->'''Manchester Black:''' ''You think that's it? It's not over, you poncy twit. If you think I'll just go to jail and rot, you're living in a dream world!''
->'''Superman:''' ''Good. Dreams save us. Dreams lift us up and transform us into something better. And on my soul, I swear that until my dream of a world where dignity, honor and justice are the reality we all share, [[{{Determinator}} I'll never stop fighting. Ever.]]''
--->-- '''WesternAnimation/SupermanVsTheElite'''

* ''WesternAnimation/{{Futurama}}'' tends to be down the middle. Several known species of animal are extinct, New York City has been destroyed and rebuilt several times, crack is readily available in vending machines, the universe is threatened on a regular basis, RichardNixon is president again, the nation’s military is commanded by an incompetent, womanizing ManChild who is more than willing to sacrifice his own men for unnecessary reasons and start a war with a race he hates, hell exists, [[PlaceWorseThanDeath and is in]] [[{{Joisey}} New Jersey]]; and the world’s leading manufacturer in robots, starship fuel, and electronics is an evil, abusive, amoral old hag, it is legal to eat human meat, and racism [[FantasticRacism still exists in one form or another]]. But there are episodes that show that some of the worst offenders (namely Bender) have a human side to them, that no love goes unrequited, that shows humanity can band together and make significant changes (i.e. being able to give mutants, who, for the majority of the series, were treated as vermin, regulated to living in shoddy conditions in the sewers; the freedom to move about the surface and (possibly) equal rights as surface-dwellers, legalize robosexual marriage, and come to a fair and equal consensus on controversial subjects like evolution.
* ''[[WesternAnimation/JusticeLeague Justice League Unlimited]]'' has some fun exploring this during the Cadmus arc - memorably, Superman turns out to be the UnwittingPawn by taking the "realistic" option, but Batman manages to save everyone's bacon by doing same. In the end Superman refuses to kill a goading Luthor, providing the page quote for BeingGoodSucks, showing both a triumph of Idealism '''and''' internal fortitude, as he is sorely [[RoaringRampageOfRevenge tempted to avenge]] TheFlash, who turns out to be NotQuiteDead.
* ''WesternAnimation/AvatarTheLastAirbender'' flip-flops on the scale madly...the mostly upbeat Season 1 gives way to the DarkerAndEdgier Season 2, with everything up in the [[IncrediblyLamePun air]] for the majority of Season 3 and the scale sliding like mad between idealism and cynicism. Finally, though, it lands ''hard'' on the Idealistic Side for the GrandFinale.
** There's a line that parodies this flip-flopping (and the idealistic side) in 'The Phoenix King'.
-->[[{{Deuteragonist}} Zuko]]: [[SarcasmMode "...maybe you could show [Fire Lord Ozai] his baby pictures and all those happy memories will make him good again.]]
-->[[TheHero Aang]]: "Do you really think that would work?"
-->[[{{Deuteragonist}} Zuko]]: "NO!"
** In fact, a large aspect of the last four episodes centers around deciding whether to end in an idealistic or cynical way. All of [[TheHero Aang's]] allies [[spoiler:and past lives]] tell him that he needs to kill [[EvilOverlord Ozai]] (Cynical Ending), but he's convinced he can find another way to end the war without murder (Idealistic Ending).
** ''WesternAnimation/TheLegendOfKorra'', in contrast, takes all the cynicism that its predecessor left behind and runs with it. The city Aang and Zuko designed as a center of peace and balance? It's as corrupt and crime-ridden as [[{{Franchise/Batman}} Gotham City]]. The criminal whose life Aang spared? He abuses his sons so badly in his revenge gambit that they grow into exactly what he wanted in spite of themselves. The sympathetic villainous brothers? They're doomed to hurt everyone in their way, and they die [[spoiler:without hope in a murder-suicide when the one with a functioning conscience realizes it]]. The world-destroying villain? Korra kills him, and his kids don't care. Human nature itself? Violent, xenophobic, and insular [[note]]in fact, humanity's immediate reaction to the first Avatar freeing them from their status as effective refugees is to try to slaughter everyone who didn't come from the same city, to the point that Wan died on a battlefield believing he'd failed the world[[/note]]. The nature of the spirits? Essentially the same. Even the ''romance'' is designed to show how terrible teenagers are at figuring out relationships. Thankfully, it all works out in an EarnYourHappyEnding by way of [[{{Reconstruction]] putting the tropes back together. Korra can't solve everybody's problems and individuals won't always change for the better, but that doesn't mean the Avatar still can't make a difference. The greater sources of corruption have been reduced to a threat governments can manage, even if they won't go away. And an Avatar's work will never end even after the war's won, destined to struggle every reincarnation for peace. But that's exactly why they'll always return when the world needs them, and that friends and finding love can still provide a fulfilling life. The worldview is still one of the most cynical ever chosen by a serious work of western animation.
* ''WesternAnimation/InvaderZim'' falls far, far to the cynical side of the scale. Practically every single character, major, minor or otherwise, is a total and absolute moron [[TooDumbToLive with the self-preservation skills of a brick]]. Those that aren't are grossly {{apathetic|Citizens}} and [[BystanderSyndrome consider the world's troubles to be somebody else's problem]]. And the slim minority that aren't either? Are generally the universe's ChewToy. It's a CrapsackWorld, indeed.
* ''WesternAnimation/ReBoot''. Bob was always the idealist, strongly against deletion, believing viruses could be turned. Enzo originally idolised him, but after being forced to grow up in the games, he became the cynic of the show. The contrast between them was most noticeable when brain washed guardians were attacking Mainframe. Bob wanted to contain them, Enzo wanted to kill them.
* Two of Creator/CartoonNetwork's shows from 2008 to 2010, ''WesternAnimation/{{Chowder}}'' and ''WesternAnimation/TheMarvelousMisadventuresOfFlapjack'', show an interesting contrast. They both have the same core idea: "Main character is a naive kid who drags the older main characters into situations based off his naïveté/stupidity." The contrast comes from the fact that the two shows are on the opposite sides of the scale.
** ''Chowder'' is an idealistic series. A bright and colorful world where people generally get along happily and the biggest problem is the next food order.
** ''Flapjack'', on the other hand, is very cynical. It takes place in a CrapsackWorld where pretty much everyone is bitter, abusive, and [[GrotesqueGallery ugly]], with terrors abound.
* Interestingly ''WesternAnimation/SpongebobSquarepants'' is a similar concept that slowly drifted from one to the other. The show was originally cheerful and vaguely sentimental with [=SpongeBob=] being somewhat relatable and most of his bumbling being treated sympathetically or as LaserGuidedKarma to meaner spirited characters. After the creator Stephen Hillenburg left the series, however, the humor slowly became darker and [=SpongeBob=] also became more insane and the consequences of his constant stupidity often shown to be harrowing and life destroying for innocent people. Other characters like Mr Krabs also became far more malicious ([[KarmaHoudini and unlike before didn't always fall victim to karma]]).
** However, some of the series' old charm is clawing its way back and working its way to the idealistic Movie finale.
* ''WesternAnimation/{{Daria}}'' is very much on the cynical side but shows some optimism. The bulk of the cast are concerned wholly with their appearance and popularity. The ShowWithinAShow on Daria is called ''Sick Sad World''.
* ''WesternAnimation/FamilyGuy'' is like ''Series/{{Seinfeld}}'' compared to ''WesternAnimation/TheSimpsons'' being ''Series/MarriedWithChildren''. Some of the characters only serve to be chew toys for the others and like ''Seinfeld'', no learning or hugging allowed and there are barely any heartwarming moments, and Peter is outright abusive towards Meg and at times Chris. ''TheSimpsons'' however is generally more idealistic as far as {{satire}} goes since there are some meaningful episodes which shows the bonds of the dysfunctional family and how despite how bad Homer's life is, he will never truly betray Marge and their marriage.
** To be fair ''Family Guy'''s cynical phase is largely a result of {{Flanderization}}. Prior to that, despite it's obvious dark shades there was a fair amount of whimsy and innocence with the characters at least having visible lovable and sympathetic aspects. Peter was more a brasher KindheartedSimpleton who genuinely cared for his family and nearly always felt bad for his actions in the end of each episode. There were also some vaguely realistic spotlighting in the relations of the family eg. Lois confronting Peter about his lack of passion and appreciation, which he merely thought she already knew.
* ''WesternAnimation/{{Total Drama|Island}}'' started out as a fairly idealistic parody of reality shows in its first season, with a few cynical moments and individual {{Downer Ending}}s. In its second season, though, things took a turn for the cynical end. Tropes like the SatelliteLoveInterest were {{Deconstructed}} brutally, and the cast turned into a pretty good example of BlackAndGrayMorality. Season 3 can be considered somewhat a {{Reconstruction}}, returning to the formula of the first season with some things from the second lurking in, and the series now lies at the center of the scale.
* ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' is all things considered a very idealistic show. The ''Franchise/MyLittlePony'' franchise as a whole is extremely idealistic, so this shouldn't come as a surprise. By comparison, FIM is a little more ''cynical'' in relation to earlier incarnations of the franchise.
** This comes inevitably as the lead characters are portrayed as flawed individuals, each bearing personality quirks that give them obstacles to overcome before they reach an episode's optimistic resolution. Nevertheless, these are mostly present to be overcome with the show's fairly idealistic morals and aesops, and values the PowerOfFriendship über alles. Still, it does occasionally go out of its way to point out that many problems cannot be solved with sunshine and smiles. Some things take hard effort to resolve and might take a long time to fully fix.
** It usually falls on the cynical side of the spectrum when it comes to the big bads. Out of the six of these over five seasons, only Nightmare Moon and Discord, via Fluttershy, in Season 3, have proven redeemable by the PowerOfFriendship. The others have been either destroyed, banished, or escape punishment. Smaller, one-episode bullies usually just take off without learning a lesson, with The Great and Powerful Trixie and Gilda as the only ones to turn up again and undergo some character development thus far.
* ''WesternAnimation/PhineasAndFerb'' is possibly ''the'' most idealistic cartoon of the century. The writers adhere to the rule of "no evil characters", meaning that the show's biggest recurring villain is the resident ButtMonkey/partial [[TheWoobie Woobie]] whose biggest wishes are to rule the tri-state area and [[PapaWolf be a good father]], and the worst one, a DrillSergeantNasty who pretty much brainwashed the main characters was [[spoiler: just a dream]]. However, this comes off as clear proof of [[TropesAreNotBad Idealism is not Bland]], because this is where it gets all its charm.
* By contrast, ''WesternAnimation/SouthPark'' is quite far down on the cynical side of the scale, taking place in a small town hell where horror abounds and has enough squick and offensive humor that no one is innocent or spared.
** And it gets more cynical once social satire replaces the funny side of everyday life.
** It's worth noting that while the show is very cynical in general, there are several instances that shed some idealism in the world. The Movie, "Stick of Truth" video game, "You Have 0 Friends", "Crack Baby Athletic Association", and a few other examples all contain a happy ending showing that while the show is raunchy, dark and vulgar there does lie a number of instances that are heartwarming.
* And perhaps the ''only'' show more cynical than ''WesternAnimation/SouthPark'' is ''WesternAnimation/RickAndMorty''. Where not only do ALL of characters act selfish at some point, absolutely no idealism is shown, ''EVER'', and the biggest "heartwarming" moment of the show? It's about how two broken people are better in a marriage together than in addiction and loneliness apart, and they are still shown to be very unhappy after this episode (even if they do get along once in a while).
* One cannot forget ''WesternAnimation/MonkeyDust'' as far down the cynical side of this scale. At times, takes BlackComedy UpToEleven to the extent that it's barely comedy anymore.
* The classic ''WesternAnimation/LooneyTunes'' shorts are all over the place. Some cartoons, such as "Feed The Kitty", "Martian Through Georgia" and just about anything with Buddy, are very much on the idealistic side. While others, such as "Fresh Airedale", "Hare Brush" and "The Ducksters", are very far on the cynical side. Some cartoons (such as "What's Opera, Doc?") even zig-zag from one end of the scale to the other.
* ''WesternAnimation/StevenUniverse'' starts way on the idealistic end, reflecting the protagonist's AllLovingHero personality. As revelations about just where [[HumanOutsideAlienInside the Gems]] come from and [[ScaryDogmaticAliens why they came to Earth]] come to light, it quickly becomes apparent that the Crystal Gems defected from their people to protect the planet, and [[spoiler:that they're intending to return and suck its resources dry]]. While the scale centers towards the middle, it firmly stays idealistic even as the situation becomes a lot darker than Steven was told. What's more, the caretakers he's always looked up to have very real flaws with psychological hangups they've not gotten over. Despite the narrative's continually darkening plot, the show remains steadfastly idealistic with many lessons the characters learn about trust and enduring relationships together. In short, despite the innocent surface being revealed as a complex and tragic event, the characters keep their good hearts, with some sobering reminders of how cynical the world can be, but being a better experience because of it.