%% This list of examples has been alphabetized. Please add your example in the proper place. Thanks!
[[quoteright:350:[[Creator/TylerPerry http://static.tvtropes.org/pmwiki/pub/images/criticaldiss_6590.jpg]]]]
[[caption-width-right:350:‘Well, ''I'' liked it.’]]

->''"If film critics could destroy a movie, Creator/MichaelBay and Creator/AdamSandler would be working at Starbucks. If film critics could make a movie a hit, [[Creator/TheDardennes the Dardenne brothers]] would be courted by every studio in town."''
-->-- '''[[http://www.thewrap.com/movies/column-post/johnny-depp-armie-hammer-lone-ranger-jerry-bruckheimer-108756 Alonso Duralde]]''', ''[[http://www.thewrap.com The Wrap]]''

Critical Dissonance is polar opposition of public to critical opinion. Critics might love a certain work while general audiences shun it, or vice versa.

Critics may look down on a [[ItsPopularNowItSucks popular work]] on principle, denouncing it as LowestCommonDenominator garbage that’s all flash and no substance. Conversely, the public may see a work beloved by the critics as boring, [[TrueArtIsAngsty angsty]] and [[TrueArtIsIncomprehensible pretentious]] drivel engineered solely to [[OscarBait win awards]] from [[StrawCritic equally boring, angsty and pretentious Academy members]].

Sometimes later opinions can match, and then we have VindicatedByHistory (or DeaderThanDisco, as the case may be), but not always.

Some media are less affected by this than others. Since {{comedy}} relies on what an individual finds funny, this is the genre of movie most likely to spur on Critical Dissonance. One critic may find a movie hilarious while another finds it tacky. Switch out comedy for the {{horror}} genre and you get the same polarizing results. Art — all kinds, not just abstract — is notoriously subject to this. And architects get hit with it all the time.

In general, this trope has historically been uncommon with video games, partly due to the [[ReviewsAreTheGospel far greater reliance on reviews]] among gamers, and partly because the technical side (gameplay, graphics, etc.) tends to carry more weight with games than with books or TV. Additionally, good gameplay (at least in terms of, say, lacking glitches) is much more black-and-white than a good story, writing, or acting. However, video-game journalism is ''[[FourPointScale infamous]]'' for its frightening degree of corruption, to the point where reviewers who don’t sufficiently praise games that buy enough advertising space on their stomping grounds tend to get fired pretty quickly. When Critical Dissonance does occur with games, it is more often than not because gamers thought that the critics had been overly kind (like the FourPointScale), or had even been [[MoneyDearBoy paid upfront by the publishers as part of an advertising and/or first-look article special]].

Niche media may particularly suffer this because some or all of the critics assigned to review it aren’t members of its target demographic, or [[SmallReferencePools don’t even have a basic knowledge of the genre]]. To look at it another way, if the business model involves an audience who will actively seek it out, those people will be predisposed to enjoy it, whereas critics who see it out of professional necessity will not have that selection bias.

Telltale signs of Critical Dissonance include disagreement between a work’s revenue and its reviews, simultaneous nominations for both ‘best X’ and ‘worst Y’ awards (bonus points if X=Y), and angry comments on those review sites that have them.

That the main differences between the average audience viewer and the average critic are vocabulary, sometimes ego, and employment in the field of journalism, that is what makes the large contrast between viewpoints either fascinating or predictable, depending on your degree of cynicism.

See also CriticalBacklash, CriticProof, BiasSteamroller, ItsPopularNowItSucks, OpinionMyopia, EightPointEight, and OscarBait. Could overlap with PopCultureIsolation and AcclaimedFlop. Contrast with CultClassic where a work tends to have neither critical acclaim nor general popularity, but is enjoyed by a few die-hard fans. Possibly the cause of MainstreamObscurity.

!!Example subpages

* CriticalDissonance/{{Film}}
* CriticalDissonance/LiveActionTV
* CriticalDissonance/{{Music}}
* CriticalDissonance/VideoGames

!!Other examples:

[[folder:Anime and Manga]]
* ''Manga/BlackBird'' is one of the bestselling shoujo manga in years, yet most mainstream anime/manga reviewers have given it lukewarm to negative reviews (with some even being openly disgusted by it).
* ''Anime/DigimonXrosWarsTheYoungHuntersLeapingThroughTime'', the sequel to ''Anime/DigimonXrosWars'', is considered by many fans to be the worst series of the [[Franchise/{{Digimon}} franchise]] for numerous criticisms like its two [[TheScrappy unlikable]], underdeveloped leads who [[ReplacementScrappy replaced the ones from the previous series]]. Despite this, the series was nominated for Best Animation at the 2012 International Emmy Kids Awards.
* ''Manga/HotGimmick'' has received mixed/poor reviews. Despite this, it has sold well as it had a twelve-volume run. In some circles, however, saying you’re a fan of ''Hot Gimmick'' will get you very dirty looks.
* ''Manga/{{Naruto}}'': Among casual manga/anime fans and the general public, [[CashCowFranchise it’s a merchandising juggernaut]] with a massive and rabid fanbase. On the critical side of things and amongst the more hardcore anime/manga fans, [[SoOkayItsAverage it’s generally treated as a fairly average]] and generic {{Shounen}} at best. Though late in to the series, said fans have started to agree more with critics, particularly when filler comes into play.
* ''Franchise/{{Pokemon}}'':
** The first three movies were the only ones to receive widespread release in the U.S., and all of them were critically panned. However, they are generally considered good by both audiences and ''Pokémon'' fans (the English dub of the first movie notwithstanding), and are better regarded than [[{{Sequelitis}} most of the subsequent sixteen (and counting!) sequels]].
** [[Anime/{{Pokemon}} The anime series]] is often criticized for its StrictlyFormula nature ever since Creator/TakeshiShudo left, as well as [[NotAllowedToGrowUp refusing to age the characters with each passing year]]. Yet, despite the decline in popularity it experienced in the Johto series, it still maintains high ratings in both Japan and the U.S., and has a large and devoted fanbase.
* All incarnations of ''Franchise/YuGiOh'' have been huge financial successes and run for years, but [[PeripheryHatedom many people outside the demographic]] consider them to be little more than either a commercial or [[{{Bowdlerize}} watered down garbage]]. Complaints include overreliance on gimmicks and Aesops.
* ''Anime/NeonGenesisEvangelion'' has been almost unanimously positively reviewed by professional anime/manga critics, yet it's a ''very'' divisive series within the world of anime fandom, with some finding the tone ''way'' too dark, [[DysfunctionJunction the cast having so many issues that they're under-developed or unlikable]], and [[GainaxEnding an ending that was hard for many to understand]], among others.
* The original anime adaptation of ''Anime/SailorMoon'' is among the most popular and recognized anime series of all time, but if you asked some critics what they thought about it, they'd likely call it nothing more than formulaic MagicalGirl fare, likely because the series suffers a big case of SeinfeldIsUnfunny.
* ''Anime/SuperSonico'' get mixed to negative reviews from Anime reviewers on the web, but the few Anime fans that have given the series a chance has been much kinder.
* ''Manga/BlackClover'' performs very well in popularity polls in ''Weekly Shonen Jump'', both the Japanese and English versions, but gets mediocre to negative reviews overall (even going as far to be deemed [[http://www.animenewsnetwork.com/interest/2016-07-25/best-and-worst-manga-of-2016-results-comic-con-international/.104673 the worst manga of 2016 at a panel at San Diego Comic-Con]]). Most likely, the reason for this is because ''Black Clover'' is highly [[StrictlyFormula formulaic]] and [[FollowTheLeader derivative]], resulting in a boring read for those who have already read a lot of manga but an exciting story for beginners who aren't familiar with the series ''Black Clover'' is imitating.
* ''Anime/SonicX'' generally received mixed to positive reviews. Fans generally consider the show's first two seasons to be mediocre at best, with Season 3 being considered [[BrokenBase either the best season or the worst]].
* ''Manga/LoveHina'' was adored by critics, but many audiences, [[SeinfeldIsUnfunny especially in recent years]], dislike it for [[ClicheStorm using]] or [[TropeCodifier inventing]] some of the most hated cliches in harem manga and anime, most of the characters being [[JerkAss Jerk Asses]], or for constantly playing what looks like domestic abuse for laughs. This was Lampshaded by WebVideo/BennettTheSage in one of his reviews for the series, where he would have quotes from positive reviews on the screen during a really absurd scene.
--> '''Sage:''' "Depressed yet?"

* Scottish painter Jack Vettriano's work is criticized as softcore porn. Vettriano makes more money of prints of his paintings than selling the works himself. They are popular in coffee shops and Italian restaurants. Scottish sculptor David Mach has called this attitude to Vettriano’s paintings “art world snobbery”.
* The works of the late Thomas Kinkade, “Painter of Light[[TradeSnark ™]],”[[note]]Yes, he had it trademarked.[[/note]] are so enormously successful that his distributor claims that his works can be found in one American home in twenty. Art critics lambast his SugarBowl themes and subjects while dishing out backhanded praise for his marketing savvy.
* Twentieth-century Dutch illustrator Anton Pieck is very popular for painting and drawing romantic scenes of 19th-century life and fairy tales, which have been printed on countless calendars, postcards and other merchandising. But, you guessed it, average art critics regard it as petty kitsch.
* Margaret Keane’s paintings of vulnerable angels and waifs with enormous doe-like eyes are widely reproduced and appear in a lot of households. You’ll never see her work being exhibited in a serious museum, though. In ''Film/{{Sleeper}}'', by intellectual darling Creator/WoodyAllen, it is even joked that in the future Keane will be considered one of the greatest artists in history.
* Hummel figurines are collectors’ items for many people who see them as adorable little statues. Among people who fancy actual art, these statues are dismissed as nauseatingly bad taste.
* Garden gnomes are things you will never see in the gardens of people who claim to have artistic taste. All other people in the world just see it as nice.
* The art work of Jeff Koons has tried to bridge the gap between art and kitsch, by making statues of everyday kitsch objects and exposing them in a museum. This polarized many art critics who feel it is either a postmodern subversion of kitsch, while others say it’s just the same thing.

[[folder:Comic Books]]
* ''ComicBook/AvengersArena'' and its sequel ''ComicBooks/AvengersUndercover''. Professional reviewers ''loved'' them and praised their social satire and AnyoneCanDie tone. Readers were divided at best on the former and almost entirely despised the latter, which ended up getting axed at only ten issues.
* Daniel Way’s run on ''{{SelfDemonstrating/Deadpool}}'' was disliked by most professional critics and derided as dreck aimed at the LowestCommonDenominator, but managed to sell very well and is currently one of the longest runs anyone has had on the character. Over time, however, this trope seems to be subverted; some fans have started to agree more with critics and consider Way’s run with ''Deadpool'' the absolute worst. They attribute its success to a counter-reaction on Deadpool's InNameOnly adaptation in ''X-Men Origins: Wolverine.'' Others feel that, while not ''bad'', per se, and playing a major role in bringing Deadpool back into the mainstream, it has negatively impacted how many people perceive the character [[labelnote: Explanation]]To be specific, how Deadpool is only seen as a totally random schmuck running on InsaneTrollLogic, rather than a well-rounded character.[[/labelnote]]
* Gail Simone’s ''ComicBook/TheMovement'' was critically beloved, but readers couldn’t have cared less about it, leading to it being CutShort just as its plot was kicking into high gear. Nowadays, it’s more or less forgotten outside of the tiny, niche fanbase it formed during its brief run.
* The comics of Creator/{{Moebius}} are praised as high art among comic-book aficionados, yet average comic-strip readers don’t understand them.
* ''ComicStrip/KrazyKat'' is widely praised as one of the best comic strips of the 20th century, yet average readers find it way too eccentric and don’t get what all the fuss is about.
* ''ComicStrip/{{Pogo}}'' has always been more popular with fans of good satire than regular comic fans, who would find it too pretentious.
* ''ComicBook/{{Jommeke}}'': In Flanders it’s among the most popular, best-known and top-selling comic strips, widely read among children and remembered fondly by many adults who grew up with them. Yet serious readers have always looked down upon them because it is extremely bland, formulaic, naïve and conventional. Only in the final years leading to his death did creator Jef Nys finally get some kind of serious attention and praise for his work, though the taboo still remains.
* UndergroundComics: Hugely influential on the graphic arts and fellow comic-strip artists, loved by some hippies, but apart from that most of the general audience have always looked down upon them as pure pornography or sick, twisted, female-unfriendly filth.
* ''ComicBook/CortoMaltese'' is praised as one of the most important and impressive comic strips of the 20th century, yet the general public has usually not even heard of it.
* Gary Panter is one of the most influential comic artists to have emerged since the late 1970s, but his comics don’t sell at all among regular comic book fans.
* One big example is the comic strip adaptation of the M.A.S.K comic released by IDW in 2016. Critics love it for its strong racial diversity and more Fast and Furious-style of storytelling. Fans of the original cartoon dislike it for the RaceLift of Matt Trakker and having a more serious storyline. The IDW Hasbro Wiki even calls it "The biggest example of Critical Dissonance ever", with a link to this page.
* Many comic strips based on the popularity of a TV/movie franchise will be dismissed as utter money-grabbing garbage for children. It doesn’t help that many companies just give the job to a few amateurs and tell them to stick as closely to the general plot or spirit of the original, while they know that it will sell well regardless of its quality or lack thereof.
** Many Creator/{{Disney}} comics are usually seen as pure children’s entertainment despite tight quality control of the company. The only one to get some praise by critics and audience alike is Creator/CarlBarks, whose WesternAnimation/DonaldDuck adaptations not only expanded the universe, but also enriched it with clever satire, engaging storylines, memorable characters and well-told moral life lessons.
** ''ComicBook/{{Urbanus}}'': In its early run it was a cult among the general audience in Flanders, mostly because of the fame of the comedian on which it was based, but critics absolutely despised its art which may go down as some of the ugliest art in a comic book ever this side of ''Pitch''. As time changed and the art style got better critics started to like it as well, especially because the comedian has a good grasp of what the author is doing, but is still dismissed by hipsters. Seeing as they are AcceptableTargets it’s very understandable.
** ''Series/FCDeKampioenen'': This comic strip is based on the popularity of the Flemish sitcom of the same name and the last comic strip launched in Flanders to still sell in enormous quantities. It has even survived the original sitcom which has now been cancelled in 2011. Despite being a huge bestseller critics, who consider the creator’s other works to be much better, loathe it.
* ''ComicBook/AmericaChavez'' is the best example of this in the already contentious All New Marvel lineup. Critics adore the series for its use of a female homosexual person-of-color for a main character; readers instead consider it one of the worst series in the lineup, criticizing it as poorly written with an UnintentionallyUnsympathetic main character, {{narm}}y dialogue, nonsensical plot decisions[[note]]in the first issue, our heroine breaks up with her longtime girlfriend because she doesn't want to join Chavez in moving for college -- Chavez's primary superpower is ''teleporting''[[/note]] and hamfisted political viewpoint pushing[[note]]in particular, the constant reminders that Chavez is a lesbian Latina grates on many readers[[/note]]. On Comic Book Roundup, its lowest Critics rating from the first 10 issues is a 6.9; in contrast, its ''highest'' User rating from that same period is only 3.7.
* The [[ComicBook/Thor2014 "Female Thor series"]] re-direction for ''ComicBook/TheMightyThor'' is another hugely contentious Marvel work. Critics absolutely adored the idea of [[AffirmativeActionLegacy relaunching one of Marvel's most iconic heroes as a woman]], whilst fans were torn between those who agreed and a very vocal alignment of those who ''hated'' the idea, citing a vast list of problems with the series' execution ranging from the handling of "the Thor identity"[[note]]unlike most superheroes, Thor is the character's ''actual name'', but the series treats it as a "handle", which results in something akin to ComicBook/SpiderWoman running around calling herself [[ComicBook/SpiderMan "Peter Parker"]][[/note]], to the reduction of many characters to {{straw misogynist}}s in order to make Female Thor look better.

* Creator/DanBrown’s books tend to get this, but none as much as ''Literature/TheDaVinciCode''. Absolutely despised by critics, but some of the most successful books out there. That being said, a study found that, in the UK, ''The Da Vinci Code'' is the book most frequently donated to charity shops. The public certainly ''bought'' many copies of it; that’s not to say they ''enjoyed'' it.
* Barbara Cartland was at one point among the most widely read authors in the world. Yet she only wrote romance novels that literary critics dismissed as shallow and formulaic.
* ''Literature/TheClique'', at least when the books first came out. Critics hated them, but they were bestsellers and beloved by their demographic. By now, however, that demographic has grown up, realized all the FridgeHorror and DudeNotFunny moments in the series, and now they’re nigh-universally despised.
* ''Literature/{{Discworld}}'' for a while — at the time when Creator/TerryPratchett was being claimed as "the most shoplifted author in Britain", most critics seemed mildly baffled by him. Eventually it went meta; by the 2000s the majority of reviews were hailing him as a genius, while claiming that ''all other critics'' were blinded by genre snobbery.
* ''Literature/FiftyShadesOfGrey'' sold remarkably well. Quite a few literature/English majors, participants in the ''actual'' world of BDSM, and critics as a whole despise it.
* The ''Literature/LeftBehind'' series of Christian apocalyptic fiction fits into this, as the critical response to the books tended to accuse them of starring dull, unlikable characters and having an IdiotPlot only made possible by an ostensibly LikeRealityUnlessNoted Earth populated with {{Flat Earth Atheist}}s.[[note]]Of course, as the series’ plot is based on a literal interpretation of [[Literature/TheBible the Book of Revelation]], such accusations are a case of ComicallyMissingThePoint, and AllThereInTheManual.[[/note]] However, it sold amazingly well, constantly enjoying ''New York Times'' bestseller status, and is regarded as one of the most influential pieces of contemporary “Christian” fiction.
* ''Literature/LesMiserables'' is listed under theatre, but the novel was also received very negatively when first published: described as “infantile” and “tasteless and inept.” However it was a commercial success, and is [[VindicatedByHistory now considered a classic of French literature]].
* The Literature/MikeHammer books by Creator/MickeySpillane were hated by critics back in the day, and to a degree they still are. On the other hand, in 1980 Spillane was responsible for seven of the top 15 bestselling books in America, and his books have been adapted into successful movies, TV shows and {{radio drama}}s. Spillane himself mocked this trope, stating that he didn’t care what critics thought so much as what his fans thought.
-->“Those big-shot writers could never dig the fact that there are more salted peanuts consumed than caviar … If the public likes you, you’re good.”
* Creator/KarlMay’s novels have always been bestsellers, but mostly among young boys who like adventure stories set in TheWildWest. It’s not considered worthy of the name ''literature'' among other people.
* A fan of the cult-classic book (and movie) ''Literature/MommieDearest'' would probably be shocked to find how much critics ''hated'' it, as well as other stars of UsefulNotes/TheGoldenAgeOfHollywood who actually had known Joan Crawford and her adopted children and wrote in their own autobiographies how off-base the book was. Faye Dunaway said she wished she hadn’t acted in that movie after it hurt her career.
* The ''Literature/{{Twilight}}'' Saga gets a mention here too. Successful as it was (in its target market, at least), many readers still avoid it like the plague years after the fad ended. What’s funny is that ''Twilight''’s original target demographic has by now outgrown the books themselves.
* ZigZaggedTrope with Creator/StephenKing who consistently gets good sales and good reviews, but with a significant number of literary elites considering him sub-literate {{Gorn}}. This attitude peaked when King won the National Book Award Medal for Distinguished Contribution, with Harold Bloom declaring the award (and American literature itself) RuinedForever.
* Creator/DanielleSteel is currently the best selling author alive and the fourth bestselling author of all time. She has been a near-permanent fixture on the New York Times hardcover and paperback bestsellers lists--in 1989, she was listed in the Guinness Book of World Records for having a book on the New York Times Bestseller List for the most consecutive weeks of any author—381 consecutive weeks at that time. Since her first book was published, every one of her novels has hit bestseller lists in paperback, and each one released in hardback has also been a hardback bestseller--novels that have been consistently dismissed by critics as "formulaic" and "fluff."

* Creator/WilliamsElectronics’ pinball games of UsefulNotes/TheEighties and UsefulNotes/TheNineties are consistently regarded as the best games ever in the field; the top ten list of modern pinball tables at the [[http://www.ipdb.org Internet Pinball Database]], Pinside, and other fansites are regularly dominated almost entirely by games from Williams and their subsidiary Bally. Even so, the company eventually left arcade gaming all together, as [[ExecutiveMeddling shareholders abandoned arcades]] for the more lucrative field of casino gaming (''read'': slot machines).
* Creator/SternPinball was getting this from fans in the start of the UsefulNotes/TurnOfTheMillennium, when they were the only major manufacturer of pinball tables remaining. Games like ''Pinball/TheLordOfTheRings'', ''Pinball/TheSimpsonsPinballParty'', and ''Pinball/{{Indiana Jones|Stern}}'' enjoyed decent sales, but were largely loathed by pinball enthusiasts and often gathered a polarizing reaction. Things have been improving of late, with more polished designs from long-time designers like Creator/SteveRitchie and Creator/JohnTrudeau winning back the enthusiasts.

[[folder:Professional Wrestling]]
* There can often be a huge dissonance between what the wrestling SmartMark fans and critics are praising and what the fans are cheering for in the arenas. Some examples:
** Wrestling/JohnCena is despised by smarks, so his matches tend to get voted down, or at least they did during the PG era when his {{Hatedom}} was at its strongest. Since Cena was dropped down to the midcard in early 2015, most critics rate his matches fairly enough and find him to be a solid wrestler and smarks have warmed up to him a lot since he gained a ReplacementScrappy in Wrestling/RomanReigns.
** Reigns was hugely popular when he was introduced as the "silent but deadly" warrior of Wrestling/TheShield. Once the stable broke up and began being pushed as the second coming of Cena, fans' opinions of him quickly soured. Reigns is widely seen as as a mediocre wrestler with poor mic skills who is only being put in the spot he's in because of his family background [[note]]He's a member of the Anoa'i WrestlingFamily, which produced [[Wrestling/DwayneJohnson The Rock]][[/note]]. He still gets good reactions from more casual audiences (although not as much as Cena) and is one of WWE's top merchandise sellers, despite being vehemently loathed by smarks.
** Too Cool were especially loathed by critics during the Attitude Era, but got great reactions. Fans who aren't {{Smart Mark}}s tend to remember them as a good tag team with a fun gimmick.
** Wrestling/SantinoMarella was pretty over in his time, but critics never rated his matches very high. Smarks consider him an embarrassment.
** {{Wrestling/Paige}} gets good reactions from fans in the arenas but is an extreme BaseBreakingCharacter with critics and internet fans.
** Wrestling/KellyKelly was insanely over in the PG Era, and even ''Diva Dirt'' writers warmed up to her. Anyone outside the Diva-fan demographic utterly hated her guts.
** Wrestling/NatalyaNeidhart is one of the favourites on ''Diva Dirt'' but smarks tend to be indifferent to her. Likewise with Wrestling/AliciaFox.
** Wrestling/MollyHolly is praised by smarks as one of the greatest female wrestlers ever, someone who never botched and could carry lesser opponents to a decent match. However, casual fans didn't care anything about her, part because she was a devout Christian and refused to have the blatant sex appeal her colleagues did, part because she was too willing to let others shine at her expense, and part because she was too gung-ho to make herself the butt of comedy spots.
** The Wrestling/BellaTwins, especially Nikki (mainly due to having John Cena as her partner rather than Daniel Bryan), have a very vocal internet Hatedom. However, critics began praising them for their improvement by the end of 2015 and they get decent reactions from most casual audiences.
** Wrestling/KevinNash is one of the most hated wrestlers among critics and internet fans, but was insanely over in the 1990s and nearly always gets good reactions when he appears on TV these days.
** Wrestling/{{Melina}} became massively over in 2008 after a HeelFaceTurn and was praised for being one of the better workers of that era. However, she's a BaseBreakingCharacter within the wrestling community, mostly stemming from her reputation for being obnoxious and a slut in the locker room during her early years in the company.
** Wrestling/SummerRae. The casual audiences couldn't give less of a fuck about her, as she's little more than a heel {{Jobber}} who occasionally gets fluke wins, and that's not even getting into the near-universally panned love quadrilateral storyline with [[Wrestling/RusevAndLana Rusev, Lana]] and Wrestling/DolphZiggler during 2015. However, smarks, particularly those who saw her work in NXT consider her an underrated talent with much potential being dealt a bad hand on the main roster.
** Wrestling/{{Jacqueline}}. Audiences outside the South Eastern US never cared for her (WWE crowds would often be dead when she'd enter the arena), but she's one of the more well-respected competitors among {{Smart Mark}}s.
** Wrestling/MariaKanellis (at least during her first WWE tenure). ''Diva Dirt'' writers didn't like her at all, and expressed shock at the great reactions she got from fans in the arenas.
** Wrestling/RandyOrton. Casual fans like him, but he's a BaseBreakingCharacter among critics and smarks.
** Wrestling/AshleyMassaro got decent reactions from WWE audiences, but virtually every wrestling critic and journalist despised and mocked her to no end, especially ''Diva Dirt''.
* Not a wrestler, but a storyline. In October of 2009 Wrestling/MickieJames (who is almost universally liked by both casual fans and smart marks) had been moved from Raw to [=SmackDown=]. Wrestling/LayCool (the {{Heel}} duo of Wrestling/MichelleMcCool and Wrestling/{{Layla}}, both of whom were stick-thin) began making fun of her and calling her "Piggy James" for [[HollywoodPudgy supposedly being overweight]], which initially drove Mickie to tears before she started fighting back. Despite winning her fifth and final Women's Championship from [=McCool=], Mickie ultimately lost the feud and was subsequently released from WWE. Numerous critics and smart marks hated it (though ''Diva Dirt'' were more sympathetic to it) claiming that the opinions of [=LayCool=] reflected those of WWE's management (since they used to focus on HollywoodThin supermodel-type women) and [=LayCool=] received a fair amount of XPacHeat because of it. Mickie listed it as one of the better feuds she had done during her time in WWE. Other fans pointed out that the commentators and other women made it perfectly clear that they didn't think Mickie was fat at all, that it was the first real storyline the Divas had in a while, and that many who criticized the angle were being {{hypocrit|e}}ical, since numerous smarks had been calling Mickie fat for ages.
* ''Wrestling/{{WWENXT}}'' is a SacredCow among critics and smarks. Casual fans are mixed about it and many don't even watch it.
* Maria Kanellis mentioned above claims she would frequently check the ratings of the different segments. The Wrestling/WWEDivaSearch was reviled by smarks, yet according to Maria, the segments were some of the highest rated on the show. That only applies to the 2004 and 2005 versions though, since by 2006, the live audiences booed the shit out of those segments.
* The Wrestling/AttitudeEra is considered by most fans to be WWE's apex (considering that it's WWE's most profited period, had the highest ratings ever and unquestionably saved them from Wrestling/{{WCW}}'s wrath, this opinion isn't unfounded). Smarks, however, are divisive to it, and there's a growing HypeBacklash towards the NostalgiaFilter of that era in favor of the Wrestling/RuthlessAggressionEra.

* One review of ''Theatre/RomeoAndJuliet''’s [[OlderThanSteam premiere]] described it as “a mawkish melodrama which, [[ItWillNeverCatchOn God willing, will see no second performance]].”
* ''Theatre/LesMiserables'', which has been running nonstop for thirty-plus years in London and played to over 60 million people worldwide, was derided when it first opened, being accused of being glum and mawkish. [[Film/LesMiserables2012 The 2012 movie adaptation]] received a similar reception but was a box-office smash to the point that ''USA Today'' did a feature story about the dissonance.
* Disney’s ''Disney/BeautyAndTheBeast'' was seen as little more than a glorified theme park show when it opened on Broadway in 1994 (''Entertainment Weekly'': “It belongs OnIce, not on Broadway”), but managed a decade-plus run and tons of professional and amateur productions. Since then ''many'' other grandiose family-friendly musicals have come down the pike — all adapted from well-known stories, and many outright {{Screen to Stage Adaptation}}s as ''Beauty'' was. Most see only a few raves among seas of notices that are SoOkayItsAverage at best and ''Beauty''-level pans at worst (only ''Theatre/TheLionKing'' and ''Theatre/{{Matilda}}'' are truly embraced by critics) but some soldier on to win the hearts of audiences anyway: ''Theatre/CharlieAndTheChocolateFactory'', ''Film/AChristmasStory'', and ''Film/MaryPoppins'' are all success stories. Part of this dissonance owes to the fact that while critics and many ‘serious’ musical-theatre fans prefer more sophisticated fare like Music/StephenSondheim shows, ''Theatre/TheBookOfMormon'' or ''Theatre/NextToNormal'', those shows aren’t exactly suitable for ''families''.
* ''Theatre/MammaMia'' — this fluffy JukeboxMusical is a symbol of the LowestCommonDenominator to hardcore musical-theatre lovers, and its [[Film/MammaMia 2008 movie adaptation]] didn’t wow film critics, but it’s sort of the LighterAndSofter ''Les Miserables'' when one looks at its global popularity.
* ''Theatre/ThePhantomOfTheOpera'' received a lot of pans in its initial stagings in UsefulNotes/{{London}}, New York, and UsefulNotes/{{Toronto}}, but to say it rode those reviews out is an understatement — it celebrated its thirtieth anniversary in London in 1986 and reached that same milestone in New York in January 2018. Not to mention the myriad of foreign and touring productions as well.
* ''Theatre/WeWillRockYou'' was panned when it opened in London, but word of mouth kept it alive, turning it into a sellout show that ran for over a decade and launched several sister productions elsewhere.
* ''Theatre/{{Wicked}}'' fared poorly in reviews from critics when it initially opened. The show became wildly popular and beloved among theatregoers. Subsequent productions elsewhere have received similar lukewarm critical responses, but the New York production is currently the eleventh-longest-running show in Broadway history (having celebrated its tenth anniversary in 2013) and the foreign and touring productions have seen comparable success.
* Reviews for the original New York production of ''Theatre/AlmostMaine'' were mixed, and it closed after only a month. Within five years it had become the most frequently produced play in American high schools, beating out perennial staples like ''Theatre/OurTown'', ''Theatre/NoisesOff'', and ''Theatre/AMidsummerNightsDream''.

[[folder:Web Original]]
%%* Some of the stuff reviewed on [[TheWikiRule The Bad Webcomics Wiki]] is this.
* [[VideoReviewShow Internet Reviewers]], like WebVideo/TheNostalgiaCritic, try their best to avert this. If they don't do their research on movies that are based on TV shows, comics, or any other media the work is based on before reviewing them, [[HePannedItNowHeSucks they get torn apart by the viewers]]. He later discussed this very trope in [[https://www.youtube.com/watch?v=CSonz-GfgHs When Are Critics Wrong?]]
* WebVideo/TheCinemaSnob was made as a response to this trope. Creator/BradJones created his snob-persona to Series/{{MST}} {{Exploitation Film}}s because he felt it was weird that film critics panned those films for lacking qualities they weren’t supposed to have.
* Creator/BobChipman:
** He addressed this trope in [[FilmsDiscussedByMoviebob his reviews]] of ''Film/TheEagle'' and ''Film/KnightAndDay''. He feels that the reason for the disconnect between critics and the ‘average’ moviegoer is because critics watch and pick apart hundreds of movies per year as part of their job and have learned how to spot every trope and plot twist from a mile away, making them much more receptive to original, offbeat movies that go against their expectations. Meanwhile, people who don’t see more than one movie a week (i.e. most non-critics) can better appreciate films that are {{cliche|Storm}}d but well-made on the technical side, and find arthouse films that [[GenreBusting challenge "traditional" genre boundaries]] to be off-putting.
** Chipman [[http://screenrant.com/critics-superheroes-reviews-batman-superman/ returned to the subject]] after ''Film/BatmanVSupermanDawnOfJustice'' came out to negative reviews but massive box-office, discussing how the idea of critics being out-of-touch with what the people want is a perennial concept that is as old as creative expression itself. He notes that, sometimes, time can [[VindicatedByHistory vindicate the masses]], using the ''[[Film/TheFastAndTheFurious Fast & the Furious]]'' films as an example; while critics previously dismissed them as dumb car chase flicks, they're now generally praised as one of the most progressive franchises in Hollywood and damn good action movies on top of it. In the case of superhero films, however, he feels that the idea of CriticalDissonance applying to the genre as a whole is mostly a fanboy myth, noting that critics' and fans' opinions have tended to line up more often than not -- critics have long been friendly to superhero movies that were actually good (like ''Film/SupermanTheMovie'', ''Film/TheDarkKnight'', ''Film/GuardiansOfTheGalaxy'', and ''Film/{{Deadpool}}''), while the ones they tend to dislike (such as ''Film/BatmanAndRobin'', ''Film/XMenOriginsWolverine'', ''Film/GreenLantern'', and ''Film/TheAmazingSpiderMan2'') were generally hated by fans and moviegoers as well.
* A recurring theme in ''Podcast/HouseToAstonish'' is comics that are praised to the skies, but nobody actually reads, and which are therefore doomed to be cancelled after six issues, no matter how good they might be. However, rather than suggest there's a dichotomy between what comics critics like and what the public like, Al and Paul reckon that comics readers have been ''trained'' to believe that anything outside the norm (which is what critics tend to like) isn't worth picking up because it won't affect the DC/Marvel MetaPlot and [[SelfFulfillingProphecy will probably be cancelled after six issues anyway]].
* Discussed in [[http://www.escapistmagazine.com/articles/view/video-games/columns/experienced-points/12193-Games-Journalists-Views-and-Tastes-Tend-to-Change-With-Age-and-M this article]] by Shamus Young on ''Website/TheEscapist'', which asks why critics are so frequently enamored of ‘art games’ like ''VideoGame/TheStanleyParable'' and ''VideoGame/GoneHome'' that are usually {{Cult Classic}}s at best and polarizing at worst. Much like Bob Chipman above, he argues that merely being a professional critic changes a person’s outlook on, and taste in, games or movies away from that of their audience. While mainstream moviegoers or gamers won’t complain about an overused trope or cliché if it’s done well, critics will roll their eyes at the mere sight of it.

[[folder:Western Animation]]
* ''WesternAnimation/AlmostNakedAnimals'' ''really'' hasn’t gone over well with fans (ratings from TV.com and Website/IMDb have hovered in the 2.0 to 3.0 range), but the few mainstream reviewers who did pay any attention to the show found it decent. It was also nominated for a Gemini Award, sold lots of merchandise, and been green-lit for a third season — things that do not usually happen to shows ranking ''that'' low with viewers.
* ''WesternAnimation/BigMouth'' became loved by critics for its witty comedy, relatable moments and deft hand in dealing with its very good messages of consent, puberty, relationships, being sex-positive and sexuality. Audience's reaction to it was controversial as the show got accused of pedophilia for showing children's genitals twice, constant references and moments of the prepubescent characters masturbating and generally dealing with how these young characters see sex. This is downplayed as, even then, the show got enough positive word of mouth to gather a mixed-to-positive reactions from general viewers.
* ''WesternAnimation/{{Breadwinners}}'', despite being popular with its target audience and being greenlit for a second season, has almost universally been panned by Website/YouTube critics and adult viewers. Even general audiences think Season 2 was worse however.
* ''WesternAnimation/SanjayAndCraig'' is another example of being popular with children, but hated by critics and adults. Unlike the aforementioned ''Breadwinners'', though, [[GrowingTheBeard people warmed up to it somewhat from its second season onward]] instead of hating it even more.
* Creator/HannaBarbera has a library running on this trope. On critical pieces they are the leaders of UsefulNotes/TheDarkAgeOfAnimation. Most classic animation critics only like the original ''WesternAnimation/TomAndJerry'' cartoons (1940–58) and feel that as soon as the studio made the move to TV animation their work became awful. These people must be flustered year after year when Creator/WarnerBros throws so many bones to home video releases and promoting them than the more critically hailed parts of the library. Then again, it's odd that after ''40 years'' of popularity, there are still some critics who have nothing but disdain for ''WesternAnimation/ScoobyDoo''.
* ''WesternAnimation/PinkyElmyraAndTheBrain'' is typically seen as an unneeded {{retool}} of a series that was already doing fine, not to mention the entire concept was simply lit by ExecutiveMeddling, to the point that it went unmentioned when the original ''WesternAnimation/PinkyAndTheBrain'' series was released on DVD. Critics loved it, though, and it won several awards (including an Emmy) during its really short run.
* The G3 ''Franchise/MyLittlePony'' specials are not well-liked by the general public, but several specials score around six or seven on Website/IMDb.
* The animated pilot ''WesternAnimation/TheGroovenians'' was panned by both audiences and reviewers, yet was nominated for an Annie Award.
* ''WesternAnimation/DrawnTogether'' was ''despised'' by critics (to the point where the show made an episode about it after ''Entertainment Weekly'' gave the show an F), yet it managed to gain a cult following during its relatively short run.
* The first half of season 1 of ''WesternAnimation/BoJackHorseman'' had a critical response that could be summed up as SoOkayItsAverage. It’s currently rated by Metacritic users at an 8.3. It’s subverted as critics eventually came around once the show [[GrowingTheBeard grew the beard in the season's second half]], with Season 2 earning a 100% on Rotten Tomatoes.
* ''WesternAnimation/{{Duckman}}'' received great reviews from TV critics, intellectuals and people who liked its satirical bite. But the general public didn’t catch on to it and after four seasons it was cancelled.
* ''WesternAnimation/FamilyGuy'': Extraordinarily popular with regular viewers and some critics, but other critics feel it’s very lowbrow, formulaic and just [[ReferenceOverdosed rips off other franchises under the moniker ‘parody’ while much of it just feels more like ‘plagiarism’]]. More viewers are starting to agree with the critics, however, especially with regards [[SeasonalRot later seasons]].
* ''WesternAnimation/{{Brickleberry}}'' was disparaged as a wannabe ''Family Guy'' clone in a time where Family Guy isn't seen a much better in hindsight, yet the Internet Movie Database gives the show a 6.2 score, meaning it’s SoOkayItsAverage.
* ''WesternAnimation/TheLegendOfKorra'' has been well-received by critics with positive reviews all around. Fans, on the other hand, had a more mixed reception, viewing it as a ContestedSequel to ''WesternAnimation/AvatarTheLastAirbender''. However, with the arrival of [[WinBackTheCrowd Book 3]], the series has become universally acclaimed by both critics and fans as well, with the remaining detractors mainly being ''The Last Airbender'' purists.
* Season 6 of ''WesternAnimation/AdventureTime'' received praise for its newfound [[GoingCosmic cosmic]], ContemplateOurNavels nature, citing it as an example of the show's growing maturation. However, Season 6 is considered to be the most divisive season by fans for the same reasons. Many were put off by the show's newfound philosophizing and considered the new direction pretentious and ridiculous, thought the season finale was [[AntiClimax anti-climactic]], and believed that the writers were getting [[ProtectionFromEditors more than a little self-indulgent.]]

* Nearly all design enthusiasts loathe the fonts Comic Sans and Papyrus, yet lots of ordinary people love them. They even turn up on signs for local businesses.
* Mosin-Nagant rifles. You’d be hard-pressed to find a professional reviewer who would have much nice to say about them while complaining about the sights, the straight bolt handle, the action, and the rimmed cartridge. People who shoot Mosins, however, tend to say that all the flaws found within the rifles are what give them character. Both sides can agree on two things though: Mosin-Nagant rifles have literally more than a century of history in them (designed before the turn of the 20th century, and some still in service to this very day!), and they are [[MadeOfIndestructium absolutely indestructible]].
* UsefulNotes/{{Pornography}} and Erotica. Sought out and bought by many adults and a very popular genre, but the eternal ItsNotPornItsArt discussion proves that many of these works are still seen as nothing more but cheap arousal and gratification. Even people who frequently check it out will not attribute any artistic quality, depth or longevity to it. Some classic erotic novels (''Literature/KamaSutra'', ''Literature/LadyChatterleysLover''), erotic paintings, photographs and graphic art (Félicien Rops, Thomas Rowlandson, Creator/TomOfFinland), erotic comics (Creator/MiloManara) and a few films (''Film/InTheRealmOfTheSenses'') have received critical praise, but aren’t seen as exactly ‘titillating’ — crossing with ValuesDissonance, a work that was shocking and explicit when it came out is now considered tame in the light of a culture when sexual imagery is much more the norm.
* The ''Zagat’s Guides'' are a series of books rating numerous venues (restaurants, shops, etc.) in over 70 cities. Following the alphabetical index, places are grouped into categories, one of which is ‘CriticProof’ — places that consistently do good business despite mediocre food/service/merchandise, even when the patrons themselves attest to the mediocrity.