Anyone have a favorite genre here?

Definitely Westerns for me. Of course, I can understand how those who grew up on the lame Leone crap would not love Westerns, as he destroyed the genre for the good of the establishment, but take out Leone and Coen, and it's a superb genre for a person who likes inspiration and credible characters in incredible circumstances.

Romance
action 
thrillers 
musicals 
biopics 
period Pieces 

Superhero
sci-fi
action
adventure
fantasy
suspense
horror

I can understand how a traditionalist might loathe Leone, but the part in bold makes no sense ... Leone's radically revisionist—indeed, nihilistic and iconoclastic—Westerns were anti-establishment by definition. 

Anyway, the Western is my favorite genre as well. It offers great opportunities visually, dramatically, historically, ideologically, and allegorically. The genre's history and conventions create great potential for both homage and subversion, while its seemingly benign forum offers filmmakers a safe haven in which to explore controversial topics. Finally, the Western facilitates cinema's ability to showcase both space and time. 

So the "establishment" was always about "the rejection of all religious and moral principles" (the Oxford definition of "nihilism")? And Westerns from 1939-1964 "attacked cherished beliefs" (the Oxford definition of "iconoclasm")? 

Leone's films depicted mythic characters; if they owed anything to Greek mythology (a supposition that is not really clear to me), they still did not constitute "formula," especially relative to the Western context. Instead, they upended or subverted Western formula. His anti-heroic major characters certainly possessed credible motivation in most cases: avarice and money, mercenary or professional obligation, vengeance, lust. Those motivations just did not belong to the moralistic variety offered by traditional Westerns; they did not involve virtue, piety, patriotism, justice, or the desire to carve civilization out of the wilderness and romantically regenerate the human species. The motivations of Leone's characters may not be as easy to relate to, but then again, people and society are fundamentally motivated by amoral economics. Leone brought that cynically iconoclastic—and essentially realistic—sensibility to the Old West, which Hollywood filmmakers had instead suggested was something of an American Eden, a refuge from the greedy depravity of modernity. Leone, instead, suggested that the Old West constituted a squalid locus that exposed the grubby roots of capitalism and human motivation. Those comments do not mean that Leone was offering a leftist critique—after all, he clearly showcased the power of iconoclastic individualism and he certainly did not advocate anything in the way of organizational solutions or centralized planning. But he travestied comforting conventions, including the notion that the entrepreneurial spirits that helped inspire westward expansion were simply benign forces or, if corrupted, were corrupted only by the aberrant land baron or the wayward villain. In this way, Leone directly contradicted decades' worth of Westerns that came before him.  

By the way, I enjoy and appreciate traditional Westerns myself, but you seem to be reacting from a defensive posture because some people consider traditional Westerns to be "square," and you want them to believe the opposite. 

And if the "establishment" embraced Leone, why were his epochal Westerns savaged and mocked by English-language critics on both sides of the Atlantic, including those in most of the major media publications? Nor were the Hollywood studios initially rushing to hire Clint Eastwood for major roles. Although interested by the phenomenal grosses that the Leone-Eastwood Westerns were attaining in continental Europe, the studios remained skeptical circa late 1966-early 1967, after Eastwood had returned from starring in The Good, the Bad and the Ugly. After he landed in New York on November 1, 1966, at least six months would pass before he had a deal in place to star in an American Western.  

For the record, I would say that the era of traditional Westerns in Hollywood ran from about 1930-1967. The Western emerged as an "A" genre in 1939 with Stagecoach, and the Golden Era of Westerns lasted, I would argue, from 1946-1962. (After all, not many, if any, major Westerns emerged from 1941-1945.) Regardless, all of those time periods lasted longer than the era of Western revisionism, which percolated from about 1964-1976—and shorter than that in Hollywood (maybe 1966-1976 and more seriously from 1968-1976). After 1976, Westerns of all kinds more or less disappeared, with occasional revivals (including some notable ones in recent years) that have ranged between traditionalism and revisionism.   

Musicals and drama

Six months to land a deal is nothing. That's pretty much immediately. I was alive in the sixties, so I know you are full of crap when you claim those westerns were mocked. Anyone who dared to mock them would lose his or her job swiftly. 

Even during the brief period of motivation geared Westerns, there were always movies based on zero motivation, and frankly, there is zero motivation in the dollar trilogy, as well as the once upon a time in the west crap. A pagan demi-god decides to wipe out two large gangs by himself in one movie, yet pretends to muse over odds. Another one three men kill everything that moves, practically the entire population of the West, to seek stolen Gold, when it would be easier to just steal their own Gold considering. Another one is just Leone's neo nazi excuse to kill every brunette in a movie (makes one think he was jilted hard by some dark haired beauty, but this is common neo Nazi brainwashing in Hollywood), and another a man wants revenge on a man for killing his brother, so he kills everyone who tries to kill the man he wants revenge on. There is no motivation, good or bad. Just zero. The idea that there is mercantile motivation doesn't come into play, because it doesn't fit no matter how hard you try to make it.

Yet feeble minded crack heads still worship this garbage, and try to force everyone else to do the same. Now that has been the tradition longer than any other tradition in the Western world.