History CriticalDissonance / LiveActionTV

* Chuck Lorre has acknowledged the extent of ''Series/TwoAndAHalfMen'''s haters, as the series received mixed reviews from critics throughout its run, with some disliking the misogynistic undertones of the show. However, no one can deny how beloved it was by audiences, as it was one of the highest-rated shows in its era and one of the most successful shows in Television History. Its sucess would also pave the way for Lorre's other sitcoms like ''Series/MikeAndMolly'', ''Series/TheBigBangTheory'' and ''Series/Mom''.

* Even Chuck Lorre has acknowledged the extent of ''Series/TwoAndAHalfMen'''s haters, yet it's one of the highest-rated shows in its era.

** The Twelfth Doctor era (Series 8-10) is this for the revival. The bulk of professional critics, as well as hardcore fans (especially those well-versed in the classic series), are favorably disposed to Creator/PeterCapaldi's tenure as the Doctor. But it wasn't ''nearly'' as popular with mainstream viewers as Ten (Creator/DavidTennant) and Eleven’s (Creator/MattSmith) tenures were, with the revival's ratings bottoming out in the U.K. as Series 10 was wrapping up. Much of this stemmed from Twelve being a CreepyGood[=/=]DarkIsNotEvil protagonist with NoSocialSkills and a grumpy streak played by a noticeably older actor; audiences weren't patient enough to follow his gradual, positive CharacterDevelopment. Ten and Eleven were youthful, amiable, and OfficialCosplayGear and T-shirt {{Catchphrase}}-ready from the start; merchandise sales ''plunged'' with Twelve's first season because he wasn't any of those things and never became such (he became ''empathetic and courageous'', rather). On an episode by episode basis, [[Recap/DoctorWhoS34E7KillTheMoon “Kill the Moon”]] seems to be a BrokenBase for fans, but critics loved it.

** Series 11 is probably the biggest example so far. While the amount of fans (mostly amongst a certain group of YouTubers) unhappy about the Doctor's [[SexShifter regeneration into a woman]] was pretty much inevitable, even a large portion of the fanbase who were fine about the gender change were not happy about the resulting episodes. This was mainly due to accusations of it being turned into a [[PoliticalOvercorrectness PC]] [[WriterOnBoard moral]]-[[AuthorTract over]]-[[AuthorFilibuster story]] [[{{Anvilicious}} premise]] with shots at political targets which were viewed as cliché[[note]][[FranchiseOriginalSin This wasn't actually new for the series, but it has been accused of becoming more explicit.]][[/note]], as well as complaints about the villains getting the KarmaHoudini treatment as well as the finale being viewed as underwhelming. As for professional reviewers? They loved it just as much as the earlier series (due to its accuracy on historical events, Bradley Walsh's emotional performance as Graham, and an overall feel reminiscent of the classic series), and the first episode of the series attracted some of the highest ratings the revival ever had. This is best demonstrated by its Rotten Tomatoes rating, which has a 91% approval rating from critic ratings but a mere ''21%'' (a 70% difference) for the user rating.

* ''Series/{{Jessie}}'' on Creator/DisneyChannel is almost universally panned by critics as not just being one of the worst TV shows in Disney Channel’s history, but also one of the worst tween/teen-marketed shows in history period. It’s gotten to the point where it’s become almost a go-to punching bag for critics looking to highlight the awful state of tween/teen sitcoms or how far Disney Channel has fallen from its golden days. Yet it was one of the highest-rated and most renewed shows on the network when it ran.

* TheSeventies sitcom ''Series/LoveThyNeighbour'' was considered utterly appalling and beyond the pale by metropolitan critics even at time of first broadcast, and was utterly loathed by those who considered themselves to be opinion-formers and arbiters of good taste. If anything, critical opprobrium and vitriol has hardened over the decades since, largely because the show made racism and race relations a topic for comedy. Yet it was a smash-hit comedy series, has been exported to many overseas markets, and even today archived episodes have hundreds of thousands of hits on youtube and other vewing platforms.

* ''Series/TheMaskedSinger'' is a downplayed example, as audience reactions tended to be rather split on whether it was enjoyable or not; critics, of course, were generally negative about it. Either way, it proved to be an unexpected hit in the ratings, indicating that it has a significant viewer base.

* ''Series/TheOrville'' met a chilly critical reception during its first season, largely because many critics expecting a parody of ''Franchise/StarTrek'' (as one might expect from the show's creator and star Creator/SethMacFarlane) instead got a mostly affectionate GenreThrowback, albeit with a humorous streak... something that caused Trekkers, by and large, to embrace the show, with many finding it more faithful to the spirit of ''[[Series/StarTrekTheOriginalSeries The Original Series]]'' than many modern, DarkerAndEdgier ''Star Trek'' shows like ''[[Series/StarTrekVoyager Voyager]]'', ''[[Series/StarTrekEnterprise Enterprise]]'', and the concurrently running ''[[Series/StarTrekDiscovery Discovery]]'' (itself mentioned below). To wit, while ''The Orville''[='=]s season one critics' rating on Website/RottenTomatoes is only 21%, its average audience score is 93%, and it became one of Creator/{{Fox}}'s biggest hits when it debuted (no small feat given its large budget). Critics warmed up to it by the second season, fortunately, having by that point recognized it for the more character-driven sci-fi dramedy that it actually was.

* Creator/DaveChappelle's Netflix special ''Sticks & Stones'' scored 17% from the critics on Rotten Tomatoes, but 99% from viewers there and 8.4 on iMDB.

** ''Series/{{The Punisher|2017}}'' had a polarizing reaction from critics, with some liking it and others hating it, with the biggest points of contention being its pacing, [[SlowPacedBeginning particularly in the first half of the season]], and the way it tackles issues like gun control which came off as {{Anvilicious}} to many reviewers, with the show just barely received a "Fresh" certification at a low 62% on Rotten Tomatoes. Casual viewers have received the show much more warmly and have found it to be one of Marvel's best TV shows yet, with the Audience Score getting a 94%.

** The series is a ''very'' {{Long Runner|s}} (since the 1960s and still going!), and for a very long time (home video not having been invented) there was simply no way to find out the quality of stories you had missed (due to ''not having been born when they aired'') save for: (1) buying one of the [[PragmaticAdaptation heavily altered]] and variable-in-[[DoingItForTheArt quality]] Target novelisations, or (2) buying a book written by someone who had seen the episode in question summarising what it was about and, more importantly, saying whether or not it was good. Both these methods led to serious distortions of truth in the fandom.

* ''Series/{{The Punisher|2017}}'' had a polarizing reaction from critics, with some liking it and others hating it, with the biggest points of contention being its pacing, [[SlowPacedBeginning particularly in the first half of the season]], and the way it tackles issues like gun control which came off as {{Anvilicious}} to many reviewers, with the show just barely received a "Fresh" certification at a low 62% on Rotten Tomatoes. Casual viewers have received the show much more warmly and have found it to be one of Marvel's best TV shows yet, with the Audience Score getting a 94%.

** ''Series/IronFist2017'' was absolutely mauled by critics before its general release. The critic score on Rotten Tomatoes is 17%, while Metacritic lists nine negative reviews, ten mixed reviews, and zero positive reviews. Yet the audience score on Rotten Tomatoes is 87%, and the IMDB rating is 8.2. Part of the reason for this is that the show has a SlowPacedBeginning that lasts the first six episodes, and those were the only ones critics had access to when they wrote their reviews.

* ''Series/ThePunisher2017'' had a polarizing reaction from critics, with some liking it and others hating it, with the biggest points of contention being its pacing, [[SlowPacedBeginning particularly in the first half of the season]], and the way it tackles issues like gun control which came off as {{Anvilicious}} to many reviewers, with the show just barely received a "Fresh" certification at a low 62% on Rotten Tomatoes. Casual viewers have received the show much more warmly and have found it to be one of Marvel's best TV shows yet, with the Audience Score getting a 94%.

* Ever since the ''Series/EurovisionSongContest'' introduced the 50/50 split voting system in 2009 this trope has come into play with many entries. Contestants that score well with the professional juries can find themselves being rejected by the public televote while an act overlooked by the juries earns a much higher score from the public. Several artists who were considered the favorite to win have failed to secure a victory because they ran into this dissonance.

** [[Recap/DoctorWhoS14E3TheDeadlyAssassin “The Deadly Assassin”]] (today placed somewhere between "really good" and "best Creator/TomBaker story ever") got a negative contemporary review in the ''Doctor Who'' Appreciation Society’s fanzine, which focused overwhelmingly on TheyChangedItNowItSucks outrage about [[FanDislikedExplanation Robert Holmes’ depictions of Time Lord society]] and [[SeriesContinuityError the continuity problems]], only mentioning that the plot, acting, costuming, storytelling and set design were all good [[SkewedPriorities as a casual aside]]. To this day, the review is mocked by ''Who'' fans who share it around as a reminder that fanboy criticism is usually garbage and that fandom is [[SturgeonsLaw always terrible]].

** 1983's MilestoneCelebration tome ''Doctor Who: A Celebration'' contained reviews of every story, which in some cases had to be based on guesswork (looking at the general quality of actors playing guest stars, etc.). These were taken as gospel by people who had never actually seen the stories, hence [[Recap/DoctorWhoS3E8TheGunfighters "The Gunfighters"]]’ reputation as an absolute disaster and [[Recap/DoctorWhoS3E7TheCelestialToymaker "The Celestial Toymaker"]]’s reputation as a classic — there is an anecdote about a woman who stood up at a ''Who''-con to announce that the two aliens she definitely didn’t want to see return were [[SpecialEffectsFailure the Zarbi]] and [[CriticalResearchFailure the Gunfighters]]! Now that all the surviving footage is widely available thanks to the Internet and [=DVDs=], fans nowadays (such as ExpandedUniverse and new series writer Creator/PaulCornell) tend to find that “The Gunfighters” is a clever, self-referential, funny comedy episode and “The Celestial Toymaker” is slow-paced, badly plotted, [[YellowPeril racist]] garbage — but “The Celestial Toymaker” had the benefit of a quality actor (Michael Gough) playing the villain and a quirky premise, while “The Gunfighters” had no-names and a very straightforward "the Doctor in the Wild West" premise.