"It appears annoyance doesn't cross cultural boundaries."This is the opposite of Germans Love David Hasselhoff: a character or entertainer who is fairly popular in their home region becomes The Scrappy in another market. The most common reason for this is Values Dissonance, 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 represent the nation that hates them, and this character is seen as offensively stereotypical. In the worst cases, the hatedom of a single character can result in No Export for You for an entire series (something some people are probably going to be grateful for). This is sometimes referred to as "Americans Hate Soccer (Football)", due to the infamous vocal hatedom in the United States against the sport, and more preference towards American Football (the subsequent Opinion Myopia and Flame War between the sport's fans and haters has also been notable). There's even a trope around this. In short, this can be summed up as Periphery Hatedom 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 Deader Than Disco 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 "Galápagos syndrome", in reference to the bizarre species that evolved in isolation on the Galápagos Islands that heavily informed Charles Darwin's theory of evolution by natural selection. The term was coined in Japan to describe their Cell Phone 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 iPhones, Android phones, and 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 its video games. Compare Pop-Culture Isolation. Contrast Mexicans Love Speedy Gonzales, American Kirby is Hardcore, and its polar opposites, Germans Love David Hasselhoff and Never Accepted in His Hometown. See also The Scrappy, Widget Series, and Cross-Cultural Kerfluffle. Please do not use this page as a place for Complaining about People Not Liking the Show. Also, simply saying something is hated is not enough. You have to explain why it's hated.
— Edd, Ed, Edd 'n' Eddy, "Shoo Ed"
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- Chinese animated shows in general tend to be despised in the West, which has to do with their cheap animation and They Copied It, So It Sucks tendencies, and they tend to define Animation Age Ghetto. Pleasant Goat and Big Big Wolf 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 Western Animation), 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).
- 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 Yu-Gi-Oh! 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.
- Alpha Flight 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 stereotypes of Canadians. Which is ironic when you realize the team was created by Canadian artist John Byrne.
- The Disney comics are traditionally more popular in Europe than their native United States. However, according to Don Rosa, the confrontation between Scrooge and Soapy Slick in Part Eight of The Life and Times of Scrooge McDuck, in which Soapy's riverboat casino was destroyed, was frowned upon by European readers for supposedly making Scrooge look like a Batman-esque vigilante (although Rosa never wrote what exactly happened and constantly maintained that the tale was meant to be exaggerated through legend).
- Tintin: 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 Steven Spielberg'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. Most Americans seem to be puzzled about Tintin's lack of super powers and see it more as a detective comic with a lot of slapstick.
- Astérix: Very popular in Europe, where the time period of the comic (Ancient Rome) 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.
- 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 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 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 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 Ethnic Scrappy.
- Allegedly, one of the major reasons Iron Man is usually given leadership of The Avengers in TV adaptations (such as The Avengers: Earth's Mightiest Heroes! and Avengers Assemble) is because focus group data indicated that Captain America (the traditional leader of the Avengers) is extremely unpopular in countries like the United Kingdom. Downplayed with Captain America: The First Avenger — although international markets were offered the alternate title "The First Avenger", only three nations opted for the other title, and most of its box office was international.
- De Kiekeboes 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 Suske en Wiske, Nero and Urbanus), while not always blockbusters, are still very recognizable names in the Dutch community.
Films – Animated
- The popularity of Disney in Japan is inversely proportional to the unpopularity of every other American feature animation studio in the country (with the exception of Pixar, occasionally). It's reached the point where a lot of new releases aren't even sent to Japan, while others go straight-to-DVD. This is unusual for an east Asian country, where non-Disney animated films are usually very popularnote . One of the biggest examples of this is The LEGO Movie, which barely made any money at the Japanese box office due to 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, The Book of Life failed to get in to the Top 3 at the U.K. box-office – debuting at fourth placenote . Then the following week it dropped to fifth placenote , 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 Hercules was well-received by critics and audiences alike, but it was universally hated by the Greeks, who were angered at the film playing fast and 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. Also, this has started to die down, though. Considering how Disney's take on an American legend is generally considered Snark Bait by American Disney fans, it's surprising this hasn't happened with their other non-European fairy tale/story adaptations.
- Mulan wasn't much of a hit in China, despite famous voice actors such as Jackie Chan and adapting a local folk tale. Some blame piracy, some worry that the native audience took issue with the extensive reworking 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 Kung Fu Panda would prove much more to Chinese tastes, with much less behind-the-scenes drama.
- Delhi Safari 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 Box Office Bomb that barely made any money during its opening weekend.
- Toy Story 3, 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 Continuity Porn lacking appeal.
- 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 the third biggest film of 2013 in the country.
- It's further exacerbated with the news that Disney is replacing the Norway-themed Epcot ride "Maelstrom" with a Frozen-themed ride. Park purists and Norwegians are pretty unhappy that their former ride meant to honor Norway is being replaced with a new ride based on Frozen and Arendelle. This isn't helped by the fact that this is part of Disney's plan to build an Arendelle pavilion.
- Discussed in The Simpsons Movie: Homer's second attempt at an epiphany amounts to "Americans will never embrace soccer."
- Inside Out wasn't that popular in France. It never reached #1 due to the huge successes of Pixels, 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.
Films – Live-Action
- Indians seem to feel this way about any humorous depiction of Mahatma Gandhi, for very obvious reasons. There was a major backlash on YouTube over the "Gandhi II" clip from the "Weird Al" Yankovic movie UHF, a fake movie trailer that re-imagines Gandhi as a 1970s blaxploitation-like vigilante. The joke is simply a parody of actionized sequels taken to such an extreme that even Gandhi gets the treatment.
- Roberto Benigni's 2002 Live-Action Adaptation of The Adventures of Pinocchio was lambasted by American audiences and was nominated for 6 Golden Raspberry Awards, including "Worst Picture", both because they saw it as a 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 Disney Animated Canon 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 All-Star Cast 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.
- Borat, unsurprisingly, was not at all well received by many ethnic groups, to the point that it was 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, the Kazakhs loved it.
- Brüno zigzags this. While Austrians found the gay stereotypes of Austria and Austrians Actually Pretty Funny, as Austria is a very progressive country towards LGBT, the jokes where Bruno considers Adolf Hitler 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, A Clockwork Orange 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 Stanley Kubrick had the film removed from British distribution, with the ban lifted only after his death in 1999.
- 300 was condemned as "Western Propaganda" in Iran due to 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 crossed the line twice.
- Historically, Superhero movies had a reputation for underperforming outside of the U.S. However, the box office successes of The Avengers and The Dark Knight Rises began to turn this trend around. Iron Man 3, X-Men: Days of Future Past, and The Amazing Spider-Man 2 are notable for pulling in large box office hauls outside the U.S. (with the latter two actually proving more profitable overseas than in their native US).
- Batman movies still have problems turning in decent box office numbers in Japan, as the first Batman media brought to Japan was the old campy Adam West TV series and thus became the Japanese mainstream's first impression of him. Later movies, like Batman and the Christopher Nolan trilogy, which depict darker, more serious stories, mostly confused Japanese audiences expecting to see more colorful camp.
- As beloved as James Bond may be around the world, there are two notable films that aren't well received outside of Britain.
- Die Another Day is hated both North and South Korea. The North Koreans weren't amused for making the Big Bad a 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.
- Spectre was universally loved in its native UK but received a 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 poorly done Asspull. Likewise, they also criticized Spectre for lacking originality since it blatantly copied ideas from Captain America: The Winter Soldier, Mission: Impossible – Rogue Nation, and previous Bond movies. Not that their opinions stopped the movie from grossing over $200 million in the US.
- Slumdog Millionaire was hated by Indian people, due to its obliviousness to the Bollywood cliches that were in it and stereotypical portrayal of India as a poverty ridden hellhole. Elsewhere the reception was almost universally positive, where it won 8 Academy Awards (including "Best Picture"), and the film currently has a 94% rating on Rotten Tomatoes.
- 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 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 Ben Affleck 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 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 literally every named English character in the movie is evil.
- 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 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 Pacific Rim and noticed how it was an unusual outlier considering Godzilla did better than Pacific Rim in every other territory.
- The entire brand qualifies. Although it had a rough history even in its native country, it's considered a cultural and commercial mainstay that still produces successful films every now and then. Godzilla movies have a 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 the original), whereas the other ~30 films are pretty much seen as the epitome of low-grade schlock. Values Dissonance is also in effect, since most audiences find the characterful and fantastical Japanese monsters unappealing and silly, especially combined with the rubber suit effects.
- The 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 Artistic License – History 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 '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 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 or who suffered ethnic persecution under the Nazi regime, was a pretty heavy nail in the coffin of Poles ever appreciating the film.
- The Three Stooges: 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 Three Stooges Shout-Out at one point. In the rest of the world, especially Europe, Laurel and Hardy 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 Executive Meddling, note although they still made millions, and they stopped producing new movies ca. 1945, except for the atrocious "Atoll K" (1950) note Newcomers such as Abbott and Costello, The Three Stooges and Bob Hope 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 The Marx Brothers. 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.
- The Sound of Music 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 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 Inglourious Basterds and Lara Croft: Tomb Raider: The Cradle of Life, but audiences back home know him for romantic comedies. German action filmmakers like Roland Emmerich and Wolfgang Petersen often have to leave for Hollywood to get recognition.
- Mr. Nobody 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 Pacific Rim was a modest hit in the U.S. (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 Pacific Rim. The U.K. (due to highly-respected actor Idris Elba playing one of the main characters) and Russia (due to the popularity of of the couple that pilot 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 Rinko Kikuchi was 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 Humongous Mecha works and thus had little interest in seeing a Westernized version.
- Jackie Chan is beloved throughout the West, and sells well within China (though even a growing number of mainland netizens consider his words Snark Bait). 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.
- Star Wars: The Force Awakens 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 story that wasn't accessible to newcomers and the fact that other Star Wars imitators had already stolen its thunder. For example, it did middling business in Japannote ; largely due to coming out the same time as the second Yo Kai Watch 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 even by this trope's standards.
- While much of Paul Verhoeven'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 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. Values Dissonance also plays a role, due to a large amount of sex and Male Frontal Nudity in his Dutch films, which would earn a NC-17 rating in America. (Especially since one of his American movies, Showgirls, ended up killing the NC-17 rating in America.)
- Harry Potter has an in-universe example: the book Quidditch Through the Ages 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 Americans who prefer American football to soccer and are obsessed with Stuff Blowing Up. 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.
- Henry James 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.
- Becassine was a very popular book character in the France of the early 20th century, with the exception being a French province known as Brittany. The reason why it never caught on there is because the mentality that Becassine had clashed with the cultural mentality of most people in Brittany, where women usually behaved differently. It was so hated there that a man from Brittany destroyed a giant statue in Paris that featured her.
- While Bram Stoker's 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 (even if it meant taking some brutal methods to so), was used for that of the bloodthirsty, habitual Moral Event Horizon-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 Abraham Lincoln or a British murderer/rapist named Winston Churchill, 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.
- Due to differences in attitudes as opposed to the source material of Super Sentai, Power Rangers 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 Chouriki Sentai Ohranger almost ended Super Sentai; but the silly Gekisou Sentai Carranger saved the series from cancellation. Inversely, when Ohranger was adapted into Power Rangers Zeo, it was and is a season that is well-regarded among Power Rangers fans; while when Carranger was adapted into Power Rangers Turbo, it almost got the series cancelled.
- Villains also get different treatment. Kyukyu Sentai Go Go V had villainess Denus, who is well-regarded in Sentai fandom. When it was adapted into Power Rangers Lightspeed Rescue, her equivalent, Vypra, was hated by fans, thanks in no small part to the X-Pac Heat leveled against Jennifer Yen. It got to the point where Linkara, in his review for his History of Power Rangers series, all but cheered when Vypra was absorbed into Queen Bansheera later in the season.
- Somewhat tying into the general examples of Japanese character popularity above, Kamen Rider fans in the West tend to dismiss Wataru Kurenai (and, to a lesser extent, Ryotaro Nogami) for being 'weak' and 'unmanly' compared to many of the other protagonists in the franchise. Japanese fans of Kamen Rider Faiz don't seem to mind Masato Kusaka. American fans almost universally despise him for being a Jerkass Devil in Plain Sight.
- When MTV's American remake of 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.
- M*A*S*H 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.
- 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 Wheel of Fortune. However, unlike Wheel and most other American game shows, foreign versions of Jeopardy! are far fewer in number, and far less successful 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 Upstairs Downstairs 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.
- Love/Hate 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.
- The Muppet Show:
- 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 completely unrelated mixed-up language (officially termed "Mock Swedish") in an accent that is not Swedish either. The Swedish Chef is basically a Love It or Hate It phenomenon in Sweden. Swedes either feel annoyed by how inaccurate a portrayal he is, or laugh at him for the exact same reason.
- While Sesame Street 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 Play with Me Sesame or direct-to-DVD programs. However, the new Furchester Hotel show on 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 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).
- 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 Unsere Mutter Unsere Vater, 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 But the reason the soap was so popular was because it was basically a Roman à Clef 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.
- House of Anubis 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 Cultural Translation (or de-Flanderization, as it were) that was committed.
- Seinfeld failed in Germany while being successful in most of the world. Main reasons are Executive Meddling (the stand-up segments were left out; the dubbing had some weaknesses), 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 Star Trek: The Original Series episode "The Omega Glory" because of how intensely it uses the Eagleland trope, culminating with Kirk reading the U.S. Constitution aloud. Not that there aren't a significant number of Americans who share the same view…
- 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.
- Most MTV Reality Series don't do well outside of Anglophone countries, leading to most international MTVs actually airing music video (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 the least-viewed of them all.
- Canadian Kid Com Some Assembly Required got an OK reception in Canada, but got trashed hard by American audiences who first heard of the show through Netflix. It doesn't help that their previous live-action kid show, Richie Rich, got just as bad, if not worse, reception.
- 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 Screwed by the Network 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.
- Phone-in Game Shows 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 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 Cash Cow Franchise, 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 Values Dissonance of the diverse and fantastical designs of Japanese monsters being seen as ridiculous, with the rubber suit effects. There's also the issue of Power Rangers 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.
- 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 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, 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, Gottlieb's Bone Busters 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.
- Hulk Hogan was one of, if not the, biggest WWF star of all time. However, when he brought the flexing, no-selling, All-American gimmick to 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 NWA and hated the WWF's campy, story driven style compared to the NWA's hard action.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.
- Shawn Michaels, in large part due to his role in the Montreal Screwjob, 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 DX, due to the fact that it gave him uber-Popularity Power.
- For whatever reason, Ken Shamrock was nearly booed out of whatever Canadian city in which he was wrestling.
- Samoa Joe 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 TNA's usage of Kazuchika Okada as Samoa Joe's second banana. Ring of Honor would take advantage of this by having Joe be the most prominent member of its roster to call out the Pro Wrestling NOAH guys. 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 Mitsuharu Misawa seven years prior, which at the time mostly made headlines for the negative reviews it got.
- Bryan Danielson (Daniel Bryan) doesn't really get over in Mexico, not even alongside 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 All Japan Pro Wrestling, after he had an unimpressive run in WWE. That he was still a relative rookie then doesn't get him any slack.
- Bob Sapp was a HUGE sensation in Japan both in professional wrestling and Mixed Martial Arts, 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 Kazushi Sakuraba and Fedor Emelianeko in its card). The rest of the world, however, just saw him as the living Japandering he probably was.
- Brock Lesnar 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 the failures of memories to even recall it. It doesn't help that Lesnar's reign started with a triple threat victory, which New Japan'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 Antonio Inoki's son-in-law and a desire to copy what All Japan had done with Bill Goldberg.
Stand Up 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 didn't get the joke. If you looked up reviews for the shows he opened up, chances are you'd see complaints about him.
- Cirque du Soleil 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 Quebec, after an initial, critically-roasted visit to Paris in 1990, Cirque didn't bring another show to the country until 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: Saltimbanco, Quidam, and Michael Jackson The IMMORTAL World Tour. (Another show, Alegría, 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 Michael Jackson'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 Banned in China 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 Values Dissonance: As a New York Times article discussing the sale explained, Cirque's tendency towards Excuse Plots about The Everyman'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 William Shakespeare 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). Voltaire, for one, spoke of "dreadful scenes in this writer’s monstrous farces, to which the name of tragedy is given," describing 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 The Pond in the U.K., the West End has not been quite so hospitable. Beauty and the Beast 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. Mary Poppins 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 Aladdin. Only The Lion King became a certifiable West End blockbuster, having been running there nonstop 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?
- The Gondoliers, Gilbert and Sullivan'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 deeply, truly, sincerely hate The King and I. Seeing how both Mongkut and Chulalongkorn are revered national heroes, that is quite understandable. Every film adaptation has been banned outright in the country.
- Disney Theme Parks
- Disneyland Paris was initially despised by the French people, citing poor (by French standards, anyway) working conditions and seeing it as a sign of American cultural imperialism.
- Duffy the Disney Bear:
- He was a huge hit when he was introduced in Tokyo Disneyland. When he was brought to America in 2011, many wondered "Who the hell is that?" and "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 Never Accepted in His Hometown: The Disney Bear was introduced at Walt Disney World's Downtown Disney in 2004 as an attempt at 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.
- Barbie is one of Mattel's biggest Cash Cow Franchise 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, Licca-Chan.
- 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 "Cindy Brady" Olsen) was a dismal flop.
- Cabbage Patch Kids is simply hated by many Japanese fans, due to the doll's grotesque nature compared to the simplified yet cute face of the country's native Hello Kitty.
- An interview with Forbes mentioned that while SH Figuarts' One Piece and Kamen Rider 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 Dragon Ball, Sailor Moon, Star Wars and Super Sentai (mostly because of the Power Rangers connection), albeit Star Wars is only through importing as its toys and SH Figuarts being No Export for You 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 Frozen, will have stores selling predominantly merchandise made by these Japanese companies rather than imported goods.
- Red vs. Blue 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 Japan loves RWBY, which was made by the same people.
- When it comes to soccer, the British team behind Men In Blazers love to play with this trope, seeming how soccer is slowly starting to take off in the US. One segment featured a Major League Baseball player tried to convert the rules of soccer into baseball for the confused audience.
- In India, there was mass protest over Clone High's portrayal of Mahatma Gandhi 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 MTV to continue broadcasting there unless clone Gandhi was removed.
- There was an episode of Ed, Edd 'n' Eddy called "Shoo Ed" that lampshaded this, where the Eds train Johnny to be the most annoying person in the world so they can charge the kids to get rid of him. However, Rolf the immigrant kid practically falls in love with him. Even taking his belching in stride: "You are full of pickles and beets today, my friend." Double D's response to this is the page quote.
- This has happened to the 2003 Teenage Mutant Ninja Turtles in Japan. While the 1987 Turtles were very popular back then, the Japanese audiences were expecting the newer Turtles to be like the 1987 Turtles and got Darker and Edgier Turtles instead. The newer cartoon didn't catch on and 52 episodes were dubbed before it got canceled.
- An in-universe example in The Critic when Jay's writing staff said the first two Ghostchasers films didn't do well in Italy (not saying much that Jay hated those films) after Italians discovered that the title translated to Your Mother Has a Hairy Back and rioted by throwing bricks and using Michaelangelo's David as a battering ram. Also, the Ghostchasers underpants didn't do as well in Mexico as hoped, but we don't get information as to why.
- In the United States, Nickelodeon goes toe-to-toe with Disney Channel as the top performing kids channel, but in many countries, Disney Channel and even Cartoon Network 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 Avatar: The Last Airbender 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 Imperial Japan, and Japan doesn't like to acknowledge the war crimes they committed in World War II. 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 No Export for You 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 The Legend of Korra is a Cult Classic there, possibly because it has a different plotline without the Japanese parallels.
- My Little Pony: Friendship Is Magic:
- In contrast to Fluttershy, the Japanese fandom doesn't like Trixie much,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 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 Character Development).
- FiM has spectacularly failed to gain any staying power in the United Kingdom, at least among the target demographic.note British TV only aired the first season (on Boomerang, since there's no UK version of The Hub). Compare this to the rest of Europe, where most countries have aired all currently-made episodes (My Little Pony has always been more popular in Europe than America, and – as happened in The '80s – Hasbro released most of this generation's early merch in Europe first). The series finally returned to British TV in 2013 via Tiny Pop, a channel targeted at preschoolers. It was later moved to the Tiny Pop's freeview sister channel Pop which is aimed at the same audience demographic as Nicktoons. Nowadays, it airs on both channels, with Tiny Pop getting the first run of the latest season, while Pop usually airs the Equestria Girls movies.
- Similarly, the show has failed to gain any lasting mainstream success within its target demographic in Japan, despite Bushiroad's very high quality dub. Bushiroad's online store for Generation 4 was eventually closed on January 13, 2015, many in-store displays for pony toys were cleared out due to low sales, and the dub was eventually cancelled after season 2. Many believe this to be due to the fact that domestic franchises featuring similar themes and/or targeting similar audiences (Hello Kitty, Pretty Cure) are considered a dime-a-dozen and caused My Little Pony to be crowded out. Others blame the cutting of scenes to make room for the long openings, which left a few plotholes. However, it still has a small, yet highly dedicated Japanese fandom among young men and women (just like that of overseas) praising its writing and animation, and the fandom has held at least one convention and puts out some impressive fan works. Since the later seasons and Equestria Girls movies are highly unlikely to receive Japanese dubs anytime soon, Japan's bronies and pegasisters have settled for watching Japanese fansubbed versions. Ironically, the Japanese dub itself is subject to Germans Love David Hasselhoff, as it is covered on the core fansite Equestria Daily and is generally praised by anime fans for being an amazing translation to Japanese culture.
- This was ultimately subverted by the Equestria Girls spinoff, which wound up eclipsing the main series in popularity (and potentially saving the series) in the region. The first movie was released in 2015 and proved to be a pretty solid success that the sequels Rainbow Rocks and Friendship Games were dubbed and released relatively shortly afterwards. Sega Toys have also taken over the series from Bushiroad, and 52 more episodes of Friendship Is Magic being announced to be currently in the works.
- While not necessarily hated, in contrast to Tiny Toon Adventures' Germans Love David Hasselhoff status in Japan, Animaniacs only lasted 13 episodes (the first 12 plus the 49th) when it came to TV Tokyo in 1996. For whatever reason, it simply never caught on there, although it has been rerun on the Japanese Cartoon Network - but always the same 13 episodes.
- Johnny Test 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 . 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 with many feeling it was unworthy for such constant re-running. The fact that it replaced DC Nation during their hiatus certainly didn't help either.
- Yin Yang Yo! is universally despised in France. And so is The Fairly Oddparents, to the point that Foop's voice actor disowned the series more than Rob Paulsen did for Bubsy. And that is a lot!
- Family Guy 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, Seth MacFarlane's other show, American Dad!, was much more well received in France.
- The Simpsons:
- Episodes that take place in (and poke fun at) countries other than America don't tend to be popular in the given countries (with the exception of 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 Widget Series 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 Breakout Character 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 Jerkass Ball in a passive-aggresive 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, Winx Club is more of a subject of Love It or Hate It in Russia. A lot of flak was caught from anime fans (those of Sailor Moon especially), as well as Moral Guardians due to main characters' Stripperific outfits. People may just hate it, love it for all the wrong reasons or snark at it, but if you are a genuine fan of the show outside its target demographic, you will be seen as childish or braindead.
- Peppa Pig and its sister show, Ben and Holly's Little Kingdom are regarded as Snark Bait in Russia, especially the former. The fact they air on Karusel, a network infamous for its divisive My Little Pony: Friendship Is Magic dub, doesn't help.
- Preschool shows that utilize Fake Interactivity, such as Dora the Explorer and Mickey Mouse Clubhouse, 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.
- SpongeBob SquarePants is disliked in Norway not only due to the 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 Aladdin among other more action-oriented roles), whose attempts at mimicking the previous actor's performance comes off as forced and unnecessary.
- It is also decreasing in popularity in Japan despite once being popular there, thanks to the aforementioned decline in quality for Seasons 4-9 and its Screwed by the Network treatment by both Animax and NHK. This also caused Paramount to make the second movie play at only one theater chain in Japan (Aeon to be exact, which only had a handful of theaters there).
- While 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 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 Angela Anaconda and Untalkative Bunny, which originated as shorts on the show, became full shows in their own right on Tele Toon (though by the time the latter was aired on the show in 1999, it had already been removed from YTV).
- A Ufology example: The Greys 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 Nordic Aliens. The Greys are instead seen as evil.
- Possibly due to a combination of Superlative Dubbing and Patriotic Fervor, it isn't uncommon for fans in France to dislike the (typically original) English versions of certain animated TV shows/movies and Video Games if the French dub is well-known and widespread.note If an installment in a long-running series usually dubbed in French is released without French audio (even if there are French subtitles), expect an Internet Backdraft from the French fanbase, such as with South Park: The Stick of Truth; such reactions are typically stronger than how English-speaking fanbases react to Japanese products suddenly not being dubbed.
- Nokia was the absolute king of cell phones from the 1990s to the early 2010s. The high quality and advanced features of their devices granted them a huge and rabidly loyal clientele. That is, except in North America, where they never made much of a dent, and are only remembered for very unimpressive low-end devices. Blame carriers, who wanted to remove features from their high-end devices to sell piecemeal (such as disabling wi-fi to make people use their expensive data plans), and shunned Nokia when they refused to compromise.