Is this an example?

Do you have trouble remembering the difference between Deathbringer the Adorable and Fluffy the Terrible?

Do you have trouble recognizing when you've written a Zero-Context Example?

Not sure if you really have a Badass Bookworm or just a guy who likes to read?

Well, this is the thread for you. We're here to help you will all the finer points of example writing. If you have any questions, we can answer them. Don't be afraid. We don't bite. We all just want to make the wiki a better place for everyone.

Useful Tips:

Make sure that the example makes sense to both people who don't know the work AND don't know the trope.
- Wrong: The Mentor: Kevin is this to Bob in the first episode.
- Right: The Mentor: Kevin takes Bob under his wing in the first episode and teaches him the ropes of being a were-chinchilla.
Never just put the trope title and leave it at that.
- Wrong: Badass Adorable
- Right: Badass Adorable: Xavier, the group's cute little mascot, defeats three raging elephants with both hands tied behind his back using only an uncooked spaghetti noodle.
When is normally far less important than How.
- Wrong: Big Bad: Of the first season.
- Right: Big Bad: The heroes have to defeat the Mushroom Man lest the entirety of Candy Land's caramel supply be turned into fungus.
A character name is not an explanation.
- Wrong: Full Moon Silhouette: Diana
- Right: Full Moon Silhouette: At the end of her transformation sequence into Moon Princess Misty, Diana is shown flying across the full moon riding a rutabaga.

Other Resources:

For best results, please include why you think an example is iffy in your first post.

Also, many oft-misused tropes/topics have their own threads, such as Surprisingly Realistic Outcome (here) and Fan-Preferred Couple (here). Tropers are better able to give feedback on examples you bring up to specific threads.

For cleaning up examples of Complete Monster and Magnificent Bastard, you must use their dedicated threads: Complete Monster Cleanup, Magnificent Bastard Cleanup.

Edited by Synchronicity on Sep 18th 2023 at 11:42:55 AM

Anddrix Since: Oct, 2014

#6876: Nov 29th 2018 at 5:27:56 AM

Franchise Original Sin is supposed to be about an ignored flaw that was in one installment of a work being made more prominent in a later installment. So do these examples count considering their talking about either a flaw in one work being made more prominent in a different unrelated works in the same genre, or a flaw in one creator's work being made more prominent in a different work by the same creator regardless if it's in the same franchise or not:

Putting them under a folder since there's quite a few examples

Many fans of action films have blamed The Bourne Supremacy for popularizing Jitter Cam, with Tom Breiman of The AV Club describing it as "a great movie [with] a lot to answer for." Director Paul Greengrass, however, used the sort of handheld camera work specifically to convey chaos and confusion on screen, in keeping with a Spy Fiction story about not knowing who to trust, while also remembering to keep the action coherent and flowing. In the one scene where the action was hard to follow, the Moscow car chase, it was done specifically to show that Jason Bourne was injured and unable to fully process what was happening. Many of the films copying The Bourne Supremacy's style took the surface-level chaos of its Jitter Cam style without any of the justification or coherence, leading to a Dork Age for the action genre that saw a decade's worth of films where it was nigh-on impossible to tell what was happening during action scenes.
How the Grinch Stole Christmas! featured needless Adaptation Expansion, confused morals that make the originally-simple message a lot less coherent, an emphasis on big sets over good writing, some problematic and unfitting jokes, and a few creepy makeup jobs. However, it was saved by Jim Carrey, who was at the height of his popularity and perfectly cast as the protagonist, topped off with an Academy Award-winning look. When the same people made The Cat in the Hat, they cast Mike Myers right when he was starting to slide off the radar, and shoved him into a costume that mostly just looked creepy, leaving the bawdy jokes, rancid morals, and mindless spectacle in the spotlight.
How to Lose a Guy in 10 Days has been described by Caroline Siede of The AV Club as this for the Romantic Comedy genre as a whole. She argues that, while it didn't invent the formulaic tropes (shallow characters, regressive gender politics, forced Cringe Comedy, a focus on High Concept hooks over an interesting story) that would plague and eventually destroy the genre over the course of the 2000s, it gathered them all in one place and, by virtue of its box-office success, had a massive impact on the genre going forward as other filmmakers and studios sought to replicate it. The thing was, it did that formula well, in large part thanks to the outstanding chemistry of its lead actors Matthew McConaughey and Kate Hudson, as well as a self-awareness of the formula and how goofy it is. The romantic comedies that came in its wake did not have this going for them.
Jaws: The original film, together with Star Wars two years later, has often been held by many old-guard (or at least highbrow) film critics with ushering in The Blockbuster Age Of Hollywood and all of its worst excesses, killing off the New Hollywood era in the process. The makers of both films, Steven Spielberg and George Lucas respectively, both came from the same "film school geek" background that many of their New Hollywood contemporaries came from, but their films were made with a far more populist orientation, telling simple plots of "men vs. shark" or "plucky resistance vs. The Empire". The difference was in the artistry they put into telling those seemingly simple stories, elevating them into classic tales that still garner the respect of those who watch them. Years later, even Spielberg and Lucas themselves had grown disillusioned with the trends that their films had kicked off, predicting that they would lead in time to Hollywood's downfall.
The Matrix: Josh Friedman, creator of Terminator: The Sarah Connor Chronicles, alleged that The Matrix also had this effect on cinematic and television science fiction as a whole, producing a greater focus on action and special effects at the expense of story and characterization. Daniel Dockery of Cracked has voiced similar opinions^noteAt #1 on the list, in particular blaming it for the proliferation of bad Wire Fu and CGI stuntwork in Hollywood action movies in the early '00s. Whereas The Wachowskis went out of their way to get it right, hiring legendary Hong Kong fight choreographer Yuen Woo-Ping to do the fight scenes and having the cast train with him for four months, many Matrix imitators simply settled for putting actors with no martial arts experience into wire harnesses and having them do physics-defying stunts, which inevitably looked goofy.
The rise of Miramax Films is often cited as a major contributor to the much-maligned advent of Oscar Bait at the Turn of the Millennium, but some of the warning signs for the trend could be seen even back in the studio's glory days in the 1990s. Back then, cinephiles praised Bob and Harvey Weinstein for supporting promising independent filmmakers like Kevin Smith, Quentin Tarantino, and Steven Soderbergh, who gave us beloved '90s Cult Classics like Clerks, Pulp Fiction, and sex, lies, and videotape. However, even though those films were widely praised for their originality and experimentation, they could be thrilling, funny, and irreverent at the same time, and dipped into action and comedy as often as they dipped into drama.

Unfortunately, their success also planted the idea that having a film win critical acclaim and clean house at awards shows could rake in just as much money as having it open big at #1 its first weekend. The Weinsteins would essentially build their entire business model on that premise, with some very controversial behind-the-scenes efforts devoted to ensuring that their films got recognized at the Academy Awards. The English Patient and Shakespeare in Love ended up winning Best Picture over Fargo and Saving Private Ryan thanks to those efforts, resulting in two of the most controversial Award Snubs in the history of the Oscars. To make matters worse, plenty of other studios proved eager to beat Miramax at its own game, producing a slew of depressing, ambitious, and self-consciously "weighty" dramas during the winter months designed to pander to the tastes of film critics and Academy voters (specifically, the "old guard" whose formative cinematic experiences came in the '60s and '70s), which often wound up just as hollow and formulaic as the crowd-pleasing blockbusters released during the summer months. In the modern age of the Oscars, "genre" films are all but excluded from upper-tier awards for Directing, Writing, and Acting, and you can nearly always tell when a studio is banking on an Oscar by watching for the obligatory scenes devoted to showing off an actor's range.

The Nostalgia Chick puts the origin of Oscar bait further back, citing The Deer Hunter as the first film to use its award success to fuel its financial success rather than the other way around. It pioneered the release tactic employed by many later Oscar bait films (a limited release in Los Angeles to meet the barest minimum requirements for nomination, then opening in wide release after it had the hype of an Oscar nod behind it), giving a big boost to a critically-acclaimed yet difficult-to-market film, one that other studios took notice of in the years to come.
Going beyond a franchise or even a genre, Saving Private Ryan has been blamed for the rampant abuse of color correction in Hollywood in the '00s and '10s, with filmmakers and editors washing the color out of their films for the sake of 'realism'. The thing is, Steven Spielberg used that type of desaturation in Saving Private Ryan not to make the film look more realistic, but conversely, to make it look more stylized — he was specifically angling for the look of old World War II newsreel footage, not real life. His gifts as a director, however, caused Saving Private Ryan to become the new standard for a gritty, realistic war movie, and its look was frequently copied over the years out of a misguided sense that Real Is Brown.
Many of Aaron Seltzer and Jason Friedberg's trademark writing traits (shallow, narrow parodies depending more on references and audience recognition than actually making fun of the target, regardless of how well the reference works with the movie itself) are fully visible in their earlier, funnier movies, Spy Hard (which was barely saved by some of its clever bits, including its theme song by "Weird Al" Yankovic) and Scary Movie (which was saved by having four other writers, including the Wayans brothers at the height of their careers). Then the duo dived headfirst into directing their own movies, with every problem that plagued the last two movies amped Up To Eleven and creating some delicious Snark Bait in the process. Worse, the box-office success of their movies caused other parody films to start copying their style, plunging the entire genre into a Dork Age in the '00s and eventual near-extinction in the '10s.
At the time of The Sixth Sense, M. Night Shyamalan didn't have any reputation to speak of, so nobody saw the film's Twist Ending coming. The problem came when Shyamalan started relying on twist endings in his films, a problem that first became apparent with Signs, generally considered the last film of his that's any good. By the time of The Village, viewers had learned to see it coming, and his reputation and the quality of his films suffered for it.
Mark Harris' GQ article "The Day the Movies Died", while noting how many critics have blamed the aforementioned Jaws and Star Wars for the rise of the Lowest Common Denominator Summer Blockbuster, pegs its origin instead on Top Gun. The success of that film, he argues, paved the way for the PG-13 action flick aimed at teenage boys and young men to become the default "blockbuster" template, causing other genres that had produced blockbuster films in years past (horror, romance, non-action science fiction, smaller-scale family films) to be crowded out. As the studios hyper-focused on the stereotypical "young male" (i.e. a stereotypical fratbro) to the exclusion of everybody else, television was left with an open field to march in and claim all the women and older viewers who had found themselves abandoned by Hollywood marketers.
The films of Zack Snyder:
- When 300 was released in 2007, it proved to be a huge hit with audiences, in large part because it pushed the use of uniquely stylized CGI like few movies before it ever had. It used computer animation to craft everything from environments to action sequences from the bottom up, creating a melodramatic spectacle that practically seemed to pop off the screen, evocative of both the art of the original graphic novel and the larger-than-life Greek epic poems that informed such. And even though it had many detractors at the time who criticized Snyder's Signature Style for being shallow and over-the-top, most people agreed that it was at least well-suited to a violent Sword and Sandal epic. ^note Audiences weren't so forgiving when he applied largely the same style to his movie adaptation of Alan Moore's Watchmen, a graphic novel that's about as far from 300 on the Sliding Scale of Realistic vs. Fantastic as it's possible to be. Where 300 was an escapist war epic tinged with mythic fantasy, Watchmen is a nuanced, intergenerational drama with a cast of complex, morally ambiguous characters defined by their human frailties. Paired with a story like that, the flaws that were so easy to overlook in 300 — the unnecessary CGI environments, the distracting costumes and makeup, the gratuitous slow-motion, and the elaborate action sequences occasionally sidelining the plot — just become even more glaring, making it a lot harder to forgive Snyder for burying the novel's complex themes under a thick layer of flashy melodrama.
- And in turn, it can be argued (as it was by Bob Chipman) that the problems with Watchmen foreshadowed the problems with Snyder's work in the DC Extended Universe, particularly Batman v Superman: Dawn of Justice. While Snyder was able to preserve most of Moore's themes and ideas by making a literal adaptation, some of the changes that he did make heavily softened the themes and politics of the comic (namely making the fight scenes look cool rather than ugly and toning down the more unsavory character flaws like Rorschach's bigotry), and when added together, the changes made it seem as though Snyder questioned the intended message of the comic in favor of embracing the Darker and Edgier version of superheroes that it presented. ^note Snyder's DCEU films, meanwhile, were widely criticized for just that, portraying an emotionally aloof Superman who doesn't seem to care about humanity and a Batman who uses guns and murders criminals (either straight-up or by proxy), and seeming to many critics and fans like the worst excesses of The Dark Age Of Comic Books brought to life in big-budget blockbusters. Batman v. Superman in particular was criticized for borrowing the superficial elements of The Dark Knight Returns like Superman's exaggerated physique and Batman's grotesque appearance and playing everything straight in a dead serious light without capturing the satirical commentary of the original source material.
One of the most common criticisms of Hollywood in The New '10s is that movie studios increasingly tend to rely on profitable Cash Cow Franchises at the expense of supporting original standalone films that can work on their own, to the point that some movie critics have called the decade "The Franchise Era of Hollywood". In fact, many of the worst excesses of the so-called "Franchise Era" can be traced back to several successful movie franchises from the Turn of the Millennium that are still quite fondly remembered by many moviegoers today—in particular, New Line Cinema's The Lord of the Rings movies, 20th Century Fox's Star Wars prequels, and The Matrix trilogy and the Harry Potter films from Warner Bros.. Notably, all of those series were more-or-less planned as series from the very beginning, many of them had several sequels that went into production at the same time, and all of them (except The Matrix) were either big-budget movie adaptations or big-budget follow-ups to previous films; the Harry Potter films even featured a Grand Finale that was long enough to be stretched into two movies—a fairly rare move at the time, which made for a pretty high-profile motion picture event.

But in the 2000s, such major movie franchises attracted buzz because they were fairly rare occurrences, and movie studios only really gave the "franchise treatment" to intellectual properties that could be justifiably seen as deserving several Epic Films. The Lord of the Rings was based on a trilogy of beloved fantasy novels that had been popular for nearly 50 years before they were made into movies, the Star Wars prequels were follow-ups to the most popular film saga in cinematic history, the Harry Potter films were based on one of the most massively popular book series of the 20th century, and The Matrix didn't get its two sequels greenlit until film critics started hailing it as one of the best American science-fiction films since Star Wars. And even when they did support movie franchises, studios generally knew when to stop, and only did as many movies as it took to tell a story.

In the 2010s, some moviegoers are understandably wary of franchise films when they account for around three-fourths of the films at the box office, when studios occasionally try to keep franchises going indefinitely, and when they fill movies with obvious padding to justify stretching one movie into several parts. Compare those aforementioned films to franchises like Twilight, The Hunger Games and The Hobbit, which got much more divisive receptions when they tried to stretch their final installments into bloated two-part epics—or, in the case of The Hobbit, tried to stretch a fairly short novel into a trilogy of films that ran nearly three hours apiece. Also compare those films to Batman v Superman: Dawn of Justice, which has faced some backlash for jumping straight into a Batman/Superman crossover before even giving Man of Steel a proper sequel or Batman his own movie, and for shoehorning Wonder Woman and Aquaman into the story just to make it easier to set up a future Justice League movie. Even the critically acclaimed Marvel Cinematic Universe has been criticized for trying to plan additional movies over a decade in advance, as if their movies couldn't possibly fall out of popularity before then. And while Star Wars: Episode VII — The Force Awakens was a big hit with audiences, the announcement that Lucasfilm will now release at least one new Star Wars movie every year has been much more divisive, with cynical fans pointing out that the series can't possibly stay fresh forever.

gjjones Musician/Composer from South Wales, New York Since: Jul, 2016

Musician/Composer

#6877: Nov 29th 2018 at 5:51:17 AM

From the RoleEndingMisdemeanor.Sports page:

Jim Tressel was a popular football coach at both Youngstown State University and Ohio State University. In May 2011, however, his coaching career came to an end when the NCAA investigated improper benefits violations involving some of the Ohio State football players during the previous season, accusing Tressel of withholding information from them. Once Tressel resigned from Ohio State, the NCAA imposed a show-cause penalty on him for five years and placed Ohio State's program on probation for two years. Tressel became the president of Youngstown State and retired from coaching altogether in July 2014.

Is this being used correctly?

Edited by gjjones on Nov 29th 2018 at 8:51:43 AM

He/His/Him. No matter who you are, always Be Yourself.

WhirlRX Since: Jan, 2015

#6878: Nov 29th 2018 at 7:23:00 AM

I honestly dont think Genres would be examples of Franchise original sin.

Pichu-kun ... Since: Jan, 2001

...

#6879: Nov 29th 2018 at 10:09:18 AM

Under Two Decades Behind:

The American movie theater chain Harkins Theatres still has their employment applications done on paper; meaning you would have to drive to a theater to pick one up, fill it out with pen, and drive back to deliver it. This process is incredibly tedious since most companies today have abandoned this method in favor of online applications which are much faster and easier to do.

Is this really that rare?

AnotherDuck No, the other one. from Stockholm Since: Jul, 2012 Relationship Status: Mu

No, the other one.

#6880: Nov 29th 2018 at 10:30:25 AM

I'm not sure that trope should even have real life examples. It's supposed to be about how TV lags behind in current trends and fail to accurately depict those trends, not about some company, country, or whatever using technology that isn't up to date. That's not being dated; that's just being how it currently is there. Most of the time there's a reason for it, even if it's just tradition.

I don't think Franchise Original Sin can apply to genres either. If it's a new work, there's nothing that says they need to use those flaws. The trope is about something that's actually there from the start, and isn't removed because the creator either fails to recognise it or don't want to, and later on become more prominent. For an original work, you have to put in the effort to place it there in the first place, which means the creator put it there because they think it works, and not because it's always been there.

Check out my fanfiction!

OldLadyNightMan Since: May, 2018 Relationship Status: Hiding

#6881: Nov 29th 2018 at 11:25:12 AM

@Anddrix Honestly, I do find some of the examples well-written (with special mention towards the Miramax Films one). The problem is that, well, they're not examples.

Noah1 Noah 1 from Somewhere Since: Oct, 2011 Relationship Status: THIS CONCEPT OF 'WUV' CONFUSES AND INFURIATES US!

Noah 1

#6882: Nov 29th 2018 at 12:23:32 PM

I'm inclined to disagree. The examples shown effectively hit the spirit of the trope (an element of something the grew away from its balancing factors and became a more glaring flaw), and tell me that the definition can be expanded to include genre examples.

An open mind and compassionate heart are among the most important qualities we can have.

gjjones Musician/Composer from South Wales, New York Since: Jul, 2016

Musician/Composer

#6883: Nov 29th 2018 at 8:26:21 PM

In Fairy Tail, Layla Heartfilia dies in the backstory, leaving Lucy and Jude as the last living members of the Heartfilia family. After the Sirius Island arc, Jude is dead and Lucy is the last living member of the Heartfilias. Does that count as a Last of Her Kind example?

Edited by gjjones on Nov 29th 2018 at 11:27:17 AM

He/His/Him. No matter who you are, always Be Yourself.

sgamer82 Since: Jan, 2001

#6884: Nov 29th 2018 at 10:18:08 PM

No. Last of His Kind requires a bit bigger scale than a three person household.

Emphasis mine.

A character who is a species unto themself, the Sole Survivor of some calamity that has wiped out their entire civilization. If this civilization used to be important in the power balance between civilizations that still remain, it's now considered missing.

This might mean that they're the last survivor of a particular society or secret order, but for full effect they are actually the last of an entire civilization, or even biological species.

I suppose last of a very unique or special bloodline could work, but I don't recall the Heartfilias being that special.

Pichu-kun ... Since: Jan, 2001

...

#6885: Nov 30th 2018 at 1:23:24 PM

Christy Marx apparently mentioned that thinks Kimber/Stormer as a pairing is a natural progression of their close friendship... So, is that essentially a Word of Gay or is it too vague?

Is Ralph Breaks The Internet an Unintentional Period Piece or is it too intentionally of its time?

Ferot_Dreadnaught Since: Mar, 2015

#6886: Nov 30th 2018 at 2:02:02 PM

WesternAnimation.My Little Pony The Movie 2017

Traveling at the Speed of Plot: Tempest captures Twilight, departs by airship, and is almost back at Canterlot before the rest of the Mane Six are even aware of what had occurred. Yet, they not only manage to arrive shortly after Tempest's ship on hoof, they've also found time to bake a cake large enough to conceal Princess Skystar, Captain Celaeno and her crew.

I deleted the "almost back at Canterlot" part since it's likely just an editing trick (we cut back in time to their realizing) since Spike would get them as soon as Twilight was captured, minutes tops. And if the airship made it back in minutes, the Mane Six making it back as fast wouldn't be that inconstant which is what this trope is about.

The troper who added the entry added the "almost back at Canterlot" back without explanation. I PM'd them about it but haven't heard back. I also asked ATT but haven't heard anything.

Do edits count towards Traveling at the Speed of Plot? Is there anything suggesting or saying that they didn't realize Twilight was captured before nearing Canterlot? Any reason not to remove the "almost back at Canterlot" part since it's a valid example otherwise?

Edited by Ferot_Dreadnaught on Nov 30th 2018 at 5:18:47 AM

sgamer82 Since: Jan, 2001

#6887: Nov 30th 2018 at 3:01:27 PM

It can't be an Unintentional Period Piece if we're still in the period it take place. If we aren't, and it's a past setting to start with, then it can't be unintentional.

Also, from the page itself, emphasis mine:

Important Sidenote: To avoid questionable examples, do not add a work less than 10 years old unless the situation is especially unusual. (Being completely overtaken by events by time of airing, and being called "instantly dated" by the press, have both qualified in the past.) For most works, it won't be particularly clear which ones really do bleed their production date out of every pore until roughly a decade has passed.

Given I don't think the movie is even ten weeks old, it can't apply regardless of anything else.

Edited by sgamer82 on Nov 30th 2018 at 4:03:58 AM

gjjones Musician/Composer from South Wales, New York Since: Jul, 2016

Musician/Composer

#6888: Dec 1st 2018 at 10:49:36 AM

In Sailor Moon R, Rubeus gives Petz, one of the Four Spectre Sisters, a stick that magnifies her electric powers. Eventually, she goes insane to the point of blasting Calaveras, Koan and Berthier with Dark Thunder and laughing maniacally.

Would that count as examples of either Sanity Slippage, Ax-Crazy or Drunk on the Dark Side?

Edited by gjjones on Dec 1st 2018 at 1:51:26 PM

He/His/Him. No matter who you are, always Be Yourself.

sgamer82 Since: Jan, 2001

#6889: Dec 1st 2018 at 12:30:05 PM

As described, I'm inclined towards Drunk on the Dark Side. However, it might be important to note if it is the wand causing her madness or the rush of power.

If she's not there already might also look into Psycho Electro.

Ferot_Dreadnaught Since: Mar, 2015

#6890: Dec 1st 2018 at 12:56:58 PM

Characters.Pokemon Elite Four

Kicked Upstairs: Despite being a past Gym Leader, Koga does not show up for the Pokémon World Tournament due to being an Elite Four now. Because Blue and Wallace show up in the Champions tournament, this also makes him the only Gym Leader or ex-Gym Leader in the franchise up to that point who isn't in Black 2 and White 2.

My impression is that Kicked Upstairs is done to deliberately remove them from influence. Is incidental removal an example?

wingedcatgirl I'm helping! from lurking (Holding A Herring) Relationship Status: Oh my word! I'm gay!

I'm helping!

#6891: Dec 1st 2018 at 1:10:28 PM

So this is listed as an example of Mundane Utility in Minecraft:

Steve? and Alex?, the Player Characters, can dig to a depth of around 80 meters using only their hands, can place physics-defying chunks of land for use as decoration, and can swim up waterfalls to get to the top of their houses.

Does someone else understand how this is supposed to be the trope? Because I completely don't.

Edited by wingedcatgirl on Dec 1st 2018 at 1:10:43 AM

Trouble Cube continues to be a general-purpose forum for those who desire such a thing.

WhirlRX Since: Jan, 2015

#6892: Dec 1st 2018 at 1:34:54 PM

Yes. Its more aboit giving them a higher position so they wont cause trouble.

Anddrix Since: Oct, 2014

#6893: Dec 1st 2018 at 5:29:50 PM

x17. So are any of the Franchise Original Sin worth keeping, or are they all misused?

Noah1 Noah 1 from Somewhere Since: Oct, 2011 Relationship Status: THIS CONCEPT OF 'WUV' CONFUSES AND INFURIATES US!

Noah 1

#6894: Dec 1st 2018 at 7:39:32 PM

I actually discussed this with Septimus Heap. He posited moving the examples to a hypothetical new trope in TLP, but I admitted that (since I cannot think of any other examples of "Genre Original Sin") it seemed more practical to lump them back into FOS in the form of folders at the top of the pages. Again, I consider the spirit of the trope more important than the letter.

Edited by Noah1 on Dec 1st 2018 at 10:40:42 AM

An open mind and compassionate heart are among the most important qualities we can have.

Yinyang107 from the True North (Decatroper) Relationship Status: Tongue-tied

#6895: Dec 1st 2018 at 9:12:38 PM

It's not an example. If anything, it's the opposite of the trope: mundane abilities used in awesome ways.

rjd1922 he/him | Image Pickin' regular from the United States Since: May, 2013 Relationship Status: Love is for the living, Sal

he/him | Image Pickin' regular

#6896: Dec 1st 2018 at 9:46:54 PM

CCIB removed this example from Pushover Parents in July with the edit reason "There's nothing in the series pointing to this trope." In "The New Lars", Lars' parents at least seemed timid and unwilling to discipline him.

Lars' parents from Steven Universe. They appear to be kind of scared of him, as they're not only stated to give in to a lot of his demands without question, but speak to him quite timidly.

Keet cleanup

Crossover-Enthusiast from an abaondoned mall (Lucky 7) Relationship Status: Chocolate!

#6897: Dec 1st 2018 at 10:22:59 PM

I'm not sure about the "they're not only stated to give in to a lot of his demands without question" (it's been ages since I've seen the episode), but from what I remember I think they qualify. The example could use a little rewrite, though.

Edited by Crossover-Enthusiast on Dec 1st 2018 at 1:24:28 PM

Jawbreakers on sale for 99¢

Pichu-kun ... Since: Jan, 2001

...

#6898: Dec 2nd 2018 at 7:50:55 AM

On Unintentional Period Piece, there's a 2010s section already. Ralph Breaks The Internet is full to the brim with 2018 trends and references, which seems to make it a prime example. The question, however, is if it's actually unintentional.

Anyway, what's the difference between a video game Urban Legend and an Urban Legend of Zelda? Would Link and Zelda from A Link To The Past being siblings be an Urban Legend or Urban Legend of Zelda?

TroperNo9001 Braids From S286 Not Included from ZDR for now Since: Oct, 2014 Relationship Status: Sinking with my ship

Braids From S286 Not Included

#6899: Dec 2nd 2018 at 8:16:39 AM

From what I can recall, the first movie takes place in 2012, since in-universe, Fix-it Felix (the game) was created in 1982 and it celebrated its 30th anniversary. The sequel explicitly takes place six years later, making it set in 2018, and thus an intentional Period Piece.

Edited by TroperNo9001 on Dec 3rd 2018 at 12:18:06 AM

"Rarity, are you okay? We gotta get you and your friends outta here soon!"

rjd1922 he/him | Image Pickin' regular from the United States Since: May, 2013 Relationship Status: Love is for the living, Sal

he/him | Image Pickin' regular

#6900: Dec 2nd 2018 at 4:31:37 PM

Period Piece means it takes place in the past, which Ralph Breaks the Internet doesn't. I've seen other recent works described as Unintentional Period Pieces, like The Emoji Movie and Undertale, but I think this is misuse; "this will be outdated in the future" seems like Speculative Troping.

Keet cleanup

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