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* ''VideoGame/{{Minecraft}}'' was a one-man project that rapidly gained massive traction, its popularity peaking by 2012-13 and becoming a massive viral hit. However, the game's fame eventually grew enough to the point where gradually more people were stating ItsPopularNowItSucks, and by the time Notch dumped it in Microsoft's hands, the game's popularity was declining; and by 2016-17, it had sunken to a memetic punching bag that was mocked relentlessly by the internet (although primarily due to its [[FanDumb rabid fanbase]], rather than the actual quality of the game declining). However, in light of Microsoft's warmer connections to Nintendo culminating in the introduction of crossplay between the two (even a little with Sony), its still growing amount of ports, and the rise of {{Battle Royale Game}}s, Minecraft came back with a ''vengeance'' in 2019, still receiving numerous updates, its player character becoming a DLC fighter in ''VideoGame/SuperSmashBrosUltimate'', and even announcing a film adaptation. While it is not as astronomically popular as it was back in its first years, it is certainly slowly climbing back up and it finally became the best-selling video game of all time in May. Not that its popularity during its supposed "slump" was anything to scoff at, as it was accounted that ''91 million users'' were playing the game monthly in mid-2018. [[note]]compare it to ''VideoGame/Dota2'' 's highest monthly player count of roughly 11 million in 2016, and ''Videogame/{{Fortnite}}'''s highest monthly player count of 78 million, also in mid-2018. And note that ''Dota 2'' and ''Fortnite'' are both free-to-play games, while ''Minecraft'' is paid.[[/note]]
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* ''VideoGame/{{Minecraft}}'' was a one-man project that rapidly gained massive traction, its popularity peaking by 2012-13 and becoming a massive viral hit. However, the game's fame eventually grew enough to the point where gradually more people were stating ItsPopularNowItSucks, and by the time Notch dumped it in Microsoft's hands, the game's popularity was declining; and by 2016-17, it had sunken to a memetic punching bag that was mocked relentlessly by the internet (although primarily due to its [[FanDumb rabid fanbase]], rather than the actual quality of the game declining). However, in light of Microsoft's warmer connections to Nintendo culminating in the introduction of crossplay between the two (even a little with Sony), its still growing amount of ports, and the rise of {{Battle Royale Game}}s, Game}}s (which simultaneously brought attention back to ''Minecraft'' due to servers hosting Battle Royale custom games, and led to much of the child fanbase responsible for most of the ridicule switching over to ''VideoGame/{{Fortnite}}''), Minecraft came back with a ''vengeance'' in 2019, still receiving numerous updates, its player character becoming a DLC fighter in ''VideoGame/SuperSmashBrosUltimate'', and even announcing a film adaptation. While it is not as astronomically popular as it was back in its first years, it is certainly slowly climbing back up and it finally became the best-selling video game of all time in May. Not that its popularity during its supposed "slump" was anything to scoff at, as it was accounted that ''91 million users'' were playing the game monthly in mid-2018. [[note]]compare it to ''VideoGame/Dota2'' 's highest monthly player count of roughly 11 million in 2016, and ''Videogame/{{Fortnite}}'''s highest monthly player count of 78 million, also in mid-2018. And note that ''Dota 2'' and ''Fortnite'' are both free-to-play games, while ''Minecraft'' is paid.[[/note]]
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* ''Film/StarTrekTheMotionPicture'' was popular enough that it did financially well at the box office. Despite critics bashing it, Trekkies were glad to have ''Star Trek'' back. After ''Film/StarTrekIITheWrathOfKhan'' and especially after ''Film/StarTrekIVTheVoyageHome'', fans began to see 1979 ''Motion Picture'' in a different light, often jokingly calling it "The Motionless Picture" due to its slow pacing and subdued performances from the cast. The dynamic melodrama and powerful character moments of ''II'', and the refreshing comedy relief humor of ''IV'', were often held up as unfavorable comparisons for ''The Motion Picture'', resulting in it getting thrown in with the other odd-numbered ''Trek'' movies as inferior.[[note]]This tendency to regard the odd-numbered ''Trek'' films as inferior is generally attributed to having started with the fan reaction to ''Star Trek V''. Also, fans learned more about how dissatisfied Robert Wise was with the release. Fans did, in retrospect, also feel that the film was missing something. In the ensuing years, fans were now able to watch several alternate and longer cuts of the film on broadcast TV, Laserdisc, and VHS, resulting in no less than four different cuts. This is where many flaws stood out: too long in some scenes, too many shots of the characters staring at special effects, special effects clearly missing in some shots. The film was on a tight schedule and several effects were truncated to release the film on time. Originally, ''The Motion Picture'' was also criticized for appearing to recycle of plot elements from ''The Changeling'' and ''The Doomsday Machine''.[[/note]] It was, for a time, remembered mostly for its theme song being reused for ''Series/StarTrekTheNextGeneration''. The 2002 DirectorsCut sparked a new era of appreciation for ''Star Trek: The Motion Picture''. Certain effects were redone using CGI but strictly in the spirit of what was scripted in 1979. Also, this is now considered one of Jerry Goldsmith's finest soundtracks. Today, instead of being unfairly compared to the more melodramatic and action-packed ''Trek'' films that followed, ''Star Trek: The Motion Picture'' is compared favorably to ''Film/TwoThousandOneASpaceOdyssey'', many fans noting that it is the ''Star Trek'' film that best represents Gene Roddenberry's vision.
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* ''Franchise/StarTrek'':
** ''Film/StarTrekTheMotionPicture'' was popular enough that it did financially well at the box office. Despite critics bashing it, Trekkies were glad to have ''Star Trek'' back. After ''Film/StarTrekIITheWrathOfKhan'' and especially after ''Film/StarTrekIVTheVoyageHome'', fans began to see 1979 ''Motion Picture'' in a different light, often jokingly calling it "The Motionless Picture" due to its slow pacing and subdued performances from the cast. The dynamic melodrama and powerful character moments of ''II'', and the refreshing comedy relief humor of ''IV'', were often held up as unfavorable comparisons for ''The Motion Picture'', resulting in it getting thrown in with the other odd-numbered ''Trek'' movies as inferior.[[note]]This tendency to regard the odd-numbered ''Trek'' films as inferior is generally attributed to having started with the fan reaction to ''Star Trek V''. Also, fans learned more about how dissatisfied Robert Wise was with the release. Fans did, in retrospect, also feel that the film was missing something. In the ensuing years, fans were now able to watch several alternate and longer cuts of the film on broadcast TV, Laserdisc, and VHS, resulting in no less than four different cuts. This is where many flaws stood out: too long in some scenes, too many shots of the characters staring at special effects, special effects clearly missing in some shots. The film was on a tight schedule and several effects were truncated to release the film on time. Originally, ''The Motion Picture'' was also criticized for appearing to recycle of plot elements from ''The Changeling'' and ''The Doomsday Machine''.[[/note]] It was, for a time, remembered mostly for its theme song being reused for ''Series/StarTrekTheNextGeneration''. The 2002 DirectorsCut sparked a new era of appreciation for ''Star Trek: The Motion Picture''. Certain effects were redone using CGI but strictly in the spirit of what was scripted in 1979. Also, this is now considered one of Jerry Goldsmith's finest soundtracks. Today, instead of being unfairly compared to the more melodramatic and action-packed ''Trek'' films that followed, ''Star Trek: The Motion Picture'' is compared favorably to ''Film/TwoThousandOneASpaceOdyssey'', many fans noting that it is the ''Star Trek'' film that best represents Gene Roddenberry'svision.vision.
** ''Film/StarTrekInsurrection'' was reasonably well-received on its initial release -- not to the same extent as the preceding ''Film/StarTrekFirstContact'', which had gotten some of the best reviews of the entire franchise, but certainly better than ''Film/StarTrekGenerations'', the first film to focus on the case of ''Series/StarTrekTheNextGeneration'' -- with solid box-office returns and critics hailing it as an exception to the StarTrekMovieCurse. In the years after its initial release however, opinions on the film began to sour, with many viewers finding the overall storyline to be forgettable, and feeling that the moral dilemma at the story's heart was poorly presented to the point of making the alleged villains more sympathetic than the society that the ''Enterprise'' crew was trying to protect. Fan opinions towards the film began to improve towards the back end of the 2010s, with newer, more controversial entries in the franchise causing what had been the biggest weakness of ''Insurrection'', namely its playing it safe with the established ''Star Trek'' formula, to now be considered one of its biggest strengths. Additionally, changing attitudes towards cultural sensitivity and preservation caused many viewers to become much more sympathetic to the basic concept behind the storyline, even if there were still faults in the execution, and many also now appreciate that it finally did something with the decade-old ShipTease between Riker and Troi, helping to turn them into what many consider the OfficialCouple of the entire ''Star Trek'' franchise. While ''Insurrection'' is unlikely to be considered by many as one of the better ''Star Trek'' film's, it's at least rebounded to being seen as a largely competent entry that doesn't have any majorly contentious story elements.
** ''Film/StarTrekTheMotionPicture'' was popular enough that it did financially well at the box office. Despite critics bashing it, Trekkies were glad to have ''Star Trek'' back. After ''Film/StarTrekIITheWrathOfKhan'' and especially after ''Film/StarTrekIVTheVoyageHome'', fans began to see 1979 ''Motion Picture'' in a different light, often jokingly calling it "The Motionless Picture" due to its slow pacing and subdued performances from the cast. The dynamic melodrama and powerful character moments of ''II'', and the refreshing comedy relief humor of ''IV'', were often held up as unfavorable comparisons for ''The Motion Picture'', resulting in it getting thrown in with the other odd-numbered ''Trek'' movies as inferior.[[note]]This tendency to regard the odd-numbered ''Trek'' films as inferior is generally attributed to having started with the fan reaction to ''Star Trek V''. Also, fans learned more about how dissatisfied Robert Wise was with the release. Fans did, in retrospect, also feel that the film was missing something. In the ensuing years, fans were now able to watch several alternate and longer cuts of the film on broadcast TV, Laserdisc, and VHS, resulting in no less than four different cuts. This is where many flaws stood out: too long in some scenes, too many shots of the characters staring at special effects, special effects clearly missing in some shots. The film was on a tight schedule and several effects were truncated to release the film on time. Originally, ''The Motion Picture'' was also criticized for appearing to recycle of plot elements from ''The Changeling'' and ''The Doomsday Machine''.[[/note]] It was, for a time, remembered mostly for its theme song being reused for ''Series/StarTrekTheNextGeneration''. The 2002 DirectorsCut sparked a new era of appreciation for ''Star Trek: The Motion Picture''. Certain effects were redone using CGI but strictly in the spirit of what was scripted in 1979. Also, this is now considered one of Jerry Goldsmith's finest soundtracks. Today, instead of being unfairly compared to the more melodramatic and action-packed ''Trek'' films that followed, ''Star Trek: The Motion Picture'' is compared favorably to ''Film/TwoThousandOneASpaceOdyssey'', many fans noting that it is the ''Star Trek'' film that best represents Gene Roddenberry's
** ''Film/StarTrekInsurrection'' was reasonably well-received on its initial release -- not to the same extent as the preceding ''Film/StarTrekFirstContact'', which had gotten some of the best reviews of the entire franchise, but certainly better than ''Film/StarTrekGenerations'', the first film to focus on the case of ''Series/StarTrekTheNextGeneration'' -- with solid box-office returns and critics hailing it as an exception to the StarTrekMovieCurse. In the years after its initial release however, opinions on the film began to sour, with many viewers finding the overall storyline to be forgettable, and feeling that the moral dilemma at the story's heart was poorly presented to the point of making the alleged villains more sympathetic than the society that the ''Enterprise'' crew was trying to protect. Fan opinions towards the film began to improve towards the back end of the 2010s, with newer, more controversial entries in the franchise causing what had been the biggest weakness of ''Insurrection'', namely its playing it safe with the established ''Star Trek'' formula, to now be considered one of its biggest strengths. Additionally, changing attitudes towards cultural sensitivity and preservation caused many viewers to become much more sympathetic to the basic concept behind the storyline, even if there were still faults in the execution, and many also now appreciate that it finally did something with the decade-old ShipTease between Riker and Troi, helping to turn them into what many consider the OfficialCouple of the entire ''Star Trek'' franchise. While ''Insurrection'' is unlikely to be considered by many as one of the better ''Star Trek'' film's, it's at least rebounded to being seen as a largely competent entry that doesn't have any majorly contentious story elements.
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* In TheNineties, Creator/FranDrescher's sitcom, ''Series/TheNanny'', was a modestly-popular TV series. But in 2023, it got a surge of popularity as Drescher, now president of [[UsefulNotes/UnionsInHollywood SAG-AFTRA]], [[UsefulNotes/TVStrikes led the union in a joint strike with the WGA]]. [[ValuesResonance With wealth inequality significantly heightened and an increased awareness about class struggles, many found the show's premise, a middle-class woman working for a wealthy producer, incredibly pertinent]], especially the season 2 episode "The Strike" from 1994, where [[TheDanza Fran Fine]] [[NiceToTheWaiter refused to cross a picket line of striking busboys]], in defiance of her employer, Broadway producer Maxwell Sheffield, who was hosting a party at that restaurant, and his attempts to force her through the picket line turn into a scandal.
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* In TheNineties, Creator/FranDrescher's sitcom, ''Series/TheNanny'', was a modestly-popular TV series. But in 2023, it got a surge of popularity as Drescher, now president of [[UsefulNotes/UnionsInHollywood SAG-AFTRA]], [[UsefulNotes/TVStrikes led the union in a joint strike with alongside the WGA]]. [[ValuesResonance With wealth inequality significantly heightened and an increased awareness about class struggles, many found the show's premise, a middle-class woman working for a wealthy producer, incredibly pertinent]], especially the season 2 episode "The Strike" from 1994, where [[TheDanza Fran Fine]] [[NiceToTheWaiter refused to cross a picket line of striking busboys]], in defiance of her employer, Broadway producer Maxwell Sheffield, who was hosting a party at that restaurant, and his attempts to force her through the picket line turn into a scandal.
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* Musicals have been getting in and out of this since its beginnings: the UsefulNotes/RiseOfTheTalkies brought a glut of musical films in 1929-30, only for TheGreatDepression to shift tastes to the point many films had to be modified to eliminate the songs and promoted as ''not'' being musicals. But halfway through the decade Busby Berkeley's new approach to choreography and the popularity of the Astaire-Rogers team led to a wave of musicals that intensified during the war years, with MGM becoming associated with the genre, which then faltered through the 1950s with the rise of television, being relegated to the B-movie domain by the time rock-and-roll came along.\\
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* Musicals have been getting in and out of this since its beginnings: the UsefulNotes/RiseOfTheTalkies MediaNotes/RiseOfTheTalkies brought a glut of musical films in 1929-30, only for TheGreatDepression to shift tastes to the point many films had to be modified to eliminate the songs and promoted as ''not'' being musicals. But halfway through the decade Busby Berkeley's new approach to choreography and the popularity of the Astaire-Rogers team led to a wave of musicals that intensified during the war years, with MGM becoming associated with the genre, which then faltered through the 1950s with the rise of television, being relegated to the B-movie domain by the time rock-and-roll came along.\\
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The genre returned in a big way in the late '90s/early 2000s with ''Series/WhoWantsToBeAMillionaire'' and ''Series/TheWeakestLink'', as well as shows like ''Series/{{Greed}}'' and the {{revival}} of ''Series/TheHollywoodSquares''. This boom also caused a deluge of [[WhoWantsToBeWhoWantsToBeAMillionaire their assorted clones]]. In the early 2000s, ''Millionaire'' and ''Link'' pulled in tens of millions of viewers and were watercooler discussion fodder, and their hosts (Regis Philbin and Anne Robinson, respectively) were household names. On top of that, their flashiness and huge prize budgets mostly spelled the end of low-budget cable game shows. Then their networks [[AdoredByTheNetwork began marketing them to death]] (Creator/{{ABC}} aired ''Millionaire'' almost every night of the week), and reality shows like ''Series/{{Survivor}}'', ''Series/AmericanIdol'' and ''Series/TheAmazingRace'' started taking off and providing what were then innovative alternatives to the traditional quiz show model. Almost overnight, the shows were only surviving in syndication -- and even that wasn't enough to keep ''Link'' alive. To this day, their catch phrases ("Is that your final answer?" for ''Millionaire''; "You are the weakest link. Goodbye!" for ''Link'') are considered annoying as all hell. Game shows generally started to die off again, with one of the only success stories in the mid-2000s being ''Series/{{Lingo}}'' (2002-2007) on GSN. ''Series/DealOrNoDeal'' sparked another brief revival in 2008, but its incredibly flimsy premise, ever-increasing gimmickry, and WolverinePublicity helped do it in. Meanwhile, through all the cycles the genre has gone through, the aforementioned syndie versions of ''Wheel'' and ''Jeopardy!'', and ''Price'' over on CBS, have remained consistently strong.\\
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The genre returned in a big way in the late '90s/early 2000s with ''Series/WhoWantsToBeAMillionaire'' and ''Series/TheWeakestLink'', as well as shows like ''Series/{{Greed}}'' and the {{revival}} of ''Series/TheHollywoodSquares''. This boom also caused a deluge of [[WhoWantsToBeWhoWantsToBeAMillionaire their assorted clones]]. In the early 2000s, ''Millionaire'' and ''Link'' pulled in tens of millions of viewers and were watercooler discussion fodder, and their hosts (Regis Philbin and Anne Robinson, respectively) were household names.HouseholdNames. On top of that, their flashiness and huge prize budgets mostly spelled the end of low-budget cable game shows. Then their networks [[AdoredByTheNetwork began marketing them to death]] (Creator/{{ABC}} aired ''Millionaire'' almost every night of the week), and reality shows like ''Series/{{Survivor}}'', ''Series/AmericanIdol'' and ''Series/TheAmazingRace'' started taking off and providing what were then innovative alternatives to the traditional quiz show model. Almost overnight, the shows were only surviving in syndication -- and even that wasn't enough to keep ''Link'' alive. To this day, their catch phrases ("Is that your final answer?" for ''Millionaire''; "You are the weakest link. Goodbye!" for ''Link'') are considered annoying as all hell. Game shows generally started to die off again, with one of the only success stories in the mid-2000s being ''Series/{{Lingo}}'' (2002-2007) on GSN. ''Series/DealOrNoDeal'' sparked another brief revival in 2008, but its incredibly flimsy premise, ever-increasing gimmickry, and WolverinePublicity helped do it in. Meanwhile, through all the cycles the genre has gone through, the aforementioned syndie versions of ''Wheel'' and ''Jeopardy!'', and ''Price'' over on CBS, have remained consistently strong.\\
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* {{Anime}} in North America has had a roller coaster of popularity over the years, normally with a particular series leading the surge. In the mid '90s, anime surged big time thanks to particularly ''Anime/PokemonTheSeries'', ''Anime/DragonBallZ'', and ''Anime/SailorMoon''. Around the early 2000s, the popularity began to lower but then in the mid 2000s another boom kick started thanks to ''Manga/{{Naruto}}'' and ''Manga/{{Bleach}}''. There was a crash afterwards, but in TheNewTens shows like ''Anime/KillLaKill'', ''Webcomic/OnePunchMan'', and ''Manga/AttackOnTitan'' caused yet another boom, with ''Manga/MyHeroAcademia'' and ''Manga/DemonSlayerKimetsuNoYaiba'' rounding out the decade. Two particular anime that experienced this is ''Dragon Ball Z'' and ''Anime/NeonGenesisEvangelion'': Both acted as gateway series to the world of anime, ''Dragon Ball Z'' being the most popular shonen series and ''Evangelion'' once being regarded TrueArt. Around the early 2000s, HypeBacklash hit both series big time (''DBZ'' because of its filler and inaction sequences and ''Evangelion'' because of its confusing and depressing plotline) and it suddenly became wrong to openly admit to liking either series. Then later ''[[Anime/DragonBallZKai Dragon Ball Z Kai]]'' and ''Anime/RebuildOfEvangelion'', respectively, renewed interest in both franchises, but then interest died out again after ''Kai'' became [[OvershadowedByControversy overshadowed by a plagiarism controversy]] toward the end of its initial run, while the ''Rebuild'' movies got darker than the original TV show. ''Dragon Ball'', however, has since rebounded with a pair of movies (''[[Anime/DragonBallZBattleOfGods Battle of Gods]]'' and ''[[Anime/DragonBallZResurrectionF Resurrection 'F']]'') and ''Anime/DragonBallSuper''.
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* {{Anime}} in North America has had a roller coaster of popularity over the years, normally with a particular series leading the surge. In the mid '90s, anime surged big time thanks to particularly ''Anime/PokemonTheSeries'', ''Anime/DragonBallZ'', and ''Anime/SailorMoon''. Around the early 2000s, the popularity began to lower but then in the mid 2000s another boom kick started thanks to ''Manga/{{Naruto}}'' and ''Manga/{{Bleach}}''. There was a crash afterwards, but in TheNewTens shows like ''Anime/KillLaKill'', ''Webcomic/OnePunchMan'', and ''Manga/AttackOnTitan'' caused yet another boom, with ''Manga/MyHeroAcademia'' and ''Manga/DemonSlayerKimetsuNoYaiba'' rounding out the decade. Two particular anime that experienced this is ''Dragon Ball Z'' and ''Anime/NeonGenesisEvangelion'': Both acted as gateway series to the world of anime, ''Dragon Ball Z'' being the most popular shonen series and ''Evangelion'' once being regarded TrueArt. Around the early 2000s, HypeBacklash hit both series big time (''DBZ'' because of its filler and inaction sequences and ''Evangelion'' because of its confusing and depressing plotline) and it suddenly became wrong to openly admit to liking either series. Then later ''[[Anime/DragonBallZKai Dragon Ball Z Kai]]'' and ''Anime/RebuildOfEvangelion'', respectively, renewed interest in both franchises, but then interest died out again after ''Kai'' became [[OvershadowedByControversy overshadowed by a plagiarism controversy]] toward the end of its initial run, while the ''Rebuild'' movies got darker than the original TV show. ''Dragon Ball'', however, has since rebounded with a pair of movies (''[[Anime/DragonBallZBattleOfGods Battle of Gods]]'' and ''[[Anime/DragonBallZResurrectionF Resurrection 'F']]'') and ''Anime/DragonBallSuper''.''Anime/DragonBallSuper'', while the final installment of ''Rebuild'', while still divisive, has caused the tetralogy to be revalued.
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* ''Franchise/{{Digimon}}'' certainly deserves a mention. The [[Anime/DigimonAdventure first anime series]] was immensely popular and brought in huge profits, but sales started to dwindle little by little with each new season. Eventually there were [[SequelGap very large hiatuses]] in between series due to disappointing toy sales.... Until Toei tried marketing to nostalgic adults and teens with ''Anime/DigimonAdventureTri'', as well as more adult targeted merch of the first three series, which was a roaring success! Playing to nostalgia was enough to bring ''Digimon'' back into the limelight, and just as much merch is being made now was it was around the time ''Adventure'' aired. The fandom also started thriving and becoming active due to people who hadn't engaged with the fandom since they were kids coming back in droves.
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* ''Franchise/{{Digimon}}'' certainly deserves a mention. The [[Anime/DigimonAdventure first anime series]] was immensely popular and brought in huge profits, but sales started to dwindle little by little with each new season. Eventually there were [[SequelGap very large hiatuses]] in between series due to disappointing toy sales.... Until Toei tried marketing to nostalgic adults and teens with ''Anime/DigimonAdventureTri'', as well as more adult targeted merch of the first three series, which was a roaring success! success. Playing to nostalgia was enough to bring ''Digimon'' back into the limelight, and just as much merch is being made now was it was around the time ''Adventure'' aired. The fandom also started thriving and becoming active due to people who hadn't engaged with the fandom since they were kids coming back in droves. However, with the fleeting reception of ''tri'' after the first few episodes, its even worse received [[Anime/DigimonAdventureLastEvolutionKizuna sequel movie]] and the polarizing [[Anime/DigimonAdventure2020 reboot]], the franchise seems to have hit a bump again.
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* PC gaming is a nation-specific example in Japan. During TheEighties, gaming on home computers were quite popular, with {{Platform/MSX}} being the lead with other competing products at the time such as Platform/FMTowns, Platform/SharpX68000 and Platform/PC98. During the [=mid-90s=], consoles dominated the market and relegated the PC platforms to business uses and {{Visual Novel}}s, and less and less companies willing to sell PC games to the Japanese market. In addition to consoles, mobile gaming further decimated them in [[TurnOfTheMillennium the noughties]], leaving almost zero room for them till the late 2010s, when PC as a gaming platform make a comeback in Japan thanks to {{Virtual Youtuber}}s and [[UsefulNotes/ProfessionalGaming e-sports gaming]] (the latter helped by {{Battle Royale Game}}s such as ''VideoGame/PlayerunknownsBattlegrounds'', ''VideoGame/ApexLegends'' and ''VideoGame/{{Fortnite}}'') incentivized them to the gaming population, and also introduced Japanese gamers to PC gaming distribution platforms such as Platform/{{Steam}}. The return was so strong to the point many Japanese companies decide to bring back their PC porting of their (recent) games for the home market.
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* PC gaming is a nation-specific example in Japan. During TheEighties, gaming on home computers were quite popular, with {{Platform/MSX}} being the lead with other competing products at the time such as Platform/FMTowns, Platform/SharpX68000 and Platform/PC98. During the [=mid-90s=], consoles dominated the market and relegated the PC platforms to business uses and {{Visual Novel}}s, and less and less companies willing to sell PC games to the Japanese market. In addition to consoles, mobile gaming further decimated them in [[TurnOfTheMillennium the noughties]], leaving almost zero room for them till the late 2010s, when PC as a gaming platform make a comeback in Japan thanks to {{Virtual Youtuber}}s YouTuber}}s and [[UsefulNotes/ProfessionalGaming e-sports gaming]] (the latter helped by {{Battle Royale Game}}s such as ''VideoGame/PlayerunknownsBattlegrounds'', ''VideoGame/ApexLegends'' and ''VideoGame/{{Fortnite}}'') incentivized them to the gaming population, and also introduced Japanese gamers to PC gaming distribution platforms such as Platform/{{Steam}}. The return was so strong to the point many Japanese companies decide to bring back their PC porting of their (recent) games for the home market.
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** The SurvivalHorror genre originated as a nifty response to the technological limitations of fifth-generation consoles, and produced a mountain of {{killer app}}s for the young Platform/PlayStation console, most notably ''VideoGame/ResidentEvil1'' and ''VideoGame/SilentHill1'', which were among the premier game franchises in the second half of the '90s. In the TurnOfTheMillennium, however, these types of games were squeezed out by rising budgets and a period of genre homogenization that briefly occurred during the mid-to-late 2000s. ''Resident Evil'' abandoned its survival horror roots in favour of more action oriented gameplay. ''Silent Hill'' eventually slid out of notice sometime after being outsourced to western developers. However, starting in the early 2010s, the genre made a comeback in the indie realm, with games like ''VideoGame/AmnesiaTheDarkDescent'', ''VideoGame/DayZ'', ''VideoGame/{{Slender}}'', and the ''VideoGame/FiveNightsAtFreddys'' games being well-received and spawning a wave of new horror efforts. With ''VideoGame/TheLastOfUs'' being a smash hit critically and commercially, with many even considering it the best game of the entire [[UsefulNotes/TheSeventhGenerationOfConsoleVideoGames Seventh Generation]]. Meanwhile, the ''Resident Evil'' franchise re-embraced it's roots with ''VideoGame/ResidentEvil7Biohazard''.
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** The SurvivalHorror genre originated as a nifty response to the technological limitations of fifth-generation consoles, and produced a mountain of {{killer app}}s for the young Platform/PlayStation console, most notably ''VideoGame/ResidentEvil1'' and ''VideoGame/SilentHill1'', which were among the premier game franchises in the second half of the '90s. In the TurnOfTheMillennium, however, these types of games were squeezed out by rising budgets and a period of genre homogenization that briefly occurred during the mid-to-late 2000s. ''Resident Evil'' abandoned its survival horror roots in favour of more action oriented gameplay. ''Silent Hill'' eventually slid out of notice sometime after being outsourced to western developers. However, starting in the early 2010s, the genre made a comeback in the indie realm, with games like ''VideoGame/AmnesiaTheDarkDescent'', ''VideoGame/DayZ'', ''VideoGame/{{Slender}}'', and the ''VideoGame/FiveNightsAtFreddys'' games being well-received and spawning a wave of new horror efforts. With ''VideoGame/TheLastOfUs'' being a smash hit critically and commercially, with many even considering it the best game of the entire [[UsefulNotes/TheSeventhGenerationOfConsoleVideoGames [[MediaNotes/TheSeventhGenerationOfConsoleVideoGames Seventh Generation]]. Meanwhile, the ''Resident Evil'' franchise re-embraced it's roots with ''VideoGame/ResidentEvil7Biohazard''.
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** When it came out, it immediately became one of the definitive games of [[UsefulNotes/The16BitEraOfConsoleVideoGames The 16-bit Era]] and put the Platform/SegaGenesis into a fierce [[UsefulNotes/ConsoleWars competition]] with Nintendo. During the time of the Platform/SegaSaturn, his popularity dipped because the series was strangely on main series hiatus, only existing through spinoffs such as ''VideoGame/SonicR'' and an enhanced remake of ''VideoGame/Sonic3DFlickiesIsland''. Come the Platform/SegaDreamcast, Sonic regained the spotlight with the leap to 3D, with ''VideoGame/SonicAdventure'' and ''VideoGame/SonicAdventure2'' was wildly popular and highly acclaimed, but subsequent games would take their flaws, such as [[CameraScrew dodgy camera]] and controls and GameplayRoulette, and cause the series to slowly slide into a bad reputation for its flawed 3D games and an [[FanDumb annoying fanbase]]. This was exacerbated by the over-the-top DarkerAndEdgier ''VideoGame/ShadowTheHedgehog'', the infamous ObviousBeta ''VideoGame/SonicTheHedgehog2006'' and the shameful PortingDisaster of [[VideoGame/SonicTheHedgehog1 the original game]], causing the series to fall into infamy.\\
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** When it came out, it immediately became one of the definitive games of [[UsefulNotes/The16BitEraOfConsoleVideoGames [[MediaNotes/The16BitEraOfConsoleVideoGames The 16-bit Era]] and put the Platform/SegaGenesis into a fierce [[UsefulNotes/ConsoleWars [[MediaNotes/ConsoleWars competition]] with Nintendo. During the time of the Platform/SegaSaturn, his popularity dipped because the series was strangely on main series hiatus, only existing through spinoffs such as ''VideoGame/SonicR'' and an enhanced remake of ''VideoGame/Sonic3DFlickiesIsland''. Come the Platform/SegaDreamcast, Sonic regained the spotlight with the leap to 3D, with ''VideoGame/SonicAdventure'' and ''VideoGame/SonicAdventure2'' was wildly popular and highly acclaimed, but subsequent games would take their flaws, such as [[CameraScrew dodgy camera]] and controls and GameplayRoulette, and cause the series to slowly slide into a bad reputation for its flawed 3D games and an [[FanDumb annoying fanbase]]. This was exacerbated by the over-the-top DarkerAndEdgier ''VideoGame/ShadowTheHedgehog'', the infamous ObviousBeta ''VideoGame/SonicTheHedgehog2006'' and the shameful PortingDisaster of [[VideoGame/SonicTheHedgehog1 the original game]], causing the series to fall into infamy.\\
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* Professional wrestling as a whole went through this cycle in the 1990s.
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*Professional wrestling as a whole went through this cycle in the 1990s.
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** During UsefulNotes/TheFifties, the only place where UsefulNotes/{{baseball}} wasn't in a sorry state was UsefulNotes/NewYorkCity. The minor leagues were collapsing due to the availability of major league games on television, old stadiums were growing increasingly decrepit, the dominance of New York teams (particularly [[InvincibleHero the Yankees]])[[note]]Of the ten World Series held in the '50s, eight were won by teams from New York. The only years when this wasn't the case were 1957, when the UsefulNotes/{{Milwaukee}} Braves pulled it off, and 1959, when the UsefulNotes/LosAngeles Dodgers won -- and just two years earlier, they had been the ''Brooklyn'' Dodgers.[[/note]] was causing fans outside New York to tune out, some teams were still refusing to integrate long after UsefulNotes/JackieRobinson had broken down the color barrier, and the sport had no real presence (other than the aforementioned minor leagues) in the fast-growing "Sun Belt" of the South and the West Coast. All of this gave [[UsefulNotes/AmericanFootball football]], both professional and [[UsefulNotes/CollegiateAmericanFootball college-level]], enough room to build itself up as a serious rival to baseball's status as "America's pastime."\\
to:
** During UsefulNotes/TheFifties, UsefulNotes/The50s, the only place where UsefulNotes/{{baseball}} wasn't in a sorry state was UsefulNotes/NewYorkCity. The minor leagues were collapsing due to the availability of major league games on television, old stadiums were growing increasingly decrepit, the dominance of New York teams (particularly [[InvincibleHero the Yankees]])[[note]]Of the ten World Series held in the '50s, eight were won by teams from New York. The only years when this wasn't the case were 1957, when the UsefulNotes/{{Milwaukee}} Braves pulled it off, and 1959, when the UsefulNotes/LosAngeles Dodgers won -- and just two years earlier, they had been the ''Brooklyn'' Dodgers.[[/note]] was causing fans outside New York to tune out, some teams were still refusing to integrate long after UsefulNotes/JackieRobinson had broken down the color barrier, and the sport had no real presence (other than the aforementioned minor leagues) in the fast-growing "Sun Belt" of the South and the West Coast. All of this gave [[UsefulNotes/AmericanFootball football]], both professional and [[UsefulNotes/CollegiateAmericanFootball college-level]], enough room to build itself up as a serious rival to baseball's status as "America's pastime."\\
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* At the dawn of TheNineties, most observers in the computer world had given up UsefulNotes/{{Unix}} for dead, due to the fragmentation among vendors and the GNU Project's [[DevelopmentHell slowness in developing a free replacement]]. Then a Finnish grad student by the name of Linus Torvalds released the Linux kernel to the Internet. It was rapidly adopted by GNU and various Linux distributions (though Richard Stallman [[InsistentTerminology prefers you call it "GNU/Linux", thank you very much]]), have provided a viable alternative to Windows and Mac operating systems. Open source systems based on BSD also popped up in the early '90s (Mac OS X is based in part on [=FreeBSD=].) They're most successful as servers and in high-powered applications such as animation rendering and supercomputers.
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* At the dawn of TheNineties, most observers in the computer world had given up UsefulNotes/{{Unix}} Platform/{{Unix}} for dead, due to the fragmentation among vendors and the GNU Project's [[DevelopmentHell slowness in developing a free replacement]]. Then a Finnish grad student by the name of Linus Torvalds released the Linux kernel to the Internet. It was rapidly adopted by GNU and various Linux distributions (though Richard Stallman [[InsistentTerminology prefers you call it "GNU/Linux", thank you very much]]), have provided a viable alternative to Windows and Mac operating systems. Open source systems based on BSD also popped up in the early '90s (Mac OS X is based in part on [=FreeBSD=].) They're most successful as servers and in high-powered applications such as animation rendering and supercomputers.
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* Bill Gates became famous for the BASIC programming language, and Microsoft's [[UsefulNotes/{{MSX}} operating]] [[UsefulNotes/MicrosoftWindows systems]]. Then he became the world's richest man, and Microsoft was a MegaCorp with questionable business practices and unreliable software such as certain UsefulNotes/MicrosoftWindows versions, and thus the general public thought of Gates as a CorruptCorporateExecutive. Then in 2000 two things happened that along the years improved Gates' reputation, his NumberTwo [[LargeHam Steve Ballmer]] become Microsoft CEO and thus face of the company, and the establishment of the Bill & Melinda Gates Foundation, the world's wealthiest charity organization. The high profile philanthropy ended the {{Demonization}}, and perception of Gates changed from an UpperClassTwit and cutthroat businessman to a someone who [[UnclePennybags wanted to make the world better.]] However, his popularity would take a major blow in 2021 when he announced that he and Melinda were getting divorced, with reports coming out shortly after that cited his potential relationship with notorious pedophile Jeffrey Epstein as a major reason why. This, along with [[EatTheRich growing distrust of the mega-rich]] throughout UsefulNotes/TheNewTens and The New Twenties, led to further scrutiny of Gates, which revealed that many of his charitable activities were more self-serving than they appeared at first, and were seen by many as attempts to wrest control of issues such as public health and education from public hands into private ones. In particular, his opposition to waiving patents on vaccines for the UsefulNotes/COVID19Pandemic also drew a lot of criticism, since many parts of the world, especially poorer countries, were struggling to obtain enough vaccines to inoculate their populations in time to curb the rapid spread of the virus.
to:
* Bill Gates became famous for the BASIC programming language, and Microsoft's [[UsefulNotes/{{MSX}} [[Platform/{{MSX}} operating]] [[UsefulNotes/MicrosoftWindows [[Platform/MicrosoftWindows systems]]. Then he became the world's richest man, and Microsoft was a MegaCorp with questionable business practices and unreliable software such as certain UsefulNotes/MicrosoftWindows Platform/MicrosoftWindows versions, and thus the general public thought of Gates as a CorruptCorporateExecutive. Then in 2000 two things happened that along the years improved Gates' reputation, his NumberTwo [[LargeHam Steve Ballmer]] become Microsoft CEO and thus face of the company, and the establishment of the Bill & Melinda Gates Foundation, the world's wealthiest charity organization. The high profile philanthropy ended the {{Demonization}}, and perception of Gates changed from an UpperClassTwit and cutthroat businessman to a someone who [[UnclePennybags wanted to make the world better.]] However, his popularity would take a major blow in 2021 when he announced that he and Melinda were getting divorced, with reports coming out shortly after that cited his potential relationship with notorious pedophile Jeffrey Epstein as a major reason why. This, along with [[EatTheRich growing distrust of the mega-rich]] throughout UsefulNotes/TheNewTens UsefulNotes/TheNew10s and The New Twenties, led to further scrutiny of Gates, which revealed that many of his charitable activities were more self-serving than they appeared at first, and were seen by many as attempts to wrest control of issues such as public health and education from public hands into private ones. In particular, his opposition to waiving patents on vaccines for the UsefulNotes/COVID19Pandemic also drew a lot of criticism, since many parts of the world, especially poorer countries, were struggling to obtain enough vaccines to inoculate their populations in time to curb the rapid spread of the virus.
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* PC gaming is a nation-specific example in Japan. During TheEighties, gaming on home computers were quite popular, with {{UsefulNotes/MSX}} being the lead with other competing products at the time such as Platform/FMTowns, UsefulNotes/SharpX68000 and UsefulNotes/PC98. During the [=mid-90s=], consoles dominated the market and relegated the PC platforms to business uses and {{Visual Novel}}s, and less and less companies willing to sell PC games to the Japanese market. In addition to consoles, mobile gaming further decimated them in [[TurnOfTheMillennium the noughties]], leaving almost zero room for them till the late 2010s, when PC as a gaming platform make a comeback in Japan thanks to {{Virtual Youtuber}}s and [[UsefulNotes/ProfessionalGaming e-sports gaming]] (the latter helped by {{Battle Royale Game}}s such as ''VideoGame/PlayerunknownsBattlegrounds'', ''VideoGame/ApexLegends'' and ''VideoGame/{{Fortnite}}'') incentivized them to the gaming population, and also introduced Japanese gamers to PC gaming distribution platforms such as UsefulNotes/{{Steam}}. The return was so strong to the point many Japanese companies decide to bring back their PC porting of their (recent) games for the home market.
to:
* PC gaming is a nation-specific example in Japan. During TheEighties, gaming on home computers were quite popular, with {{UsefulNotes/MSX}} {{Platform/MSX}} being the lead with other competing products at the time such as Platform/FMTowns, UsefulNotes/SharpX68000 Platform/SharpX68000 and UsefulNotes/PC98.Platform/PC98. During the [=mid-90s=], consoles dominated the market and relegated the PC platforms to business uses and {{Visual Novel}}s, and less and less companies willing to sell PC games to the Japanese market. In addition to consoles, mobile gaming further decimated them in [[TurnOfTheMillennium the noughties]], leaving almost zero room for them till the late 2010s, when PC as a gaming platform make a comeback in Japan thanks to {{Virtual Youtuber}}s and [[UsefulNotes/ProfessionalGaming e-sports gaming]] (the latter helped by {{Battle Royale Game}}s such as ''VideoGame/PlayerunknownsBattlegrounds'', ''VideoGame/ApexLegends'' and ''VideoGame/{{Fortnite}}'') incentivized them to the gaming population, and also introduced Japanese gamers to PC gaming distribution platforms such as UsefulNotes/{{Steam}}.Platform/{{Steam}}. The return was so strong to the point many Japanese companies decide to bring back their PC porting of their (recent) games for the home market.
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** In the '80s and early '90s, it was the embodiment of modern entertainment. In the late '90s and early 2000s, it became "the kiddy company" due to competition from Sega and Sony and the censorship of certain games like ''Wolfenstein 3D'' and ''Mortal Kombat'' and slipped into last place. So what does Nintendo do? Rather than fight the "kiddy" label, they embraced it, marketing toward families, senior citizens, and other groups not traditionally viewed as "core" gamers with the simple-to-understand controls of the UsefulNotes/NintendoDS and UsefulNotes/{{Wii}}, and a bevy of well-crafted [[CasualVideoGame casual video games]]. Thanks to this strategy, it was once again the dominant force in gaming throughout the late 2000s.
** Nintendo hit another low in the early 2010s with their UsefulNotes/WiiU console, which fell to last place behind the UsefulNotes/Playstation4 and UsefulNotes/XboxOne despite a one-year head start. This happened for several reasons, but one is that they attempted to [[WinBackTheCrowd win back]] core gamers while [[MisaimedMarketing still trying to appeal to casuals simultaneously]], and failed miserably at both, leaving diehard Nintendo fans as their only audience. Their follow-up, the UsefulNotes/NintendoSwitch, ''did'' manage to strike that balance and launched to massive commercial success, going on to take the Wii's throne as Nintendo's best-selling home console in history.
** Nintendo hit another low in the early 2010s with their UsefulNotes/WiiU console, which fell to last place behind the UsefulNotes/Playstation4 and UsefulNotes/XboxOne despite a one-year head start. This happened for several reasons, but one is that they attempted to [[WinBackTheCrowd win back]] core gamers while [[MisaimedMarketing still trying to appeal to casuals simultaneously]], and failed miserably at both, leaving diehard Nintendo fans as their only audience. Their follow-up, the UsefulNotes/NintendoSwitch, ''did'' manage to strike that balance and launched to massive commercial success, going on to take the Wii's throne as Nintendo's best-selling home console in history.
to:
** In the '80s and early '90s, it was the embodiment of modern entertainment. In the late '90s and early 2000s, it became "the kiddy company" due to competition from Sega and Sony and the censorship of certain games like ''Wolfenstein 3D'' and ''Mortal Kombat'' and slipped into last place. So what does Nintendo do? Rather than fight the "kiddy" label, they embraced it, marketing toward families, senior citizens, and other groups not traditionally viewed as "core" gamers with the simple-to-understand controls of the UsefulNotes/NintendoDS Platform/NintendoDS and UsefulNotes/{{Wii}}, Platform/{{Wii}}, and a bevy of well-crafted [[CasualVideoGame casual video games]]. Thanks to this strategy, it was once again the dominant force in gaming throughout the late 2000s.
** Nintendo hit another low in the early 2010s with theirUsefulNotes/WiiU Platform/WiiU console, which fell to last place behind the UsefulNotes/Playstation4 Platform/Playstation4 and UsefulNotes/XboxOne Platform/XboxOne despite a one-year head start. This happened for several reasons, but one is that they attempted to [[WinBackTheCrowd win back]] core gamers while [[MisaimedMarketing still trying to appeal to casuals simultaneously]], and failed miserably at both, leaving diehard Nintendo fans as their only audience. Their follow-up, the UsefulNotes/NintendoSwitch, Platform/NintendoSwitch, ''did'' manage to strike that balance and launched to massive commercial success, going on to take the Wii's throne as Nintendo's best-selling home console in history.
** Nintendo hit another low in the early 2010s with their
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** [=2D=] side-scrollers and platformers, such as ''Franchise/{{Castlevania}}'', ''VideoGame/{{Contra}}'', ''Franchise/SuperMarioBros'', and ''VideoGame/DoubleDragon'', once made up the bedrock of the industry. After the VideoGame3DLeap, they were viewed as quaint relics of the pre-UsefulNotes/PlayStation era, and were relegated to handhelds and cheap Flash games... until ''VideoGame/NewSuperMarioBros'' and ''VideoGame/NewSuperMarioBrosWii'' tore up the charts, and indie games like ''VideoGame/{{Braid}}'' and ''VideoGame/{{Eversion}}'' became critical darlings. Now, the side-scroller has once again become a major part of gaming, as seen with the latest outings of VideoGame/{{Mega|Man9}} [[VideoGame/MegaMan10 Man]], VideoGame/{{Sonic|TheHedgehog4}}, VideoGame/{{Donkey Kong|CountryReturns}}, VideoGame/{{Rayman|Origins}}, and VideoGame/{{Kirby|sReturnToDreamLand}}, as well as original games like ''VideoGame/LittleBigPlanet'', ''Super VideoGame/MeatBoy'', ''VideoGame/SplosionMan'', ''VideoGame/{{Terraria}}'', ''VideoGame/{{Broforce}}'', and ''VideoGame/{{Starbound}}''.
** The SurvivalHorror genre originated as a nifty response to the technological limitations of fifth-generation consoles, and produced a mountain of {{killer app}}s for the young UsefulNotes/PlayStation console, most notably ''VideoGame/ResidentEvil1'' and ''VideoGame/SilentHill1'', which were among the premier game franchises in the second half of the '90s. In the TurnOfTheMillennium, however, these types of games were squeezed out by rising budgets and a period of genre homogenization that briefly occurred during the mid-to-late 2000s. ''Resident Evil'' abandoned its survival horror roots in favour of more action oriented gameplay. ''Silent Hill'' eventually slid out of notice sometime after being outsourced to western developers. However, starting in the early 2010s, the genre made a comeback in the indie realm, with games like ''VideoGame/AmnesiaTheDarkDescent'', ''VideoGame/DayZ'', ''VideoGame/{{Slender}}'', and the ''VideoGame/FiveNightsAtFreddys'' games being well-received and spawning a wave of new horror efforts. With ''VideoGame/TheLastOfUs'' being a smash hit critically and commercially, with many even considering it the best game of the entire [[UsefulNotes/TheSeventhGenerationOfConsoleVideoGames Seventh Generation]]. Meanwhile, the ''Resident Evil'' franchise re-embraced it's roots with ''VideoGame/ResidentEvil7Biohazard''.
** The SurvivalHorror genre originated as a nifty response to the technological limitations of fifth-generation consoles, and produced a mountain of {{killer app}}s for the young UsefulNotes/PlayStation console, most notably ''VideoGame/ResidentEvil1'' and ''VideoGame/SilentHill1'', which were among the premier game franchises in the second half of the '90s. In the TurnOfTheMillennium, however, these types of games were squeezed out by rising budgets and a period of genre homogenization that briefly occurred during the mid-to-late 2000s. ''Resident Evil'' abandoned its survival horror roots in favour of more action oriented gameplay. ''Silent Hill'' eventually slid out of notice sometime after being outsourced to western developers. However, starting in the early 2010s, the genre made a comeback in the indie realm, with games like ''VideoGame/AmnesiaTheDarkDescent'', ''VideoGame/DayZ'', ''VideoGame/{{Slender}}'', and the ''VideoGame/FiveNightsAtFreddys'' games being well-received and spawning a wave of new horror efforts. With ''VideoGame/TheLastOfUs'' being a smash hit critically and commercially, with many even considering it the best game of the entire [[UsefulNotes/TheSeventhGenerationOfConsoleVideoGames Seventh Generation]]. Meanwhile, the ''Resident Evil'' franchise re-embraced it's roots with ''VideoGame/ResidentEvil7Biohazard''.
to:
** [=2D=] side-scrollers and platformers, such as ''Franchise/{{Castlevania}}'', ''VideoGame/{{Contra}}'', ''Franchise/SuperMarioBros'', and ''VideoGame/DoubleDragon'', once made up the bedrock of the industry. After the VideoGame3DLeap, they were viewed as quaint relics of the pre-UsefulNotes/PlayStation pre-Platform/PlayStation era, and were relegated to handhelds and cheap Flash games... until ''VideoGame/NewSuperMarioBros'' and ''VideoGame/NewSuperMarioBrosWii'' tore up the charts, and indie games like ''VideoGame/{{Braid}}'' and ''VideoGame/{{Eversion}}'' became critical darlings. Now, the side-scroller has once again become a major part of gaming, as seen with the latest outings of VideoGame/{{Mega|Man9}} [[VideoGame/MegaMan10 Man]], VideoGame/{{Sonic|TheHedgehog4}}, VideoGame/{{Donkey Kong|CountryReturns}}, VideoGame/{{Rayman|Origins}}, and VideoGame/{{Kirby|sReturnToDreamLand}}, as well as original games like ''VideoGame/LittleBigPlanet'', ''Super VideoGame/MeatBoy'', ''VideoGame/SplosionMan'', ''VideoGame/{{Terraria}}'', ''VideoGame/{{Broforce}}'', and ''VideoGame/{{Starbound}}''.
** The SurvivalHorror genre originated as a nifty response to the technological limitations of fifth-generation consoles, and produced a mountain of {{killer app}}s for the youngUsefulNotes/PlayStation Platform/PlayStation console, most notably ''VideoGame/ResidentEvil1'' and ''VideoGame/SilentHill1'', which were among the premier game franchises in the second half of the '90s. In the TurnOfTheMillennium, however, these types of games were squeezed out by rising budgets and a period of genre homogenization that briefly occurred during the mid-to-late 2000s. ''Resident Evil'' abandoned its survival horror roots in favour of more action oriented gameplay. ''Silent Hill'' eventually slid out of notice sometime after being outsourced to western developers. However, starting in the early 2010s, the genre made a comeback in the indie realm, with games like ''VideoGame/AmnesiaTheDarkDescent'', ''VideoGame/DayZ'', ''VideoGame/{{Slender}}'', and the ''VideoGame/FiveNightsAtFreddys'' games being well-received and spawning a wave of new horror efforts. With ''VideoGame/TheLastOfUs'' being a smash hit critically and commercially, with many even considering it the best game of the entire [[UsefulNotes/TheSeventhGenerationOfConsoleVideoGames Seventh Generation]]. Meanwhile, the ''Resident Evil'' franchise re-embraced it's roots with ''VideoGame/ResidentEvil7Biohazard''.
** The SurvivalHorror genre originated as a nifty response to the technological limitations of fifth-generation consoles, and produced a mountain of {{killer app}}s for the young
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** 8-bit retro gaming, on the other hand, has been a little more shaky. During the 16-bit era, 8-bit games (particularly from the original Nintendo Entertainment System and UsefulNotes/Atari2600) were seen as woefully outdated and unhip. Come the 32-bit era, classic Nintendo games begin to make a comeback, thanks to the rise of emulation. Unfortunately, emulation was and still is technically illegal. So, in response to the burgeoning scene, Nintendo unleashed a downloadable service called the "Virtual Console" in 2006 for its then-new home console the Wii. The idea was that fans could download and play classic games from every major console (including non-Nintendo consoles) up to and including the Nintendo 64 for a relatively small price. Fans went wild! Finally, there was a way to legally play classic games without needing to scour [=EBay=] for a used gaming console. The new found accessibility of classic 8-bit games also spurred an interested in [[{{Retraux}} new games that mimicked them]] both from major publishers[[note]]Such as ''Mega Man 9'' and ''Mega Man 10''[[/note]] and the burgeoning indie scene[[note]]Such as ''Super Meat Boy''[[/note]]. Unfortunately, it wasn't long before people realized that a lot of 8-bit Nintendo games didn't really hold up by modern gaming standards (not just because of their graphics and sound, but also because of archaic game design choices, etc.). To make matters worse, as [[https://www.youtube.com/watch?v=lYxtMXDz9nU this video]] points out, Nintendo post-Wii started milking re-releases of 8-bit Nintendo games while paying comparably little regards to their later consoles (especially the [=GameCube=], which many fans have been begging to see rereleased games from), causing nostalgia for 8-bit Nintendo games to wane, as evidenced by the muted reception to the Switch receiving old Nintendo games as downloadables.
to:
** 8-bit retro gaming, on the other hand, has been a little more shaky. During the 16-bit era, 8-bit games (particularly from the original Nintendo Entertainment System and UsefulNotes/Atari2600) Platform/Atari2600) were seen as woefully outdated and unhip. Come the 32-bit era, classic Nintendo games begin to make a comeback, thanks to the rise of emulation. Unfortunately, emulation was and still is technically illegal. So, in response to the burgeoning scene, Nintendo unleashed a downloadable service called the "Virtual Console" in 2006 for its then-new home console the Wii. The idea was that fans could download and play classic games from every major console (including non-Nintendo consoles) up to and including the Nintendo 64 for a relatively small price. Fans went wild! Finally, there was a way to legally play classic games without needing to scour [=EBay=] for a used gaming console. The new found accessibility of classic 8-bit games also spurred an interested in [[{{Retraux}} new games that mimicked them]] both from major publishers[[note]]Such as ''Mega Man 9'' and ''Mega Man 10''[[/note]] and the burgeoning indie scene[[note]]Such as ''Super Meat Boy''[[/note]]. Unfortunately, it wasn't long before people realized that a lot of 8-bit Nintendo games didn't really hold up by modern gaming standards (not just because of their graphics and sound, but also because of archaic game design choices, etc.). To make matters worse, as [[https://www.youtube.com/watch?v=lYxtMXDz9nU this video]] points out, Nintendo post-Wii started milking re-releases of 8-bit Nintendo games while paying comparably little regards to their later consoles (especially the [=GameCube=], which many fans have been begging to see rereleased games from), causing nostalgia for 8-bit Nintendo games to wane, as evidenced by the muted reception to the Switch receiving old Nintendo games as downloadables.
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** When it came out, it immediately became one of the definitive games of [[UsefulNotes/The16BitEraOfConsoleVideoGames The 16-bit Era]] and put the UsefulNotes/SegaGenesis into a fierce [[UsefulNotes/ConsoleWars competition]] with Nintendo. During the time of the UsefulNotes/SegaSaturn, his popularity dipped because the series was strangely on main series hiatus, only existing through spinoffs such as ''VideoGame/SonicR'' and an enhanced remake of ''VideoGame/Sonic3DFlickiesIsland''. Come the UsefulNotes/SegaDreamcast, Sonic regained the spotlight with the leap to 3D, with ''VideoGame/SonicAdventure'' and ''VideoGame/SonicAdventure2'' was wildly popular and highly acclaimed, but subsequent games would take their flaws, such as [[CameraScrew dodgy camera]] and controls and GameplayRoulette, and cause the series to slowly slide into a bad reputation for its flawed 3D games and an [[FanDumb annoying fanbase]]. This was exacerbated by the over-the-top DarkerAndEdgier ''VideoGame/ShadowTheHedgehog'', the infamous ObviousBeta ''VideoGame/SonicTheHedgehog2006'' and the shameful PortingDisaster of [[VideoGame/SonicTheHedgehog1 the original game]], causing the series to fall into infamy.\\
to:
** When it came out, it immediately became one of the definitive games of [[UsefulNotes/The16BitEraOfConsoleVideoGames The 16-bit Era]] and put the UsefulNotes/SegaGenesis Platform/SegaGenesis into a fierce [[UsefulNotes/ConsoleWars competition]] with Nintendo. During the time of the UsefulNotes/SegaSaturn, Platform/SegaSaturn, his popularity dipped because the series was strangely on main series hiatus, only existing through spinoffs such as ''VideoGame/SonicR'' and an enhanced remake of ''VideoGame/Sonic3DFlickiesIsland''. Come the UsefulNotes/SegaDreamcast, Platform/SegaDreamcast, Sonic regained the spotlight with the leap to 3D, with ''VideoGame/SonicAdventure'' and ''VideoGame/SonicAdventure2'' was wildly popular and highly acclaimed, but subsequent games would take their flaws, such as [[CameraScrew dodgy camera]] and controls and GameplayRoulette, and cause the series to slowly slide into a bad reputation for its flawed 3D games and an [[FanDumb annoying fanbase]]. This was exacerbated by the over-the-top DarkerAndEdgier ''VideoGame/ShadowTheHedgehog'', the infamous ObviousBeta ''VideoGame/SonicTheHedgehog2006'' and the shameful PortingDisaster of [[VideoGame/SonicTheHedgehog1 the original game]], causing the series to fall into infamy.\\
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** When ''VideoGame/SonicAdventure'' came out, it was met with mostly positive reception and even became the KillerApp for the then dying UsefulNotes/SegaDreamcast. Later on, however, reception towards it started to turn sour after numerous ports, leading more and more people to take notice of their archaic and very questionable design decisions. What made things worse is that the content that was originally seen as ambitious and bold then came to be viewed as gimmicky and tryhard (namely things like the UnexpectedGameplayChange and the greater emphasis on plot) which culminated in ''VideoGame/SonicTheHedgehog2006'', a game that took everything already considered problematic from ''Adventure'' and made it ''worse''. Naturally, Sega would do everything to move away from ''Adventure'' and almost anything associated from that time, outside of a nod here and there: Sonic would be the ''only'' playable character from that point on, almost every supporting character was DemotedToExtra, and the plots became much more [[LighterAndSofter simpler and juvenile]]. However, fans eventually started to get tired of ''[[CerebusRollercoaster that]]'' direction by the time ''VideoGame/SonicForces'' came out. Looking back, fans came to the realization that many of the problems with ''Adventure'' were mostly prevalent in a lot of 3D games at the time, and that the ideas presented in ''Adventure'' weren't inherently bad, just poorly executed, and people have come to enjoy the game [[SoBadItsGood because of]] or in spite of its flaws. The slower-based gameplay segments of the ''Adventure'' titles have also become more appreciated in hindsight due to Modern Sonic's controversial "Boost to Win" formula reducing the modern games to "hold forward and A to win". With the advent of [[VideoGameRemake remakes]] making rounds in the late 2010s, namely the ''VideoGame/CrashBandicootNSaneTrilogy'' and ''VideoGame/SpyroReignitedTrilogy'', and ''Mario'' and ''Zelda'' [[RevisitingTheRoots returning to their early days]] around the same time, many fans are hoping for a remake of ''Sonic Adventure'' (and to a lesser extent, [[VideoGame/SonicAdventure2 its sequel]]) to address many of these issues.
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** When ''VideoGame/SonicAdventure'' came out, it was met with mostly positive reception and even became the KillerApp for the then dying UsefulNotes/SegaDreamcast.Platform/SegaDreamcast. Later on, however, reception towards it started to turn sour after numerous ports, leading more and more people to take notice of their archaic and very questionable design decisions. What made things worse is that the content that was originally seen as ambitious and bold then came to be viewed as gimmicky and tryhard (namely things like the UnexpectedGameplayChange and the greater emphasis on plot) which culminated in ''VideoGame/SonicTheHedgehog2006'', a game that took everything already considered problematic from ''Adventure'' and made it ''worse''. Naturally, Sega would do everything to move away from ''Adventure'' and almost anything associated from that time, outside of a nod here and there: Sonic would be the ''only'' playable character from that point on, almost every supporting character was DemotedToExtra, and the plots became much more [[LighterAndSofter simpler and juvenile]]. However, fans eventually started to get tired of ''[[CerebusRollercoaster that]]'' direction by the time ''VideoGame/SonicForces'' came out. Looking back, fans came to the realization that many of the problems with ''Adventure'' were mostly prevalent in a lot of 3D games at the time, and that the ideas presented in ''Adventure'' weren't inherently bad, just poorly executed, and people have come to enjoy the game [[SoBadItsGood because of]] or in spite of its flaws. The slower-based gameplay segments of the ''Adventure'' titles have also become more appreciated in hindsight due to Modern Sonic's controversial "Boost to Win" formula reducing the modern games to "hold forward and A to win". With the advent of [[VideoGameRemake remakes]] making rounds in the late 2010s, namely the ''VideoGame/CrashBandicootNSaneTrilogy'' and ''VideoGame/SpyroReignitedTrilogy'', and ''Mario'' and ''Zelda'' [[RevisitingTheRoots returning to their early days]] around the same time, many fans are hoping for a remake of ''Sonic Adventure'' (and to a lesser extent, [[VideoGame/SonicAdventure2 its sequel]]) to address many of these issues.
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* For years, ''VideoGame/{{Everquest}}'' was ''the'' [=MMORPG=] for many people. Eventually, however, ''VideoGame/WorldOfWarcraft'' became more popular, and over the years it has had difficulty staying mainstream in an increasingly crowded MMO landscape. ''Everquest Next'' renewed interest with many people, especially as it's [[UsefulNotes/PlayStation4 due for consoles]], however it ended up [[{{vaporware}} canceled]]. It still introduced many to the series though.
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* For years, ''VideoGame/{{Everquest}}'' was ''the'' [=MMORPG=] for many people. Eventually, however, ''VideoGame/WorldOfWarcraft'' became more popular, and over the years it has had difficulty staying mainstream in an increasingly crowded MMO landscape. ''Everquest Next'' renewed interest with many people, especially as it's [[UsefulNotes/PlayStation4 [[Platform/PlayStation4 due for consoles]], however it ended up [[{{vaporware}} canceled]]. It still introduced many to the series though.
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* In the '80s and '90s, Japan was the dominant force in the video game industry. Producing many different iconic and groundbreaking franchises. However, by the [=PS3=][=/=][=X360=] era, they began to fall off the map, largely due to the overwhelming burden of developing for HD consoles, the surge of quality Western titles, and AAA Japanese developers trying too hard to cater to the Western market. However, from around 2015, Japanese developers began to skyrocket back to stardom with a string of critically and commercially successful games that put the nation back on the spotlight of the gaming world. The fact that Japanese games as of 2015 onwards are readily available in ''UsefulNotes/{{Steam}}'' and {{mobile phone|Game}}, thus expanding demographics, helps.
* ImmersiveSim games dominated the PC scene in UsefulNotes/TheNineties, with the ''VideoGame/{{Ultima}}'' series, the ''VideoGame/SystemShock'' games, ''VideoGame/{{Thief}}'', and ''VideoGame/DeusEx'' all releasing to critical acclaim, but none were too commercially successful. It was then ignored for most of the sixth generation, only to break into the mainstream during the seventh generation with games like ''VideoGame/BioShock'' and ''VideoGame/{{Dishonored}}'' becoming mainstream successes, along with established franchises like Creator/BethesdaSoftworks' ''Franchise/TheElderScrolls'' taking on more immersive sim elements as the series went on and broke into the mainstream. The genre then hit a snag in the eighth generation, with ''[=BioShock=]'' going dormant, while games like ''VideoGame/Dishonored2'' and ''VideoGame/{{Prey|2017}}'' failing to meet sales expectations.
* ImmersiveSim games dominated the PC scene in UsefulNotes/TheNineties, with the ''VideoGame/{{Ultima}}'' series, the ''VideoGame/SystemShock'' games, ''VideoGame/{{Thief}}'', and ''VideoGame/DeusEx'' all releasing to critical acclaim, but none were too commercially successful. It was then ignored for most of the sixth generation, only to break into the mainstream during the seventh generation with games like ''VideoGame/BioShock'' and ''VideoGame/{{Dishonored}}'' becoming mainstream successes, along with established franchises like Creator/BethesdaSoftworks' ''Franchise/TheElderScrolls'' taking on more immersive sim elements as the series went on and broke into the mainstream. The genre then hit a snag in the eighth generation, with ''[=BioShock=]'' going dormant, while games like ''VideoGame/Dishonored2'' and ''VideoGame/{{Prey|2017}}'' failing to meet sales expectations.
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* In the '80s and '90s, Japan was the dominant force in the video game industry. Producing many different iconic and groundbreaking franchises. However, by the [=PS3=][=/=][=X360=] era, they began to fall off the map, largely due to the overwhelming burden of developing for HD consoles, the surge of quality Western titles, and AAA Japanese developers trying too hard to cater to the Western market. However, from around 2015, Japanese developers began to skyrocket back to stardom with a string of critically and commercially successful games that put the nation back on the spotlight of the gaming world. The fact that Japanese games as of 2015 onwards are readily available in ''UsefulNotes/{{Steam}}'' ''Platform/{{Steam}}'' and {{mobile phone|Game}}, thus expanding demographics, helps.
* ImmersiveSim games dominated the PC scene inUsefulNotes/TheNineties, UsefulNotes/The90s, with the ''VideoGame/{{Ultima}}'' series, the ''VideoGame/SystemShock'' games, ''VideoGame/{{Thief}}'', and ''VideoGame/DeusEx'' all releasing to critical acclaim, but none were too commercially successful. It was then ignored for most of the sixth generation, only to break into the mainstream during the seventh generation with games like ''VideoGame/BioShock'' and ''VideoGame/{{Dishonored}}'' becoming mainstream successes, along with established franchises like Creator/BethesdaSoftworks' ''Franchise/TheElderScrolls'' taking on more immersive sim elements as the series went on and broke into the mainstream. The genre then hit a snag in the eighth generation, with ''[=BioShock=]'' going dormant, while games like ''VideoGame/Dishonored2'' and ''VideoGame/{{Prey|2017}}'' failing to meet sales expectations.
* ImmersiveSim games dominated the PC scene in
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* By the latter half of UsefulNotes/TheNewTens, Webcomic/RageComics had basically disappeared, and were widely accepted to have outright died out by the middle of the decade after being quickly and completely overtaken by "[[UsefulNotes/{{Dada}} dank memes]]". But since late 2020 - early 2021, Trollface has been fully revived in mainstream meme circles. But unlike the previous uses that treat him more as a character, later Trollface memes largely use edited versions of him as a reaction image (such as the "WebOriginal/{{Trollge}}"), fully lean into the InsaneTrollLogic associated with the character (i.e. "[[https://knowyourmeme.com/memes/cover-yourself-in-oil Cover Yourself in Oil]]"), or create outright disturbing versions of him (frequently treating it as a HumanoidAbomination attempting to take over the web), fitting with the aforementioned "dank memes". [[https://www.youtube.com/watch?v=YwF0sPym_9s These]] [[https://www.youtube.com/watch?v=Au-qU7TUr74 videos]] go into more detail. Some other characters such as Derpina occasionally pop up in modern memes as well, although most of these are usually made to [[{{Retraux}} deliberately harken back]] to the mythical era of rage comics.
to:
* By the latter half of UsefulNotes/TheNewTens, UsefulNotes/TheNew10s, Webcomic/RageComics had basically disappeared, and were widely accepted to have outright died out by the middle of the decade after being quickly and completely overtaken by "[[UsefulNotes/{{Dada}} dank memes]]". But since late 2020 - early 2021, Trollface has been fully revived in mainstream meme circles. But unlike the previous uses that treat him more as a character, later Trollface memes largely use edited versions of him as a reaction image (such as the "WebOriginal/{{Trollge}}"), fully lean into the InsaneTrollLogic associated with the character (i.e. "[[https://knowyourmeme.com/memes/cover-yourself-in-oil Cover Yourself in Oil]]"), or create outright disturbing versions of him (frequently treating it as a HumanoidAbomination attempting to take over the web), fitting with the aforementioned "dank memes". [[https://www.youtube.com/watch?v=YwF0sPym_9s These]] [[https://www.youtube.com/watch?v=Au-qU7TUr74 videos]] go into more detail. Some other characters such as Derpina occasionally pop up in modern memes as well, although most of these are usually made to [[{{Retraux}} deliberately harken back]] to the mythical era of rage comics.
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[[folder: Asian Animation]]
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* Ventriloquism was once considered the deadest of all show business horses, since every new act would be [[ToughActToFollow inevitably compared to]] Edgar Bergen (or at least to [[PoorMansSubstitute Paul Winchell]]). Then all of a sudden Creator/JeffDunham came along, and earned his own TV special after several sold-out performances. Terry Fator also has his own Las Vegas show.
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* The Yo-Yo. More like Popularity Sinusoid. It really ''does'' come around that regularly.
** [[FridgeBrilliance Which is fitting, when you think about it]].
** At one point, this was because the Coca Cola Company gave yo-yos a marketing push about every three years or so.
** [[FridgeBrilliance Which is fitting, when you think about it]].
** At one point, this was because the Coca Cola Company gave yo-yos a marketing push about every three years or so.
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[[folder:Asian Animation]]
* When it premiered in 2005, ''Animation/PleasantGoatAndBigBigWolf'' got unexpectedly high ratings and became an instant hit with children. Once some time passed, it started to get a bit of a bad rep due to both an incident where real-life kids imitating the show hurt their friend and the show's seasons becoming experimental and not hitting the same way previous ones did; ''War of Invention'' in particular was criticized by fans for its writing and art styles enough to make Creator/CreativePowerEntertaining revert to the initial styles in the next season. In 2019, ''Mighty Little Defenders'' blew people's expectations out of the water with its storyline being considered one of the most exciting in years, and it brought back a lot of fans who had since left the ''Pleasant Goat'' fanbase; it's been doing well for itself since then with its story-based seasons and is now a well-respected show again.
* When it premiered in 2005, ''Animation/PleasantGoatAndBigBigWolf'' got unexpectedly high ratings and became an instant hit with children. Once some time passed, it started to get a bit of a bad rep due to both an incident where real-life kids imitating the show hurt their friend and the show's seasons becoming experimental and not hitting the same way previous ones did; ''War of Invention'' in particular was criticized by fans for its writing and art styles enough to make Creator/CreativePowerEntertaining revert to the initial styles in the next season. In 2019, ''Mighty Little Defenders'' blew people's expectations out of the water with its storyline being considered one of the most exciting in years, and it brought back a lot of fans who had since left the ''Pleasant Goat'' fanbase; it's been doing well for itself since then with its story-based seasons and is now a well-respected show again.
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*
* "Googie" architecture went out of style soon after the 1950's but discovered a resurgence in
* Gentrification is essentially this with regards to both architectural styles and parts of a city. Take Berlin-Kreuzberg for instance: Back when most of the houses there were built (the latter half of the 19th century, aka the ''Gründerzeit'') they were obviously deemed modern and aesthetically pleasing and the area was reasonably popular being close to the city center. After the wall was built and encircled Kreuzberg (which was in West-Berlin) on three sides, it became an undesirable location due to said encirclement. Furthermore the architectural style was seen as bad and most apartments were in dire need of renovation and lacked such conveniences as central heating or warm water. Of course the newly built housing units made of prefabricated slabs (known by the charming word ''Plattenbau'' in German, which roughly means slab building) had those conveniences and thus were widely more popular. The only people who would voluntarily live in old houses in areas like Kreuzberg were immigrants, notorious malcontents and cheapskates like students, leftists and [[BreadEggsBreadedEggs leftist students]]. Many of those houses were also planned to be torn down, so there were issues with squatters. Once the wall came down, Kreuzberg suddenly found itself in the center of Berlin's attention once more and the students and "alternative" people had started their own clubs, bars and other venues and suddenly Kreuzberg became ''the'' place to live in. The ''Plattenbauten'' meanwhile have suffered greatly both in perception and in technical state (being forty or fifty years old does not help), but - you guessed it - in some cities even they show signs of being gentrified.
* In Germany, train stations in major cities and the area surrounding them are this. Back in the 19th century when most cities were first connected to rail lines, train stations were impressive and expensive buildings in the center of town or the best neighborhoods. However, with the decline of rail travel, they entered a serious AudienceAlienatingEra and became
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[[folder:Clothing]]
* Eyewear (both CoolShades and NerdGlasses) has varied greatly through the years: Beginning in TheRoaringTwenties, and thanks to Creator/HaroldLloyd, glasses became a fashionable element[[note]]Prior to that, if you wore glasses, it was because you were an intellectual, a clergyman, an older person or UsefulNotes/TheodoreRoosevelt[[/note]]. These were initially made of tortoiseshell, which by TheGreatDepression and through UsefulNotes/WorldWarII had been displaced by the more cost-efficient metal rims. Sunglasses also originated during the Jazz Age, first used by movie stars around 1922 and publicly introduced in 1929.
** Post-WWII spectacles were made of tortoiseshell, and later plastic[[note]]Shuron Ronsirs/Ray-Ban Browlines were introduced in 1947, Ray-Ban Wayfarers appeared in 1952[[/note]], which by the end of TheSixties were seen as too conformist. Then metallic frames took over[[note]]While first made in 1937, it wasn't until about '68 when Ray-Ban Aviators were used outside military circles[[/note]] during TheSeventies, but by the end of the decade, plastics returned big time[[note]]Wayfarers were boosted primarily by the film ''Film/TheBluesBrothers'' and by the NewWaveMusic movement[[/note]] to dominate TheEighties. TheNineties and UsefulNotes/The2000s brought back metals[[note]]''Series/{{Jackass}}'' contributed to the Aviators' newborn popularity[[/note]] aside from sporty wraparounds, while TheNewTens did the same with plastic[[note]]80s nostalgia, {{Hipster}}s and ''Series/MadMen'' were instrumental for a return to Wayframes[[/note]].
* Men's underpants seem to go through this cycle. The Coopers (now “Jockey”) underwear company introduced briefs for men in the 1930s -- which caused a sensation, as they were skimpier than most underpants at the time. This gradually brought about a change in men's intimate and leisurely fashions, with shorter underpants replacing the boxer shorts and long johns previously popular and male swimmers, bodybuilders, and surfers wearing skimpy trunks instead of the one-piece swimsuits from the 1920s. By the 1970s and the early '80s, wearing midthigh-length shorts as underwear was thought to be hopelessly old-fashioned, with only older men daring to be caught in them. Then the pendulum swung back: in the late 1980s and TheNineties, [[WildMassGuessing perhaps as a backlash against the burgeoning gay culture or maybe due to inspiration from the ultra-manly, proletarian fashion sense of Seattle grunge rock]], boxer shorts (especially plaid ones) became cool again, and during the 90s and 2000s, wearing briefs ([[MaliciousMisnaming given the notorious cognomen “tighty-whiteys” during this period]]) was often thought of as effeminate or immature. Eventually, though, with the rise of "slim-fit" in the 2010s, the two sides met in the middle, so that now in most department stores you can easily find [[FusionDance boxer briefs]], [[NonindicativeName which have leg bands and are form-fitting just like briefs but have leg sections]] (of varying lengths) like boxer shorts. Additionally, men wearing the classic brief is on the increase again as well. When it comes to ProfessionalWrestling, however, [[UnderwearOfPower this trope has always been inoperative]].
* Two-piece swimsuits have balanced between conservative high-waisted models and skimpy bikinis: The former ones were the predominant ones between TheRoaringTwenties and TheFifties (thus being retroactively known as "pin-ups"). Bikinis took over during TheSixties and TheSeventies[[note]]They have been around since 1946, but in the United States only became prominent in the mid-to-late 60s[[/note]], showing more and more skin as time passed. "Pin-ups" returned with a vengeance in TheEighties, while the pendulum swung back towards bikinis and thongs in TheNineties and UsefulNotes/The2000s. TheNewTens' "conservative revolution" however, brought a trend of showing as little skin as possible, leading to a resurgence of the high-waisted "pin-up". One-piece swimsuits tend to vary their front cleavage influenced by how much skin two-piece suits show.
* Eyewear (both CoolShades and NerdGlasses) has varied greatly through the years: Beginning in TheRoaringTwenties, and thanks to Creator/HaroldLloyd, glasses became a fashionable element[[note]]Prior to that, if you wore glasses, it was because you were an intellectual, a clergyman, an older person or UsefulNotes/TheodoreRoosevelt[[/note]]. These were initially made of tortoiseshell, which by TheGreatDepression and through UsefulNotes/WorldWarII had been displaced by the more cost-efficient metal rims. Sunglasses also originated during the Jazz Age, first used by movie stars around 1922 and publicly introduced in 1929.
** Post-WWII spectacles were made of tortoiseshell, and later plastic[[note]]Shuron Ronsirs/Ray-Ban Browlines were introduced in 1947, Ray-Ban Wayfarers appeared in 1952[[/note]], which by the end of TheSixties were seen as too conformist. Then metallic frames took over[[note]]While first made in 1937, it wasn't until about '68 when Ray-Ban Aviators were used outside military circles[[/note]] during TheSeventies, but by the end of the decade, plastics returned big time[[note]]Wayfarers were boosted primarily by the film ''Film/TheBluesBrothers'' and by the NewWaveMusic movement[[/note]] to dominate TheEighties. TheNineties and UsefulNotes/The2000s brought back metals[[note]]''Series/{{Jackass}}'' contributed to the Aviators' newborn popularity[[/note]] aside from sporty wraparounds, while TheNewTens did the same with plastic[[note]]80s nostalgia, {{Hipster}}s and ''Series/MadMen'' were instrumental for a return to Wayframes[[/note]].
* Men's underpants seem to go through this cycle. The Coopers (now “Jockey”) underwear company introduced briefs for men in the 1930s -- which caused a sensation, as they were skimpier than most underpants at the time. This gradually brought about a change in men's intimate and leisurely fashions, with shorter underpants replacing the boxer shorts and long johns previously popular and male swimmers, bodybuilders, and surfers wearing skimpy trunks instead of the one-piece swimsuits from the 1920s. By the 1970s and the early '80s, wearing midthigh-length shorts as underwear was thought to be hopelessly old-fashioned, with only older men daring to be caught in them. Then the pendulum swung back: in the late 1980s and TheNineties, [[WildMassGuessing perhaps as a backlash against the burgeoning gay culture or maybe due to inspiration from the ultra-manly, proletarian fashion sense of Seattle grunge rock]], boxer shorts (especially plaid ones) became cool again, and during the 90s and 2000s, wearing briefs ([[MaliciousMisnaming given the notorious cognomen “tighty-whiteys” during this period]]) was often thought of as effeminate or immature. Eventually, though, with the rise of "slim-fit" in the 2010s, the two sides met in the middle, so that now in most department stores you can easily find [[FusionDance boxer briefs]], [[NonindicativeName which have leg bands and are form-fitting just like briefs but have leg sections]] (of varying lengths) like boxer shorts. Additionally, men wearing the classic brief is on the increase again as well. When it comes to ProfessionalWrestling, however, [[UnderwearOfPower this trope has always been inoperative]].
* Two-piece swimsuits have balanced between conservative high-waisted models and skimpy bikinis: The former ones were the predominant ones between TheRoaringTwenties and TheFifties (thus being retroactively known as "pin-ups"). Bikinis took over during TheSixties and TheSeventies[[note]]They have been around since 1946, but in the United States only became prominent in the mid-to-late 60s[[/note]], showing more and more skin as time passed. "Pin-ups" returned with a vengeance in TheEighties, while the pendulum swung back towards bikinis and thongs in TheNineties and UsefulNotes/The2000s. TheNewTens' "conservative revolution" however, brought a trend of showing as little skin as possible, leading to a resurgence of the high-waisted "pin-up". One-piece swimsuits tend to vary their front cleavage influenced by how much skin two-piece suits show.
to:
*
** Post-WWII spectacles were made of tortoiseshell, and later plastic[[note]]Shuron Ronsirs/Ray-Ban Browlines were introduced in 1947, Ray-Ban Wayfarers appeared in 1952[[/note]], which by the end of TheSixties were seen as too conformist. Then metallic frames took over[[note]]While first made in 1937, it wasn't until
* Men's underpants seem to go through this cycle. The Coopers (now “Jockey”) underwear company introduced briefs for men
* The original UsefulNotes/{{Dada}} movement of 1916 - which was based on violating conventions and depended on [[{{Troll}} confusing and upsetting audiences]] - [[ItsPopularNowItSucks died]] when [[MisaimedFandom people began enjoying it]], thus [[SpringtimeForHitler defeating its purpose]]. However, its influence can still be seen to this day: it contributed to the rise of
* Back in the
* Two-piece swimsuits have balanced between conservative high-waisted models and skimpy bikinis: The former ones were the predominant ones between TheRoaringTwenties and TheFifties (thus being retroactively known as "pin-ups"). Bikinis took over during TheSixties and TheSeventies[[note]]They have been
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[[folder:Comedy]]
* The general subject matter in which comedians are allowed to traffic seems to shift this way and that constantly. Perhaps most notably, ethnic/racial and male-chauvinist humor has [[CrossesTheLineTwice gone back and forth across the line]] on more or less a decade-by-decade basis since TheSixties, with TheEighties probably the low point of acceptability.
* Similarly, political humor seems to wax and wane, depending on how high a profile America has on the world stage at a given moment.
* The general subject matter in which comedians are allowed to traffic seems to shift this way and that constantly. Perhaps most notably, ethnic/racial and male-chauvinist humor has [[CrossesTheLineTwice gone back and forth across the line]] on more or less a decade-by-decade basis since TheSixties, with TheEighties probably the low point of acceptability.
* Similarly, political humor seems to wax and wane, depending on how high a profile America has on the world stage at a given moment.
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*
* Similarly, political humor seems to wax
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[[folder:Comic Books]]
* {{Superhero}} comics have been on this path for years. They were one of the few comic book genres that survived UsefulNotes/TheComicsCode, although they had to censor themselves, and were the more successful comics throughout the {{UsefulNotes/The Silver Age|Of Comic Books}} and {{UsefulNotes/The Bronze Age|Of Comic Books}}. During the later parts of the '80s, ''ComicBook/{{Watchmen}}'' was a successful deconstruction of the superhero genre, while ''ComicBook/TheKillingJoke'' and ''ComicBook/BatmanTheDarkKnightReturns'' were grittier takes on ''Franchise/{{Batman}}''. Seeing this, many comics went DarkerAndEdgier, leading to the UsefulNotes/TheDarkAgeOfComicBooks. Unfortunately, most of the dark material, while popular at first, got old. UsefulNotes/TheGreatComicsCrashOf1996, caused by a number of factors (such as the bursting of the speculator bubble, the failure of ''ComicBook/DeathMate'', and the overuse of collectors editions/crisis crossovers), made many companies such as Creator/ValiantComics die, and even Creator/{{Marvel}} filed for bankruptcy. By 2001, comic book sales were only 67 million, their lower point in years. Marvel and DC focused on their movies, while Creator/DarkHorseComics and Creator/ImageComics focused on licensed and genre material. However, with the popularity of the Franchise/MarvelCinematicUniverse and similar films, as well as lots of successful TV adaptations and new, diverse titles like ''[[ComicBook/MsMarvel2014 Ms. Marvel]]'' and ''ComicBook/{{Batgirl|2011}}'', superhero comic books have had a significant rebound.
* In the '90s and '00s, Creator/ArchieComics seemed poised to finish its long slide from MainstreamObscurity into plain obsolescence. Its squeaky-clean characters and its [[RetroUniverse perpetual 1950s-seeming setting]] had grown increasingly out of touch with younger readers, its efforts to keep up with the times [[TotallyRadical had done little more than render it a laughingstock]] and the butt of jokes about being TwoDecadesBehind, and it seemed as though most of its fandom was of the ironic sort, with stories like ''ComicBook/ArchieMeetsThePunisher'' outright [[AdamWesting playing the company's image for laughs]]. ''Series/SabrinaTheTeenageWitch'' was a hit on television and kept the characters in the public eye, but it was largely divorced from the comics, and while the company also published [[ComicBook/SonicTheHedgehogArchieComics a popular line]] of ''Franchise/SonicTheHedgehog'' comics, these weren't a part of the company's core product line.\\\
Something funny happened in the 2010s, however: for the first time in decades, Archie became genuinely hip. It started in 2010 when the company relaunched their adventure series ''Life with Archie'' as a more mature take on the characters, with storylines dealing with marriage, financial problems, homosexuality, and gun violence. This was followed in 2013 by ''ComicBook/AfterlifeWithArchie'', a horror story featuring the characters battling a ZombieApocalypse; its success and critical acclaim saw its writer, Roberto Aguirre-Sacasa, promoted to chief creative officer the following year[[note]]Ironically -- and as if to drive home just how much the company had changed -- Aguirre-Sacasa had previously been [[ScrewedByTheLawyers hit with a cease-and-desist letter]] by the company in 2003 for writing a gay-themed ''Archie'' stage play.[[/note]], along with a [[ComicBook/ArchieComics2015 modernized reboot]] of their flagship series by Creator/MarkWaid and a GothicHorror [[ComicBook/ChillingAdventuresOfSabrina rendition]] of ComicBook/SabrinaTheTeenageWitch. By 2017, Archie Comics' comeback culminated with the TV show ''Series/{{Riverdale}}'' on Creator/TheCW, its unusual setting (a thriller in a mid-century-style small town with a grunge-ish/1990s alt-rock soundtrack) becoming quite successful.
* ComicBook/LukeCage, as discussed in [[https://www.youtube.com/watch?v=zRtW10X0Vr4 this video]] by Creator/BobChipman. Created in TheSeventies to both diversify the Creator/MarvelComics lineup and [[FadSuper cash in]] on the {{blaxploitation}} boom, from TheEighties into the '00s he was seen by many comics fans, white and black alike, as a [[UnintentionalPeriodPiece dated relic]] and a symbol of everything wrong with Marvel's clueless attempts at social commentary during that time. Attempts to revive the character mostly went nowhere outside of guest appearances in ''ComicBook/{{Alias}}'', where he was largely shorn of his '70s trappings. His return to popularity and respectability came alongside the broader reappraisal of the blaxploitation genre in the '00s and '10s, with [[Series/LukeCage2016 a popular Netflix TV series]] being the turning point after years of increasingly popular appearances in the comics. Now, he's one of Marvel's headliners, updated for the 21st century but still rooted in his '70s inspirations.
* {{Superhero}} comics have been on this path for years. They were one of the few comic book genres that survived UsefulNotes/TheComicsCode, although they had to censor themselves, and were the more successful comics throughout the {{UsefulNotes/The Silver Age|Of Comic Books}} and {{UsefulNotes/The Bronze Age|Of Comic Books}}. During the later parts of the '80s, ''ComicBook/{{Watchmen}}'' was a successful deconstruction of the superhero genre, while ''ComicBook/TheKillingJoke'' and ''ComicBook/BatmanTheDarkKnightReturns'' were grittier takes on ''Franchise/{{Batman}}''. Seeing this, many comics went DarkerAndEdgier, leading to the UsefulNotes/TheDarkAgeOfComicBooks. Unfortunately, most of the dark material, while popular at first, got old. UsefulNotes/TheGreatComicsCrashOf1996, caused by a number of factors (such as the bursting of the speculator bubble, the failure of ''ComicBook/DeathMate'', and the overuse of collectors editions/crisis crossovers), made many companies such as Creator/ValiantComics die, and even Creator/{{Marvel}} filed for bankruptcy. By 2001, comic book sales were only 67 million, their lower point in years. Marvel and DC focused on their movies, while Creator/DarkHorseComics and Creator/ImageComics focused on licensed and genre material. However, with the popularity of the Franchise/MarvelCinematicUniverse and similar films, as well as lots of successful TV adaptations and new, diverse titles like ''[[ComicBook/MsMarvel2014 Ms. Marvel]]'' and ''ComicBook/{{Batgirl|2011}}'', superhero comic books have had a significant rebound.
* In the '90s and '00s, Creator/ArchieComics seemed poised to finish its long slide from MainstreamObscurity into plain obsolescence. Its squeaky-clean characters and its [[RetroUniverse perpetual 1950s-seeming setting]] had grown increasingly out of touch with younger readers, its efforts to keep up with the times [[TotallyRadical had done little more than render it a laughingstock]] and the butt of jokes about being TwoDecadesBehind, and it seemed as though most of its fandom was of the ironic sort, with stories like ''ComicBook/ArchieMeetsThePunisher'' outright [[AdamWesting playing the company's image for laughs]]. ''Series/SabrinaTheTeenageWitch'' was a hit on television and kept the characters in the public eye, but it was largely divorced from the comics, and while the company also published [[ComicBook/SonicTheHedgehogArchieComics a popular line]] of ''Franchise/SonicTheHedgehog'' comics, these weren't a part of the company's core product line.\\\
Something funny happened in the 2010s, however: for the first time in decades, Archie became genuinely hip. It started in 2010 when the company relaunched their adventure series ''Life with Archie'' as a more mature take on the characters, with storylines dealing with marriage, financial problems, homosexuality, and gun violence. This was followed in 2013 by ''ComicBook/AfterlifeWithArchie'', a horror story featuring the characters battling a ZombieApocalypse; its success and critical acclaim saw its writer, Roberto Aguirre-Sacasa, promoted to chief creative officer the following year[[note]]Ironically -- and as if to drive home just how much the company had changed -- Aguirre-Sacasa had previously been [[ScrewedByTheLawyers hit with a cease-and-desist letter]] by the company in 2003 for writing a gay-themed ''Archie'' stage play.[[/note]], along with a [[ComicBook/ArchieComics2015 modernized reboot]] of their flagship series by Creator/MarkWaid and a GothicHorror [[ComicBook/ChillingAdventuresOfSabrina rendition]] of ComicBook/SabrinaTheTeenageWitch. By 2017, Archie Comics' comeback culminated with the TV show ''Series/{{Riverdale}}'' on Creator/TheCW, its unusual setting (a thriller in a mid-century-style small town with a grunge-ish/1990s alt-rock soundtrack) becoming quite successful.
* ComicBook/LukeCage, as discussed in [[https://www.youtube.com/watch?v=zRtW10X0Vr4 this video]] by Creator/BobChipman. Created in TheSeventies to both diversify the Creator/MarvelComics lineup and [[FadSuper cash in]] on the {{blaxploitation}} boom, from TheEighties into the '00s he was seen by many comics fans, white and black alike, as a [[UnintentionalPeriodPiece dated relic]] and a symbol of everything wrong with Marvel's clueless attempts at social commentary during that time. Attempts to revive the character mostly went nowhere outside of guest appearances in ''ComicBook/{{Alias}}'', where he was largely shorn of his '70s trappings. His return to popularity and respectability came alongside the broader reappraisal of the blaxploitation genre in the '00s and '10s, with [[Series/LukeCage2016 a popular Netflix TV series]] being the turning point after years of increasingly popular appearances in the comics. Now, he's one of Marvel's headliners, updated for the 21st century but still rooted in his '70s inspirations.
to:
*
** Post-WWII spectacles were made of tortoiseshell, and later
* Men's underpants seem to go through this cycle. The Coopers (now “Jockey”) underwear company introduced briefs for men in the 1930s -- which caused a sensation, as they were skimpier than most underpants at the time. This gradually brought about a change in men's intimate and leisurely fashions, with shorter underpants replacing the boxer shorts and long johns previously popular and male swimmers, bodybuilders, and surfers wearing skimpy trunks instead of the one-piece swimsuits from the 1920s. By the 1970s and the early '80s,
* In the '90s and '00s, Creator/ArchieComics seemed poised to finish its long slide from MainstreamObscurity into plain obsolescence. Its squeaky-clean characters and its [[RetroUniverse perpetual 1950s-seeming setting]] had grown increasingly out of touch with younger readers, its efforts to keep up with the times [[TotallyRadical had done little more than render it a laughingstock]] and the butt of jokes about being TwoDecadesBehind, and it seemed as though most of its fandom was of the ironic sort, with stories like ''ComicBook/ArchieMeetsThePunisher'' outright [[AdamWesting playing the company's image for laughs]]. ''Series/SabrinaTheTeenageWitch'' was a hit on television and kept the characters in the public eye, but it was largely divorced from the comics, and while the company also published [[ComicBook/SonicTheHedgehogArchieComics a popular line]] of ''Franchise/SonicTheHedgehog'' comics, these weren't a part of the company's core product line.\\\
Something funny happened
* Two-piece swimsuits have balanced between conservative high-waisted models and skimpy bikinis: The former ones were the predominant ones between TheRoaringTwenties and TheFifties (thus being retroactively known as "pin-ups"). Bikinis took over during TheSixties and TheSeventies[[note]]They have been around since 1946, but in the United States only became
* ComicBook/LukeCage, as discussed in [[https://www.youtube.com/watch?v=zRtW10X0Vr4 this video]] by Creator/BobChipman. Created in TheSeventies to both diversify the Creator/MarvelComics lineup and [[FadSuper cash in]] on the {{blaxploitation}} boom, from TheEighties into the '00s he was seen by many comics fans, white and black alike, as a [[UnintentionalPeriodPiece dated relic]] and a symbol of everything wrong with Marvel's clueless attempts at social commentary during that time. Attempts to revive the character mostly went nowhere outside of guest appearances in ''ComicBook/{{Alias}}'', where he was largely shorn of his '70s trappings. His return to popularity and respectability came alongside the broader reappraisal of the blaxploitation genre in the '00s and '10s, with [[Series/LukeCage2016 a popular Netflix TV series]] being the turning point after years of increasingly popular appearances in the comics. Now, he's one of Marvel's headliners, updated for the 21st century but still rooted in his '70s inspirations.
Changed line(s) 81,84 (click to see context) from:
[[folder:Film -- Animated]]
* Disney has gone through ups and downs. During UsefulNotes/TheGoldenAgeOfAnimation, Disney's films were successes and set the industry standard. However, after the death of Creator/WaltDisney, the confused company released a string of weak, under-performing films in TheSeventies. By TheEighties, Disney was better known as a theme park operator than a filmmaker. However, in 1989, ''WesternAnimation/{{The Little Mermaid|1989}}'', an animated film deliberately reminiscent of the Golden Age films of the 1940-50s, became an unexpected critical and commercial success and kicked off the [[UsefulNotes/TheRenaissanceAgeOfAnimation Disney Renaissance]] that lasted throughout the entire [[TheNineties Nineties]]. By the TurnOfTheMillennium though, audiences, tiring of the increasingly clichéd formula prevalent in these films, drifted towards the then-new AllCGICartoon popularized by Creator/{{Pixar}} and Creator/DreamWorksAnimation. Disney responded by shutting down their traditional animation studio and releasing a string of their own CGI animated films, few of which made much of an impact; even the traditionally-animated throwback ''WesternAnimation/ThePrincessAndTheFrog'' and the well-received ''WesternAnimation/{{Tangled}}'' were only moderately successful. It wasn't until the double-whammy of 2012's ''WesternAnimation/WreckItRalph'' followed by 2013's ultra-successful ''WesternAnimation/{{Frozen|2013}}'' that Disney truly got back on top again.
* When it was released in 1998, ''WesternAnimation/ThePrinceOfEgypt'' was a major hit, earning very positive reviews and becoming the most financially successful non-Disney animated feature at the time. Shortly afterwards, however, it faded into obscurity and was rarely talked about. Then it was rediscovered in the late 2000s and returned to prominence seemingly overnight, being regarded as one of the best Biblical movies ever made and even getting a West End stage musical adaptation in 2020.
* At its peak, ''Franchise/{{Shrek}}'' was a franchise as big as the green ogre himself. The original ''WesternAnimation/Shrek1'' won the first Oscar for Best Animated Feature, and ''WesternAnimation/Shrek2'' became one of the highest-grossing films at the time. After that, the franchise's formula quickly grew stale as [[FollowTheLeader it spawned a host of mediocre imitators]], which seeped back into ''Shrek'' itself with the poor reviews of ''WesternAnimation/ShrekTheThird''. This led to the downfall of ''Shrek''-style "snarky" animated movies and the rise of more drama-based animated movies such as ''WesternAnimation/{{How to Train Your Dragon|2010}}'' and ''WesternAnimation/{{Frozen|2013}}'' as well as the more irreverent humor Illumination Studios and the Warner Animation Group began to grow in popularity. For a while, the ''Shrek'' franchise was seen as a poorly-aged product of its time that relied too much on contemporary references, and the aforementioned mediocre imitators furthered the franchise's reputation as having ruined western cartoon movies. However, MemeticMutation led to an upsurge of ironic popularity for the ''Shrek'' series, which eventually grew into ''unironic'' popularity as its fans grew up and revisited the movies, and were able to appreciate them anew due to their wittiness, 2000s nostalgia, and hidden heartfelt themes underneath the snarkiness. As of the late [[TheNewTens 2010s]], while not to the level of the early [[TheNoughties 2000s]], the first two ''Shrek'' movies are well-liked and appreciated as modern classics, and ''WesternAnimation/ShrekForeverAfter'' has quite a few fans and defenders as well. In fact, it was this renewed unironic popularity (and there's its influence, for better or worse, on animated films in the 21st century) that made it the first animated film released in the 21st century, the first non {{Creator/Disney}} animated film and only the 2nd CGI animated film (after ''WesternAnimation/ToyStory1'') to be added into the UsefulNotes/NationalFilmRegistry in 2020. Furthermore, the fandom is so big that it even [[https://en.wikipedia.org/wiki/Shrek_fandom has its own page]] on Website/{{Wikipedia}}.
* Disney has gone through ups and downs. During UsefulNotes/TheGoldenAgeOfAnimation, Disney's films were successes and set the industry standard. However, after the death of Creator/WaltDisney, the confused company released a string of weak, under-performing films in TheSeventies. By TheEighties, Disney was better known as a theme park operator than a filmmaker. However, in 1989, ''WesternAnimation/{{The Little Mermaid|1989}}'', an animated film deliberately reminiscent of the Golden Age films of the 1940-50s, became an unexpected critical and commercial success and kicked off the [[UsefulNotes/TheRenaissanceAgeOfAnimation Disney Renaissance]] that lasted throughout the entire [[TheNineties Nineties]]. By the TurnOfTheMillennium though, audiences, tiring of the increasingly clichéd formula prevalent in these films, drifted towards the then-new AllCGICartoon popularized by Creator/{{Pixar}} and Creator/DreamWorksAnimation. Disney responded by shutting down their traditional animation studio and releasing a string of their own CGI animated films, few of which made much of an impact; even the traditionally-animated throwback ''WesternAnimation/ThePrincessAndTheFrog'' and the well-received ''WesternAnimation/{{Tangled}}'' were only moderately successful. It wasn't until the double-whammy of 2012's ''WesternAnimation/WreckItRalph'' followed by 2013's ultra-successful ''WesternAnimation/{{Frozen|2013}}'' that Disney truly got back on top again.
* When it was released in 1998, ''WesternAnimation/ThePrinceOfEgypt'' was a major hit, earning very positive reviews and becoming the most financially successful non-Disney animated feature at the time. Shortly afterwards, however, it faded into obscurity and was rarely talked about. Then it was rediscovered in the late 2000s and returned to prominence seemingly overnight, being regarded as one of the best Biblical movies ever made and even getting a West End stage musical adaptation in 2020.
* At its peak, ''Franchise/{{Shrek}}'' was a franchise as big as the green ogre himself. The original ''WesternAnimation/Shrek1'' won the first Oscar for Best Animated Feature, and ''WesternAnimation/Shrek2'' became one of the highest-grossing films at the time. After that, the franchise's formula quickly grew stale as [[FollowTheLeader it spawned a host of mediocre imitators]], which seeped back into ''Shrek'' itself with the poor reviews of ''WesternAnimation/ShrekTheThird''. This led to the downfall of ''Shrek''-style "snarky" animated movies and the rise of more drama-based animated movies such as ''WesternAnimation/{{How to Train Your Dragon|2010}}'' and ''WesternAnimation/{{Frozen|2013}}'' as well as the more irreverent humor Illumination Studios and the Warner Animation Group began to grow in popularity. For a while, the ''Shrek'' franchise was seen as a poorly-aged product of its time that relied too much on contemporary references, and the aforementioned mediocre imitators furthered the franchise's reputation as having ruined western cartoon movies. However, MemeticMutation led to an upsurge of ironic popularity for the ''Shrek'' series, which eventually grew into ''unironic'' popularity as its fans grew up and revisited the movies, and were able to appreciate them anew due to their wittiness, 2000s nostalgia, and hidden heartfelt themes underneath the snarkiness. As of the late [[TheNewTens 2010s]], while not to the level of the early [[TheNoughties 2000s]], the first two ''Shrek'' movies are well-liked and appreciated as modern classics, and ''WesternAnimation/ShrekForeverAfter'' has quite a few fans and defenders as well. In fact, it was this renewed unironic popularity (and there's its influence, for better or worse, on animated films in the 21st century) that made it the first animated film released in the 21st century, the first non {{Creator/Disney}} animated film and only the 2nd CGI animated film (after ''WesternAnimation/ToyStory1'') to be added into the UsefulNotes/NationalFilmRegistry in 2020. Furthermore, the fandom is so big that it even [[https://en.wikipedia.org/wiki/Shrek_fandom has its own page]] on Website/{{Wikipedia}}.
to:
*
* When it was released in 1998, ''WesternAnimation/ThePrinceOfEgypt'' was a major hit, earning very positive reviews
* Similarly, political humor seems to wax and
* At its peak, ''Franchise/{{Shrek}}'' was a franchise as big as the green ogre himself. The original ''WesternAnimation/Shrek1'' won the first Oscar for Best Animated Feature, and ''WesternAnimation/Shrek2'' became one of the highest-grossing films
Added DiffLines:
[[folder:Comic Books]]
* {{Superhero}} comics have been on this path for years. They were one of the few comic book genres that survived UsefulNotes/TheComicsCode, although they had to censor themselves, and were the more successful comics throughout the {{UsefulNotes/The Silver Age|Of Comic Books}} and {{UsefulNotes/The Bronze Age|Of Comic Books}}. During the later parts of the '80s, ''ComicBook/{{Watchmen}}'' was a successful deconstruction of the superhero genre, while ''ComicBook/TheKillingJoke'' and ''ComicBook/BatmanTheDarkKnightReturns'' were grittier takes on ''Franchise/{{Batman}}''. Seeing this, many comics went DarkerAndEdgier, leading to the UsefulNotes/TheDarkAgeOfComicBooks. Unfortunately, most of the dark material, while popular at first, got old. UsefulNotes/TheGreatComicsCrashOf1996, caused by a number of factors (such as the bursting of the speculator bubble, the failure of ''ComicBook/DeathMate'', and the overuse of collectors editions/crisis crossovers), made many companies such as Creator/ValiantComics die, and even Creator/{{Marvel}} filed for bankruptcy. By 2001, comic book sales were only 67 million, their lower point in years. Marvel and DC focused on their movies, while Creator/DarkHorseComics and Creator/ImageComics focused on licensed and genre material. However, with the popularity of the Franchise/MarvelCinematicUniverse and similar films, as well as lots of successful TV adaptations and new, diverse titles like ''[[ComicBook/MsMarvel2014 Ms. Marvel]]'' and ''ComicBook/{{Batgirl|2011}}'', superhero comic books have had a significant rebound.
* In the '90s and '00s, Creator/ArchieComics seemed poised to finish its long slide from MainstreamObscurity into plain obsolescence. Its squeaky-clean characters and its [[RetroUniverse perpetual 1950s-seeming setting]] had grown increasingly out of touch with younger readers, its efforts to keep up with the times [[TotallyRadical had done little more than render it a laughingstock]] and the butt of jokes about being TwoDecadesBehind, and it seemed as though most of its fandom was of the ironic sort, with stories like ''ComicBook/ArchieMeetsThePunisher'' outright [[AdamWesting playing the company's image for laughs]]. ''Series/SabrinaTheTeenageWitch'' was a hit on television and kept the characters in the public eye, but it was largely divorced from the comics, and while the company also published [[ComicBook/SonicTheHedgehogArchieComics a popular line]] of ''Franchise/SonicTheHedgehog'' comics, these weren't a part of the company's core product line.\\\
Something funny happened in the 2010s, however: for the first time in decades, Archie became genuinely hip. It started in 2010 when the company relaunched their adventure series ''Life with Archie'' as a more mature take on the characters, with storylines dealing with marriage, financial problems, homosexuality, and gun violence. This was followed in 2013 by ''ComicBook/AfterlifeWithArchie'', a horror story featuring the characters battling a ZombieApocalypse; its success and critical acclaim saw its writer, Roberto Aguirre-Sacasa, promoted to chief creative officer the following year[[note]]Ironically -- and as if to drive home just how much the company had changed -- Aguirre-Sacasa had previously been [[ScrewedByTheLawyers hit with a cease-and-desist letter]] by the company in 2003 for writing a gay-themed ''Archie'' stage play.[[/note]], along with a [[ComicBook/ArchieComics2015 modernized reboot]] of their flagship series by Creator/MarkWaid and a GothicHorror [[ComicBook/ChillingAdventuresOfSabrina rendition]] of ComicBook/SabrinaTheTeenageWitch. By 2017, Archie Comics' comeback culminated with the TV show ''Series/{{Riverdale}}'' on Creator/TheCW, its unusual setting (a thriller in a mid-century-style small town with a grunge-ish/1990s alt-rock soundtrack) becoming quite successful.
* ComicBook/LukeCage, as discussed in [[https://www.youtube.com/watch?v=zRtW10X0Vr4 this video]] by Creator/BobChipman. Created in TheSeventies to both diversify the Creator/MarvelComics lineup and [[FadSuper cash in]] on the {{blaxploitation}} boom, from TheEighties into the '00s he was seen by many comics fans, white and black alike, as a [[UnintentionalPeriodPiece dated relic]] and a symbol of everything wrong with Marvel's clueless attempts at social commentary during that time. Attempts to revive the character mostly went nowhere outside of guest appearances in ''ComicBook/{{Alias}}'', where he was largely shorn of his '70s trappings. His return to popularity and respectability came alongside the broader reappraisal of the blaxploitation genre in the '00s and '10s, with [[Series/LukeCage2016 a popular Netflix TV series]] being the turning point after years of increasingly popular appearances in the comics. Now, he's one of Marvel's headliners, updated for the 21st century but still rooted in his '70s inspirations.
[[/folder]]
[[folder:Film -- Animated]]
* Disney has gone through ups and downs. During UsefulNotes/TheGoldenAgeOfAnimation, Disney's films were successes and set the industry standard. However, after the death of Creator/WaltDisney, the confused company released a string of weak, under-performing films in TheSeventies. By TheEighties, Disney was better known as a theme park operator than a filmmaker. However, in 1989, ''WesternAnimation/{{The Little Mermaid|1989}}'', an animated film deliberately reminiscent of the Golden Age films of the 1940-50s, became an unexpected critical and commercial success and kicked off the [[UsefulNotes/TheRenaissanceAgeOfAnimation Disney Renaissance]] that lasted throughout the entire [[TheNineties Nineties]]. By the TurnOfTheMillennium though, audiences, tiring of the increasingly clichéd formula prevalent in these films, drifted towards the then-new AllCGICartoon popularized by Creator/{{Pixar}} and Creator/DreamWorksAnimation. Disney responded by shutting down their traditional animation studio and releasing a string of their own CGI animated films, few of which made much of an impact; even the traditionally-animated throwback ''WesternAnimation/ThePrincessAndTheFrog'' and the well-received ''WesternAnimation/{{Tangled}}'' were only moderately successful. It wasn't until the double-whammy of 2012's ''WesternAnimation/WreckItRalph'' followed by 2013's ultra-successful ''WesternAnimation/{{Frozen|2013}}'' that Disney truly got back on top again.
* When it was released in 1998, ''WesternAnimation/ThePrinceOfEgypt'' was a major hit, earning very positive reviews and becoming the most financially successful non-Disney animated feature at the time. Shortly afterwards, however, it faded into obscurity and was rarely talked about. Then it was rediscovered in the late 2000s and returned to prominence seemingly overnight, being regarded as one of the best Biblical movies ever made and even getting a West End stage musical adaptation in 2020.
* At its peak, ''Franchise/{{Shrek}}'' was a franchise as big as the green ogre himself. The original ''WesternAnimation/Shrek1'' won the first Oscar for Best Animated Feature, and ''WesternAnimation/Shrek2'' became one of the highest-grossing films at the time. After that, the franchise's formula quickly grew stale as [[FollowTheLeader it spawned a host of mediocre imitators]], which seeped back into ''Shrek'' itself with the poor reviews of ''WesternAnimation/ShrekTheThird''. This led to the downfall of ''Shrek''-style "snarky" animated movies and the rise of more drama-based animated movies such as ''WesternAnimation/{{How to Train Your Dragon|2010}}'' and ''WesternAnimation/{{Frozen|2013}}'' as well as the more irreverent humor Illumination Studios and the Warner Animation Group began to grow in popularity. For a while, the ''Shrek'' franchise was seen as a poorly-aged product of its time that relied too much on contemporary references, and the aforementioned mediocre imitators furthered the franchise's reputation as having ruined western cartoon movies. However, MemeticMutation led to an upsurge of ironic popularity for the ''Shrek'' series, which eventually grew into ''unironic'' popularity as its fans grew up and revisited the movies, and were able to appreciate them anew due to their wittiness, 2000s nostalgia, and hidden heartfelt themes underneath the snarkiness. As of the late [[TheNewTens 2010s]], while not to the level of the early [[TheNoughties 2000s]], the first two ''Shrek'' movies are well-liked and appreciated as modern classics, and ''WesternAnimation/ShrekForeverAfter'' has quite a few fans and defenders as well. In fact, it was this renewed unironic popularity (and there's its influence, for better or worse, on animated films in the 21st century) that made it the first animated film released in the 21st century, the first non {{Creator/Disney}} animated film and only the 2nd CGI animated film (after ''WesternAnimation/ToyStory1'') to be added into the UsefulNotes/NationalFilmRegistry in 2020. Furthermore, the fandom is so big that it even [[https://en.wikipedia.org/wiki/Shrek_fandom has its own page]] on Website/{{Wikipedia}}.
[[/folder]]
* {{Superhero}} comics have been on this path for years. They were one of the few comic book genres that survived UsefulNotes/TheComicsCode, although they had to censor themselves, and were the more successful comics throughout the {{UsefulNotes/The Silver Age|Of Comic Books}} and {{UsefulNotes/The Bronze Age|Of Comic Books}}. During the later parts of the '80s, ''ComicBook/{{Watchmen}}'' was a successful deconstruction of the superhero genre, while ''ComicBook/TheKillingJoke'' and ''ComicBook/BatmanTheDarkKnightReturns'' were grittier takes on ''Franchise/{{Batman}}''. Seeing this, many comics went DarkerAndEdgier, leading to the UsefulNotes/TheDarkAgeOfComicBooks. Unfortunately, most of the dark material, while popular at first, got old. UsefulNotes/TheGreatComicsCrashOf1996, caused by a number of factors (such as the bursting of the speculator bubble, the failure of ''ComicBook/DeathMate'', and the overuse of collectors editions/crisis crossovers), made many companies such as Creator/ValiantComics die, and even Creator/{{Marvel}} filed for bankruptcy. By 2001, comic book sales were only 67 million, their lower point in years. Marvel and DC focused on their movies, while Creator/DarkHorseComics and Creator/ImageComics focused on licensed and genre material. However, with the popularity of the Franchise/MarvelCinematicUniverse and similar films, as well as lots of successful TV adaptations and new, diverse titles like ''[[ComicBook/MsMarvel2014 Ms. Marvel]]'' and ''ComicBook/{{Batgirl|2011}}'', superhero comic books have had a significant rebound.
* In the '90s and '00s, Creator/ArchieComics seemed poised to finish its long slide from MainstreamObscurity into plain obsolescence. Its squeaky-clean characters and its [[RetroUniverse perpetual 1950s-seeming setting]] had grown increasingly out of touch with younger readers, its efforts to keep up with the times [[TotallyRadical had done little more than render it a laughingstock]] and the butt of jokes about being TwoDecadesBehind, and it seemed as though most of its fandom was of the ironic sort, with stories like ''ComicBook/ArchieMeetsThePunisher'' outright [[AdamWesting playing the company's image for laughs]]. ''Series/SabrinaTheTeenageWitch'' was a hit on television and kept the characters in the public eye, but it was largely divorced from the comics, and while the company also published [[ComicBook/SonicTheHedgehogArchieComics a popular line]] of ''Franchise/SonicTheHedgehog'' comics, these weren't a part of the company's core product line.\\\
Something funny happened in the 2010s, however: for the first time in decades, Archie became genuinely hip. It started in 2010 when the company relaunched their adventure series ''Life with Archie'' as a more mature take on the characters, with storylines dealing with marriage, financial problems, homosexuality, and gun violence. This was followed in 2013 by ''ComicBook/AfterlifeWithArchie'', a horror story featuring the characters battling a ZombieApocalypse; its success and critical acclaim saw its writer, Roberto Aguirre-Sacasa, promoted to chief creative officer the following year[[note]]Ironically -- and as if to drive home just how much the company had changed -- Aguirre-Sacasa had previously been [[ScrewedByTheLawyers hit with a cease-and-desist letter]] by the company in 2003 for writing a gay-themed ''Archie'' stage play.[[/note]], along with a [[ComicBook/ArchieComics2015 modernized reboot]] of their flagship series by Creator/MarkWaid and a GothicHorror [[ComicBook/ChillingAdventuresOfSabrina rendition]] of ComicBook/SabrinaTheTeenageWitch. By 2017, Archie Comics' comeback culminated with the TV show ''Series/{{Riverdale}}'' on Creator/TheCW, its unusual setting (a thriller in a mid-century-style small town with a grunge-ish/1990s alt-rock soundtrack) becoming quite successful.
* ComicBook/LukeCage, as discussed in [[https://www.youtube.com/watch?v=zRtW10X0Vr4 this video]] by Creator/BobChipman. Created in TheSeventies to both diversify the Creator/MarvelComics lineup and [[FadSuper cash in]] on the {{blaxploitation}} boom, from TheEighties into the '00s he was seen by many comics fans, white and black alike, as a [[UnintentionalPeriodPiece dated relic]] and a symbol of everything wrong with Marvel's clueless attempts at social commentary during that time. Attempts to revive the character mostly went nowhere outside of guest appearances in ''ComicBook/{{Alias}}'', where he was largely shorn of his '70s trappings. His return to popularity and respectability came alongside the broader reappraisal of the blaxploitation genre in the '00s and '10s, with [[Series/LukeCage2016 a popular Netflix TV series]] being the turning point after years of increasingly popular appearances in the comics. Now, he's one of Marvel's headliners, updated for the 21st century but still rooted in his '70s inspirations.
[[/folder]]
[[folder:Film -- Animated]]
* Disney has gone through ups and downs. During UsefulNotes/TheGoldenAgeOfAnimation, Disney's films were successes and set the industry standard. However, after the death of Creator/WaltDisney, the confused company released a string of weak, under-performing films in TheSeventies. By TheEighties, Disney was better known as a theme park operator than a filmmaker. However, in 1989, ''WesternAnimation/{{The Little Mermaid|1989}}'', an animated film deliberately reminiscent of the Golden Age films of the 1940-50s, became an unexpected critical and commercial success and kicked off the [[UsefulNotes/TheRenaissanceAgeOfAnimation Disney Renaissance]] that lasted throughout the entire [[TheNineties Nineties]]. By the TurnOfTheMillennium though, audiences, tiring of the increasingly clichéd formula prevalent in these films, drifted towards the then-new AllCGICartoon popularized by Creator/{{Pixar}} and Creator/DreamWorksAnimation. Disney responded by shutting down their traditional animation studio and releasing a string of their own CGI animated films, few of which made much of an impact; even the traditionally-animated throwback ''WesternAnimation/ThePrincessAndTheFrog'' and the well-received ''WesternAnimation/{{Tangled}}'' were only moderately successful. It wasn't until the double-whammy of 2012's ''WesternAnimation/WreckItRalph'' followed by 2013's ultra-successful ''WesternAnimation/{{Frozen|2013}}'' that Disney truly got back on top again.
* When it was released in 1998, ''WesternAnimation/ThePrinceOfEgypt'' was a major hit, earning very positive reviews and becoming the most financially successful non-Disney animated feature at the time. Shortly afterwards, however, it faded into obscurity and was rarely talked about. Then it was rediscovered in the late 2000s and returned to prominence seemingly overnight, being regarded as one of the best Biblical movies ever made and even getting a West End stage musical adaptation in 2020.
* At its peak, ''Franchise/{{Shrek}}'' was a franchise as big as the green ogre himself. The original ''WesternAnimation/Shrek1'' won the first Oscar for Best Animated Feature, and ''WesternAnimation/Shrek2'' became one of the highest-grossing films at the time. After that, the franchise's formula quickly grew stale as [[FollowTheLeader it spawned a host of mediocre imitators]], which seeped back into ''Shrek'' itself with the poor reviews of ''WesternAnimation/ShrekTheThird''. This led to the downfall of ''Shrek''-style "snarky" animated movies and the rise of more drama-based animated movies such as ''WesternAnimation/{{How to Train Your Dragon|2010}}'' and ''WesternAnimation/{{Frozen|2013}}'' as well as the more irreverent humor Illumination Studios and the Warner Animation Group began to grow in popularity. For a while, the ''Shrek'' franchise was seen as a poorly-aged product of its time that relied too much on contemporary references, and the aforementioned mediocre imitators furthered the franchise's reputation as having ruined western cartoon movies. However, MemeticMutation led to an upsurge of ironic popularity for the ''Shrek'' series, which eventually grew into ''unironic'' popularity as its fans grew up and revisited the movies, and were able to appreciate them anew due to their wittiness, 2000s nostalgia, and hidden heartfelt themes underneath the snarkiness. As of the late [[TheNewTens 2010s]], while not to the level of the early [[TheNoughties 2000s]], the first two ''Shrek'' movies are well-liked and appreciated as modern classics, and ''WesternAnimation/ShrekForeverAfter'' has quite a few fans and defenders as well. In fact, it was this renewed unironic popularity (and there's its influence, for better or worse, on animated films in the 21st century) that made it the first animated film released in the 21st century, the first non {{Creator/Disney}} animated film and only the 2nd CGI animated film (after ''WesternAnimation/ToyStory1'') to be added into the UsefulNotes/NationalFilmRegistry in 2020. Furthermore, the fandom is so big that it even [[https://en.wikipedia.org/wiki/Shrek_fandom has its own page]] on Website/{{Wikipedia}}.
[[/folder]]
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[[folder:Settings]]
* [[TheMall Shopping malls]], of all things, have been going through this since about TheEighties. Overly optimistic development resulted in a massive surplus of retail space across the US, causing older generations of malls to start dying off as newer, larger complexes replaced them. This, combined with rampant demographic shifts in urban areas, helped create the first generations of "dead malls" in the US (the UrExample being Dixie Square Mall in the Chicago suburb of Harvey, which closed in 1978 and, after being repurposed for a famous scene in ''Film/TheBluesBrothers'', was left to decay until it was finally torn down in the mid 2010s.) Malls continued to decline throughout TheNineties as rampant competition in the retail market did a number on a large number of clothing stores and department stores, causing many to severely retrench or go out of business entirely (including older department stores such as Montgomery Ward and Woolworth). The large number of youths hanging out there gave shoppers the impression that malls were {{Teenage Wasteland}}s and made many women, who did most of the shopping, feel unsafe, believing these teens to be "gang-affiliated," and go elsewhere. And then by the end of the decade, the rise of "big box" stores and e-commerce took further pieces out of the retail pie, as did a myriad of department store mergers. It was in this climate that a huge number of malls began to die off entirely, most commonly aging and unremodeled centers that had failed to keep up with the times. What few malls were being built by the TurnOfTheMillennium were typically "lifestyle centers" in more affluent areas, boasting upscale shops and restaurants in a streetscape setting, or "power centers", largely composed of the aforementioned big-box stores -- both of which were also starting to become common redevelopment tactics for struggling indoor malls. Not a single enclosed mall was built in the US between 2006 and 2014. The mid 2000s-early 2010s economic crisis certainly didn't help, as seen by General Growth Properties, one of the largest mall companies in the U.S., filing for bankruptcy...\\\
Then came TheNewTens, when many malls began to go on [[http://commercialconstructionblog.com/retail-construction-trends-shopping-center-construction-enters-renaissance-with-renovation-work/ massive renovation sprees]] that are bringing in plenty of new stores. Also, two new malls finally opened in the U.S. in 2014 (one in Sarasota, Florida, the other in The Bronx), and a struggling mall in suburban Washington, D.C. was gutted and rebuilt... as a new ''enclosed'' mall. While "dead malls" are still prominent, the suburban malls that are not dying are keeping themselves relevant by adopting the more main street-like style of the "lifestyle centers" (a driving force in the trend to put the "urban" in "suburban"), luring in new and noteworthy tenants to make up for retrenching retailers (particularly "fast fashion" clothing stores such as [=H&M=] and Forever 21, trendy restaurants, fitness centers, etc.) and undergoing eye-catching renovations to keep the concept of "going to the mall" relevant to a newer generation...\\\
Then came the "retail apocalypse" since 2016 and amplified by the COVID-19 pandemic since 2020, where a disproportionately large number of popular mall stores went through large amounts of closings or gone out of business entirely, including major department store chain The Bon-Ton. Combined with frequent store closings from the three major department store chains (J.C. Penney, Macy's, and Sears), creating further holes to be filled in malls countrywide (although discount-oriented department stores, such as Kohl's, Burlington, and Marshalls/TJ Maxx, have thrived). At the same time, social media became the place to hang out rather than the local decaying mall, especially for younger people. Despite these closures, many malls have worked around this by introducing more big-box stores; entertainment complexes (high-end theaters, bowling alleys, large-format arcades such as Dave & Buster's); unconventional tenants such as libraries, storefront churches, playplaces, or secondhand shops; or even non-retail use (one notable example being Fairlane Town Center in Dearborn, Michigan, which replaced a long-vacant department store with Ford offices). Indoor shopping malls remain popular in areas where extreme weather conditions prevail, [[GermansLoveDavidHasselhoff particuarly in the Middle East]], mainly due to the fact that they're, well, indoors and thus provide climate-controlled places to walk around no matter what's going on outside. Even as the retail scene shifts, it appears that the American mall still has some life left in it.
* The DriveInTheater has seen a resurgence as of the 21st century. Throughout TheFifties and into TheSeventies, the concept flourished, giving that generation a venue to view popular movies in a more intimate, semi-private environment than offered by a regular theater. However, the concept was dealt massive blows in the end of TheSeventies and TheEighties, with many of the culprits being the oil crisis, hikes in property taxes that made such spacious properties hard to maintain (particularly as formerly rural areas became encroached by suburbia), and the emergence of home video, cable television, and larger multiplexes with wider varieties. There was also the fact that, unlike regular theaters, drive-ins were at the mercy of weather; those in the northern states typically closed in the winter, thus giving them much less time to generate profits, while many others saw costly damage due to high winds or tornadoes. By this point, many had come to mainly showing exploitation movies and/or porn to draw wider audiences, which worked in the short-term but often drew the ire of MoralGuardians and especially irked neighbors. The number of drive-ins nationwide plummeted in these decades, with countless ones being taken for other purposes (many became flea markets or golf driving ranges; others were demolished for new development; and still others have been left completely abandoned for upwards of 20-30 years). However, a brave few drive-ins soldiered on, trading mainly on Baby Boomer nostalgia. But it was that same nostalgia that led not only to interest in patronizing and preserving the few that were still open, but also even opening a few new ones. The concept has also been modernized for contemporary moviegoers, as many drive-ins now feature digital projection, stereo sound, and multiple screens. The drive-in theater got another boost during the COVID-19 pandemic in 2020, as moviegoers could enjoy films outside of the home while staying relatively safe in their cars.
[[/folder]]]
* [[TheMall Shopping malls]], of all things, have been going through this since about TheEighties. Overly optimistic development resulted in a massive surplus of retail space across the US, causing older generations of malls to start dying off as newer, larger complexes replaced them. This, combined with rampant demographic shifts in urban areas, helped create the first generations of "dead malls" in the US (the UrExample being Dixie Square Mall in the Chicago suburb of Harvey, which closed in 1978 and, after being repurposed for a famous scene in ''Film/TheBluesBrothers'', was left to decay until it was finally torn down in the mid 2010s.) Malls continued to decline throughout TheNineties as rampant competition in the retail market did a number on a large number of clothing stores and department stores, causing many to severely retrench or go out of business entirely (including older department stores such as Montgomery Ward and Woolworth). The large number of youths hanging out there gave shoppers the impression that malls were {{Teenage Wasteland}}s and made many women, who did most of the shopping, feel unsafe, believing these teens to be "gang-affiliated," and go elsewhere. And then by the end of the decade, the rise of "big box" stores and e-commerce took further pieces out of the retail pie, as did a myriad of department store mergers. It was in this climate that a huge number of malls began to die off entirely, most commonly aging and unremodeled centers that had failed to keep up with the times. What few malls were being built by the TurnOfTheMillennium were typically "lifestyle centers" in more affluent areas, boasting upscale shops and restaurants in a streetscape setting, or "power centers", largely composed of the aforementioned big-box stores -- both of which were also starting to become common redevelopment tactics for struggling indoor malls. Not a single enclosed mall was built in the US between 2006 and 2014. The mid 2000s-early 2010s economic crisis certainly didn't help, as seen by General Growth Properties, one of the largest mall companies in the U.S., filing for bankruptcy...\\\
Then came TheNewTens, when many malls began to go on [[http://commercialconstructionblog.com/retail-construction-trends-shopping-center-construction-enters-renaissance-with-renovation-work/ massive renovation sprees]] that are bringing in plenty of new stores. Also, two new malls finally opened in the U.S. in 2014 (one in Sarasota, Florida, the other in The Bronx), and a struggling mall in suburban Washington, D.C. was gutted and rebuilt... as a new ''enclosed'' mall. While "dead malls" are still prominent, the suburban malls that are not dying are keeping themselves relevant by adopting the more main street-like style of the "lifestyle centers" (a driving force in the trend to put the "urban" in "suburban"), luring in new and noteworthy tenants to make up for retrenching retailers (particularly "fast fashion" clothing stores such as [=H&M=] and Forever 21, trendy restaurants, fitness centers, etc.) and undergoing eye-catching renovations to keep the concept of "going to the mall" relevant to a newer generation...\\\
Then came the "retail apocalypse" since 2016 and amplified by the COVID-19 pandemic since 2020, where a disproportionately large number of popular mall stores went through large amounts of closings or gone out of business entirely, including major department store chain The Bon-Ton. Combined with frequent store closings from the three major department store chains (J.C. Penney, Macy's, and Sears), creating further holes to be filled in malls countrywide (although discount-oriented department stores, such as Kohl's, Burlington, and Marshalls/TJ Maxx, have thrived). At the same time, social media became the place to hang out rather than the local decaying mall, especially for younger people. Despite these closures, many malls have worked around this by introducing more big-box stores; entertainment complexes (high-end theaters, bowling alleys, large-format arcades such as Dave & Buster's); unconventional tenants such as libraries, storefront churches, playplaces, or secondhand shops; or even non-retail use (one notable example being Fairlane Town Center in Dearborn, Michigan, which replaced a long-vacant department store with Ford offices). Indoor shopping malls remain popular in areas where extreme weather conditions prevail, [[GermansLoveDavidHasselhoff particuarly in the Middle East]], mainly due to the fact that they're, well, indoors and thus provide climate-controlled places to walk around no matter what's going on outside. Even as the retail scene shifts, it appears that the American mall still has some life left in it.
* The DriveInTheater has seen a resurgence as of the 21st century. Throughout TheFifties and into TheSeventies, the concept flourished, giving that generation a venue to view popular movies in a more intimate, semi-private environment than offered by a regular theater. However, the concept was dealt massive blows in the end of TheSeventies and TheEighties, with many of the culprits being the oil crisis, hikes in property taxes that made such spacious properties hard to maintain (particularly as formerly rural areas became encroached by suburbia), and the emergence of home video, cable television, and larger multiplexes with wider varieties. There was also the fact that, unlike regular theaters, drive-ins were at the mercy of weather; those in the northern states typically closed in the winter, thus giving them much less time to generate profits, while many others saw costly damage due to high winds or tornadoes. By this point, many had come to mainly showing exploitation movies and/or porn to draw wider audiences, which worked in the short-term but often drew the ire of MoralGuardians and especially irked neighbors. The number of drive-ins nationwide plummeted in these decades, with countless ones being taken for other purposes (many became flea markets or golf driving ranges; others were demolished for new development; and still others have been left completely abandoned for upwards of 20-30 years). However, a brave few drive-ins soldiered on, trading mainly on Baby Boomer nostalgia. But it was that same nostalgia that led not only to interest in patronizing and preserving the few that were still open, but also even opening a few new ones. The concept has also been modernized for contemporary moviegoers, as many drive-ins now feature digital projection, stereo sound, and multiple screens. The drive-in theater got another boost during the COVID-19 pandemic in 2020, as moviegoers could enjoy films outside of the home while staying relatively safe in their cars.
[[/folder]]]
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* Skateboarding has similarly fluctuated in and out of popularity so much that nobody seems to care whether or not it's "in", least of all the skaters themselves. Skateboarding was big in the mid-to-late Seventies, largely on the back of the popularity of surfing at that time. It died away in the early Eighties, until, of all things, ''Film/BackToTheFuture1'' mainstreamed it again.
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* At the dawn of TheNineties, most observers in the computer world had given up UsefulNotes/{{Unix}} for dead, due to the fragmentation among vendors and the GNU Project's [[DevelopmentHell slowness in developing a free replacement]]. Then a Finnish grad student by the name of Linus Torvalds released the Linux kernel to the Internet. It was rapidly adopted by GNU and various Linux distributions (though Richard Stallman [[InsistentTerminology prefers you call it "GNU/Linux", thank you very much]]), have provided a viable alternative to Windows and Mac operating systems. Open source systems based on BSD also popped up in the early '90s (Mac OS X is based in part on [=FreeBSD=].) They're most successful as servers and in high-powered applications such as animation rendering and supercomputers.
* The programming language Lisp had been considered dead ever since the "[[http://en.wikipedia.org/wiki/AI_Winter AI Winter]]" caused all the funds for artificial intelligence research (which was the field most Lisp programmers worked in) to dry up. The language has seen a revival of interest, however, in The TurnOfTheMillennium and TheNewTens largely thanks to Paul Graham.
* The programming language Lisp had been considered dead ever since the "[[http://en.wikipedia.org/wiki/AI_Winter AI Winter]]" caused all the funds for artificial intelligence research (which was the field most Lisp programmers worked in) to dry up. The language has seen a revival of interest, however, in The TurnOfTheMillennium and TheNewTens largely thanks to Paul Graham.
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* Netbooks, small low-powered laptops designed for web surfing, were popular in the late '00s, but died off after Apple introduced the [=iPad=]. Chromebooks, powered by Google's Chrome OS, have become popular, particularly in schools, for their ease of use and low maintenance.
* Bill Gates became famous for the BASIC programming language, and Microsoft's [[UsefulNotes/{{MSX}} operating]] [[UsefulNotes/MicrosoftWindows systems]]. Then he became the world's richest man, and Microsoft was a MegaCorp with questionable business practices and unreliable software such as certain UsefulNotes/MicrosoftWindows versions, and thus the general public thought of Gates as a CorruptCorporateExecutive. Then in 2000 two things happened that along the years improved Gates' reputation, his NumberTwo [[LargeHam Steve Ballmer]] become Microsoft CEO and thus face of the company, and the establishment of the Bill & Melinda Gates Foundation, the world's wealthiest charity organization. The high profile philanthropy ended the {{Demonization}}, and perception of Gates changed from an UpperClassTwit and cutthroat businessman to a someone who [[UnclePennybags wanted to make the world better.]] However, his popularity would take a major blow in 2021 when he announced that he and Melinda were getting divorced, with reports coming out shortly after that cited his potential relationship with notorious pedophile Jeffrey Epstein as a major reason why. This, along with [[EatTheRich growing distrust of the mega-rich]] throughout UsefulNotes/TheNewTens and The New Twenties, led to further scrutiny of Gates, which revealed that many of his charitable activities were more self-serving than they appeared at first, and were seen by many as attempts to wrest control of issues such as public health and education from public hands into private ones. In particular, his opposition to waiving patents on vaccines for the UsefulNotes/COVID19Pandemic also drew a lot of criticism, since many parts of the world, especially poorer countries, were struggling to obtain enough vaccines to inoculate their populations in time to curb the rapid spread of the virus.
* Watches are an odd case of this--originally they were vanity items that most people couldn't afford, but over time they became cheaper to produce until they became ubiquitous, and uninteresting. When smartphones became equally universal, watches disappeared due to the redundancy of carrying an additional device that only tells time... or so you would think, but instead their status as a hot vanity item returned, with well-off people wearing glitzed-up old-fashioned watches, or "smart watches" to go with their smartphones.
* Back in the 1990s and 2000s Nokia were the leading manufacturer of cellphones, chances are that if you owned a cellphone back then there's a high chance that it would have been a Nokia. But in 2007, Apple launched the iPhone which triggered the smartphone revolution. Nokia were late to the smartphone game and decided to use Windows Mobile as opposed to Android which decimated their reputation. In 2014 their mobile division was sold to Microsoft and was pretty much dead. But in 2016 HMD Global (publicly trading as Nokia Mobile) was founded after several former Nokia employees bought out Microsoft Mobile, this time Nokias would run on Android. Sales grew rather quickly, with many praising its price-quality scale, they even repopularised the "dumb phone" which has sold well with the growing wave of 1990s-2000s nostalgia.
* Likewise, the traditional cellphone, also known as the "dumbphone" or the feature phone, has made a comeback recently. They fell out of fashion after the rise of the smartphone but as of late they're now making quite the comeback due to the backlash against smartphones and social media as well as nostalgia for the 1990s and 2000s.
* Typewriters were mostly replaced by word processing software on personal computers starting in the 1980s, but some writers have rediscovered typewriters, citing the distraction-free writing environment and claiming the need to think about what they're typing improves their writing. Creator/TomHanks is a notable typewriter fan, collecting old machines and even writing a book of short stories that involves a typewriter in some way.
* Bill Gates became famous for the BASIC programming language, and Microsoft's [[UsefulNotes/{{MSX}} operating]] [[UsefulNotes/MicrosoftWindows systems]]. Then he became the world's richest man, and Microsoft was a MegaCorp with questionable business practices and unreliable software such as certain UsefulNotes/MicrosoftWindows versions, and thus the general public thought of Gates as a CorruptCorporateExecutive. Then in 2000 two things happened that along the years improved Gates' reputation, his NumberTwo [[LargeHam Steve Ballmer]] become Microsoft CEO and thus face of the company, and the establishment of the Bill & Melinda Gates Foundation, the world's wealthiest charity organization. The high profile philanthropy ended the {{Demonization}}, and perception of Gates changed from an UpperClassTwit and cutthroat businessman to a someone who [[UnclePennybags wanted to make the world better.]] However, his popularity would take a major blow in 2021 when he announced that he and Melinda were getting divorced, with reports coming out shortly after that cited his potential relationship with notorious pedophile Jeffrey Epstein as a major reason why. This, along with [[EatTheRich growing distrust of the mega-rich]] throughout UsefulNotes/TheNewTens and The New Twenties, led to further scrutiny of Gates, which revealed that many of his charitable activities were more self-serving than they appeared at first, and were seen by many as attempts to wrest control of issues such as public health and education from public hands into private ones. In particular, his opposition to waiving patents on vaccines for the UsefulNotes/COVID19Pandemic also drew a lot of criticism, since many parts of the world, especially poorer countries, were struggling to obtain enough vaccines to inoculate their populations in time to curb the rapid spread of the virus.
* Watches are an odd case of this--originally they were vanity items that most people couldn't afford, but over time they became cheaper to produce until they became ubiquitous, and uninteresting. When smartphones became equally universal, watches disappeared due to the redundancy of carrying an additional device that only tells time... or so you would think, but instead their status as a hot vanity item returned, with well-off people wearing glitzed-up old-fashioned watches, or "smart watches" to go with their smartphones.
* Back in the 1990s and 2000s Nokia were the leading manufacturer of cellphones, chances are that if you owned a cellphone back then there's a high chance that it would have been a Nokia. But in 2007, Apple launched the iPhone which triggered the smartphone revolution. Nokia were late to the smartphone game and decided to use Windows Mobile as opposed to Android which decimated their reputation. In 2014 their mobile division was sold to Microsoft and was pretty much dead. But in 2016 HMD Global (publicly trading as Nokia Mobile) was founded after several former Nokia employees bought out Microsoft Mobile, this time Nokias would run on Android. Sales grew rather quickly, with many praising its price-quality scale, they even repopularised the "dumb phone" which has sold well with the growing wave of 1990s-2000s nostalgia.
* Likewise, the traditional cellphone, also known as the "dumbphone" or the feature phone, has made a comeback recently. They fell out of fashion after the rise of the smartphone but as of late they're now making quite the comeback due to the backlash against smartphones and social media as well as nostalgia for the 1990s and 2000s.
* Typewriters were mostly replaced by word processing software on personal computers starting in the 1980s, but some writers have rediscovered typewriters, citing the distraction-free writing environment and claiming the need to think about what they're typing improves their writing. Creator/TomHanks is a notable typewriter fan, collecting old machines and even writing a book of short stories that involves a typewriter in some way.
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* Franchise/{{Lego}}, popular plastic building blocks created in 1949. The toys have always been relatively popular, but in the late '90s/early 2000s, the Lego Company decided to start licensing popular franchises such as ''Franchise/StarWars''. Lego suddenly boomed in popularity with video games, fan-made stop motion videos, and in 2014 a [[WesternAnimation/TheLegoMovie highly successful movie]].
** The LEGO fandom has a term specifically for individual fans going through their own popularity polynomial; they love the bricks as a kid, but lose interest in their teens in the "dark ages" before eventually rekindling their interest, sometimes more strongly than before.
* {{Pinball}} has seen its ups and downs in popularity. It was the dominant type of arcade game until the 1970's, when video games became inexpensive enough to manufacture for arcade owners, and intensified through the first half of the 80's with hits like ''VideoGame/PacMan'' and ''VideoGame/DonkeyKong''. Pinball then became popular again with ''Pinball/SpaceShuttle'' leading the charge, which featured an accurate scale model of a space shuttle inside, an impression no video game at the time could replicate. With nothing like it to follow up, however, pinball soon lost ground to video games again in the late 80's as video game technology became more advanced, allowing for more diverse gameplay and visuals where pinball, by nature, is stuck with a static image. This changed with ''Pinball/TheAddamsFamily'' in 1992, whose many modes and deep theme integration allowed pinball to once again compete on even terms with video games at arcades. By the end of the 90's, however, arcades in North America were becoming unpopular as console and computer video gaming allowed people to play within their homes as much as they wanted, combined with the increasing complexity and length of games as a whole. For nearly the entirety of [[TurnOfTheMillennium the 2000s]], pinball seemed to be practically dead, with Creator/{{Stern}} being the only major manufacturer left. This changed around 2012, when multiple developments combined to create an upsurge in popularity. Simulator games like ''VideoGame/ThePinballArcade'' helped spark new interest in the medium, prompting people to either find machines in public to play to see how they're like in person (or, if one could afford it, buy them for home use). In addition, Creator/JerseyJackPinball was founded and put out ''Pinball/TheWizardOfOz'' in 2013; its many features and innovations, particularly the use of a screen instead of a dot-matrix display, gave Stern a true competitor and opened the floodgates for several more upstart companies to try their hand in the field over the course of TheNewTens. Pinball has also been riding on the back of the retro gaming craze, with many newer arcades hosting both video games and pinball machines. This renewed popularity can be seen in Stern's sales increasing ''300%'' between 2012 and 2014.
** The LEGO fandom has a term specifically for individual fans going through their own popularity polynomial; they love the bricks as a kid, but lose interest in their teens in the "dark ages" before eventually rekindling their interest, sometimes more strongly than before.
* {{Pinball}} has seen its ups and downs in popularity. It was the dominant type of arcade game until the 1970's, when video games became inexpensive enough to manufacture for arcade owners, and intensified through the first half of the 80's with hits like ''VideoGame/PacMan'' and ''VideoGame/DonkeyKong''. Pinball then became popular again with ''Pinball/SpaceShuttle'' leading the charge, which featured an accurate scale model of a space shuttle inside, an impression no video game at the time could replicate. With nothing like it to follow up, however, pinball soon lost ground to video games again in the late 80's as video game technology became more advanced, allowing for more diverse gameplay and visuals where pinball, by nature, is stuck with a static image. This changed with ''Pinball/TheAddamsFamily'' in 1992, whose many modes and deep theme integration allowed pinball to once again compete on even terms with video games at arcades. By the end of the 90's, however, arcades in North America were becoming unpopular as console and computer video gaming allowed people to play within their homes as much as they wanted, combined with the increasing complexity and length of games as a whole. For nearly the entirety of [[TurnOfTheMillennium the 2000s]], pinball seemed to be practically dead, with Creator/{{Stern}} being the only major manufacturer left. This changed around 2012, when multiple developments combined to create an upsurge in popularity. Simulator games like ''VideoGame/ThePinballArcade'' helped spark new interest in the medium, prompting people to either find machines in public to play to see how they're like in person (or, if one could afford it, buy them for home use). In addition, Creator/JerseyJackPinball was founded and put out ''Pinball/TheWizardOfOz'' in 2013; its many features and innovations, particularly the use of a screen instead of a dot-matrix display, gave Stern a true competitor and opened the floodgates for several more upstart companies to try their hand in the field over the course of TheNewTens. Pinball has also been riding on the back of the retro gaming craze, with many newer arcades hosting both video games and pinball machines. This renewed popularity can be seen in Stern's sales increasing ''300%'' between 2012 and 2014.
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[[folder:Clothing]]
* Eyewear (both CoolShades and NerdGlasses) has varied greatly through the years: Beginning in TheRoaringTwenties, and thanks to Creator/HaroldLloyd, glasses became a fashionable element[[note]]Prior to that, if you wore glasses, it was because you were an intellectual, a clergyman, an older person or UsefulNotes/TheodoreRoosevelt[[/note]]. These were initially made of tortoiseshell, which by TheGreatDepression and through UsefulNotes/WorldWarII had been displaced by the more cost-efficient metal rims. Sunglasses also originated during the Jazz Age, first used by movie stars around 1922 and publicly introduced in 1929.
** Post-WWII spectacles were made of tortoiseshell, and later plastic[[note]]Shuron Ronsirs/Ray-Ban Browlines were introduced in 1947, Ray-Ban Wayfarers appeared in 1952[[/note]], which by the end of TheSixties were seen as too conformist. Then metallic frames took over[[note]]While first made in 1937, it wasn't until about '68 when Ray-Ban Aviators were used outside military circles[[/note]] during TheSeventies, but by the end of the decade, plastics returned big time[[note]]Wayfarers were boosted primarily by the film ''Film/TheBluesBrothers'' and by the NewWaveMusic movement[[/note]] to dominate TheEighties. TheNineties and UsefulNotes/The2000s brought back metals[[note]]''Series/{{Jackass}}'' contributed to the Aviators' newborn popularity[[/note]] aside from sporty wraparounds, while TheNewTens did the same with plastic[[note]]80s nostalgia, {{Hipster}}s and ''Series/MadMen'' were instrumental for a return to Wayframes[[/note]].
* Men's underpants seem to go through this cycle. The Coopers (now “Jockey”) underwear company introduced briefs for men in the 1930s -- which caused a sensation, as they were skimpier than most underpants at the time. This gradually brought about a change in men's intimate and leisurely fashions, with shorter underpants replacing the boxer shorts and long johns previously popular and male swimmers, bodybuilders, and surfers wearing skimpy trunks instead of the one-piece swimsuits from the 1920s. By the 1970s and the early '80s, wearing midthigh-length shorts as underwear was thought to be hopelessly old-fashioned, with only older men daring to be caught in them. Then the pendulum swung back: in the late 1980s and TheNineties, [[WildMassGuessing perhaps as a backlash against the burgeoning gay culture or maybe due to inspiration from the ultra-manly, proletarian fashion sense of Seattle grunge rock]], boxer shorts (especially plaid ones) became cool again, and during the 90s and 2000s, wearing briefs ([[MaliciousMisnaming given the notorious cognomen “tighty-whiteys” during this period]]) was often thought of as effeminate or immature. Eventually, though, with the rise of "slim-fit" in the 2010s, the two sides met in the middle, so that now in most department stores you can easily find [[FusionDance boxer briefs]], [[NonindicativeName which have leg bands and are form-fitting just like briefs but have leg sections]] (of varying lengths) like boxer shorts. Additionally, men wearing the classic brief is on the increase again as well. When it comes to ProfessionalWrestling, however, [[UnderwearOfPower this trope has always been inoperative]].
* Two-piece swimsuits have balanced between conservative high-waisted models and skimpy bikinis: The former ones were the predominant ones between TheRoaringTwenties and TheFifties (thus being retroactively known as "pin-ups"). Bikinis took over during TheSixties and TheSeventies[[note]]They have been around since 1946, but in the United States only became prominent in the mid-to-late 60s[[/note]], showing more and more skin as time passed. "Pin-ups" returned with a vengeance in TheEighties, while the pendulum swung back towards bikinis and thongs in TheNineties and UsefulNotes/The2000s. TheNewTens' "conservative revolution" however, brought a trend of showing as little skin as possible, leading to a resurgence of the high-waisted "pin-up". One-piece swimsuits tend to vary their front cleavage influenced by how much skin two-piece suits show.
[[/folder]]
* Eyewear (both CoolShades and NerdGlasses) has varied greatly through the years: Beginning in TheRoaringTwenties, and thanks to Creator/HaroldLloyd, glasses became a fashionable element[[note]]Prior to that, if you wore glasses, it was because you were an intellectual, a clergyman, an older person or UsefulNotes/TheodoreRoosevelt[[/note]]. These were initially made of tortoiseshell, which by TheGreatDepression and through UsefulNotes/WorldWarII had been displaced by the more cost-efficient metal rims. Sunglasses also originated during the Jazz Age, first used by movie stars around 1922 and publicly introduced in 1929.
** Post-WWII spectacles were made of tortoiseshell, and later plastic[[note]]Shuron Ronsirs/Ray-Ban Browlines were introduced in 1947, Ray-Ban Wayfarers appeared in 1952[[/note]], which by the end of TheSixties were seen as too conformist. Then metallic frames took over[[note]]While first made in 1937, it wasn't until about '68 when Ray-Ban Aviators were used outside military circles[[/note]] during TheSeventies, but by the end of the decade, plastics returned big time[[note]]Wayfarers were boosted primarily by the film ''Film/TheBluesBrothers'' and by the NewWaveMusic movement[[/note]] to dominate TheEighties. TheNineties and UsefulNotes/The2000s brought back metals[[note]]''Series/{{Jackass}}'' contributed to the Aviators' newborn popularity[[/note]] aside from sporty wraparounds, while TheNewTens did the same with plastic[[note]]80s nostalgia, {{Hipster}}s and ''Series/MadMen'' were instrumental for a return to Wayframes[[/note]].
* Men's underpants seem to go through this cycle. The Coopers (now “Jockey”) underwear company introduced briefs for men in the 1930s -- which caused a sensation, as they were skimpier than most underpants at the time. This gradually brought about a change in men's intimate and leisurely fashions, with shorter underpants replacing the boxer shorts and long johns previously popular and male swimmers, bodybuilders, and surfers wearing skimpy trunks instead of the one-piece swimsuits from the 1920s. By the 1970s and the early '80s, wearing midthigh-length shorts as underwear was thought to be hopelessly old-fashioned, with only older men daring to be caught in them. Then the pendulum swung back: in the late 1980s and TheNineties, [[WildMassGuessing perhaps as a backlash against the burgeoning gay culture or maybe due to inspiration from the ultra-manly, proletarian fashion sense of Seattle grunge rock]], boxer shorts (especially plaid ones) became cool again, and during the 90s and 2000s, wearing briefs ([[MaliciousMisnaming given the notorious cognomen “tighty-whiteys” during this period]]) was often thought of as effeminate or immature. Eventually, though, with the rise of "slim-fit" in the 2010s, the two sides met in the middle, so that now in most department stores you can easily find [[FusionDance boxer briefs]], [[NonindicativeName which have leg bands and are form-fitting just like briefs but have leg sections]] (of varying lengths) like boxer shorts. Additionally, men wearing the classic brief is on the increase again as well. When it comes to ProfessionalWrestling, however, [[UnderwearOfPower this trope has always been inoperative]].
* Two-piece swimsuits have balanced between conservative high-waisted models and skimpy bikinis: The former ones were the predominant ones between TheRoaringTwenties and TheFifties (thus being retroactively known as "pin-ups"). Bikinis took over during TheSixties and TheSeventies[[note]]They have been around since 1946, but in the United States only became prominent in the mid-to-late 60s[[/note]], showing more and more skin as time passed. "Pin-ups" returned with a vengeance in TheEighties, while the pendulum swung back towards bikinis and thongs in TheNineties and UsefulNotes/The2000s. TheNewTens' "conservative revolution" however, brought a trend of showing as little skin as possible, leading to a resurgence of the high-waisted "pin-up". One-piece swimsuits tend to vary their front cleavage influenced by how much skin two-piece suits show.
[[/folder]]
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* American cars:
** Those from TheFifties are beloved today, with their huge tailfins and large amounts of chrome. However, when they went out of style in TheSixties, they went out ''hard''. Back then, few people who could afford it would be caught dead driving around in a '57 Bel Air. It didn't help that a lot of that stylish chrome decoration had a tendency to fall off after a few years due to rust. It was only with the rise of 50s-era nostalgia in general in TheSeventies and especially TheEighties that cars from that decade started to be more appreciated.
** The 1980s themselves have been considered to be the last era of "true car design" in both the US and Europe as oil was no longer a concern and automakers now focused on innovative designs, leading to the spacecraft-like cars of the late 80s such as the Ford Taurus and the Citroen XM. However, TheNineties brought a focus on environmentalism and [[PoliticalOvercorrectness "blander" designs]] (as a result of the consolidation between American and European companies) that in the long run stripped cars from their personality. These claims became really popular by the second half of the 2000s (with the oil crisis and the car industry downturn) as these became relics of a better time for automobiles..
** The lifecycle of a car design has stretched considerably since the 1990s as well: Until 1990-92, companies changed their ''entire'' lineup every 2 or 3 years (overhauling everything every 4 or 5 years) before the First Gulf War and the 1989-93 depression shook things up. Today, a new car can be exhibited at major shows almost a year before it hits the market; then comes a 5-7 year production cycle and upwards of a 20-year period before examples of a discontinued model that was popular when new are rare enough not to be an everyday sight. Expect at least another ten or even 15 years after ''that'' for them to start showing up at classic-car events.
* The trend towards environmentalism and energy efficiency in the cultural consciousness has done this for a lot of seemingly "outdated" technologies and vehicles:
** The post-war American car market has constantly cycled between demand for larger, roomier, more powerful automobiles and smaller, more efficient ones. In TheFifties and TheSixties, the trend was toward "bigger is better" with land-yachts and muscle cars to show off the newfound wealth of America's middle class. Then, the Arab oil embargo caused demand to shift towards compact and midsize cars and, later, minivans for most of TheSeventies and the first half of TheEighties. As a new generation came of age with little memory of the energy crises, large vehicles came back into style in the late 80s and 90s (except for a brief period around 1991 with the Gulf War) and up to UsefulNotes/The2000s, this time in the form of [[HummerDinger large SUVs]]. Now, thanks to the spikes in gas prices of 2005 (post-Hurricane Katrina) and 2008, compounded with the economic recession in-between, [=SUVs=] were out (With falling oil prices during the mid-2010s, larger cars became popular again), and crossovers, hybrids and compacts were in, as well as...
** Minivans. As mentioned, they were huge in TheEighties as a fuel-efficient alternative to land-yacht station wagons (the fuel crises of TheSeventies still fresh in everyone's mind), but faded away in the late '90s, thanks to [=SUVs=], the perception that the average minivan owner was a boring "soccer mom" suburbanite, and the fact that the styling was getting blander -- compare, say, the [[http://en.wikipedia.org/wiki/File:1994-1996_Chevrolet_Lumina_APV.jpg Chevy Lumina]] and the [[http://en.wikipedia.org/wiki/File:1996-2000_Toyota_Tarago_(TCR10R)_GLi_van_02.jpg Toyota Previa]] to the [[http://en.wikipedia.org/wiki/File:2004-2007_Ford_Freestar.jpg Ford Freestar]]. While they didn't entirely dispose of their uncool reputation, minivans saw a small resurgence after the decline of the [=SUV=] market, due to their similar capacity and greater fuel efficiency.
** Small "econo-box" autos and hatchbacks. During the height of the last "Bigger is Better" craze during late in TheNineties and early in the TurnOfTheMillennium, it seemed as though the only choices for new car owners were [[FateWorseThanDeath four-door sedans and body-on-frame SUVs]]. After 2005, though, vehicles like the new Mini Cooper and various hybrids began selling so fast that it took years before the automakers could meet demand, and older models such as the Geo Metro and Volkswagen Beetle can sell for up to triple their Blue Book value on the used car market on the basis of fuel economy alone. The American automakers even started importing some of their compact European models to meet this new demand, ending decades of NoExportForYou -- to such success that it has been cited as one of the reasons for the revitalization of Detroit's "Big Three" after decades of seemingly interminable decline.
** In the 1970s, the oil crisis led to calls for more efficient cars, as well for alternative fuel sources. This led to the development of the electric car (actually the concept is as old as cars themselves), which by the 1990s attracted public attention as well as federal support. In the 2000s government subsidies were cut, and automakers developed "hybrid" motors that used both electricity and gasoline. Rising oil prices in the late 2000s and early 2010s as well as higher environmental consciousness led to an increased popularity of hybrids and fully electric cars.
** Up until TheSeventies, bicycles were seen primarily as transportation, and were built with full fenders and used either single speed or 3-speed internal gear hubs. Once the health craze launched a cycling boom in the early 80s, many people started switching to racing bikes, which strove to add more gears and lighter materials. Older cruisers, "English" 3-speeds, and even the steel 10-speeds made at the start of the biking boom came to be seen as extremely dorky. But later a shift back to the use of bikes for transportation led to the return of internal gear hubs, single speeds, and even fixed-gear bikes, with specialty makers building custom steel frames instead of aluminum or carbon fiber. The racing bikes, by contrast, are now the ones that are seen as dorky, while the once-cool lycra riding uniforms associated with them are now viewed as symbols of the nadir of [[TheEighties '80s]] fashion.
** Motor scooters: The Vespa was all the rage in TheFifties and TheSixties, becoming a symbol of the "mod" and "beat" subcultures and an emblem of the Swinging London era. After falling off the radar in TheSeventies (the decade when a relatively huge Harley would be considered ''tiny''), there were minor revivals across TheEighties (the "New Wave" era) and, to a lesser extent, in the second half of TheNineties (when metro areas began repopulating with younger people influenced by the "Cool Britannia" spirit). After UsefulNotes/The2000s' fascination with chopper-building realities, TheNewTens came with another scooter craze.
** City centers. After UsefulNotes/WorldWarII, when the G.I. Bill[[note]]Short version -- a law passed near the end of the war that gave veterans access to higher education, as well as loans to buy homes and to start businesses.[[/note]], cheap gas, cheap land, the new Interstate Highway System, and the postwar baby boom created an enormous demand for housing that couldn't be met by the cities alone. As a result, this led to a massive boom in {{Suburbia}} and cities began to expand outward rather than upward leading to a phenomenon known as "white flight" in which middle-class white families moved out to the suburbs fleeing the late 1960s race riots, taking their tax dollars with them and leaving the cities behind to decay ''hard''. However, since as early as TheNineties, city centers have seen a resurgence in popularity especially among younger folk due to factors such as better public transit and walkability, proximity to work and cultural attractions, and frustration with suburban life and automobile gridlock. The 2005 oil crisis and economic downturn and the 2008 housing collapse left many "Sun Belt" cities almost empty.
** Subverted by the fact many "Sun Belt" towns have re-engineered themselves into more "urban" places akin to European metro areas, leading to a fast recovery of the area, also bolstered by the fact the Northeast ends up facing hurricanes almost every September-October.
** Averted with metropolitan UsefulNotes/LosAngeles. During the '70s and '80s, the city had a relatively peaceful image thanks to its fair balance between the city and suburbs, specially compared with the [[WretchedHive "Rust Belt" Northeast]], where places such as UsefulNotes/NewYorkCity and UsefulNotes/{{Chicago}} [[TheBigRottenApple had hair-raising crime rates]] while UsefulNotes/WashingtonDC was noted for its screwed-up council (one mayor was caught smoking crack [[ControversyProofImage but got re-elected anyway]]). However, the underlying tension (especially in racial terms) suddenly exploded with the Rodney King riots in 1992, which resulted in LA becoming what it had avoided in the past decades (or, depending on where you sit, revealing that it had always been like that under its clean surface). This helped many ailing Atlantic cities (especially the Giuliani-era New York) as businesses left L.A.
** Streetcars (or Trams for the British). After UsefulNotes/WorldWarII, a combination of cheap gas and the growing popularity of buses (and, according to {{conspiracy theorist}}s, some [[http://en.wikipedia.org/wiki/Great_American_streetcar_scandal underhanded tactics]] by the auto industry) led to many streetcar lines falling out of use and eventually being dismantled. The few surviving ones in the West (in East Germany and most other Warsaw Pact nations this was not the case for complex reasons, among them the [[TheAllegedCar Trabbi]].), such as those in UsefulNotes/SanFrancisco and UsefulNotes/NewOrleans, persisted more for their historical and tourism value than anything else, though UsefulNotes/{{Toronto}}'s is retained for its transportation value to complement [[UsefulNotes/TorontoSubway the city's then-new subway system]]. When cities ''did'' invest in mass transit, it would often be in the form of buses and subways that wouldn't threaten the flow of automobile traffic on the streets. In TheNineties and the TurnOfTheMillennium, however, the green movement and later on fears over rising gas prices led several cities to build or expand tram lines or "light rail" systems, which are essentially streetcars with decades worth of new technology, but also their alleged "flaws" have become their biggest assets, including bigger vehicles compared to buses (making for more capacity), their above ground running (eliminating some of the problems of dark muggy subway stations), their stable fixed routes (leading to measurably higher investment along routes/stations than bus service) and their overhead electric traction, more efficient than gas or third rails (all the rage in the era of renewable energy).
** First class rail travel. Yes, you heard that correctly. You see, back in the days when rail travel was invented, there were (at least) three classes. [[ValuesDissonance Just like in society]]. However, beginning in TheRoaringTwenties, rich people started having alternatives to rail travel, namely planes and automobiles. By the 1950s the European railways (now state-owned) decided to gut first class as a cost-saving measure. But of course having a second and third class but no first would not sell well. So in a clever bit of marketing they simply uptitled the existing lower two classes while doing some cosmetic fixes to third class (e.g. getting rid of the wooden seats with no padding in third class). The only exception to this was Britain, where some law said there always had to be third class (though there [[LoopholeAbuse wasn't anything keeping anybody from abolishing ''second'' class]]). In the 1970s, rising prices of gas as well as the introduction of UsefulNotes/HighSpeedRail in the 1980s once more expanded the market for rail travel and suddenly new "premium" services for UsefulNotes/HighSpeedRail started being offered. The rail market also grew in UsefulNotes/The2000s due to [[OverreactingAirportSecurity post-9/11 airport security hassles]] and the growing awareness of air travel's environmental impacts. Nowadays, you can get "business" class, "club" class, "preferente" or whatever the marketing department comes up with. On the Acela Express (Boston - New York - Washington), you can chose between Business and First -- no Coach Class for you (also something that last happened on a large scale in the 1950s).[[note]]You can however travel in coach on the "Northeast Regional" which travels the same route at lower speeds and with more intermediate stops[[/note]] So in essence, First Class rail travel was abolished and second class was retitled first class, only for "real" first class to make a comeback half a century later. There has even been a move to discourage taking flights in favor of rail, particularly in Europe, due to air travel's greenhouse gas emissions. France, who developed the TGV, banned short-haul flights within the country and a number of companies, including Creator/TheBBC, prohibit employees on official business from flying if an equivalent train journey takes less than six hours.
** In the 2000s "carpooling" was seen to be an attitude of the 90s that no one wanted to remember (and something only gen-Xers would admit to do). However, the increasing difficulty of driving downtown has led to the rise of "share-ride" services like Uber and Cabify, now touted as the new face of public transportation. This has also led to fewer 20- and 30-somethings (even 40-somethings) looking for cars of their own.
** Those from TheFifties are beloved today, with their huge tailfins and large amounts of chrome. However, when they went out of style in TheSixties, they went out ''hard''. Back then, few people who could afford it would be caught dead driving around in a '57 Bel Air. It didn't help that a lot of that stylish chrome decoration had a tendency to fall off after a few years due to rust. It was only with the rise of 50s-era nostalgia in general in TheSeventies and especially TheEighties that cars from that decade started to be more appreciated.
** The 1980s themselves have been considered to be the last era of "true car design" in both the US and Europe as oil was no longer a concern and automakers now focused on innovative designs, leading to the spacecraft-like cars of the late 80s such as the Ford Taurus and the Citroen XM. However, TheNineties brought a focus on environmentalism and [[PoliticalOvercorrectness "blander" designs]] (as a result of the consolidation between American and European companies) that in the long run stripped cars from their personality. These claims became really popular by the second half of the 2000s (with the oil crisis and the car industry downturn) as these became relics of a better time for automobiles..
** The lifecycle of a car design has stretched considerably since the 1990s as well: Until 1990-92, companies changed their ''entire'' lineup every 2 or 3 years (overhauling everything every 4 or 5 years) before the First Gulf War and the 1989-93 depression shook things up. Today, a new car can be exhibited at major shows almost a year before it hits the market; then comes a 5-7 year production cycle and upwards of a 20-year period before examples of a discontinued model that was popular when new are rare enough not to be an everyday sight. Expect at least another ten or even 15 years after ''that'' for them to start showing up at classic-car events.
* The trend towards environmentalism and energy efficiency in the cultural consciousness has done this for a lot of seemingly "outdated" technologies and vehicles:
** The post-war American car market has constantly cycled between demand for larger, roomier, more powerful automobiles and smaller, more efficient ones. In TheFifties and TheSixties, the trend was toward "bigger is better" with land-yachts and muscle cars to show off the newfound wealth of America's middle class. Then, the Arab oil embargo caused demand to shift towards compact and midsize cars and, later, minivans for most of TheSeventies and the first half of TheEighties. As a new generation came of age with little memory of the energy crises, large vehicles came back into style in the late 80s and 90s (except for a brief period around 1991 with the Gulf War) and up to UsefulNotes/The2000s, this time in the form of [[HummerDinger large SUVs]]. Now, thanks to the spikes in gas prices of 2005 (post-Hurricane Katrina) and 2008, compounded with the economic recession in-between, [=SUVs=] were out (With falling oil prices during the mid-2010s, larger cars became popular again), and crossovers, hybrids and compacts were in, as well as...
** Minivans. As mentioned, they were huge in TheEighties as a fuel-efficient alternative to land-yacht station wagons (the fuel crises of TheSeventies still fresh in everyone's mind), but faded away in the late '90s, thanks to [=SUVs=], the perception that the average minivan owner was a boring "soccer mom" suburbanite, and the fact that the styling was getting blander -- compare, say, the [[http://en.wikipedia.org/wiki/File:1994-1996_Chevrolet_Lumina_APV.jpg Chevy Lumina]] and the [[http://en.wikipedia.org/wiki/File:1996-2000_Toyota_Tarago_(TCR10R)_GLi_van_02.jpg Toyota Previa]] to the [[http://en.wikipedia.org/wiki/File:2004-2007_Ford_Freestar.jpg Ford Freestar]]. While they didn't entirely dispose of their uncool reputation, minivans saw a small resurgence after the decline of the [=SUV=] market, due to their similar capacity and greater fuel efficiency.
** Small "econo-box" autos and hatchbacks. During the height of the last "Bigger is Better" craze during late in TheNineties and early in the TurnOfTheMillennium, it seemed as though the only choices for new car owners were [[FateWorseThanDeath four-door sedans and body-on-frame SUVs]]. After 2005, though, vehicles like the new Mini Cooper and various hybrids began selling so fast that it took years before the automakers could meet demand, and older models such as the Geo Metro and Volkswagen Beetle can sell for up to triple their Blue Book value on the used car market on the basis of fuel economy alone. The American automakers even started importing some of their compact European models to meet this new demand, ending decades of NoExportForYou -- to such success that it has been cited as one of the reasons for the revitalization of Detroit's "Big Three" after decades of seemingly interminable decline.
** In the 1970s, the oil crisis led to calls for more efficient cars, as well for alternative fuel sources. This led to the development of the electric car (actually the concept is as old as cars themselves), which by the 1990s attracted public attention as well as federal support. In the 2000s government subsidies were cut, and automakers developed "hybrid" motors that used both electricity and gasoline. Rising oil prices in the late 2000s and early 2010s as well as higher environmental consciousness led to an increased popularity of hybrids and fully electric cars.
** Up until TheSeventies, bicycles were seen primarily as transportation, and were built with full fenders and used either single speed or 3-speed internal gear hubs. Once the health craze launched a cycling boom in the early 80s, many people started switching to racing bikes, which strove to add more gears and lighter materials. Older cruisers, "English" 3-speeds, and even the steel 10-speeds made at the start of the biking boom came to be seen as extremely dorky. But later a shift back to the use of bikes for transportation led to the return of internal gear hubs, single speeds, and even fixed-gear bikes, with specialty makers building custom steel frames instead of aluminum or carbon fiber. The racing bikes, by contrast, are now the ones that are seen as dorky, while the once-cool lycra riding uniforms associated with them are now viewed as symbols of the nadir of [[TheEighties '80s]] fashion.
** Motor scooters: The Vespa was all the rage in TheFifties and TheSixties, becoming a symbol of the "mod" and "beat" subcultures and an emblem of the Swinging London era. After falling off the radar in TheSeventies (the decade when a relatively huge Harley would be considered ''tiny''), there were minor revivals across TheEighties (the "New Wave" era) and, to a lesser extent, in the second half of TheNineties (when metro areas began repopulating with younger people influenced by the "Cool Britannia" spirit). After UsefulNotes/The2000s' fascination with chopper-building realities, TheNewTens came with another scooter craze.
** City centers. After UsefulNotes/WorldWarII, when the G.I. Bill[[note]]Short version -- a law passed near the end of the war that gave veterans access to higher education, as well as loans to buy homes and to start businesses.[[/note]], cheap gas, cheap land, the new Interstate Highway System, and the postwar baby boom created an enormous demand for housing that couldn't be met by the cities alone. As a result, this led to a massive boom in {{Suburbia}} and cities began to expand outward rather than upward leading to a phenomenon known as "white flight" in which middle-class white families moved out to the suburbs fleeing the late 1960s race riots, taking their tax dollars with them and leaving the cities behind to decay ''hard''. However, since as early as TheNineties, city centers have seen a resurgence in popularity especially among younger folk due to factors such as better public transit and walkability, proximity to work and cultural attractions, and frustration with suburban life and automobile gridlock. The 2005 oil crisis and economic downturn and the 2008 housing collapse left many "Sun Belt" cities almost empty.
** Subverted by the fact many "Sun Belt" towns have re-engineered themselves into more "urban" places akin to European metro areas, leading to a fast recovery of the area, also bolstered by the fact the Northeast ends up facing hurricanes almost every September-October.
** Averted with metropolitan UsefulNotes/LosAngeles. During the '70s and '80s, the city had a relatively peaceful image thanks to its fair balance between the city and suburbs, specially compared with the [[WretchedHive "Rust Belt" Northeast]], where places such as UsefulNotes/NewYorkCity and UsefulNotes/{{Chicago}} [[TheBigRottenApple had hair-raising crime rates]] while UsefulNotes/WashingtonDC was noted for its screwed-up council (one mayor was caught smoking crack [[ControversyProofImage but got re-elected anyway]]). However, the underlying tension (especially in racial terms) suddenly exploded with the Rodney King riots in 1992, which resulted in LA becoming what it had avoided in the past decades (or, depending on where you sit, revealing that it had always been like that under its clean surface). This helped many ailing Atlantic cities (especially the Giuliani-era New York) as businesses left L.A.
** Streetcars (or Trams for the British). After UsefulNotes/WorldWarII, a combination of cheap gas and the growing popularity of buses (and, according to {{conspiracy theorist}}s, some [[http://en.wikipedia.org/wiki/Great_American_streetcar_scandal underhanded tactics]] by the auto industry) led to many streetcar lines falling out of use and eventually being dismantled. The few surviving ones in the West (in East Germany and most other Warsaw Pact nations this was not the case for complex reasons, among them the [[TheAllegedCar Trabbi]].), such as those in UsefulNotes/SanFrancisco and UsefulNotes/NewOrleans, persisted more for their historical and tourism value than anything else, though UsefulNotes/{{Toronto}}'s is retained for its transportation value to complement [[UsefulNotes/TorontoSubway the city's then-new subway system]]. When cities ''did'' invest in mass transit, it would often be in the form of buses and subways that wouldn't threaten the flow of automobile traffic on the streets. In TheNineties and the TurnOfTheMillennium, however, the green movement and later on fears over rising gas prices led several cities to build or expand tram lines or "light rail" systems, which are essentially streetcars with decades worth of new technology, but also their alleged "flaws" have become their biggest assets, including bigger vehicles compared to buses (making for more capacity), their above ground running (eliminating some of the problems of dark muggy subway stations), their stable fixed routes (leading to measurably higher investment along routes/stations than bus service) and their overhead electric traction, more efficient than gas or third rails (all the rage in the era of renewable energy).
** First class rail travel. Yes, you heard that correctly. You see, back in the days when rail travel was invented, there were (at least) three classes. [[ValuesDissonance Just like in society]]. However, beginning in TheRoaringTwenties, rich people started having alternatives to rail travel, namely planes and automobiles. By the 1950s the European railways (now state-owned) decided to gut first class as a cost-saving measure. But of course having a second and third class but no first would not sell well. So in a clever bit of marketing they simply uptitled the existing lower two classes while doing some cosmetic fixes to third class (e.g. getting rid of the wooden seats with no padding in third class). The only exception to this was Britain, where some law said there always had to be third class (though there [[LoopholeAbuse wasn't anything keeping anybody from abolishing ''second'' class]]). In the 1970s, rising prices of gas as well as the introduction of UsefulNotes/HighSpeedRail in the 1980s once more expanded the market for rail travel and suddenly new "premium" services for UsefulNotes/HighSpeedRail started being offered. The rail market also grew in UsefulNotes/The2000s due to [[OverreactingAirportSecurity post-9/11 airport security hassles]] and the growing awareness of air travel's environmental impacts. Nowadays, you can get "business" class, "club" class, "preferente" or whatever the marketing department comes up with. On the Acela Express (Boston - New York - Washington), you can chose between Business and First -- no Coach Class for you (also something that last happened on a large scale in the 1950s).[[note]]You can however travel in coach on the "Northeast Regional" which travels the same route at lower speeds and with more intermediate stops[[/note]] So in essence, First Class rail travel was abolished and second class was retitled first class, only for "real" first class to make a comeback half a century later. There has even been a move to discourage taking flights in favor of rail, particularly in Europe, due to air travel's greenhouse gas emissions. France, who developed the TGV, banned short-haul flights within the country and a number of companies, including Creator/TheBBC, prohibit employees on official business from flying if an equivalent train journey takes less than six hours.
** In the 2000s "carpooling" was seen to be an attitude of the 90s that no one wanted to remember (and something only gen-Xers would admit to do). However, the increasing difficulty of driving downtown has led to the rise of "share-ride" services like Uber and Cabify, now touted as the new face of public transportation. This has also led to fewer 20- and 30-somethings (even 40-somethings) looking for cars of their own.
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[[folder:Technology]]
* Throughout the last decade of the 20th century and especially after the start of the 21st, over-the-air (OTA) television and the traditional TV antennas used to receive it fell out of fashion in favor of cable and satellite TV, which offered a larger variety of programming, were less encumbered by content restrictions, and could produce shows with larger budgets thanks to the increased revenue from carriage and/or subscription fees. It got to the point where the most popular and talked-about TV shows were on cable stations, not major networks, and many newly built or renovated homes forwent the installation of TV antennas. In TheNewTens, however, public opinion, especially that of younger audiences, began to sour on cable and satellite, seeing them as obsolete and cumbersome services that force you to pay exorbitant amounts of money for hundreds or thousands of channels that you will only ever watch a handful of, comparing them unfavorably to newer Internet streaming services such as Creator/{{Netflix}} and Creator/HBOMax that are becoming the main source for "premium" programming. Many of these people, or cord-cutters as they came to be known, supplement online streaming services with OTA TV in order to watch programming that can't be found easily online, such as local news and sports, sparking a revival of interest in the service, especially after the transition to digital TV. This is because digital OTA stations offered "digital subchannels" and greater clarity due to the lack of signal compression on cable or satellite, as well as a lack of snow that you'd see on analog channels. In large markets, due to the proliferation of digital subchannels, available OTA channels can rival basic cable. While OTA TV may never return to being the dominant way of watching television like it was in the early days of TV, it is far from going extinct as many predicted.
* Television in general. Beginning in the 1950s, it was ''the'' form of entertainment for families everywhere, but by the 1990s it fell into a rut due to two main factors: one being the internet and newer media such as video games becoming popular, especially among the youth, but most importantly, many networks began turning towards the lowest common denominator and forced "hipness", leading to serious cases of NetworkDecay--which more often than not, meant flooding channels with RealityTelevision by the early 2000s, while the better-regarded shows generally [[ScrewedByTheNetwork got mediocre ratings and often were axed before long]]... unless the show was on premium cable, which gave viewers movie-quality production values for the first time on the "tube" in a weekly basis. However, during the mid/late-00s these shows ended without any worthy replacements, and as a result, people all over were cancelling their cable ''en masse'' and the phrase "who watches TV anymore?" was practically ubiquitous as internet became the medium of choice for audiovisual entertainment. Ironically, it was the web which allowed a renaissance for television in the 2010s, with streaming services, namely Creator/{{Netflix}}, providing a chance for watching whatever one wants anytime they like. The opportunities brought upon by stable revenue and a lack of ''enforced'' censorship led to the making of shows featuring themes and production values that would be unfeasible on traditional TV, often resulting in massive hits. Even shows that were unceremoniously booted by the networks [[VindicatedByCable gained a second life on streaming services]]. By the mid/late-2010s, roughly ''one-third'' of all Internet traffic in the US during certain hours was streaming. The success of Netflix, Hulu and Amazon Video not only led about everyone else to try their hand themselves, creating original content in some cases, but also contributed to the popular appreciation of high-concept series which have contributed to a resurgence of premium cable.
* TV's predecessor, radio, has also gotten a boost in the digital era due to the growth of podcasting, smart speakers and internet/satellite radio. Podcasting has made audio content for news, comedy and dramas popular again after they were overtaken by TV in the '50s. Internet radio, satellite radio, and streaming music have also allowed for greater variety in music programming and lack of censorship instead of the narrow formats of terrestrial radio. Listeners have embraced public radio as an alternative to the sensationalism of cable news. A major reason is that audio offers a relief from the visual overload from the revival of TV mentioned above. The medium had already gotten a boost due to new technology in TheFifties as dramatic programming was moving over to TV with the invention of the transistor radio and Top 40 programming. The former made radio portable in a way that TV wasn't and music programming appealed to a young audience eager to hear the new rock and roll music. Young people were catered to in a way they hadn't been before. Transistor radios were cheap enough that everyone in a household could have one of their own, in contrast to the expense of a TV in the '50s and '60s. The relative cheapness of radio broadcasting meant that stations could also experiment with new genres, such as talk radio or all-news radio.
[[/folder]]
* Throughout the last decade of the 20th century and especially after the start of the 21st, over-the-air (OTA) television and the traditional TV antennas used to receive it fell out of fashion in favor of cable and satellite TV, which offered a larger variety of programming, were less encumbered by content restrictions, and could produce shows with larger budgets thanks to the increased revenue from carriage and/or subscription fees. It got to the point where the most popular and talked-about TV shows were on cable stations, not major networks, and many newly built or renovated homes forwent the installation of TV antennas. In TheNewTens, however, public opinion, especially that of younger audiences, began to sour on cable and satellite, seeing them as obsolete and cumbersome services that force you to pay exorbitant amounts of money for hundreds or thousands of channels that you will only ever watch a handful of, comparing them unfavorably to newer Internet streaming services such as Creator/{{Netflix}} and Creator/HBOMax that are becoming the main source for "premium" programming. Many of these people, or cord-cutters as they came to be known, supplement online streaming services with OTA TV in order to watch programming that can't be found easily online, such as local news and sports, sparking a revival of interest in the service, especially after the transition to digital TV. This is because digital OTA stations offered "digital subchannels" and greater clarity due to the lack of signal compression on cable or satellite, as well as a lack of snow that you'd see on analog channels. In large markets, due to the proliferation of digital subchannels, available OTA channels can rival basic cable. While OTA TV may never return to being the dominant way of watching television like it was in the early days of TV, it is far from going extinct as many predicted.
* Television in general. Beginning in the 1950s, it was ''the'' form of entertainment for families everywhere, but by the 1990s it fell into a rut due to two main factors: one being the internet and newer media such as video games becoming popular, especially among the youth, but most importantly, many networks began turning towards the lowest common denominator and forced "hipness", leading to serious cases of NetworkDecay--which more often than not, meant flooding channels with RealityTelevision by the early 2000s, while the better-regarded shows generally [[ScrewedByTheNetwork got mediocre ratings and often were axed before long]]... unless the show was on premium cable, which gave viewers movie-quality production values for the first time on the "tube" in a weekly basis. However, during the mid/late-00s these shows ended without any worthy replacements, and as a result, people all over were cancelling their cable ''en masse'' and the phrase "who watches TV anymore?" was practically ubiquitous as internet became the medium of choice for audiovisual entertainment. Ironically, it was the web which allowed a renaissance for television in the 2010s, with streaming services, namely Creator/{{Netflix}}, providing a chance for watching whatever one wants anytime they like. The opportunities brought upon by stable revenue and a lack of ''enforced'' censorship led to the making of shows featuring themes and production values that would be unfeasible on traditional TV, often resulting in massive hits. Even shows that were unceremoniously booted by the networks [[VindicatedByCable gained a second life on streaming services]]. By the mid/late-2010s, roughly ''one-third'' of all Internet traffic in the US during certain hours was streaming. The success of Netflix, Hulu and Amazon Video not only led about everyone else to try their hand themselves, creating original content in some cases, but also contributed to the popular appreciation of high-concept series which have contributed to a resurgence of premium cable.
* TV's predecessor, radio, has also gotten a boost in the digital era due to the growth of podcasting, smart speakers and internet/satellite radio. Podcasting has made audio content for news, comedy and dramas popular again after they were overtaken by TV in the '50s. Internet radio, satellite radio, and streaming music have also allowed for greater variety in music programming and lack of censorship instead of the narrow formats of terrestrial radio. Listeners have embraced public radio as an alternative to the sensationalism of cable news. A major reason is that audio offers a relief from the visual overload from the revival of TV mentioned above. The medium had already gotten a boost due to new technology in TheFifties as dramatic programming was moving over to TV with the invention of the transistor radio and Top 40 programming. The former made radio portable in a way that TV wasn't and music programming appealed to a young audience eager to hear the new rock and roll music. Young people were catered to in a way they hadn't been before. Transistor radios were cheap enough that everyone in a household could have one of their own, in contrast to the expense of a TV in the '50s and '60s. The relative cheapness of radio broadcasting meant that stations could also experiment with new genres, such as talk radio or all-news radio.
[[/folder]]
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* Adult-oriented comedies first took off in the late 1970s, with films like ''Film/AnimalHouse'' and ''Film/TheKentuckyFriedMovie'' pushing major boundaries in terms of what constituted "good taste"[[note]]Although, technically, 1972's ''Film/PinkFlamingos'' still holds the record for "raunchiest movie ever made", and unlike most European comedies of the era, these had a plot and could be shown at a regular movie house.[[/note]] and becoming hit films in the process. Unfortunately, a saturation of films in the early '80s, many of which relied solely on VulgarHumor rather than witty writing, dissolved the genre just before ''Film/Ghostbusters1984'' and ''Film/BackToTheFuture1'' led family-friendly humor to dominate comedy. During that time, the decidedly tamer comedy of "teen films" like ''Film/FerrisBuellersDayOff'' in the late '80s and some of the works of actors like [[Creator/PaulReubens Paul "Pee-Wee" Reubens]], Creator/JimCarrey, Creator/RobinWilliams, and Creator/AdamSandler became the norm for more mature audiences. However, ''Film/{{Clerks}}'' became a sleeper hit with its sardonic Gen X-fueled approach to adult humor and the hard-R comedy came back in 1998 when ''Film/TheresSomethingAboutMary'' became a surprise critical and commercial hit. The genre thrived for the next three or four years with such box-office bonanzas as ''Film/AmericanPie'' and ''Film/ScaryMovie''. While the new wave's over-emphasis on high school- and college-centered comedy (what with the audience for such movies moving on to adulthood), ''WesternAnimation/TheSimpsons''' brand of humor influencing family films like ''WesternAnimation/{{Shrek}}'' and the popularity of the risqué sitcoms of Chuck Lorre threatened to dissolve the genre yet again, the films of Creator/JuddApatow, starting with the 2005 hit ''Film/TheFortyYearOldVirgin'', proved that such films could be just as popular with adults as with teenagers, even pre-teens, leading to a "golden age of the raunchy comedy" that peaked around 2007-2009. However, the genre fell apart around 2010 as some of its more common tropes began to attract negative attention, [[ValuesDissonance including some of the language used]]. The most successful "adult" comedy of the early '10s became 2012's ''Film/{{Ted}}'', and even its 2015 sequel tanked. However, by the latter part of the decade, films like ''Film/DaddysHome'', ''Film/{{Deadpool|2016}}'', ''WesternAnimation/SausageParty'', ''Film/MikeAndDaveNeedWeddingDates'' and ''Film/BadMoms'' (a DeconstructiveParody of the "chick-flick" subgenre popular during the early '10s) have successfully pushed the envelope by resorting on less juvenile humor.
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* Adult-oriented comedies first took off in the late 1970s, 1970s and early 1980s, with films like ''Film/AnimalHouse'' ''Film/AnimalHouse'', ''Film/TheKentuckyFriedMovie'', and ''Film/TheKentuckyFriedMovie'' ''Film/{{Porkys}}'' pushing major boundaries in terms of what constituted "good taste"[[note]]Although, technically, 1972's ''Film/PinkFlamingos'' still holds the record for "raunchiest movie ever made", and unlike most European comedies of the era, these had a plot and could be shown at a regular movie house.[[/note]] and becoming hit films in the process. Unfortunately, a saturation of films in the early '80s, mid-'80s, many of which relied solely on VulgarHumor rather than witty writing, dissolved the genre just before as ''Film/Ghostbusters1984'' and ''Film/BackToTheFuture1'' led family-friendly humor to dominate comedy. During that time, the decidedly tamer comedy of "teen films" like ''Film/FerrisBuellersDayOff'' in the late '80s and some of the works of actors like [[Creator/PaulReubens Paul "Pee-Wee" Reubens]], Creator/JimCarrey, Creator/RobinWilliams, and Creator/AdamSandler became the norm for more mature audiences. However, ''Film/{{Clerks}}'' became a sleeper hit with its sardonic Gen X-fueled approach to adult humor and the hard-R gross-out comedy came back in 1998 when ''Film/TheresSomethingAboutMary'' became a surprise critical and commercial hit. The genre thrived for the next three or four years with such box-office bonanzas as ''Film/AmericanPie'' and ''Film/ScaryMovie''. While the new wave's over-emphasis on high school- and college-centered comedy (what with the audience for such movies moving on to adulthood), ''WesternAnimation/TheSimpsons''' brand of humor influencing family films like ''WesternAnimation/{{Shrek}}'' and the popularity of the risqué sitcoms of Chuck Lorre threatened to dissolve the genre yet again, the films of Creator/JuddApatow, starting with the 2005 hit ''Film/TheFortyYearOldVirgin'', proved that such films could be just as popular with adults as with teenagers, even pre-teens, leading to a "golden age of the raunchy comedy" that peaked around 2007-2009. However, the genre fell apart around 2010 as some of its more common tropes began to attract negative attention, [[ValuesDissonance including some of the language used]]. The most successful "adult" comedy of the early '10s became 2012's ''Film/{{Ted}}'', and even its 2015 sequel tanked. However, by the latter part of the decade, films like ''Film/DaddysHome'', ''Film/{{Deadpool|2016}}'', ''WesternAnimation/SausageParty'', ''Film/MikeAndDaveNeedWeddingDates'' and ''Film/BadMoms'' (a DeconstructiveParody of the "chick-flick" subgenre popular during the early '10s) have successfully pushed the envelope by resorting on less juvenile humor.
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Changed line(s) 101 (click to see context) from:
* Hard-R comedies first took off in the late 1970s, with films like ''Film/AnimalHouse'' and ''Film/TheKentuckyFriedMovie'' pushing major boundaries in terms of what constituted "good taste"[[note]]Although, technically, 1972's ''Film/PinkFlamingos'' still holds the record for "raunchiest movie ever made", and unlike most European comedies of the era, these had a plot and could be shown at a regular movie house.[[/note]] and becoming hit films in the process. Unfortunately, a saturation of films in the early '80s, many of which relied solely on VulgarHumor rather than witty writing, dissolved the genre just before ''Film/Ghostbusters1984'' and ''Film/BackToTheFuture1'' led family-friendly humor to dominate comedy. During that time, the decidedly tamer comedy of "teen films" like ''Film/FerrisBuellersDayOff'' in the late '80s and some of the works of actors like [[Creator/PaulReubens Paul "Pee-Wee" Reubens]], Creator/JimCarrey, Creator/RobinWilliams, and Creator/AdamSandler became the norm for more mature audiences. However, ''Film/{{Clerks}}'' became a sleeper hit with its sardonic Gen X-fueled approach to adult humor and the hard-R comedy came back in 1998 when ''Film/TheresSomethingAboutMary'' became a surprise critical and commercial hit. The genre thrived for the next three or four years with such box-office bonanzas as ''Film/AmericanPie'' and ''Film/ScaryMovie''. While the new wave's over-emphasis on high school- and college-centered comedy (what with the audience for such movies moving on to adulthood), ''WesternAnimation/TheSimpsons''' brand of humor influencing family films like ''WesternAnimation/{{Shrek}}'' and the popularity of the risqué sitcoms of Chuck Lorre threatened to dissolve the genre yet again, the films of Creator/JuddApatow, starting with the 2005 hit ''Film/TheFortyYearOldVirgin'', proved that such films could be just as popular with adults as with teenagers, even pre-teens, leading to a "golden age of the raunchy comedy" that peaked around 2007-2009. However, the genre fell apart around 2010 as some of its more common tropes began to attract negative attention, [[ValuesDissonance including some of the language used]]. The most successful "adult" comedy of the early '10s became 2012's ''Film/{{Ted}}'', and even its 2015 sequel tanked. However, by the latter part of the decade, films like ''Film/DaddysHome'', ''Film/{{Deadpool|2016}}'', ''WesternAnimation/SausageParty'', ''Film/MikeAndDaveNeedWeddingDates'' and ''Film/BadMoms'' (a DeconstructiveParody of the "chick-flick" subgenre popular during the early '10s) have successfully pushed the envelope by resorting on less juvenile humor.
to:
* Hard-R Adult-oriented comedies first took off in the late 1970s, with films like ''Film/AnimalHouse'' and ''Film/TheKentuckyFriedMovie'' pushing major boundaries in terms of what constituted "good taste"[[note]]Although, technically, 1972's ''Film/PinkFlamingos'' still holds the record for "raunchiest movie ever made", and unlike most European comedies of the era, these had a plot and could be shown at a regular movie house.[[/note]] and becoming hit films in the process. Unfortunately, a saturation of films in the early '80s, many of which relied solely on VulgarHumor rather than witty writing, dissolved the genre just before ''Film/Ghostbusters1984'' and ''Film/BackToTheFuture1'' led family-friendly humor to dominate comedy. During that time, the decidedly tamer comedy of "teen films" like ''Film/FerrisBuellersDayOff'' in the late '80s and some of the works of actors like [[Creator/PaulReubens Paul "Pee-Wee" Reubens]], Creator/JimCarrey, Creator/RobinWilliams, and Creator/AdamSandler became the norm for more mature audiences. However, ''Film/{{Clerks}}'' became a sleeper hit with its sardonic Gen X-fueled approach to adult humor and the hard-R comedy came back in 1998 when ''Film/TheresSomethingAboutMary'' became a surprise critical and commercial hit. The genre thrived for the next three or four years with such box-office bonanzas as ''Film/AmericanPie'' and ''Film/ScaryMovie''. While the new wave's over-emphasis on high school- and college-centered comedy (what with the audience for such movies moving on to adulthood), ''WesternAnimation/TheSimpsons''' brand of humor influencing family films like ''WesternAnimation/{{Shrek}}'' and the popularity of the risqué sitcoms of Chuck Lorre threatened to dissolve the genre yet again, the films of Creator/JuddApatow, starting with the 2005 hit ''Film/TheFortyYearOldVirgin'', proved that such films could be just as popular with adults as with teenagers, even pre-teens, leading to a "golden age of the raunchy comedy" that peaked around 2007-2009. However, the genre fell apart around 2010 as some of its more common tropes began to attract negative attention, [[ValuesDissonance including some of the language used]]. The most successful "adult" comedy of the early '10s became 2012's ''Film/{{Ted}}'', and even its 2015 sequel tanked. However, by the latter part of the decade, films like ''Film/DaddysHome'', ''Film/{{Deadpool|2016}}'', ''WesternAnimation/SausageParty'', ''Film/MikeAndDaveNeedWeddingDates'' and ''Film/BadMoms'' (a DeconstructiveParody of the "chick-flick" subgenre popular during the early '10s) have successfully pushed the envelope by resorting on less juvenile humor.
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* Even ''Franchise/StarWars'' has had its moments of unpopularity. During the late 1980s and throughout the 1990s, the franchise, while still very popular, was generally regarded to not be any more iconic than other successful blockbuster franchises of the time, such as ''Franchise/IndianaJones'' and ''Franchise/BackToTheFuture''. It's hard to believe now, but when ''Film/{{Spaceballs}}'' came out in 1987, it was widely criticized for parodying a series that wasn't really that relevant anymore. But after the reissue of ''Film/ANewHope'' in 1997 and release of ''Film/ThePhantomMenace'' in 1999, the saga became a pop-culture icon, especially the original trilogy as fans became polarized by the prequels. After the release of ''Film/RevengeOfTheSith'', the last installment in a prequel trilogy that many fans were dissatisfied, the franchise lay somewhat dormant for a full decade until Creator/{{Disney}}'s surprise purchase of Lucasfilm and greenlighting of the sequel trilogy brought it back to prominence. The monster financial success of ''Film/TheForceAwakens'' brought it roaring back to life at the center of pop culture, and the franchise has since reclaimed its rightful glory at the top of the pack, with only Disney's own Franchise/MarvelCinematicUniverse as a real threat to its status at the box office. And after the second Sequel Trilogy installment, ''Film/TheLastJedi'', [[ContestedSequel got mixed reviews among fans]] which, unfortunately, spun into personal attacks against director Creator/RianJohnson and actress Kelly Marie Tran (Rose Tico), which led to a counterbacklash against the more toxic members of the fanbase; [[HeelRealization this made many fans realize that they'd treated both]] Creator/GeorgeLucas [[HeelRealization and Prequel Trilogy actors Ahmed Best (Jar-Jar Binks), Jake Lloyd and Hayden Christensen (Anakin Skywalker) the same way]], and today the PT has begun to be [[VindicatedByHistory seen in a more positive light and amass more defenders and even an unapologetic following]]. This has lead to conflict between sections of the fandom of which follow-up trilogy is better or worse however. On a more general scale, the franchise became accused of relying too heavily on familiar legacy characters and ideas following the Sequel Trilogy’s controversial conclusion in ''Film/TheRiseOfSkywalker'' as evident by the mixed reception of the latest projects, particularly the Disney+ shows ''Series/TheBookOfBobaFett'' and ''Series/ObiWanKenobi'' putting it in the unique predicament of being financially viable on one hand but feeling creatively stagnant on the other as far some observers are concerned.
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* Even ''Franchise/StarWars'' has had its moments of unpopularity. During the late 1980s and throughout the 1990s, the franchise, while still very popular, was generally regarded to as not be being any more iconic than other successful blockbuster franchises of the time, such as ''Franchise/IndianaJones'' and ''Franchise/BackToTheFuture''. It's hard to believe now, but when ''Film/{{Spaceballs}}'' came out in 1987, it was widely criticized for parodying a series that wasn't really that relevant anymore. But after the reissue of ''Film/ANewHope'' in 1997 and the release of ''Film/ThePhantomMenace'' in 1999, the saga became a pop-culture icon, especially the original trilogy as fans became polarized by the prequels. After the release of ''Film/RevengeOfTheSith'', the last installment in a prequel trilogy that many fans were dissatisfied, dissatisfied with, the franchise lay somewhat dormant for a full decade until Creator/{{Disney}}'s surprise purchase of Lucasfilm and greenlighting of the sequel trilogy brought it back to prominence. The monster financial success of ''Film/TheForceAwakens'' brought it roaring back to life at the center of pop culture, and the franchise has since reclaimed its rightful glory at the top of the pack, with only Disney's own Franchise/MarvelCinematicUniverse as a real threat to its status at the box office. And after the second Sequel Trilogy installment, ''Film/TheLastJedi'', [[ContestedSequel got mixed reviews among fans]] which, unfortunately, spun into personal attacks against director Creator/RianJohnson and actress Kelly Marie Tran (Rose Tico), which led to a counterbacklash against the more toxic members of the fanbase; [[HeelRealization this made many fans realize that they'd treated both]] Creator/GeorgeLucas [[HeelRealization and Prequel Trilogy actors Ahmed Best (Jar-Jar Binks), Jake Lloyd and Hayden Christensen (Anakin Skywalker) the same way]], and today the PT has begun to be [[VindicatedByHistory seen in a more positive light and amass more defenders and even an unapologetic following]]. This has lead led to conflict between sections of the fandom of which follow-up trilogy is better or worse worse, however. On a more general scale, the franchise became accused of relying too heavily on familiar legacy characters and ideas following the Sequel Trilogy’s controversial conclusion in ''Film/TheRiseOfSkywalker'' as evident evidenced by the mixed reception of the latest projects, particularly the Disney+ shows ''Series/TheBookOfBobaFett'' and ''Series/ObiWanKenobi'' putting it in the unique predicament of being financially viable on one hand but feeling creatively stagnant on the other as far some observers are concerned.
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* Jumbo airliners have come and gone as a result of technological advancements. The Boeing 747 was introduced for service in 1970, but the demand for 400-seat airliners was not yet established, and airlines opted to purchase smaller aircraft instead. Airlines bought 747s with the hope of expanding their market, but world events prevented it from happening. It was only with the introduction of the Boeing 777, a large twin-engine aircraft, that the market for 400-seat airliners finally matured.
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* Jumbo airliners have come and gone as a result of technological advancements. The Boeing 747 was introduced for service in 1970, but the demand for 400-seat airliners was not yet established, and airlines opted to purchase smaller aircraft instead. Airlines bought 747s with the hope of expanding their market, but world events prevented it from happening. It was only with the introduction of the Boeing 777, 777-300, a large twin-engine aircraft, that the market for 400-seat airliners finally matured.
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[[folder:Transportation]]
* Jumbo airliners have come and gone as a result of technological advancements. The Boeing 747 was introduced for service in 1970, but the demand for 400-seat airliners was not yet established, and airlines opted to purchase smaller aircraft instead. Airlines bought 747s with the hope of expanding their market, but world events prevented it from happening. It was only with the introduction of the Boeing 777, a large twin-engine aircraft, that the market for 400-seat airliners finally matured.
[[/folder]]
* Jumbo airliners have come and gone as a result of technological advancements. The Boeing 747 was introduced for service in 1970, but the demand for 400-seat airliners was not yet established, and airlines opted to purchase smaller aircraft instead. Airlines bought 747s with the hope of expanding their market, but world events prevented it from happening. It was only with the introduction of the Boeing 777, a large twin-engine aircraft, that the market for 400-seat airliners finally matured.
[[/folder]]
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* Terence Rattigan. Ask any critic or theater buff in the '40s and '50s, and they'd probably list Rattigan -- author of '' Film/TheDeepBlueSea'', ''Film/SeparateTables'' and ''Film/TheWinslowBoy'', among others -- as one of England's great playwrights, a master of witty dialogue and refined, well-plotted drama. Just a decade later, with the advent of the "Angry Young Men" (John Osborne, Harold Pinter, etc.) and their more emotional, formally fluid and class-driven work, Rattigan became despised for the very qualities that he'd been praised for. After decades of disfavor, critics in the '90s began analyzing Rattigan's plays through the prism of personal identity and sexual repression, viewing thematic content [[ValuesResonance previous generations had ignored or dismissed]]. With frequent revivals and film adaptations of his work, Rattigan has regained his reputation.
* Believe it or not, the works of Creator/WilliamShakespeare (who, during his lifetime made enough money off of ''something'' to buy his family a coat of arms[[note]]His plays were successful and he was a very good businessman, who made what we can consider sound investments and he was also a moneylender which allowed him to leverage his capital[[/note]]) did not become the canonical greatest writer ever until some 170 years after his death. Some of this has to do with social changes (UsefulNotes/EnglishCivilWar, the Restoration) which led to a period in which Literature/TheDiaryOfSamuelPepys wrote about several of them that they are DarthWiki/SoBadItsHorrible or merely SoOkayItsAverage. In France, an Anglophile like Creator/{{Voltaire}} loved John Locke, Newton, Swift and Pope, but really thought Shakespeare was bad for [[SingleIssueWonk violating the classical unities]]. Shakespeare-craziness really hit high gear in the late 1700s, first in England (under Creator/SamuelJohnson) and then in Germany (where the Enlightenment and Romantic writers were revolting against the French neoclassicism) started celebrating Shakespeare as an example of "genius" where Shakespeare's "little Latin and lesse Greek" (as his good friend [[VitriolicBestBuds Ben Jonson wrote in a commemorative elegy]] on the First Folio) didn't actually hurt the appreciation for him but made him even more of a "miraculous genius" granted natural talents by divine providence.
* Believe it or not, the works of Creator/WilliamShakespeare (who, during his lifetime made enough money off of ''something'' to buy his family a coat of arms[[note]]His plays were successful and he was a very good businessman, who made what we can consider sound investments and he was also a moneylender which allowed him to leverage his capital[[/note]]) did not become the canonical greatest writer ever until some 170 years after his death. Some of this has to do with social changes (UsefulNotes/EnglishCivilWar, the Restoration) which led to a period in which Literature/TheDiaryOfSamuelPepys wrote about several of them that they are DarthWiki/SoBadItsHorrible or merely SoOkayItsAverage. In France, an Anglophile like Creator/{{Voltaire}} loved John Locke, Newton, Swift and Pope, but really thought Shakespeare was bad for [[SingleIssueWonk violating the classical unities]]. Shakespeare-craziness really hit high gear in the late 1700s, first in England (under Creator/SamuelJohnson) and then in Germany (where the Enlightenment and Romantic writers were revolting against the French neoclassicism) started celebrating Shakespeare as an example of "genius" where Shakespeare's "little Latin and lesse Greek" (as his good friend [[VitriolicBestBuds Ben Jonson wrote in a commemorative elegy]] on the First Folio) didn't actually hurt the appreciation for him but made him even more of a "miraculous genius" granted natural talents by divine providence.
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* PC gaming is a nation-specific example in Japan. During TheEighties, gaming on home computers were quite popular, with {{UsefulNotes/MSX}} being the lead with other competing products at the time such as UsefulNotes/FMTowns, UsefulNotes/SharpX68000 and UsefulNotes/PC98. During the [=mid-90s=], consoles dominated the market and relegated the PC platforms to business uses and {{Visual Novel}}s, and less and less companies willing to sell PC games to the Japanese market. In addition to consoles, mobile gaming further decimated them in [[TurnOfTheMillennium the noughties]], leaving almost zero room for them till the late 2010s, when PC as a gaming platform make a comeback in Japan thanks to {{Virtual Youtuber}}s and [[UsefulNotes/ProfessionalGaming e-sports gaming]] (the latter helped by {{Battle Royale Game}}s such as ''VideoGame/PlayerunknownsBattlegrounds'', ''VideoGame/ApexLegends'' and ''VideoGame/{{Fortnite}}'') incentivized them to the gaming population, and also introduced Japanese gamers to PC gaming distribution platforms such as UsefulNotes/{{Steam}}. The return was so strong to the point many Japanese companies decide to bring back their PC porting of their (recent) games for the home market.
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* PC gaming is a nation-specific example in Japan. During TheEighties, gaming on home computers were quite popular, with {{UsefulNotes/MSX}} being the lead with other competing products at the time such as UsefulNotes/FMTowns, Platform/FMTowns, UsefulNotes/SharpX68000 and UsefulNotes/PC98. During the [=mid-90s=], consoles dominated the market and relegated the PC platforms to business uses and {{Visual Novel}}s, and less and less companies willing to sell PC games to the Japanese market. In addition to consoles, mobile gaming further decimated them in [[TurnOfTheMillennium the noughties]], leaving almost zero room for them till the late 2010s, when PC as a gaming platform make a comeback in Japan thanks to {{Virtual Youtuber}}s and [[UsefulNotes/ProfessionalGaming e-sports gaming]] (the latter helped by {{Battle Royale Game}}s such as ''VideoGame/PlayerunknownsBattlegrounds'', ''VideoGame/ApexLegends'' and ''VideoGame/{{Fortnite}}'') incentivized them to the gaming population, and also introduced Japanese gamers to PC gaming distribution platforms such as UsefulNotes/{{Steam}}. The return was so strong to the point many Japanese companies decide to bring back their PC porting of their (recent) games for the home market.
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** By the late 00s, opinions on the studio became to trend positive again, with a nostalgic concensus that Working Designs wasn't always the most professional, but that their as relative pioneers in the RPG translation field would be [[SeinfeldIsUnfunny difficult for newcomers to appreciate]].
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** By the late 00s, opinions on the studio became to trend positive again, with a nostalgic concensus that Working Designs wasn't always the most professional, but that their as relative pioneers in the RPG translation field would be [[SeinfeldIsUnfunny [[OnceOriginalNowCommon difficult for newcomers to appreciate]].
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* UsefulNotes/{{Cricket}} in the USA. It was popular in the early days before being eclipsed by baseball in the post-Civil War era (George Washington himself was a cricket enthusiast). In the 21st century, it is experiencing somewhat of a resurgence in popularity thanks to south Asian immigrants, the availability of streaming services, and the faster-paced T20 format, with Major League Cricket launching in 2023.
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* UsefulNotes/{{Cricket}} in the USA. It was popular in the early days before being eclipsed by baseball in the post-Civil War era (George Washington himself was a cricket enthusiast). In the 21st century, it is experiencing somewhat of a resurgence in popularity thanks to south South Asian immigrants, the availability of streaming services, and the faster-paced T20 format, with Major League Cricket launching in 2023.
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* TabletopGame/DungeonsAndDragons was first published in 1974, and got big in the 80s, with the SatanicPanic [[NoSuchThingAsBadPublicity seen in hindsight to have helped sales rather than hurt them]]. It declined in the 90s when the panic faded, due to TSR's many issues, and was surpassed as the top-selling RPG by ''TabletopGame/VampireTheMasquerade''. TSR eventually collapsed and was bought out by Creator/WizardsOfTheCoast, who launched 3rd Edition and reignited the game's popularity, but 4th Edition was seen as too much of a change by many players, who migrated to ''TabletopGame/{{Pathfinder}}''. 5th Edition was much better recieved, and live plays like ''WebVideo/CriticalRole'' created a surge in interest among people who had not previously been roleplayers.
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* TabletopGame/DungeonsAndDragons ''TabletopGame/DungeonsAndDragons'' was first published in 1974, and got big in the 80s, with the SatanicPanic [[NoSuchThingAsBadPublicity seen in hindsight to have helped sales rather than hurt them]]. It declined in the 90s when the panic faded, due to TSR's many issues, and was surpassed as the top-selling RPG by ''TabletopGame/VampireTheMasquerade''. TSR eventually collapsed and was bought out by Creator/WizardsOfTheCoast, who launched 3rd Edition and reignited the game's popularity, but 4th Edition was seen as too much of a change by many players, who migrated to ''TabletopGame/{{Pathfinder}}''. 5th Edition was much better recieved, and live plays like ''WebVideo/CriticalRole'' created a surge in interest among people who had not previously been roleplayers.
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* UsefulNotes/{{Cricket}} in the USA. It was popular in the early days before being eclipsed by baseball in the post-Civil War era (George Washington himself was a cricket enthusiast). In the 21st century, it is experiencing somewhat of a resurgence in popularity thanks to south Asian immigrants, the availability of streaming services, and the faster-paced T20 format, with Major League Cricket launching in 2023.
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[[folder:Tabletop Games]]
* TabletopGame/DungeonsAndDragons was first published in 1974, and got big in the 80s, with the SatanicPanic [[NoSuchThingAsBadPublicity seen in hindsight to have helped sales rather than hurt them]]. It declined in the 90s when the panic faded, due to TSR's many issues, and was surpassed as the top-selling RPG by ''TabletopGame/VampireTheMasquerade''. TSR eventually collapsed and was bought out by Creator/WizardsOfTheCoast, who launched 3rd Edition and reignited the game's popularity, but 4th Edition was seen as too much of a change by many players, who migrated to ''TabletopGame/{{Pathfinder}}''. 5th Edition was much better recieved, and live plays like ''WebVideo/CriticalRole'' created a surge in interest among people who had not previously been roleplayers.
[[/folder]]
* TabletopGame/DungeonsAndDragons was first published in 1974, and got big in the 80s, with the SatanicPanic [[NoSuchThingAsBadPublicity seen in hindsight to have helped sales rather than hurt them]]. It declined in the 90s when the panic faded, due to TSR's many issues, and was surpassed as the top-selling RPG by ''TabletopGame/VampireTheMasquerade''. TSR eventually collapsed and was bought out by Creator/WizardsOfTheCoast, who launched 3rd Edition and reignited the game's popularity, but 4th Edition was seen as too much of a change by many players, who migrated to ''TabletopGame/{{Pathfinder}}''. 5th Edition was much better recieved, and live plays like ''WebVideo/CriticalRole'' created a surge in interest among people who had not previously been roleplayers.
[[/folder]]
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* "Retro" Anime from the Cel-era fell out of favor in the late 2000s and into the 2010s as newer fans crowded out fans of the older style, preferring modern digitally animated anime. Starting in the late 2010s, as cleaned-up Blu Rays of classic anime were released and both old fans and anime historians became more vocal about the classics of the past, a new appreciation for the historical roots of Anime led to newer fans rediscovering anime of the "Golden age" of the 1980s and early 90s. It's not a huge boom, but will likely prevent those older forms from becoming lost media.
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* In the mid-to-late TurnOfTheMillennium, analog [=CRTs=] were thought to have been rendered obsolete by the arrival of flat-panel digital LCD displays in both the markets for televisions and computer monitors. People quickly rushed out to replace their [=CRTs=] with [=LCDs=] as soon as they could. However, the latter part of TheNewTens saw a revival in interest in [=CRTs=], especially among retro gamers, due to certain advantages they have over modern displays, such as non-existant input lag, and better handling of the low-resolution analog signals output by older consoles, which can look quite poor when upscaled by a digital TV. During this time many purist retro gamers began to insist that a CRT is the only proper way to experience old games, much like certain music fans insist that vinyl is the only way to appreciate music. [[DownplayedTrope However, the complexities in manufacturing [=CRTs=] make it unlikely that the technology will see a rebirth]] [[JustForPun analogous]] to the vinyl revival, relegating this new spark of interest to a small number of enthusiasts tracking down used sets.
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* In the mid-to-late TurnOfTheMillennium, analog [=CRTs=] were thought to have been rendered obsolete by the arrival of flat-panel digital LCD displays in both the markets for televisions and computer monitors. People quickly rushed out to replace their [=CRTs=] with [=LCDs=] as soon as they could. However, the latter part of TheNewTens saw a revival in interest in [=CRTs=], especially among retro gamers, due to certain advantages they have over modern displays, such as non-existant input lag, and better handling of the low-resolution analog signals output by older consoles, which can look quite poor when upscaled by a digital TV. During this time many purist retro gamers began to insist that a CRT is the only proper way to experience old games, much like certain music fans insist that vinyl is the only way to appreciate music. [[DownplayedTrope However, the complexities in manufacturing [=CRTs=] make it unlikely that the technology will see a rebirth]] [[JustForPun analogous]] analogous to the vinyl revival, relegating this new spark of interest to a small number of enthusiasts tracking down used sets.
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** The characters were created during the 1930s and grew immensely popular during the war years, but fizzled out by TheSixties due to the departure of most of its creative team from Creator/WarnerBros[[note]]The studio closed between 1964 and 1967 (the void filled by [=DePatie=]-Freleng), before closing for good in 1969. The final cartoon of the original series was a rare Cool Cat (no, not [[Film/CoolCatSavesTheKids that one]]) cartoon called ''Injun Trouble''.[[/note]] By then, however, the original ''Looney Tunes'' shorts had been repackaged for FirstRunSyndication in the case of the pre-1948 material, and {{Saturday morning cartoon}}s and later prime-time specials for the post-1948 material, renewing their popularity among young people.
** But this too died out with the rise of the MerchandiseDriven "toy shows" of the '80s. And then ''Westernanimation/TinyToonAdventures'', which is all about child {{Expy}}s of the original Tunes, started a revival, culminating in ''Film/SpaceJam'', which combined classic ''Looney Tunes'' humor with a story accessible to '90s youth thanks to the involvement of UsefulNotes/MichaelJordan. The buzz was so large that WB[[note]]which by then had regained the pre-1948 shorts via Time Warner's merger with [[UsefulNotes/TedTurner Turner Broadcasting]][[/note]] released some of the original shorts in [[https://web.archive.org/web/20160318230611/http://looney.goldenagecartoons.com/DVDvideo/VHS/videostarsofsj.html VHS compilations]] to get kids to better familiarize with the classic characters, and today the film is remembered on the Internet as a FountainOfMemes. Between the Creator/CartoonNetwork's "June Bugs" marathons, ''Film/LooneyTunesBackInAction'', and multiple original TV shows (from focused ones like ''Westernanimation/TazMania'' and ''Westernanimation/DuckDodgers'' to ensembles like ''Westernanimation/TheLooneyTunesShow''), the ''Looney Tunes''[='=] popularity has been on-off since then.
** But this too died out with the rise of the MerchandiseDriven "toy shows" of the '80s. And then ''Westernanimation/TinyToonAdventures'', which is all about child {{Expy}}s of the original Tunes, started a revival, culminating in ''Film/SpaceJam'', which combined classic ''Looney Tunes'' humor with a story accessible to '90s youth thanks to the involvement of UsefulNotes/MichaelJordan. The buzz was so large that WB[[note]]which by then had regained the pre-1948 shorts via Time Warner's merger with [[UsefulNotes/TedTurner Turner Broadcasting]][[/note]] released some of the original shorts in [[https://web.archive.org/web/20160318230611/http://looney.goldenagecartoons.com/DVDvideo/VHS/videostarsofsj.html VHS compilations]] to get kids to better familiarize with the classic characters, and today the film is remembered on the Internet as a FountainOfMemes. Between the Creator/CartoonNetwork's "June Bugs" marathons, ''Film/LooneyTunesBackInAction'', and multiple original TV shows (from focused ones like ''Westernanimation/TazMania'' and ''Westernanimation/DuckDodgers'' to ensembles like ''Westernanimation/TheLooneyTunesShow''), the ''Looney Tunes''[='=] popularity has been on-off since then.
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** The characters were created during the 1930s and grew immensely popular during the war years, but fizzled out by TheSixties due to the departure of most of its creative team from Creator/WarnerBros[[note]]The studio closed between 1964 and 1967 (the void filled by [=DePatie=]-Freleng), before closing for good in 1969. The final cartoon of the original series was a rare Cool Cat (no, not [[Film/CoolCatSavesTheKids that one]]) cartoon called ''Injun Trouble''.[[/note]] By then, however, the original ''Looney Tunes'' shorts had been repackaged for FirstRunSyndication in the case of the pre-1948 material, and {{Saturday morning cartoon}}s Morning Cartoon}}s and later prime-time specials for the post-1948 material, renewing their popularity among young people.
** But this too died out with the rise of the MerchandiseDriven "toy shows" of the '80s. And then''Westernanimation/TinyToonAdventures'', ''WesternAnimation/TinyToonAdventures'', which is all about child {{Expy}}s of the original Tunes, started a revival, culminating in ''Film/SpaceJam'', which combined classic ''Looney Tunes'' humor with a story accessible to '90s youth thanks to the involvement of UsefulNotes/MichaelJordan. The buzz was so large that WB[[note]]which by then had regained the pre-1948 shorts via Time Warner's merger with [[UsefulNotes/TedTurner Turner Broadcasting]][[/note]] released some of the original shorts in [[https://web.archive.org/web/20160318230611/http://looney.goldenagecartoons.com/DVDvideo/VHS/videostarsofsj.html VHS compilations]] to get kids to better familiarize with the classic characters, and today the film is remembered on the Internet as a FountainOfMemes. Between the Creator/CartoonNetwork's "June Bugs" marathons, ''Film/LooneyTunesBackInAction'', and multiple original TV shows (from focused ones like ''Westernanimation/TazMania'' ''WesternAnimation/TazMania'' and ''Westernanimation/DuckDodgers'' ''WesternAnimation/DuckDodgers'' to ensembles like ''Westernanimation/TheLooneyTunesShow''), ''WesternAnimation/TheLooneyTunesShow''), the ''Looney Tunes''[='=] popularity has been on-off since then.
** But this too died out with the rise of the MerchandiseDriven "toy shows" of the '80s. And then
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** From the late 1960s through the late '80s, animation's reputation in critical circles went into freefall. While animation was already declining in popularity through the '50s and much of the '60s as the medium migrated to television, the death of Creator/WaltDisney in 1966 marked a tipping point. With most of the biggest names in animation, including Disney, going through their own downturns in the '70s and '80s, the most successful animation came in the form of MerchandiseDriven {{Saturday morning cartoon}}s and the LimitedAnimation of Creator/HannaBarbera and their comtemporaries. The whole period is since as [[UsefulNotes/TheDarkAgeOfAnimation a dark age for animation]], and is credited as the reason why the AnimationAgeGhetto even exists.[[note]]None of this is to say ''no'' good programming came out of this era. Just that a lot of it was blatant toy commercials.[[/note]] The releases of ''Film/WhoFramedRogerRabbit'' and ''WesternAnimation/{{The Little Mermaid|1989}}'', as well as the rise of "creator-driven" television programming in the late 80s-early 90s is seen as the return of [[UsefulNotes/TheRenaissanceAgeOfAnimation animation as an artform]].
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** From the late 1960s through the late '80s, animation's reputation in critical circles went into freefall. While animation was already declining in popularity through the '50s and much of the '60s as the medium migrated to television, the death of Creator/WaltDisney in 1966 marked a tipping point. With most of the biggest names in animation, including Disney, going through their own downturns in the '70s and '80s, the most successful animation came in the form of MerchandiseDriven {{Saturday morning cartoon}}s Morning Cartoon}}s and the LimitedAnimation of Creator/HannaBarbera and their comtemporaries. The whole period is since as [[UsefulNotes/TheDarkAgeOfAnimation a dark age for animation]], and is credited as the reason why the AnimationAgeGhetto even exists.[[note]]None of this is to say ''no'' good programming came out of this era. Just that a lot of it was blatant toy commercials.[[/note]] The releases of ''Film/WhoFramedRogerRabbit'' and ''WesternAnimation/{{The Little Mermaid|1989}}'', as well as the rise of "creator-driven" television programming in the late 80s-early 90s is seen as the return of [[UsefulNotes/TheRenaissanceAgeOfAnimation animation as an artform]].
