The "Nirvana effect" refers to moments in history where something radically different and revolutionary in one particular form of media creates an abrupt and seismic paradigm shift in the culture. It's called the "Nirvana effect" (https://www.reddit.com/r/nirvanakilledmycareer/) because in the fall of 1991, Nirvana released their groundbreaking album Nevermind (https://en.wikipedia.org/wiki/Nevermind). Nirvana and grunge's arrival and breakthrough into the mainstream is commonly looked at as the exact moment (https://www.reddit.com/r/Metal/comments/1ugz66/why_do_people_say_that_nirvana_killed_metal/) that hair metal, which was the predominate form of rock music in the '80s, was no longer relevant.

Another way to explain it, is to call it a "genre turning point" (https://tvtropes.org/pmwiki/pmwiki.php/Main/GenreTurningPoint)

Nirvana's 1991 breakthrough album Nevermind sent a shockwave through American popular music.


Within rock music, not only did it finish off the remnants of Hair Metal (and numerous other genres and musicians who performed in them), it was the album that kicked off the Alternative Rock revolution of The '90s, as Grunge, Alternative Metal, Pop Punk, and a slew of other subgenres were all able to achieve mainstream breakthroughs in Nirvana's wake. In fact, Nevermind's impact, staking out the year 1991 as a dividing line between "classic" and "modern" rock music not unlike how The Beatles' debut did the same for 1963, has caused a problem for Classic Rock DJs and radio programmers: while the rock music of The '60s through The '80s exists in such a continuum that it all fits fairly well onto the same classic rock stations, the alternative rock of the early '90s, despite now being old enough to call "classic rock", marks such a radical departure that it sticks out like a sore thumb next to bands from just five years prior.

It also had a surprising impact on Country Music, as this article by Steve Leftridge for PopMatters explains. Not all rock fans and listeners embraced the rise of alternative, with fans of the heartland rock, Arena Rock, and Hair Metal of The '80s feeling especially left out, and furthermore, a lot of the producers and session musicians who made their names in more traditional rock sounds suddenly found that their talents didn't translate well to alternative. On the other hand, Nashville, seat of a country music industry that was built on tradition and catering to nostalgia, was more than happy to bring these old-fashioned rockers on board.


Now from a television perspective, I would say that Norman Lear and MTM Productions in the 1970s "killed off" (https://www.reddit.com/r/ToddintheShadow/comments/xi7o6a/comment/ip83vue/?utm_source=reddit&utm_medium=web2x&context=3) the type of sitcoms that were in vogue from the decade prior. It seemed like the most popular type of sitcoms were either in a rural setting (The Andy Griffith Show, The Beverly Hillbillies, Green Acres, Petticoat Junction, Mister Ed) or had a high-concept, fantasy premise (Bewitched, I Dream of Jeannie, Gilligan's Island, My Favorite Martian, etc.). Sitcoms pre-Norman Lear and MTM were for a lack of a better word, decidedly hokey and wholesome.

Two relatively recent examples I can think of are:

---The advent of Reality TV as a staple. Beginning sometime around the turn of the century reality TV began to take over broadcast network schedules. Shows like Big Brother and Survivor began to pop in the ratings and soon all the networks were ordering these reality series; which were far cheaper to produce than scripted programming and oftentimes delivered bigger ratings. Soon thereafter a shift occured in which sitcoms and dramas were no longer the dominant genres on TV, and networks began to order fewer and fewer of them.

---The Streaming Revolution. Clearly, the invention of streaming media has changed the culture as a whole. Broadcast networks are no longer the be all end all of TV and are struggling to stay afloat while virtually everything moves to streaming services.

Hill Street Blues (https://www.sitcomsonline.com/boards/showthread.php?t=397758) and Miami Vice (https://news.yahoo.com/blogs/tv-news/-miami-vice---10-ways-the-1980s-series-changed-cop-and-crime-shows-173728008.html) in their own unique ways (https://www.quora.com/Between-Hill-Street-Blues-and-Miami-Vice-which-1980s-cop-show-was-more-revolutionary-for-its-time?q=miami%20vice%20hill%20street%20blu), did this (https://miamiviceonline.com/index.php?/topic/9105-av-club-website-reviews-no-exit/#comment-167606) to cop (https://datebook.sfchronicle.com/movies-tv/35-years-ago-miami-vice-changed-everything-you-know-about-cop-shows-and-fashion)/procedural shows (https://miamiviceonline.com/index.php?/topic/9105-av-club-website-reviews-no-exit/&do=findComment&comment=167647) in the '80s.


Hill Street Blues (https://tvtropes.org/pmwiki/pmwiki.php/Series/HillStreetBlues) was a series that literally rewrote the rules on how to tell a dramatic story on television. It won a truckload of Emmy awards, spawned a host of imitators, and launched Dennis Franz's career, as well as the catchphrase "Let's be careful out there." Even more importantly, NBC chose to renew it, despite (like Cheers) terrible ratings, because it was so damn good. It also turned the idea of the "cop show" on its head; at the time, police dramas usually focused on a couple of partners (each the polar opposite of the other) and their demanding or possibly understanding supervisor, and each episode would focus on the case of the week. Other officers in the squad primarily existed for the lead pair to interact with. No matter what happened, you could rest assured that the lead cops were diligent, hard-working and usually got their man, and no one ever died unless an actor was leaving the show (and rarely even then). Hill Street Blues, on the other hand, had an entire station house focused on, and the cops weren't necessarily all friends; a few of them even actively disliked each other. The characters all dealt the daily reality of getting shot, and possibly killed. Cases could last for several episodes, and often ended still unsolved. While the cops were mostly good people, the show was unafraid to portray them as flawed, with many personal issues to deal with, not always good cops, lazy, violent, occasionally tempted into corruption, and frequently not "getting their man", or getting the wrong one. Department politics and bureaucracy was also a heavy feature. The idea, on television, at least, that cops were just people was pretty unheard of at the time. Just about every subsequent police procedural program (Law & Order, The Wire, Blue Bloods, etc.) owes its existence and much of its tropes to Hill Street Blues. While the show was revolutionary in 1981, it can seem downright quaint (https://tvtropes.org/pmwiki/pmwiki.php/SeinfeldIsUnfunny/LiveActionTV) to the modern viewer.

Miami Vice: (https://tvtropes.org/pmwiki/pmwiki.php/Series/MiamiVice) That the show now seems to be chock full of '80s clichés belies the fact that it invented those clichés: the use of designer fashion for the leads, the cinematic visuals and montages, and famously, the no-earth-tones color palette. In 1984, when the pilot episode aired, it was downright revolutionary. No TV show had ever used a whole contemporary pop song that way, or seemed so much more like a movie than a TV show.


In the case of (https://tvtropes.org/pmwiki/pmwiki.php/GenreTurningPoint/LiveActionTV) Hill Street Blues especially, it may have "killed off" the Jack Webb style (https://travsd.wordpress.com/2018/12/16/on-steven-bochco-and-the-revolution-of-hill-street-blues/) of cop show (https://www.sitcomsonline.com/boards/showthread.php?t=392137).

Just like how Norman Lear's shows (https://journals.openedition.org/tvseries/735?lang=en) like All in the Family (https://www.cracked.com/article_31511_before-all-in-the-family-tv-was-filled-with-rural-shows.html) and The Mary Tyler Moore Show (https://decider.com/2020/09/19/mary-tyler-moore-show-50th-anniversary-tribute/) felt like (https://www.saturdayeveningpost.com/2021/04/when-tv-shows-completely-changed-50-years-ago/) a reaction (https://www.reddit.com/r/television/comments/lb9u9k/comment/glss9p5/?utm_source=reddit&utm_medium=web2x&context=3) to the sitcoms of the 1960s, Married...with Children (https://www.washingtonpost.com/entertainment/why-peg-bundy-was-the-true-90s-sitcom-domestic-goddess/2018/10/11/5e3ab2cc-cb41-11e8-a3e6-44daa3d35ede_story.html), Roseanne (https://www.reddit.com/r/television/comments/hzxhqx/i_feel_that_the_simpsons_married_with_children/), and The Simpsons likely did this (https://medium.com/illumination/pop-culture-analysis-ff8862841f65) to the style (https://www.datalounge.com/thread/31350776-retrospective-married...-with-children-) of sitcoms (https://jacksonupperco.com/2021/12/29/the-ten-best-family-ties-episodes-of-season-seven/) that were popular (https://www.reddit.com/r/explainlikeimfive/comments/3vxwug/comment/cxrn16g/?utm_source=reddit&utm_medium=web2x&context=3) (such as The Cosby Show (https://www.nytimes.com/1995/12/03/arts/television-dysfunction-wears-out-its-welcome.html), Family Ties, and Growing Pains (https://www.datalounge.com/thread/31567782-roseanne-1988-1997-)) and most in fashion in the '80s (https://jacksonupperco.com/2022/03/30/the-ten-best-roseanne-episodes-of-season-one/).

10 Iconic Shows That Changed TV Forever (& How) (https://screenrant.com/tv-shows-changed-forever-how/)

Countless television series have made an impact on the media landscape, but these shows in particular changed the format and style of TV forever.

https://grok.com/share/c2hhcmQtMw_80d1052f-ac2a-4209-9e40-13b23d7abc5d

Here’s the TV-industry equivalent (https://chatgpt.com/s/t_693a62542fb08191802f76823e03f2e8) of the "Mount Rushmore" concept: singular TV shows (or in some cases, creators/franchises) whose breakthrough dominance most immediately and negatively impacted the careers of similar shows or creators in their genres.

These are the series that raised the bar impossibly high, shifted production standards, flooded the market with imitators, or redefined viewer expectations, often making comparable efforts seem dated, unviable, or overshadowed. I've focused on shows/creators per decade, drawing from landmark shifts in formats, genres, and prestige.

2010s Mount Rushmore

The streaming explosion and Peak TV led to oversaturation, where prestige dramas and genre spectacles dominated budgets and attention, sidelining mid-tier procedurals, network sitcoms, and niche originals.


Game of Thrones (HBO): Its epic fantasy scale and cultural phenomenon status made every subsequent fantasy adaptation chase "the next GoT," leading to cancellations or underperformance for shows like The Shannara Chronicles, Legend of the Seeker sequels, or mid-budget epics; hurt fantasy creators unable to match the budget or sex/violence quotient.
Breaking Bad (AMC): Cemented the anti-hero prestige drama template, overshadowing other character-driven crime stories; shows like Low Winter Sun or lesser meth/crime procedurals got buried as networks chased "the next Walter White."
The Walking Dead (AMC): Zombie apocalypse dominance flooded horror/survival TV, making standalone zombie shows or post-apoc dramas (e.g., Z Nation imitators) feel redundant; shifted focus to serialized ensemble survival at the expense of anthology horror.
Stranger Things (Netflix): '80s nostalgia horror/sci-fi revival became the template for retro genre mashups, overshadowing original kid-adventure or supernatural shows without the Spielberg vibes.


2000s Mount Rushmore

Reality TV boom and early prestige cable shifted from network staples, crushing traditional sitcoms and soaps.


The Sopranos (HBO): Elevated mob/family drama to art-house status, making network crime procedurals seem formulaic; hurt shows like The Handler or mob knockoffs as prestige anti-heroes became mandatory.
American Idol (Fox): Reality competition explosion killed variety shows and music-based scripted series; aspiring music dramas or talent-search narratives couldn't compete with live voting spectacle.
Lost (ABC): Mystery-box serialized sci-fi made standalone episodes obsolete, overshadowing ensemble island/adventure shows without the twists.
CSI (CBS): Procedural forensics dominance flooded crime slots, sidelining character-focused cop shows like pre-CSI entries from the '90s.


1990s Mount Rushmore

MTV influence, grunge-era edginess, and cable growth pushed boundary-testing, hurting family-friendly or traditional formats.


The Simpsons (Fox): Adult animation explosion made live-action family sitcoms feel quaint; overshadowed clones like The Critic or non-Matt Groening cartoons.
Seinfeld (NBC): "Show about nothing" redefined sitcom irony, making earnest multi-camera laugh-track shows (e.g., post-Cheers clones) seem outdated.
Beavis and Butt-Head (MTV): Crude animation and music video critique shifted youth TV to irreverence, hurting educational or clean teen shows.
The Real World (MTV): Unscripted docu-soap invented reality TV, eclipsing scripted ensemble youth dramas like Felicity precursors.


1980s Mount Rushmore

Cable deregulation and primetime soaps glamorized excess, overshadowing grounded dramas.


Dallas (CBS): Primetime soap opera revival with cliffhangers made weekly dramas must-see events; hurt standalone episodic shows unable to build serialized hooks.
Miami Vice (NBC): Stylized cop action with MTV aesthetics overshadowed gritty police procedurals; set visual/music integration as standard.
The Cosby Show (NBC): Black family sitcom success pressured diverse casting but made non-family multi-cams seem niche.
MTV's Launch/Shows like Yo! MTV Raps: Music video format killed variety hours; hurt live performance shows without VJ energy.


1970s Mount Rushmore

Norman Lear's socially conscious sitcoms and miniseries boom challenged escapist TV.


All in the Family (CBS): Controversial topical sitcoms made apolitical family shows irrelevant; overshadowed clean-cut '60s holdovers.
Roots (ABC): Miniseries event format shifted prestige to limited runs, hurting ongoing historical dramas.
Happy Days (ABC): Nostalgia revival drowned period pieces without the Fonz charm.
M*A*S*H (CBS): Dramedy war satire elevated anti-war TV, sidelining pure comedies or pro-military fare.


1960s Mount Rushmore

Color TV and space race influenced escapist sci-fi and variety.


Star Trek (NBC): Intelligent sci-fi with social allegory made campy space shows obsolete; hurt alien-of-the-week clones.
The Andy Griffith Show (CBS): Wholesome rural sitcom dominance overshadowed urban edgier comedies.
The Twilight Zone (CBS): Anthology twist endings redefined horror/sci-fi shorts, eclipsing serial formats.
Bonanza (NBC): Color Western epic made B-Westerns unviable.


1950s Mount Rushmore

Live TV to filmed sitcoms transition revolutionized production.


I Love Lucy (CBS): Three-camera filmed sitcom with live audience became the standard, killing kinescope/live broadcasts; hurt East Coast-based shows and stars unable to relocate (e.g., many vaudeville holdovers).
The Ed Sullivan Show (CBS): Variety spectacle with Beatles moment overshadowed smaller music/vaude programs.
Dragnet (NBC): Realistic cop procedural made melodramatic radio adaptations seem hokey.
Your Show of Shows (NBC): Sketch comedy ensemble set SNL precursors, hurting solo variety acts.


For earlier decades (1940s back to 1910s), TV was nascent or non-existent (pre-1940s widespread adoption), so equivalents are sparse—mostly experimental broadcasts or radio crossovers. The 1940s saw early TV tests like Texaco Star Theatre, which pioneered variety but had minimal overshadowing impact due to limited sets. If you'd like expansions, specifics, or a streaming-only version, let me know!

Here’s the TV industry equivalent of the Mount Rushmore concept: singular creators, showrunners, producers, or networks whose breakthrough dominance in a decade most immediately and negatively impacted the careers of similar contemporaries — essentially “X killed my TV career” (https://www.perplexity.ai/search/https-grok-com-share-c2hhcmqtm-dB6L9WDNQLiGnPPNh1niqA#0) figures. This focuses on scripted TV (drama, comedy, etc.), where paradigm shifts often sidelined peers in format, style, or genre.

2010s

Shonda Rhimes – Scandal and How to Get Away with Murder pioneered "Shondaland" soapy thrillers with diverse casts; crushed prestige cable dramas without her bingeable, twist-heavy model.
Netflix (as a platform) – The streaming explosion with House of Cards made binge-watching the norm; hurt linear cable networks' prestige bids and traditional 22-episode seasons.
Ryan Murphy – American Horror Story anthology style flooded FX with high-concept horror/drama hybrids; made standalone limited series from other creators feel less innovative.
Vince Gilligan / Breaking Bad universe – Elevated anti-hero prestige TV; sidelined mid-budget procedurals and family dramas that couldn't match the moral complexity hype.


2000s

J.J. Abrams – Lost and Alias turned mysteries and genre mashups into event TV; made straightforward sci-fi or procedural shows look simplistic and untwisty.
Jerry Bruckheimer – CSI franchise turned forensics procedurals into a ratings juggernaut; crushed other crime shows without the slick, evidence-driven formula.
Aaron Sorkin – The West Wing set the bar for walk-and-talk prestige; hurt political dramas that weren't as dialogue-dense or idealistic.
Reality TV boom (Survivor / Big Brother creators) – Shifted networks to cheap unscripted hits; decimated scripted mid-tier sitcoms and dramas in prime time.


1990s

David E. Kelley – Ally McBeal, The Practice, Boston Legal created quirky legal/ensemble dramedies; overshadowed traditional courtroom shows with his eccentric, music-heavy style.
Jerry Seinfeld / Larry David – Seinfeld's "show about nothing" redefined sitcoms as observational; made family sitcoms feel formulaic and dated.
Dick Wolf – Law & Order franchise invented the ripped-from-headlines procedural; hurt cop shows without the anthology reset or documentary feel.
MTV's The Real World – Launched reality TV; started eroding scripted youth programming like teen dramas without the "real people" hook.


1980s

Steven Bochco – Hill Street Blues invented the ensemble cop drama with overlapping stories; made single-hero procedurals look old-school.
Norman Lear (hangover from 70s) – But in 80s, his influence via syndication crushed edgier sitcoms; networks chased safe, laugh-track family shows.
Aaron Spelling – Dynasty, Dallas soapy primetime soaps dominated; sidelined prestige miniseries and grounded dramas.
MTV launch – Music videos as "TV" killed variety shows and music-based scripted series; shifted youth viewing to visuals over narrative.


1970s

Norman Lear – All in the Family, Maude, The Jeffersons brought social-issue sitcoms to prime time; crushed escapist family comedies without controversy.
MTM Enterprises (Mary Tyler Moore Show) – Elevated workplace comedies with strong female leads; hurt traditional domestic sitcoms.
Police procedurals (Jack Webb / Dragnet influence) – CHiPs, Starsky & Hutch made action-cop shows the action staple; sidelined detective mysteries.
Roots miniseries – Proved event historical dramas could draw massive audiences; made weekly series in similar veins struggle for ratings.


1960s

Desilu Productions / Star Trek (Gene Roddenberry) – Sci-fi as social allegory; hurt space operas without the philosophical depth.
Quinn Martin – The Fugitive, The FBI created the serialized chase procedural; made episodic adventures feel disconnected.
Laugh-In / Rowan & Martin – Sketch comedy variety exploded; crushed traditional variety hours like Ed Sullivan's.
Batman (campy Adam West) – Turned superhero TV into pop art; sidelined serious adventure serials.


1950s

I Love Lucy (Lucille Ball / Desi Arnaz) – Pioneered sitcom filming techniques (multi-cam, live audience); made vaudeville-style comedy shows obsolete.
Anthology series boom (Alfred Hitchcock Presents) – Weekly standalone stories; hurt serialized family dramas.
Milton Berle / Texaco Star Theatre – Variety as the king of TV; crushed dramatic teleplays without big stars or sketches.
The Honeymooners – Blue-collar domestic comedy template; sidelined high-society or rural sitcoms.


1940s

Early TV pioneers like Milton Berle – Live variety and comedy burlesque dominated kinescope era; made experimental dramatic broadcasts seem stiff.
Kraft Television Theatre – Live anthology dramas set prestige bar; hurt variety acts without narrative.
Howdy Doody – Kids' puppet shows as educational/entertaining; crushed adult-only programming in early slots.
Newsreels transition to TV news – Visual news format; impacted radio-style talk shows.


1930s

Experimental TV broadcasts (BBC / RCA) – Mechanical TV tests favored simple variety; hurt radio stars transitioning without visual appeal.
Felix the Cat / early animation – Cartoon shorts on TV; made live-action skits look low-tech.
Amos 'n' Andy radio-to-TV shift – Serialized comedy sketches; crushed dramatic serials in early formats.
Olympics coverage (1936 Berlin) – Live event TV; set template that sidelined scripted content.


1920s

Mechanical TV experiments (John Logie Baird) – Limited to simple faces/music; killed complex radio dramas in visual tests.
Radio variety stars (pre-TV) – But TV's arrival foreshadowed; impacted stage performers without camera presence.
Felix the Cat broadcasts – Early animation tests; made human performers seem static.
Newsreel integrations – Visual news; hurt audio-only reporting styles.


If you'd like expansions on any decade or shifts to other media like books or video games, just say the word!

Throw in "Who Wants To Be A Millionaire". Game shows were popular in network prime time in the '50s and '60s. By the '70s they'd mostly fallen by the wayside - relegated to daytime and syndication only. When "Millionaire" came on in 1999, the ratings were so good that all the networks were looking at primetime game shows again.

Here we are 25 years later and they're still going strong in primetime.