Line #39 Main/TrendKiller


1	Every era is defined by trends. They tend to vary in period of popularity and quality, but they don't last forever. Sometimes, it may be because of changes in society or [[TechnologyMarchesOn technology marching on]], causing it to become a DiscreditedTrope. There may also be times when any works making use of a particular trend bomb on a regular basis, leading to creators abandoning said trend.
2
3	This is one level below GenreKiller, though the reasons why both occur are similar -- Genre refers to a category, while a trend refers to an element or trope. For example, Action is a genre. ActionHeroine is an element in Action films.
4
5	Trends tend to be cyclic, which means that their popularity ebbs and flows. If it returns, it is experiencing a PopularityPolynomial, or else it is CondemnedByHistory.
6
7	Genres can be considered a type of trend, as their popularity can be cyclic and they are capable of defining eras. While deciding whether an example falls under this or GenreKiller, consider the following:
8	* If your example concerns a Narrative Trope, it falls here.
9	* If it is based on Meta Concepts such as technologies and adaptations, it is a trend.
10	* If your example concerns a Stylistic Trope, it falls under GenreKiller.
11	* If the "Trend" can be described as a SubGenre, it probably fits under GenreKiller.
12	* If you are still unsure, check [[{{Genres}} this page]] to see what is considered a genre, and [[GenreTropes this page]] to see what is considered a trend.
13
14	Contrast TotallyRadical, where creators try to implement (often outdated) trends in their works as an attempt to stay hip with the current audience. Compare TheRedStapler for when a work of fiction inspires a trend in real life, and BabyNameTrendKiller for when a work makes a name fall out of favour.
15
16	!! [[Administrivia/NoRecentExamplesPlease As TV Tropes does not know time]], please wait at least five years until after the offending work's release. If the trend got revived, there must be a minimum five-year gap between the "killer" and "reviver".
17	----
18
19	!!Examples:
20	[[foldercontrol]]
21
22	[[folder:Anime & Manga]]
23	* 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, anime adaptations of long-running shonen manga like ''Manga/{{Naruto}}'' and ''Manga/{{Bleach}}'' were aired non-stop; while it kept the franchises always visible, the overall quality of their animation 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.
24	* 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 [[Creator/FourKidsEntertainment 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 [[LongRunners Long-Runner]] franchises aimed at children, whose dubs keep up the old practices (albeit to a reduced degree) more thanks to the GrandfatherClause than anything.
25	* ''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 shonen]] 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 {{Real Robot\|Genre}} boom in the early 1980s.
26	* ''Anime/SpaceDandy'' in 2014 is often credited for ending the long-standing history of LateExportForYou when it comes to anime's and getting English dubs in the west. Previously, it was not unheard of for anime series to take a long time for any anime focused distribution company to officially release or have shows available for the western audience, and dubs would sometimes take months to come out, with very rare situations where a show would come out and quickly be dubbed or available. ''Space Dandy'' was one of the first anime to have a release and dub almost simultaneously with the original airing in Japan, proving that it was possible to do so. From there, anime dubbing and distribution companies began picking up the pace, and quickly dubs were coming out. What few shows take a long time to be given overseas releases often are ones that require some form of extra work to do so.
27	[[/folder]]
28
29	[[folder:Comic Books]]
30	* ''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), [[MediaNotes/TheGreatComicsCrashOf1996 taking the comic industry]] and small comic book shops (alongside [[CreatorKiller killing Valiant]]) with it. "Their love will end worlds", indeed.
31	[[/folder]]
32
33	[[folder:Film -- Animation]]
34	* 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'').
35	* The failure of ''WesternAnimation/MarsNeedsMoms'' resulted in the death of full-form motion-capture animation, as many felt it reached the highest levels of UnintentionalUncannyValley. However, SerkisFolk mo-cap animation for live-action features is still very much alive.
36	* ''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 ''ComicBook/{{Persepolis}}'' and ''Animation/WaltzWithBashir''. Even these, however, were not widely released in the United States.
37	* The box office failure of ''WesternAnimation/TheRescuersDownUnder'' and ''WesternAnimation/DuckTalesTheMovieTreasureOfTheLostLamp'', coupled with the success of both ''WesternAnimation/{{The Little Mermaid\|1989}}'' and ''WesternAnimation/BeautyAndTheBeast'' is the reason why almost every animated movie throughout the 1990s [[AnimatedMusical was a musical]] (this was at a time when practically all animation was Disney, and movies by their competitors barely achieved the same level of attention).
38	* 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, ''[[WesternAnimation/TheSpongeBobMovieSpongeOutOfWater 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).
39	* ''WesternAnimation/TitanAE'' (2000) is often blamed for putting the [[MediaNotes/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.
40	[[/folder]]
41
42	[[folder:Film -- Live-Action]]
43	* ''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]].
44	* ''Film/{{Avatar}}'' is widely credited by analysts with ending the dominance of film stock in the motion picture industry. Shooting on film had been commonplace for over a century, mostly due to the lack of viable competition, but even after professional-quality digital cameras rose to prominence in the late '90s and early 2000s, most directors and studios stuck with film. ''Avatar'', meanwhile, used digital video to facilitate its 3D display and copious use of CGI, and its skyscraping success resulted in the rest of the movie industry quickly adopting the technology as well. Over a decade later, usage of film stock for new projects is limited to much smaller niches, with digital cameras overwhelming them in prominence.
45	* ''Film/BatmanAndRobin'' killed the trend of superhero movies with a lighthearted, borderline comical tone. The success of ''Film/{{Blade}}'', ''Film/XMen1'', and ''Film/SpiderMan1'' convinced studios that more grounded and realistic takes on comic book characters were the way forward for the genre. It would not be till 2014's ''Film/{{Guardians of the Galaxy\|2014}}'' (and the failures of many DarkerAndEdgier comic book movies, most notably, the DC films of Creator/ZackSnyder) that such a tone would be deemed acceptable again.
46	* ''Film/Catwoman2004'' killed off the idea of the ActionGirl as protagonist in Hollywood cinema for quite a long time. Later big-budget Hollywood relegated them to secondary roles as love interests or fanservice characters. The massive success of ''The Hunger Games'' franchise brought it back, while the success of ''Film/WonderWoman2017'' solidified the viability of female-led action films as major blockbusters.
47	* ''Franchise/ChildsPlay'' helped kill off the fad that started with Cabbage Patch dolls and ended with the "My Buddy" dolls. Since those dolls looked a lot like Chucky -- the BigBad of the films -- [[https://nightmarenostalgia.com/2021/08/30/the-downfall-of-the-my-buddy-doll-thanks-to-a-good-guy-named-chucky/ the line of dolls were effectively scrapped]].
48	* ''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.
49	* The box office underperformance of the third ''Film/{{Divergent}}'' film, ''Allegiant'' (2016), and the eventual cancellation of its planned sequel, ''Ascendant'', struck a one-two blow to major trends in film adaptations of literature in the 2000s and early 2010s:
50	** 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 [[Film/TheHungerGamesTheBalladOfSongbirdsAndSnakes the 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''.
51	** ''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 [[AdaptationExpansion 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.
52	* ''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 [[Film/XMenFilmSeries the X-Men movies]] that started this trend were moving away from this aesthetic starting with ''Film/XMenFirstClass''.
53	* ''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.
54	* The critical and commercial failure of the film adaptation of ''Series/GeorgeAndMildred'' in 1980 ended the trend of adapting {{Britcom}}s into feature-length films in the 1970s, with it not being until ''Film/{{Bean}}'' in 1997 that the idea was even revisited.
55	* In the 2000s, most romance-themed movies could be split into two camps: (A) pandering rom-coms occupied by the likes of Creator/JenniferAniston, Creator/KatherineHeigl, Creator/CameronDiaz, and Creator/ReeseWitherspoon playing sassy characters, and (B) weepy, melodramatic movies that copied ''Film/TheNotebook''. ''How Do You Know'' in 2010 and ''Film/{{Bridesmaids}}'' in 2011 killed the first type, the former due to going over-budget and bombing, and the latter by featuring a female protagonist thoroughly independent from the romantic male lead, while successfully adapting the Creator/JuddApatow style of raunchy humor and character-focused writing. It did not help matters that a new generation of young actresses had no interest in playing either "ditzy girls" or killjoys and the sexist undertones of rom-coms were emphasized, even by Aniston and particularly Heigl themselves, who had sworn off many of their movies.
56	* The 2000s trend of Hollywood remaking Asian horror films that began with ''Literature/TheRing'' died out due to the poor receptions of ''Film/OneMissedCall'', ''Film/TheEye'', and ''Film/{{Shutter}}'' in 2008. Attempts to relaunch the trend have all failed. It should be noted that, aside from ''The Ring'', these Hollywood remakes consistently received savage reviews from critics, but they did reasonably well in the box office until the 2008 trio.
57	* The trend of doing PG-13 remakes of R-rated horror films was killed off by the remakes of ''Film/PromNight'' and ''Film/TheStepfather''. The former did OK at the box office but received almost universally negative reviews from critics and horror fans alike, and the latter, in addition to bad reviews, barely made back its budget. Nowadays, attempts at doing the same are met with raised eyebrows.
58	* ''Film/SchoolOfRock'' in 2003, being a send-up of inspirational teacher movies, basically killed that trend (alongside scathing parodies from ''[[Series/MadTV1995 Mad TV]]'' and ''WesternAnimation/SouthPark'') and created a new trend where the teachers are rather useless (such as ''Film/HalfNelson'' and ''Film/BadTeacher''). Attempts at reigniting inspirational teacher movies (such as ''Film/FreedomWriters'' and ''Film/LarryCrowne'') have been critical and box office disappointments.
59	* 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 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.
60	* ''Film/{{Twilight}}'' in 2008 and ''Film/TheHungerGames'' in 2012 killed the child-led blockbuster franchises that ''Franchise/HarryPotter'' had popularized. Young adult novels featuring child protagonists either aged up their protagonists (eg, ''Film/TheGiver'' and ''Film/SeventhSon2015'') or used teenage/adult protagonists instead.
61	* 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 SleeperHit).
62	* 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\|2016}}'' in 2016 that they were considered again.
63	* ''Film/XXxStateOfTheUnion'' in 2005 killed the early-to-mid-2000s trend of fast, modern, teen-oriented action films centered on extreme sports. While the ''Fast'' film series, which pioneered the trend, is still going strong today, later installments have focused more on straightforward action and car chases as opposed to the earlier, more extreme sports-centered installments.
64	[[/folder]]
65
66	[[folder:Literature]]
67	* ''Literature/TheColdEquations'' was written as a deconstruction of a ScienceHero who [[InvincibleHero could never really fail]] because he would always TechnoBabble up a DeusExMachina solution to whatever scrape he'd gotten into that week. This fact is much less well known than ''The Cold Equations'' itself because the archetype ended up discarded and {{forgotten\|Trope}}, due in part to this very deconstruction.
68	* 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.
69	* 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. From the early-to-mid 2000s onwards, it's much more common for MiddleGradeLiterature to be much longer and have at least a year between releases; it's also increasingly common to see {{Doorstopper}}s aimed at the [[YoungAdultLiterature Young Adult]] demographic.
70	[[/folder]]
71
72	[[folder:Live-Action TV]]
73	* The advent of digital video in the 2000s singlehandedly ended the prominence of TV shows shot on videotape. While videotape's lower costs and faster turnaround made it more practical than 35mm film, it was also limited to a specific look and resolution. Film, meanwhile, could be {{remaster}}ed for better-quality displays, allowing shows on the latter to fare much better in reruns. With digital video, not only were the practical advantages even greater than videotape, but it could also be processed to closely resemble film, resulting in it becoming the dominant medium for TV production by the 2010s.
74	* The cancellation of ''Series/DoctorWho'' in 1989 marked the final death knell of traditional television serials, which had already been declining considerably by then. By the time the show returned to regular airing in 2005, serialization was mostly limited to the miniseries and anthology formats, with long-form shows (including ''Doctor Who'' itself) shifting towards season-long story arcs rather than multi-episode serials.
75	* ''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 did a better job 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.
76	[[/folder]]
77
78	[[folder:Music]]
79	* The debut of the Sony Walkman in 1979 quickly killed off the 8-track tape as the premier portable music format and served as a KillerApp for the cassette. Compact cassettes had already been making a steady climb as a viable alternative to both vinyl records and 8-tracks thanks to advancing hi-fi technology surrounding them, their easy recordability, and their higher storage capacity, among other things being able to store many double albums on one tape each and more closely follow LP track lists than 8-tracks (which often had to ReCut albums to fit a four-program format). The 8-track was also falling out of favor due to [[TheyDontMakeThemLikeTheyUsedTo declining build quality]] causing cartridges to break. However, the Walkman rapidly solidified the ousting of 8-tracks by introducing an even higher degree of portability, making it possible to listen to music anywhere at any time (whereas 8-tracks could only be played at home and in car stereos). Within a few years of the Walkman's introduction, prerecorded cassettes were outselling even [=LPs=]. Vinyl held on as the format for singles until the arrival of cassette and CD singles.
80	* 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 Platform/{{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.
81	* 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 Platform/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.
82	* 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. It's also common for proposed double albums to be DividedForPublication. 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).
83	* 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 either use the default ringtone or set it to silent or vibrate, which defeats the purpose of buying ringtones.
84	* Apple's [=iPod=] singlehandedly ended the Platform/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.
85	* Spotify popularized music streaming at the expense of digital music sales, convincing music fans that they didn't even need to ''own'' their favorite albums anymore. The Vinyl Revival complemented the rise of streaming for people who missed building their own music collections.
86	[[/folder]]
87
88	[[folder:Professional Wrestling]]
89	* 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.
90	* ''Film/ReadyToRumble'': ProfessionalWrestling was at the peak of its mainstream popularity in the late '90s due to the Monday Night Wars between World Championship Wrestling and World Wrestling Federation (now World Wrestling Entertainment), with many wrestlers guest-starring in dozens of shows and movies. That all changed when WCW helped make ''Ready To Rumble''. The movie flopped hard (not helped by portraying wrestling fans as morons and the unpopular "David Arquette as WCW champion" storyline meant to tie into the film, which was the first [[MedalOfDishonor Gooker Award winner]] in Website/WrestleCrap history). Coupled with many problems inside the industry that eventually led to WCW going out of business, no one in Hollywood would show much more interest in aligning themselves with the product.
91	* The once quite lucrative wresting "shoot interview" DVD market was killed off by the trend of basically every notable retired wrestler starting their own podcast in the late 2010s, along with the sharp decline in the sales of physical media in general. Sean Oliver, who produced and hosted many of those interviews for his company Kayfabe Commentaries, finally threw in the towel and began hosting the Kliq This podcast with Wrestling/KevinNash in 2022, though the archived interviews are still available on the Kayfabe Commentaries [[https://kayfabecommentaries.com/index.html website]], and some are on Website/YouTube.
92	[[/folder]]
93
94	[[folder:Radio]]
95	* The advent of radio news broadcasting in the 1930s was what killed off the newspaper "Extra". You could say that most media appearances of "ExtraExtraReadAllAboutIt" is an artifact of sorts.
96	[[/folder]]
97
98	[[folder:Sports]]
99	* The UsefulNotes/UltimateFightingChampionship, as well as UsefulNotes/MixedMartialArts in general, basically discredited SupernaturalMartialArts and ArtisticLicenseMartialArts tropes that had been growing popular with the films of Creator/BruceLee, Creator/ChuckNorris, Creator/StevenSeagal and Creator/JeanClaudeVanDamme, and later revitalized with the WireFu films popularized by ''Film/TheMatrix'' and ''Film/CrouchingTigerHiddenDragon'' outside of anime like ''Anime/DragonBallZ''. Before MMA became widespread, the wider world had no idea what real martial arts or self-defense looked like, allowing frauds, con men, and glorified cult leaders frequently posing as {{Old Master}}s to get away with claiming that their fighting styles could defeat ''anyone'' or do ''anything''. Actual MMA competition quickly showed that many popular martial arts styles were just plain old unviable in a real fight against a resisting opponent.
100	[[/folder]]
101
102	[[folder:Theme Parks]]
103	* During the 2010s, Ride/UniversalStudios theme parks built a large number of "screen" attractions, motion simulators that emphasized action-packed spectacle and big-name actors [[RoleReprise reprising their roles]] from the movies that the rides were based on. While theme park enthusiasts had long derided the trend, feeling that Universal had come to prefer them over more traditional rides for the purpose of [[CuttingCorners saving a buck]], the opening of ''Ride/FastAndFuriousSupercharged'' in the Orlando park in 2018, whose contents were lifted wholesale from the Ride/StudioTour in Hollywood, marked a tipping point where even casual guests disliked the ride. Thierry Coup, the senior vice president and chief creative officer of Universal Creative, considers it [[CreatorBacklash the biggest mistake of his career]], and afterwards, Universal quickly swung back to using physical props and dynamic ride vehicles in their rides, including opening two new full-on rollercoasters, ''Ride/HagridsMagicalCreaturesMotorbikeAdventure'' in 2019 and the ''Ride/VelociCoaster'' in 2021.
104	* 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 90s 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 bare-bones 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.
105	[[/folder]]
106
107	[[folder:Toys]]
108	* 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/TransformersFilmSeries 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]].
109	* 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 [[MisaimedMerchandising 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.
110	[[/folder]]
111
112	[[folder:Video Games]]
113	* The Platform/NintendoDS was released during the mid-2000s, 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 2000s rolled around, [=iPhones=] and Android smartphones became commonplace, and such apps can be downloaded for free while capable of receiving regular updates. 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.
114	* ''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 seventh gen and continuing into [[MediaNotes/TheEighthGenerationOfConsoleVideoGames the eighth gen]].
115	* 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 [[MediaNotes/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.
116	* ''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 {{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''.
117	* ''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]] However, 2023's ''VideoGame/Tekken8'' not only featured a cinematic story mode -- one that was much better received than its predecessor's attempt -- but also brought back Arcade Mode with character-specific endings, something that the ''Franchise/{{Tekken}}'' series had started to phase out with ''Tekken 6'' a decade-and-a-half earlier, suggesting the trend may be on life support for now.
118	* 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 similar titles for other series of theirs (such as ''VideoGame/SamuraiShodown''), 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.
119	* ''VideoGame/{{Skylanders}}'' and the entire ToysToLifeGame genre was killed due to market oversaturation, largely in part to Creator/{{Disney}} attempting to hijack the craze with ''VideoGame/DisneyInfinity'', which saw a new version every year that added some new content but wasn't compatible with previous versions. Two series that were both very MerchandiseDriven put a large amount of strain on the idea, which wasn't helped when Creator/{{LEGO}} jumped on the bandwagon with ''VideoGame/LegoDimensions'', now draining even more consumer satisfaction and money. Creator/{{Activision}} at this point began to try to prioritize new games, in order to not get drowned out by Disney and LEGO. In Q3 of 2015 alone, ''three'' different major toys-to-life games were hitting the market. That many different games largely made consumers realize the money spent wasn't worth it for cash-grab games, and thus the market for toys-to-life began to die, and by 2017, all three game franchises had been killed off due to disappointing revenue. The failure of ''VideoGame/StarlinkBattleForAtlas'' that same year served as proof the market had been oversaturated, and all four game franchises haven't had a new release again. The only survivor of the genre was Creator/{{Nintendo}}'s ''Toys/{{amiibo}}'', in large part due to not being tied to any particular game and instead functioning across their systems as a whole.
120	* 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/StreetFighter'' (the ''VideoGame/StreetFighterEX'' sub-series), ''Franchise/MortalKombat'' (''VideoGame/MortalKombat4'' and its sixth-gen installments), and ''Franchise/TheKingOfFighters'' (the ''[[VideoGame/KOFMaximumImpact 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''. [[note]]''Street Fighter EX'' actually is something of an {{unbuilt\|Trope}} example in this regard, as its use of the z-axis was only employed for dynamic camera angles during certain moves; contrary to popular belief, all fights remained confined to a 2D plane, with ''EX'' essentially playing like a polygonal version of the earlier ''VideoGame/StreetFighterAlpha'' games.[[/note]]
121	* The widespread backlash to ''VideoGame/StarWarsBattlefrontII2017'''s lootboxes caused enough of a stir that legislators were starting to take notice, considering them a form of gambling. This controversy caused the industry to largely shift away from luck-based microtransactions and toward Battle Passes instead.
122	* For a while, there was a trend for independent developers to take up crowdfunding to support their games, with ''VideoGame/BrokenAge'' [[{{Pun}} kick-starting]] it by formerly holding the record for most funded Kickstarter project. However, a series of controversies surrounding them, most notoriously the failure of ''VideoGame/MightyNo9'', resulted in many independent developers using crowdfunding much less due to the stigma associated with them. While crowdfunded games still exists, they are very unlikely to ever receive the same amount of popularity, with ''VideoGame/BloodstainedRitualOfTheNight'' being the sole exception.
123	* The Platform/AtariJaguar and Platform/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 Platform/TurboGrafx16, Platform/SegaGenesis, and Platform/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 Platform/Nintendo64), they were no longer used as selling points by console makers, and the Nintendo 64 ended up firmly beaten by the 32-bit Platform/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.
124	* 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.
125	[[/folder]]
126
127	[[folder:Western Animation]]
128	* [[invoked]] ''WesternAnimation/ACharlieBrownChristmas'': Aluminum Christmas trees were a popular trend in the late '50s and the first half of the '60s. Their depiction here as a symbol of soulless holiday commercialism is credited with killing their popularity. The special even inspired [[AluminumChristmasTrees a trope on this site]], which defines something that sounds fictional, but actually isn't.
129	* Because of the negative reception of the eponymous show it attempted to bring into the U.S., the PBS Kids version of ''WesternAnimation/{{Caillou}}'' killed off framing devices to sandwich foreign shows together in order to make them more marketable to Americans, as no show of this sort has been attempted since.
130	* The monster successes of shows like ''WesternAnimation/PAWPatrol'' and ''WesternAnimation/DocMcStuffins'' has mostly ended the use of FakeInteractivity in preschool shows that ''WesternAnimation/BluesClues'' and ''WesternAnimation/DoraTheExplorer'' made popular. Now, most preschool-aimed content tries to teach kids lessons without faking interactivity. A research study done by Disney in 2010 provides further insight into why this is the case. Before the Disney Junior block was conceived, the company surveyed parents and asked them what they wanted to see in the shows their kids watched. Most parents wanted their kids to watch stories that would make them happy and that they could tell back to their parents, a change most likely resulting from the rise of tablet and smartphone apps teaching preschool concepts. In comparison, when Disney conducted the same survey five years prior, parents wanted their children to learn educational concepts from these shows.
131	* The fall of animated TV shows made to [[CelebrityToons promote celebrities]], the Children's Television Act of 1990, which killed the MerchandiseDriven cartoons that were oh-so-prominent in the 80s and changing tastes would eventually deliver the ''coup de grâce'' for the SaturdayMorningCartoon block. The rise of kid-oriented channels on cable such as Creator/{{Nickelodeon}} and Creator/CartoonNetwork, which had original, creator-driven cartoons that were shown on every day of the week instead of just on Saturdays only accelerated this trend by the 2000s. After the Nick on CBS block ended in 2006, Saturday morning cartoons on network television became strictly edutainment fodder with the exception of FOX's 4KidsTV and the children's blocks on The CW before dying out entirely in 2016 in favor of cheap-to-produce live-action edutainment shows that exploit loopholes to allow for product placement and more advertising than would otherwise be allowed.
132	* 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 future TMNT adaptations managing to enter the mainstream since then.
133	[[/folder]]
134
135	[[folder:Other]]
136	* Referenced in the ''WebVideo/TheAngryVideoGameNerd'' review of ''VideoGame/StarWarsMastersOfTerasKasi'', where he blames the game for the lack of ''Franchise/StarWars'' fighting games, remarking it was so bad that nobody else was ever willing to try making another ''Star Wars'' game in the genre despite the franchise being, in theory, an excellent fit for it.
137	* Nova Spektrum in Lillestrøm, UsefulNotes/{{Norway}} 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.
138	[[/folder]]

Context Main / TrendKiller