[[quoteright:330:[[VideoGame/SuperSmashBros http://static.tvtropes.org/pmwiki/pub/images/Tingle_Ruins_Everything.jpg]]]]
[-[[caption-width-right:330:[[OurLawyersAdvisedThisTrope Warning]]: Side effects of Tingle on Americans may include a sudden rash, vomiting and the desire to commit violence. [[note]]Art by [[http://pluckylump.deviantart.com/art/SSBB-Everyone-Hates-Tingle-79974436 pluckylump]][[/note]]]] -]

->''"It appears annoyance doesn't cross cultural boundaries."''
-->-- '''Edd''', ''WesternAnimation/EdEddNEddy'', "Shoo Ed"

This is the opposite of GermansLoveDavidHasselhoff: a character or entertainer who is fairly popular in their home region becomes TheScrappy in another market.

The most common reason for this is ValuesDissonance, as things that seem normal or relatable in one culture can be seen as offensive, baffling, or just plain ''stupid'' in another. Aesthetic dissonance can also be at play, i.e. different cultures have their own standards of cuteness and attractiveness. Another reason for it can be that a character is supposed to [[CaptainEthnic represent the nation]] that hates them, and this character is seen as [[EthnicScrappy offensively stereotypical]]. In the worst cases, the hatedom of a single character can result in NoExportForYou for an entire series (something some people are probably going to be grateful for).

This is sometimes referred to as "Americans Hate [[UsefulNotes/AssociationFootball Soccer]] (Football)", due to the infamous [[VocalMinority vocal]] {{hatedom}} in the United States against the sport, and more preference towards UsefulNotes/AmericanFootball (the subsequent OpinionMyopia and FlameWar between the sport's fans and haters has also been notable). [[SoccerHatingAmericans There's even a trope around this.]]

In short, this can be summed up as PeripheryHatedom but the hatedom applying to nations outside of the work's native country and the demographic applying to the work's native country. Can lead to DeaderThanDisco if when a work's fanbase and/or nation of origin stops liking it and joins in on the bashing.

When this is taken far enough (i.e. a work, or an entire genre, is rejected everywhere ''except'' its homeland), it can produce what's known as [[https://en.wikipedia.org/wiki/Galapagos_syndrome "Galápagos syndrome"]], in reference to the bizarre species that evolved in isolation on the Galápagos Islands that heavily informed UsefulNotes/CharlesDarwin's theory of evolution by natural selection. The term was coined in Japan to describe their CellPhone technology (''garakei'', from Galápagos and ''keitai denwa'', the Japanese term for "mobile phone") and how it evolved on a completely separate track from that of the West, producing high-tech flip phones that could send and receive email, surf the web at 3G speeds, and play sophisticated games in a time when Western cell phones (apart from the [=BlackBerry=], which was seen mostly as a business tool) were considered high-end if they could take pictures. They were the envy of the world in the 2000s, but due to lagging infrastructure outside Japan, they couldn't be exported, and so the Japanese cell phone industry ignored non-domestic markets almost entirely. As such, it was painfully slow to catch on to the smartphone revolution in the '10s, with foreign [[UsefulNotes/MacOS iPhones]], [[Website/{{Google}} Android]] phones, and [[UsefulNotes/MicrosoftWindows Windows]] phones catching the ''garakei'' makers completely off-guard and snagging massive market share. The term has since been applied to other fields of Japanese technology, including its [=ATMs=], its cars, and [[http://digitalchumps.com/gamingnews/318-latest-news/the-state-of-the-japanese-gaming-industry.html its video games]].

Compare PopCultureIsolation. Contrast MexicansLoveSpeedyGonzales, AmericanKirbyIsHardcore, and its polar opposites, GermansLoveDavidHasselhoff and NeverAcceptedInHisHometown.

See also TheScrappy, WidgetSeries, and CrossCulturalKerfluffle.

''Please do not use this page as a place for ComplainingAboutPeopleNotLikingTheShow. Also, simply saying something is hated is not enough. You have to explain why it's hated.''

[[noreallife]]
----
!Examples:
[[index]]
* AmericansHateTingle/AnimeAndManga
* AmericansHateTingle/{{Music}}
* AmericansHateTingle/{{Sports}}
* AmericansHateTingle/VideoGames
[[/index]]

[[foldercontrol]]


[[folder:Card Games]]
* Due to the differences in format that cards in the OCG (Official Card Game, term given to cards that are released in Japan and Korea) and the TCG (Trading Card Game, term given to cards that are released everywhere else) contain in ''TabletopGame/YuGiOh'' it is quite prevalent to see a deck archetype being successful in the OCG format that never catches on in the TCG format.
** The codifier for this has to be the TG Agent archetype. The format is so successful in the OCG format that some of its key cards are banned (and for them, it's rightfully so). In the TCG almost nobody plays it, to the point where people of the TCG wonder why those cards were banned and found it to be strange and unfair.
** Dino Rabbit, on the other hand, dominated in the TCG but mostly struggled in the OCG against the more popular Inzektors and Wind-Ups. In its case, this was due to a ruling difference: the TCG still used the rules for priority (letting a Summoned monster activate its effect immediately upon being Summoned) at the time. Dino Rabbit relied heavily on this ruling to work, which made it far trickier to stop in the TCG than in the OCG.
[[/folder]]

[[folder:Comic Books]]
* ''ComicBook/AlphaFlight'' never got popular in Canada, where the team is supposed to originate from. This might be because the characters seems to have been inspired from [[CanadaEh stereotypes]] of Canadians. Which is ironic when you realize the team was created by Canadian artist Creator/JohnByrne.
* ''Franchise/{{Tintin}}:'' [[GermansLoveDavidHasselhoff Universally popular, even in places you might not expect like Africa, The Middle East, China]],... Except in North America, especially the U.S.A., where it is still more a cult strip. Case in point is Creator/StevenSpielberg's 2011 movie adaptation, which was a box office success across the world, except in the United States where the media attention and public interest were very low.
* ''ComicBook/{{Asterix}}'': Very popular in Europe, where the time period of the comic (UsefulNotes/AncientRome) is more prominent in the culture, architecture and landscape. Still it has been universally translated and sold. Only in the U.S.A. and Japan it never caught on (you can find the comics pretty easily in the US; just don't expect anyone else to be familiar with it unless they're a Europhile). It's more popular in Canada (which has stronger European, especially French, cultural connections) but still isn't anywhere near mainstream (except in Québec).
** Part of the reason might be that a lot of jokes in the comics are commentaries about culture and modern life, which are way easier to understand for Europeans - e.g. the running gag that fish sold in a coastal village is delivered from the antique equivalent of Paris.
** Another big part is that a lot of the humour is based around transplanting modern stereotypes about European countries to their historical equivalents - jokes about Belgian tribesman eating mayonnaise and Corsicans having switchblade swords are funny if you're a continental European, but nonsensical if you're American. Even nations that Americans do have stereotypes about (France, Germany, Britain, Italy, Spain, Scotland) get treated from the French point of view, or from an unusual angle to avoid [[DudeNotFunny making jokes Goscinny thought would be considered more offensive than playful]]. ''Asterix'' dealt with American stereotypes in ''Asterix Conquers America'', where the added racial elements of having Native Americans act in stereotypical ways come off as just not funny to American readers (the jokes were heavily reworked for the film version to avoid alienating American audiences); and in ''Asterix and The Falling Sky'', which is [[FanonDiscontinuity very low quality]] as well as horrendously racist against the Japanese.
** Europeans have a long history of stereotyping and making fun of each other, and such humour is not considered particularly offensive in Europe so long as you're not referencing old wars or making fun of genocide. In America, a melting pot where immigrants from various European countries attempted to keep a personal cultural identity while living with others doing the same, many experiencing serious class oppression due to coming from the wrong 'old country', it comes off as much more mean-spirited.
** The crows'-nest pirate was recognised by the comics' original French audience as a parody of a character from a serious pirate ''bandes dessinée'', so his [[{{Blackface}} caricatured features]] were a way of swiping at comic books taking themselves too seriously. To American audiences (and many modern European audiences) he's a morally indefensible EthnicScrappy.
* Allegedly, one of the major reasons Comicbook/IronMan is usually given leadership of Comicbook/TheAvengers in TV adaptations (such as ''WesternAnimation/TheAvengersEarthsMightiestHeroes'' and ''WesternAnimation/AvengersAssemble'') is because focus group data indicated that ComicBook/CaptainAmerica (the traditional leader of the Avengers) is extremely unpopular in countries like the United Kingdom. Downplayed with ''Film/CaptainAmericaTheFirstAvenger'' -- although international markets were offered the [[MarketBasedTitle alternate title]] "The First Avenger", only three nations opted for the other title, and most of its box office was international.
* ''ComicBook/DeKiekeboes'' is a cultural phenomenon in Flanders and even in Wallonia it has gained somewhat of a following (something that is rare for a non-Dupuis comic). In the Netherlands it is one of the most obscure comic books ever made. This is a diversion of the norm, as other comic books by ''De Standaard'' (such as ''ComicBook/SuskeEnWiske'', ''ComicStrip/{{Nero}}'' and ''ComicBook/{{Urbanus}}''), while not always blockbusters, are still very recognizable names in the Dutch community.
* In 1905, a French newspaper began publishing a comic strip about a young housemaid called ComicStrip/{{Becassine}}. This strip was popular across most of France, and is widely considered to be the founding of the [[FrancoBelgianComics bande dessinée]] (the ComicBook tradition of France and Belgium that gave us the aforementioned ''Tintin'', ''Astérix'', and ''De Kiekeboes''). However, it was deeply unpopular in one region of France: Brittany. You see, Bécassine was supposed to be Breton, but she didn't really act like a Breton woman; where the portrayal of her wasn't stereotypical, it was ludicrously off-the-mark. The comic ended up being so hated in Brittany that when a Breton man in Paris saw a giant statute of her, he destroyed it.
[[/folder]]

[[folder: Eastern Animation]]
* Chinese animated shows in general tend to be despised in the West, which has to do with their cheap animation and TheyCopiedItSoItSucks tendencies, and they tend to define AnimationAgeGhetto. ''Animation/PleasantGoatAndBigBigWolf'' is an example of this: While popular in its native China, it barely has any fans in the West.
* Korean animation is barely known outside of South Korea (apart from international co-productions or stuff appealing to a very dedicated demographic. ''The King of Pigs'', for instance, which is quite beloved among fans of adult WesternAnimation), however, there is an especially big {{Hatedom}} in Japan, who see it as Koreans ripping off their own animation (and considering the two countries' hatred for each other, it's understandable).
[[/folder]]

[[folder:Films – Animated]]
* [[GermansLoveDavidHasselhoff The popularity of]] Creator/{{Disney}} [[GermansLoveDavidHasselhoff in Japan]] is inversely proportional to the ''un''popularity of every other American feature animation studio in the country (with the exception of Creator/{{Pixar}}, occasionally). It's reached the point where a lot of new releases aren't even sent to Japan, while others go [[Main/DirectToVideo straight-to-DVD]]. This is unusual for an east Asian country, where non-Disney animated films are usually very popular[[note]][=DreamWorks=] Animation is so popular in China that an unspecified Chinese buyer was offering US$3 billion for it and would've bought it if Comcast hadn't offered US$3.8 billion[[/note]]. One of the biggest examples of this is ''WesternAnimation/TheLegoMovie'', which barely made any money at the Japanese box office due to ''Disney/{{Frozen}}'' coming out at the same time, despite being a critical and financial success elsewhere.
* Despite arriving at the start of the half-term break, ''WesternAnimation/TheBookOfLife'' failed to get in to the Top 3 at the U.K. box-office – debuting at fourth place[[note]]behind ''Film/GoneGirl'' at third place, ''Film/TeenageMutantNinjaTurtles2014'' at second place and ''Film/{{Fury 2014}}'' at first place[[/note]]. Then the following week it '''dropped''' to fifth place[[note]]behind ''Film/GoneGirl'' at fourth place, ''Film/{{Fury 2014}}'' at third place, ''Film/{{Ouija}}'' at second place and ''Film/TeenageMutantNinjaTurtles2014'' at first place[[/note]], despite that week being both half-term (when kids would be out of school and thus have more free time) and the week leading up to Halloween (thematically appropriate to the film’s subject matter).
* Disney's ''Disney/{{Hercules}}'' was well-received by critics and audiences alike, but it was universally ''hated'' by the Greeks, who were angered at the film [[DisneyFication playing]] [[LighterAndSofter fast]] [[SadlyMythtaken and]] [[TheThemeParkVersion loose]] with their revered mythology, to the point where Greece outright denied the film a premiere in their country (the attempt to have the film premiere there on Pnyx Hill, one of the most revered sacred sites in the country, did not do them any favors PR wise). That said, the film ''did'' get released there. Considering how Disney's take on an [[Disney/{{Pocahontas}} American legend]] is generally considered SnarkBait by American Disney fans, it's surprising this hasn't happened with their other non-European fairy tale/story adaptations.
** However, VindicatedByHistory (which was also the case in the domestic market, but to a very lesser extent) hit the film big time in Greece, with many people saying they like the film.
* ''Disney/{{Mulan}}'' wasn't much of a hit in China, despite famous voice actors such as Creator/JackieChan and adapting a local folk tale. Some blame piracy, some worry that the native audience took issue with [[BroadStrokes the extensive reworking]] [[TheyChangedItNowItSucks of the original myth]], and some point to the fact that the Chinese government was in the middle of a bitter and spiteful dispute with the Walt Disney corporation and forced the film to languish for a year before letting it out with an unfavorable release date just after the Chinese New Year's celebration stuffed the box office with other films. Ten years later, [=DreamWorks=]'s ''WesternAnimation/KungFuPanda'' would prove much more to Chinese tastes, with much less behind-the-scenes drama.
* ''Animation/DelhiSafari'' received critical acclaim in India and even won the National Award for the Best Animation Film in 2012. In America, however, the movie was widely panned by critics, who saw the movie (and its characters) ripping off from other animated films. The movie's also a borderline BoxOfficeBomb that barely made any money during its opening weekend.
* ''WesternAnimation/ToyStory3'', while a critical and box-office success everywhere else, was a complete flop in many Eastern European countries. Many explanations have been offered, the less imaginative being that not many people there had seen the other two films because of economic troubles right after the fall of Communism in the 1990s, resulting in ''3'''s ContinuityPorn lacking appeal.
* ''Disney/{{Frozen}}'' was badly received by Norwegian critics and got very poor initial reviews there, with the general consensus being that of "generic plot and characters" and "forced and obnoxious musical numbers", while one particular review criticized the setting for "not really looking like Norway". It did better in smaller magazines though, and ended up becoming [[http://www.boxofficemojo.com/intl/norway/yearly/?yr=2013&p=.htm the third biggest film of 2013]] in the country. It's further exacerbated with the [[http://www.dailyfinance.com/2014/09/17/disneys-frozen-ride-controversy/ news]] that Disney is replacing the Norway-themed Epcot ride "Maelstrom" with a Frozen-themed ride. [[TheyChangedItNowItSucks Park purists and Norwegians]] are pretty unhappy that their former ride meant to honor Norway is being replaced with a new ride based on ''Disney/{{Frozen}}'' and Arendelle. This isn't helped by the fact that [[http://www.stitchkingdom.com/disney-frozen-epcot-74041/ this is part of Disney's plan to build an Arendelle pavilion.]]
** One of the spin-off shorts of the franchise, ''Disney/OlafsFrozenAdventure'', was disliked in Mexico because of the short being too long and people expecting to see the main feature it was paired with, ''WesternAnimation/{{Coco}}''. It was so hated that the short was removed just a week after release.
* Discussed in ''WesternAnimation/TheSimpsonsMovie'': Homer's second attempt at an epiphany amounts to [[SoccerHatingAmericans "Americans will never embrace soccer."]]
* ''WesternAnimation/InsideOut'' wasn't that popular in France. It never reached #1 due to the huge successes of ''Film/{{Pixels}}'', ''WesternAnimation/{{Minions}}'' and ''One Wild Moment''. This could be because the dub voices were lackluster (most notably the ones chosen for Joy and Bing Bong) and the plot was deemed unoriginal and contrived.
* ''[[WesternAnimation/TheMagicRoundabout Doogal]]'' is probably one of the most notorious examples of this in animated film history. Based on the British-French stop-motion children's show from the 60s, the CGI film was originally released in Europe in 2005. Even though the original series and franchise is practically unknown outside of its native France, Harvey Weinstein himself after watching the original film felt it would be a [[BlatantLies brilliant idea]] to release the film in America in 2006. This was done by recasting all but two of the original British cast with well-known American stars, rewriting the film by inserting obnoxious pop culture and fart jokes and reediting the film to accommodate all the script changes. The results turned ''Doogal'' into a critical and commercial nightmare in the United States, continuing to baffle and [[BileFascination intrigue]] film enthusiasts and critics to this day.
[[/folder]]

[[folder:Films – Live-Action]]
* Indians, by default, generally hate any portrayal of them or their country that is even in the least bit negative. Part of this is NWordPrivileges ([[SelfDeprecation they can criticize our country as much as they like]] - filthy foreigners can just shut up), but a lot of it is simply because many of these portrayals come from the Anglosphere, which as far as many in India are concerned, is directly responsible for most of the things the criticisms are about (especially the UsefulNotes/TheRaj of Britain), overlapping with UnfortunateImplications, MisplacedNationalism and PatrioticFervor.
** It is still very much an unwritten rule in India that going after public figures, history or social issues ''on any tack except the official position'' is going to be a big BerserkButton. Putting people, ideals and traditions on pedestals is SeriousBusiness in India.
** Indians seem to feel this way about any humorous depiction of UsefulNotes/MahatmaGandhi, for very obvious reasons. There was a major backlash on Website/YouTube over the "Gandhi II" clip from the Music/WeirdAlYankovic movie ''Film/{{UHF}}'', a fake movie trailer that re-imagines Gandhi as a 1970s blaxploitation-like vigilante. The joke is simply a parody of {{actionized sequel}}s taken to such an extreme that even ''Film/{{Gandhi}}'' gets the treatment.
** ''Film/SlumdogMillionaire'' was widely despised by many in India, due to its obliviousness to the Bollywood cliches that were in it and [[UnfortunateImplications the stereotypical portrayal]] of India as a poverty-ridden hellhole. Elsewhere, the reception was almost overwhelmingly positive, where it won 8 UsefulNotes/{{Academy Award}}s (including "Best Picture"), and the film currently has a 94% rating on Website/RottenTomatoes.
** There's also a great amount of bitterness among Indians regarding films set around Britain during UsefulNotes/WorldWarII. Nearly all such films tend to omit that India was under British rule or even that [[https://www.nytimes.com/2017/08/02/opinion/dunkirk-indians-world-war.html 2.5 million Indian soldiers fought in the war]] at all. It makes for more simplistic exciting storytelling to portray the British as [[UnderdogsAlwaysWin a sole island standing back against the fascistic invading empire]], but doing so omits that the UK had an empire of its own participating in its battles.
** While critical reception for ''Film/IndianaJonesAndTheTempleOfDoom'' warmed up from mixed reactions to more favorable, this was unfortunately not the case in India, with India's national censors temporarily banning it due to its negative portrayals of Hinduism which included serving such cuisine as [[ForeignQueasine baby snakes, eyeball soup, beetles, and chilled monkey brains,]] and depicting the goddess Kali as evil when she is depicted as a goddess of change and empowerment in Indian mythology. When the government denied the filmmakers permission to use India as a filming location, they used Sri Lanka instead for the scenes that took place in India.
* Creator/RobertoBenigni's 2002 LiveActionAdaptation of ''Literature/TheAdventuresOfPinocchio'' was lambasted by American audiences and was nominated for 6 Golden Raspberry Awards, including "Worst Picture", both because they saw it as a [[VanityProject vanity project]] for Benigni (who wrote, directed and starred in the film ''as Pinocchio''), and were somewhat disturbed that the title role, traditionally fit for a little kid, was being played by a man in his forties. It also was a closer adaptation of the book than the Franchise/DisneyAnimatedCanon version, reinstating Pinocchio's obnoxious personality and such incidents as the hero being ''hung by a noose'' at one point, and not surprisingly American viewers didn't find this charming. And the film was initially released by Miramax only in a roundly condemned AllStarCast English dub (Breckin Meyer voiced Pinocchio, for one thing). The film performed much more favorably in Benigni's home country, where it was nominated for a handful of awards by Italian film critics.
* ''Film/{{Borat}}'', unsurprisingly, was not at all well received by many ethnic groups, to the point that it was [[BannedInChina banned in most Middle Eastern countries]]. Russia discouraged cinemas from showing it, because many felt it would lead to race riots (as Russia has a Kazakh minority population). The movie wasn't shown in theatres, but it is available on [=DVD=]. Ironically, [[MexicansLoveSpeedyGonzales the Kazakhs loved it]], [[https://www.youtube.com/watch?v=eB9O4PU5Nnk&t=421s Except for one of them...]]
* ''Film/{{Bruno}}'' zigzags this. While Austrians found the gay stereotypes of Austria and Austrians ActuallyPrettyFunny, as Austria is a very progressive country towards LGBT, the jokes where Bruno considers UsefulNotes/AdolfHitler [[AllGermansAreNazis the greatest Austrian ever to live]] and the Roman salutes were found to be in very poor taste.
* Though it was a cult hit elsewhere, ''Film/AClockworkOrange'' wasn't very well received in Great Britain, as many thought that the film's depictions of violence and gang rape was too extreme at the time and was blamed for inspiring multiple copycat crimes, to the point where director Creator/StanleyKubrick had the film removed from British distribution, with the ban lifted only after his death in 1999.
* ''Film/ThreeHundred'' was condemned as "Western Propaganda" in Iran due to [[UnfortunateImplications the way Persians were portrayed]] in that film. However, lots of people in the US and Canada had the same opinion, but they usually felt that it was so over-the-top it [[CrossesTheLineTwice crossed the line twice]].
* Historically, {{Superhero}} movies had a reputation for underperforming outside of the U.S. However, the box office successes of ''Film/{{The Avengers|2012}}'' and ''Film/TheDarkKnightRises'' began to turn this trend around. ''Film/IronMan3'', ''Film/XMenDaysOfFuturePast'', and ''Film/TheAmazingSpiderMan2'' are notable for pulling in large box office hauls outside the U.S. (with the latter two actually proving ''[[GermansLoveDavidHasselhoff more profitable overseas]]'' than in their native US).
* Franchise/{{Batman}} movies ''still'' have problems turning in decent box office numbers in Japan, as the first Batman media brought to Japan was [[Series/{{Batman}} the old campy Adam West TV series]] and thus became the Japanese mainstream's first impression of him. Later movies, like ''Film/{{Batman}}'' and the [[Film/BatmanBegins Christopher]] [[Film/TheDarkKnight Nolan]] [[Film/TheDarkKnightRises trilogy]], which depict darker, more serious stories, mostly confused Japanese audiences expecting to see more colorful camp.
** ''Film/{{Batman}}'' Was a flop in Norway. After Three weeks in theater it was removed, even thought the movie got alot of advertising the country.
* As beloved as ''Franchise/JamesBond'' may be around the world, there are two notable films that aren't well received outside of Britain.
** ''Film/DieAnotherDay'' is hated both North and South Korea. The North Koreans weren't amused for making the BigBad a [[NoCelebritiesWereHarmed pastiche of Kim Jong Il]]. The South Koreans were outraged by the fact that their defense forces were ordered by Americans and that the theatrical cut included a love scene near a statue of the Buddha.
** ''Film/{{Spectre}}'' was universally loved in its native UK but received a [[BrokenBase mixed reception]] in the US. Some American critics disliked how the film tried to tie together the events of the previous Daniel Craig movies, making it seem like a poor attempt to form a cinematic universe. Likewise, they also criticized ''Spectre'' for lacking originality since it blatantly copied ideas from ''Film/CaptainAmericaTheWinterSoldier'', ''Film/MissionImpossibleRogueNation'', and previous Bond movies. [[CriticalDissonance Not that their opinions stopped the movie from grossing over $200 million in the US]].
* ''Film/{{Argo}}'' was a major box office success in the U.S. and won the Academy Award for Best Picture but was not well-liked in Canada, Britain, or New Zealand for minimizing the work of those countries' embassies to [[AmericaSavesTheDay make the Americans out to be the sole heroes of the rescue]]. The film even got such a poor reception at the Toronto Film Festival that director Creator/BenAffleck had to go back and recut some of the film (less than a month before opening) to give a fairer portrayal of the Canadians.
* The makers of ''Film/{{Braveheart}}'' were very nearly ''sued'' by the Scottish government over its depiction of national hero Robert the Bruce (even though he really did waffle back and forth on the conflict several times). The movie is generally regarded with varying degrees of embarrassment and annoyance in Scotland. It's even less popular in England, which isn't surprising since [[EvilBrit literally every named English character in the movie is evil.]]
* ''Film/{{Godzilla 2014}}'':
** While this is easily averted for the film itself in the Japanese market (Toho themselves heaped praise upon the movie), it's played straight with Godzilla's redesign, which a decent portion of the audience over there consider to be weaker, or, for some people, fatter, than the original.
** The movie has gotten a pretty bad rep in places where ''Godzilla'' hasn't been established as a pop-culturally relevant franchise, and so most people have grown up with the [[{{Film/Godzilla1998}} previous American reboot]] instead. Being that one of the main focuses of the film was to approach it from a "fan perspective" and distance it as much as possible from the '98 movie, it's easy to see why this strategy backfired in places where audiences harbored no love for the Japanese Godzilla, especially since reviews agreed that its faithfulness to the source material was one of the movie's main selling points. Basically, the two movies' receptions are inverted compared to countries where the brand has had a history.
** The film did really poorly in the South Korean market. Box office analysts have compared the South Korean market for this movie with ''Film/PacificRim'' and noticed how it was an unusual outlier considering ''Godzilla'' did better than ''Pacific Rim'' in every other territory.
** The entire [[Franchise/{{Godzilla}} brand]] qualifies. Although it had a rough history even in its native country, it's considered a cultural and commercial mainstay that still produces [[Film/ShinGodzilla successful films]] every now and then. ''Godzilla'' movies have a [[GermansLoveDavidHasselhoff cult following in the United States]] as well, and they have their share of fans in other territories too, such as Germany (one thing these two places have in common is that they released classic Japanese monster films back when they were still relevant and there weren't a whole lot of Western effects-films to give them competition, which means there's a lot of nostalgia for them). In the rest of the world, it's mostly the two American adaptations that got any lasting attention (with a few people also recognizing the significance of [[Film/{{Godzilla 1954}} the original]]), whereas the other ~30 films are pretty much seen as the epitome of low-grade schlock. ValuesDissonance is also in effect, since most audiences find the characterful and fantastical Japanese monsters unappealing and silly, especially combined with the [[ManInARubberSuit rubber suit effects]].
* The UsefulNotes/{{Bollywood}} film ''Gunday'' is a footnote in most of the world, did well enough in its home country of India, and got okay critical reviews. In Bangladesh, it's generally viewed to be worse than Hitler, for some major ArtisticLicenseHistory taken with the Bangladesh Liberation War in a brief prologue sequence. The film was actually rated #1 on the IMDB Bottom 100 for about a year, for exactly this reason, with thousands of angry Bengalis one-starring the film for that prologue.
* The Holocaust documentary '''Film/{{Shoah}}'' was critically acclaimed almost everywhere, winning several "best documentary of the year" awards and being voted #2 of all time by ''Sight and Sound.'' In Poland, however, the movie is utterly loathed, including by the Central Polish-Jewish Committee who [[http://wyborcza.pl/1,76842,7694169,25_lat_sporow_o__Shoah_.html filed a letter of protest]] with the French Embassy in Warsaw in response to the film. It was never going to be popular, considering it's about Poland's assisting in the Holocaust. But the film's refusal to acknowledge the many Poles, who ''did'' save Jews [[note]]There were far more Polish Righteous Among Nations (gentiles who helped Jews) [[https://www.ushmm.org/information/press/press-releases/collaboration-and-complicity-during-the-holocaust than any other nationality in the world.]] Despite the fact that Poland was the one country where the Nazis order the death penalty for anyone helping Jews. [[/note]] or who suffered ethnic persecution under the Nazi regime, was a pretty heavy nail in the coffin of Poles ever appreciating the film.
* Creator/TheThreeStooges: In the U.S., they are an institution. Broadcast for decades and very popular with all ages to the point that almost every American comedy will have a ThreeStoogesShoutOut at one point. In the rest of the world, especially Europe, Creator/LaurelAndHardy have always been far more famous and popular. A major reason for this is that Laurel & Hardy lost their popularity in the U.S. during the 1940s because the quality of their movies went down due to ExecutiveMeddling, [[note]] This is also the reason why Laurel & Hardy's superior movies of the 1920s and 1930s are the only ones still shown on television [[/note]] although they still made millions, and they stopped producing new movies ca. 1945, except for the atrocious "Atoll K" (1950) [[note]] "Atoll K" was plagued by behind-the-scenes problems. Production was set for 12 weeks, but took 12 '''months'''! There where disagreements over the screenplay, made none the easier by the fact that the film was shot in France and Italy, despite the duo not speaking either language and the French and Italian people not speaking English either. Laurel was extremely ill during recording and had to be hospitalized for colitis, dysentery and prostate ulcer. He lost a lot of weight and was so weak he could only work for 20 to 30 minutes of the time. The final released product got very bad reviews and fell into public domain as a result. [[/note]] Newcomers such as Creator/AbbottAndCostello, The Three Stooges and Creator/BobHope took their crown as a result. Meanwhile in Europe, where the Nazi occupation had cut off the import of Hollywood movies, the new acts did not even get a proper chance to make an impact before VE Day. Laurel and Hardy on the other hand almost immediately started touring through Europe with a small stage show, getting back in contact with their old fans, and continued to do so until 1954. As a result, Europeans were far more interested in Laurel & Hardy than any of the comedians they never heard about. It didn't help that comedians like Abbott and Costello and Bob Hope lacked the charm of Laurel & Hardy and their comedy was mostly verbal, which translated badly in non-English countries. While the Three Stooges did rely more on slapstick comedy, many Europeans have always felt it was too lowbrow and unsophisticated compared to Laurel & Hardy and Creator/TheMarxBrothers. Though the Marx Brothers' comedy is also very verbal they had a few good foreign dubs at the time, especially in Italy where they have always been very beloved. Harpo was also a link with silent comedy, which crossed all language barriers. And much like Laurel & Hardy the lesser Marx Brothers movies of the 1940s were never seen by Europeans during the Nazi occupation, thus their reputation also remained intact.
* ''Film/TheSoundOfMusic'' is one of the most popular musicals of all time... except in Germany and Austria. Most people in both countries have never watched the movie, and those that have seen it despise it.
* As noted in [[http://www.hollywoodreporter.com/news/can-til-schweiger-beat-germanys-816751 this article]] in ''The Hollywood Reporter'', Germany is a notoriously poor market for action movies. Til Schweiger, the nation's biggest movie star, is known outside Germany for films like ''Film/InglouriousBasterds'' and ''Film/LaraCroftTombRaiderTheCradleOfLife'', but audiences back home know him for {{romantic comed|y}}ies. German action filmmakers like Creator/RolandEmmerich and Creator/WolfgangPetersen often have to leave for Hollywood to get recognition.
* ''Film/MrNobody'' was a hit in Belgium, where it grossed nearly one million dollars, which is rather high for a Belgian box office and loved by critics, who still to this day think that it is the best Belgian film ever made. In France, response was more mixed by critics, but it nevertheless managed to gross 1 million dollars there as well. In the United States it also had a mixed critical response, but it only managed to gross $3600 there, which makes it a candidate for the award of "lowest grossing film in the U.S. as of 2013".
* While ''Film/PacificRim'' was a modest hit in the U.S. ([[GermansLoveDavidHasselhoff but much more popular throughout most of Asia and Oceanic areas]]), the film did poorly in Europe, partly due to the fact that most of the action happens only by the [[CaptainObvious Pacific Rim]]. The U.K. (due to highly-respected actor Creator/IdrisElba playing one of the main characters) and Russia (due to the popularity of [[EnsembleDarkhorse of the couple that pilot]] ''[[EnsembleDarkhorse Cherno Alpha]]'', and that Russia is the only European country with a Pacific Coast) are exceptions to the rule. Ironically, the movie also did not do well too in Japan, despite being a love letter to the Kaiju and Mecha genres. Then again, the movie's leading lady Creator/RinkoKikuchi was [[NeverAcceptedInHisHometown never really popular back in Japan.]] Alternate theories for the film's poor performance in Japan was that the country already had many of its own HumongousMecha works and thus had little interest in seeing a Westernized version.
* Creator/JackieChan is [[GermansLoveDavidHasselhoff beloved throughout the West]], and sells well within China (though even a growing number of mainland netizens consider his words SnarkBait). However, he has become ''rather'' unpopular in Taiwan (and even to an extent his own home town, Hong Kong), due to very pro-Mainland opinions. During some of his publicity tours, he has repeatedly praised of Beijing's leadership, suggested that Taiwan be returned to mainland Chinese rule, and even accused democracy of leading to only protest and problems.
* ''Film/StarWarsTheForceAwakens'' made some headlines for fizzling out in foreign markets. Its domestic box office is the highest ever, but in non-English-speaking markets, its performance was fairly average and didn't exactly break any records. Some analysts believe that this resulted from a [[ContinuityLockout story that wasn't accessible to newcomers]] and the fact that [[SeinfeldIsUnfunny other Star Wars imitators had already stolen its thunder]]. For example, it did middling business in Japan[[note]]It didn't do bad by any means, [[DamnedByFaintPraise it just wasn't the record breaker that it was in most countries]][[/note]]; largely due to coming out the same time as the second ''Anime/YoKaiWatch'' film. This has rankled many fans; due to ''Yo-Kai Watch'' being an example of this itself in both anime and video games.
* The Serbian film ''Pretty Village, Pretty Flame'' was very successful in native Serbia, where it caught 800000 moviegoers, which at the time roughly translated to 10% of the Serbian population. It's US box office is roughly 211$ after only being aired in one theatre for one week, making it badly received [[UpToEleven even by this trope's standards]].
* While much of Creator/PaulVerhoeven's Hollywood works are beloved in America, with many of them seen as the epitome of {{Gorn}}-fest action movies, his homeland-made films are practically unknown outside of the Netherlands (and Europe to an extent). Even ''Film/{{Zwartboek}}'', his first return to Dutch cinema in nearly two decades, performed exceptionally well back in the Netherlands, but barely made a blip in North America. ValuesDissonance also plays a role, due to a large amount of sex and MaleFrontalNudity in his Dutch films, which would earn a NC-17 rating in America. (Especially since one of his American movies, ''Film/{{Showgirls}}'', [[GenreKiller ended up killing the NC-17 rating in America]].)
[[/folder]]

[[folder:Literature]]
* ''Literature/HarryPotter'' has an in-universe example: the book ''Literature/QuidditchThroughTheAges'' has a section dealing with the status of Quidditch around the world. Americans apparently prefer the game Quodpot, a sort of hot-potato game involving a Quaffle that has been tampered with and explodes -– probably a joke on {{Eagleland}}ers who [[SoccerHatingAmericans prefer American football to soccer]] and are obsessed with StuffBlowingUp. In Asia, however, Quidditch is only slowly gaining appeal because Asian wizards have traditionally preferred flying carpets to flying broomsticks. The exception to this rule is Japan.
* Creator/HenryJames wrote two political novels during the 1880s – one novel, ''The Bostonians'', about women's rights movements in America, and another novel, ''The Princess Casamassima'', about labor unions and terrorism in England. ''Bostonians'' was a hit in England, but widely denounced in America as cruel and unsympathetic, while ''Princess'' was a hit in America, but dismissed as exploitative and narrow in England.
* While Creator/BramStoker's ''Literature/{{Dracula}}'' is regarded as a literary horror classic throughout most of the world, and especially in Western nations, Romanians see it as a xenophobic story written by a foreigner to titillate other foreigners. It is considered very distasteful due to the fact that the name of Vlad III (The Impaler) Dracula, who is celebrated to this day as a hero for the cause of defending the independence of Wallachia (one of the predecessor states of Romania) from the invading Ottomans during the fifteenth century ([[WellIntentionedExtremist even if it meant taking some brutal methods to so]]), was used for that of the bloodthirsty, habitual MoralEventHorizon-crossing monster. To put this another way, if a writer from another country were to write a novel featuring an American serial killer and/or rapist named UsefulNotes/AbrahamLincoln or a British murderer/rapist named UsefulNotes/WinstonChurchill, that would not be taken kindly by citizens of those respective nations. Granted, even though the Romanians' loathing for Bram Stoker's ''Dracula'' has ameliorated over the decades, and they have even been willing to capitalize on the fictional Count Dracula's association with the country by selling vampire-related souvenirs, it is still not wise to talk about ''Dracula'' or Bram Stoker at length with any random Romanian on the streets.
[[/folder]]

[[folder:Live-Action TV]]
* Due to differences in attitudes as opposed to the source material of ''Franchise/SuperSentai'', ''Franchise/PowerRangers'' has some elements that don't gel with American audiences:
** The general rule is that ''Super Sentai'' works best while being silly, and ''Power Rangers'' works best when being serious. For this reason, the serious ''Series/ChourikiSentaiOhranger'' caused ''Super Sentai'''s popularity to take a bit of a dive; but the silly ''Series/GekisouSentaiCarranger'' managed to WinBackTheCrowd.[[note]]The theory that ''Ohranger'' almost ended ''Sentai'' has been proven to be false. It was in fact ''Series/ChikyuuSentaiFiveman'' that almost got ''Sentai'' cancelled and ''Series/ChoujinSentaiJetman'' was originally intended to be the final season.[[/note]] Inversely, when ''Ohranger'' was adapted into ''Series/PowerRangersZeo'', it was and is a season that is well-regarded among ''Power Rangers'' fans; while when ''Carranger'' was adapted into ''Series/PowerRangersTurbo'', ratings got so low that the creators decided [[SeriesFauxnale to wrap up the series]] on a lower budget the following year. But ''Series/PowerRangersInSpace'', at the time the darkest and most serious season, was so popular that ''Power Rangers'' got renewed and is still going.
** Villains also get different treatment. ''Series/KyukyuSentaiGoGoV'' had villainess Denus, who is well-regarded in Sentai fandom. When it was adapted into ''Series/PowerRangersLightspeedRescue'', her equivalent, Vypra, was hated by fans, thanks in no small part to the XPacHeat leveled against Jennifer Yen. It got to the point where Linkara, in his review for his WebVideo/HistoryOfPowerRangers series, all but cheered when Vypra was absorbed into Queen Bansheera later in the season.
** ''Series/KaizokuSentaiGokaiger'' is well regarded among both Sentai and Ranger fans, while its American counterpart ''[[Series/PowerRangersMegaforce Super Megaforce]]'' is loathed by Ranger fans.
** ''Series/ZyudenSentaiKyoryuger'' was not well received because it seemed to push aside its rather larger Ranger cast to focus on the Red Ranger. Meanwhile, ''Series/PowerRangersDinoCharge'' was very well received by Americans, having had a few years to work out the problems of the series and having had the first exclusive villain in ages. It also worked to shoot its own footage.
** ''Series/SamuraiSentaiShinkenger'' and ''Series/PowerRangersSamurai'' are a bizarre case... Americans and Japanese alike love Shinkenger... but the Americans despise Samurai despite (or because of) the very similar plot. The ''Power Rangers'' series is typically given a pass because it was rushed to production and getting it over with was part of the problem with Super Megaforce.
** ''Series/EngineSentaiGoOnger'' was never really loved in Japan and is seen as mediocre. Its American counterpart, ''Series/PowerRangersRPM'', is one of the best loved series in franchise. ''RPM'' had a lot got a lot of mileage out of pointing out some of ''Go-Onger'''s unusualness, such as the mecha designs, and poking fun at some of the franchise's tropes altogether.
** Among American fans, ''Series/UchuuSentaiKyuranger'' is getting a nice following. Much of the love is owed to it being ''Super Sentai'''s first SpaceOpera plot, which has been the basis for two very successful ''Power Rangers'' adaptations. It's helped that this is also the first time that ''Super Sentai'' production has worked with ''Power Rangers'' production and that, despite the team starting at nine members, each of them seem unique, fleshed out, and fun. Bandai may have even let slip that they plan to skip ''Series/DobutsuSentaiZyuohger'' in favor of adapting ''Kyuranger'' for the next season of ''Power Rangers'', since ''Zyuohger'' had a mixed reception among US Sentai and Ranger fans; and the [[MerchandiseDriven tie-in toyline]] may be more appealing with a motif of space travel instead of blocky animals.
** Finally, now that we're in the realm of Space Opera ''Power Rangers'', there is a case where this is reversed. The Japanese loved ''Series/PowerRangersLostGalaxy'' so much, that it out performed ''Series/SeijuuSentaiGingaman'', the series ''Lost Galaxy'' adapted, in the Ratings... ''Gingaman'''s actors even dubbed their ''Power Rangers'' counterparts.
* Somewhat tying into the general examples of Japanese character popularity above, ''Franchise/KamenRider'' fans in the West tend to dismiss [[Series/KamenRiderKiva Wataru Kurenai]] (and, to a lesser extent, [[Series/KamenRiderDenO Ryotaro Nogami]]) for being 'weak' and 'unmanly' compared to many of the other protagonists in the franchise. Japanese fans of ''Series/KamenRiderFaiz'' don't seem to mind Masato Kusaka. American fans almost universally despise him for being a {{Jerkass}} DevilInPlainSight.
* When MTV's American remake of ''Series/{{Skins}}'' was cancelled and overall declared a flop, the creators invoked this, claiming that ''Skins'' was a "global phenomenon" that just wasn't catching on to Americans for whatever reason. But in fact, the original British show ''does'' have a strong cult following in the U.S., comparable to its popularity in other non-European countries.
* ''Series/{{MASH}}'' is very much not liked in South Korea. This is based on the view that it portrays Korea as a war-torn, third-world country inhabited by prostitutes, criminals, and primitive morons. Many Koreans seem to see ''M*A*S*H'' as a symbol of everything that is wrong with Western portrayals of their country, which is now a first-world democracy and economic powerhouse.
* ''Series/{{Jeopardy}}'' is one of the most popular game show franchises in America. The original version ran from 1964 to 1975, and the current version has been on the air continuously since 1984, usually paired with ''Series/WheelOfFortune''. However, unlike ''Wheel'' and most other American game shows, foreign versions of ''Jeopardy!'' are far fewer in number, and far less successful [[{{Pun}} across the board]].
** Sweden would be an exception to that; our version of "Jeopardy" was a big hit here for many years.
* Although the [=ITV=] show ''Series/UpstairsDownstairs'' was very popular in the United States, two early characters – Sarah the housemaid and Thomas the chauffeur – didn't share in the general plaudits. American viewers, who were at the time generally unaware of the "plucky little Cockney sparrow" trope but very aware of the "blackmail is sociopathic" trope, did not share British audiences' appreciation of the two, to put it mildly. Even today when shown in repeats, some American stations leave out most or all of the Sarah and Thomas episodes.
* ''Series/LoveHate'' is tremendously popular in in its native Ireland, with one episode enjoying an unheard of 53% audience share. In Britain when it began airing on Channel 5, it attracted middling at best viewership figures.
* ''Series/TheMuppetShow'':
** The Swedish Chef is not liked by many Swedes, who find him insulting, or not Swedish. This is because of the Muppet not speaking actual Swedish, but a [[AsLongAsItSoundsForeign completely unrelated mixed-up language]] (officially termed "Mock Swedish") in an accent that is not Swedish either. The Swedish Chef is basically a LoveItOrHateIt phenomenon in Sweden. Swedes either feel annoyed by how inaccurate a portrayal he is, or [[MexicansLoveSpeedyGonzales laugh at him for the exact same reason]].
** While ''Series/SesameStreet'' is considered one of the most popular children's shows of all time in the U.S. and has spawned many international co-productions (with local material and dubbed American bits), the success of the exports varies. In particular, the United Kingdom never really embraced the show, with it only airing for a few years before only being represented by shows like the universally kid-friendly ''Series/PlayWithMeSesame'' or direct-to-DVD programs. However, the new ''Furchester Hotel'' show on Creator/CBeebies has been doing very well.
** The urban American feel that kept it from being successful in the U.K. also made it hard for it to catch on in Canada. While the show was eventually re-worked as ''[[ExactlyWhatItSaysOnTheTin Canadian Sesame Street]]'' (with locally-produced segments interspersed with American episodes) and ''Sesame Park'' (an entirely local co-production), the original series was considered too grungy (particularly Oscar the Grouch, though his presence in later Canadian commercials suggests that perspective has changed). Canada has also historically had its own relatively large and domestically popular children's television presence, spawning such icons as Mr. Dressup and the Friendly Giant.
** However, it was in Japan that the show was particularly panned, as the long-running dub of the original American series was replaced with a local dub that did little to translate the series' Western roots to Japanese audiences.
* The TV miniseries ''Series/UnsereMutterUnsereVater'', about five friends in World War II, was such a hit (albeit NOT uncontroversial) in Germany, that it's been turned into a theatrical movie, ''Generation War'', and distributed abroad. Of course, it's having difficulties finding an audience outside of Germany, given that it's a movie that portrays Wehrmacht officers in a sympathetic light. It's proven to be particularly unpopular in Poland, as the series depicts the Polish resistance as anti-Semitic slobs.
* This type of reaction was the main problem Venezuelan network RCTV faced when they tried to sell their soap ''Por Estas Calles'' to the international market. In the country, the soap was so popular and the characters so loved, it was extended and extended until it finally ended after three years.[[note]] In fact, when the original scriptwriter tried to kill an popular AntiHero character and end the soap after the standard six months, the network fired him.[[/note]] But the reason the soap was so popular was because it was basically a RomanAClef of the current state of the country; when broadcast in other countries, they lacked the key, and since the romance plot was very slow and the overall athmosphere so bleak, the spectators did not care. Every country that broadcast it cancelled if after mere weeks.
* ''Series/HouseOfAnubis'' is widely disliked in the Benelux. The main reason for that is that the show it was based on, which is ''Het Huis Anubis'', had already lots of fans there before Studio 100 (which only publishes works in the Benelux due to their limited budget) decided to give the rights to Nickelodeon to make their own version of the show. When Nickelodeon announced to those countries that Nickelodeon was going to air it many anticipated the show in the hope that it was ''Het Huis Anubis'' they all knew and love, but what they ended up getting is a show with a completely different cast of characters, plotlines etc. and many disliked the (in their eyes) {{Flanderization}} and CulturalTranslation (or de-Flanderization, as it were) that was committed.
* ''Series/{{Seinfeld}}'' failed in Germany while being successful in most of the world. Main reasons are [[ExecutiveMeddling Executive Meddling]] (the stand-up segments were left out; the dubbing had some weaknesses), [[HypeAversion Hype Aversion]] and the fact that the kind of humor just did not catch on well. In its initial run, it only lasted one season.
* Many international Trekkies dislike the ''Series/StarTrekTheOriginalSeries'' episode "The Omega Glory" because of how intensely it uses the {{Eagleland}} trope, culminating with Kirk reading the U.S. Constitution aloud. [[BrokenBase Not that there aren't a significant number of Americans who share the same view…]]
* Creator/{{MTV}} has been a phenomenon everywhere in the world, with the exception of France, where it is niche at best. This mainly has to do with the RTL group having already launched a music channel in France under the name of M6, which fulfilled the role that MTV already had and that launched on 1 March 1987, while MTV only launched there on 1 August 1987. Add in that US imported cable channels generally have limited access to the French audience (you already need a quite expensive contract to watch Nickelodeon or Disney Channel in that region) while M6 is available even in the cheapest cable contracts and you understand why MTV never had success in that region. Not only that, MCM is more or less seen as a French version of MTV and is actually more popular than MTV France.
** Most MTV RealitySeries don't do well outside of Anglophone countries, leading to most international [=MTVs=] actually airing music video ([[NetworkDecay a consideration considered impossible back on the original American MTV]]), or even airing acquired scripted programming, and even some like the Italian and Russian feed airing {{Anime}}.
* There are plenty of Canadian television dramas that have aired in the U.S., but the only one that actually is considered a hit in America is ironically [[Series/OrphanBlack the least-viewed of them all.]]
* Canadian KidCom ''Some Assembly Required'' got an OK reception in Canada, but got trashed hard by American audiences who first heard of the show through Creator/{{Netflix}}. It doesn't help that their previous live-action kid show, ''Richie Rich'', got just as bad, if not worse, reception.
* ''Series/{{Empire}}'' was a massive hit in the United States when it debut, but flopped in international sales, even in Canada, where most American hits succeed (though being ScrewedByTheNetwork in Canada may have played a role). There have been a number of claims to why, but most comments say that subject matter (about the cutthroat hip-hop industry) doesn't really appeal to international audiences.
* PhoneInGameShows may be a polarizing concept in many parts of the world, but in Flanders, it is universally considered to be a blatant case of a fraud only meant to extort money from unsuspecting viewers since an episode of the Flemish investigative journalism series ''Basta'' made it visisble for everyone. Hell, the two television networks that aired them refused to do so after it because they feared the public backlash.
* In a similar vein to its sister franchise, ''Godzilla'' in the Live-Action Film folder, the ''[[Franchise/UltraSeries Ultraman]]'' franchise suffers very badly from this almost everywhere outside of Japan, with the exception of a few other Asian countries (and a small cult following in the West). In Japan, Ultraman is one of the biggest pop culture icons, a CashCowFranchise, and a major influence on many Japanese TV, film, video game, and anime creators. Elsewhere, it's viewed as goofy and cliché schlock. A lot of this is for the same reasons as the ''Godzilla'' movies due to the ValuesDissonance of the diverse and fantastical designs of Japanese monsters being seen as ridiculous, with the [[PeopleInRubberSuits rubber suit effects]]. There's also the issue of ''Franchise/PowerRangers'' eclipsing Ultraman in the West, leading to accusations of ripoff (''despite the fact that Ultraman debuted long before Power Rangers did, and the two have only superficial resemblances''). None of this is helped by Tsuburaya Productions' lack of distribution (with the exception of the original show in the 60s and a few bad dubs and failed westernized spinoffs during the 90s), as well as a long-running legal dispute between Tsuburaya Productions and the Thai company that started the problem, Chaiyo Productions, over the international rights to the franchise.
[[/folder]]

[[folder: Pinball]]
* While {{pinball}} was a huge hit in the United States, and is still seen as an icon of American arcades today, it has had a cult following at best in Japan, where ''pachinko'' is much more popular.
* Pachinko is as popular in the US as pinball is in Japan. For a lot of people in the US, playing pachinko does mean about as much as watching it, or rather, watching balls roll towards their destination. The announcements that previously beloved video game companies in Japan (''especially'' Creator/{{Konami}}) would be stopping development on console games in favour of Pachinko and Mobile Games has only stoked the flames of hate.
* Between 2007 and 2009, Creator/{{Stern}} attempted to market pinball to China. It ultimately flopped due to a combination of using franchises the Chinese were not familiar with (such as ''Big Buck Hunter Pro'' and the NBA) and a lack of familiarity with pinball as a whole, which to the Chinese equates with "not interested".
* For some reason, Creator/{{Gottlieb}}'s ''Pinball/BoneBusters'' was roundly rejected by players in France. The backlash was so bad that Gottlieb produced 200 kits to convert ''Bone Busters'' tables into ''Amazon Hunt III'' instead.
[[/folder]]

[[folder: Professional Wrestling]]
* Wrestling/HulkHogan was one of, if not the, biggest [[{{Wrestling/WWE}} WWF]] star of all time. However, when he brought the flexing, [[NoSell no-selling]], [[AllAmericanFace All-American gimmick]] to Wrestling/{{WCW}}, fans were lukewarm at best ''at first'', and progressed to booing him and throwing his merchandise back into the ring. He got over with them as the villainous Hollywood Hogan, but when he returned to Hulk Hogan, the fans still weren't impressed. This was largely because most WCW fans were fans of the old Wrestling/{{N|ationalWrestlingAlliance}}WA and hated the WWF's campy, story driven style compared to the NWA's hard action.[[note]]Which was why wrestling ratings on TBS tanked for the brief time that the WWF was on there.[[/note]] Ironically, the WWF/E tried to bring Hogan back as Hollywood in 2002 but had to revert back to Hulk Hogan because their fans refused to boo him, even after he ''plowed a truck into an ambulance that had The Rock inside it''.
* Wrestling/ShawnMichaels, in large part due to his role in the Wrestling/MontrealScrewjob, isn't exactly a popular figure in Canada. To the point that when Michaels would make an in-ring appearance in Canada in his heyday, thousands of normally placid Canadians would be howling for his blood as soon as his music hit. Shawn Michaels: arch nemesis of Canada. The only time it didn't apply was whenever he was in [[Wrestling/DGenerationX DX]], due to the fact that it gave him uber-PopularityPower.
* For whatever reason, Wrestling/KenShamrock was nearly booed out of whatever Canadian city in which he was wrestling.
* Wrestling/SamoaJoe has caught surprisingly negative reactions from Japanese fans, who see him as a ripoff of many Japanese wrestlers from the '90s. It doesn't help that they tend to dislike Wrestling/{{TNA}}'s usage of Wrestling/KazuchikaOkada as Samoa Joe's second banana. Wrestling/RingOfHonor would take advantage of this by having Joe be the most prominent member of its roster to call out the Wrestling/ProWrestlingNOAH guys. [[RescuedFromTheScrappyHeap However]], Samoa Joe was well received by the Japanese fans in Korakuen Hall when Wrestle-1 presented TNA ''Bound for Glory'' in 2014. You can actually trace the point where they (slowly) started warming up to him in match against Wrestling/MitsuharuMisawa seven years prior, which at the time mostly made headlines [[{{Irony}} for the negative reviews it got.]]
* [[Wrestling/BryanDanielson Bryan Danielson (Daniel Bryan)]] doesn't really get over in Mexico, not even alongside Wrestling/{{Konnan}}, but is very popular back home.
* Fans in the U.S. really don't like Kenzo Suzuki, or KENSO as he is known in Wrestling/AllJapanProWrestling, after he had an unimpressive run in WWE. That he was still a relative rookie then doesn't get him any slack.
* Wrestling/BobSapp was a ''HUGE'' sensation in Japan both in professional wrestling and UsefulNotes/MixedMartialArts, to the point that his hype successfully survived multiple bad performances in the ring and lasted more than his prime activity in those sports (in 2016, when his boom had faded a loooong time ago, he was still the highest point in the ratings of the first Rizin event, which had Wrestling/KazushiSakuraba and Fedor Emelianeko in its card). The rest of the world, however, just saw him as the living Japandering he probably was.
* Wrestling/BrockLesnar is very popular in his native USA, at least among professional wrestling fans or at the very least, WWE fans. In Japan, Lesnar's reign as IWGP champion is among one of the most reviled in the belt's history, and the dislike just barely eclipses [[FanonDiscontinuity the failures of memories to even recall it]]. It doesn't help that Lesnar's reign started with a triple threat victory, which Wrestling/{{New Japan|ProWrestling}}'s fans didn't take to, then was punctuated by a relaxed schedule that would become characteristic of Lesnar, unspectacular matches and a refusal to drop the belt. Fans also linked his presence to [[CreatorsPet Antonio Inoki's son-in-law]] and a desire to copy what Wrestling/{{All Japan|ProWrestling}} had done with Wrestling/BillGoldberg.
[[/folder]]

[[folder: StandUp Comedy]]
* While not exactly beloved in America, Neil Hamburger seems to be hated by British audiences, possibly because Jerry Sadowitz has been playing a similar character on the UK comedy circuit for years before. In his earlier American tours, Hamburger usually opened for rock bands or much bigger comedy acts. Which meant trouble in front of audiences who [[StealthParody didn't get the joke]]. If you looked up reviews for the shows he opened up, chances are you'd see complaints about him.
[[/folder]]

[[folder:Technology]]
* EMV chips for payment cards, despite becoming common in Europe and Austrailia in the 1990's, still have yet to achieve widespread use in the United States, with many major banks taking as late as the 2010's to start offering chip-embedded cards to customers, in spite of magnetic stripe readers being notorious for vulnerabilities that allow card thieves to easily obtain and abuse unsuspecting users' card info. The cost to upgrade and activate chip readers (many businesses will have terminals with chip readers disabled and taped over) are a couple reasons for this; it's become something of a meme for customers and retail workers to get headaches trying to figure out how they should use their card and instruct customers on which part of the terminal to use, respectively. Needless to say, Europeans are nonplussed whenever they have to make payments in the United States due to having to go back to swiping their cards.
* Nokia. In most of the world, they have a sterling reputation for selling ''billions'' of the most advanced and reliable cell phones ever made. But in North America, they are only remembered for some rather unimpressive low-end devices. Blame carriers, who wanted to ''remove'' features from their high-end phones to sell piecemeal (such as disabling wi-fi to make people use their expensive data plans), and shunned Nokia when they refused to compromise.
[[/folder]]

[[folder:Theatre]]
* Creator/CirqueDuSoleil troupes have travelled well over ''most'' of the world, but there are two countries in particular that it has struggled to appeal to.
** '''France''': For all the jokes about the "Frenchiness" of the company that originated in [[CanadaEh Quebec]], after an initial, critically-roasted visit to Paris in 1990, Cirque didn't bring another show to the country until ''Theatre/{{Saltimbanco}}'' in '''2005'''. The books ''20 Years Under the Sun'' and ''The Spark'' point out that circus has been a staple of French entertainment for so long that a) Cirque's style wasn't particularly new to them and b) it just takes a lot to impress critics there with so much competition.
** '''China''': After 30 years, only ''three'' tours have even made it to mainland China: ''Theatre/{{Saltimbanco}}'', ''Theatre/{{Quidam}}'', and ''Theatre/MichaelJacksonTheIMMORTALWorldTour''. (Another show, ''Theatre/{{Alegria}}'', visited Hong Kong in addition to the first two.) An attempt at a non-touring production there, ''ZAIA'', limped through a four-year run in gambling resort mecca Macau, consistently playing to half-full houses. Even Music/MichaelJackson's enormous international popularity couldn't keep ''IMMORTAL World Tour'' from completely bombing in its Bejing and Shanghai stops (selling, respectively, only 28% and 41% of its available seats according to Wikipedia); that the show used a literally BannedInChina image of the Tianamen Square "Tank Man" in a montage didn't help. The company sold a 80% financial stake of itself to a Chinese firm in 2015, however, partially with the intent of finally gaining traction in the country, which will involve becoming more competitive with native troupes and overcoming ValuesDissonance: As a ''New York Times'' article discussing the sale explained, Cirque's tendency towards {{Excuse Plot}}s about TheEveryman's journey (''ZAIA'' was an example of such) don't play well to Chinese audiences who prefer to enjoy large, precision group numbers (think the 2008 Olympic opening ceremony).
* Believe it or not, even Creator/WilliamShakespeare [[JustForFun/TheZerothLawOfTropeExamples was subjected to this for a time]]. For roughly two centuries, the French dismissed Shakespeare as a hack, and viewed the English embrace of him as one of their greatest writers as proof of England's boorish culture and lack of sophistication (and, to be sure, even by today's standards there is much in Shakespeare's plays that would generally be considered lowbrow). Creator/{{Voltaire}}, [[http://triggs.djvu.org/global-language.com/ENFOLDED/BIBL/____HamFra.htm for one,]] spoke of "dreadful scenes in this writer’s monstrous farces, to which the name of tragedy is given," describing ''Theatre/{{Hamlet}}'' as being about "drinking, singing ballads, and making humorous reflections on skulls". It was only in the 18th century when translations of Shakespeare became successful in France (the first performance of ''Hamlet'' was in 1769), and even then, it took longer for his comedies to catch on.
* Disney Theatricals has several blockbuster Broadway musicals to its credit, and they tend to do well internationally – but across UsefulNotes/ThePond in the U.K., the West End has not been quite so hospitable. ''Disney/BeautyAndTheBeast'' ran for over 13 years on Broadway, but only managed a little over 2½ years in London even after winning the 1998 Olivier Award for Best New Musical. ''Film/MaryPoppins'' '''began''' its life in the West End as a co-production with super-producer Cameron Mackintosh, yet ran for barely over three years while the subsequent Broadway staging ran for over ''six'', only closing to make way for ''Disney/{{Aladdin}}''. Only ''Theatre/TheLionKing'' became a certifiable West End blockbuster, having been running there nonstop [[LongRunners since 1999]]. One reason for ''Beauty and the Beast'' underperforming was that, to the eyes of Brits, it was little more than a glorified, sentimental {{Pantomime}}, a concept virtually unknown in the U.S. but a Christmastime tradition in theatres across the UK. Why take the time and expense to see a Disney fairy tale, when you can stay home and check out a local fairy tale farce instead?
* ''Theatre/TheGondoliers'', Creator/GilbertAndSullivan's most unabashedly royalist operetta, was one of their most popular in England, but never had much appeal in the U.S. except to serious G&S enthusiasts. One highly-promoted American production, according to George Jean Nathan, gave the show the rueful nickname "The Gone Dollars."
* The Thai [[http://www.nybooks.com/daily/2015/05/19/thailands-banned-king-and-i/ deeply, truly, sincerely hate]] ''Theatre/TheKingAndI''. Seeing how both Mongkut and Chulalongkorn are revered national heroes, that is quite understandable. Every film adaptation has been banned outright in the country.
** For similar reasons, Theater/{{Chess}} didn't play well, there, either. The song "One Night in Bangcock" in particular was considered so offensive as to get a government ban. Not shocking, as the lyrics depict the city as a giant RedLightDistrict.
[[/folder]]

[[folder:Theme Parks]]
* Ride/DisneyThemeParks
** Disneyland Paris was initially despised by the French people, citing poor (by French standards, anyway) working conditions and seeing it as a sign of [[EaglelandOsmosis American cultural imperialism]].
** Duffy the Disney Bear:
*** He was a huge hit when he was introduced in [[Ride/DisneyThemeParks Tokyo Disneyland]]. When he was brought to America in 2011, many wondered "[[TheScrappy Who the hell is that?]]" and "[[CreatorsPet Why is he everywhere?]]" It appears as though America does not get the appeal of Mickey Mouse's little plushy friend, in part because he doesn't appear in any other Disney media (the animated canon, shorts, TV shows, etc.).
*** An earlier version of Duffy was NeverAcceptedInHisHometown: The Disney Bear was introduced at Walt Disney World's Downtown Disney in 2004 as an attempt at [[FollowTheLeader breaking into]] the Build-a-Bear market, but it came "pre-built", and the reception was lukewarm at best. Plans for his introduction at Disneyland (which had an actual Build-a-Bear store in their Downtown Disney by then) were cancelled, and he was pulled from Disney World (which now has its own Build-A-Bear store) just three years later.
[[/folder]]

[[folder: Toys]]
* Franchise/{{Barbie}} is one of Creator/{{Mattel}}'s biggest CashCowFranchise even to this day. But she's very disliked in Japan, due to her grown-up nature, compared to the 11-year old Japanese doll, Toys/LiccaChan.
* Sindy, the UK's equivalent to Barbie, still sells particularly well in her native homeland, but an attempt to bring her to the other side of the Atlantic (with commercials starring Susan "[[Series/{{TheBradyBunch}} Cindy Brady]]" Olsen) was a dismal flop.
* ''Franchise/CabbagePatchKids'' is simply hated by many Japanese fans, due to the doll's [[UncannyValley grotesque nature]] compared to the simplified yet cute face of the country's native ''Franchise/HelloKitty''.
* An interview with Forbes mentioned that while Toys/SHFiguarts' ''Manga/OnePiece'' and ''Franchise/KamenRider'' products are top-sellers in Japan, they barely register with customers in America (As these are mostly niche to some US fans). In the U.S., the brand's top sellers are things like ''Franchise/DragonBall'', ''Franchise/SailorMoon'', ''Franchise/StarWars'' and ''Franchise/SuperSentai'' (mostly because of the ''Franchise/PowerRangers'' connection), albeit Star Wars is only through importing as its toys and SH Figuarts being NoExportForYou due to Hasbro's monopoly regarding the franchise's merch.
* With the exception of video games, most major toy franchises in the rest of the world are niche at best in Japan (or outright hated, as is with the Barbie and Cabbage Patch Kids examples above). This is most likely because Japan already has a thriving toy industry full of huge domestic producers like Takara Tomy, Bandai, Banpresto, Good Smile Company (Makers of Figma and Nendoroid figures) and Sanrio, leaving little room for anything from other countries. A western franchise that catches on in Japan, like ''Star Wars'' or ''Disney/{{Frozen}}'', will have stores selling predominantly merchandise made by these Japanese companies rather than imported goods.
* ''Franchise/MyLittlePony'' hasn't been able to make a dent in Japan like it has in other countries. Japan has its own supply of home-grown girl's series such as ''Jewelpets'' and ''Hello Kitty'' that make it hard for international lines to become successful in Japan. Japan has had Japanese-geared G1 toys but they didn't help much.
* Though ''Franchise/{{Transformers}}''' fanbase spans the world, it isn't as huge in most countries as in the US or Japan, which affects the sales of fan-targeted series like ''Generations'', formerly called ''Classics''. Most European territories [[NoExportForYou refused to sell them]] during the early 2010s, reasoning that children don't care for complex, expensive toys based on old cartoon and comic characters they never heard of, and oldschool fans are too much of a minority to justify the import. Distributors focused instead on toys based on currently-airing cartoon series or the live action films, as well as simplified, generic sub-lines, "1 step-changers", ''Kre-O'' or ''Construct-Bots''. This mentality has slowly been changing, but given their niche appeal, ''Generations'' figures can still be hard to find, and large retailer chains keep focusing on the more kid-oriented merch.
[[/folder]]

[[folder: Web Originals]]
* ''Machinima/RedVsBlue'' has had difficulty breaking into Asian markets. In particular, Japanese audiences have particularly expressed concern about Grif, whose laziness and irreverence for authority is very much out of sync with their culture. Which is quite ironic, considering that [[GermansLoveDavidHasselhoff Japan loves]] ''{{WebAnimation/RWBY}}'', which was made by [[Creator/RoosterTeeth the same people]].
* When it comes to soccer, the British team behind ''Podcast/MenInBlazers'' love to play with this trope, seeming how soccer is slowly starting to take off in the US. One segment featured a UsefulNotes/MajorLeagueBaseball player tried to convert the rules of soccer into baseball for the confused audience.
* WebAnimation/YouTubePoop is not popular in Japan, despite several attempts to introduce it to a Japanese audience, and the fact that some popular YTP sources are anime.
[[/folder]]

[[folder: Western Animation]]
* In India, there was mass protest over ''WesternAnimation/CloneHigh''[='=]s portrayal of UsefulNotes/MahatmaGandhi as a womanizing party-freak, where in America he has achieved meme status. He wasn't actually meant to be the real Gandhi anyway, but a clone who acted that way because he had to live down the intense pressure put on him from being the clone of such a great man. Apparently for a lot of Indians, though, the irreverence in his portrayal was just a bit too strong. This ended up killing the series, as India wouldn't allow Creator/{{MTV}} to continue broadcasting there unless clone Gandhi was removed. [[spoiler:For extra irony, a proposed third season would have eventually revealed that "Gandhi" was actually a clone of Gary Coleman and Scudsworth simply switched the labels by accident.]]
* This has happened to the 2003 ''[[WesternAnimation/TeenageMutantNinjaTurtles2003 Teenage Mutant Ninja Turtles]]'' in Japan. While the [[WesternAnimation/TeenageMutantNinjaTurtles1987 1987 Turtles]] were very popular back then, the Japanese audiences were expecting the newer Turtles to be like the 1987 Turtles and got DarkerAndEdgier Turtles instead. The newer cartoon didn't catch on and 52 episodes were dubbed before it got canceled.
* An in-universe example in ''WesternAnimation/TheCritic'' when Jay's writing staff said the first two ''[[Franchise/{{Ghostbusters}} Ghostchasers]]'' films didn't do well in Italy (not saying much that Jay hated those films) after Italians discovered that the title translated to ''[[YourMom Your Mother]] Has a Hairy Back'' and rioted by throwing bricks and using Michaelangelo's ''David'' as a battering ram. Also, the [[MisaimedMarketing Ghostchasers underpants]] didn't do as well in Mexico as hoped, but [[NoodleIncident we don't get information as to why]].
* In the United States, Creator/{{Nickelodeon}} goes toe-to-toe with Creator/DisneyChannel as the top performing kids channel, but in many countries, Creator/DisneyChannel and even Creator/CartoonNetwork are considered the more popular kids' channels, and Nickelodeon is distantly behind third (and often further, due to more public broadcasters in a number of countries often having their own channel for children). This is especially true in Denmark, Poland and Italy, where Nickelodeon is in dead-last place. A big part of this is that MTV Networks in many countries insist on their Nickelodeon being on upper-tier packages (which leads to similar unpopularity for MTV), which can be especially a problem in places where terrestrial/Over-the-Air (a.k.a. antenna method) reign supreme, like the Mediterranean countries. Though Greece and soon, Spain are launching their free OTA feed, may mark an attempt to remedy this problem.
* While ''WesternAnimation/AvatarTheLastAirbender'' is considered to be one of the greatest shows that Nickelodeon has ever produced in the Western world, Japan hated ''Avatar''. It's possible this is because the Fire Nation was heavily based on UsefulNotes/ImperialJapan, and [[OldShame Japan doesn't like to acknowledge the war crimes they committed]] in UsefulNotes/WorldWarII. Another reason is that the Japanese version of Nickelodeon was shut down before it had the chance to air the third season, resulting it to have a NoExportForYou until 2016 when Amazon Prime Japan included the third season in their library along with the first two seasons but having its original American version as it is the only season not to be dubbed in Japanese. Ironically, its sequel series ''WesternAnimation/TheLegendOfKorra'' is a CultClassic there, possibly because it has a different plotline without the Japanese parallels.
* ''WesternAnimation/MyLittlePonyFriendshipIsMagic'': In contrast to [[EnsembleDarkHorse Fluttershy]], the Japanese fandom doesn't like [[SmallNameBigEgo Trixie]] much,[[note]]Although since Trixie is an antagonist in the first place, the trope is somewhat downplayed[[/note]] as arrogance is viewed ''very'' negatively in Japan, which is why it's a popular trait in many villains depicted in Japanese media. By contrast, Trixie is [[LoveToHate popular enough]] in her native North America to get her own entry in the main toyline (the first MLP antagonist in the 30+year history of the franchise to do so), and was the focus character in a few issues of the official comics (though by this point her ego was the subject of CharacterDevelopment).
* ''WesternAnimation/JohnnyTest'' is a good example of this. While it was never really huge in its native Canada, it is nearly universally despised in the U.S., and is generally seen as the worst cartoon Cartoon Network has ever aired as well as one of the worst cartoons in general.[[note]]Especially notable when you contrast this to creator Scott Fellow's live-action shows, especially ''Series/NedsDeclassifiedSchoolSurvivalGuide'' and ''Series/BigTimeRush'', both of which were huge hits for Nickelodeon in the U.S.[[/note]]. Though the hate was generated more due to the cartoon being overplayed during a time when Cartoon Network was recovering from their failed live-action experimentation than really anything wrong with the show in general [[note]]At best the show is pretty average and most complaints against it either being nitpicks or from people who felt it was too much of a ripoff of ''WesternAnimation/DextersLaboratory''[[/note]] with many feeling it was unworthy for such constant re-running. The fact that it replaced ''WesternAnimation/DCNation'' during their hiatus certainly didn't help either.
* ''WesternAnimation/YinYangYo'' is universally despised in France, though nobody knows why. And so is ''WesternAnimation/TheFairlyOddparents'', to the point that Foop's voice actor disowned the series '''[[UpToEleven even more]]''' than Creator/RobPaulsen did for ''WesternAnimation/{{Bubsy}}'' and ''WesternAnimation/CoconutFredsFruitSaladIsland''.
* ''WesternAnimation/FamilyGuy'' is very unpopular in France, with some blaming the poor European French dub it was given. Apart from a few airings on Canal+ on the early 2000's, ''Family Guy'' isn't aired anymore in France. Ironically, Creator/SethMacFarlane's other show, ''WesternAnimation/AmericanDad'', was much more well received in France.
* ''WesternAnimation/TheSimpsons'':
** Episodes that take place in (and poke fun at) countries other than America don't tend to be popular in the given countries ([[MexicansLoveSpeedyGonzales with the exception of]] [[Recap/TheSimpsonsS6E16BartVsAustralia Bart vs Australia]]). While aware of this phenomenon, ''Simpsons'' writers have stated that they never consider how a new episode will be received by a non-American audience. One episode in particular – the one where Homer becomes a gun nut and breaks every safety rule in the book (plus rules that weren't known to need to exist before this episode happened) – was banned from broadcast in the UK, which normally ''loves'' the show, mainly due to being aired around the same time as the Dunblane Massacre (which set into motion the banning of handguns in the UK). It was eventually aired 4 years later. However, the ending was edited to further push the anti-gun stance.
** In non-Western countries, ''The Simpsons'' can only hope to be a WidgetSeries at best due to the overwhelming Western-ness in its setting, humor, characters, and plots, leaving it incomprehensible to someone who isn't already knowledgeable in Western culture. In Thailand, for instance, ''The Simpsons'' is a late-night program, in its native English but with Thai subtitles, its audience consisting mostly of people who are already fans of American television.
** Bart was undeniably the BreakoutCharacter early in the show's run in the United States, but he was loathed in Japan. This is because Bart's rebellious, loud nature clashes strongly against Japanese culture's emphasis on obedience and quiet politeness, especially due to how most authority figures in the show were powerless to stop him. The Japanese localizers knew their audiences would hate Bart, however, and downplayed him in favor of Lisa, whose studiousness and gentleness made her a more relatable protagonist than Bart (of course, she is tossed a JerkassBall in a passive-aggressive way every now and then, but she's mostly mellow). Being more subtle in your snark helps in Japan. In a weird twist of this, Lisa has become one of the more controversial characters in the American fandom. Some fans actually blame it on the Japanese fandom, occasionally accusing the creators of centering too many episodes on Lisa to increase the show's marketability in Japan.
* Despite being somewhat well-received in any other country, ''WesternAnimation/WinxClub'' is more of a subject of LoveItOrHateIt in Russia. A lot of flak was caught from anime fans (those of Sailor Moon especially), as well as MoralGuardians due to main characters' {{Stripperific}} outfits. People may just hate it, [[BileFascination love it for]] [[SoBadItsGood all the wrong reasons]] or [[SnarkBait snark at it]], but if you are a genuine fan of the show [[PeripheryDemographic outside its target demographic]], you will be seen as childish or brain-dead.
* ''WesternAnimation/PeppaPig'' and its sister show, ''WesternAnimation/BenAndHollysLittleKingdom'' are regarded as SnarkBait in Russia, especially the former. The fact they air on Karusel, a network infamous for its divisive ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' dub, doesn't help.
** While ''WesternAnimation/PeppaPig'' as a whole is very popular in Australia, one episode has been banned due to having the moral that "spiders are very small and cannot hurt you" — something notoriously ''un''true in Australia, where even non-venemous spiders can have a very painful bite.
* Preschool shows that utilize FakeInteractivity, such as ''WesternAnimation/DoraTheExplorer'' and ''WesternAnimation/MickeyMouseClubhouse'', aren't as well-liked in Japan as they are in other parts of the world, possibly because Japanese children don't like being talked down to by other people. Not helping matters is that any attempt to air these types of preschool shows in Japan have been met with ratings lower than any domestic animation aired in the country. For example, when Dora aired on TV Tokyo, it was constantly the lowest-rated animated show on Japanese broadcast TV.
* ''WesternAnimation/SpongeBobSquarePants'' is disliked in Norway not only due to the [[SeasonalRot decline in quality]] affecting the episodes of Seasons 4-9, but also the replacement of the titular character's voice actor with Trond Teigen (known for his role as {{Disney/Aladdin}} among other more action-oriented roles), whose attempts at mimicking the previous actor's performance comes off as forced and unnecessary.
* While ''WesternAnimation/KaBlam'' wasn't exactly a big hit for Nickelodeon in the late '90s, it still managed to have enough viewer support to last four years on the air. However when it aired on Creator/{{YTV}} in Canada, the ratings ended up being so low that they removed it after only a few airings. Ironically, the ''Sniz & Fondue'' shorts were animated in Canada from season two onward, and both ''WesternAnimation/AngelaAnaconda'' and ''WesternAnimation/UntalkativeBunny'', which originated as shorts on the show, became full shows in their own right on ''Creator/TeleToon'' (though by the time the latter was aired on the show in 1999, it had already been removed from YTV).
* ''WesternAnimation/{{Kaeloo}}'' is actually quite popular in France, but when it aired in Australia it wasn't received very well (possibly due to late night airings) and the English dub was cancelled after the first season.
* Creator/AdultSwim animations got a very low audience in Latin America, causing the dubbing of shows like ''WesternAnimation/HarveyBirdmanAttorneyAtlaw'', ''WesternAnimation/AquaTeenHungerForce'' and ''WesternAnimation/TheVentureBrothers'' to be discontinued. While some of the shows (Like ''WesternAnimation/RobotChicken'') managed to get a CultClassic status among some Internet circles, the shows failed to have the same cultural impact that other adult animated comedies like ''WesternAnimation/TheSimpsons'' and ''WesternAnimation/SouthPark'' (Which still were at the height of their popularity when the Adult Swim block initially debuted in the Latin America version of Cartoon Network.) Many Cartoon Network watchers at the time were expecting to see anime shows in the block, just like in its US counterpart, and criticized the series for their [[WidgetSeries weirdness]] and [[StylisticSuck crude animation]]. In the present, Adult Swim series (In their original languaje, with subtitles) are shown in an Argentinian channel called [[http://www.isat.tv/ Isat]] which is mostly dedicated to indie and arthouse films.

[[/folder]]

[[folder:Other]]
* A Ufology example: TheGreys are the most common alleged alien encounters in the USA and pretty much became part of popular culture, but in Europe and Latin America, the most common alien encounters are with the [[https://en.wikipedia.org/wiki/Nordic_aliens Nordic Aliens]]. TheGreys are instead seen as evil.
* Possibly due to a combination of SuperlativeDubbing and PatrioticFervor, it isn't uncommon for fans in France to dislike the (typically original) English versions of certain animated TV shows/movies and VideoGames if the French dub is well-known and widespread.[[note]]LiveActionFilm less so due to the nature of the medium.[[/note]] If an installment in a long-running series usually dubbed in French is released without French audio ([[SubbingVersusDubbing even if there are French subtitles]]), expect an InternetBackdraft from the French fanbase, such as with ''VideoGame/SouthParkTheStickOfTruth''; such reactions are typically stronger than how English-speaking fanbases react to Japanese products suddenly not being dubbed.
* For the US convenience store chain 7-11, the Slurpee is their iconic product to such a degree that 7-11 has dubbed July 7th "Slurpee" day and gives out the beverage for free. It's not unheard of for stores to run out of cups early into the afternoon rush hour. In Japan, where 7-11 is THE convenience store and is so popular that Japanese investors own the controlling interest of the company, the Slurpee never caught on and isn't sold in stores at all.
* This example is more of a result of a terrible [[BlindIdiotTranslation mistranslation]] than the quality of the product itself. A few years back, ice cream makers Ben & Jerry's attempted to sell their Chunky Monkey-flavored ice cream in Japan. It was a flop, though the company was baffled why. They discovered during a blind test that the Japanese actually loved the flavor which confused the company even further. Eventually they discovered the reason the flavor flopped: "Chunky Monkey" literally translated in Japanese means [[IAteWhat "Chunks of Monkey"]].
* Germany doesn't have any Wal-Marts since 2006, due to ValuesDissonance in job ethics and some [[http://www.huffingtonpost.com/david-macaray/why-did-walmart-leave-ger_b_940542.html very odd... rituals.]] They also failed to compete on price. In addition, the market niche for "big box department store" never was as big in Germany as in the US and it was already mostly filled by the time Walmart arrived (by companies that took over the physical stores when Walmart threw in the towel).
[[/folder]]

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