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If you're watching your favorite cartoon and wondering "Why isn't this as good as I remember it being?", the reason why might just be greater than simple Nostalgia Filter.


  • Adventure Time: Princess Bubblegum's darker side was emphasized as early as Season 3, with her creation of Lemongrab being something akin to a Mad Scientist creation. It was well received, giving some more depth to her character. Later seasons, however, are criticized for taking this dark side and taking it to borderline sociopathic levels, with the "Bubblegum calling a bunch of wizards idiots for believing in magic" scene being The Last Straw for many. Season 7 received praise for addressing this problem through a story line in which Bubblegum's behavior ends up getting her dethroned temporarily
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  • Popeye has a reputation for being Strictly Formula because of the color shorts made by Famous Studios, which overused the plot everyone associates with Popeye (him and Bluto fighting over Olive Oyl and Popeye eating Spinach to defeat Bluto). While Max and Dave Fleischer invented that plot and made use of it, the cartoons made by the Fleischers were much more varied in their stories overall. Many shorts lacked spinach, Bluto or both, many more short featured Popeye and Bluto doing things besides fighting over Olive Oyl, and others still featured characters like Wimpy, Swee'Pea, Poopdeck Pappy and Eugene the Jeep to do different kinds of stories.
  • In Tom and Jerry:
    • The title characters would in some of the original shorts be friends and speak, though rarely (and something would always come between their friendship, making them fight again). These elements are what is most reviled about The Tom and Jerry Show from the 1970s, and Tom and Jerry: The Movie.
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    • When Tom and Jerry began appearing in crossover Direct-to-Video movies in the late 2000's, such as with The Nutcracker and Sherlock Holmes, it was either accepted or ignored, because at least they still had some measure of originality. Eyebrows were raised when they crossed over with The Wizard of Oz, but it being a public domain story that they at least attempted to do different things with (although heavily basing it on the 1939 film), it was largely excused. It finally seemed to cross a line with the release of Tom and Jerry: Willy Wonka & the Chocolate Factory, a shot-for-shot animated remake of the 1971 film adaptation with Tom and Jerry thrown in as an afterthought, sparking outrage and ridicule across the internet, mostly from people who didn't know these movies had been coming out for around a decade.
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  • While the show Goof Troop was well-received and considered a good show in its own right, many have blamed it for planting the seeds for the Totally Radical attitude and theme that took over many later shows for the Disney Afternoon television block; the shows that had taken on those themes were considered the killers of the block itself during the latter half of the '90s.
  • In Ben 10
    • As the Ben 10 franchise went on, one of the most major complaints about it is that many aliens in the sequels use similar abilities, as well as many outright having the same power. Surprisingly, the first show could run into this problem too, with a few aliens with redundant abilities that could sometimes render another alien obsolete (Benvicktor/Frankenstrike, along with super strength, has lightning powers, and generally does everything Fourarms could do, except without the arms).
    • Ben 10: Alien Force was the beginning of the overt focus on old elements, pandering to first-series fans, and sometimes script-recycling criticized more heavily in later installments, where after the show got a mixed reception when it first premiered, primarily for the shift to a Darker and Edgier tone and the maturity of Ben supposedly drying up the more humorous side of his immaturity in Ben 10, making him seem boring. Executive Meddling from higher ups forced the writers to write Ben as immature again in season 3 supposedly due to lower ratings and viewer numbers. The show eventually started also bringing back other classic series elements, but tried to tell new stories with them at first (notably, Kevin becoming a composite of the types of matter he absorbed in season 3, but remaining an ally of Ben). As time went on, more pandering began to build up starting in season 1 of Ben 10: Ultimate Alien, such as Kevin's insanity and being a composite form of Ben's aliens near the end of season 1, and featuring a guest appearance from the original Ben. This eventually culminated in the base-breaking Ben 10: Omniverse, where flashbacks now regularly showed young Ben, while the present day had teenage Ben having gone through severe Flanderization to become more like his younger self, accompanied by a Denser and Wackier tone attempting to emulate the lighthearted classic series, and claiming that the same future Ben originally witnessed in the third season of the original series was once again his canon future (one where Ben married his first love interest, Kai, and had a son named Ken), even though there's just as much debunking that future (the Ben in that future, as seen in the first series, retained the original form of the Prototype Omnitrix, which in the present recalibrated and later self destructed during Alien Force).
  • Family Guy
    • The pre-uncancellation seasons already showed many of the traits that would fully manifest once it came back, including Cutaway Gags, Overly Long Gags and the main characters bordering on Unsympathetic Comedy Protagonists. In the earlier seasons these were balanced out and broken up enough that it wasn't as much of a problem, and the formula was new enough that they were still genuinely surprising when they happened and not expected as they are now.
    • The criticism of religious people seen in the series can be spotted as early as Season 2, with "Holy Crap" focusing on Peter's Catholic father Francis who comes and makes things worse for the Griffin family while living in the family's house. However, Francis is balanced out by the Pope who is a Reasonable Authority Figure and grows impatient with Francis’s nastiness, implying the issues with Peter's father are more linked to zealotry and a general mean attitude rather than completely stemming from Catholicism. This is to contrast with the infamous Season 7 episode "Not All Dogs Go To Heaven", which has the Family-Unfriendly Aesop that Belief Makes You Stupid all together.
    • The cast’s horrific treatment of Meg is now one of the most frequently criticized aspects of the show, provoking many appalled reactions from fans; despite the show’s attempts to play her treatment for Black Comedy, quite a few people have pointed out that it often borders on outright emotional abuse. But in some ways, this can be traced back to the earliest episodes, where Meg was a considerably different character. While her family certainly didn’t hate her in those episodes, one often got the sense that the writers didn’t particularly care for her: she was the least developed of the Griffin children by a pretty wide margin, and didn’t really have her own comedic gimmick like her parents and siblings did. In later seasons, the writers never really gave her Character Development, but they did give her the "gimmick" of being despised and/or ignored by her entire family — which many fans liked even less. If you compare Meg’s appearances in Season 1 to her later appearances, you’ll notice that she isn’t exactly less of a Flat Character in those early episodes, but she at least wasn’t just the object of other people’s hatred.
    • One the most frequent criticisms is despite the show's open liberal bias, the show is reliant on offensive stereotypes to the point of downright racism. Of course the show has always had them but in earlier seasons nearly all of the stereotypes mocked the idea of stereotypes far more than it did the minorities they represented. It was such a successful formula that many of the stereotypical characters were widely praised by the minorities they depict. However over the years the writers seem to have gotten the idea that this means people like having their ethnicity and sexuality mocked and that they can indulge in racial humor and still come off as progressive. More and more recurring characters are intended to be sympathetic despite being increasingly flanderised stereotypes. This also hasn't gelled well with the show's increased use of straw characters about religious people and conservatives, since the show depicts those stereotypes as being true. The resulting implications that the writers genuinely believe non-straight non-white people only behave a certain way has driven many fans away.
    • For people who hate Brian, a lot will be surprised to learn that a lot of his worst character traits were fully on display in the early seasons and were the reason the character was generally liked. However they were either far more restrained or the show acknowledged that they made him a bit of an asshole. For example, he still acted as a mouth piece for the writers, but this was normally limited to quips and other characters commented about how it could get annoying. In latter seasons these short quips turned to rants and anyone not holding the Straw Man Ball either agreed with Brain or got out of his way.
  • Avatar:
    • The signs of the series focusing on teenage romance and Ship Tease at the expense of plot and character development could be seen all the way back in the original series, as later seasons gave those subplots more focus in response to the creators realizing how large and vocal the shipping community was, but because the 3 season story arc had already been planned out there was only so much room for those scenes to be inserted and for the most part they didn't feel like they got in the way. Come The Legend of Korra, which had a brand new story arc built from scratch around older teen protagonists, and the creators put in far more romance and a Love Triangle from the second episode to the point it became a Romantic Plot Tumor that made many fans dislike one of the central characters (Mako) and the rest of the plot, including the main antagonist and the social forces behind his movement, felt rushed and underutilized. Later seasons tried to undo the damage by having Mako and Korra break up, and fan consensus is that it wasn't until season 3 that the story began to truly feel more balanced. Another major factor is that unlike the first series, the first season of Korra was written under the possibility that it was a self-contained mini-series that could be expanded into three more if the former was successful while a combination of Troubled Production and Book 2 serving to deconstruct the previous events led to Seasonal Rot. Seasons 3 and 4 were made back to back and feature far more confidence in shoving the romantic material to the side.
    • By a similar count, despite that fervent shipping fandom, the romance being none too great was a problem in the original as well. Part of the reason Zutara became such a notorious Fan-Preferred Couple was that the canon Kataang and Maiko were seen as lacking chemistry and intrigue (even the show itself joked on how a lot of fans seemed to prefer Katara and Aang to be Like Brother and Sister), and even the comparatively well-received Sukka is mostly done as an arc after two episodes. But the romances were minor enough as an element that they were easy to ignore, or leave fans room to imagine more interesting things. When Korra (and, similarly, the ATLA sequel comics) focused more on romance, it became a real problem; Korra's main pairing early on in particular is essentially a Suspiciously Similar Substitute to Zutara, and yet ended up achieving absolutely none of the fame of its non-canon parent. It's likely for this reason that the creators decided to play Korrasami subtle.
  • Part of the reason Chowder became popular was its heavy usage of Painting the Medium and fourth wall breaking jokes. In the final season, gags about breaking the fourth wall became so overused that the novelty wore off.
  • Scooby-Doo has a few examples;
    • Many long-time fans have argued that the franchise's formula stopped working around the time that they tried to bring real monsters into the show (notably in The 13 Ghosts of Scooby-Doo, the direct-to-video movies, and the live-action films), which killed the elements of mystery that gave the original series its charm. While the original Scooby-Doo, Where Are You! generally stuck to the famous "Scooby-Doo" Hoax for most of its stories, genuinely supernatural elements have been around as far back as that series, and not all of its Monsters of the Week turned out to be costumed crooks. The villain of "Foul Play in Funland" was a real robot gone haywire, one scene in "A Night of Fright is No Delight" had a bone floating onto Scooby's plate with no explanation given, and the supporting characters in "That's Snow Ghost" were implied to have faced a real Yeti in a flashback. Scooby-Doo on Zombie Island (usually regarded as the one of the best stories in the franchise) had it as a selling point that there were real monsters in it. The difference was that there was still a mystery to solve and enough plot twists (the zombies are on the heroes' side for one) for it to all feel natural. Scooby-Doo! Mystery Incorporated did use real monsters as well, but like with Zombie Island, there was still a mystery to solve.
    • Just about everyone and their mother points fingers at Scrappy-Doo — the overconfident ankle-biter who always threw himself In Harm's Way — as one of the all-time worst characters on TV. The thing is, Scrappy's debut gave the show some of its highest ratings and are credited with saving it from cancellation. Inside A Mind posits that the problem was not Scrappy himself, but how he was utilized. Things were fine when the core of the show was still intact, but struggles keeping a consistent cast together led the show-runners to decide that since Scrappy was such a hit, they could use him to trim the fat, so to speak, cutting Velma, Daphne, and Fred (seen as the less memorable members of the gang) and have him take over for them. This meant that Scrappy was the one found clues, got kidnapped, and set the traps, which not only clashed with his stated characterization, but made Scooby and Shaggy seem even more bumbling and useless. Not helping matters were some even more questionable retools, such having the gang encounter real monsters and pairing Scrappy with cowboy-themed Suspiciously Similar Substitutes of Scooby and Shaggy. All in all, Scrappy was pushed front-and-center into a show that was losing its way and never meant to be his. At that point, further retooling to get things back on track wasn't enough to save the original run of Scooby-Doo, and Scrappy's infamous reputation sticks with him to this day.
  • While fans of Rugrats have many different ideas about what caused its Seasonal Rot, the show's increasing reliance on extended over-the-top Imagine Spots is sometimes held up as a symptom of its declining quality, as it increasingly shifted the focus away from the simple day-to-day struggles of the toddlers. In truth, though, the show was always known for its surreal and fantastical overtones — but in its early days, the toddlers didn't need Imagine Spots to make their world seem like a bizarre wonderland, because the quirky writing and animation made the entire setting seem surreal; the Imagine Spots just drew a clear line between the mundane world and the world of the kids' imaginations, where none had existed before. Case in point: compare Season 2's "Toy Palace" with Season 6's "Submarine". The former revolves around the ensuing hilarity when Tommy and Chuckie spend the night in a sprawling toy store that (apparently) includes life-size robotic gorilla toys, automated Old West towns, and a working time machine; the later just has the kids pretending that a van at a car lot is a submarine. A few early episodes in Seasons 2 and 3 did feature extended plots that took place in the kids' heads, with "What the Big People Do", "Reptar 2010" and "Angelica's Worst Nightmare" being a few notable examples. But while those arguably pushed the show in a Denser and Wackier direction, they were still tolerable because the writers actually put some imagination into the Dream Sequences, and often used them for Character Development. Rather than just allowing the writers to put the kids in implausible situations, they were used to show a baby's skewed perspective on the world, giving viewers insight into how the kids thought. "What the Big People Do" shows what they imagine the adult world to be like, "Reptar 2010" features a Rashomon Plot where each of the kids imagines themselves as their hero Reptar (with the plot changing to reflect each of their personalities), and "Angelica's Worst Nightmare" is a darkly humorous horror story that shows Angelica's fear of losing her parents' attention.
  • My Little Pony: Friendship Is Magic:
    • Season 3 onward and the My Little Pony: Equestria Girls are criticized for how many villains and bullies get Easily Forgiven. The trend started at the end of the two-part pilot, where Princess Luna was immediately forgiven for trying to bring The Night That Never Ends on the world. The difference is that such an act could be filed as Cartoonish Supervillainy (which also applied to Discord turning Equestria into a World Gone Mad), Luna herself was acting under the control of her Superpowered Evil Side, and she had a sympathetic enough backstory to grant her Ensemble Dark Horse status, making it easier to overlook the cast instantly forgiving her. Most later examples were guilty of far more realistic crimes and/or voluntarily committed misdeeds (Diamond Tiara was a cruel, snooty bully, Starlight Glimmer ran a dictatorship-inspired cult devoted to squelching individuality and created multiple Bad Futures in her attempt to get revenge after the Mane Six destroyed said cult, Juniper Montage tried to sabotage a film production because she wanted to be the star, was a pretty rude person overall, and later attacked those she deemed responsible for her getting caught) and had, at best, a last minute Freudian Excuse that tended to make them Unintentionally Unsympathetic. The G1 series My Little Pony 'n Friends and its TV specials also had reforming villains, but the main difference there is the way they actually showed some sign of decency beforehand, from misgivings that grow over the course of the story to outright hating the Big Bad and planning to jump ship at the first opportunity. Compare to the way the most-hated FIM examples will never think twice about what they're doing until they get defeated, say "I never had any friends" to the main cast, and with no further ado, everyone loves each other now. At this point, even the most idealistic fans roll their eyes at how easily the franchise lets its antagonists of the hook with little more than a Heel Realization and an apology, and director Ishi Rudell also bemoans this trend.
    • Fans are often critical of how ineffective Celestia and the other princesses are during adventure storylines, a trend that started with the series premiere. It was accepted during the first two seasons because Nightmare Moon and Discord could only be defeated by the Elements of Harmony, which she could no longer use and this helped establish the Mane 6 and other supporting characters as heroes. People also gave her a pass on Chrysalis because no one saw that coming. The Crystal Empire and Sombra was where opinion started to shift; it was a threat Celestia was prepared for, but instead opted to use the crisis as a Secret Test of Character for Twilight, endangering the city's population and Equestria as a whole. This was followed by a number of other questionable decisions and failures on her part that led to the Season 4 finale, where all of her decisions made a bad situation worse. Now, Celestia and the other princesses being defeated or incapacitated is expected, which makes Celestia's 1000 years of peaceful rule feel more like a fluke than anything attributable to her abilities or leadership.
  • Teen Titans Go!:
    • One of the many things fans/detractors complain about is the Family-Unfriendly Violence. And while this complaint is sometimes justified (the complaint is usually that the Titans are violent towards each other), complaints regarding violence in general are a bit strange, since the original cartoon was an action series where the characters used violence in every other episode. The difference with TTG is that it's a comedy.
    • Certain complaints about the series — particularly the different characterization and the heavier focus on humor — aren't actually all that different from criticisms of the original cartoon from fans of the comics or other more serious DC action shows such as Batman or Justice League. While the original cartoon had dramatic storylines, they were lightened quite a bit from the original comics, where, for instance, Slade was downgraded from a more sympathetic Anti-Villain (his occasional mercenary work left out in favor of the goal of getting an apprentice by any means necessary from manipulation to blackmail, at the same time that his original comic-book name of Deathstroke also got left out alongside his typical swords and guns), the heroes had less characterization, and comedic animesque pratfalls and/or expressions were frequent. The main difference was that the Titans still had depth and characterization, they were still able to act like heroes, and several fans to this day are intimidated about Slade (and most fans admit that, if nothing else, Ron Perlman's voice was pretty memorable). Go! merely put a bigger focus on humor. Meanwhile, the release of the direct-to-video DC films Justice League vs. Teen Titans and Teen Titans: The Judas Contract have given the Titans their most authentic treatment yet.
  • South Park made its name with a purely episodic format; while there might be a Sequel Episode to a previous one, by and large each episode was a self-contained story. However (as outlined in this video by PIEGUYRULZ), starting in season 10 it began experimenting with multi-episode story arcs, with the two-parters "Cartoon Wars" and "Go God Go". Many seasons after that would each have arcs that lasted for more than one episode, such as season 11's "Imaginationland", season 12's "Pandemic", and season 14's "200" and "201", providing a nice shift from the usual gag-a-day humor that the show was built around. Season 18 marked the tipping point in introducing full continuity between episodes throughout the season, with multiple arcs that flowed into one another. Fan opinion on the arcs were mixed, but overall, season 18 was still well-received.

    Season 19, however, had a season-spanning arc that was tied into every episode, with the final three episodes (out of a ten-episode season) devoted purely to wrapping it up. The arc left the show feeling bloated, with less time to turn its satirical eye to other targets, losing the scattershot, highly topical humor that had been one of its trademarks. These problems only got worse in season 20, as every episode in the season was part of a linear story arc that continued from episode to episode, unlike season 19 where the episodes, while part of the overall season arc, had plots that were largely self-contained. Eventually, real life wrote the plot in a way that Trey Parker and Matt Stone hadn't foreseen, forcing them to hastily rewrite the season finale to reflect itnote  and, in the process, abandon several subplots that they had spent the entire season building up. The general consensus was that, on a show as famously rapid-fire and up-to-the-minute as South Park, trying to do a serialized story-line just doesn't work — a consensus that Parker and Stone agreed with when they went back to an episodic format in season 21.
  • One of the most pervasive flaws of King of the Hill was how Hank was always right about everything, and anything that didn't gel with his conservative values was always wrong. As this article explains, Mike Judge had always wanted the show's Central Theme to be about the brand of good old-fashioned integrity that Hank exemplifies proving superior to any snooty bleeding-heart liberals and whatever modern-age PC hogwash they were espousing. Earlier seasons had the counterbalance of co-creator Greg Daniels, who liked to write episodes exploring a character's struggles and shortcomings. Because of this balance, other characters had their time to shine, while Hank's uptight, stubborn, out-of-touch nature was often treated as flawed and often made him a less-than-ideal father and husband. As a result, his role as the diligent, no-nonsense, ethical Only Sane Everyman was more sincere and broadly portrayed; anyone could view him as a good man, regardless of their standing on the political spectrum, while still seeing him as fallible and capable of making mistakes. Eventually, Judge and Daniels became less involved with the show, and the balance began to waver — mass Flanderization ensued, not just of Hank's uptight conservatism, but eventually his role as the Only Sane Man as well. The show fell into a formula of Hank railing against anything that could be considered nontraditional, such as Boy Bands, Open Minded Parents who preferred Gentle Touch over Firm Hand, nerdy Tabletop Game enthusiasts, Bobby being In Touch with His Feminine Side, owning a pet other than a dog, or even Canadians, all of which portrayed as little more than an asinine Subculture of the Week. Because of this, the show that was meant to elevate the image of the humble Bible Belt conservative that was usually an Acceptable Target elsewhere ended up embodying its worst characteristics -- its bullheadedly insular and self-righteous attitude against any ideals other than its own.
  • The Fairly Oddparents:
    • The show has never really had strong continuity, since it was always meant to be a gag-based show for children. Occasionally you'd get a nod to a previous episode, but that was about it. Given the show's episodic format, most fans let it slide. But later seasons are often criticized for outright ignoring continuity. As an example, Season 10 Episode 1 had Cosmo and Wanda lose their wands. About 30 seconds later, we see...Cosmo using his wand. Then it disappears and becomes "lost" again. Speaking of Cosmo and Wanda...
    • If you ask any fan where the show went wrong with Cosmo and Wanda, chances are they'll probably say when they made them into a complete idiot and a total nag, respectively. During the Oh Yeah! Cartoons shorts, Cosmo and Wanda were already a bit goofy, with Cosmo being The Ditz compared to the cool one and Wanda becoming more of a nag. Most fans were okay with this, since it was Divergent Character Evolution, but it would foreshadow how they would be portrayed later on.
    • For many, the most glaring element of the show's downfall was it constantly adding in new main characters. The first addition, baby Poof, though a divisive character in his own right, was at least somewhat tolerated because he was the only one at the time, his reason for being (Cosmo and Wanda wanting a baby of their own) made some sense, and the writers appeared to be putting some effort into exploring what he brought to the table. That same goodwill couldn't be extended to another new character, Sparky the talking fairy dog. Not only did he give the impression that Timmy was retreating into a magical double life instead of brightening his own, but Sparky didn't exactly win over fans on his own merits. Not more than a season later, there would be a third addition to the godfamily in the form of Chloe Carmichael, a kid who Timmy had to share his godparents with — the reason for that requiring a lot of Rectoning. On top of that, Poof was Put on a Bus and Sparky was simply removed without explanation, making it all too easy to assume that the show was running on fumes. As a result, the show was all but officially cancelled following the end of the season.
  • A lot of the more debated aspects of the latter seasons of Steven Universe can be traced to the less divisive earlier seasons:
    • Though "townie episodes", episodes centered around Beach City and its residents, only started to receive flak sometime around Season 3 or 4, a lot of the elements that came to be criticized about them were there from the beginning; characters who appeared like Lars, Ronaldo, and Onion were divisive or flat out hated, these episodes didn't contribute much to the overall plot beyond minor World Building, and they tended to take up a significant chunk of the episode count. Most fans let it slide then, because the show was still new, and the main story line about Homeworld had yet to reveal itself. Later seasons had these episodes in between Story Arcs that permanently altered the series status quo, making them feel rather underwhelming to some fans. The much longer wait between episodes almost certainly didn't help.
    • As Robobuddies argues in "The Steven Universe Rant", the show had a habit of subverting many genre tropes by turning them on their head. While this worked for the more overused and obnoxious tropes along with the more dramatic ones in small doses as jokes, the latter became far more frequent, meaning there would just be more and more wasted potential for interesting plotlines and killing off any sense of drama.
    • The strict focus on Steven's point-of-view, give or take the occasional flashback or Imagine Spot, rarely hurt the show early on since the world was relatively self-contained (Beach City, the Temple and the Gems' occasional missions), the core cast fairly small and it helped focus on Steven's personality and Character Development. As the show continued and its universe expanded, this became more problematic, both in story terms note  and important recurring characters who disappear for long stretches whenever they're not interacting with Steven, not allowing viewers to see their (often quite dramatic) character development. For instance, Jasper undergoes drastic Sanity Slippage after un-fusing from Malachite, Lapis goes from barely tolerating Peridot in "Barn Mates" and "Hit the Diamond" to being her best friend and even potential love interest in "Beta", then later sides with the Crystal Gems after seasons of being apathetic at best towards them, Amethyst meets several of the Quartzes that had grown in the Kindergarten she was from before her (as well as a few from the Kindergarten Jasper grew up in) and deals with a lot of her self-esteem issues in the "Out of this World" arc, and Lars goes from being an insecure teenager to a spaceship captain (even stealing a Gem ship) in-between "Lars' Head" and "Lars of the Stars". All of these are huge changes that were never really explored in any depth, because the show never deviated from Steven's point of view.
    • A major Broken Base was the seeming redemption of the Diamonds, with many felling that it was too rushed or a terrible idea to begin with. This can traced back to the earlier Face–Heel Turn of Peridot; back then many felt that it was very abrupt and contradicted her previous characterization of near literally worshiping the Diamonds and not understanding why the Crystal Gems wanted to protect the Earth. The difference was that Peridot didn't really do that much wrong outside of antagonizing the Gems and checking up on The Cluster, meaning that the idea of her reforming wasn't to far fetched in the eyes of the fandom. The Diamonds, on the other hand, did far worse (Yellow Diamond nearly destroyed the Earth - in a project that involved fusing the remains of dead gems together - just to spite Rose Quartz, Blue Diamond nearly shattered Ruby in a way that was set up to evoke prejudice towards mixed relationships and ran a facility that abducted humans and treated them like animals, White Diamond brainwashed multiple Gems including the other Diamonds after they turned on her), so them getting a more sympathetic portrayal and willingly aiding Steven in curing the corrupted gems proved to to be much harder to swallow for some fans, even with the idea that Yellow and Blue's ideas of dealing with Pink's loss (trying to Unperson her and refusing to move on, respectively) were unhealthy.
  • Looney Tunes
    • Bugs Bunny was always supposed to be witty and resourceful from the start without the extreme absurdity nor the over-the-top wackiness of Daffy Duck. This still didn't mean that Bugs had Plot Armor to carry the day after every short starring the character back in The '40s, but it was fairly established even then that he was smarter (at least where street-smarts concerned) than the average Looney Tunes character. Chuck Jones took these features to their logical conclusion and added a Bing Crosby-esque sang froid element to Bugs Bunny in The ’50s, making his version the definitive one; the studio has been reluctant to wander away from this take too much. But ever since, Bugs seems to be permanently stuck in lower quality iterations of the Chuck Jones version, making him often seem smug and petulant (the cover image in his trope page is his current default expression) while doing very little and allowing other characters to steal the spotlight.
    • Quite similarly Daffy Duck was made into a more over confident and self indulgent character quite early on, long before Chuck Jones retooled him into a egotistical foil for Bugs. However, this was only to give him some degree of pathos and motivation compared to the one-dimensional heckler he was in his most earliest shorts by Tex Avery, and even after Jones' retool, harks back to his wackier more competent characterization reemerged every now and then. Similar to Bugs however, Daffy traded many hands, with most trying too hard to emulate the frustration of Jones' version, Flanderizing him into a pompous, bitter antagonist with an almost Non-Indicative Name.
  • Drawn Together was never to everyone's tastes, being one of the most unabashedly trashy shows on Television. The thing is, earlier seasons had a few surprisingly heartfelt moments that, combined with the show's "take nothing seriously" attitude, gave it a sense of sincerity. That became lost when the third season put more focus on its Vulgar Humor and how unsympathetic the cast could be. This came to a head in the Grand Finale, which not only took the raunchiness Up to Eleven to the point that it came off as mean-spirited, but also clumsily tried to justify it.
  • Some of the biggest complaints that fans have with Planet Sheen can be traced back to The Adventures of Jimmy Neutron: Boy Genius:
    • Many fans complained about Sheen’s new characterization. Character Exaggeration led to him becoming incredibly selfish, obnoxious and uncaring towards his friends. These numerous flaws made it hard for audiences to root for or sympathise with him as the protagonist. In the original series Jimmy himself had a quite abrasive personality, being smug, somewhat lazy, opinionated and selfish. However, Jimmy still possessed enough redeeming and sympathetic traits such as his bravery, loyalty and compassion that audiences could look past this. Likewise, he often had to pay for his mistakes. All together, this made him a more relatable and deeper character. Sheen, on the other hand, not only never had to bear the brunt of his flaws, always getting away totally scot-free regardless of the damage he caused, but also lost all his redeeming traits save a shallow friendliness, making him come across as a purely self-centred jerk.
    • Sheen’s newfound extreme arrogance in particular was called out by many fans as making the character to unlikable. In all his appearances Jimmy was also incredibly arrogant, with him regularly acting like he was smartest man in the world and always knew what was best. However, from the original movie Jimmy's pride was always presented as his Fatal Flaw, with his ignoring other people’s warnings often causing his problems and him regularly being forced to admit he was wrong and needed others’ help. Likewise, Jimmy was, well a boy genius, capable of casually building revolutionary technology whilst living in a town full of gullible and foolish people, thus believing he was smarter than everyone else was somewhat understandable, if not accurate. Sheen, meanwhile, was constantly portrayed as a complete idiot who often made things worse than he found them, yet still acted like he knew what was best. Thus, he would regularly ignore everyone’s warnings and do things which were incredibly stupid, then blame them for not telling him when things went wrong.
    • One complaint that many fans bring up is that Sheen often causes the very problems of the episode. This was a regular plot from the start, with many problems stemming from Jimmy’s arrogance or mistakes. In the movie, it’s Jimmy’s space beacon that leads to all the parents being kidnapped by the Yokieans, and a recurring plot for the series was his inventions going wrong and causing misery for himself and others. It worked here, as Jimmy would always work tirelessly to undo the damage he had caused and was regularly called out for it (to the point that it was almost a recurring joke that his many mishaps had made him unpopular with the town). Sheen, meanwhile, often brought misery upon others through his sheer stupidity, arrogance or refusal to listen to common sense, then would come out on top due to the efforts of others or sheer dumb luck. Afterwards he would refuse to take any responsibility for his actions and yet was still celebrated as a hero. Whilst this was intended to be for laughs, it instead made the viewers dislike Sheen even more.
  • Milo Murphy's Law: This show has some noticeable flaws that its parent series had, but were only magnified here. To go into detail:
    • The first sign of this comes from the idea of a shared universe due to merging with its parent series. Phineas And Ferb also did this with the Marvel and Star Wars crossovers. While they have their fair share of detractors, most people still like them, and even with those that don't, both parties agree that they're both one and done events , and the show still stand on its own two feet (the fact that the Star Wars crossover was explicitly non-canon also helped). That's not exactly the case here, with the heavy amount of references to its predecessor in season 1, culminating in Doof appearing in the season 1 finale, and then the shows become heavily integrated after the crossover. It's this heavy amount of fanservice that makes people think that this show is essentially just "Phineas And Ferb 2.0", and not a show that happens to have similar writing.
    • Another aspect criticised here is the liberties taken with continuity and story elements. What made it mostly work in Phineas And Ferb is that the show was mostly episodic, and only developed arcs later near the end of season 3. That's not the case here, where it starts with more of an overarching story, yet the great liberties taken with the story elements that don't click well with everyone, such as the Fridge Logic involving the Pistachions' plan and the unnecessary Cerebus Retcon for The Phineas And Ferb Effect mentioned under Broken Base.
    • The last point to talk about is how the show seems to be less about the main character Milo himself and more on the supporting cast. While Phineas And Ferb didn't completely escape this criticism, it was something that happened gradually over time , and they still managed to be active players in many situations , and was thus mostly tolerated. In the case of this series, Milo, despite his active tendencies, tends to be someone who mostly just reacts to whatever comes his way , and because more focus involving the overarching story is for supporting characters (like Cavendish and Dakota) and not Milo himself, he's a borderline blank slate.
  • Most of the more debated aspects of Young Justice Season 3 aren't new:
    • The voice acting. As noted prominently in the trivia section, Young Justice has always had to employ clever audio tricks or heavily reuse voice actors (or not have characters speak at all), because many episodes feature so many different characters that bringing in a different voice actor for each is not practical from a budget standpoint. This is usually mitigated by the talent of the voice cast (Bugg has the same voice actor as Wally, but you'd be hardpressed to mix them up), there being in-universe reasons for characters having similar voices (Superboy is a clone of Superman; M'gann based herself after a character played by Marie Logan) as well as the fact that most of the main characters are all voiced by different voice actors, but with each actor doing several smaller roles; but each season adds more and more characters meaning more and more roles to voice in addition to the ones that already exist, so some of the voice actors end up voicing many, many roles. The issues some have with the voice acting for child characters, such as Amistad (voiced by Khary Payton) and Lian (voiced by Zehra Fazal), is, however, new, simply because characters of their age weren't present in prior seasons, and can probably be explained by the fact that they are young children being voiced by adults.
    • Character Relationships. The show has always been weird about pairing characters, developing relationships, and teasing others, with many of the most prominent relationships being created whole cloth by the show itself, and many other relationships not getting the proper development or setup. Conner/M'gann and Wally/Artemis, as can be shown by entries covering the earlier two seasons, had some detractors because they had no basis in the original comics. Cassie/Tim are a rather infamous example of the show suddenly pairing characters with little to no build-up, as the two had never even been shown speaking to each other before they were stated to have gotten together, and each having more prominent love interests (or at least Tim does, Cassie's is taken) than each other in the comics (though they have dated in the comics, it's just not the relationship most fans of either character like). Thus, the sudden Ship Tease of Will/Artemis isn't unique, rather it just involves two characters that most fans particularly don't want to see become romantically involved with each other (as opposed to just apathy), whether it be the No Yay of in-laws becoming romantically involved while the spouse is still around (and may not have left of her own free will) or the fact both characters are part of other pairings that many prefer.
    • Representation. The show has always been invested in having a racially diverse cast, with characters such as Artemis becoming half-white, half-Asian, the dark-skinned Kaldur being created to take the role of Aqualad, several Hispanic characters such as Jamie and Eduardo Jr. having prominent roles, etc., which is a good thing. However, a problem with Violet is that being Muslim isn't racial (which is a very common mistake many make) and her appearance (dark skin, headscarf, dresses conservatively) fits the stereotype of what many assume a Muslim woman looks like. While adding a heroic Muslim character is commendable and the show notes that there’s nothing wrong with wearing a hijab, religion isn't bound by race note , thus it requires more than what most Race Lifts require to properly represent. And Young Justice, like most popular entertainment, has always skirted around religion, with none of the characters ever referencing it in either belief or disbelief. It's obvious why the creators would want to specifically represent Muslims (as opposed to other religions) given topical events, but Violet was probably never a good fit given her new origin of being the spirit of a Motherbox, an extraterrestrial pseudo-mystical object/being that would have no investment in any human religion.
  • Many of the criticisms that fans raise about CGI Transformers cartoons (small casts, few environments) were present in Beast Wars. Creating new character models was expensive, so the the cast was kept small, and as a result the writers focused more on character development and plotting to great acclaim. Over the years, many shows emulated this model to varying degrees of success. The difference now is that the formula is familiar and the technology is no longer groundbreaking or revolutionary as it was in the '90s. It became especially noticeable during Transformers: Robots in Disguise which relied on Monster of the Week plots for much of its run and recycled character models to populate its cast.
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