited to European and sometimes Asian runs -- though the production values and budgets of such shows as ''Theatre/TheLionKing'', ''Theatre/{{Wicked}}'', and especially ''Theatre/SpiderManTurnOffTheDark'' occasionally compare to those of the megamusicals.
137	* The onstage mauling of Roy Horn by a white tiger at Siegfried & Roy's Las Vegas show in 2003 effectively killed the use of wild animals in StageMagician shows and circuses. It had already been falling out of favor since the '90s due to the rise of upscale, purely human-focused, acrobatic circuses in the vein of Creator/CirqueDuSoleil and protests by animal rights groups, but this incident marked the turning point. By the '10s, the Ringling Bros and Barnum & Bailey Circus (the last traditional circus in the Northern Hemisphere) would announce plans to phase out their iconic elephants, a decision that, combined with other factors, killed it by 2017. Naturally, their planned relaunch in 2023 is staunchly ''without'' the use of any animals.
138	* Up through the 1980s, Las Vegas showrooms were dominated by {{Variety Show}}s in the mold of Paris' Folies Bergère, alternating beautiful, scantily-clad showgirl routines with a hodgepodge of variety acts that ranged from celebrity impersonators to comedians to Creator/RatPack-style singers to acrobats to magicians, with little linking them together thematically. The rise of magicians Siegfried and Roy as Vegas headliners was a bad omen, but the real killer was Creator/CirqueDuSoleil's ''Theatre/{{Mystere}}'' in 1993 -- a circus as lavish, varied, and exciting as any variety show with a cohesive, if surreal and rock/pop-influenced artistic vision holding it all together. The rather outdated approach of older shows lost its luster quickly, Cirque brought even more spectacular productions to other Vegas showrooms in subsequent years, and the classic format died for good when ''Jubilee!'', which opened in 1981, closed in 2016. Newer attempts at "Vegas-style" shows are really straightforward variety showcases -- they might bring out showgirls for a few numbers, but as equals to the acts that once played second fiddle to them at best and as window dressing at worst.
139	* In many European languages, verse drama is an active, vigorous genre of plays still being written & performed to this day ... but not in English. Several critics have argued that Creator/WilliamShakespeare exploited the form's possibilities so completely that nothing created after him succeeded in bringing anything new to the table ... and eventually, everyone stopped trying.
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141
142	[[folder:Western Animation]]
143	* ''WesternAnimation/FatherOfThePride'' killed off the potential for computer-animated shows for adults, which is now [[AnimationAgeGhetto seen as a format for family entertainment]] (with very few adult CGI shows like ''WesternAnimation/LucyTheDaughterOfTheDevil'' and ''WesternAnimation/TheDrinkyCrowShow'' being made afterwards, with varying success), while the more "adult" fare is almost always 2D animation. It would be a while before ''WesternAnimation/SausageParty'' would revive any ideas of CGI adult animation.
144	* After ''WesternAnimation/BatmanTheAnimatedSeries'' was surprisingly successful with older audiences, Fox gave the show a prime-time slot. It ended up flopping against ''Series/SixtyMinutes'' (then the number-one show on the air), killing off any ideas for adult-oriented action cartoons for over two decades. The genre has seen limited success on the Direct-to-DVD market, and it wasn't until the DarkerAndEdgier revival of ''WesternAnimation/SamuraiJack'', Netflix's ''WesternAnimation/{{Castlevania\|2017}}'' series, and adult animation, in general, increasing in mainstream attention that it got more interest.
145	* "Serious" action/adventure cartoons like the aforementioned ''Batman: The Animated Series'' were killed, not by MoralGuardians and network censorship as is commonly believed, but by the increased availability of anime on American TV. Many TV networks -- most notably Creator/FoxKids, Creator/CartoonNetwork, and Creator/KidsWB -- found it cheaper to import and dub Japanese series than to produce their own action cartoons in-house, and during the 2000s, the majority of American action cartoons had strong comedy elements. By the time the "anime boom" of the early to mid-2000s finally petered out at the end of the decade, the damage had been done, and American cartoons were limited to comedic works.
146	* The one-two punch of both failing 1990's cartoons ''WesternAnimation/{{Hammerman}}'' (Music/{{MC Hammer}}) and ''Little Rosey'' (Creator/RoseanneBarr) effectively brought the curtain down on the CelebrityToons genre, which had been popular on Saturday mornings dating back to the [[TheSeventies mid 1970s]]. This lasted long until the success of both ''WesternAnimation/JackieChanAdventures'' and ''WesternAnimation/HiHiPuffyAmiYumi'' at the TurnOfTheMillennium, and even then the genre is far less commonplace than it used to be.
147	* The massive success and sweet-hearted tone of ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' led to cartoons turning away from the SadistShow genre at the beginning of TheNewTens. In addition, ''WesternAnimation/TheFairlyOddParents'' -- one of the most iconic and popular cartoons of the SadistShow genre -- suffered SeasonalRot in the 2010s (and got [[Series/TheFairlyOddParentsFairlyOdder a universally despised sequel]] later on) that caused its popularity to plummet.
148	* ''WesternAnimation/SecretMountainFortAwesome'', despite receiving several accolades during its short run (it was the first Creator/CartoonNetwork series to win an Annecy award), was met with a largely negative response, and is considered partially responsible for kid's animation turning away from the GrossoutShow genre at the beginning of TheNewTens.
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150
151	[[folder:Other]]
152	* ''Pinball/PopeyeSavesTheEarth'' destroyed the faith between manufacturers, operators, and players that {{pinball}} was completely reliant upon: Prior to that, operators would buy pinball machines sight unseen as they always made back their price in people playing them. ''Popeye'' was the first outright flop, for a lot of different reasons. Because the operators were bound by a contract with Williams Electronics to not return these machines, ''Popeye'' became something of a Christmas fruitcake, passed around but unwanted by anyone. Afterward, operators would either think twice about buying a pinball machine or stopped buying them altogether, and by the end of the 1990s, every pinball manufacturer had pulled out of the business. Pinball used to be mainstream, and ''Popeye'' turned it niche.
153	* Referenced in the ''WebVideo/AngryVideoGameNerd'' review of ''VideoGame/StarWarsMastersOfTerasKasi'', where he blames the game for the lack of ''Franchise/StarWars'' fighting games, remarking it was so bad that nobody else was ever willing to try making another ''Star Wars'' game in the genre.
154	* Starting in the 1960s, for nearly 30 years it was commonplace for American and Canadian cities with both a baseball team and a football team to build one large, multipurpose stadium, derisively known as "Cookie-Cutter Stadiums" or "Concrete Donuts" for their almost identical architecture and typically circular shape. While they made sense from a taxpayer standpoint, and usually good for concerts, they were considered awful for actually viewing games in, as [[MasterOfNone the dimensions and sightlines of the two sports did not line up even with movable seating]], and their cavernous, sterile, concrete, quasi-brutalist nature did no favors to baseball games, which typically rely on a homey, gentle atmosphere. This trend was finally killed with the near-simultaneous opening of two stadiums: Comiskey Park II (now Guaranteed Rate Field) in Chicago in 1991, and Oriole Park at Camden Yards in Baltimore in 1992. Both stadiums were baseball-only and built to the smaller capacities that could be expected of an average baseball game, reducing ugly, empty seating. Furthermore, Oriole Park at Camden Yards' architecture called back to early 20th-century stadiums like Wrigley Field and Fenway Park, the same kind of stadiums the "Cookie-Cutters" had replaced, earning it rave reviews and sparking huge rises in attendance, sparking the age of the "Retro-Classic" style in stadium design [[note]]Chicago's stadium, which despite being baseball-only was still largely in the same architectural style as the old multipurpose venues, would even be heavily renovated later to better match the "Retro-Classic" look. Also worth noting that the first "retro-classic" ballpark actually opened in 1988 in Buffalo, but Pilot Field (now Sahlen Field) gets ignored/forgotten because it's not a major league stadium (hosting the Triple-A Buffalo Bisons), though it did host the Toronto Blue Jays in 2020 and part of 2021 while the Canadian border was closed thanks to UsefulNotes/COVID19[[/note]]. With that, the age of the cookie-cutter was done. Thirty years later, while some of the stadiums from the multipurpose boom are still in use, none of them are used as dedicated multipurpose venues, and some formerly multipurpose stadiums, such as Angel Stadium of Anaheim and Hard Rock Stadium in Miami, have since been renovated to remove their multipurpose functionality. Oriole Park at Camden Yards can also be credited with killing off the Mega-Stadium Complex design for baseball stadiums (the idea is still quite common in football stadiums) that was also predominant in the multipurpose age, in which stadiums would be built far away from the center of the city, either in the outskirts of city limits or in the suburbs, surrounded by nothing but huge parking lots. When Oriole Park at Camden Yards was built in 1992, it was built on former industrial space near the edge of downtown Baltimore, surrounded by houses and vacant warehouse space. When the ballpark opened, however, businesses near the ballpark started reporting a surge in business, and the land value for the surrounding neighborhoods and warehouses suddenly shot up, revitalizing the neighborhood. Cities began realizing that, thanks to the fact that a Major League Baseball season lasts, at minimum, 81 games over six months, the construction of a stadium in or near the downtown could be used to A. revitalize and clean up run-down neighborhoods, and B. save on civic planning costs, as the stadium could just use the necessary infrastructure (parking, highways, public transit, etc.) in downtown that would otherwise be unused at the end of the business day. Today, the "Ballpark Village" concept, in which a stadium is surrounded by a selection of shops, restaurants, and hotels, is the more common method of stadium design for baseball, so much so that ballparks built to the old suburban parking lot model, like American Family Field in Milwaukee, face criticism for their lacking it.
155	* The traditional StageMagician act declined during the 1990s as audiences became increasingly cynical about numerous popular tricks. While jokes about how easy some of these were had been common for decades, a series of Creator/{{Fox}} specials in the late '90s titled ''Series/BreakingTheMagiciansCodeMagicsBiggestSecretsFinallyRevealed'' (also known as ''The Masked Magician'') finally discredited most of the old magic tricks. Magic shows then turned to add some self-awareness to their acts (like Creator/PennAndTeller) or gave it a more TotallyRadical approach (like Criss Angel).
156	* At the same time, such cynicism led to the slow death of the traditional circus in the industrialized world: clowns became regarded as [[MonsterClown evil]] or [[SadClown bitter]] instead of [[NonIronicClown colorful jesters that children loved]], mundane takes on popular routines demystified everything but the tightrope, and the [[BadPeopleAbuseAnimals allegations of animal abuse]] became PR nightmares. If this wasn't enough, the rise of the "premium circus" led by the Cirque du Soleil made older circuses [[OnceOriginalNowCommon look old-fashioned and hackneyed]]. By the 2010s, most North American and European circuses had either closed down or were on the verge of it. Ringling Bros. and Barnum & Bailey, the last major American circus, filed for bankruptcy in 2017. Though Ringling Bros. and Barnum & Bailey [[https://www.yahoo.com/news/ringling-bros-announces-comeback-tour-135456609.html announced a return]] in 2022, with the first shows set for September 2023. The rebooted circus will operate without animal acts.
157	* The Entertech line of water guns that resembled real firearms, to the point of battery-powered sound effects to better sell the illusion, became infamous in TheEighties thanks to both [[ShootHimHeHasAWallet police mistaking them for the real thing and shooting kids]] on one hand, and actual criminals using them in robberies because they could pass for the real thing on the other. The controversies and lawsuits that drove Entertech's parent company Creator/LJNToys [[CreatorKiller out of the toy business]] (and into video games and [[WebVideo/TheAngryVideoGameNerd a different kind of infamy]]), combined with fears surrounding the crime wave of that time, helped kill off MyLittlePanzer-style toys in TheNineties and cause toymakers that sold fake weapons to pivot towards obvious, brightly-colored sci-fi or fantasy gear that nobody could mistake for a lethal weapon.[[note]]Ironically, some criminals still use this to their advantage by painting their firearms in bright colors to resemble the harmless toy counterpart.[[/note]] After the [[UsefulNotes/{{Columbine}} Columbine massacre]], the relationship between violent toys and children was scrutinized more than ever, and the long string of American school shootings that came after had all but guaranteed the extinction of these kinds of toys. Only the Daisy Red Ryder air rifle survives, largely out of [[GrandfatherClause tradition]] and [[Film/AChristmasStory nostalgic kids' movies]], while UsefulNotes/{{airsoft}} guns that resemble real firearms are marketed strictly to adults and in many places have legal restrictions on their sale and use.
158	* The publication of both ''Literature/JeffTheKiller'' and ''Fanfic/SonicEXE'' in 2011 both [[TropeCodifier codified]] and eventually killed the "[[TeensAreMonsters teenage]] SerialKiller" and "[[TheMostDangerousVideoGame evil video game]]" genre of {{Creepypasta}}s respectively, as both genres were soon flooded by [[FollowTheLeader a sea of imitators]] that [[StrictlyFormula copied them wholesale]] until they eventually drowned in their own excess and readers, [[ItsTheSameNowItSucks tired of the repetitive nature of said genres]], began looking towards more original material. Both ''Jeff the Killer'' and ''Sonic.exe'''s critical reappraisals [[CondemnedByHistory for the worse]], compounded by the latter's author being exposed as a sexual predator, have ensured that neither genre will be able to recover any time soon.
159	* In a cross-medium example, Creator/EugeneLevy has [[https://variety.com/2023/tv/news/eugene-levy-mockumentary-genre-destroyed-television-shows-1235544029/ gone on record]] stating that a new {{Mockumentary}} from Creator/ChristopherGuest is unlikely owing to the proliferation of TV series that "have picked up that form and just destroyed it".
160	[[/folder]]

Context Main / GenreKiller