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Line 1,251: − + − |- − |''Pokémon'' − |1997- − |TVTokyo (1997-present; Japan only); UPN-69 (1998-1999); Kids WB (1999-2007); Cartoon Network (2007-2016); Disney XD (2016-present) − | − |An anime adapted from a series of hugely popular trading cards and video games. The later seasons cut out the more conservative messages to promote more liberal agendas, including having the various female characters starting with May (most of whom are ten years old and thus still children) essentially act as sexual fanservice according to then-director Masamitsu Hidaka (and, at least in the case of the female leads of AG, DP, and XY, their goals of acting as Pokémon Coordinator and Showcase Trainer seemed to promote fashion industry values), as well as later on the story's refusal until ''Sun & Moon'' to allow Ash to win a league despite it being necessary to have him become a Pokémon Master (with the most infamous example of this being the Ash vs. Alain fight in the final round of the Kalos League, which had Ash losing against Alain despite the series, including the actual Japanese episode title for the battle in question, all but strongly implying the exact opposite), and eventually by Sun and Moon delaying having Ash resume his goal until nearly 40 episodes later (as well as ultimately winning in that saga), thus initially resulting in a more nihilistic view of Ash's goal. In addition, a running gag since Hoenn and to some extent Johto has Brock constantly chasing women and trying to ask them out, depicting him as a womanizer in a more comedic light. Moreover, the concept of friendships that was strongly emphasized in prior seasons eventually got phased out due to them essentially dropping characters after each season with barely a reference to them. − − However, the first few seasons showcased several conservative messages, including the strife to succeed even when the odds are considered insurmountable, as well as showing parental neglect and abandonment in a negative light in regards to the characters Brock and Misty, and to a certain extent one of the main villains Jessie. In addition, in the first season at least, there were also a few Christian references from Brock and Misty, and to some extent James. Pro-family values are present due to Misty becoming a mother to Togepi, and Brock also intending to aid his family when his parents weren't around due to the latter abandoning their children (or, in the case of the dub, the father abandoning them and the mother dying), only joining Ash after his father, Flint, returned and encouraged Brock to pursue his dreams. Was also anti-Hollywood Values as well, as the episode "Go West Young Meowth" showcases the more depraved nature of Hollywood, including at least one bickering couple, and does not treat it in a positive light, nor does Meowth's sweetheart, Meowzie, an epitome of Hollywood values, come across in a flattering light, with it also being heavily implied that this was the reason Meowth turned to villainy. Similarly, another episode during the first season dealt with a condemnation of fashion industry values as Team Rocket created a salon that heavily dolled up various Pokémon without taking into account their nature, which Ash, Brock, and character of the day Suzie condemn, and Misty initially supported to an extent only to pay the price later on when she tried to have Psyduck dolled up. One episode of DP also has an implicit condemnation of the homosexual agenda due to Brock calling Pikachu and Piplup (both of whom are confirmed male in an earlier episode) having an attraction to each other "unnatural." In addition, some episodes implicitly condemn the concept of Social Darwinism by showing various trainers who care only about Pokémon who are powerful and instantly abandon them if they show any sign of weakness in a very negative light. Line 1,267:
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Essay:Worst Liberal TV Shows (view source)
Revision as of 00:18, February 16, 2024
, 00:18, February 16, 2024→Debatable Whether Liberal: Japanese films and shows, as said previously, should not be listed here due to clearly deep and radical cultural and political differences and dissonances and not part of Hollywood/HollyWOKE agenda. Plus, innuendoes are n...
|[[YouTube]] (2019), A24 (2022) (''Hazbin Hotel'')<br>YouTube (''Helluva Boss'')
|[[YouTube]] (2019), A24 (2022) (''Hazbin Hotel'')<br>YouTube (''Helluva Boss'')
|TV-MA
|TV-MA
|In ''Hazbin Hotel'' & ''Helluva Boss'' one main series and a spin-off set in the same universe of the former, demons and corrupted angels engage periodically in killing DEFINITELY the souls of the sinners turned into monsters and deformed creatures in Hell due to the over-population of said Hell in the main series, and an assassin group of demons try to kill anyone who stands in their way, even children, in its spin-off. They are filled with Satanic imagery, sexual content, profanity and even references to the real-life "Angel Dust". Not to mention most of the characters are either homosexual or bisexual. Protagonist Charlie is the princess of [[Hell]] and lesbian daughter of [[Satan]]/Lucifer himself (and Lilith, a demon from the Jewish religion who is his wife in this universe), and her three main costars are either homosexual or lesbian or bisexual. However, as aforementioned above, Hell and the demons are depicted negatively, morally questionable and/or evil as it should be, and the protagonist wants to redeem the souls of the sinners in order to give them a chance to gain honestly the access to Heaven and spare them to resolve the problem of Hell's over-population without recurring in violence and being. Not to mention that characters in Hell being homosexual or bisexual alongside being morally questionable, bad or ambiguous might be appropriate for the context and location/environment. The show is also filled with dark humor and is targeted to an adult and mature audience. Also, the creator, who is also Latin American and thus with a culturally different approach on this kind of themes, doesn't seem to show or have precedents about engaging in woke and PC "culture" stuff (these last points are probably the main reasons why the shows are in this section).
|In ''Hazbin Hotel'' & ''Helluva Boss'' one main series and a spin-off set in the same universe of the former, demons and corrupted angels engage periodically in killing DEFINITELY the souls of the sinners turned into monsters and deformed creatures in Hell due to the over-population of said Hell in the main series, and an assassin group of demons try to kill anyone who stands in their way, even children, in its spin-off. They are filled with Satanic imagery, sexual content, profanity and even references to the real-life "Angel Dust". Not to mention most of the characters are either homosexual or bisexual. Protagonist Charlie is the princess of [[Hell]] and lesbian daughter of [[Satan]]/Lucifer himself (and Lilith, a demon from the Jewish religion who is his wife in this universe), and her three main costars are either homosexual or lesbian or bisexual. However, as aforementioned above, Hell and the demons are depicted monstrously, negatively, morally questionable and/or evil as it should be, and the protagonist wants to redeem the souls of the sinners in order to give them a chance to gain honestly the access to Heaven and spare them to resolve the problem of Hell's over-population without recurring in violence and being. Not to mention that characters in Hell being homosexual or bisexual alongside being morally questionable, bad or ambiguous might be appropriate for the context and location/environment. The show is also filled with dark humor and is targeted to an adult and mature audience. Also, the creator, who is Latin American and thus with a culturally different approach on this kind of themes, doesn't seem to show or have precedents about engaging in woke and PC "culture" stuff (these last points are probably the main reasons why the shows are in this section).
|-
|-
|''[[Happy Days]]''
|''[[Happy Days]]''
|ABC
|ABC
|TV-G
|TV-G
|Originally launched as a 1972 episode of ''Love, American Style'' called "Love and the Television Set" and set in the 1950s. The show was pro-family and celebrated family values, as the Cunningham family, the show's original main focus, always supported each other even through the rough times. The show is also pro-fatherhood. The show's main father figure, Howard Cunningham, is shown to be mature, calm and responsible, and always does his best to help his kids. Also a little anti-feminism, with Howard owning and running a hardware store and making all the money, and his wife Marion being the housewife. On the other hand, producers admitted to pushing [[pacifism]] and sentiments against the [[Vietnam War]] effort.<ref>https://www.theguardian.com/tv-and-radio/2011/jun/29/is-us-tv-too-leftwing</ref> Protagonist Richie Cunningham, a high school student played by Ron Howard as a regular from 1974 to 1980, is a supporter of the Democrat Party; as part of his school's Young Democrats club, he supports Democrat presidential candidate [[Adlai Stevenson]] in the 1956 election in the Season Two episode "The Not Making of a President" and, as such, is portrayed as young and idealistic yet naïve.
|Originally launched as a 1972 episode of ''Love, American Style'' called "Love and the Television Set" and set in the 1950s. The show was pro-family and celebrated family values, as the Cunningham family, the show's original main focus, always supported each other even through the rough times. The show is also pro-fatherhood. The show's main father figure, Howard Cunningham, is shown to be mature, calm and responsible, and always does his best to help his kids. Also a little anti-feminism, with Howard owning and running a hardware store and making all the money, and his wife Marion being the housewife. On the other hand, producers admitted to pushing [[pacifism]] and sentiments against the [[Vietnam War]] effort.<ref>https://www.theguardian.com/tv-and-radio/2011/jun/29/is-us-tv-too-leftwing</ref> Protagonist Richie Cunningham, a high school student played by Ron Howard as a regular from 1974 to 1980, is a supporter of the Democrat Party; as part of his school's Young Democrats club, he supports Democrat presidential candidate [[Adlai Stevenson]] in the 1956 election in the Season Two episode "The Not Making of a President" and, as such, is portrayed as young and idealistic yet naïve.
Debuting to modest ratings in January 1974 after ABC green-lit it to series, ''Happy Days'' became a huge hit in its later years after the emphasis was shifted more to formerly supporting character Arthur "The Fonz/Fonzie" Fonzarelli (played by Henry Winkler); a greaser, former gang member, womanizer, and high school dropout who nonetheless became increasingly popular with the series' audience and became the main focus of the show after Howard's departure. The series spawned several spinoffs, including ''Laverne & Shirley'', ''Mork & Mindy'' (created as a vehicle for stand-up comedian [[Robin Williams]]), and the animated series ''The Fonz and the Happy Days Gang''.
Debuting to modest ratings in January 1974 after ABC green-lit it to series, ''Happy Days'' became a huge hit in its later years after the emphasis was shifted more to formerly supporting character Arthur "The Fonz/Fonzie" Fonzarelli (played by Henry Winkler); a greaser, former gang member, womanizer, and high school dropout who nonetheless became increasingly popular with the series' audience and became the main focus of the show after Howard's departure. The series spawned several spinoffs, including ''Laverne & Shirley'', ''Mork & Mindy'' (created as a vehicle for stand-up comedian [[Robin Williams]]), and the animated series ''The Fonz and the Happy Days Gang''.
|-
|-
|''The PowerPuff Girls''
|''The PowerPuff Girls''
|Cartoon Network
|Cartoon Network
|TV-Y
|TV-Y
|On the one hand, the three titular superhero girls seem to be the only protagonists capable of fighting their city’s various supervillains, while the police, consisting mostly of men, are depicted as bumbling and oafish, making the girls feministic (It doesn’t help that one of the working titles for the show was the more profane ''Whoop*** Girls''). Moreover, innuendoes may be sprinkled throughout (and are more apparent in the 2016 reboot series, much to the chagrin of even the most devoted fans).
|On the one hand, the three titular superhero girls seem to be the only protagonists capable of fighting their city’s various supervillains, while the police, consisting mostly of men, are depicted as bumbling and oafish, making the girls feministic (it doesn’t help that one of the working titles for the show was the more profane ''Whoop*** Girls'').
On the other hand, since the girls were created by a scientist to be the “perfect little girls,” they could be more femin''ine'' rather than feminist. They try to fit into traditional gender roles despite their capabilities, and they learn family values from the professor who made them and serves as a responsible, knowledgeable, reasonable, tough but forgiving father-figure well-versed in various scientific disciplines. Plus, the recurring antagonist “Him” is an obvious reference to [[Satan]], which hints at support for Christianity; and he is an androgynous being who demonstrates some effeminate traits, which unsympathetically depicts and satirizes gender confusion and homosexual lifestyles, respectively. Lastly, minor villain Femme Fatale personifies the feminist ideology as her crimes are built around feminist hypocrisy.
On the other hand, since the girls were created by a scientist to be the “perfect little girls,” they could be more ''feminine'' rather than feminist. They try to fit into traditional gender roles despite their capabilities, and they learn family values from the professor who made them and serves as a responsible, knowledgeable, reasonable, tough but forgiving father-figure well-versed in various scientific disciplines. Plus, the recurring antagonist “Him” is an obvious reference to [[Satan]], which hints at support for Christianity; and he is an androgynous being who demonstrates some effeminate traits, which unsympathetically depicts and satirizes gender confusion and homosexual lifestyles, respectively. Lastly, minor villain Femme Fatale personifies the feminist ideology as her crimes are built around feminist hypocrisy.
|-
|-
|''SpongeBob SquarePants''
|''SpongeBob SquarePants''
|One of the most influential cartoons of the 21st century, centered on an energetic, anthropomorphic sea sponge (who more nearly resembles a kitchen sponge) and a diverse cast of his underwater friends, is decidedly one of the most politically ambiguous.
|One of the most influential cartoons of the 21st century, centered on an energetic, anthropomorphic sea sponge (who more nearly resembles a kitchen sponge) and a diverse cast of his underwater friends, is decidedly one of the most politically ambiguous.
On the one hand, the series suggests that capitalists are inherently malign or simply obsessed with money, as the main character’s crustacean employer, the fast-food restaurateur Mr. Krabs, is inclined to put money before others’ interests, sometimes at the expense of others’ well-being. In addition, SpongeBob and his dimwitted starfish best friend Patrick Star have a habit of annoying Squidward Tentacles: a quick-tempered, cynical octopus who lives between them, behaves apathetically on his job as a cashier, and may be a copy of ''Sesame Street'' character Bert because both characters have interests that others find mundane. They tend to not face comeuppance for their childish actions against Squidward (though there are exceptions), which may teach that being annoying is “acceptable” adult behavior. Specific episodes have controversial overtones, too. For instance, “Rock-a-Bye Bivalve” is infamous for depicting SpongeBob and Patrick raising a baby scallop like a homosexual couple; and a handful of episodes like "The Jellyfish Hunter", "Keep Bikini Bottom Beautiful", and "SpongeBob's Last Stand" touch on themes of environmentalism. Moreover, one of the series’ worst-received episodes, “One Coarse Meal,” tries to make bullying look humorous because it centers on Mr. Krabs driving his microscopic arch business rival Plankton to suicide by appealing to the copepod’s secret fear of whales, a fear that is not present in any other episode. SpongeBob himself even displays some flamboyant tendencies that can be seen as gay, though Stephen Hillenburg had stated that SpongeBob would reproduce asexually like normal sponges (splitting into newer sponges); 2020 has Nickelodeon disregard this information to push SpongeBob to be a "queer icon".<ref>https://www.breitbart.com/entertainment/2020/06/15/nickelodeon-celebrates-pride-month-with-queer-icon-spongebob-bisexual-and-trans-characters/</ref>
On the one hand, whether it may be considered far-fetched or not, the series seems suggests that capitalists are inherently malign or simply obsessed with money, as the main character’s crustacean employer, the fast-food restaurateur Mr. Krabs, is inclined to put money before others’ interests, sometimes at the expense of others’ well-being. In addition, SpongeBob and his dimwitted starfish best friend Patrick Star have a habit of annoying Squidward Tentacles: a quick-tempered, cynical octopus who lives between them, behaves apathetically on his job as a cashier, and may be a copy of ''Sesame Street'' character Bert because both characters have interests that others find mundane. They tend to not face comeuppance for their childish actions against Squidward (though there are exceptions), which may teach that being annoying is “acceptable” adult behavior. Specific episodes have controversial overtones, too. For instance, “Rock-a-Bye Bivalve” is infamous for depicting SpongeBob and Patrick raising a baby scallop like a homosexual couple; and a handful of episodes like "The Jellyfish Hunter", "Keep Bikini Bottom Beautiful", and "SpongeBob's Last Stand" touch on themes of environmentalism. Moreover, one of the series’ worst-received episodes, “One Coarse Meal,” tries to make bullying look humorous because it centers on Mr. Krabs driving his microscopic arch business rival Plankton to suicide by appealing to the copepod’s secret fear of whales, a fear that is not present in any other episode. SpongeBob himself even displays some flamboyant tendencies that can be seen as gay, though Stephen Hillenburg had stated that SpongeBob would reproduce asexually like normal sponges (splitting into newer sponges); 2020 has Nickelodeon disregard this information to push SpongeBob to be a "queer icon".<ref>https://www.breitbart.com/entertainment/2020/06/15/nickelodeon-celebrates-pride-month-with-queer-icon-spongebob-bisexual-and-trans-characters/</ref>
On the other hand, many episodes where SpongeBob works in his regular job as a fry cook at the Krusty Krab restaurant teach young audiences to appreciate hard work and persistence as SpongeBob eagerly strives to make the most out of his rather ordinary vocation. Most episodes where Plankton appears draw a clear distinction between good and evil, showing the errors of stealing and conducting business through illegitimate means as Plankton’s schemes to outcompete Mr. Krabs, the more competent businessman, or steal his Krabby Patty recipe always backfire. In addition, depending on the writer(s), Krabs can serve as a surrogate father-figure to SpongeBob, teaching him to stay out of danger and not to act so impulsively as he usually does. Lastly, the episode "SpongeBob, You're Fired!" has gained fame among conservatives for advocating self-sufficiency while lampooning the concept of the welfare state, mainly the Supplemental Nutritional Assistance Program: as Patrick tries to show SpongeBob the "fun of unemployment" by taking SpongeBob out to a free lunch with Sandy, SpongeBob quips, "Unemployment may be fun for you, but I need to get a job".<ref>https://www.breitbart.com/big-hollywood/2013/11/04/spongebob-mocks-welfare-state/</ref>
On the other hand, many episodes where SpongeBob works in his regular job as a fry cook at the Krusty Krab restaurant teach young audiences to appreciate hard work and persistence as SpongeBob eagerly strives to make the most out of his rather ordinary vocation. Most episodes where Plankton appears draw a clear distinction between good and evil, showing the errors of stealing and conducting business through illegitimate means as Plankton’s schemes to outcompete Mr. Krabs, the more competent businessman, or steal his Krabby Patty recipe always backfire. In addition, depending on the writer(s), Krabs can serve as a surrogate father-figure to SpongeBob, teaching him to stay out of danger and not to act so impulsively as he usually does. Lastly, the episode "SpongeBob, You're Fired!" has gained fame among conservatives for advocating self-sufficiency while lampooning the concept of the welfare state, mainly the Supplemental Nutritional Assistance Program: as Patrick tries to show SpongeBob the "fun of unemployment" by taking SpongeBob out to a free lunch with Sandy, SpongeBob quips, "Unemployment may be fun for you, but I need to get a job".<ref>https://www.breitbart.com/big-hollywood/2013/11/04/spongebob-mocks-welfare-state/</ref>