History ValuesDissonance / LiveActionFilms

** In one scene, Samantha talks with her friend about what she dreamed of getting for her sixteenth birthday, with her friend suggesting a "pink [Pontiac] Trams-Am and a guy." Sam responds, "A black one," to which her friend looks shocked and exclaims, "A '''''black guy?!'''''" Sam immediately clarifies, "A black Trans-Am, a pink guy." Interracial relationships were still seen as a touchy subject at the time, but by today's standards Sam's friend just looks outright racist and Sam herself isn't much better.

** In one scene, Samantha talks with her friend about what she dreamed of getting for her sixteenth birthday, with her friend suggesting a "pink [Pontiac] Trams-Am and a guy." Sam responds, "A black one," to which her friend looks shocked and exclaims "A '''''black guy?!'''''" Sam immediately clarifies, "A black Trans-Am, a pink guy." Interracial relationships were still seen as a touchy subject at the time, but by today's standards Sam's friend just looks outright racist.

** In one scene, Samantha talks with her friend about what she dreamed of getting for her sixteenth birthday, with her friend suggesting a "pink [Pontiac] Trams-Am and a guy." Sam responds, "A black one," to which her friend looks shocked and exclaims "A '''black guy?!'''" Sam immediately clarifies, "A black Trans-Am, a pink guy." Interracial relationships were still seen as a touchy subject at the time, but by today's standards Sam's friend just looks outright racist.

** During one scene, Samantha talks to her friend about getting a black-colored Pontiac Trams-Am for her birthday. However, her description is rather vague, which leads to her friend acting in shock and thinking she actually wants [[ScaryBlackMan a black man]]. Samantha responds by saying "Black Trans Am, pink guy". At the time, interracial relationships were still seen as being a touchy subject as it had only been legalized in the late [[TheSixties '60s]], but with it being more common today, the friend's reaction can seem very awkward.

* Deckard's relationship with Rachael in ''Film/BladeRunner'' begins with a scene where he physically blocks her from leaving his apartment, pushes her against a wall, and demands that she tell him to kiss her. Even though she'd been crying moments earlier, she immediately complies and initiates sex with him. This is portrayed as DefrostingTheIceQueen and BelligerentSexualTension, while today it would be considered [[QuestionableConsent abusive]]. It should be noted that as a replicant Rachel is essentially a non-person, she cannot call for help or go to the police, Deckard could actually kill her on the spot and be considered to only be doing his job, leaving her very little choice but to submit.

* In ''Film/TheFly1986'', Stathis' [[StalkerWithACrush stalking]] of Veronica in the first act was intended to be seen as fairly harmless and funny to audiences in TheEighties, but now comes across as creepy. Even in 2005, writer-director Creator/DavidCronenberg's DVDCommentary has him noting that workplace sexual harassment just wasn't seen as an issue at the time. Ironically in the final act it turns out Stathis is the hero of the tale, something which would probably not "fly" nowadays.

* ''Film/{{Gettysburg}}'', adapted in 1993 from the 1974 novel ''Literature/TheKillerAngels'', accurately describes the American Civil War as being caused by slavery but downplays the extent of it. Although the main Union protagonists are abolitionists who don't believe in racism, several Confederate characters claim that they're just trying to preserve their individual rights and are portrayed as being indifferent to the whole "peculiar institution", only trying to preserve their homes from what they see as invasion. This whitewashed depiction was criticized at the time, but it has ''really'' dated the film since. With a more diverse corps of historians coming up since the original novel, the notion of the Confederates as misguided patriots has been more widely exposed for what it is: "Lost Cause" propaganda designed to both give a HistoricalHeroUpgrade to Confederate leaders (Lee claimed that following the Emancipation Proclamation would be a ''FateWorseThanDeath'') and preserve white supremacy in the South. Today, more viewers are liable to agree with Gene Siskel's original assessment of the film as "bloated Southern propaganda." In real life the Confederate forces invading Pennsylvania kidnapped thousands of African Americans and sent them South in chains on the pretext that they were "escaped slaves".

* Claude Berri's 1977 French film ''Film/OneWildMoment'' has two divorced men going on vacation to Corsica with their teenage daughters, one of whom seduces her father's friend. While this is a common enough plot in French literature and cinema as not to have raised many eyebrows, so much so that the film was remade without any major plot changes in 2015[[note]]''Long'' after that sort of story would have been ''radioactive'' in the English-speaking world[[/note]], it caused some consternation among American critics in the early 1980s when the film was remade as ''Film/BlameItOnRio'', even though the film tried to excuse it by giving the daughter some psychological issues.[[note]]And even in 2020, after the revelations about writer Gabriel Matzneff, it is starting to look dated, at the very least, in France.[[/note]] Moreover actress Michelle Johnson was under 18 at the time her nude scenes were filmed.

* Deckard's relationship with Rachael in ''Film/BladeRunner'' begins with a scene where he physically blocks her from leaving his apartment, pushes her against a wall, and demands that she tell him to kiss her. Even though she'd been crying moments earlier, she immediately complies and initiates sex with him. This is portrayed as DefrostingTheIceQueen and BelligerentSexualTension, while today it would be considered [[QuestionableConsent abusive]].

* In ''Film/TheFly1986'', Stathis' [[StalkerWithACrush stalking]] of Veronica in the first act was intended to be seen as fairly harmless and funny to audiences in TheEighties, but now comes across as creepy. Even in 2005, writer-director Creator/DavidCronenberg's DVDCommentary has him noting that workplace sexual harassment just wasn't seen as an issue at the time.

* ''Film/{{Gettysburg}}'', adapted in 1993 from the 1974 novel ''Literature/TheKillerAngels'', accurately describes the American Civil War as being caused by slavery but downplays the extent of it. Although the main Union protagonists are abolitionists who don't believe in racism, several Confederate characters claim that they're just trying to preserve their individual rights and are portrayed as being indifferent to the whole "peculiar institution", only trying to preserve their homes from what they see as invasion. This whitewashed depiction was criticized at the time, but it has ''really'' dated the film since. With a more diverse corps of historians coming up since the original novel, the notion of the Confederates as misguided patriots has been more widely exposed for what it is: "Lost Cause" propaganda designed to both give a HistoricalHeroUpgrade to Confederate leaders (Lee claimed that following the Emancipation Proclamation would be a ''FateWorseThanDeath'') and preserve white supremacy in the South. Today, more viewers are liable to agree with Gene Siskel's original assessment of the film as "bloated Southern propaganda."

* Claude Berri's 1977 French film ''Film/OneWildMoment'' has two divorced men going on vacation to Corsica with their teenage daughters, one of whom seduces her father's friend. While this is a common enough plot in French literature and cinema as not to have raised many eyebrows, so much so that the film was remade without any major plot changes in 2015[[note]]''Long'' after that sort of story would have been ''radioactive'' in the English-speaking world[[/note]], it caused some consternation among American critics in the early 1980s when the film was remade as ''Film/BlameItOnRio'', even though the film tried to excuse it by giving the daughter some psychological issues.[[note]]And even in 2020, after the revelations about writer Gabriel Matzneff, it is starting to look dated, at the very least, in France.[[/note]]

* The film version of ''Film/TheLittleRascals'' has ballet teacher Miss Roberts [[HairTriggerTemper react to]] Butch/Woim and Alfalfa/Spanky's intrusion upon her ballet school by [[WouldHurtAChild grabbing their ears and physically shooing them out of the building]] ([[{{Jerkass}} she even openly yells at the latter duo to]] GetOut). This is PlayedForLaughs [[note]][[KickTheSonOfABItch Her treatment of Butch and Woim might have easily passed as a cathartic moment]][[/note]] and would've been deemed a fairly acceptable response to unruly kids in the past but ([[DoubleStandardAbuseFemaleOnMale never mind the genders of all concerned parties]]) playing it off as a joke in a modern ''family-oriented movie'' would likely provoke ire since child abuse has become way more hot-topic long after its release year of 1994. Also of note is that in Butch and Woim's case, [[BystanderSyndrome this act is done in front of various bystanders who look on with indifference]]. Assuming that either or both pairs of kids told their parents and/or an eyewitness recorded the altercation, Miss Roberts would be fired and likely see the inside of a courtroom for aggressive misconduct towards minors nowadays.

* The film version of ''Film/TheLittleRascals'' has ballet teacher Miss Roberts [[HairTriggerTemper react to]] Butch and Woim and Alfalfa and Spanky accidentally ruining her recital by [[WouldHurtAChild grabbing their ears and physically]] [[GetOut shooing them out of the ballet school]] without even asking for an explanation. In its release year of 1994, this would have likely been a (barely) acceptable method of dealing with kids intruding upon areas they don't belong (and had been for years) but nowadays (with [[ThinkOfTheChildren America's increased concern for the well-being of kids]], more attention towards child abuse and requirements for witnesses to report it), [[LaserGuidedKarma she would more than likely be fired]] (if not ''[[PersonaNonGrata blacklisted]]'' [[PersonaNonGrata from any occupation that involves close proximity to children]]) if word got out she had mistreated a few boys. It doesn't help that when she escorts Butch and Woim out, [[BystanderSyndrome you can see a few bystanders down the hall who appear nonplussed by the scene]] (even though they're both yelping in pain).

* The central storyline of 1971 film of ''Series/OnTheBuses'' is that the bus company hires female drivers and the male drivers deliberately disrupt their work and make their lives a misery. What makes this questionable is that the male drivers are shown as likable heroes and the women as harpies who deserve to get fired. The unattractive appearance of the women who do traditionally male jobs probably wouldn't happen today either. The film also shows men groping women without their permission but the women finding this humorous rather than being upset or offended by it.

* ''Film/12AngryMen'':

** Claire bringing sushi for lunch is meant to serve as a symbol of how wealthy and elitist her family is. Back in the '80s, sushi was a far more exotic and expensive dish, but over the years it's become more affordable and mainstream. It's still out of the orginary as a school lunch, but not quite to the extent it was when the film was released.

* ''Film/NineteenFortyOne1979'': Modern audiences would cringe at Corporal Stretch's continued pursual of the high school-aged Betty, even coming very close to ''raping'' her, with complete impunity (in fact, the "director's cut" actually implies that much of the military has a viking-like disposition towards women). It really doesn't help that he is shown to be [[NoGuyWantsToBeChased utterly horrified]] by his being the object of Maxine's affections.

* In ''Film/AceVenturaPetDetective'', the BigBad is Ray Finkle, a former football player whose botched field goal kick cost him a Superbowl win and ultimately his sanity. It is later revealed that the beautiful no-nonsense female police lieutenant Lois Einhorn, who dislikes Ace [[BelligerentSexualTension but has some sexual tension with him]], actually ''is'' Finkle, having assumed the identity of a dead woman and even having partial [[UsefulNotes/{{Transgender}} gender-reassignment surgery]] to pass as female. The movie is vague as to whether or not Finkle is actually transgender or if he's ''so'' insane he changed genders and became a cop just as part of a long-term plan to get back at the Miami Dolphins. Furthermore, when Ace realizes the two are one and the same, he's horrified that he got to second base with a "man" and we see a montage of him washing his mouth out, burning his clothes, and taking a ShowerOfAngst. With transgender visibility and acceptance of trans people in the society having come a long way since the mid-'90s, what was considered funny back then would be ''skewered'' for its transphobia today.
* The Singaporean film series ''Film/AhBoysToMen'' has people being shot, as well as constantly using swear words and making sexual innuendos (such as whore). Singaporean kids are okay with that, but an American film with the exact same content would be slapped with an R-rating at the very least.
* In the 1980 Soviet film ''Film/AirCrew'', there is a custody battle. The father has an excellent record as a pilot, a wonderful relationship with his son, and he has several female family members who can care for the child when he is away. The mother, in the meantime, badmouths her husband so much during the trial that her own mother’s evidence reveals she’s told the judge heaps of BlatantLies. Nevertheless, despite the judge’s own preference for the father, the mother gets full custody. ''And'' there’s more. The mother works full-time and her mother is ailing, so they send the kid to daycare despite his severe mental problems that they are perfectly aware of, and his condition worsens. Despite all that, the father’s colleague has to pull strings in really high places so that the mother would be forced to allow her ex-husband ''visitations''. As the father’s lawyer explains, it’s simply a custom to choose in favour of the woman in custody cases.

** The GoodAngelBadAngel scene where Pinto wonders whether he should have sex with the unconscious teenager Clorette has become ''extremely'' cringeworthy since rape, both on college campuses and among teenagers, has become a bigger concern. While both parties would be equally mocked back in the '70s (the movie was released in 1978), nowadays virtually everyone will sympathize with Clorette and Pinto would be ostracized from society. Then again, the more serious attitude toward campus rape can mean that for some viewers the joke now CrossesTheLineTwice, and as a result, has become even ''funnier.''
** It also plays, strictly for laughs, the moment when Kroger finds out (''after'' sex) that the mayor's daughter, with whom he has been having a relationship, is merely 13. Today it comes across as insensitive and thoughtless to do so.
* Similar to the Dan Fogelberg example listed at the Music page, and also from 1981, was the movie ''Film/{{Arthur 1981}}'', which played the title character's alcoholism and resultant drunken behavior for laughs; he is even seen drinking while driving at one point. The movie was rated [=PG=], as the [=PG=]-13 rating didn't exist until three years after its release; the [=MPAA=]'s [[http://en.wikipedia.org/wiki/MPAA_ratings#Ratings current restrictions]] on drug content would net it a higher rating now. Not only did the 2011 Russell Brand-led remake get a [=PG=]-13, his binge drinking was more PlayedForDrama (as in a scene where his nanny Hobson speaks for him at an Alcoholics Anonymous meeting he's not taking seriously).
* Agnes' fate at the end of ''Film/AuntieMame'' definitely qualifies for this trope. She finds herself impregnated and [[AccidentalMarriage accidentally married to]] a sexual predator who got her drunk and led her to the altar because he thought she was a rich noblewoman. This is supposed to be a ''happy'' ending because it means that she's not, as she gravely feared, an ''unwed mother''. It is worth noting that in a [[Theatre/{{Mame}} later, musical version of the play]], this part was changed. Instead of being married to the guy who knocked her up, Agnes is sent to live in a home for unwed mothers... that was founded and set up by Aunt Mame herself, specifically to help Agnes (and to tick off the snooty rich family whose property was next door to the future site of the home). In [[Literature/AuntieMame the original book]], she falls in love with one of Patrick's college professors, a genuinely good man who reciprocates her love and proposes to her as she's being rushed to the hospital in labor. It's implied that they wind up happily married.
* In ''Film/{{Babes in Toyland|1934}}'', the toys featured in the 1934 film version of the Victor Herbert operetta starring Laurel and Hardy would not pass government safety regulations (or most parents' standards) today: steel-tipped darts launched by a catapult, anyone?

** The DVDCommentary notes that some European audiences were put off by how the "improved" [=McFly=] family at the end had become more materialistic, as exemplified by Marty getting the Toyota truck he wanted at the start of the movie. Creator/CrispinGlover also objected to this, arguing that it contradicted the message that ThePowerOfLove had made their lives better, not money.
** The fact that a mainstream family movie not only uses incest (a teenage boy going back in time and having his teenage mother falling in love with him) as a plot point but even ''[[PlayedForLaughs plays the whole thing for laughs]]'' might qualify.
** The fact that George apparently hires Biff as an employee thirty years after he [[AttemptedRape tried to sexually assault]] Lorraine; one would think George, Marty and ''especially'' Lorraine would take some issue with the man being anywhere near the house after that harrowing encounter, but George and Lorraine strangely regard him with a begrudging affection, almost like he's family.
** In fact, Marty's plan to subject Lorraine to staged AttemptedRape in general. A DeletedScene shows Marty's objection to the plan comes largely from a fear that the psychological trauma he puts his mother through... might make him turn out gay.
** Modern audiences will find it pretty strange that everyone seems generally okay with a teenaged boy being friends with an eccentric, reclusive older man. To be fair, George and Lorraine don't approve of Marty hanging out with Doc Brown, but only because he's the town weirdo, not out of any concern that he could be dangerous; and they only seem to scold him over it, rather than calling the cops on the strange old man taking an interest in their son.

** The central conflict is set up by Dolores inviting her friends to the beach on what was supposed to be a couple's vacation in order to [[LetsWaitAwhile prevent Frankie from thinking he's about to get some]]. Frankie is so pissed at this that he resorts to OperationJealousy and hypocritically gets annoyed at Dolores for doing the same thing. Yet it's Dolores who gets a song literally titled "Treat Him Nicely," and their romance is resolved with a minimum of Frankie admitting he was wrong.
** Dolores's flirtation with Robert -- who's several decades older than her -- is not seen as anything more than mildly unusual. While DawsonCasting is at play -- Creator/AnnetteFunicello was 23 -- Dolores is no older than her late teens.
** The boys' prank on Robert -- setting his hat on fire - is also seen as harmless fun that gets only a stern look from Dolores.
* ''Film/BeingThere'': Chance was apparently isolated from society because his caretakers assumed he would never amount to anything. Nowadays, with a greater understanding of things like autism and learning disabilities, such treatment would be far less acceptable and Chance could possibly have received some kind of special education. Louise, his caretaker mind you, deriding Chance as "dumb as a jackass" would come across as downright cruel and despicable by modern standards.
* ''Film/TheBigStore'': There's a part of the "Sing While You Sell" musical sequence that pans to a part of the store selling cotton sheets. The attendants are black men in cotton-picking attire carrying decorative cotton plants, a cutout in the background that almost looks like a "mami" and they sing a jolly song about how cotton is harvested, all to the tune of "Old Folks at Home". Given the year this came out, we should count ourselves lucky that they got black actors to play the part instead of white guys in {{Blackface}}.
* ''Film/BillAndTedsExcellentAdventure'' and its sequel, ''Film/BillAndTedsBogusJourney'', being movies about American teenagers in the 1980s, have the characters casually using the word "fag" as an insult towards a villain, and in one scene they hug each other only to break the hug and call one another a "fag." Nowadays, of course, sympathetic characters would never use such a slur. Thanks to the extremely long SequelGap of 29 years, the third film, ''Film/BillAndTedFaceTheMusic'', completely drops the use of the word.
* [[OlderThanTelevision Going way back]], ''Film/{{The Birth of a Nation|1915}}'' (and by extension, the novel it was based on, ''The Clansman'' by Thomas Dixon) features the Ku Klux Klan as the ''[[DesignatedHero good guys]]'', complete with a BigDamnHeroes moment towards the end of the story. Although denounced by the NAACP even at the time, it was a huge hit and went on to be so influential that for decades, [[Creator/DWGriffith the director]] had an honorary award named after him at the Oscars. The film is now rarely seen outside of film classes thanks to ValuesDissonance making it unwatchable to anyone except a film student learning the state of the art in 1915 (and historians who ''really'' know what they're talking about will point out that it ''isn't'' as innovative as its reputation suggests, as the Italians had been making similarly ambitious productions for a couple of years before WWI).
* In the Soviet Union {{Blackface}} and {{Yellowface}} were not considered racist, and because of that, there were more than a few movies with anti-racist messages that had oppressed Black or Asian people played by white Soviet actors. For example, Soviet adaptations of Literature/AdventuresOfHuckleberryFinn stressed the racism and evils of slavery, yet nearly all of them had Jim played by a man in blackface. Of course [[JustifiedTrope actual black people were hard to come by in the Soviet Union]], so this at least would have been basic pragmatism.
* The 1917 silent film ''Film/TheBlackStork'' featured eugenicist Dr. Harry Haiselden playing a fictionalized version of himself. The film has a pro-eugenics message with Haiselden's character portrayed as doing the right thing for allowing a "defective" newborn baby to die (this was based on something Haiselden actually did, by the way). The movie's tagline was, "Kill defectives, save the nation and see ''The Black Stork''." The National Board of Review of Motion Pictures almost banned the film for being too graphic, and had some of the most lurid images, along with references to God, taken out. Depicting an infant being left to die as good, however, was allowed. Both famed defense lawyer Clarence Darrow and Helen Keller (herself often deemed "defective" over being deaf and mute) defended the idea (Darrow though later turned anti-eugenics at least, while Keller did not seem concerned by the fact that, under this standard, she could have been allowed to die as well after becoming disabled). Some of the title cards read like pure Nazi propaganda, with characters preaching the importance of race betterment and lamenting the expensiveness of defectives' care, and it's not a coincidence that the film went out of circulation the year America entered UsefulNotes/WorldWarII. This similarity is not a coincidence: Nazis took many ideas from the American and British eugenicists. For instance, the model eugenics law Harry Loughlin wrote inspired the "Law for the Prevention of Hereditarily Diseased Offspring" Hitler issued, which legalized involuntary sterilization of all disabled and mentally ill people under rulings by special "Health Courts". Loughlin even got an honorary degree from a German university in 1935 for his work on the "science" of "racial cleansing". They used the same reasoning for their own "euthanasia" program, Aktion T4.

* Deckard's relationship with Rachael in ''Film/BladeRunner'' begins with a scene where he physically blocks her from leaving his apartment, pushes her against a wall, and demands that she tell him to kiss her. Even though she'd been crying moments earlier, she immediately gets into it and initiates sex with him. This is portrayed as DefrostingTheIceQueen and BelligerentSexualTension, while today it would be regarded as [[QuestionableConsent abusive]].
* ''Film/BlazingSaddles'': Written by Creator/MelBrooks and Creator/RichardPryor, the ''kings'' of NWordPrivileges. The whole point of the film was to take every trope of the standard American Western, a dozen more from Hollywood films in general, and [[DeconstructiveParody nuke them all]], ''particularly'' the racist parts. It's rated as one of the top comedy movies of all time, but Brooks fully admits it would never get made today because of the N-bombs, gay jokes, and Jews cast as Native Americans [[note]]which was done to mock the fact it actually was [[TruthInTelevision once a standard Hollywood practice]][[/note]].
* When ''Film/{{Blowup}}'' was released, the nudity was scandalous, while the hero's contempt for his models and female admirers (he offhandedly refers to the latter as "bitches") was ignored. Today the sex seems incredibly tame, while the hero's misogyny is appalling. The nudity is a gray area: on the one hand, most people wouldn't bat an eye about it. On the other hand, you still have people who believe nudity is evil and sinful.
* In ''Film/{{Braveheart}}'', Prince Edward is a homosexual as well as a fashion-obsessed wimp and incapable ruler. Many of these details are taken from history, and the film never implies that Edward's sexuality is what makes him a wimp, but the portrayal strays close to negative stereotypes of homosexual men and would raise eyebrows in today's political climate. While gay-rights advocates called the movie out in 1995 (particularly for the death of his lover being PlayedForLaughs), they were paid little heed.

** The film features Creator/MickeyRooney as the wacky Japanese neighbor Mr. Yunioshi, complete with yellowface, buck teeth and thick glasses that look like they were lifted directly from a WWII propaganda poster. At the time, this was acceptable comic relief. The original author Truman Capote slammed this, finding it offensive at the time too. Mickey Rooney apparently didn't see what the problem was.
** Lula Mae's marriage to a middle-aged man when she was only fourteen. While it's implied to have been a chaste one and annulled pretty quickly, there's no way he would have been played sympathetically today.

** Brian [[AxesAtSchool brings a flare gun to school]] so he can commit suicide (or at least destroy a shop project at which he failed). His punishment is a Saturday of detention when it goes off in his locker. In today's zero-tolerance environment, he likely would have been expelled and/or slapped with court-ordered psychiatric therapy for the rest of the school year (and maybe beyond that if he decides to go to college or the military).
** Both Bender and Andy use the word "fag/faggot" without being punished or reprimanded for it. Today, the word is generally seen as an extremely offensive homophobic slur, but in TheEighties, the term would essentially be seen as just another swear and doesn't imply that either of them was gay-bashers.
** There is a relatively minor case regarding the fact that Claire brought sushi for lunch, which serves as a symbol of how wealthy and elitist her family is. Back in the '80s, sushi was a far more exotic and expensive dish, but over the years it's become more affordable and gained mainstream popularity. Granted, as a school lunch it's still out of the ordinary, but not quite to the extent that it was at the time, the film was released.
** Bender's advances on Claire were to show off his {{jerkass}} nature, but he eventually gets the girl in the end. Today, such actions would earn the ire of some modern audience members, who would claim it is trivializing sexual harassment and in one instance sexual ''assault''.
* The works of Creator/JohnHughes generally suffer from this. While generally progressive in their exploration of the emotional lives of teens, significantly teen victims of abusive or neglectful homes in ''Film/TheBreakfastClub'', and showing the need for men to be more emotionally open as in ''Film/TheGreatOutdoors'' and ''Film/PlanesTrainsAndAutomobiles'', the fact remains that sexual harassment, sexual assault, and even rape are frequently played for laughs.
* In the movie ''Film/BridgetJonesDiary'', which came out in 2001, Bridget gets groped and sexually harassed a ''lot'', from her boss to her CreepyUncle Geoffrey and Mr. Fitzherbert stares at her tits so much she calls him "Tits Pervert" and generally Bridget either takes it or just treats it like a tiresome nuisance. In the New Tens, especially with the Me Too movement, this would not fly and she would be expected to call the men out on it.
* In the Creator/ShirleyTemple film ''Film/BrightEyes'', to cap off the final scene, a bratty girl named Joy (who had been mean to Temple's character throughout the film) is slapped in the face by her mother. This happens in a courtroom in front of a judge. While completely acceptable at the time, slapping a child in the face in public would not likely be seen as a positive thing today.
* The 1972 film version of ''Film/{{Cabaret}}'' has a sequence where Sally suggests that Fritz 'pounce' on Natalia to let her know how she feels about him. When Natalia tells her about this, she claims that at first, she was shocked, but then realized she liked what was happening. It teeters close to a NotIfTheyEnjoyedItRationalization, but is played somewhat for CringeComedy.
* In ''Film/CalamityJane'', Jane talks nonchalantly about attacking Native Americans. Despite its light-hearted nature, the film still uses the "savage Indian" trope associated with old cowboy films.

** Considering the character was being bullied, the Gym teacher was right to intervene and report it to the principal. Nowadays, she would've been viewed as a hero because bullying has gotten deadly, forcing many US States to pass laws regarding it. The bullies would’ve faced suspension or expulsion these days rather than have Carrie take matters in her own hands… or rather, her mind.[[note]]In the film and book, the teacher does threaten the girls with suspension -- but says that the school board was full of men who didn't understand how horrible the shower incident was. Chris does get suspended for refusing to do the punishment detentions.[[/note]]
** Also, as sex education is now mandatory in many public schools in the country (including in Maine, where the film takes place), Carrie would have learned about menstruation well beforehand and likely wouldn't have freaked out so terribly when it happened... if it wasn't for Margaret White, who would have never allowed her daughter to participate in such a "dirty" class.
** Likewise the scene where Chris gets slapped by the teacher. The latter two film adaptations leave that part out.[[note]]The 2002 TV movie simply has Miss Desjarden push Chris against a locker[[/note]] These days a teacher hitting a student would be fired on the spot, no matter how rotten the student in question is. The novel at least has Chris' father attempt to get the teacher fired, while the principal fires back with ''in loco parentis'', the concept being that while the child is at school, the school/administrators are basically a temporary parent, and they will counter-sue Chris on Carrie's behalf (which also would not really fly today).

** British media in the 1970s was known for having a lot of negative situations with characters that were played for laughs. Staying with the ''Carry On'' series, in ''Film/CarryOnMatron'', Cyril Carter is ordered to disguise as a nurse in order to steal contraceptive pills from Finisham Maternity Hospital, and he attracts the attention of the perverted and womanizing Dr. Prodd, who drags him into a room and tries to rape him, pointing out that there's no need to defend himself because he's a trained boxer; even if the nurse was female all along, the scene would probably be played out the same way.
* In ''{{Film/Casablanca}}'', Ilsa refers to Sam, the middle-aged black pianist in Rick's club, as a "boy", a common mild racial slur at the time. The film is also infamous for Ilsa not ending up with Rick, despite him being her true love. This is simply because Victor was her husband and in the 1940s, that trumped anything else.

** The plot is about a schoolhouse run by two women being shut down over the flimsiest of insinuations that they are lesbians. They also lose a libel lawsuit even though there's no evidence of the rumor's validity. The play is from the '30s (and it is based on a real incident from a ''century'' prior) and the film is from 1960. The plot wouldn't work in films set post-1970s, with the modern gay rights movement beginning a few years after the film came out.
** The 1930s adaptation, ''These Three'', [[HideYourLesbians removes]] the lesbian themes of the story. In its place, we have a huge public scandal because a little girl (supposedly) caught Martha cheating with Karen's fiance. They even get sent to court for it. The accusations of infidelity and pre-marital sex were more serious in TheThirties but in modern times, or even the '60s (where the TruerToTheText adaptation was made), it would be considered a smaller, more personal issue.

** British media in the 1970s was known for having a lot of negative situations with characters that were played for laughs. Staying with the ''Carry On'' series, in ''Film/CarryOnMatron'', the son of a gangster is ordered to disguise as a nurse in order to steal drugs from a hospital, and he attracts the attention of a perverted womanizing doctor, who drags him into a room and tries to rape him, pointing out that there's no need to defend himself because he's a trained boxer; even if the nurse was female all along, the scene would probably be played out the same way.

* ''Film/TheEliteSquad'' is a mostly accurate depiction of the ViceCity Rio de Janeiro is, with vicious drug dealers ruling in conjunction with {{Dirty Cop}}s. Brazilians cheered TheUnfettered protagonists BOPE who stopped at nothing, including JackBauerInterrogationTechnique, to fight the scourge, but some audiences were rubbed the wrong way by their actions, seeing them as excessive.

* ''Film/{{Sabrina|1995}}'', a 1995 remake of [[Film/{{Sabrina|1954}} a film from 1954]], garnered a lukewarm reaction from critics and audiences because of this. The AgeGapRomance between the 21-year-old title character and the middle-aged Linus was seen as nothing unusual up until the 1980s, but during the 1990s such a disparity in ages became increasingly rare and regarded as painfully sexist, surviving almost solely (at least in the West) in the form of "rich guy marries gal that could be his daughter -- and might be a gold digger" (same for Sabrina getting married just after hitting 20).

** When Ralphie blames Schwartz for a swear word he said, Ralphie's mother calls Schwartz's mother to let her know. We then listen to Schwartz's mother scream at the top of her lungs and begin beating her son over the phone while he pleeds "What'd I do?!?" Ralphie's mother is at first shocked when she hears it, but simply hangs up the phone and thinks nothing more of it. If something like that happened these days, Ralphie's mother would have immediately called Child Protection Services.

* Subverted by the Singaporean film series ''Film/AhBoysToMen'', which has people being shot, as well as constantly using swear words and making sexual innuendos (such as whore), and a few others... [[MisaimedFandom yet Singaporean kids are okay with that]].

** "Summer Nights":

* In the original ''Film/TheDayTheEarthStoodStill1951'', the original:

* ''Film/RevengeOfTheNerds'': Let's be honest here. A lot of the pranks the Tri-Lambs pull were terrible even then, and almost anything they did in the first two films didn't age well ''at all'' to the point where they are today considered the DesignatedHero ''at best''. Even with the things that aren't explicitly illegal--either today, or even back then--there are definitely things they'd never get away with today on any college anywhere in the United States regardless of the legality in that particular jurisdiction.

* Similarly, films like ''Film/{{Shaft}}'' and ''Film/TaxiDriver'' struck a chord with audiences fed up with crime (and police racism in the case of African-Americans) enough to take the law on their own hands. However, as societal views on "mob justice" changed, so did the views around these films. And while the two mentioned films are still widely recognized, one must note that their original messages tend to be brushed away, to the point an attempted revival of ''Shaft'' in the late 2010s was mauled for the same reasons as the ''Death Wish'' reboot.

* In ''Film/TheWildWorldOfBatwoman'', the titular heroine initiates a seance in an attempt to find the movie's villain, only to get interrupted by a stereotypical Chinese spirit, complete with "Ching-chang"-type speak. When it was featured on ''Series/MysteryScienceTheater3000'', Mike and the Bots are horribly offended and Mike actually ''apologizes'' for the scene after it ends.
-->'''Batwoman''' "I have to inform you that no-one here is familiar with Oriental languages."
-->'''Tom Servo''' "Hey, that's ''Asian'' languages, sister."

* The Franchise/MarvelCinematicUniverse has often been forced to avoid this trope, particularly regarding certain characters of color, which is not surprising considering how most of the properties that they are adapting have in [[PrintLongRunners been publications for decades]].
** ''Film/IronMan3'' is a notable example, due to their depiction of [[BigBad the Mandarin]]. In the comics, the Mandarin was a classic YellowPeril villain, which wouldn't really work these days. The film avoids this by [[RaceLift casting the British-Indian actor]] Creator/BenKingsley, then having the Mandarin be a combination of many cultures. [[spoiler:Furthermore, the Mandarin turns out to be a smokescreen/scapegoat for the real villain's organization, played by an actor and designed to obfuscate the real villain's identity.]] Creator/ShaneBlack, the director of ''Iron Man 3'', felt so uncomfortable with the Mandarin's YellowPeril nature from the comics that he had considered [[AdaptedOut simply not including the character at all]], citing this trope as his reason.
** A similar thing occurs in ''Film/DoctorStrange2016'' regarding the [[ComicBook/DoctorStrange the title character]]'s mentor The Ancient One. In the comics, The Ancient One was an example of the MagicalAsian archetype, which would not resonate with modern audiences. Likewise, it is considering how the Ancient One was Tibetan, which would have caused the movie to be literally BannedInChina considering the complicated history between Tibet and China. However, the other options for adapting the character ''each'' [[MortonsFork had their own baggage]], such as InterchangeableAsianCultures and DragonLady. In the end, Creator/MarvelStudios chose to [[RaceLift cast a White]] [[GenderFlip actress]], Creator/TildaSwinton, in the role.
** ''Film/DoctorStrange2016'' also cited this trope to justify [[ReimaginingTheArtifact revising]] Wong from the comics. In the original comics, Wong was an example of EthnicMenialLabor, serving as an Asian domestic servant to [[WhiteMaleLead Doctor]] [[MightyWhitey Strange]], which would not sit well with modern audiences. The movie, however, [[AdaptationalBadass makes Wong a much more competent fighter]]. ''Film/SpiderManNoWayHome'' adds to this by informing us that, since Strange disappeared in the Blip, Wong became Sorceror Supreme.
** This was also the reason why the filmmakers of ''Film/BlackPanther2018'' felt the need to revise the character Man-Ape. In the original comics, Man-Ape, as his name suggests, was an African (specifically Wakandan) villain with a KillerGorilla motif, something that would ''NEVER'' fly well with today's audiences. Among the measures that the ''Black Panther'' film adopted regarding adapting Man-Ape was ''intentionally'' [[ComicBookMoviesDontUseCodenames avoiding calling the character]] "Man-Ape" and using his birth name (M'Baku) instead, downplaying the offensive nature of his gorilla gimmick, and [[AdaptationalHeroism presenting him in a more positive manner]], thus reflecting modern research on gorillas.
** This was [[EnforcedTrope the reason]] why the [[spoiler: real Mandarin[[note]]Who was confirmed to exist in the ''Film/IronMan3'' follow-up ''Film/AllHailTheKing'' following that movie's aforementioned Mandarin twist[[/note]]]] is the BigBad of ''Film/ShangChiAndTheLegendOfTheTenRings'', in which [[RoguesGalleryTransplant instead of his traditional opponent from the comics]] ComicBook/IronMan, the Mandarin will encounter ComicBook/ShangChi. To wit, the filmmakers of Creator/MarvelStudios recognized that the dynamic between Iron Man and the Mandarin (i.e., an American WhiteMaleLead versus a scheming, power-hungry [[YellowPeril Chinese villain]]), while acceptable in the 1960s when they were created, would not resonate with 21st century audiences. However, in a story centered on an Asian lead (Shang-Chi) ''and'' featuring a [[MonochromeCasting predominantly Asian cast]], the Mandarin would be less of a YellowPeril villain, and more of "the BigBad in a mostly-Asian cast", thus making the Mandarin more presentable to modern filmgoers. The other reason why the Mandarin is the BigBad of ''Shang-Chi and the Legend of the Ten Rings'' is because of how, in the original comics written during the 1970s, Shang-Chi was the son of Literature/FuManchu himself, a backstory that would ''NOT'' work today (partly because of this trope, and partly because of how Marvel [[ExiledFromContinuity no longer has the rights to Fu Manchu]]).

* In ''Film/{{Braveheart}}'', Prince Edward is a homosexual as well as a fashion-obsessed wimp and incapable ruler. Many of these details are taken from history, and the film never implies that Edward's sexuality is what makes him a wimp, but the portrayal strays close to negative stereotypes of homosexual men and would raise eyebrows in today's political climate. While gay-rights advocates called the movie out in 1995 (particularly for the death of his lover being PlayedForLaughs) they were paid little heed.
** In a more meta sense of values dissonance, historians generally agree that Prince Edward, future King Edward II of England, was indeed gay, or at least bisexual (he did father an illegitimate child as well as an heir). Unlike the effeminate stereotype shown, the real Edward was quite masculine, described as strong and muscular. While homosexuality was condemned in 14th century England like most places at the time, the mere fact that two men had sex didn't necessarily mean they were homosexual, at least not at the time.

** When the family is enjoying a PekingDuckChristmas, they're put off by the fact that the duck is served with the [[ForeignQueasine head still attached]]. Seeing their concern, the owner promptly chops the head off and sticks it in his pocket, further shocking the family. The kitchen staff also sings Christmas carols with [[AsianSpeekeeEngrish comically thick accents]]. The owner, who speaks excellent English, fruitlessly tries to correct their pronunciation but eventually banishes them back to the kitchen in frustration. Such a scene would be considered fairly insensitive by modern standards, but the fact that it's pretty funny and not mean-spirited means it generally gets a pass, and [[MexicansLoveSpeedyGonzales Asian-Americans often enjoy the scene as well]]. (If anything, the scene works as a lampshading of AsianSpeekeeEngrish.)

** When Ralphie blames Schwartz for a swear word he said, Ralphie's mother calls Schwartz's mother to let her know. We then listen to Schwartz's mother scream at the top of her lungs and begin beating her son over the phone, while he playfully yells "What'd I do?!?" Ralphie's mother is at first shocked when she hears it, but simply hangs up the phone and thinks nothing more of it. If something like that happened these days, Ralphie's mother would have immediately called Child Protection Services.

** Scut Farkus' brand of violent bullying is unlikely to go unpunished in this day and age, given how modern Zero Tolerance school policies react even to most benign offenses. By the same token, if a modern-day Ralphie were to respond to bullying in this manner, i.e. by beating the living daylights out of a kid who has been the bane of his existence, HE would most likely be ordered into counseling and anger management therapy, while Scut Farkus's parents would cry victim because Ralphie beat him up. In short, nowadays Ralphie would be the one seen as the bully.

* In ''Film/TheFly1986'', Stathis' [[StalkerWithACrush stalking]] of Veronica in the first act was intended to be seen as fairly harmless and funny to audiences in TheEighties, but to audiences in TheNewTens who lived with the [=#MeToo=] movement and see harassment of women as a serious social issue the character becomes really unpalatable. It doesn't help that the HourglassPlot has him becoming a HeroAntagonist to VillainProtagonist Seth, whose ProtagonistJourneyToVillain is heavily influenced by a SplitPersonalityTakeover he cannot hold back and which was the result of an accident that came about partially, if completely unintentionally, due to actions Stathis took.
** Even in 2005, writer-director Creator/DavidCronenberg's DVDCommentary has him noting that workplace sexual harassment just wasn't seen as an issue at the time (and would not be for another few years). It could have been worse -- the dynamic between Veronica and Stathis had some BelligerentSexualTension as scripted to provide tension in the LoveTriangle (with their confrontation near the end of Act One including his AnguishedDeclarationOfLove and her giving him a quick kiss on the lips as it ends, even as she returns to her true love Seth, moments that are not in the final cut) -- but ended up being played more antagonistically, as John Getz (who played Stathis) notes in the retrospective documentary ''Fear of the Flesh''. Getz suggests that having [[RomanceOnTheSet then-real life lovers]] playing [[Creator/GeenaDavis Veronica]] and [[Creator/JeffGoldblum Seth]] may have contributed to that, especially as the latter [[LifeImitatesArt was as insecure as his character about Stathis coming off as a legitimate rival]].
** The screenplay even ended with an epilogue that [[spoiler:had them get back together and revealed she was now pregnant with ''his'' child rather than Seth's]]. This scene, along with an alternate version in which [[spoiler: she wasn't pregnant]] and even two ''other'' versions that [[spoiler:left her single]], was shot (all are viewable on non-VanillaEdition releases), but test audiences found none of them satisfying and '''no one''' in the cast or crew wanted the original or first alternate endings because [[spoiler:they couldn't believe/accept she'd just go back to Stathis after losing Seth. This leads to the final cut's NoEnding that leaves Veronica weeping over Seth's dead body]]. The 2008 [[ScreenToStageAdaptation opera adaptation]] (yes, there is one) notably dials back Stathis's stalking and plays what remains more seriously -- but it does elaborate on the film's casually-delivered detail that they met when he was teaching a college science class she was taking, and he helped her get into the journalism profession, by confirming it was a TeacherStudentRomance, another problematic trope.

* ''Film/NineteenFortyOne1979'' is an interesting case: It became Spielberg's biggest flop in the US box office as most audiences in 1979 didn't take its farcical view of America's entry into WWII too lightly (take in mind anyone over 40 back then clearly remembered the war as a pivotal point in American history), something that wouldn't be that much of an issue nowadays as the traditional near-hagiographic Hollywood historical film has fallen by the wayside, being replaced by a more ambivalent view, to the point the film's ribbing of the Army looks quite light-hearted in comparison. Nevertheless, modern audiences would cringe at Corporal Stretch's continued pursual of the high school-aged Betty, even coming very close to ''raping'' her, with complete impunity (in fact, the "director's cut" actually implies that much of the military has a viking-like disposition towards women). It really doesn't help that he is shown to be [[NoGuyWantsToBeChased utterly horrified]] by his being the object of Maxine's affections.