History Main / TrendKiller

* ''Film/DoctorDolittle'' proving to be a surprising critical and commercial bomb, despite receiving a massive marketing and merchandising, push put the kibosh on merch tie-ins to movies for a while. There were a ''lot'' of unsold animal toys clogging up store shelves in the late sixties, and it caused executives to decide that merch was a high-risk endeavor, scaling it back considerably in future projects. Consequently, a decade later, Fox [[ItWillNeverCatchOn thought nothing]] of giving the director of [[Film/ANewHope a crappy-looking throwback sci-fi flick]] full licensing and merchandising rights in exchange for substantially reduced pay.

* ''Film/DoctorDolittle'' proving to be a surprising critical and commercial bomb despite receiving a massive marketing and merchandising push put the kibosh on merch tie-ins to movies for a while. There were a ''lot'' of unsold animal toys clogging up store shelves in the late sixties, and it caused executives to decide that merch was a high-risk endeavor, scaling it back considerably in future projects. Consequently, a decade later, Fox [[ItWillNeverCatchOn thought nothing]] of giving the director of [[Film/ANewHope a crappy-looking throwback sci-fi flick]] full licensing and merchandising rights in exchange for substantially reduced pay.

* 1986 saw the release of both ''WesternAnimation/RamboTheForceOfFreedom'' (based on 1982's ''Film/FirstBlood'' and 1985's ''Film/RamboFirstBloodPartII'') and ''WesternAnimation/TheRealGhostbusters'' (based on ''Film/Ghostbusters1984'') along with accompanying toylines. While Rambo was in essence a ripoff of ''WesternAnimation/GIJoeARealAmericanHero'', it was still a modest success. Combined with the runaway success of ''The Real Ghostbusters'', this led to a number of children's cartoons and toylines based on non-child-friendly properties. (While ''Ghostbusters'' was rated PG and could be seen by the cartoon and toyline's target demographic, it was a "hard PG", so to speak, with references to sex, profanity and frightening imagery.) 1989 saw the release of ''[[WesternAnimation/RoboCopTheAnimatedSeries RoboCop]]'' (based on 1987's ''[[Film/RoboCop1987 RoboCop]]'', a film that nearly got an X rating for its {{Gorn}}) and ''WesternAnimation/PoliceAcademyTheAnimatedSeries'' (based on 1987's LighterAndSofter PG-rated ''Film/PoliceAcademy4CitizensOnPatrol'' rather than the [[Film/PoliceAcademy hard R-rated original]]). 1991 saw the release of ''WesternAnimation/ToxicCrusaders'' (based on 1984's ''Film/TheToxicAvenger'', [[{{Gorn}} most assuredly not suitable for kids]]). 1991/1992 also saw kid-friendly toylines released for ''Film/Terminator2JudgmentDay'' and ''Film/{{Aliens}}'' despite both properties most assuredly not being kid-friendly. ''The Real Ghostbusters'' puttered along until 1991 (where a combination of ExecutiveMeddling and resulting LighterAndSofter tone eventually killed it), putting an end to the [[MisaimedMarketing trend of marketing adult-oriented properties to children]]. However, [[DemographicDissonantCrossover a new trend of having characters from adult-oriented properties appear in children's media]] emerged instead.

* ''VideoGame/DonkeyKong64'' dealt a huge blow to the late 90's trend of 3D Main/CollectAThonPlatformer with open-ended levels like ''VideoGame/SuperMario64'', ''VideoGame/BanjoKazooie'' and ''VideoGame/SpyroTheDragon'' which became popular as a way of showing off large 3D worlds and 3D movement. DK64 got criticism for focusing too much on its excessive amount of collectibles, which was seen as Main/Padding to some. Further releases in the genre would often be shorter, lower budget affairs that usually garnered mixed reviews and became [[Main/CultClassic Cult Classics]] at best, while mainstream platformers like the ''Franchise/SuperMario'', ''Franchise/SonicTheHedgehog'' and ''VideoGame/{{Rayman}}'' series returned to more linear world design. The trend would experience a resurgence in the late [[Main/TheNewTens New 10's]] by games like ''VideoGame/SuperMarioOdyssey'' and ''VideoGame/AHatInTime'', as well as remakes of older games like ''VideoGame/PacManWorld'' and the aforementioned ''Spyro''.

* ''VideoGame/DonkeyKong64'' dealt a huge blow to the late 90's trend of 3D Main/CollectAThonPlatformer with open-ended levels like ''VideoGame/SuperMario64'', ''VideoGame/BanjoKazooie'' and ''VideoGame/SpyroTheDragon'' which became popular as a way of showing off large 3D worlds and 3D movement. DK64 got criticism for focusing too much on its excessive amount of collectibles, which was seen as Main/Padding to some. Further releases in the genre would often be shorter, lower budget affairs that usually garnered mixed reviews and became [[Main/CultClassic Cult Classics]] at best, while mainstream platformers like the ''Franchise/SuperMario'', ''Franchise/SonicTheHedgehog'' and ''VideoGame/Rayman'' series returned to more linear world design. The trend would experience a resurgence in the late [[Main/TheNewTens New 10's]] by games like ''VideoGame/SuperMarioOdyssey'' and ''VideoGame/AHatInTime'', as well as remakes of older games like ''VideoGame/PacManWorld'' and the aforementioned ''Spyro''.

* ''VideoGame/DonkeyKong64'' dealt a huge blow to the late 90's trend of 3D Main/CollectAThonPlatformer with open-ended levels like ''VideoGame/SuperMario64'', ''VideoGame/BanjoKazooie'' and ''VideoGame/SpyroTheDragon'' which became popular as a way of showing off large 3D worlds and 3D movement. DK64 got criticism for focusing too much on its excessive amount of collectibles, which was seen as Main/Padding to some. Further releases in the genre would often be shorter, lower budget affairs that usually garnered mixed reviews and became [[Main/CultClassic Cult Classics]] at best, while mainstream platformers like the ''Franchise/SuperMario'', ''Franchise/SonicTheHedgehog'' and ''Franchise/Rayman'' series returned to more linear world design. The trend would experience a resurgence in the late [[Main/TheNewTens New 10's]] by games like ''VideoGame/SuperMarioOdyssey'' and ''VideoGame/AHatInTime'', as well as remakes of older games like ''VideoGame/PacManWorld'' and the aforementioned ''Spyro''.

* Nova Spektrum used to host Christmas-themed trade fairs like [=JuleExpo=], which was held for the last time in 2014. The next year, newcomer Oslo Christmas Show turned up to replace it, but was poorly received due to having much less to offer than [=JuleExpo=]. They responded to the negative feedback by saying they'd try to do better next time, but nothing ever materialized, and no other Christmas-themed trade fair has been held at Nova Spektrum since.

* ''ComicBook/KingdomCome'' is credited with ending the trend of the NinetiesAntiHero by presenting a strong argument against the kind of cynicism and apathy that were rampant in the comic industry at the time. The bright, realistic art by Creator/AlexRoss also helped, serving as a stark counterpart to the darker and more unrefined drawing styles popularized by people like Creator/RobLiefeld. Also not helping was ''ComicBook/DeathMate'', a crossover between Creator/ValiantComics and Creator/ImageComics that showcased the worst excesses of the Dark Age ([[TooBleakStoppedCaring More bleakness and edginess than you or your grandma could handle]], ContinuityLockout, ScheduleSlip, and questionable art), [[UsefulNotes/TheGreatComicsCrashOf1996 taking the comic industry]] and small comic book shops (alongside [[CreatorKiller killing Valiant]]) with it. "Their love will end worlds", indeed.

* ''WesternAnimation/TitanAE'' (2000) is often blamed for putting the [[UsefulNotes/TheRenaissanceAgeOfAnimation era where more mature, artistic animation dominated]] much of the medium throughout the late 1980s to the 1990s to its coffin. Its [[UncertainAudience inability to be defined as either a film for kids or a film for mature audiences]], along with rampant ExecutiveMeddling by Fox over budget and time constraints, [[BoxOfficeBomb cost them $100 million]] according to its supervisor, Chris Meledandri.

* The cassette and the Walkman, in turn, were done in by a combined death blow of portable CD players with anti-skip and affordable recordable CD formats in the second half of TheNineties. While portable CD players existed before, they were expensive and would skip when even slightly jostled, making them impractical in actual mobile use. Music fans would either have to make a cassette copy or purchase a prerecorded cassette if it was one of the increasingly common longer albums to listen to music outside the home. Anti-skip made it possible to actually listen to [=CDs=] on the go (albeit at the expense of battery life) as portable CD player prices came down. CD players also became standard equipment in new cars around the same time, and cassette/cigarette lighter adapters made it easy to retrofit existing car stereo systems with portable players. The advent of recordable [=CDs=] also eliminated another niche for the cassette, becoming the recordable digital audio format of choice after the failures of DAT, DCC, and [=MiniDisc=]. Later UsefulNotes/{{MP3}} players would do away with physical media altogether. Cassettes largely disappeared from developed markets by the turn of the millennium, though they would have a minor revival similar to that of vinyl records in the 21st century.
* The Sony BMG rootkit scandal in 2005 played a major role in the death of copy protection in popular music. The rise of home taping in the late '70s instigated a push to [[DigitalPiracyIsEvil deter consumers from copying songs and albums]], which resulted in things such as the "Home Taping is Killing Music" campaign, industry lobbying against Digital Audio Tape, and the inclusion of DRM software on [=CDs=] in the early 2000s. The latter was highly criticized by audiences, analysts, and even Philips, one of the UsefulNotes/CompactDisc's co-inventors, as intrusive and self-sabotaging. However, Sony and BMG's attempts at copy-protecting [=CDs=] earned particularly loud condemnation for the fact that it revolved around covertly installing malware on Windows computers. Following this, copy-protected [=CDs=] would disappear from the music industry, which instead embraced the rise of digital downloads, streaming, and the Vinyl Revival as piracy deterrents.

* Apple's [=iPod=] singlehandedly ended the UsefulNotes/CompactDisc's reign as the dominant format for popular music. With its intuitive design and ability to hold entire libraries of music at one's fingertips, it convinced music fans that they didn't even need physical music anymore. The [=iTunes=] music store also served as TheMoralSubstitute for file sharing by providing a convenient way to buy digital music (as opposed to other efforts backed by major record companies, which fell flat on their face due to various stupid rules and restrictions on what you could do with purchased music). Even after physical music made a comeback in the form of the vinyl and cassette revivals, the CD never fully returned to its original popularity as a format for music distribution.

* The anime adaptation of ''Manga/MyHeroAcademia'' was the nail in the coffin on the trend of continuous anime adaptations of shonen manga. Prior to it, long-running shonen manga like ''Manga/{{Naruto}}'' and ''Manga/{{Bleach}}'' were aired non-stop; while it kept the franchises always visible, their quality was never consistent and the need to avoid [[OvertookTheManga overtaking the manga]] caused frequent filler arcs (''Naruto'''s pre-''Shippuden'' FillerArc being a notorious offender, having been blamed for causing Creator/{{Toonami}}'s initial shutdown). ''My Hero Academia'', in contrast, took a seasonal approach, adapting a group of arcs once a year and releasing it as a season. In addition to all-but eliminating filler and providing much better pacing and animation quality, the format was also better suited for binge-watching, which had become popular by the time the anime came out. Subsequent big shonen titles like ''Manga/JujutsuKaisen'' and ''Manga/DemonSlayerKimetsuNoYaiba'' all followed this format, while the former trend of adapting was left behind.

* In the late [[TheNineties '90s]] and [[TurnOfTheMillennium the oughties]], the music industry sold song snippets usable as ringtones for up to $5 apiece. This practice started to fall out of favour in the late 2000s, when the novelty wore off, and consumers who still wanted ringtones discovered that they could just use third-party software and tutorials to make them themselves. Then the rise of smartphones finished off what was left of the ringtone market -- why buy an overpriced song snippet when you can just connect to the Internet and get the whole thing for a fraction of the price on iTunes or Amazon? It doesn't help that smartphone users will often set their ringtone to silent or vibrate, which defeats the purpose of buying ringtones.

* The inter-war fashion for PurpleProse-laden novels of rural life would probably be considered a trend, drawing on an existing literary pattern, though it may have become a full-on sub-genre -- until Stella Gibbons' ''Literature/ColdComfortFarm'' killed it by the power of effective parody.