Fellas, fellas.
It was not the sports or the web.
It was slowly subverting and changing the nature of literary works until there is nothing interesting to the men.
Then, proclaiming that feminine shit is profound and more valuable than its masculine contemporaries and predecessors.
So they can rub your noses in it like dogs that did the naughty in the house.
Naughty, naughty little puppy.
Louis_Cypher mentioned Hugos and Nebulas.
In my youth best novels, ones that got the awards too, were combination of the novel scientific concept and couple unexpected plot twists, with just enough exotic locations and cultures to make it unique.
Now we have emotional feministic explorations of non-binary aliens and female-identifyng AI's; outright feminist
genocide/power or
rape fantasies are bestsellers and declared seminal works even if they just wear skinsuit of genre.
I'm not into contemporary fantasy, but it seems to be following the same path.
And it is not the women that made this - it was always simps masquerading as rebellious voices that plant the seed of medium downfall and lead the charge of the activists.
One of the male competition strategies is that if you can't confont them directly, you must use other means to turn odds to your favor.
Basically, betas declare virtues as nothing worthy at all, while introducing some new metric fo valuing men accomplishments.
So, there is always some Harlan Ellison that will sing praises about some black gay guy feverish ravings and feminist utopias while bashing giants on which shoulders he is balancing.
After that, Hellgates are wide open.
How do they do it?
Slowly, like boling proverbial frog in the pot - by dilluting symbolism and epic nature by adding more and more elements that are alien to male enjoyment of the story.
It is a fake notion of the western modernism that everything old must be wrong and thus subverted - because everything is so much better after revolution.
Japanese, on the other hand, evolved their genres so you gradually get more nuanced and truly sophisticated works, while basic tenets of genre are still left intact.
(That doesn't mean they are not prone to the modernist crap, it was just majortiy of their industry still produced traditional works).
Let's take the example of women participation in men fields in the fiction.
First you make women exception to the rule, so you have one woman which is equally capable to the men in your story.
This cheap trick makes story your more unexpected, original and modern.
Then, you make women more capable than men, but there is still tits&ass and epic adventures.
We still have our escapist fantasy, so who gives a fuck.
Couple of iterations and you reach The Final Stage - men are nerdy buffons that have only intrinsic value only if they love women unconditionally women in the story.
Ones that are not, are only good as villains, that are also weak and pathetic, made that way not to encourage toxic masculinity in young, uncorrupted minds.
This approach you can apply to any story element, but common ground is - masculine (whatever men enjoy) story elements have to be rendered stupid, childish and obsolete.
This turn of the events is deeply discouraging for the men that enjoy the medium, even if they claim to have open mind and it doesn't bother them.
So, they slowly disconnect from once cherished field; some are reduced to simping and promoting The Message, like their fictional avatars in contemporary fiction.
Some just stop engaging with the works alltogether and live in past/retro works.
It is all motivated by hatred and revenge towards men, and it is not happening by chance.
It is premediated and intentional.
