History Main / TrendKiller

* ''Series/StarTrekDiscovery'', despite helping to relaunch the TV side of the ''Franchise/StarTrek'' franchise, played a major role in killing off the DarkerAndEdgier, heavily StoryArc-based sci-fi that had been largely standard for the genre since ''Series/BattlestarGalactica2003''. By the late 2010s, the genre was seen as increasingly plagued with shows that suffered from ContinuityLockout, TheChrisCarterEffect and unlikeable characters, and the three-way combination of ''Discovery'' getting a mixed-at-best reaction, the simultaneously-released ''Series/TheOrville'' (a SerialNumbersFiledOff homage to ''Series/StarTrekTheNextGeneration'') getting a much warmer reception from audiences, and the long-derided ''Series/StarTrekVoyager'' (which the ''Battlestar Galactica'' remake was designed to be the SpiritualAntithesis of) being increasingly viewed as VindicatedByHistory caused the ''Star Trek'' franchise and the wider genre to refocus away from this kind of storytelling. ''Series/StarTrekStrangeNewWorlds'' and the final season of ''Series/StarTrekPicard'' were subsequently viewed as having made a better fist of updating the ''Star Trek'' while staying true to the franchise's ethos, while the announcement that ''Discovery'' would be cancelled after its fifth season was widely met with a shrug.

* ''Literature/ThePlagueDogs'' is known for being one of the most depressing animated films ever made. The Western audience wasn't ready at all, so the concept of dark, almost entirely un-comedic animated feature films was shelved in the aftermath. It wasn't until the late 2000s that the concept found a revival with works such as ''Persepolis'' and ''Animation/WaltzWithBashir''. Even these, however, were not widely released in the United States.

* If the "Trend" can be described as a sub-genre, it probably fits under GenreKiller.

* During the 80s, there were several "transforming vehicles" lines on the market, like the big two of 1983's ''WesternAnimation/ChallengeOfTheGoBots'' and 1984's ''WesternAnimation/TheTransformers'', 1985's ''WesternAnimation/{{MASK}}'' and ''WesternAnimation/JayceAndTheWheeledWarriors'', and 1986's ''WesternAnimation/{{Centurions}}''. By 1987, ''Transformers'' were the top dog, but already suffering from declining sales, at least part of which was thanks to the debut of ''[[WesternAnimation/TeenageMutantNinjaTurtles1987 Teenage Mutant Ninja Turtles]]'' and the Platform/NintendoEntertainmentSystem. [[note]]Another big factor was the lack of a concurrently airing cartoon to help sell the characters and thus the toys, thanks to Takara and Hasbro having vastly different ideas on where the series should go.[[/note]] By 1990, the ''Transformers'' toyline died with a whimper, taking the concept of transforming vehicles as a key point of a toyline with them. The Transformers franchise would make a huge comeback thanks to 1996's ''WesternAnimation/BeastWars'' reviving the franchise, followed by a string of increasingly successful entries like the Anime/UnicronTrilogy and [[Film/{{Transformers}} the Michael Bay films]] pushing them back into the spotlight, making it into an old warhorse franchise that isn't going anywhere. But it's the ''only'' "transforming vehicles" series to do so; toylines featuring the concept as a whole haven't been widespread since and the idea is largely seen as the exclusive gimmick of Transformers specifically, to the extent that many of Transformers' former rivals -- most notably the Go-Bots -- have since been [[CanonWelding bought out and welded into the Transformers canon]].

* 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.
* The Viz Media dub of ''Manga/{{Naruto}}'' is often credited for ending the DubInducedPlotlineChange as a strategy for anime distribution. Prior to this, it was common for mainstream anime dubs to completely rewrite scripts, rename characters, edit down plot points, compose new music and sound effects, and do all manner of things to try to localize the series. Viz Media's dub of ''Naruto'' did only the bare minimum of edits, sticking as close to the Japanese script as broadcast standards would allow, and became a smash success, proving that such efforts (and the associated production costs) weren't necessary. This was further contrasted by the infamous 4Kids dub of ''Manga/OnePiece'', which did all of the above and became a significant bomb. After ''Naruto'', most future dubs followed suit, and 4Kids, the main purveyors of this in the 2000s, quickly faded from the public eye before going bankrupt. Nowadays, the only place the trend still remains is in LongRunner franchises aimed at children, whose dubs keep up the old practices (albeit to a reduced degree) more thanks to the GrandfatherClause than anything.
* ''Anime/NeonGenesisEvangelion'' firmly killed the notion that anime appealing to a wide teenager and adult audience were viable only in OVA form. It also ended the "kodomo" era of the mecha genre (as there was declining interest in mecha from the tween and younger teen audiences who overwhelmingly switched to [[FightingSeries battle shounen]] series by the late 1990s) and ushered in a second otaku era, with a noticeably more "anything goes" era, a looser definition of what exactly can be mecha and more serious themes being explored once again, to an extent not seen in the genre since the peak of the [[RealRobotGenre real robot]] boom in the early 1980s.

* ''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 Alex Ross 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.

* The critical and commercial failure of ''WesternAnimation/HomeOnTheRange'' in 2004 was the beginning of the end for Hollywood-produced traditionally animated films, which were already experiencing diminishing returns as audiences gravitated toward CGI films. And while efforts were made to revive the trend to its old heights with ''WesternAnimation/ThePrincessAndTheFrog'' in 2009 and ''WesternAnimation/WinnieThePooh2011'', the relative underperformance of both films (partially as a result of competition against ''Film/{{Avatar}}'' and ''Film/HarryPotterAndTheDeathlyHallowsPart2'') ultimately proved the final nail in the coffin. Nowadays, the only traditionally animated movies being produced for the big screen are based on TV shows, and even ''that'' is changing (e.g., ''WesternAnimation/{{Scoob}}'' and ''WesternAnimation/TheSpongeBobMovieSpongeOnTheRun'' are CGI movies based on the traditionally-animated ''Franchise/ScoobyDoo'' and ''WesternAnimation/SpongeBobSquarePants'').

* The underperformance of ''WesternAnimation/RugratsGoWild'' (2003) ended the trend of theatrically released, animated adaptations of American cartoons. This coincided with the decline of traditionally animated films in Hollywood, which is notable as most American cartoons were traditionally animated. It wouldn't be until the second ''[=SpongeBob=]'' movie, ''Sponge Out of Water'', that it was seen as viable again. Attempts at continuing this trend have been mixed -- ''WesternAnimation/MyLittlePonyTheMovie2017'' and ''WesternAnimation/TeenTitansGoToTheMovies'' were {{Presumed Flop}}s, while ''WesternAnimation/PawPatrolTheMovie'' was a legitimate hit (earning over $100M worldwide).

* ''Film/{{Airplane}}'' was not only a temporary GenreKiller for the DisasterMovie -- it also [[CondemnedByHistory killed the aerial subgenre retroactively]], as the airliner-in-peril/stewardess-lands-the-plane trope of the previous ''Film/{{Airport}}'' series was destroyed, and all the drama with it, since no-one could take it seriously anymore. The only films made since then in the subgenre were either [[Film/{{Sully}} based on a true story]] or had [[Film/SnakesOnAPlane snakes and Samuel L. Jackson on said plane]].

* ''Film/{{Coming to America}}'s'' unflattering parody of the Jheri Curl hairstyle, which was very popular among the African American community in the 1980s and early 1990s, is largely credited for eventually killing off said hairstyle.

** The film ended the trend of adapting young adult dystopian novels. Attempts to rectify this haven't had much success, with film adaptations of ''Film/TheDarkestMinds'' and ''Film/ChaosWalking2021'' bombing and receiving poor reviews. While ''Film/MazeRunnerTheDeathCure'' (2018) fared much better, it was part of a pre-established franchise rather than an attempt at adapting new material, and even that series was experiencing diminishing returns. Another exception is the [[Film/TheHungerGamesTheBalladOfSongbirdsAndSnakes 2023 adaptation]] of ''The Hunger Games'' prequel, ''Literature/TheBalladOfSongbirdsAndSnakes'', which did moderately well at the box office and received generally decent reviews, though this was over seven years after ''Allegiant'''s release and it was also assisted by the enduring popularity of and nostalgia for ''The Hunger Games''.
** ''Allegiant'' also killed the trend of [[DividedForAdaptation splitting the final book]] into [[TheFilmOfTheBook two movies]] started by ''Film/HarryPotterAndTheDeathlyHallows'' in 2010/2011, with the ''Literature/TheTwilightSaga'' and ''Literature/TheHungerGames'' adaptations all following suit and ''Film/TheHobbit'' adaptation being extended to three films (based on one book). The ''Divergent'' series went down the same path, intending to divide ''Allegiant'' into ''Allegiant'' (2016) and ''Ascendant'' (2017). Unfortunately, ''Allegiant'' performed poorly at the box office, which resulted in ''Ascendant'' never being made, and ''Film/TheMazeRunnerSeries''' third film, ''[[Film/MazeRunnerTheDeathCure The Death Cure]]'' (2018) not being split. Even ''[[Franchise/MarvelCinematicUniverse The Avengers]]'' renamed ''[[Film/AvengersInfinityWar Infinity War]] Part 2'' to ''[[Film/AvengersEndgame Endgame]]'' in 2019, while ''Film/JusticeLeague2017 Part 2'' was put on the back burner and eventually QuietlyCancelled before the first movie even came out.
* ''Film/FantasticFour2015'' and ''Film/BatmanVSupermanDawnOfJustice'' killed the trend of superhero movies made to serve as a DarkerAndEdgier ContinuityReboot, one that began with ''Film/BatmanBegins''. ''Batman v Superman'''s underperformance at the box office and negative critical reception is especially notable, because several of the Franchise/DCExtendedUniverse films that were in various stages of production at the time were retooled to be LighterAndSofter in response, to mixed results. ''Fantastic Four'' also killed off the trend of MovieSuperheroesWearBlack, as even the [[Film/XMenFilmSeries X-Men movies]] that started this trend were moving away from this aesthetic starting with ''Film/XMenFirstClass''.

* Adult-geared sex comedies remained wildly popular for most of the 2000s and early 2010s, but due to changes in cultural sensitivities and the Me Too movement in the late 2010s this made it even harder to sneak more intense material. For example, 2011's ''Film/BadTeacher'' and the sequels to 2009's ''Film/TheHangover'' were subject to greater scrutiny than previous works. While 2012's ''Film/{{Ted}}'' and 2014's ''Film/Neighbors2014'' gave adult comedy a shot in the arm, its reputation was affected in 2016 by ''Film/DirtyGrandpa''. It did well at the box office but received such an overwhelmingly negative response that subsequent attempts at adult comedy in the same year either became financial disappointments or outright flops. The slipping box-office numbers (aside from lack of success outside the English-speaking world) largely reduced comedy films to direct-to-video/streaming material with the odd theatrical release, mostly aimed at a female (''Bad Moms'', ''I Feel Pretty'') or unisex "date night" (''Blockers'', ''Good Boys'') audience. 2023's ''Film/NoHardFeelings'' and ''Anyone But You'' aimed to reformulate the sex comedy for a mostly female audience to relative success (the latter being a sleeper hit.

* Wrestling/TheAuthority was the breaking point for the evil Authority figure in wrestling. Due to it exposing all the wrong things that can happen when the role is given to a VillainSue (the fact that they can never lose or be exposed/humiliated, their infinite power which they abused at will), their long bout of TooBleakStoppedCaring, and especially after the confusing payoff in the ''Wrestling/WrestleMania 32'' weekend in 2016, the whole angle gave the [=McMahon=] family (sans Shane) a LOT of XPacHeat, forcing them to go into hiding, then the WWE proceeded to remove the General Manager figure after ''TLC 2019''. Then all other wrestling companies followed suit.

* The opening of Paris' [[Ride/DisneylandParis Walt Disney Studios Park]] is typically credited with bringing the 'studio park' era to an end. Dating back to the 1960's with Universal Studios Hollywood and their Ride/StudioTour, it caught on in the 90's with the duelling openings of Universal Studios Florida and Disney–MGM Studios (today Disney's Hollywood Studios), two parks that embraced the theming of a Hollywood studio backlot and a heavy focus on 'riding the movies'. Companies loved this for its relative budget-friendliness (given that a studio backlot theme doesn't demand intricate, immersive theming) and potential for corporate synergy. Even Paramount and Warner Brothers would try and get in on the trend, purchasing regional parks to highly-variable levels of success. Walt Disney Studios Park in 2002 marked the point where the issues with studio parks became impossible to ignore; its barebones theming and lack of attractions drew attention to how cheap and incoherent these parks could be, particularly when contrasted with their lovingly-detailed late 90's contemporary parks such as Disney's Animal Kingdom and Universal's Islands of Adventure. Today, only Ride/UniversalStudios continue to get away with the concept thanks to the GrandfatherClause, and even there the studio theming is becoming more of TheArtifact as the company seeks to retrofit more immersive 'living lands' such as Ride/TheWizardingWorldOfHarryPotter and Ride/SuperNintendoWorld into them.

* During the 80s, there were several "transforming vehicles" lines on the market, like the big two of 1983's ''WesternAnimation/ChallengeOfTheGoBots'' and 1984's ''WesternAnimation/TheTransformers'', 1985's ''WesternAnimation/{{MASK}}'' and ''WesternAnimation/JayceAndTheWheeledWarriors'', and 1986's ''WesternAnimation/{{Centurions}}''. By 1987, ''Transformers'' were the top dog, but already suffering from declining sales, at least part of which was thanks to the debut of ''[[WesternAnimation/TeenageMutantNinjaTurtles1987 Teenage Mutant Ninja Turtles]]'' and the Platform/NintendoEntertainmentSystem. [[note]]Another big factor was the lack of a concurrently airing cartoon to help sell the characters and thus the toys, thanks to Takara and Hasbro having vastly different ideas on where the series should go.[[/note]]. By 1990, the Transformers toyline died with a whimper, taking the concept of transforming vehicles as a key point of a toyline with them. The Transformers franchise would make a huge comeback thanks to 1996's ''WesternAnimation/BeastWars'' reviving the franchise, followed by a string of increasingly successful entries like the Anime/UnicronTrilogy and the [[Film/{{Transformers}} Michael Bay films]] pushing them back into the spotlight, making it into an old warhorse franchise that isn't going anywhere. But it's the ''only'' "transforming vehicles" series to do so; toylines featuring the concept as a whole haven't been widespread since and the idea is largely seen as the exclusive gimmick of Transformers specifically, to the extent that many of Transformers' former rivals — most notably the Go-Bots — have since been [[CanonWelding bought out and welded into the Transformers canon]].

* The Platform/NintendoDS was released during the mid-2000's, in an era before internet-accessible smartphones became widespread. As such it received a large amount of non-gaming "games", including literature, cookbooks, horoscopes, language tutors, fitness trainers, and even ones that teach players to quit smoking. By the time the late 2000's rolled around, [=iPhones=] and Android smartphones became commonplace, and such apps can be downloaded for free while capable of receiving regular updates. As such, today such DS apps are seen as curiosities at best, and a time capsule of the DS's heyday. It is very telling that the DS's successor, the Platform/Nintendo3DS, largely lacked such apps.

* ''VideoGame/MarvelVsCapcomInfinite'' was considered the nail in the coffin on cinematic story modes in Japanese {{Fighting Game}}s. This was a trend that caught on thanks to Creator/NetherrealmStudios' [[VideoGame/MortalKombat9 2011 reboot of]] ''Franchise/MortalKombat'', which featured a robust story campaign. ''VideoGame/InjusticeGodsAmongUs'', ''VideoGame/MortalKombatX'', and their sequels also featured similar campaigns, and were thus seen as a new industry standard. However, when the trend hopped across the Pacific and Japanese game developers tried to emulate this success with games like ''VideoGame/SoulcaliburV'', ''VideoGame/StreetFighterV'', and ''VideoGame/Tekken7'', the results were considered lackluster at best and detrimental to the games ''at worst''. Then, when ''[=MvC=]: Infinite'' was released with a cinematic mode that was widely panned and reputedly had a negative effect on the game's sales (along with [[OvershadowedByControversy many other scandals]]), that feature was quietly downplayed or absent altogether from subsequent Japanese fighters such as ''VideoGame/SamuraiShodown (2019)'', ''VideoGame/SoulcaliburVI'', and ''VideoGame/GuiltyGearStrive''. [[note]]In the case of ''Soulcalibur VI'', the story was presented in a fashion similar to previous installments of the ''VideoGame/SoulSeries'', blending art-and-text-based exchanges with a handful of cinematics a la Tales of Souls in ''SCIII'' and the story mode of ''SCV'' (ironically enough given the latter game nearly became [[FranchiseKiller the death knell for the series]]). ''Guilty Gear -STRIVE-'', on on the other hand, continued the KineticNovel approach adopted by ''[[VideoGame/GuiltyGearXrd Xrd]]'', once again abandoning the "story progression between battles" template featured in earlier titles that's also more common in Japanese fighters.[[/note]]
* While the general idea of a DreamMatchGame isn't dead, its initial features of [[CanonDiscontinuity non-canonicity]] and [[NoPlotNoProblem lacking plots]] were killed when Creator/{{SNK}}, who pioneered the concept with ''VideoGame/TheKingOfFighters98'' and ''VideoGame/TheKingOfFighters2002'' and made a few others for other series of theirs, ended up with the complete bomb that was ''VideoGame/TheKingOfFightersXII'', which was near universally lambasted for being massively bare-bones compared to its predecessors and essentially being [[ObviousBeta an open beta]] for the canon ''VideoGame/TheKingOfFightersXIII''. While [[UpdatedRerelease updated re-releases]] of both '''98'' and ''2002'' both performed relatively well, ''XII'' ultimately caused too much damage to the initial concept -- tellingly, other "dream match" fighting games since then such as ''[[Franchise/{{Tekken}} Tekken Tag Tournament 2]]'' and ''VideoGame/BlazBlueCrossTagBattle'' have had [[ExcusePlot some degree of plot]] and {{character development}}, with even SNK's own ''VideoGame/SNKHeroinesTagTeamFrenzy'' outright being LooseCanon.

* Initially, 2D FightingGame series tried adapting to the rise of 3D fighters, and gamers in general thinking 2D graphics are obsolete, by making 3D games that combined 2D and 3D fighting game mechanics, such as ''Franchise/MortalKombat'' with ''VideoGame/MortalKombat4'' and its sixth-gen installments, and ''Franchise/TheKingOfFighters'' with the ''Maximum Impact'' sub-series. Once ''VideoGame/StreetFighterIV'' was released to critical and commercial acclaim with its TwoAndAHalfD gameplay, these 2D-3D hybrid fighters were gone, with later ''The King of Fighters'' and ''Mortal Kombat'' games also employing 2½D gameplay as well as other 2D fighters who never tried adapting to this trend like ''VideoGame/GuiltyGear''.

* After the success of ''Film/ForrestGump'', a common method for neurotypical actors [[OscarBait looking out for an easy award]] was to play a character with mental disabilities while affecting the mannerisms of the condition, using the mental transformation angle as proof of their skill. Even otherwise panned films such as ''Film/IAmSam'' would often get nominations if it featured an actor using this method. Then, 2008's ''Film/TropicThunder'' ruthlessly mocked this [[https://www.youtube.com/watch?v=X6WHBO_Qc-Q in an extended sequence]] where the actors explain it to be an obviously mercenary ploy for awards made by actors who don't actually care about the people they portray and show them as InspirationallyDisadvantaged to avoid making audiences uncomfortable, with Tugg Speedman's performance of ''Simple Jack'' being regarded in-universe as a massive critical and financial bomb. The idea was becoming increasingly controversial by the film's release, especially as, unlike ''Forrest Gump'', most of these pictures treated such characters as incompetent morons with no chance at accomplishing anything in life, but after ''Tropic Thunder'', no such film would ever be get an awards nod again, and what few films did feature mental disorders, such as ''Film/SilverLiningsPlaybook'', would have their actors avoid changing their mannerisms. The only major film since then to fit the old template is ''Film/Music2021'', which was a critical and commercial bomb.

* Prior to 2008's ''Film/TropicThunder'', a common method for neurotypical actors seeking OscarBait was to play a character with mental disabilities while affecting the mannerisms of the condition, using the mental transformation angle as proof of their skill. Even otherwise panned films such as ''Film/IAmSam'' would often see nomination if it featured an actor using this method. ''Tropic Thunder'' ruthlessly mocked this [[https://www.youtube.com/watch?v=X6WHBO_Qc-Q in an extended sequence]] where the actors explain it to be an obviously mercenary ploy for awards made by actors who don't actually care about the people they portray and show them as InspirationallyDisadvantaged to avoid making audiences uncomfortable. The idea was already on the decline by the film's release, but after ''Tropic Thunder'', no such film would ever see nomination again, and what few films did feature mental disorders, such as ''Film/SilverLiningsPlaybook'', would have their actors avoid changing their mannerisms. The only major film since then to fit the old template is ''Film/Music2021'', which was a critical and commercial bomb.

* Adult-geared sex comedies remained wildly popular for most of the 2000s and early 2010s, but due to changes in cultural sensitivities and the Me Too movement in the late 2010s this made it even harder to sneak more intense material. For example, 2011's ''Film/BadTeacher'' and the sequels to 2009's ''Film/TheHangover'' were subject to greater scrutiny than previous works. While 2012's ''Film/{{Ted}}'' and 2014's ''Film/Neighbors2014'' gave adult comedy a shot in the arm, its reputation was affected in 2016 by ''Film/DirtyGrandpa''. It did well at the box office but received such an overwhelmingly negative response that subsequent attempts at adult comedy in the same year either became financial disappointments or outright flops. The slipping box-office numbers (aside from lack of success outside the English-speaking world) largely reduced comedy films to direct-to-video/streaming material with the odd limited theatrical release. 2023's ''Film/NoHardFeelings'' has been seen as an attempt to revive the genre, but it's too early to tell if it will be successful.

* Prior to 2008's ''Film/TropicThunder'', a common method for neurotypical actors seeking OscarBait was to play a character with mental disabilities while affecting the mannerisms of the condition, using the mental transformation angle as proof of their skill. Even otherwise panned films such as ''Film/IAmSam'' would often see nomination if it featured an actor using this method. ''Tropic Thunder'' ruthlessly mocked this in an extended sequence where the actors explain it to be an obviously mercenary ploy for awards made by actors who don't actually care about the people they portray and show them as InspirationallyDisadvantaged to avoid making audiences uncomfortable. The idea was already on the decline by the film's release, but after ''Tropic Thunder'', no such film would ever see nomination again, and what few films did feature mental disorders, such as ''Film/SilverLiningsPlaybook'', would have their actors avoid changing their mannerisms. The only major film since then to fit the old template is ''Film/Music2021'', which was a critical and commercial bomb.

* ''Film/ComingToAmerica'''s unflattering parody of the Jheri Curl hairstyle, which was very popular among the African American community in the 1980s and early 1990s, is largely credited for eventually killing off said hairstyle.

* The failure of ''Film/{{Watchmen}}'' killed any attempts at R-rated graphic novel-based movies for nearly a decade. It wasn't until the success of ''Film/{{Deadpool}}'' in 2016 that they were considered again.

** The film ended the trend of adapting young adult dystopian novels. Attempts to rectify this haven't had much success, with film adaptations of ''Film/TheDarkestMinds'' and ''Film/ChaosWalking2021'' bombing and receiving poor reviews. While ''Film/MazeRunnerTheDeathCure'' (2018) fared much better, it was part of a pre-established franchise rather than an attempt at adapting new material, and even that series was experiencing diminishing returns.
** ''Allegiant'' also killed the trend of [[DividedForAdaptation splitting the final book]] into [[TheFilmOfTheBook two movies]] started by ''Film/HarryPotterAndTheDeathlyHallows'' in 2010/2011, with the ''Literature/TheTwilightSaga'' and ''Literature/TheHungerGames'' adaptations all following suit and ''Film/TheHobbit'' adaptation being extended to three films (based on one book). ''Divergent'' series went down the same path, intending to divide ''Allegiant'' into ''Allegiant'' (2016) and ''Ascendant'' (2017). Unfortunately, ''Allegiant'' performed poorly at the box office, which resulted in ''Ascendant'' never being made, and ''Film/TheMazeRunnerSeries''' third film, ''[[Film/MazeRunnerTheDeathCure The Death Cure]]'' (2018) not being split. Even ''[[Franchise/MarvelCinematicUniverse The Avengers]]'' renamed ''[[Film/AvengersInfinityWar Infinity War]] Part 2'' to ''[[Film/AvengersEndgame Endgame]]'' in 2019, while ''Film/JusticeLeague2017 Part 2'' was put on the back burner and eventually QuietlyCancelled before the first movie even came out.

* It may have simply showed up at the right time, but the full-length novel format of the ''Literature/HarryPotter'' books ended the dominance of the 90s "kid pulps" such as ''Literature/{{Animorphs}}'' and ''Literature/{{Goosebumps}}'', which released a new book every month on average.

* ''Film/FantasticFour2015'' and ''Film/BatmanVSupermanDawnOfJustice'' killed the trend of superhero movies made to serve as a DarkerAndEdgier ContinuityReboot, one that began with ''Film/BatmanBegins''. ''Batman v Superman'''s underperformance at the box office and negative critical reception is especially notable, because several of the Franchise/DCExtendedUniverse films that were in various stages of production at the time were retooled to be LighterAndSofter in response, to [[Film/SuicideSquad2016 mixed]] [[Film/JusticeLeague2017 results.]]
** ''Fantastic Four'' also killed off the trend of MovieSuperheroesWearBlack, as even the [[Film/XMenFilmSeries X-Men movies]] that started this trend were moving away from this aesthetic starting with ''Film/XMenFirstClass''.

* ''VideoGame/MarvelVsCapcomInfinite'' was considered the nail in the coffin on cinematic story modes in Japanese {{Fighting Game}}s. This was a trend that caught on thanks to Creator/NetherrealmStudios' [[VideoGame/MortalKombat9 2011 reboot of]] ''Franchise/MortalKombat'', which featured a robust story campaign. ''VideoGame/InjusticeGodsAmongUs'', ''VideoGame/MortalKombatX'', and [[VideoGame/Injustice2 their]] [[VideoGame/MortalKombat11 sequels]] also featured similar campaigns, and were thus seen as a new industry standard. However, when the trend hopped across the Pacific and Japanese game developers tried to emulate this success with games like ''VideoGame/SoulcaliburV'', ''VideoGame/StreetFighterV'', and ''VideoGame/Tekken7'', the results were considered lackluster at best and detrimental to the games ''at worst''. Then, when ''[=MvC=]: Infinite'' was released with a cinematic mode that was widely panned and reputedly had a negative effect on the game's sales (along with [[OvershadowedByControversy many other scandals]]), that feature was quietly downplayed or absent altogether from subsequent Japanese fighters such as ''VideoGame/SamuraiShodown (2019)'', ''VideoGame/SoulcaliburVI'', and ''VideoGame/GuiltyGearStrive''. [[note]]In the case of ''Soulcalibur VI'', the story was presented in a fashion similar to previous installments of the ''VideoGame/SoulSeries'', blending art-and-text-based exchanges with a handful of cinematics a la Tales of Souls in ''SCIII'' and the story mode of ''SCV'' (ironically enough given the latter game nearly became [[FranchiseKiller the death knell for the series]]). ''Guilty Gear -STRIVE-'', on on the other hand, continued the KineticNovel approach adopted by ''[[VideoGame/GuiltyGearXrd Xrd]]'', once again abandoning the "story progression between battles" template featured in earlier titles that's also more common in Japanese fighters.[[/note]]
* While the general idea of a DreamMatchGame isn't dead, its initial features of [[CanonDiscontinuity non-canonicity]] and [[NoPlotNoProblem lacking plots]] were killed when Creator/{{SNK}}, who pioneered the concept with ''VideoGame/TheKingOfFighters98'' and ''VideoGame/TheKingOfFighters2002'' and made a few others for [[VideoGame/FatalFury other series]] [[VideoGame/SamuraiShodown of theirs]], ended up with the complete bomb that was ''VideoGame/TheKingOfFightersXII'', which was near universally lambasted for being massively bare-bones compared to its predecessors and essentially being [[ObviousBeta an open beta]] for the canon ''VideoGame/TheKingOfFightersXIII''. While [[UpdatedRerelease updated re-releases]] of both '''98'' and ''2002'' both performed relatively well, ''XII'' ultimately caused too much damage to the initial concept -- tellingly, other "dream match" fighting games since then such as ''[[Franchise/{{Tekken}} Tekken Tag Tournament 2]]'' and ''VideoGame/BlazBlueCrossTagBattle'' have had [[ExcusePlot some degree of plot]] and {{character development}}, with even SNK's own ''VideoGame/SNKHeroinesTagTeamFrenzy'' outright being LooseCanon.

* Initially, 2D FightingGame series tried adapting to the rise of 3D fighters, and gamers in general thinking 2D graphics are obsolete, by making 3D games that combined 2D and 3D fighting game mechanics, such as ''Franchise/MortalKombat'' with ''VideoGame/MortalKombat4'' and [[VideoGame/MortalKombatDeadlyAlliance its]] [[VideoGame/MortalKombatDeception sixth-gen]] [[VideoGame/MortalKombatArmageddon installments]], and ''Franchise/TheKingOfFighters'' with the ''[[VideoGame/KOFMaximumImpact Maximum]] [[VideoGame/KOFMaximumImpact2 Impact]]'' sub-series. Once ''VideoGame/StreetFighterIV'' was released to critical and commercial acclaim with its TwoAndAHalfD gameplay, these 2D-3D hybrid fighters were gone, with later ''The King of Fighters'' and ''Mortal Kombat'' games also employing 2½D gameplay as well as other 2D fighters who never tried adapting to this trend like ''VideoGame/GuiltyGear''.

* The runaway success of ''WesternAnimation/TeenageMutantNinjaTurtles1987'' gave rise to a whole genre of cartoons starring a team of mutants or FunnyAnimal heroes and accompanying [[MerchandiseDriven toylines]], resulting in ''ComicBook/BuckyOHareAndTheToadWars'' (1991), ''WesternAnimation/ToxicCrusaders'' (1991), ''WesternAnimation/WildWestCOWBoysOfMooMesa'' (1992), ''WesternAnimation/BikerMiceFromMars'' (1993), ''WesternAnimation/StreetSharks'' (1994), and ''WesternAnimation/ExtremeDinosaurs'' (1997). The original TMNT cartoon was such a successful LongRunner (lasting till 1996!) that after its cancellation (which was due to more serious and melodramatic superhero cartoons like ''WesternAnimation/XMenTheAnimatedSeries'' and ''WesternAnimation/BatmanTheAnimatedSeries'' making the campy ''TMNT'' cartoon seem like an outdated joke in comparison. The series tried to adapt to this trend with the "Red Skies" seasons, but ratings continued to go down the toilet until it was cancelled.), the concept of a FunnyAnimal or UpliftedAnimal hero team mostly went with it, with only [[WesternAnimation/TeenageMutantNinjaTurtles2003 future]] [[WesternAnimation/TeenageMutantNinjaTurtles2012 TMNT]] [[WesternAnimation/RiseOfTheTeenageMutantNinjaTurtles adaptations]] managing to enter the mainstream since then.

* ''VideoGame/MarvelVsCapcomInfinite'' was considered the nail in the coffin on cinematic story modes in Japanese {{Fighting Game}}s. This was a trend that caught on thanks to Creator/NetherrealmStudios' [[VideoGame/MortalKombat9 2011 reboot of]] ''Franchise/MortalKombat'', which featured a robust story campaign. ''VideoGame/InjusticeGodsAmongUs'', ''VideoGame/MortalKombatX'', and [[VideoGame/Injustice2 their]] [[VideoGame/MortalKombat11 sequels]] also featured similar campaigns, and were thus seen as a new industry standard. However, when the trend hopped across the Pacific and Japanese game developers tried to emulate this success with games like ''VideoGame/SoulcaliburV'', ''VideoGame/StreetFighterV'', and ''VideoGame/Tekken7'', the results were considered lackluster at best and detrimental to the games ''at worst''. Then, when ''[=MvCI=]'' was released with a cinematic mode that was widely panned and reputedly had a negative effect on the game's sales (along with [[OvershadowedByControversy many other scandals]]), that feature was quietly downplayed or absent altogether from subsequent Japanese fighters such as ''VideoGame/SamuraiShodown (2019)'', ''VideoGame/SoulcaliburVI'', and ''VideoGame/GuiltyGearStrive''. [[note]]In the case of ''Soulcalibur VI'', the story was presented in a fashion similar to previous installments of the ''VideoGame/SoulSeries'', blending art-and-text-based exchanges with a handful of cinematics a la Tales of Souls in ''Soulcalibur III'' and the story mode of ''SCV'' (ironically enough given that game nearly become the ''Soul'' series' FranchiseKiller). ''Guilty Gear -STRIVE-'', on on the other hand, continued the KineticNovel approach adopted by ''[[VideoGame/GuiltyGearXrd Xrd]]'', once again abandoning the "story progression between battles" template featured in earlier titles that's also more common in Japanese fighters.[[/note]]

* ''VideoGame/MarvelVsCapcomInfinite'' was considered the nail in the coffin on cinematic story modes in Japanese {{Fighting Game}}s. This was a trend that caught on thanks to Creator/NetherrealmStudios' [[VideoGame/MortalKombat9 2011 reboot of]] ''Franchise/MortalKombat'', which featured a robust story campaign. ''VideoGame/InjusticeGodsAmongUs'', ''VideoGame/MortalKombatX'', and [[VideoGame/Injustice2 their]] [[VideoGame/MortalKombat11 sequels]] also featured similar campaigns, and were thus seen as a new industry standard. However, when the trend hopped across the Pacific and Japanese game developers tried to emulate this success with games like ''VideoGame/SoulcaliburV'', ''VideoGame/StreetFighterV'', and ''VideoGame/Tekken7'', the results were considered lackluster at best and detrimental to the games ''at worst''. Then, when ''VideoGame/MarvelVsCapcomInfinite'' was released with a cinematic mode that was widely panned and reputedly had a negative effect on the game's sales (along with [[OvershadowedByControversy many other scandals]]), that feature was quietly downplayed or absent altogether from subsequent Japanese fighters such as ''VideoGame/SamuraiShodown (2019)'', ''VideoGame/SoulcaliburVI'', and ''VideoGame/GuiltyGearStrive''. [[note]]In the case of ''Soulcalibur VI'', the story was presented in a fashion similar to previous installments of the ''VideoGame/SoulSeries'', blending art-and-text-based exchanges with a handful of cinematics a la Tales of Souls in ''Soulcalibur III'' and the story mode of ''SCV'' (ironically enough). ''Guilty Gear -STRIVE-'', on on the other hand, continued the KineticNovel approach adopted by ''[[VideoGame/GuiltyGearXrd Xrd]]'', once again abandoning the "story progression between battles" template featured in earlier titles that's also more common in Japanese fighters.[[/note]]

* ''VideoGame/FinalFantasyXIII'' in 2010 was the nail-in-the-coffin for the NoSidepathsNoExplorationNoFreedom trope trend that {{Eastern RPG}}s had been moving toward during the MediaNotes/{{the sixth|GenerationOfConsoleVideoGames}} and [[MediaNotes/TheSeventhGenerationOfConsoleVideoGames seventh]] generation of console games. The game was heavily criticized for leaning so hard into the trope that every single map felt like a "hallway" with no towns or [=NPCs=] to interact with. Every subsequent ''Franchise/FinalFantasy'' (including [[VideoGame/FinalFantasyXIII2 its direct sequel]]), as well as most other {{Eastern RPG}} games, opted to go with a WideOpenSandbox approach starting in the late seven gen and continuing into [[MediaNotes/TheEighthGenerationOfConsoleVideoGames the eighth gen]].

* ''VideoGame/FinalFantasyXIII'' in 2010 was the nail-in-the-coffin for the NoSidepathsNoExplorationNoFreedom trope trend that {{Eastern RPG}}s had been moving toward during the MediaNotes/{{the sixth|GenerationOfConsoleVideoGames}} and [[MediaNotes/TheSixthGenerationOfConsoleVideoGames seventh]] generation of console games. The game was heavily criticized for leaning so hard into the trope that every single map felt like a "hallway" with no towns or [=NPCs=] to interact with. Every subsequent ''Franchise/FinalFantasy'', as well as most other current-gen {{Eastern RPG}} games, have opted to go with a WideOpenSandbox approach.

* ''Videogame/MarvelVsCapcomInfinite'' was considered the nail in the coffin on cinematic story modes in Japanese {{Fighting Game}}s. This was a trend that caught on thanks to Creator/NetherrealmStudios' ''VideoGame/MortalKombat2011'', which featured a robust story campaign. ''VideoGame/InjusticeGodsAmongUs'', ''VideoGame/MortalKombatX'', and [[VideoGame/Injustice2 their]] [[VideoGame/MortalKombat11 sequels]] also featured similar campaigns, and were thus seen as a new industry standard. However, when the trend hopped across the Pacific and Japanese game developers tried to emulate this success with games like ''VideoGame/SoulCaliburV'', ''VideoGame/StreetFighterV'', and ''VideoGame/Tekken7'', the results were considered lackluster at best and detrimental to the games ''at worst''. Then, when ''VideoGame/MarvelVsCapcomInfinite'' was released with a cinematic mode that was widely panned and reputedly had a negative effect on the game's sales (along with [[OvershadowedByControversy many other scandals]]), that feature was quietly downplayed or absent altogether from subsequent Japanese fighters such as ''VideoGame/SamuraiShodown (2019)'', ''VideoGame/SoulCaliburVI'' and ''VideoGame/GuiltyGearStrive''.
* While the general idea of a DreamMatchGame isn't dead, its initial features of [[CanonDiscontinuity non-canonicity]] and [[NoPlotNoProblem lacking plots]] were killed when Creator/{{SNK}}, who pioneered the concept with ''VideoGame/TheKingOfFighters98'' and ''VideoGame/TheKingOfFighters2002'' and made a few others for [[VideoGame/FatalFury other series]] [[VideoGame/SamuraiShodown of theirs]], ended up with the complete bomb that was ''VideoGame/TheKingOfFightersXII'', which was near universally lambasted for being massively bare-bones compared to its predecessors and essentially being [[ObviousBeta an open beta]] for the canon ''VideoGame/TheKingOfFightersXIII''. While {{updated rerelease}}s of both '''98'' and ''2002'' both performed relatively well, ''XII'' ultimately caused too much damage to the initial concept -- tellingly, other dream match fighting games since then such as ''VideoGame/TekkenTagTournament2'' and ''VideoGame/BlazBlueCrossTagBattle'' have had [[ExcusePlot some degree of plot]] and {{character development}}, with even SNK's own ''VideoGame/SNKHeroinesTagTeamFrenzy'' outright being LooseCanon.

* During the 80s, there were several "transforming vehicles" lines on the market, like the big two of 1983's ''WesternAnimation/ChallengeOfTheGoBots'' and 1984's ''WesternAnimation/TheTransformers'', 1985's ''WesternAnimation/{{MASK}}'' and ''WesternAnimation/JayceAndTheWheeledWarriors'', and 1986's ''WesternAnimation/{{Centurions}}''. By 1987, ''Transformers'' were the top dog, but already suffering from declining sales, at least part of which was thanks to the debut of ''[[WesternAnimation/TeenageMutantNinjaTurtles1987 Teenage Mutant Ninja Turtles]]'' and the UsefulNotes/NintendoEntertainmentSystem. [[note]]Another big factor was the lack of a concurrently airing cartoon to help sell the characters and thus the toys, thanks to Takara and Hasbro having vastly different ideas on where the series should go.[[/note]]. By 1990, the Transformers toyline died with a whimper, taking the concept of transforming vehicles as a key point of a toyline with them. The Transformers franchise would make a huge comeback thanks to 1996's ''WesternAnimation/BeastWars'' reviving the franchise, followed by a string of increasingly successful entries like the Anime/UnicronTrilogy and the [[Film/{{Transformers}} Michael Bay films]] pushing them back into the spotlight, making it into an old warhorse franchise that isn't going anywhere. But it's the ''only'' "transforming vehicles" series to do so; toylines featuring the concept as a whole haven't been widespread since and the idea is largely seen as the exclusive gimmick of Transformers specifically, to the extent that many of Transformers' former rivals — most notably the Go-Bots — have since been [[CanonWelding bought out and welded into the Transformers canon]].

* The UsefulNotes/NintendoDS was released during the mid-2000's, in an era before internet-accessible smartphones became widespread. As such it received a large amount of non-gaming "games", including literature, cookbooks, horoscopes, language tutors, fitness trainers, and even ones that teach players to quit smoking. By the time the late 2000's rolled around, [=iPhones=] and Android smartphones became commonplace, and such apps can be downloaded for free while capable of receiving regular updates. As such, today such DS apps are seen as curiosities at best, and a time capsule of the DS's heyday. It is very telling that the DS's successor, the UsefulNotes/Nintendo3DS, largely lacked such apps.
* ''VideoGame/FinalFantasyXIII'' in 2010 was the nail-in-the-coffin for the NoSidepathsNoExplorationNoFreedom trope trend that {{Eastern RPG}}s had been moving toward during the UsefulNotes/{{the sixth|GenerationOfConsoleVideoGames}} and [[UsefulNotes/TheSixthGenerationOfConsoleVideoGames seventh]] generation of console games. The game was heavily criticized for leaning so hard into the trope that every single map felt like a "hallway" with no towns or [=NPCs=] to interact with. Every subsequent ''Franchise/FinalFantasy'', as well as most other current-gen {{Eastern RPG}} games, have opted to go with a WideOpenSandbox approach.
* In addition to serving as a GenreKiller for the pulp-cinematic modern military shooter, ''VideoGame/{{Homefront}}'' also served as the nail in the coffin for the NoSidepathsNoExplorationNoFreedom trope that [[FirstPersonShooter first-person shooters]] had been moving towards in the [[UsefulNotes/TheSeventhGenerationOfConsoleVideoGames seventh]] generation of console games. The game was heavily criticized for leaning so hard onto this trope (among numerous other things) that it actually made the game feel ''boring''. Since then, almost every FirstPersonShooter has tried to add more options to explore the level.

* The UsefulNotes/AtariJaguar and UsefulNotes/Sega32X's commercial failures and widespread negative reception are often credited by analysts with ending the "bit wars" that had dominated the home console market in the early '90s. Whereas the UsefulNotes/TurboGrafx16, UsefulNotes/SegaGenesis, and UsefulNotes/SuperNintendoEntertainmentSystem all tried to appeal to consumers by describing themselves as "16 bit" systems and their third-generation predecessors as only "8-bit," the Jaguar and 32X tried to one-up all of them by positioning themselves as 64-bit and 32-bit systems, respectively. However, journalists quickly exposed how empty Atari's claim was, and this plus the Jaguar and 32X's lack of differentiation from the competition sowed increased skepticism towards bit-based marketing. While "X-bit" distinguishers still stuck around in the public consciousness for the fifth generation (especially with the UsefulNotes/Nintendo64), they were no longer used as selling points by console makers, and the Nintendo 64 ended up firmly beaten by the 32-bit UsefulNotes/PlayStation (while it actually ''was'' 64-bit, few if any of its games were actually capable of making use of this). Come the sixth generation, "8-bit," "16-bit," and "32-bit" would only stick around as labels used by gamers to describe specific styles of games, with newer systems no longer being described in terms of bit width. The increasing plateauing of technology that followed proved a further nail in the coffin; 128-bit computers are still mostly impractical, and 64-bit has long become the standard for home consoles, making bragging about one's bit size a rather pointless endeavor.

* The relative commercial failure of Music/FleetwoodMac's ''Music/{{Tusk|1979}}'' struck a major blow to the popularity of double albums in popular music that would span the next thirty years. The format had long existed on shaky ground due to its high production costs, but ''Tusk'' underselling compared to the blockbuster sales of ''Music/{{Rumours}}'' made labels and artists alike far more reluctant to release double albums except out of necessity. When the rise of [=CDs=] made longer albums fashionable again, the LP versions would either pare down the material or pack the grooves closer to avoid using more than one disc, and double-CD releases are still rare outside of {{live album}}s, compilations, and reissues of double-LP albums that don't fit on one CD. Double-LP albums would only become popular again with the Vinyl Revival, which made it easier to profit off of a MultiDiscWork on vinyl (which was often necessary due to many newer albums still featuring CD-centric runtimes).

* Dedicated controllers for home {{Rhythm Game}}s were once a staple of the genre. Many ''VideoGame/{{BEMANI}}'' ports on [=PS1=] and [=PS2=] have associated official controllers for them, most notably the ''VideoGame/DanceDanceRevolution'' mat, and ''VideoGame/GuitarHero'' would popularize the dedicated rhythm game controller concept in the West with its guitar controller, with ''VideoGame/RockBand'' further expanding on this concept with a drum controller as well; in the late 2000s, it was quite common for a full ''Rock Band'' setup of two guitar controllers, one drum controller, and one microphone for karaoke, to be used at parties. However, this trend went away in the 2010s as the latter two series faded out and Konami stopped producing ''BEMANI'' games for consoles (only to return half a decade later to a subscription-based service for PC ''BEMANI'' ports, which is much less accessible than traditional console ports for a variety of reasons). Nowadays, most players would rather play rhythm games that use something they already have or which has more utility, such as a keyboard[[note]]PC rhythm game players in particular love mechanical keyboards for their durability, feel, and how they are also great for other games and for typing,[[/note]] gamepad, or the touchscreen on smartphones and tablets.

* The relative commercial failure of Music/FleetwoodMac's ''Music/{{Tusk}}'' struck a major blow to the popularity of double albums in popular music that would span the next thirty years. The format had long existed on shaky ground due to its high production costs, but ''Tusk'' underselling compared to the blockbuster sales of ''Music/{{Rumours}}'' made labels and artists alike far more reluctant to release double albums except out of necessity. When the rise of [=CDs=] made longer albums fashionable again, the LP versions would either pare down the material or pack the grooves closer to avoid using more than one disc, and double-CD releases are still rare outside of {{live album}}s, compilations, and reissues of double-LP albums that don't fit on one CD. Double-LP albums would only become popular again with the Vinyl Revival, which made it easier to profit off of a MultiDiscWork on vinyl (which was often necessary due to many newer albums still featuring CD-centric runtimes).

* Adult-geared sex comedies remained wildly popular for most of the 2000s, but stricter MPAA guidelines post-2010 and the Me Too movement late in the decade made it even harder to sneak more intense material. Subsequent attempts at reviving the trend, like ''Film/ProjectX'', have been widely reviled, while 2011's ''Film/BadTeacher'' and the sequels to 2009's ''Film/TheHangover'' were subject to greater scrutiny than previous works. While 2012's ''Film/{{Ted}}'' and 2014's ''Film/Neighbors2014'' gave adult comedy a shot in the arm, its reputation was affected in 2016 by ''Film/DirtyGrandpa''. It did well at the box office but received such an overwhelmingly negative response that subsequent attempts at adult comedy in the same year either became financial disappointments or outright flops. The slipping box-office numbers (aside from lack of success outside the English-speaking world) largely reduced comedy films to direct-to-video/streaming material with the odd limited theatrical release. 2023's ''Film/NoHardFeelings'' has been seen as an attempt to revive the genre, but it's too early to tell if it will be successful.

* 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, which defeats the purpose of buying ringtones.

* 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 it started to lose its novelty, 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, which defeats the purpose of buying ringtones.

* During the 80s, there were several "transforming vehicles" lines on the market, like the big two of 1983's ''WesternAnimation/ChallengeOfTheGoBots'' and 1984's ''WesternAnimation/TheTransformers'', 1985's ''WesternAnimation/{{MASK}}'' and ''WesternAnimation/JayceAndTheWheeledWarriors'', and 1986's ''WesternAnimation/{{Centurions}}''. By 1987, ''Transformers'' were the top dog, but already suffering from declining sales, at least part of which was thanks to the debut of ''[[WesternAnimation/TeenageMutantNinjaTurtles1987 Teenage Mutant Ninja Turtles]]'' and the UsefulNotes/NintendoEntertainmentSystem. [[note]]Another big factor was the lack of a concurrently airing cartoon to help sell the characters and thus the toys, thanks to Takara and Hasbro having vastly different ideas on where the series should go.[[/note]]. By 1990, the Transformers toyline died with a whimper, taking the concept of transforming vehicles as a key point of a toyline with them. The Transformers franchise would make a comeback thanks to 1996's ''WesternAnimation/BeastWars'' reviving the franchise and the [[Film/{{Transformers}} Michael Bay films]] pushing them back into the spotlight, but "transforming vehicles" as a whole haven't been so widespread since.

* 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 consumers discovered that they could just use third-party software and tutorials to create ringtones 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 cheaper on iTunes and Amazon, or just stream the song? It doesn't help that smartphone users will often set their ringtone to silent, which eliminates their purpose.