Someone who is going for being a Rebellious Spirit but whose rebellion is mildly inconvenient at best, or so minor to be unnoticed at worst. This may be a fumble on the writer's part where they genuinely think the act is impressively rebellious but due to Values Dissonance the audience doesn't think so. However, usually it's used as a characterization trope to show that the character himself is either so out-of-touch or self-important that they believe they're edgy and pushing the envelope even when it's unimpressive. They may also be too timid to really commit to a truly rebellious act. Maybe they don't even really believe in their cause but just want to fit in.
Compare Poke the Poodle, where someone's attempt at doing evil is similarly unimpressive. Also compare The Man Is Sticking It to the Man, where a company encourages rebellion by following their own rules and buying their products. See also Supposedly Rebellious Series, which was formerly named Rule-Abiding Rebel.
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A character who doesn't like prom in Disney's Prom.
The Disney Channel original movie Radio Rebel. The main character is a teen radio commentator who is supposed to be seen as this cool, rebellious girl, but she doesn't really do anything anti-authority. She mostly complains about cliques and school rules being unfair but doesn't say anything that would be considered controversial or new by most people, especially teens.
Live Action TV
House is a pretty solid example. For all his attempts to come out with things that are overly cynical, edgy or controversial, nothing he says seems to be all that out there. And as the series progressed and the show made it clear how much he supposedly cared for the people around him, his comments seemed to lose their sting even more. Also, his "rebellious" behavior and attitude were revealed to be substitutes for the kind of life he really wanted.
You could argue that rock music from the '50s and '60s is still more groundbreaking than anything that came after it, if only contextually, since the original rock style was spawned during an era of paranoia that was marked by even more Russia Iran Disco Suck tendencies than today, thus making just about anything from that time period more offensive than what followed it.
After CM Punk gained notoriety for his worked shoot promo in the summer of 2011 and won the WWE Championship, many fans felt that he had turned into a typical face.
Problem solved almost exactly one year later, when he turned heel again and the fans continued to cheer him.
Paranoia: While all secret societies are officially treasonous (doubly so for the Communists), their actual threat to Alpha Complex varies a lot (FCCCP and the Trekkies in particular are identified as mostly harmless). The XP edition introduces a secret three-tier classification system, and reveals that some societies were deliberately created to draw in potential traitors and turn them into Rule Abiding Rebels (for every Commie and PURGEr blowing stuff up, there's ten Death Leopards who think they're Bad Ass for putting up some graffiti).
Ibsen's plays often suffer from Values Dissonance of this sort. What many modern readers perceive as Rule Abiding Rebel behavior was in fact rule-breaking at the time - even portraying the (usually realistic) unhappy situations his plays always deal with was deeply shocking.
Ibsen got away with a lot by presenting multiple points of view and not outright stating which one to support. There's still argument over whether A Dolls House favors Nora's desire for independence, Torvald's desire to keep the marriage together, or neither.
In Dragon Age II, the Tal-Vashoth rebels against the Qunari end up operating according to a specific set of codes about how rebels should operate. Those that can't usually end up entering human society as mercenaries or occasionally merchants.
In the full version of Hatoful Boyfriend, the human girl can, as a sidequest, make friends with the former leaders of a notorious biker gang called "Hell's Birdies"... who are extremely conscientious of traffic laws.
Like a lot of things, mocked by Family Guy quite often. One particularly memorable example is a parody of movies about career women who learn "what's truly important in life":
Male Lead: Over the next 90 minutes, I'm going to show you that all of your problems can be solved by my penis.
A Robot Chicken sketch has the Wildman, a generic 80s rock star type, who comes off as a cool rebel type to a group of kids. Except that when the kids of the sketch spend some time around him, he insists on turning everything a And Knowing Is Half the Battle type moment, and following so many rules that it kills any possibility for fun. By the end he's inserting hamfisted conservative messages into his bit, and the kids are long since tired of him and think he's a weird flake. Link
Homer in "Take My Wife, Sleaze." After winning a motorcyle in a dance contest, Homer decides to start a biker gang called the "Hell's Satans", consisting of himself, Moe, Lenny, Carl, and Ned Flanders. All of them - except Flanders - see themselves as bold, offensive scofflaws, taunting Chief Wiggum that he can't stop them and calling him a "pig." But as soon as Homer finds himself threatened by another biker gang out of California who claim to be the original Hell's Satans, he appeals to Chief Wiggum for help; Wiggum points out the hypocrisy of this appeal and tells Homer he's on his own. Homer eventually ends up hunting down and fighting the Hell's Satans when they kidnap Marge, ultimately returning to his former lifestyle.
The trope was also explored in a number of ways in the episode that had Cheech And Chong come perform in Springfield. While they are acting out their popular "Dave's not here" skit, Chong becomes annoyed when he notices that their middle-aged fans know the routine by heart and are shouting out the lines before he and Cheech can say them. So begins ad-libbing - and when Cheech tells him to stick to the script, Chong replies with an angry shout of "CHONG'S not here!" and storms off the stage (in what proves eventually to be a 10-Minute Retirement). Cheech now needs a new Chong, and settles on Homer. At first Homer is thrilled to be performing alongside one of his adolescent heroes, and imagines Cheech and himself going on all kinds of "wacky adventures." Homer soon becomes disappointed when he finds that Cheech is actually quite serious off-stage, and that his idea of "sticking it to the man" is going to museums to view works created by marginalized Chicano artists, which Homer finds boring. (He won't even let them buy French fries, because they're "too high in trans-fats.")
When Homer quits his job, he decides to finally stick it to his Mean Boss, Mr. Burns, by . . . putting a glass of water on Burns's desk without a coaster. Then grabbing Burns's wastepaper basket and dumping the one piece of paper in it on the floor. Burns is shocked and outraged at this behavior. The trope's then subverted when Homer does some actually rebellious stuff, like using Burns's head as a makeshift bongo drum, or literally burning a bridge behind him on the way out.