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Fantastic Racism / Film

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     Films — Animated 
  • An American Tail is an obvious one, the mice represent the oppressed ethnicities of the world and the cats represent their oppressors. The theme might have worked a little better if the respective persecutions hadn't been confined to one country apiece: Russian mice by Russian cats, Italian mice by Italian cats, and so forth. It makes more sense if the mice stand for Jews specifically.
  • A major focus of the The Animatrix was the growing distrust between humans and robots, growing out of humans treating robots as inferior slaves; ultimately this led to a robot purge, followed by the surviving robots leading a successful rebellion. The historicals parallels are plentiful.
  • Balto faces mistreatment from humans and other dogs because he's half wolf.
  • Cats Don't Dance is pretty much about the discrimination black actors faced in Hollywood during the late 30s/early 40s...but with ANIMALS!
  • In Ernest et Célestine, the bears don't like the mice and vice versa. The mice live below-ground, the bears above, and the children mice are told scary stories before going to bed about the dangers of bears. Until the end of the film, only Celestine can see past all of this.
  • Felidae:
    • Bluebeard refers to humans as "Can Openers" believing that the only thing a human is good for is opening cans of food for cats to eat. Yes, a cat making speciesist remarks about a human.
    • Claudandus believes that humans are pure evil, and is also racist against other breeds of cats, since he murdered any cat he deemed "unworthy" of mating with his "superior" breed of cat he had created through selective breeding. This should come as no surprise, since the film (and the book it's based off of) draw parallels to Nazi Germany.
  • In Frozen, the Duke of Weselton Does Not Like Magic and reacts with incredible fear and hatred to witnessing Queen Elsa's ice powers, quickly convincing his men that she is a monster who must be destroyed. He also takes time to harass Elsa's normal sister Anna, asking if she's a monster as well.
  • This exists between monsters and humans in the past of Hotel Transylvania, bad enough that monsters went into hiding as humans became more adept at killing them. Dracula perpetuates this attitude on the monster side into the present day; Johnny even points it out in the film. Averted at the end of the film and through to the sequel, where as it turns out, most humans are pretty chill about the idea of monsters existing, and thanks to Johnny, monsters are quite accepting of humans.
  • Even if they did so for good reason, Manny and Sid were wary of Diego in Ice Age at first mostly because he was just a saber-toothed tiger.
  • The Incredibles:
    • Supers had been outlawed by the setting. Because of Mr. Incredible saving a suicidal man who didn't want to be saved — and then the incident revolving around the deaths of the L Train victims — this caused the Superhero Registration Act to be enforced.
    • The Big Bad Syndrome of the first film grew to despise supers because of being harshly berated by Mr. Incredible due to the aforementioned incident. He had since dedicated himself to designing robots powerful enough to kill Mr. Incredible, testing each robot by killing any super he lures to the island.
    • Screenslaver in the sequel wants to ensure that supers remain outlawed.
  • The Land Before Time:
    • The first movie contains plenty of Fantastic Racism between the different species of dinosaurs. The "races" stay in their own groups at the movie's start, these being the Longnecks, the Threehorns, the Swimmers, the Flyers, and the Spiketails just to name those of the main Five-Man Band. Most, if not all, of the prejudice is gone by the movie's end, when all of the dinosaurs, sans Sharptooth, are living in the Great Valley in peace.
    • This shows up in many of the sequels as well. Cera's (the threehorn) father tends to forget the 'racism is bad' Aesop and tries to blame the new problem on anyone and everyone else. The plot unfolds, and by the end he repents for being such a jerk... until the next time. The fourth film also has a song called "It Takes All Sorts" on the subject.
  • In Leafie, a Hen into the Wild, the titular Leafie is a factory farm hen who manages to escape her cage. When she tries to befriend the farmers other chickens, who live in a coop, she is scorned for being a dirty, "common hen" and told that it isn't her place to live with them. She ends up running off to the local pond and living on her own instead.
  • The Little Mermaid: King Triton disapproves of Ariel going up to the surface to see humans, although it is somewhat justified as humans eat fish.
  • The speciesist squirrel in Once Upon a Forest.
  • In The Painting, the denizens of an unfinished painting are divided by a Fantastic Caste System. The fully-painted Allduns look down upon the unfinished Halfies, and both groups hate the unpainted Sketchies.
  • Overcoming this is the essential plot point of Pooh's Heffalump Movie, in which Pooh and the gang learn that the heffalumps of Heffalump Forest aren't monsters that are out to eat all of their honey & destroy the Hundred Acre Wood and don't have fiery eyes, tails with spikes, or "wingamathings" on their backs. Well, that and the joy that Roo (who never bought into most of that) finds in discovering a best friend in Lumpy.
  • Rio:
    • Eduardo in Rio 2 is harshly opposed to anything and everything to do with humans; he orders his flock to stay out of their sight, and criticizes Blu for using human artifacts.
    • His own daughter Jewel in the original Rio hated humans as well, most likely due to her tragic past, though she overcomes it in the end with the help of Blu.
  • In Rugrats Go Wild!, the dog Spike insists that all cats are the same, and takes evident glee in threatening a leopard - boasting specifically that his dog friends will praise him for it.
    Darwin: Of course, a simple handshake wouldn't do!
    Spike: Hey, Twitchy. I. Do not. Shake. With cats. Okay?
  • Moriarty of Sherlock Gnomes is the mascot of a pie making company, but he greatly despises gnomes, so much so, his main scheme in the plan is kidnapping several of London's gnomes and trapping them beneath Tower Bridge so that when it recedes, all of the gnomes would get smashed.
  • Shrek:
    • Lord Farquaad of Shrek is aptly named. He hates all "fairy tale creatures" and his self-proclaimed "perfect world" is one where they have all been removed. From what we see in the film, his kingdom is undergoing a family-friendly form of genocide against any and all living things that are magical or supernatural in nature, including human wizards and witches, leaving only Muggles behind. Oh, and the musical reveals that he's a complete hypocrite since he's half-dwarf (and not a human with Dwarfism, an actual dwarf).
    • There's also the Fairy Godmother in Shrek 2 who is very adamant that ogres don't get happy endings.
    • Fiona's father, King Harold is this way as well, disproving of his daughter's marriage to Shrek, largely because Shrek is an ogre. He gets better, though.
  • Storks: The Cornerstore company has a no humans policy, and Tulip mentions that if she were boss, she'd hire a more diverse bird and mammal work force.
  • Strange Magic: Fairies seem to hold most goblins in a negative light. Elves too, though to a lesser extent. The king of the fairies actually faints when he sees his daughter kissing an elf.
  • Humans themselves are subjected to Fantastic Racism in Titan A.E., as the movie takes place 15 years after an Earth-Shattering Kaboom, and what humans remain are penniless, homeless, and generally reviled by the other species.
  • Toy Story 2: With the launch of Sputnik and the Space Race in the 1960's, children became obsessed with toys related to space and all other toys fell into steep decline quickly. This isn't true in modern times, but the old cowboys-themed toy Stinky Pete hasn't quite got over this old grudge, and in his own words, "space toys" like Buzz are upstarts.
  • The Wind in the Willows:
  • In Wreck-It Ralph, the video game villains are treated so poorly that they need to create a support group, while the characters of Sugar Rush act this way towards any and all glitches (though it is possible this is wholly due to King Candy reprogramming Sugar Rush). It also appears that Ralph suffers from profiling, as he triggers Surge Protector's "random" security check alarm every time he enters or leaves a game. We don't see if this happens to other Bad Guys, though.
  • Bigotry and prejudice is a major theme throughout Zootopia, which is set in a World of Funny Animals that is rife with Animal Jingoism. An unusually complex example, as discrimination in this world seems to run in multiple separate dimensions; in addition to the primary predators vs. prey conflict, there is also the issue of small animals not being respected by larger ones, as well as species-specific stereotypes (e.g. foxes are all supposedly shifty and dishonest criminals, rabbits are all supposedly cute and harmless carrot farmers, elephants all supposedly have good memory, etc).

    Films — Live-Action 
  • Black Lectroids and Red Lectroids have a history of racial tensions in The Adventures of Buckaroo Banzai Across the 8th Dimension; the Big Bad of the movie (a Red Lectroid) is described as his planet's version of Hitler.
  • Matt Sykes of Alien Nation has a black partner (they're cops) at the beginning of the story but refers to the alien Newcomers as "slags" before he's been told that his new partner will be a Newcomer. Of course, by the end Matt has been converted.
  • James Cameron's Avatar is a perfect example of this. The interactions between the alien Na'vi and the humans parallels indigenous cultures meeting Western explorers and colonists. Most humans see the Na'vi as primitive savages to be exploited for their land's natural resources, while a few scientists genuinely want to communicate with and study them. The Na'vi are distrustful toward the humans, whom they see as greedy invaders and culturally inferior barbarians.
  • In Batman v Superman: Dawn of Justice, while a lot of people fear Superman because of his power, there are people who just flat out hate him for being an alien. When he arrives at the Senate hearing, a few "God Hates Aliens", and "Go Home" signs are seen in the largely hostile crowd. Bruce, while largely obsessed with the idea that Superman might be a threat to humanity, reveals his own xenophobia during their fight.
    Batman: You were never a god. You were never even a man.
  • Big Top Pee-wee, the sequel to Pee-wee's Big Adventure, has a very strange example in that the grumpy old people who live in the little town where Pee-Wee has his farm are prejudiced against circus performers. One of them even refuses service to them in his general store, abruptly saying that the store is closed even though the performers have already walked in! There's no specific reason given for the anti-circus animosity, except perhaps that circus people are naturally fun and the people in the town want to be miserable. (Humorously, a Real Life example of this occurred when Tim Burton turned down the offer to direct the sequel because he said circuses creeped him out.)
    • In Real Life, people in small towns often expected circus performers, carnival personnel, show people in general, and even peddlers—anyone who could commit an offence and then move on—to be liars, thieves, and cads…and did in fact treat them in exactly these ways.
  • In Blade, pureblood vampires treat people who have been turned into vampires with disdain. And all vampires see human beings as "cattle", and even enslave them on the rare occasions when they don't convert them to vampirism. For that matter, Blade himself gets a Politically Incorrect Hero moment when he tells the vampire Big Bad: "You're nothing to me but another dead vampire."
  • In Blade Runner, we have humans using 'replicants', who are seen as Just a Machine. The racism aspect comes in when one of the characters refers to replicants as 'skin-jobs'. In one of the editions, a lampshade is hung on this, with the protagonist comparing him to the type of cop who used to call a black person a nigger.
  • Bright takes place in a world mankind always co-existed with fantastical creatures since the dawn of time, and orcs are hated by pretty much everyone else because their ancestors sided with a Dark Lord who nearly took over the world 2,000 years ago. Then there are the elves, who pretty much rule the world and are disliked by both orcs and humans for being snotty and arrogant, and those are the good ones, the villanous elves are so much worse.
  • In Brother From Another Planet, an escaped alien slave who looks like a black man is pursued by two of his own kind, who look like white men. It turns out that the aliens are actually oblivious to the slave's skin color. They enslaved him because he's got three toes.
  • Cloud Atlas: Against fabricants — just look at Sonmi's attempt to attend a university lecture. By her time, however, actual racism is completely gone.
  • In District 9, aliens who arrive on Earth are treated as second-class citizens and forced into ghettos by the South African government. Parallels to apartheid are obvious, but the writer insists that it's not an allegory for apartheid. The film deals as much with hostility of black Africans toward the aliens as the white members of government. The director coaxed Enforced Method Acting performances from local South Africans by asking them what they thought of immigrants to use as "man on the street" criticisms of the aliens. The original short film, "Alive in Joburg," however, does specifically mention that the government used apartheid laws against the aliens.
  • In Fantastic Beasts and Where to Find Them Newt Scamander is outraged because in the USA wizards and non-wizards (known as nomajs) are not allow to marry or befriend each other by law, something that apparently is frown upon in Europe. Probably an allegory of racial segregation that was common in the USA at the time and heavily criticized in most of Europe.
  • In Gattaca, Designer Babies are so common that any one born through "old fashioned" means is thought to be inferior and can never get any decent job. The Protagonist himself one of the outcast points out that discrimination is brought down to a science.
  • Played for laughs in Jim Henson's Hey, Cinderella!. For some unspecified reason, no one but Cinderella and the prince are willing to listen to frogs. This means that poor Kermit spends the entire movie trying to clear up the misunderstandings, only to be ignored. The king also makes frogs the only exception to his proclamation that everyone in the kingdom is invited to the ball, and we later see that frogs aren't allowed to give testimony. We're also told that Cinderella's dog Rufus is unable to testify that she's telling the truth, but that might be justified as a dog being biased in favor of its owner.
  • In The Hobbit, there were hints that there was racism towards the dwarves mirroring real-life antisemitism and hostility towards the Gypsies. Even Bilbo insensitively snapped a comment about the dwarves "not belonging anywhere" though he quickly apologized and was ashamed of it afterwards. Also, Thorin openly dislikes elves and despises anything that is elvish due to his previous experience with them.
    • Tolkien explicitly compared Dwarves to Jews in at least one of his collected letters. Their origin story has an echo of the sacrifice of Isaac, and their language resembles Hebrew.
    • Similarly, in The Lord of the Rings, only the bad guys tend to use the word "halfling" to refer to hobbits, and you sometimes can clearly see an irritated look on Merry or Pippin's face when they hear it. (Faramir is not a bad guy but he's hostile towards Frodo and Sam when he first meets them, interesting given he makes friends with Pippin later.)
  • In The Happytime Murders, the puppets are established functioning as second class citizens in comparison to humans.
  • In I, Robot, Spooner hates robots. His hatred of them stems from an experience, a car accident that sent him and another car into a freezing river, and a little girl was trapped in the other car. A passing robot calculated that it only had time to save one of them and that Spooner had a higher chance of surviving, so it saved him instead of the girl. In real life, rescue workers and medics are expected to make such decisions regarding who gets care first, it's called Triage. However, Spooner argues that a human would have understood that regardless of the girl's low survival chance, the life of a small child should take priority over the life of an adult.
  • Xenophobia is a major theme of the 1953 movie It Came from Outer Space, as the aliens believe their hideous appearance will inevitably lead to conflict with humanity.
  • Jupiter Ascending:
    • Splices are generally looked down upon.
    • Earth as well is looked down upon, but it is done subtly. For example, the Abrasax siblings don't refer to Earth as a planet, but as an industry. They treat the people as a commodity.
  • The soviet socio-political satire film Kin-Dza-Dza! features this based entirely on whether a device pointed at someone shows a green light or an orange light, dividing them between "patsaks" and "chatlanians", the planet that most of the movie is set on is owned by the chatlanians and so the patsaks need to wear a bell clipped to their nose, squat in front of anyone who is higher than them in society and perform in cages. Add this to the fact that they have absolutely no rights and you have the basis for a near perfect example of this trope.
    • It also should be noted that, unlike many other examples on this page, patsaks weren't portrayed as being any better then chatlanians. On planets that belong to patsaks chatlanians have it exactly as bad as patsaks do on theirs.
  • The Last Witch Hunter: the Witch Queen despises humans and considers them to be a blight upon Earth, which should be rightfully witches'. On the opposite side, several characters accuse Kaulder of witch-hating.
  • In Man of Steel, Zod has a hatred for anything he deems "inferior", which naturally includes humans, but his plan for using the Codex to create a new Krypton includes a fair bit of Fantastic Rascism against certain Kryptonians, as well.
    Zod: We'll start anew. We'll sever the degenerative bloodlines that led us to this state.
    Jor-El: And who will decide what bloodlines survive, Zod?... You?
  • Men in Black:
    • The Bug clearly despises humans, and refers to them by a variety of unflattering terms, including "undeveloped pond-scum," "monkey-boys," "meat-sacks" and "milk-suckers." The rest of his species, according to K, are probably very much the same.
    • This seems to be a major factor of most aliens as K explains that the Men In Black aren't supposed to have a universal translator since human thought is so primitive it's considered an infectious disease in the better galaxies.
    K: That almost makes ya proud, doesn't it?
    • Agent J uses this to provoke the Space Cockroach into attacking him by crushing normal cockroaches under his feet.
    Agent J: Don't start nothin'... (squish!) ...won't be nothin' (squish)
  • While never stated outright, The Muppets seem to be social minorities and outcasts in many of their movies in contrast to the usually successful and exclusive human societies.
    • Of course, this could just be because their variety show, while entertaining to us, is considered inept within their fictional universe. And even with that, popular human celebrities were (almost) always thrilled to be appearing on their show, and rarely seemed to notice that the Muppets were not human.
  • In Pirates of the Caribbean: On Stranger Tides, the way that Blackbeard (and judging by the number of skeletons, numerous others that have gone questing after the Fountain) treat the mermaids. They even refer to her as "the creature" and revel in how cruel and torturous her suffering and death will be.
    • Although to be fair there were legitimate reasons to regard the creature this way, as the mermaids were highly predatory (essentially sharks) and she eventually killed even the man who rescued her simply because it was in her nature to do so (although the last bit is still debated).
  • In Pleasantville, when people and places start turning color, a backlash movement starts to keep Pleasantville "pleasant" and Deliberately Monochrome. This involves hanging signs saying "NO COLOREDS" and starting anti-color riots. It even features a courtroom scene that references the one in To Kill a Mockingbird, with the residents of color segregated to the balconies.
  • In Predators, its revealed that the "Classic" Predators are hunted by the larger, more aggressive newer Predators. One of the classic Predators is kept chained up as a prisoner in the Predator camp, and combats the leader of the new Predators when released, but is killed.
  • The Revenge of the Nerds movies, although technically realistic (aside from being comedies) still uses the Nerds as stand-ins for Real Life persecuted minorities like ethnic, religious and sexual minorities. In the third movie they even organize a general strike in college with signs of "Nerd Power" and "Nerd Pride", and reference Nerd culture and Nerd Civil Rights. Of course, how "fantastic" this is may depend on your view, of course that anti-Nerd bullying is Truth in Television however how much urban tribes can be equalized to minorities is still under debate. There are some jurisdiction that do include attacking members of an urban tribe or subculture to be officially a hate crime.
  • A very low key one in Sky High (2005) but those on "Hero Support" are often looked down upon by those deemed hero worthy. Said the least it becomes a plot point later on.
  • In Starship Troopers, a TV presenter says he finds the very idea of intelligent Bugs offensive. This undercurrent is also hinted at after a soldier continues to angrily shoot an already dead Bug, covering himself with alien gore.
    Soldier: Ain't much to look at after you scrape them off your boot.
  • In Star Trek VI: The Undiscovered Country, most of the crew of the Enterprise are prejudiced against the Klingons with only Spock and McCoy feeling otherwise. The Klingons are not that different with most of them also holding anti-Human feelings, but similarly some among them want to bury the hatchet.
  • Star Wars has a few examples:
    • Droids, while apparently sentient, are clearly treated like second-class citizens at best and chattel slaves at worst. At the end of A New Hope, C-3P0 and R2-D2 are clearly shown excluded from the awards ceremony. Also, Wuher the grouchy barman at the Catina hates droids. While some people have pointed out that droids would just take up space in a dining establishment, the barman clearly states, "We don't serve their kind here," and "We don't want them," suggesting that he was deliberately withholding some sort of potential service.
      • In the Expanded Universe book Tales from the Mos Eisley Cantina it's revealed that Wuher actually hates everyone, but just lashes out at droids because they're the only creatures who won't fight back. The book does mention the proprietor, a Wookiee named Chalmun, who genuinely dislikes droids, but has a reason: they do not drink, and therefore occupy valuable space.
      • It is explained elsewhere in the EU that the Empire would use droids to spy on the bar patrons, making it impossible to carry out their dealings; hence the ban on droids.
      • It may also be because of the Clone Wars.
      • On the other hand, C-3PO is fantastically racist towards Jawas, Wookiees and Humans.
    • The Empire is practically this incarnate and also has Fantastic Chauvinism. They not only hate non-humans, but specifically developed a virus to kill them in the most graphic, painful, and brutal way possible. They even have their own policy focused around racism, NhM, or Non-huMan. Grand Admiral Thrawn, one of the galaxy's best tacticians, was only accepted into the Imperial military's ranks by the Emperor himself, and that was only because of his tactical genius.
      • A special case were the various “Near-Humans” - beings in the Star Wars galaxy who would basically be humans except for their “unnatural” skin colors and/or relatively slight morphological differences. The stance taken by the Empire toward these peoples could be very inconsistent: Shug Ninx was denied a starship mechanic’s position at an Imperial base for being half near-human, while Thrawn gradually assumed control of the entire Imperial Navy! (Of course, Ninx had only three fingers on each hand, while Thrawn, despite being blue-skinned and red-eyed, had all the required ten fingers and bled red blood, so go figure.) Generally, the criterion for admitting near-humans into the ranks of the Empire seemed to be not physical appearance per se, but whether it could be determined that the person could be proven to have solely human ancestors. But this could be very difficult: short of a very precise DNA test, there was no way to be sure whether a human-looking “alien” was a descendant of humans subject to divergent evolution or a completely unrelated species subject to convergent evolution. The best double-check was probably an analysis of the Perlemian Trade Route - the first hyperspace lane used by ancient humans striking out from Coruscant - since any human-looking species found in the northeastern corner of the galaxy around that route were very likely to be “lost colonists” drawn from human stock, having evolved to look more “alien” since the earliest days of the Old Republic. Thus, it is reasonable to conclude that the Bimms of Bimmisaari and the Codru-ji of Munto Codru probably evolved from isolated human populations. However, complicating this theory is the uncannily advanced technology of the Celestials (the very first civilized species in the history of the galaxy), which made it possible for star systems (the Corellian system most famously) to be artificially created via “planetary repulsors”; thus, ancient humans (assuming the Celestials had plucked a few of them off of Coruscant) could have been moved to any point in the galaxy from the very beginning…meaning that all near-humans in Star Wars could ultimately be human. Or maybe they just look human. Who knows?
  • Played with in Thor. While there is no little amount of bad blood between Asgardians and Frost Giants, Odin adopts Loki, a Frost Giant by birth, raises him as one of his own, and has no prejudice against him. Oddly enough, Loki thinks that destroying the entire Jotun race would please his adoptive father.
    • Thor's attitude towards the Frost Giants at first and Loki's comment below hint that racism and unacceptance are still present in Asgard.
    Odin: I wanted only to protect you from the truth.
    Loki: What, because I... I... I'm the monster parents tell their children about at night?
  • In the Michael Bay's Transformers Film Series:
    • Megatron has a justifiable reason. He was kept frozen for centuries, and his body was poked, prodded and studied by the guys at Sector 7, in order to help create modern technology, whilst referring to him with the demeaning acronym of "N. B. E.-01". And apparently, he was conscious the entire time this was happening.
    • Transformers: Revenge of the Fallen: the Fallen's only apparent reason for wanting to destroy Earth and starting the war that destroyed his homeworld was a general and strong hatred for humanity. Considering on his first encounter they were as dangerous to him as ants are to humans, one can only wonder.
    • Transformers: Dark of the Moon: The Decepticons planning on enslaving the human race to rebuild Cybertron. Some humans give as good as they get and treat Transformers as just machines even though they are really Mechanical Lifeforms. This is one of the reasons Sentinel Prime hates humanity and is working alongside the Decepticons to enslave them. As a Prime he was a living god on Cybertron. On Earth, he's treated with as much respect as a toaster.
    • Transformers: Age of Extinction: Everything involving the work of Harold Attinger and Joshua Joyce treat the Cybertronians as a science project. Joyce explicitly calls Optimus "simply metal," which is enough encouragement that Optimus is ready to leave Earth to their own fate afterwards.
  • In Underworld and Underworld: Rise of the Lycans, the two races of immortals, vampire and werewolf spend entire centuries killing each other over a grudge. The vampires are more typically racist, calling the Lycans (werewolves) animals and vermin and generally hunting them to the brink of extinction. In the feudal era, the vampires kept the Lycans as slaves and pets to guard them during daylight hours. The lead vampire killed his own daughter because she fell in love with a werewolf and carried his child.
    • Although for several generations up to and including that one with the sole exception of Lucien werewolves WERE just animals...animals that needed to be hunted and controlled to prevent their indiscriminately wiping out the vampire's food supply and human peasants in general.
  • In Us, Red implicates that the Tethered were a failed science experiment to control the population above ground. Adelaide expresses nothing but contempt towards the Tethered for a duration of the film only for the ending to reveal that she herself was a Tethered.
  • In WarCraft, the prevailing opinion among humans is that orcs are nothing more than beast-like savages. More heroic characters, like Llane or Taria, look past this.
  • Waterworld: Ordinary humans loathe mutants who can breathe underwater, despite the obvious usefulness of this ability.
  • In Who Framed Roger Rabbit, toons aren't allowed in certain clubs (despite being the main performers), Eddie has a slight dislike for toons after one killed his brother, and when Roger is accused of murder, he potentially faces execution without any chance of a fair trial. Judge Doom also outright murders a toon shoe that had literally committed no crime at all, and gets away scot-free.
    • Oh, and did I mention that Doom has plans to wipe out all of Toontown, where these toons live, and replace it with a freeway? And the plans are being concocted by someone who is actually a toon himself? Fantastic Racism, indeed!
    • The movie (compared to the book) has a possibly-justified reason for toon segregation in the form of Toontown: Toontown embodies Toon physics— and humans who go there are subject to Toon physics as well. Hard to say how many humans could live under those conditions...
  • In Willow, the Daikini (humans) call the Neldwyn (Hobbits with the serial numbers filed off) "pecks" in a clearly offensive way. Even Madmartigan, who later becomes Willow's friend, calls him this when they first meet. "Daikini" itself seems to be a mildly offensive term.
  • Seen in the Wing Commander movie, against Pilgrims (humans mutated by radiation).
    • This has more to do with the fact that the Pilgrims went to war with the rest of humanity before the Human-Kilrathi War.
  • The World's End: To the 'Blanks' After the End.
  • As in all X-Men material, mutant/human relations are key to the films.
    • William Stryker, towards all mutants in X2: X-Men United. He takes it farther than any other character in the films, trying to actively enact genocide (and getting pretty damn close). Played with in X-Men Origins: Wolverine and X-Men: Days of Future Past, where he doesn't seem to hate mutants as much, or at all for that matter. He even says he doesn't hate them, just that he knows what they can do and that they should be prepared for it and he expresses surprised amusement at Trask's apparent Fantastic Racism. Other than the incident with his son, one has to wonder what the hell happened between then and X2: X-Men United.
    • Taken to new heights in X-Men: First Class; Shaw wants to start a nuclear war that will wipe out humanity, while humans respond to knowledge of the mutants' existence and powers by trying to kill the people who just averted said war.
    • X-Men: Days of Future Past:
      • Bolivar Trask doesn't hate mutants, and admires them in many ways. But he believes that a war between them and humanity is inevitable—and in a war against a superior enemy, your only choice is to strike hard and fast. He still thinks of them as research material rather than people, though. Emphasized when Mystique gets into the presidential safe-room, and Trask insists that they not shoot it, because he needs her for research purposes.
      • Meanwhile, Magneto grows stronger in his loathing of humanity.
      • Averted with Richard Nixon; though he is as understandably concerned with mutants as anyone holding power would be, he doesn't harbor hatred for them. When Mystique proves that mutants are not all terrible by saving his life from Magneto, he pardons her and cancels the Sentinel program.
    • X-Men: Apocalypse:
      • Although mutants are generally treated better in the Alternate Timeline, some places are less tolerant than others (e.g. the East Berlin fight club exploits mutants for entertainment), as Raven points out to Charles.
        Raven: Out there, mutants are still running, hiding, living in fear. Just because there's not a war, doesn't mean there's peace.
      • A news report near the end of the film points out that society was just beginning to accept mutants (as evidenced by nobody batting an eye at Kurt Wagner walking around in the mall in plain sight), but the events of this movie suggest that tensions are likely to rise again.
  • Rocket Raccoon gets treated with this in Guardians of the Galaxy. The Collector and one of the Nova officers call him demeaning things like pet and hamster while Drax and Gamora call him vermin and rodent. Plus it's implied that many people underestimate him or don't take him seriously just because he's an animal.
  • Theodore Rex show us a movie wherein humans interact with genetically-modified dinosaurs, which are a discriminated-against minority. The police chief mentions Theodore as the station's "Token Dino", and Coltrane (who is black) is annoyed at the idea of having him as a crime-fighting partner.


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