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Americans Hate Tingle

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"It appears annoyance doesn't cross cultural boundaries."
Edd, Ed, Edd n Eddy, "Shoo Ed"note 

This is the opposite of Germans Love David Hasselhoff: a character or entertainer who is fairly popular in their home region becomes The Scrappy in another market.

The most common reason for this is Values Dissonance, as things that seem normal or relatable in one culture can be seen as offensive, baffling or just plain stupid in another. Aesthetic dissonance can also be at play, i.e. different cultures have their own standards of cuteness and attractiveness. Another reason for it can be that a character is supposed to represent the nation that hates them, and this character is seen as offensively stereotypical. In the worst cases, the hatedom of a single character can result in No Export for You for an entire series (something some people are probably going to be grateful for).


This is sometimes referred to as "Americans Hate Soccer (Football)", due to the infamous vocal hatedom in the United States against the sport and more preference towards American Football (the subsequent Opinion Myopia and Flame War between the sport's fans and haters has also been notable). There's even a trope around this.

In short, this can be summed up as Periphery Hatedom but the hatedom applying to nations outside of the work's native country and the demographic applying to the work's native country.

When this is taken far enough (i.e. a work, or an entire genre, is rejected everywhere except its homeland), it can produce what's known as "Galápagos syndrome", in reference to the bizarre species that evolved in isolation on the Galápagos Islands that heavily informed Charles Darwin's theory of evolution by natural selection. The term was coined in Japan to describe their Cell Phone technology (garakei, from Galápagos and keitai denwa, the Japanese term for "mobile phone") and how it evolved on a completely separate track from that of the West, producing high-tech flip phones that could send and receive email, surf the web at 3G speeds, and play sophisticated games in a time when Western cell phones (apart from the BlackBerry, which was seen mostly as a business tool) were considered high-end if they could take pictures. They were the envy of the world in the 2000s, but due to lagging infrastructure outside Japan, they couldn't be exported, and so the Japanese cell phone industry ignored non-domestic markets almost entirely. As such, it was painfully slow to catch on to the smartphone revolution in the '10s, with foreign iPhones, Android phones, and Windows phones catching the garakei makers completely off-guard and snagging massive market share. The term has since been applied to other fields of Japanese technology, including its ATMs, its cars, and its video games.


By definition, this is a subtrope of Base-Breaking Character. Compare Pop-Culture Isolation. Contrast Mexicans Love Speedy Gonzales, American Kirby Is Hardcore, and its polar opposites, Germans Love David Hasselhoff and Never Accepted in His Hometown.

See also The Scrappy, Widget Series, and Cross-Cultural Kerfluffle. May avert Everyone Owns a Mac.

Please do not use this page as a place for Complaining About People Not Liking the Show. Also, simply saying something is hated is not enough. You have to explain why it's hated.


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  • While not exactly beloved in America, Neil Hamburger seems to be hated by British audiences, possibly because Jerry Sadowitz has been playing a similar character on the UK comedy circuit for years before. In his earlier American tours, Hamburger usually opened for rock bands or much bigger comedy acts. Which meant trouble in front of audiences who didn't get the joke. If you looked up reviews for the shows he opened up, chances are you'd see complaints about him.
  • Roberto Benigni's show Tutto Dante was very popular in Italy. It had a very lukewarm reception when performed in Paris, not helped by the fact that Benigni kept performing it in Italian without subtitles, so non-Italian speaking audiences were left without a clue of what's going on.

    Comic Books 
  • Alpha Flight never became popular in Canada, where the team is supposed to originate from. This might be because the characters seem to have been inspired by stereotypes of Canadians. Which is ironic when you realize the team was created by Canadian artist John Byrne.
  • Tintin: Universally popular, even in places you might not expect like Africa, the Middle East, China,... Except in North America, especially the USA, where it is still more a cult strip. Case in point is Steven Spielberg's 2011 movie adaptation, which was a box office success across the world, except in the United States where the media attention and public interest were very low.
  • Asterix: Very popular in Europe, where the time period of the comic (Ancient Rome) is more prominent in the culture, architecture, and landscape. Still, it has been universally translated and sold. Only in Japan and in the US it never caught on (you can find the comics pretty easily in the US; just don't expect anyone else to be familiar with it unless they're a Europhile). It's more popular in Canada (which has stronger European, especially French, cultural connections) but still isn't anywhere near mainstream (except in Québec).
    • Part of the reason might be that a lot of jokes in the comics are commentaries on culture and modern life, which are way easier to understand for Europeans, e.g. the running gag that fish sold in a coastal village is delivered from the antique equivalent of Paris.
    • Another big part is that a lot of the humour is based around transplanting modern stereotypes about European countries to their historical equivalents - jokes about Belgian tribesman eating mayonnaise and Corsicans having switchblade swords are funny if you're a continental European, but nonsensical if you're American. Even nations that Americans do have stereotypes about (France, Germany, Britain, Italy, Spain, Scotland) get treated from the French point of view, or from an unusual angle to avoid making jokes Goscinny thought would be considered more offensive than playful. Asterix dealt with American stereotypes in Asterix Conquers America, where the added racial elements of having Native Americans act in stereotypical ways come off as just not funny to American readers (the jokes were heavily reworked for the film version to avoid alienating American audiences); Asterix and The Falling Sky has likewise been seen as horrendously racist against the Japanese.
    • Europeans have a long history of stereotyping and making fun of each other, and such humour is not considered particularly offensive in Europe so long as you're not referencing old wars or making fun of genocide. In America, a melting pot where immigrants from various European countries attempted to keep a personal cultural identity while living with others doing the same, many experiencing serious class oppression due to coming from the wrong 'old country', it comes off as much more mean-spirited.
    • The crows'-nest pirate was recognised by the comics' original French audience as a parody of a character from a serious pirate bandes dessinée, so his caricatured features were a way of swiping at comic books taking themselves too seriously. To American audiences (and many modern European audiences) he's a morally indefensible Ethnic Scrappy.
  • Allegedly, one of the major reasons Iron Man is usually given leadership of The Avengers in TV adaptations (such as The Avengers: Earth's Mightiest Heroes! and Avengers, Assemble!) is because focus group data indicated that Captain America (the traditional leader of the Avengers) is extremely unpopular in countries like the United Kingdom. Downplayed with Captain America: The First Avenger — although international markets were offered the alternate title "The First Avenger", only three nations opted for the other title, and most of its box office was international (it probably helps that the MCU's version of Captain America is often the butt of jokes for his Patriotic Fervor and occasional lameness, like scolding Iron Man for swearing).
  • De Kiekeboes is a cultural phenomenon in Flanders and even in Wallonia, it has gained somewhat of a following (something that is rare for a non-Dupuis comic). In the Netherlands, it is one of the most obscure comic books ever made. This is a diversion from the norm as other comic books by De Standaard (such as Suske en Wiske, Nero and Urbanus), while not always blockbusters, are still very recognizable names in the Dutch community.
  • In 1905, a French newspaper began publishing a comic strip about a young housemaid called Bécassine. This strip was popular across most of France and is widely considered to be the founding of the bande dessinée (the Comic Book tradition of France and Belgium that gave us the aforementioned Tintin, Astérix, and De Kiekeboes). However, it was deeply unpopular in one region of France: Brittany. You see, Bécassine was supposed to be Breton, but she didn't really act like a Breton woman; where the portrayal of her wasn't stereotypical, it was ludicrously off-the-mark. The comic ended up being so hated in Brittany that when a Breton man in Paris saw a giant statue of her, he destroyed it.

    Eastern Animation 
  • The Arabic animated series, Block 13 is often considered legendary in its native Kuwait with it getting costant merchandise, reruns on other networks, and even a spin-off, however in English speaking countries it manages to be both this and Germans Love David Hasselhoff, as due to it's striking resemblance to South Park (as the series is an adaptation of said series) this lead it to have split reception (espically people who are fans of South Park), 1 side absolutely despised the series with it gaining a Periphery Hatedom as a result with people calling it a rip-off of South Park however the other side accepted it for its similarites and enjoyed it.
  • A lot of Indian animated series tend to not be very well-liked outside of the country, usually due to the low quality of their animation, jokes, voice acting, etc. Case in point: Motu Patlu is one of the most popular kids' shows in its home country, but outside of India, it got several memes made out of it, most likely due to it being considered mediocre. Due to Values Dissonance, the show is surprisingly violent at times, despite being aimed at the same demographic as SpongeBob SquarePants, with characters striking each other onscreen and Chingham openly using a gun, so outside of India it's not suitable for kids, leaving only teenagers and adults who'd have outgrown such shows as a potential audience.

    Films — Animation 
  • Starchaser: The Legend of Orin didn't fare well in South Korea than in America.
  • The popularity of Disney in Japan is inversely proportional to the unpopularity of every other American feature animation studio in the country (with the exception of Pixar, occasionally). It's reached the point where a lot of new releases aren't even sent to Japan, while others go straight-to-DVD. This is unusual for an East Asian country, where non-Disney animated films are usually very popularnote . One of the biggest examples of this is The LEGO Movie, which barely made any money at the Japanese box office due to Frozen coming out at the same time, despite being a critical and financial success elsewhere.
  • Despite arriving at the start of the half-term break, The Book of Life failed to get into the Top 3 at the UK box office — debuting at fourth placenote . Then the following week it dropped to fifth placenote , despite that week being both half-term (when kids would be out of school and thus have more free time) and the week leading up to Halloween (thematically appropriate to the film’s subject matter).
  • Disney's Hercules was well-received by critics and audiences alike, but it was at first universally hated by the Greeks, who were angered at the film playing fast and loose with their revered mythology, to the point where they almost denied the film a premiere in their country (the attempt to have the film premiere there on Pnyx Hill, one of the most revered sacred sites in the country, did not do them any favors PR-wise).
  • Mulan wasn't much of a hit in China, despite famous voice actors such as Jackie Chan and adapting a local folk tale. Some blame piracy, some worry that the native audience took issue with the extensive reworking of the original myth, and some point to the fact that the Chinese government was in the middle of a bitter and spiteful dispute with the Walt Disney corporation and forced the film to languish for a year before letting it out with an unfavorable release date just after the Chinese New Year's celebration stuffed the box office with other films. Ten years later, DreamWorks's Kung Fu Panda would prove much more to Chinese tastes, with much less behind-the-scenes drama.
  • Delhi Safari received critical acclaim in India and even won the National Award for the Best Animation Film in 2012. In America, however, the movie was widely panned by critics, who saw the movie (and its characters) ripping off from other animated films. The movie's also a borderline Box Office Bomb that barely made any money during its opening weekend. The few members of the viewing public who actually saw the movie haven't responded well to the unappealing animation and character designs, well below the standards that American audiences are used to from studios like Pixar and Dreamworks.
  • Terkel In Trouble was considered ground-breaking in its native Denmark and fellow Scandinavian countries when it first released, often being considered a cult classic. However, outside Scandinavia, especially in the United States and (some-what) the United Kingdom, certain viewers criticized elements such as the way the characters act, disturbing scenes you wouldn't expect to see in your average animated films, poor voice acting in both US and UK dubs (mostly the former), and the main character constantly getting tortured, with people also making unfavorable comparisons to other films and shows such as Sir Billi and Stressed Eric (both of which were critically panned, even in their respective countries, Scotland and the UK). Not helping that the US dub, while not being as terrible as people say it is, is widely considered to be rather lousy to most people.
  • Toy Story 3, while a critical and box-office success elsewhere, was a general flop in Eastern Europe. Many explanations have been raised; the less imaginative is that not many people there had seen the other two films because of economic troubles right after the fall of Communism in the 1990s, resulting in 3's Continuity Porn lacking appeal.
  • Frozen was badly received by Norwegian critics and got very poor initial reviews there, with the general consensus being that of "generic plot and characters" and "forced and obnoxious musical numbers", while one particular review criticized the setting for "not really looking like Norway". It did better in smaller magazines, though, and ended up becoming the third biggest film of 2013 in the country. It's further exacerbated with the news that Disney is replacing the Norway-themed Epcot ride "Maelstrom" with a Frozen-themed ride. Park purists and Norwegians are pretty unhappy that their former ride meant to honor Norway is being replaced with a new ride based on Frozen and Arendelle. This isn't helped by the fact that this is part of Disney's plan to build an Arendelle pavilion.
    • One of the spin-off shorts of the franchise, Olaf's Frozen Adventure, was disliked in Mexico because of the short being too long and people expecting to see the main feature it was paired with, Coco. It was so hated that the short was removed just a week after release. A big factor of this was because Olaf wasn't actually a short, but a 20-minute Made-For-TV special that, according to Disney, was put in because they felt the short was "too cinematic" for TV. A few people have suggested, though, that it was put in as an attempt to lessen a blow of this trope elsewhere.
  • Discussed in The Simpsons Movie: Homer's second attempt at an epiphany amounts to "Americans will never embrace soccer."
  • Inside Out wasn't that popular in France. It never reached #1 due to the huge successes of Pixels, Minions and One Wild Moment. This could be because the dub voices were lackluster (most notably the ones chosen for Joy and Bing Bong) and the plot was deemed unoriginal and contrived.
  • Doogal is probably one of the most notorious examples of this in animated film history. Based on the British-French stop-motion children's show from the '60s, the CGI film was originally released in Europe in 2005. Even though the original series and franchise is practically unknown outside of its native France, Harvey Weinstein himself after watching the original film felt it would be a brilliant idea to release the film in America in 2006. This was done by recasting all but two of the original British cast with well-known American stars, rewriting the film by inserting obnoxious pop culture and fart jokes and reediting the film to accommodate all the script changes. The results turned Doogal into a critical and commercial nightmare in the United States, continuing to baffle and intrigue film enthusiasts and critics to this day.

    Films — Live-Action 
  • Indians, by default, generally loathe any portrayal of them or their country that is even in the least bit negative. Part of this is N-Word Privileges (they can criticize their own country as much as they like - foreigners can just shut up), but a lot of it is simply because many of these portrayals come from the Anglosphere, which as far as many in India are concerned, is directly responsible for most of the things the criticisms are about (especially The Raj of Britain), overlapping with Unfortunate Implications, Misplaced Nationalism, and Patriotic Fervor.
    • It is still very much an unwritten rule in India that going after public figures, history or social issues on any tack except the official position is going to be a big Berserk Button. Putting people, ideals, and traditions on pedestals is Serious Business in India.
    • Indians seem to feel this way about any humorous depiction of Mahatma Gandhi, for very obvious reasons. There was a major backlash on YouTube over the "Gandhi II" clip from the "Weird Al" Yankovic movie UHF, a fake movie trailer that re-imagines Gandhi as a 1970s blaxploitation-like vigilante. The joke is simply a parody of actionized sequels taken to such an extreme that even Gandhi gets the treatment.
    • Slumdog Millionaire was widely despised by many in India, due to its obliviousness to the Bollywood cliches that were in it and the stereotypical portrayal of India as a poverty-ridden hellhole. Elsewhere, the reception was almost overwhelmingly positive, where it won 8 Academy Awards (including "Best Picture"), and the film currently has a 94% rating on Rotten Tomatoes.
    • There's also a great amount of bitterness among Indians regarding films set around Britain during World War II. Nearly all such films tend to omit that India was under British rule or even that 2.5 million Indian soldiers fought in the war at all. It makes for more simplistic exciting storytelling to portray the British as a sole island standing back against the fascistic invading empire, but doing so omits that the UK had an empire of its own participating in its battles.
    • While critical reception for Indiana Jones and the Temple of Doom warmed up from mixed reactions to more favorable, this was unfortunately not the case in India, with India's national censors temporarily banning it due to its negative portrayals of Hinduism which included serving such cuisine as baby snakes, eyeball soup, beetles, and chilled monkey brains, and depicting the goddess Kali as evil when she is depicted as a goddess of change and empowerment in Indian mythology. When the government denied the filmmakers permission to use India as a filming location, they used Sri Lanka instead for the scenes that took place in India.
    • Indian-Canadian filmmaker Deepa Mehta's film Water (set in 1940s India and deeply critical of many Indian traditions) was so controversial in that country that riots broke out and sets were destroyed; Mehta was eventually forced to shoot the film in Sri Lanka. The film was selected as Canada's entry for Best Foreign Language Film in 2005.
  • Borat, unsurprisingly, was not at all well received by many ethnic groups, to the point that it was banned in most Middle Eastern countries. Russia discouraged cinemas from showing it because many felt it would lead to race riots (as Russia has a Kazakh minority population). The movie wasn't shown in theatres, but it is available on DVD. Ironically, the Kazakhs loved it. Except for one of them...
  • Brüno, while most Germans and Austrians were fine with the Camp Gay humor and European stereotyping, they were less amused by Bruno's adoration of Hitler for obvious reasons.
  • Though it was a cult hit elsewhere, A Clockwork Orange wasn't very well received in Great Britain, as many thought that the film's depictions of violence and gang rape were too extreme and blamed them for inspiring multiple copycat crimes, to the point where director Stanley Kubrick had the film removed from British distribution, with the ban lifted only after his death in 1999.
  • 300 was condemned as "Western Propaganda" in Iran due to the way Persians were portrayed in that film. Others pointed out it was a comic book movie and it was told from the point of view from the Greeks who often stereotyped their enemies.
  • Historically, Superhero movies had a reputation for underperforming outside of the U.S. However, the box office successes of The Avengers and The Dark Knight Rises began to turn this trend around. Since 2012, the only superhero movies to make more money domestically than internationally have been Wonder Woman (2017) and Black Panther (2018), and even then, it was mainly because both films did extraordinarily well in the U.S., with the latter becoming the highest grossing superhero movie of all time domestically until it was surpassed by Avengers: Endgame.
  • Batman movies still have problems turning in decent box office numbers in Japan, as the first Batman media brought to Japan was the old campy Adam West TV series and thus this became the Japanese mainstream's first impression of him. Later movies, like Batman (1989) and Christopher Nolan's trilogy, which depict darker, more serious stories, mostly confused Japanese audiences expecting to see colorful camp. Surprisingly however, Joker (2019), was a success in Japan, grossing over $46 million.
    • Batman (1989) was a flop in Norway. After three weeks in theaters, it was removed, even though the movie got a lot of advertising in the country.
  • Superhero movies altogether have a relative niche appeal in Japan. Avengers: Endgame is the highest grossing Marvel Cinematic Universe movie in that country, and that movie didn't gross more than $52 million. Some journalists suggest that American superhero movies star middle-aged adults who don't fit the mold of the teenage and young adult heroes so prevalent in Japanese media. Spider-Man movies are the rare exception largely because of how Peter Parker is younger everyman who resonates more with Japanese audiences. Most notably, Spider-Man: Far From Home is the highest grossing solo MCU movie in Japan and the Spider-Man Trilogy, which pulled particularly above-average numbers in Japan even without adjusting for inflation.
    • Avengers: Age of Ultron caught flak in Eastern European countries for the portrayal of Sokovia. The random mishmash of shallow (exaggerated accents, tracksuits, names that varied from German to Italian to Polish to Romanian), offensive (Pietro stealing a dress to impress a girl) or misplaced (Soviet fur hats in a country modelled after former Yugoslavia) stereotypes were seen as a Theme Park Version which should have stayed in the comics and shouldn't appear in an age where information is a click away. The role it had as a throwaway place to be wrecked, and the general disregard toward anything related to the place ("nowhere important on the way to everywhere important") and even its location wildly varying within a single panning shot of a map in Captain America: Civil War) also didn't go unnoticed. It doesn't help that "important" nations such as Germany and Russia in the same movies weren't replaced by fictional stand-ins.
  • As beloved as James Bond may be around the world, there are two notable films that aren't well received outside of Britain.
  • Argo was a major box office success in the U.S. and won the Academy Award for Best Picture but was not well-liked in Canada, Britain, or New Zealand for minimizing the work of those countries' embassies to make the Americans out to be the sole heroes of the rescue. The film even got such a poor reception at the Toronto Film Festival that director Ben Affleck had to go back and recut some of the film (less than a month before opening) to give a fairer portrayal of the Canadians.
  • The makers of Braveheart were very nearly sued by the Scottish government over its depiction of national hero Robert the Bruce (even though he really did waffle back and forth on the conflict several times). The movie is generally regarded with varying degrees of embarrassment and annoyance in Scotland. It's even less popular in England, which isn't surprising since literally every named English character in the movie is evil.
  • Godzilla (2014):
    • While this is easily averted for the film itself in the Japanese market (Toho themselves heaped praise upon the movie), it's played straight with Godzilla's redesign, which a decent portion of the audience over there consider to be weaker, or, for some people, fatter, than the original.
    • The movie has gotten a pretty bad rep in places where Godzilla hasn't been established as a pop-culturally relevant franchise, and so most people have grown up with the previous American reboot instead. Being that one of the main focuses of the film was to approach it from a "fan perspective" and distance it as much as possible from the '98 movie, it's easy to see why this strategy backfired in places where audiences harbored no love for the Japanese Godzilla, especially since reviews agreed that its faithfulness to the source material was one of the movie's main selling points. Basically, the two movies' receptions are inverted compared to countries where the brand has had a history.
    • The film did really poorly in the South Korean market. Box office analysts have compared the South Korean market for this movie with Pacific Rim and noticed how it was an unusual outlier considering Godzilla did better than Pacific Rim in every other territory.
    • The 2019 sequel showed an even stronger regional divide. It underperformed in most of the world, bringing back less than half or less than a third of the original's audience, depending on the country. Many reasons have been thrown around, ranging from competition with other blockbuster films, overly spoiler-heavy advertisements to viewers feeling disillusioned over the first film's subversive nature and Godzilla just not being a popular brand name. But the movie was reasonably successful in Japan and China, who helped push it out of total flop territory.
    • The entire brand qualifies. Although it had a rough history even in its native country, it's considered a cultural and commercial mainstay that still produces successful films every now and then. Godzilla movies have a cult following in the United States as well, and they have their share of fans in other territories too, such as Germany (one thing these two places have in common is that they released classic Japanese monster films back when they were still relevant and there weren't a whole lot of Western effects-films to give them competition, which means there's a lot of nostalgia for them). In the rest of the world, it's mostly the American adaptations that got any lasting attention (with a few people also recognizing the significance of the original), whereas the other ~30 films are pretty much seen as the epitome of low-grade schlock due to lack of, or terrible exports. Values Dissonance is also in effect, since most audiences find the characterful and fantastical Japanese monsters unappealing and silly, especially combined with the rubber suit effects.
  • The Bollywood film Gunday is a footnote in most of the world, did well enough in its home country of India, and got okay critical reviews. In Bangladesh, it's generally viewed to be worse than Hitler, for some major Artistic License – History taken with the Bangladesh Liberation War in a brief prologue sequence. The film was actually rated #1 on the IMDB Bottom 100 for about a year, for exactly this reason, with thousands of angry Bengalis one-starring the film for that prologue.
  • John Q. did alright in the US (i.e. covered its cost and made the equivalent of it again), but hardly raised interest overseas. Almost every foreign critic began his review of the film with the statement that, for better or worse, the premise of a man taking an ER at gunpoint after being denied life-saving surgery was something that could only happen in an American movie.
  • The Holocaust documentary Shoah was critically acclaimed almost everywhere, winning several "best documentary of the year" awards and being voted #2 of all time by Sight and Sound. In Poland, however, the movie is utterly loathed, including by the Central Polish-Jewish Committee who filed a letter of protest with the French Embassy in Warsaw in response to the film. It was never going to be popular, considering it's about Poland's assisting in the Holocaust. But the film's refusal to acknowledge the many Poles, who did save Jews note  or who suffered ethnic persecution under the Nazi regime, was a pretty heavy nail in the coffin of Poles ever appreciating the film.
  • The Three Stooges: In the U.S., they are an institution. Broadcast for decades and very popular with all ages to the point that almost every American comedy will have a Three Stooges Shout-Out at one point. In the rest of the world, especially Europe, Laurel and Hardy have always been far more famous and popular. A major reason for this is that Laurel & Hardy lost their popularity in the U.S. during the 1940s because the quality of their movies went down due to Executive Meddling,note  although they still made millions, and they stopped producing new movies ca. 1945, except for Atoll K (1950), which due to a Troubled Production ended up as a very undignified finale for the duo. Newcomers such as Abbott and Costello, The Three Stooges, and Bob Hope took their crown as a result. Meanwhile, in Europe, where the Nazi occupation had cut off the import of Hollywood movies, the new acts did not even get a proper chance to make an impact before VE Day. Laurel and Hardy on the other hand almost immediately started touring through Europe with a small stage show, getting back in contact with their old fans and continued to do so until 1954. As a result, Europeans were far more interested in Laurel & Hardy than any of the comedians they never heard about. It didn't help that comedians like Abbott and Costello and Bob Hope lacked the charm of Laurel & Hardy and their comedy was mostly verbal, which translated badly in non-English countries. While the Three Stooges did rely more on slapstick comedy, many Europeans have always felt it was too lowbrow and unsophisticated compared to Laurel & Hardy and The Marx Brothers. Though the Marx Brothers' comedy is also very verbal they had a few good foreign dubs at the time, especially in Italy where they have always been very beloved. Harpo was also a link with silent comedy, which crossed all language barriers. And much like Laurel & Hardy, the lesser Marx Brothers movies of the 1940s were never seen by Europeans during the Nazi occupation, thus their reputation also remained intact.
  • The Sound of Music is one of the most popular musicals of all time... except in Germany and Austria. Most people in both countries have never watched the movie and those that have seen it despise it.
  • As noted in this article in The Hollywood Reporter, Germany is a notoriously poor market for action movies. Til Schweiger, the nation's biggest movie star, is known outside Germany for films like Inglourious Basterds and Lara Croft: Tomb Raider: The Cradle of Life, but audiences back home know him for romantic comedies. German action filmmakers like Roland Emmerich and Wolfgang Petersen often have to leave for Hollywood to get recognition.
  • Mr. Nobody was a hit in Belgium, where it grossed nearly one million dollars, which is rather high for a Belgian box office and loved by critics, who still to this day think that it is the best Belgian film ever made. In France, the response was more mixed by critics, but it nevertheless managed to gross 1 million dollars there as well. In the United States, it also had a mixed critical response, but it only managed to gross $3600 there, which makes it a candidate for the award of "lowest grossing film in the U.S. as of 2013".
  • While Pacific Rim was a modest hit in the U.S. (but much more popular throughout most of Asia and Oceanic areas), the film did poorly in Europe, partly because most of the action happens only by the Pacific Rim. The U.K. (due to highly-respected actor Idris Elba playing one of the main characters) and Russia (due to the popularity of the couple that pilot Cherno Alpha, and that Russia is the only European country with a Pacific coast) are exceptions to the rule. Ironically, the movie did not do well in Japan either, despite being a love letter to the Kaiju and Mecha genres. Then again, the movie's leading lady Rinko Kikuchi was never really popular back in Japan. Alternate theories for the film's poor performance in Japan was that the country already had many of its own Humongous Mecha and Kaiju works and thus had little interest in seeing a Westernized version.
  • While China usually adores the Marvel Cinematic Universe movies, so much so that Marvel occasionally shoots extra scenes intended only for the Chinese release (as was the case with Iron Man 3), Chinese audiences did not respond well at all to Black Panther, in direct contrast to the massive, record-breaking success it achieved almost everywhere else. It actually did worse in China than Justice League (to put this in perspective, Black Panther sold more tickets in the US in its first four days than Justice League did in its entire run), ostensibly as a consequence of what was seen as excessive political correctness. note 
  • Batman v Superman: Dawn of Justice was as divisive in China as it is in America. Not only did the movie suffer from a 77% weekend drop (compared to the 69% drop domestically) but it was also trashed by a number of bloggers and professional critics with some describing the film as "intellectually insulting" and compared it to "facial paralysis". Much of the backlash stems from the misleading marketing as audiences expected a straightforward action-packed popcorn movie only to learn that the film is overstuffed with subplots and plays out more like a political thriller. Furthermore, many of the heavy-handed Christian symbolism and references to classical humanities were lost on Chinese audiences, many of whom aren't familiar with such concepts and ideas.
  • SHAZAM! also similarly failed to catch on in the normally superhero loving Chinese market. According to reviews on their IMDB equivalent, Douban, where it has a pretty terrible score of 6.9/10, the story didn't translate well culturally. In a society that reveres its elders, Troubled, but Cute protagonist Billy came off as a brat for disrespecting his foster parents. There's also not really an equivalent of growing up in a foster home there. It is also a bit more lower stakes than other superhero movies and spectacle translates better than a "talky", very American humor-filled movie with less action than its genre peers. Its $43 million performance is especially terrible compared to its immediate predecessor in the franchise, Aquaman. With its spectacle and universally understood story of King Arthur underwater snagged a 7.6 note  on Douban and almost $300 million at the Chinese box office.
  • Jackie Chan is beloved throughout the West, and sells well within China. However, he has become rather unpopular in Taiwan (and even to an extent his own home town, Hong Kong), due to very pro-Mainland opinions. During some of his publicity tours, he has repeatedly praised Beijing's leadership, suggested that Taiwan be returned to mainland Chinese rule, and even accused democracy of leading to only protest and problems.
  • Star Wars:
    • The Force Awakens made some headlines for fizzling out in a number of foreign markets. Its domestic box office is the highest ever, but in non-English-speaking markets, its performance was fairly averagenote  and didn't exactly break any records. Some analysts believe that this resulted from a story that wasn't accessible to newcomers and the fact that other Star Wars imitators had already stolen its thunder. For example, it did middling business in Japannote , largely due to coming out the same time as the second Yo Kai Watch film. This has rankled many fans, due to Yo-Kai Watch being an example of this itself in both anime and video games.
    • The same was true with Rogue One and especially The Last Jedi, which both landed with a thud in China despite being smash hits in the US, the latter having the second highest-grossing opening weekend in the history of the American box-office at the time of its release. The Last Jedi in particular was eviscerated by both audiences and critics alike, with the most upvoted review on popular aggregator Douban (China's own Rotten Tomatoes) calling it "an insult to intelligence." It was noted that Star Wars in general just does not appeal to Chinese audiences (despite the franchise drawing a great deal from the country's tradition of Wuxia fiction), especially with the earlier films having never been released there, the franchise being only a niche property in that country. It got to the point that Solo got a Market-Based Title change to "Ranger Solo" to downplay any Star Wars connection. It didn't work.
    • The franchise isn't popular in India either. In general, most Hollywood films struggle in India due to competition from local movies and state-imposed restrictions. Just like in China, the Indian melodrama and pop-culture cinema still uses many of the melodramatic and epic tropes that Star Wars repackaged in science-fiction dressing, thereby removing most of its freshness for the Western audience. It's rather notable that among Indian movie audiences, Harrison Ford is more well known for his turn in Air Force One than as Han Solo.
  • In general, sci-fi space stories almost always flop in China. The Last Jedi was the biggest box office bomb of 2017 in China, but the second-biggest one happens to be Valerian and the City of a Thousand Planets, the year's other high-profile movie set in space. No one is entirely sure why, not even the Chinese, although possible explanations range from the futuristic feel of space being anathema to the traditions-focused culture of China to the country's lack of any major space programs (Dongfanghong 1 and Jade Rabbit notwithstanding, both of which had more attention from other countries than China) resulting in a lack of interest in outer space among the Chinese as a whole.
  • Enemy at the Gates: Russian audiences hate this movie, and two successive Russian Culture Ministers along with the Russian Military Historical Society have classified this movie as "deliberately anti-Russian propaganda". The main reasons for that are the weird behaviours of various characters, the fact that Russians consider this movie too lighthearted and how they feel the Red Army is depicted as evil and incompetent (a general problem Russians have with Western-made productions about them).
  • While much of Paul Verhoeven's Hollywood works are beloved in America, with many of them seen as the epitome of satirical Gorn-fest action movies, his homeland-made films are practically unknown outside of the Netherlands (and Europe to an extent). Even Zwartboek, his first return to Dutch cinema in nearly two decades, performed exceptionally well back in the Netherlands, but barely made a blip in North America. Values Dissonance also plays a role, due to a large amount of sex and Male Frontal Nudity in his Dutch films, which would earn an NC-17 rating in America. (Especially since one of his American movies, Showgirls, ended up killing the NC-17 rating in America.)
  • The Day After is well-known and loved in the US (in no small part due to its role in helping end the Cold War), but when it was released theatrically in Europe it got hit with a lot of flak for supposedly downplaying the horrors of nuclear war. The reason for this is likely because Europeans didn't know that The Day After originally aired on television, meaning it had to be watered down to pass network censorship standards (a fact that's even lampshaded at the end of the film).
  • While already a polarizing franchise in most countries, Descendants was a complete flop in Australia. This comes from one of the central premises of families being banished to an island ghetto with no access to modern technology or decent food for committing any sort of crime, and having their children be shunned and mistreated by those in Auradon for the sole reason of being related to them. Australia's early history was very similar, but their descendants pride themselves on their convict history, and some settlements have no connections to convicts (e.g. Adelaide). Seeing children being subjected to extreme racism because of their parents' crimes is just too hard to swallow for many Australians, and even its Disney Channel hardly shows the film and its two sequels. It doesn't help that Australia has its own Isle of the Lost in Nauru, where children have been locked up.
  • Crazy Rich Asians is a box office success worldwide and received critical acclaim which many, particularly Asian-Americans, considered it a movement for diversity due to the entire cast being Asian. However, China and Japan are not too crazy about it because they are already used to seeing an all-Asian cast in their media and the film's premise of a middle-class woman entering the elite society of her rich boyfriend is nothing new to them. For the Japanese audiences' case, the lack of well-known Hollywood actors didn't get their attention while for the mainland Chinese, they dislike the Western interpretation of their culture which is considered bland or cliche.
  • If the reception of Hellboy (2019) is already divisive in its native U.S., the reception outside America is even worse, being the most notable case Mexico, partly because being the home of Guillermo del Toro, the director of the previous two films, which for obvious reasons both him and his films are deeply revered there, and also because the film was defeated in box office by a local Mexican film, (No Manches, Frida 2) something that's rather unusual there. Explanation 
  • Hostel got absolutely slated by Czech and Slovakian critics and audiences, which is understandable given how the region is inaccurately portrayed in the film as a poverty-stricken, crime-ridden hellhole permanently stuck in the 1980s.
  • Independence Day has a fairly large fanbase in its native United States, but in basically every other country, it's unpopular due to its incredibly exaggerated nationalistic themes, which doesn't exactly travel well to other nations. However, nonetheless, both the film and its sequel made the majority of their box office revenue overseas, suggesting there's some international audience for it.
  • Although Young Einstein was generally well-received in its native Australia, the reaction from North American critics was mostly negative. This has largely been attributed to its style of humour not translating well overseas.
  • Revolution (1985) got negative reviews in most countries, but American critics were especially harsh to it. To wit, it's a historical Epic Movie about The American Revolution... made by British filmmakers, meaning that its very non-idealized portrait of the Revolution (despite it being told from the colonials' point of view) stood out that much more. The general reaction among Americans was that Goldcrest Films should have just stayed away from the subject, or at least written off the idea of this film making any money in the US.
  • In the US, the film adaptation of John Grisham's A Time to Kill got good reviews, was a solid box-office hit, and won an NAACP Image Award. In Europe, on the other hand, reviews were far more negative, with critics seeing its plot (about a white lawyer defending a black vigilante who murdered his ten-year-old daughter's white rapists) as glorifying violence and extrajudicial murder and some going so far as to call it borderline fascist. French critics in particular were downright scathing, with Didier Péron, the critic for the newspaper Libération, saying that the film "militates in favour of the black cause only to legitimize... the mentally ill gesture of the avenging father", and the French branch of Amnesty International calling the film disturbing. The French release even had a question mark added to the end of the title (Le Droit de tuer?) in order to make the film's morality seem more ambiguous than it was. A lot of the controversy came down to Values Dissonance over the morality of the death penalty; while Americans at the time of the film's release were overwhelmingly in favor of it (support reached an all-time high at 80% in 1994, just two years before the film came out), it is banned and extremely unpopular in most of Europe, where it is seen as a violation of human rights.
  • Paths of Glory wasn't even released in France until 1970, for a number of reasons. One of them is the movie's negative depiction of the French Army. Specifically, it reinforces the stereotype that all World War I officers partied in their chateaus while their men died on the field, which is in direct contrast to the historical record that officers were statistically more likely to become casualties than their own enlisted men. But the biggest reason the film caused so much outrage in France was Values Dissonance regarding World War I itself. Essentially, while World War I in the Anglosphere's popular conscious is often viewed as futile and pointless (although this view has been challenged and scrutinized in recent decades), in France it's usually seen as a war of national defense against an aggressive and militaristic invader. To give a rough analogy, imagine if the same general plot and message was transplanted to the Pacific Theatre of World War II, only with American soldiers and generals.

  • Harry Potter has an in-universe example: the book Quidditch Through the Ages has a section dealing with the status of Quidditch around the world. Americans apparently prefer the game Quodpot, a sort of hot-potato game involving a Quaffle that has been tampered with and explodes -– probably a joke acknowledging Americans prefer American football to soccer. In Asia, however, Quidditch is only slowly gaining appeal because Asian wizards have traditionally preferred flying carpets to flying broomsticks. The exception to this rule is Japan.
  • Older Than Feudalism with The Odyssey: Odysseus was a national hero to many Hellenic states, where he was praised for his cunning, intelligence, and guile. The Romans, who called him Ulysses, despised him as a villainous, dishonest, deceitful falsifier. Vergil constantly refers to him as "Cruel Ulysses" in The Aeneid; his character did not lend itself well to the Romans, who has a rigid sense of honor and respected the Trojans for their gallant and determined defence.
  • Henry James wrote two political novels during the 1880s – one novel, The Bostonians, about women's rights movements in America, and another novel, The Princess Casamassima, about labor unions and terrorism in England. Bostonians was a hit in England, but widely denounced in America as cruel and unsympathetic, while Princess was a hit in America, but dismissed as exploitative and narrow in England.
  • While Bram Stoker's Dracula is regarded as a literary horror classic throughout most of the world, and especially in Western nations, Romanians see it as a xenophobic story written by a foreigner to titillate other foreigners. It is considered very distasteful because the name of Vlad III (The Impaler) Dracula, who is celebrated to this day as a hero for the cause of defending the independence of Wallachia (one of the predecessor states of Romania) from the invading Ottomans during the fifteenth century (even if it meant taking some brutal methods to so), was used for that of the bloodthirsty, habitual Moral Event Horizon-crossing monster. To put this another way, if a writer from another country were to write a novel featuring an American serial killer named Abraham Lincoln or a British murderer named Winston Churchill, that would not be taken kindly by citizens of those respective nations. Granted, even though the Romanians' loathing for Bram Stoker's Dracula has ameliorated over the decades, and they have even been willing to capitalize on the fictional Count Dracula's association with the country by selling vampire-related souvenirs, it is still not wise to talk about Dracula or Bram Stoker at length with any random Romanian on the streets. Which is rather ironic since despite being based on the historical Vlad, the actual character is supposed to be Hungarian of Székely descent instead of Romanian as Transylvania would not be Romanian territory until World War I and the fictional Dracula feels very strongly towards his ethnic roots.
  • Twilight 's Periphery Hatedom is at this point the stuff of legend, but the series is absolutely loathed by many Native Americans, thanks to Stephenie Meyer depicting the Quileute people, a very real tribe who she did not consult, 1) completely inaccurately, including rewriting their creation myth almost from scratch, and 2) as savage animals who walk around shirtless and are frequently portrayed by the narrative as subservient and/or inferior to the vampires, who, um, coincidentally happen to all be wealthy whites of European blood. The fact that the Quileutes have seen very little of the billions the series has made in revenue doesn't help.
  • Ralph Hewins's Quisling: Prophet without Honour portrays Norwegian Nazi collaborator Vidkun Quisling as a discerning idealist, while Norwegians, in general, are portrayed as vindictive. It was well-received in the US and its native UK, where it was seen as a welcome change from the traditional view of Quisling. Most Norwegians, on the other hand, hated it — they did not appreciate being vilified and saw the portrayal of Quisling as an attempt to whitewash the most infamous traitor in the history of their country. Its accuracy was criticized by figures from occupation-era Norway, with several outright calling it a falsification of history. One of them, Sverre Løberg, was sued for slander by its Norwegian translator... and ended up acquitted.

    Live-Action TV 
  • Due to differences in attitudes as opposed to the source material of Super Sentai, Power Rangers has some elements that don't gel with American audiences:
    • The general rule is that Super Sentai works best while being silly, and Power Rangers works best when being serious. For this reason, the serious Chouriki Sentai Ohranger caused Super Sentai's popularity to take a bit of a dive; but the silly Gekisou Sentai Carranger managed to Win Back the Crowd.note  Inversely, when Ohranger was adapted into Power Rangers Zeo, it was and is a season that is well-regarded among Power Rangers fans; while when Carranger was adapted into Power Rangers Turbo, ratings got so low that the creators decided to wrap up the series on a lower budget the following year. But Power Rangers in Space, at the time the darkest and most serious season, was so popular that Power Rangers got renewed and is still going.
    • Villains also get different treatment. Kyukyu Sentai GoGoV had villainess Denus, who is well-regarded in Sentai fandom. When it was adapted into Power Rangers Lightspeed Rescue, her equivalent, Vypra, was hated by fans, thanks in no small part to the X-Pac Heat leveled against Jennifer Yen. It got to the point where Linkara, in his review for his History of Power Rangers series, all but cheered when Vypra was absorbed into Queen Bansheera later in the season.
    • Kaizoku Sentai Gokaiger is well regarded among both Sentai and Ranger fans, while its American counterpart Super Megaforce is loathed by Ranger fans.
    • Zyuden Sentai Kyoryuger was not well received because it seemed to push aside its rather larger Ranger cast to focus on the Red Ranger. Meanwhile, Power Rangers Dino Charge was very well received by Americans, having had a few years to work out the problems of the series and having had the first exclusive villain in ages. It also worked to shoot its own footage.
      • Even more so in Korea where Dino Charge's adaptation was so popular that a brand new series was commissioned with new villains and zords just to continue it.
    • Samurai Sentai Shinkenger and Power Rangers Samurai are a bizarre case... Americans and Japanese alike love Shinkenger... but the Americans despise Samurai despite (or because of) the very similar plot. The Power Rangers series is typically given a pass because it was rushed to production and getting it over with was part of the problem with Super Megaforce.
    • Engine Sentai Go-onger was never really loved in Japan and is seen as mediocre. Its American counterpart, Power Rangers RPM, is one of the best-loved series in the franchise. RPM had a lot got a lot of mileage out of pointing out some of Go-Onger's unusualness, such as the mecha designs, and poking fun at some of the franchise's tropes altogether.
    • Among American fans, Uchuu Sentai Kyuranger is getting a nice following. Much of the love is owed to it being Super Sentai's first Space Opera plot, which has been the basis for two very successful Power Rangers adaptations. It's helped that this is also the first time that Super Sentai production has worked with Power Rangers production and that, despite the team starting at nine members, each of them seems unique, fleshed out, and fun. Until Hasbro took over the franchise, Bandai was apparently looking to skip Dobutsu Sentai Zyuohger in favor of adapting Kyuranger for the next season of Power Rangers, since Zyuohger had a mixed reception among US Sentai and Ranger fans; and the tie-in toyline may be more appealing with a motif of space travel instead of blocky animals.
  • Somewhat tying into the general examples of Japanese character popularity above, Kamen Rider fans in the West tend to dismiss Wataru Kurenai (and, to a lesser extent, Ryotaro Nogami) for being 'weak' and 'unmanly' compared to many of the other protagonists in the franchise. Japanese fans of Kamen Rider Faiz don't seem to mind Masato Kusaka. American fans almost universally despise him for being a Jerkass Devil in Plain Sight.
  • While the practice of adapting manga series to live-action medium is nothing new in Japan, movies and TV shows based on manga series tends to get this reaction from anime fans in North America. Even went far as blaming this to the company that licensed the shows overseas rather than production companies behind them. (Hence, the "Netflix Adaptation" memes).
  • When MTV's American remake of Skins was cancelled and overall declared a critical and ratings flop, the creators invoked this, claiming that Skins was a "global phenomenon" that just wasn't catching on to Americans for whatever reason. But in fact, the original British show does have a strong cult following in the U.S., comparable to its popularity in other non-European countries, as the US remake was criticized for beings too Bowdlerized compared to the original UK version, even with MTV giving it a TV-MA rating.
  • M*A*S*H is very much not liked in South Korea. This is based on the view that it portrays Korea as a war-torn, third-world country inhabited by prostitutes, criminals, and primitive morons. Many Koreans seem to see M*A*S*H as a symbol of everything that is wrong with Western portrayals of their country, which is now a first-world democracy and economic powerhouse.
  • Jeopardy! is one of the most popular game show franchises in America. The original version ran from 1964 to 1975, and the current version has been on the air continuously since 1984, usually paired with Wheel of Fortune. However, unlike Wheel and most other American game shows, foreign versions of Jeopardy! are far fewer in number, and far less successful across the board.
    • Sweden would be an exception to that, where a version of "Jeopardy" was a big hit for several years.
  • Everybody thought Dallas couldn't miss in Japan, but it did—just about the only country in the world that could show it at the time where it did.
  • Although the ITV show Upstairs Downstairs was very popular in the United States, two early characters – Sarah the housemaid and Thomas the chauffeur – didn't share in the general plaudits. American viewers, who were at the time generally unaware of the "plucky little Cockney sparrow" trope but very aware of the "blackmail is sociopathic" trope, did not share British audiences' appreciation of the two, to put it mildly. Even today when shown in repeats, some American stations leave out most or all of the Sarah and Thomas episodes.
  • Love/Hate is tremendously popular in in its native Ireland, with one episode enjoying an unheard of 53% audience share. In Britain when it began airing on Channel 5, it attracted middling at best viewership figures.
  • The Muppet Show:
    • The Swedish Chef is not liked by many Swedes, who find him insulting, or not Swedish. This is because of the Muppet not speaking actual Swedish, but a completely unrelated mixed-up language (officially termed "Mock Swedish") in an accent that is not Swedish either. The Swedish Chef is basically a polarizing phenomenon in Sweden. Swedes either feel annoyed by how inaccurate a portrayal he is, or laugh at him for the exact same reason.
    • While Sesame Street is considered one of the most popular children's shows of all time in the U.S. and has spawned many international co-productions (with local material and dubbed American bits), the success of the exports varies. In particular, the United Kingdom never really embraced the show, mainly because of a bizarre 1971 incident where the head of children's programming at the BBC rejected the show in a very public way, accusing it of "authoritarianism", "indoctrination" and "middle-class attitudes". Eventually it aired on ITV and Channel 4 and gained a modest following, along with the universally kid-friendly Play With Me Sesame and direct-to-DVD programs. However, the new Furchester Hotel show on CBeebies has been doing very well.
    • The urban American feel that kept it from being successful in the U.K. also made it hard for it to catch on in Canada. While the show was eventually re-worked as Canadian Sesame Street (with locally-produced segments interspersed with American episodes) and Sesame Park (an entirely local co-production), the original series was considered too grungy (particularly Oscar the Grouch, though his presence in later Canadian commercials suggests that perspective has changed). Canada has also historically had its own relatively large and domestically popular children's television presence, spawning such icons as Mr. Dressup and the Friendly Giant.
    • In India, it was given a local version named "Gali Gali Simsim", (Street Street Simsim, a literal translation), which sounds more or less close to Sesame Street, the show was mildly popular among young audiences, only Elmo, Grover and the duo of Bert and Ernie retained their names and some screen time, others were either created from scratch. The show ran for five seasons.
    • However, it was in Japan that the show was particularly panned, as the long-running dub of the original American series was replaced with a local dub that did little to translate the series' Western roots to Japanese audiences.
  • The TV miniseries Unsere Mütter, unsere Väter, about five friends in World War II, was such a hit (albeit NOT uncontroversial) in Germany, that it was turned into a theatrical movie, Generation War, and distributed abroad. However, it had difficulties finding an audience outside of Germany, given that it's a movie that portrays Wehrmacht officers in a sympathetic light. It was particularly unpopular in Poland, as the series depicts the Polish resistance as anti-Semitic slobs.
  • This type of reaction was the main problem Venezuelan network RCTV faced when they tried to sell their soap Por Estas Calles to the international market. In the country, the soap was so popular and the characters so loved, it was extended and extended until it finally ended after three years.note  But the reason the soap was so popular was because it was basically a Roman à Clef of the current state of the country; when broadcast in other countries, they lacked the key, and since the romance plot was very slow and the overall atmosphere so bleak, the viewers did not care. Every country that broadcast it cancelled it after mere weeks.
  • House of Anubis is widely disliked in the Benelux countries. The main reason is that the show it was based on, Het Huis Anubis, had already lots of fans there before Studio 100 (which only publishes works in the Benelux due to their limited budget) decided to give the rights to Nickelodeon to make their own version of the show. When Nickelodeon announced to those countries that Nickelodeon was going to air it, many looked forward to the show in the hope that it would be Het Huis Anubis they all knew and loved, but what they ended up getting was a show with a completely different cast of characters, plotlines etc. and many disliked the (in their eyes) Flanderization and Cultural Translation (or de-Flanderization, as it were) that was done.
  • Seinfeld failed in Germany while being successful in most of the world. Main reasons are Executive Meddling (the stand-up segments were left out; the dubbing had some weaknesses), Hype Aversion and the fact that the kind of humor just did not catch on well. In its initial run, it only lasted one season.
  • Many international Trekkies dislike the Star Trek: The Original Series episode "The Omega Glory" because of how intensely it uses the Eagleland trope, culminating with Kirk reading the U.S. Constitution aloud. Not that there aren't a significant number of Americans who share the same view.
  • MTV has been a phenomenon everywhere in the world, with the exception of France, where it is niche at best. This mainly has to do with the RTL group having already launched a music channel in France under the name of M6, which fulfilled the role that MTV already had and that launched on 1 March 1987, while MTV only launched there on 1 August 1987. Add in that US imported cable channels generally have limited access to the French audience (you already need a quite expensive contract to watch Nickelodeon or Disney Channel in that region) while M6 is available even in the cheapest cable contracts and you understand why MTV never had success in that region. Not only that, MCM is more or less seen as a French version of MTV and is actually more popular than MTV France.
  • There are plenty of Canadian television dramas that have aired in the U.S., but the first one that was actually is considered a hit in America is ironically the least-viewed of them all. This was also averted for Schitt's Creek, which is just as big as it is in the US as it is in Canada.
  • Canadian Kid Com Some Assembly Required got an OK reception in Canada, but got trashed hard by American audiences who first heard of the show through Netflix. It doesn't help that their previous live-action kids' show, Richie Rich, got just as bad a reception, if not worse.
  • Empire was a massive hit in the United States when it debuted, but flopped in international sales, even in Canada, where most American hits succeed (though being Screwed by the Network in Canada may have played a role). There have been a number of claims to why, but most comments say that subject matter (about the cutthroat hip-hop industry) doesn't really appeal to international audiences.
  • Phone-in Game Shows may be a polarizing concept in many parts of the world, but in Flanders, they are universally considered to be a blatant case of fraud, only meant to extort money from unsuspecting viewers, since an episode of the Flemish investigative journalism series Basta exposed the story to everyone. Hell, the two television networks that aired them refused to do so afterwards because they feared a public backlash.
  • Survivor was an absolute phenomenon in the United States in the early 2000s and widely credited for sparking the reality television craze there. Even two decades since its debut, it's still one of CBS's primetime hits and started getting very popular in Australia, whose own version is a favorite with superfans in the US. However, the show never caught on in the UK, despite that country's massive market for reality TV. The two British Survivor seasons both flopped, and there hasn't been any attempt to reintroduce the series to the country ever since. For the most part, Britain sees Big Brother as the originator of the "social chess" reality television series instead, causing Survivor to stand out more for its aesthetic gimmicks than anything else.
  • The American version of Big Brother, meanwhile, premiered to much hype but was quickly criticized as boring, largely because of Values Dissonance affecting the voting. While British viewers kept around the most controversial contestants for their entertainment value, American viewers were shocked by their behavior and voted them out first, leaving a cast of fairly bland housemates. It was only in the second season, when Big Brother US changed the rules to be more like Survivor (i.e. the housemates vote each other out), that it found its footing.
  • The Ultra Series suffers very badly from this almost everywhere outside of Japan. In its homeland, Ultraman is a massive pop culture icon, a Cash Cow Franchise, and an influence on many creators. Elsewhere, it's viewed as idiotic and cliché crap, with lots of negative comparisons to Mighty Morphin' Power Rangers and Mystery Science Theater 3000 films. A lot of this is due to the Values Dissonance, especially with monster design, but also because of Tsuburaya Productions' limited distribution caused by a long-running legal dispute with the Thai company that started the problem, Chaiyo Productions, over the international rights to the franchise.
    • Nowhere near as bad as mainstream perception of the franchise, but the Ultra Series isn't as big in the western Toku fandom as other major franchises like Kamen Rider, Godzilla, or Super Sentai. It still has lots of fans amongst western Toku lovers, but usually at second-rate, with Gamera often getting more attention. But in Japan, the Ultra Series is enormous, even dwarfing the others in sheer popularity at times (particularly Gamera, which though not obscure is not quite as popular in Japan when compared to the rest).
  • When The Noddy Shop was aired in the United Kingdom, not only did the show attract a lot of flak because of it being a re-packed version of a beloved British series and having what they considered terrible acting and music.
    • This also applies to any other Importation Expansion show based off a British show, since British fans will often think it's inferior to the show its adapting. Besides The Noddy Shop, the most noteworthy example is Salty's Lighthouse, to the point where it's a Running Gag in the Thomas the Tank Engine fandom to deny that the show exists because of it being a Macekre of Tugs that mixed up clips from episodes that were unrelated to each other, changed character names and even censored some scenes.
  • While Barney & Friends was mega popular in North America, in other parts of the world it wasn't as big. It's notable in the United Kingdom and Australia, due to those markets already being crammed with various local preschool shows. In the case of Australia, they already had a similar show, Here's Humphrey, that pre-dated Barney by almost 30 years by the time it premiered and had an established viewerbase.
  • While Chernobyl received universal acclaim around the world for its depiction of the Chernobyl disaster, its reception in Russia was more mixed. Many nationalists and the pro-Putin state media openly lambasted the series as American propaganda for depicting the Soviet government as corrupt and incompetent – prioritizing its ideology over facts — which contributed to the disaster and bungled the response. On the other hand, many survivors and responders, including retired General Nikolai Tarakanov, have praised the series for its startling accuracy and heroic depiction of the emergency response crew.
  • Sex and the City was considered to be very daring and groundbreaking for addressing issues of sex and relationships that other shows hadn't discussed before, especially from a female standpoint. Other viewers in the US watched it because they felt it was hot and saucy. In Europe the show was appreciated more for its comedy and camp value, because the fact that the main cast always have sex without removing their bras or with sheets covering up their genitals still comes across as very prudish for a show with the word ''sex'' in the title.
  • Tokusatsu is considered something of an art and a longtime tradition of both film and television in Japan. In most other parts of the world though (especially in places like Eastern Europe, where exposure was nonexistent until after the Cold War), it's usually ridiculed as "bad", "primitive", "cheap", or "lazy" and often called "Power Rangers type shit that should be abandoned for Hollywood CGI". Values Dissonance is strongly at play here due to the importance of tradition in Japan and that the priority of Toku is artistic interpretation, not realism; not to mention that Japanese movies and TV shows are usually made on comparatively lower budgets than American ones. Ironically, current Toku series do employ CGI, but only in parts where some moves would be impossible to be replicated by a suit actor.
  • The Netflix series Emily in Paris, about an American woman employed by a French marketing firm, was well-received in the US but flopped in France, where critics and viewers felt that it relied too much on French stereotypes and a Mighty American storyline.

  • While pinball was a huge hit in the United States, and is still seen as an icon of American arcades today, it has had a cult following at best in Japan, where pachinko is much more popular.
  • Pachinko is as popular in the US as pinball is in Japan. For a lot of people in the US, playing pachinko means about as much as watching it, or rather, watching balls roll towards their destination. This only worsened in 2015 when Konami, in the midst of their various scandals, announced a Fanservice-laden pachislot spinoff of Castlevania and recreated an iconic scene from Metal Gear Solid 3: Snake Eater to promote a Metal Gear Solid pachinko machine shortly after Metal Gear Solid V: The Phantom Pain's release (which was laden with Executive Meddling that, among other things, resulted in Metal Gear series creator Hideo Kojima leaving Konami), which seriously soured Western gamers' opinions of pachinko, causing them to condemn any and all pachinko spinoffs of video games going forward.
  • Between 2007 and 2009, Stern attempted to market pinball to China. It ultimately flopped due to a combination of using franchises the Chinese were not familiar with (such as Big Buck Hunter Pro and the NBA) and a lack of familiarity with pinball as a whole, which to the Chinese equates with "not interested".
  • For some reason, Gottlieb's Bone Busters was roundly rejected by players in France. The backlash was so bad that Gottlieb produced 200 kits to convert Bone Busters tables into Amazon Hunt III instead.

  • When it comes to soccer, the British team behind Men in Blazers love to play with this trope, seeing how soccer is slowly starting to take off in the US. One segment featured a Major League Baseball player tried to convert the rules of soccer into baseball for the confused audience.

    Pro Wrestling 
  • Hulk Hogan was one of if not the biggest WWF star of all time. However, when he brought the flexing, no-selling, All-American gimmick to WCW, fans were lukewarm at best at first, and progressed to booing him and throwing his merchandise back into the ring. He got over with them as the villainous Hollywood Hogan, but when he returned to Hulk Hogan, the fans still weren't impressed. This was largely because most WCW fans were fans of the old NWA and hated the WWF's campy, story-driven style compared to the NWA's hard action.note  Ironically, the WWF/E tried to bring Hogan back as Hollywood in 2002 but had to revert back to Hulk Hogan because their fans refused to boo him, even after he plowed a truck into an ambulance that had The Rock inside it.
  • Shawn Michaels, in large part due to his role in the Montreal Screwjob, isn't exactly a popular figure in Canada. To the point that when Michaels would make an in-ring appearance in Canada in his heyday, thousands of normally placid Canadians would be howling for his blood as soon as his music hit. Shawn Michaels: arch nemesis of Canada. The only time it didn't apply was whenever he was in DX, because it gave him uber-Popularity Power.
  • For whatever reason, Ken Shamrock was nearly booed out of whatever Canadian city in which he was wrestling.
  • Samoa Joe has caught surprisingly negative reactions from Japanese fans, who see him as a ripoff of many Japanese wrestlers from the '90s. It doesn't help that they tend to dislike TNA's usage of Kazuchika Okada as Samoa Joe's second banana. Ring of Honor would take advantage of this by having Joe be the most prominent member of its roster to call out the Pro Wrestling NOAH guys. However, Samoa Joe was well received by the Japanese fans in Korakuen Hall when Wrestle-1 presented TNA Bound for Glory in 2014. You can actually trace the point where they (slowly) started warming up to him in a match against Mitsuharu Misawa seven years prior, which at the time mostly made headlines for the negative reviews it got.
  • Bryan Danielson (Daniel Bryan) doesn't really get over in Mexico, not even alongside Konnan, but is very popular back home.
  • Fans in the U.S. really don't like Kenzo Suzuki, or KENSO as he is known in All Japan Pro Wrestling, after he had an unimpressive run in WWE. That he was still a relative rookie then doesn't get him any slack.
  • Bob Sapp was a HUGE sensation in Japan both in professional wrestling and Mixed Martial Arts, to the point that his hype successfully survived multiple bad performances in the ring and lasted more than his prime activity in those sports (in 2016, when his boom had faded a loooong time ago, he was still the highest point in the ratings of the first Rizin event, which had Kazushi Sakuraba and Fedor Emelianenko in its card). The rest of the world, however, just saw him as the living Japandering he probably was.
  • Brock Lesnar has always been fairly popular in his home country (for the most part). In Japan, Lesnar's reign as IWGP champion is among one of the most reviled in the belt's history, and the dislike just barely eclipses the failures of memories to even recall it. It doesn't help that Lesnar's reign started with a triple threat victory, which New Japan's fans didn't take to, then was punctuated by a relaxed schedule that would become characteristic of Lesnar, unspectacular matches and a refusal to drop the belt. Fans also linked his presence to Antonio Inoki's son-in-law and a desire to copy what All Japan had done with Goldberg.
  • Bad Luck Fale of Bullet Club. He was trained in New Japan's dojo for a specific role. To be a giant gaijin who would impress the audience with his nigh immovability. He's seen as an exotic juggernaut by the Japanese fans for his Tongan ancestry and the contrast he provides as "under boss" to Prince Devitt\Karl Anderson\AJ Styles\Kenny Omega/Cody Rhodes. He was given a simple role and played it to perfection. To fans in the US, particularly those tired of big, good looking but slow finesse lacking guys, those sort tuning into New Japan for the famed strong and or super junior styles, Fale is an eyesore.
  • Toru Yano of CHAOS is a skilled down on the mat wrestler, but not in any particular way that really helps him stand out from the many others of New Japan. He, in fact, had suspicion that he would be doomed to mediocrity, at least as a singles competitor, and took to drowning his sorrows until it more or less was his gimmick and he became an almost always playful, smiling drunk. To long term fans, especially those in Japan, who think NJPW has often been too serious for its own good, Toru Yano was a welcome, if not always embraced source of comic relief. To foreign fans looking for more serious pro wrestling, Yano Toru is neither embraced nor welcomed. That said, he was accepted warmly by the live crowds when he debuted in Ring of Honor.
  • Chief Wahoo McDaniel never really got over with Japanese audiences.
  • Dan Severn is viewed as a great amateur wrestler and helped pioneer the concept of Mixed Martial Arts with the UFC and is considered a legend there. The WWF tried to capitalize on this and brought him in. However at this time, WWF fans were interested in character first and talent second. Dan really had no character, was met with severe apathy from the fans, and was quickly released soon after.

    Tabletop Games 
  • Chess is popular in most of Asia, with the notable exception of Japan, where it has never caught on; the Japanese prefer Shōgi.
  • Due to the differences in format between cards in the OCG (Official Card Game, a term given to cards released in Japan and Korea) and the TCG (Trading Card Game, a term given to cards released everywhere else) in Yu-Gi-Oh!, it is common to see a deck archetype being successful in the OCG format that never catches on in the TCG format.
    • The codifier for this has to be the TG Agent archetype. The format is so successful in the OCG format that some of its key cards are banned (and for them, rightfully so). In the TCG almost nobody plays it, to the point where people of the TCG wonder why those cards were banned and found it to be strange and unfair.
    • Dino Rabbit, on the other hand, dominated in the TCG but mostly struggled in the OCG against the more popular Inzektors and Wind-Ups. In its case, this was due to a rules difference: the TCG still used the rules for priority (letting a Summoned monster activate its effect immediately upon being Summoned) at the time. Dino Rabbit relied heavily on this rule to work, which made it far trickier to stop in the TCG than in the OCG.
  • Dungeons & Dragons never really caught on in Germany. By the time it got localized, it already faced competition from other games, including local productions designed by import gamers. Much of the market was ultimately captured by The Dark Eye, original publisher Schmidt having made a big effort to market it to mainstream audiences.note  D&D's fame is generally limited to the various PC games it spawned.
    • Similarly, D&D isn't popular in Poland, having originally lost to Warhammer Fantasy Roleplay. Things changed in the 2000s thanks to the localization of Third Edition, but language barrier coupled with low availability, as opposed to WFRP being readily available in translation, held it from being popular for quite some time.
  • Shadowrun lost out to Cyberpunk 2020 in Poland, despite both games being localized and supplemental material for both being released. Apparently, the mix of Urban Fantasy and cyberpunk genres put people off.

  • EMV chips for payment cards, despite becoming common in Europe and Australia in the 1990s, still have yet to achieve widespread use in the United States, with many major banks taking as late as the 2010s to start offering chip-embedded cards to customers, in spite of magnetic stripe readers being notorious for vulnerabilities that allow card thieves to easily obtain and abuse unsuspecting users' card info. The cost to upgrade and activate chip readers (many businesses will have terminals with chip readers disabled and taped over) are a couple reasons for this; it's become something of a meme for customers and retail workers to get headaches trying to figure out how they should use their card and instruct customers on which part of the terminal to use, respectively. Retailers only started moving toward EMV when the card companies put them on the hook for fraudulent charges unless they upgraded. Needless to say, Europeans are nonplussed whenever they have to make payments in the United States due to having to go back to swiping their cards, especially with all the vulnerabilities of magnetic stripe readers (compared to EMV) that make card fraud so common in the first place.
    • This began to change in 2015. In October of that year, a change in the law went into effect that required merchants to eat half of the costs of any fraud that resulted from a man-in-the-middle attack that stole the card numbers from their systems (previously the banks had to absorb the costs). Major retailers began requiring customers to use the chip reader if they had chipped cardsnote , leading to all sorts of whining about why this was necessarynote  and that it took longernote . By 2018 it seems that people have gotten accustomed to this and the backlash has faded.

      Of course, to be fair to Americans, the US had jumped out way in front on credit-card security by the late 1980s, when the existence of a real-time network to verify cards and their credit status made the system much less fraud-prone. Americans thus never saw the credit-card system as much of a fraud risk (provided you took care of your own card and its security code) as Europeans always had.
    • This is starting to repeat with contactless ("PayWave") cards in North America. This is largely due to tinfoil hatters claiming that it would be easy for hackers to clone their card and commit identity fraud without even touching their wallet, and is largely backed by studies by "privacy groups". Compounding to things is the competition from phone-based NFC payment systems, which is faring much better in the west, although the availability of multiple, incompatible standards (Apple Pay vs Samsung Pay vs Android Pay) does complicate things a little.
  • Nokia. In most of the world, they have a sterling reputation for selling billions of the most advanced and reliable cell phones ever made. But in North America, they are only remembered for some rather unimpressive, albeit Tonka Tough, low-end devices. Blame carriers, who wanted to remove features from their high-end phones to sell piecemeal (such as disabling wi-fi to make people use their expensive data plans) or develop bespoke phones for the likes of Verizon which are completely different from those used in Eurasian regions (BREW instead of Java ME as well as the CDMA wireless standard), and shunned Nokia when they refused to compromise. Symbian, a smartphone OS co-maintained by Nokia, wasn't as popular as it was in the rest of the world either.
  • The French automotive industry, while still very prominent in most parts of the world, has been completely nonexistent in the US and Canada since the early '90s. Although the big three French carmakers (Peugeot, Citroën, and Renault) were respectively discontinued at different times and for different specific reasons, the biggest factor for their loss of popularity in North America is that by the late 20th Century, French automakers had earned a lackluster quality reputation compared to German and Japanese brands, leaving them in unprofitable competition against a fierce domestic market. Citroën specifically was destroyed because their SM model did not meet design regulations particular to the US. Although some Nissan models sold in the US and Canada contain parts manufactured by Renault, none of the French brands have consolidated any coherent attempt to return to those countries concretely since they first bowed out.
  • Video telephony. In the US, the technology has failed to catch on with consumers and is widely only used in businesses- largely due to accusations of invasion of privacy. However, in Japan and South Korea, video-calling is huge. This is largely due to the social protocols and culture of the two countries, who see eye-to-eye contact while talking extremely important. The technology would only become more widespread stateside with the COVID-19 pandemic and the scramble toward telework making such conferencing necessary.
  • High Speed Rail in the US. Because cities in the US are so spread out in combination with lower population density in many areas as opposed to Europe and Japannote , most people taking trips longer than a reasonable driving distance will fly rather than taking the train. Consequently, most of the intercity rail lines in the country use slower diesel engines. This is one of the reasons intercity rail as a whole fell into this in America in favor of automobile and air travel after World War II. There is one exception: Amtrak's Northeast Corridor on the East Coast, where there are several major cities relatively close together: New York City, Philadelphia, Washington DC, and Boston, which are served by the Acela. Even then, the Acela is slower than the TGV or Shinkansen and caters to business travelers, as it has no coach class.
    • The story is more complicated than that. In the case of Europe/Japan, World War II destroyed much of their infrastructure, including complex rail systems dating to the 19th century. In rebuilding, these countries were more able to build trackage and equipment that enabled much faster railnote , leading to advancements in high-speed rail. The US, both completely untouched by the war and a nation whose foundation was the supremacy of private property, lacked the ability to start from scratch in terms of trackage due to the vested interests in the freight rail business. On top of this, in the aftermath of World War II, car companies, riding high on being the Arsenal of America, leveraged that to their political and economic favor by buying up rail and trolley car companies, only to shut them down years later. Finally, political interests in the US that enabled capital flight to the suburbs in that period favored the automobile over rail because the former justified property sprawl more easily. They were helped by President Eisenhower, who sought to recreate the Autobahn in the US for "national security" purposes.
  • Mechanical sawmills are as old as the Romans and had a period of rapid development in Western Europe from the 16th century on. In the early 17th century they were introduced to the British colonies in America by German immigrants, yet they remained so conspicuously absent from Britain itself that an Urban Legend arose, claiming that sawmills had been banned by an Act of Parliament at the request of sawyer guilds. Despite several authors denouncing that no such Act existed already in the 18th century, the British continued to rely on Medieval two-man saws to cut timber into the early 19th century, much to the bafflement of modern historians.
  • Sony's MiniDisc format was popular in Japan and to a lesser extent in Europe, but failed to catch on outside of a cult following of audio professionals and audiophiles as a more portable, recordable alternative to the Compact Disc. This has been attributed to several reasons: the lack of prerecorded minidiscs compared to CDs, the lack of stereo component recorders/players (most were portable), problems with ATRAC compression, and the high costs of players/recorders and blank media. Despite improvements in playback and smaller devices, the advent of CD burners, anti-skip buffers in portable CD players (a feature pioneered by MiniDisc), and finally the arrival of digital music players like Apple's iPod made the format less attractive to American consumers, though MD players did attract a cult following for their small size and the durability of the media, as the discs were enclosed in plastic cases similar to 3.5" floppy discs. They were largely relegated to professional work as an alternative to DAT for field recording and in recording studios, though even these were also superseded by solid-state recorders and computer recording software.
  • The printing press in the Ottoman Empire. While it is a myth that it was banned there for religious reasons, it really was very slow to catch on and it was used only by non-Muslims for a long time, such as Iberian Jews (who introduced it in 1493), Armenians (who adopted it in 1567), and Greeks (ditto 1627), all of whom published in their own languages rather than in Turkish or Arabic. Muslims were reluctant to adopt the printing press because they held calligraphy as an art and considered printed books crude in comparison to handwritten copies. It wasn't until 1727 when the first Muslim printing house in the Ottoman Empire was created (although there had been imports of Arabic-printed books from the West in earlier centuries), and religious books continued to be copied by hand only until the reign of Mahmud II (1785-1839).
  • The Germans and Austrians do not like Google Street View. Given both countries' history with authoritarianism, they consider the right to privacy to be sacrosanct (then-West Germany passed the world's first data protection law in 1970), and Google faced an enormous backlash when its Street View cars went out to photograph every street in the country, with people frequently petitioning for their homes to be blurred out in Street View — demands that Google was legally required to oblige, unlike in other countries. Google eventually just gave up in 2011 after only doing the twenty largest cities in Germany, and after having its Street View cars temporarily banned from Austria after it was learned that they were lifting data from unencrypted WiFi networks without authorization. (Street View eventually returned to Austria in 2017, but under very stringent rules; to this day, only a few places in Austria are covered.) This map illustrates it perfectly, with Germany and Austria conspicuous in their lack of coverage in Google Street View.
  • This trope hits Apple computers really hard in the rest of the world outside US, averting Everyone Owns a Mac scene there:
    • Especially in developing countries, for example in Mexico: Not only Macs are more expensive in Mexico compared with even branded PCs (not to mention assembled PCs) the only places in that country you will find someone using Macs are music studios, TV and radio stations and universities and even in Mexican universities, the use of a Mac is severely restricted for specific degrees and work niches (like audio and video editing) and many times you will need permission from higher-ups for using one for something not related with its intended use, and sometimes you will need permission to even touch one. Because Macs are so expensive in Mexico and letting anyone who normally only knows how to use a IBM-compatible PC it's not a good idea. Just to get an idea, a regular, assembled, IBM-compatible PC with features similar to those of a Mac costs between 5,000 and 15,000 pesos in Mexico (Approximately 260 to 800 dollars to 2018, including taxes, since Mexico uses the value-added tax regime). On the other hand, a Mac costs in Mexico, already with taxes included, between 15,000 to (depending on the model, which in this case would be the iMac Pro) 117,000 pesos (about 800 to 6,240 dollars at 2018). No wonder that many places restrict the use of these computers due to their high price, and the fact that Macs are integrated computers, the only way to fix or replace one is to take it with the manufacturer, at a very steep cost, while for a IBM-compatible PC the price of repairing one is relatively low, for reasons more than obvious.
    • Even in developed countries like Japan, the prices for a Mac are insanely expensive compared to Windows-based computers. While Macs are ubiquitous in Western film and TV production, in Japanese anime and manga studios, as well as other media development in the rest of the world, the staff are happily using Windows PCs there. If you visit an Apple Store in Japan, the staff will be overwhelmingly American, since tourists from the US are their primary demographic.

  • Cirque du Soleil troupes have travelled well over most of the world, but there are two countries in particular that it has struggled to appeal to.
    • France: For all the jokes about the "Frenchiness" of the company that originated in Quebec, after an initial, critically-roasted visit to Paris in 1990, Cirque didn't bring another show to the country until Saltimbanco in 2005. The books 20 Years Under the Sun and The Spark point out that circus has been a staple of French entertainment for so long that a) Cirque's style wasn't particularly new to them and b) it just takes a lot to impress critics there with so much competition.
    • China: After 30 years, only three tours have even made it to mainland China: Saltimbanco, Quidam, and Michael Jackson The IMMORTAL World Tour. (Another show, Alegría, visited Hong Kong in addition to the first two.) An attempt at a non-touring production there, ZAIA, limped through a four-year run in gambling resort mecca Macau, consistently playing to half-full houses. Even Michael Jackson's enormous international popularity couldn't keep IMMORTAL World Tour from completely bombing in its Bejing and Shanghai stops (selling, respectively, only 28% and 41% of its available seats according to Wikipedia); that the show used a literally Banned in China image of the Tiananmen Square "Tank Man" in a montage didn't help. The company sold an 80% financial stake of itself to a Chinese firm in 2015, however, partially with the intent of finally gaining traction in the country, which will involve becoming more competitive with native troupes and overcoming Values Dissonance: As a New York Times article discussing the sale explained, Cirque's tendency towards Excuse Plots about The Everyman's journey (ZAIA was an example of such) don't play well to Chinese audiences who prefer to enjoy large, precision group numbers (think the 2008 Olympic opening ceremony).
  • Believe it or not, even William Shakespeare was subjected to this for a time. For roughly two centuries, the French dismissed Shakespeare as a hack, and viewed the English embrace of him as one of their greatest writers as proof of England's boorish culture and lack of sophistication (and, to be sure, even by today's standards there is much in Shakespeare's plays that would generally be considered lowbrow). Voltaire, for one, spoke of "dreadful scenes in this writer’s monstrous farces, to which the name of tragedy is given," describing Hamlet as being about "drinking, singing ballads, and making humorous reflections on skulls". It was only in the 18th century when translations of Shakespeare became successful in France (the first performance of Hamlet was in 1769), and even then, it took longer for his comedies to catch on.
  • Disney Theatricals has several blockbuster Broadway musicals to its credit, and they tend to do well internationally – but across The Pond in the U.K., the West End has not been quite so hospitable. Beauty and the Beast ran for over 13 years on Broadway, but only managed a little over 2½ years in London even after winning the 1998 Olivier Award for Best New Musical. Mary Poppins began its life in the West End as a co-production with super-producer Cameron Mackintosh, yet ran for barely over three years while the subsequent Broadway staging ran for over six, only closing to make way for Aladdin. One reason for Beauty and the Beast underperforming was that, to the eyes of Brits, it was little more than a glorified, sentimental Pantomime, a concept virtually unknown in the U.S. but a Christmastime tradition in theatres across the UK. Why take the time and expense to see a Disney fairy tale, when you can stay home and check out a local fairy tale farce instead? Disney has only seen one real success story in the U.K. thus far — The Lion King has been running in the West End since 1999.
  • The Gondoliers, Gilbert and Sullivan's most unabashedly royalist operetta, was one of their most popular in England but never had much appeal in the U.S. except to serious G&S enthusiasts. One highly-promoted American production, according to George Jean Nathan, gave the show the rueful nickname "The Gone Dollars."
  • The Thai deeply, truly, sincerely hate The King and I. Seeing how both Mongkut and Chulalongkorn are revered national heroes, that is quite understandable. Every film adaptation has been banned outright in the country.
  • Chess didn't play well in Thailand. The song "One Night in Bangkok" in particular was considered so offensive as to get a government ban. Not shocking, as the lyrics depict the city as a giant Red Light District.
  • For some reason, RENT has never been popular in London, and attempts at bringing it to the West End have been met with mixed results.
  • Several people of Vietnamese heritage have spoken out against Miss Saigon. Most of the criticism revolves around the portrayal of Vietnam being a Wretched Hive, the sexism, and racism (Orientalism). Refugees and immigrants dislike the exploitation of their personal and communal trauma. Mainlanders object to the portrayal of the communists as a sweeping, evil army (for example, the comparison of Ho Chi Minh note  to the Big Brother during "Morning of the Dragon"). It's also plagued with an extensive case of Critical Research Failure regarding the Vietnamese culture and language, as well as allegations of Interchangeable Asian Cultures in the lack of Vietnamese actors in principal roles (the original Broadway/West End Engineer, Jonathan Pryce, is a white man wearing Yellowface to play an Eurasian character, and the most notable principal Kims have been Filipinas Lea Salonga and Eva Noblezada.)

    Theme Parks 
  • Disney Theme Parks
    • Disneyland Paris was initially despised by the French people, citing poor (by French standards, anyway) working conditions and seeing it as a sign of American cultural imperialism.
    • Duffy the Disney Bear:
      • He was a huge hit when he was introduced in Tokyo Disneyland. When he was brought to America in 2011, many wondered "Who the hell is that?" and "Why is he everywhere?" It appears as though America does not get the appeal of Mickey Mouse's little plushy friend, in part because he doesn't appear in any other Disney media (the animated canon, shorts, TV shows, etc.).
      • An earlier version of Duffy was Never Accepted in His Hometown: The Disney Bear was introduced at Walt Disney World's Downtown Disney in 2004 as an attempt at breaking into the Build-a-Bear market, but it came "pre-built", and the reception was lukewarm at best. Plans for his introduction at Disneyland (which had an actual Build-a-Bear store in their Downtown Disney by then) were cancelled, and he was pulled from Disney World (which now has its own Build-A-Bear store) just three years later.
  • Though Universal Studios Japan would later on achieve great success with domestic visitors, there were several behind-the-scenes-based attractions that upon opening with the park in 2001, failed to get a following with Japanese audiences. Said attractions included Motion Picture Magic, which was a show hosted by Steven Spielberg that detailed the history of the studio, Television Production Tour, which was Exactly What It Says on the Tin, and Monster Make-Up, a Japanese version of Universal's Horror Make-Up Show. These shows were incredibly short-lived, as unlike the visitors to the American Universal parks, people in Japan had little interest in seeing how Hollywood productions were made and wanted a more straightforward theme park experience. Motion Picture Magic was replaced with Shrek 4-D and Sesame Street 4-D, Monster Make-Up went through several temporary replacements before becoming Sing On Tour in 2019, and Television Production Tour became a location for a wide variety of special event offerings.

  • Barbie is one of Mattel's biggest Cash Cow Franchise even to this day. But Japanese sales of the doll are dismal, due to her grown-up nature, compared to the 11-year old Japanese doll, Licca-chan. The reason why is a pretty simple cultural difference: international standards for women push them to be physically attractive and sexually appealing, while Japanese ones value youthfulness, cuteness, and innocence.
  • Sindy, the UK's equivalent to Barbie, still sells particularly well in her native homeland, but an attempt to bring her to the other side of the Atlantic (with commercials starring Susan "Cindy Brady" Olsen) was a dismal flop.
  • Cabbage Patch Kids is simply hated by many Japanese fans, due to the doll's grotesque nature compared to the simplified yet cute face of the country's native Hello Kitty.
  • An interview with Forbes mentioned that while SH Figuarts' One Piece and Kamen Rider products are top-sellers in Japan, they barely register with customers in America (As these are mostly niche to some US fans). In the U.S., the brand's top sellers are things like Dragon Ball, Sailor Moon, Star Wars and Super Sentai (mostly because of the Power Rangers connection), albeit Star Wars is only through importing as its toys and SH Figuarts being No Export for You due to Hasbro's monopoly regarding the franchise's merch.
  • With the exception of video games, most major toy franchises in the rest of the world are niche at best in Japan (or outright hated, as is with the Barbie and Cabbage Patch Kids examples above). This is most likely because Japan already has a thriving toy industry full of huge domestic producers like Takara Tomy, Bandai, Banpresto, Good Smile Company (Makers of Figma and Nendoroid figures) and Sanrio, leaving little room for anything from other countries. A western franchise that catches on in Japan, like Star Wars or Frozen, will have stores predominantly selling merchandise made by these Japanese companies rather than imported goods.
  • My Little Pony hasn't been able to make a dent in Japan as it has in other countries. Japan has its own supply of home-grown girl's series such as Jewelpets and Hello Kitty that make it hard for international lines to become successful in Japan. Japan has had Japanese-geared G1 toys but they didn't help much, which may explain why Friendship is Magic never caught on in the region as mentioned below.
  • Though Transformers' fanbase spans the world, it isn't as huge in most countries as in the US or Japan, which affects the sales of fan-targeted series like Generations, formerly called Classics. Most European territories refused to sell them during the early 2010s, reasoning that children don't care for complex, expensive toys based on the old cartoon and comic characters they never heard of, and old-school fans are too much of a minority to justify the import. Distributors focused instead on toys based on currently-airing cartoon series or the live action films, as well as simplified, generic sub-lines, "1 step-changers", Kre-O or Construct-Bots. This mentality has slowly been changing, but given their niche appeal, Generations figures can still be hard to find, and large retailer chains keep focusing on the more kid-oriented merch.
  • While Gunpla (Gundam Plastic Models) are beloved worldwide, the Western audiences hate one subset of these models - the MS Girl-types introduced starting with the Super Fumina in Gundam Build Fighters Try as well as the Petitgguys. While they're big in Japan, Western fans really hate them, as they refer to the MS Girls as a "poor man's Frame Arms Girls" and believe that making them and all of their variants just prevents Bandai from making popular non-Build Fighters Gunpla, and thus, making the hobby look bad for outsiders as they don't want the first thing they find when someone says "Gunpla" to be tiny bear toys or 14-15 year old girls minus the older woman in skimpy clothing and barely covering armor (with the exception of the Chinagguy).

    Visual Novels 
  • Before The New '10s, the visual novel genre as a whole had trouble finding a foothold in the West. It was hard to find official localized versions of Visual Novels, and most Westerners who bothered to play or review them derided VNs for "having no gameplay," even though several anime based on VNs, including Fate/stay night or CLANNAD, were popular in the anime fandom. It didn't help that most official localizations of VNs were eroge, leading to the perception that VNs were solely for perverts. The advent of Steam and crowdfunding via Kickstarter meant that smaller publishers could take a chance on localizing visual novels. VNs with popular anime series, including Steins;Gate and CLANNAD received official versions to wide acclaim. The latter briefly outsold games like Civilization V and Grand Theft Auto V on Steam.
  • Many American fans consider "Turnabout Big Top" in Phoenix Wright: Ace Attorney - Justice for All the worst case in the entire Ace Attorney series, finding the wacky circus members annoying and unlikable and the supposed Sympathetic Murderer Unintentionally Unsympathetic. Japanese fans generally like it, and it came fifth in a Japanese survey of cases that "left the greatest impression" on fans.
  • Amnesia: Memories: Toma tops Japanese popularity polls, but a vast number of Western fans loathe him for his treatment of the heroine and how it's swept under the rug in his good ending.
  • In Corpse Party, Ayumi is usually on the top of the polls in Japan. In western audiences, she's the Damsel Scrappy. Yuka (Satoshi's little sister) is very popular in Japanese polls. For the West, she tends to be either despised or seen with apathy. This is because while in Japan her childliness is perceived as endearing, for westerns it comes off as grating and obnoxious (she's 14, but she acts much more like a toddler or a 9-year-old). The fact that she is in love with her brother is another blackmark in the West, but it's also one of the reasons she's so liked in the East.
  • Diabolik Lovers is a smash hit in its native Japan, but it's mostly loathed everywhere else, due to its attempts to fetishize Domestic Abuse and Stockholm Syndrome being seen as insensitive, among other things.

    Web Animation 
  • Red vs. Blue has had difficulty breaking into Asian markets. In particular, Japanese audiences have particularly expressed concern about Grif, whose laziness and irreverence for authority is very much out of sync with their culture. Which is quite ironic, considering that Japan loves RWBY, which was made by the same people.
  • RWBY: The animesque web-cartoon was initially well-received in Japan, however, Volume 4 was poorly received by Japanese fans. The Genre Shift away from high school anime cliches and the overall darker tone caused the series to lose many fans. While the shift is base-breaking internationally, the reception was more mixed compared to Japan's largely negative one.
  • Homestar Runner is decently popular in its native United States. In other English-speaking countries, it's not quite as popular; in non-English-speaking countries, it has even fewer fans.

    Western Animation 
  • In India, there was mass protest over Clone High's portrayal of Mahatma Gandhi as a womanizing party-freak and class clown, where in America he has achieved meme status. He wasn't actually meant to be the real Gandhi anyway, but a clone who acted that way because he had to live down the intense pressure put on him from being the clone of such a great man. Apparently for a lot of Indians, though, the irreverence in his portrayal was just a bit too strong. Alongside the fact that the show wasn't doing well in the ratings either, this ended up killing the series, as India wouldn't allow MTV to continue broadcasting there unless clone Gandhi was removed. For extra irony, a proposed third season would have eventually revealed that "Gandhi" was actually a clone of Gary Coleman and Scudsworth simply switched the labels by accident.
  • This has happened to the 2003 Teenage Mutant Ninja Turtles in Japan. While the 1987 Turtles were very popular back then, the Japanese audiences were expecting the newer Turtles to be like the 1987 Turtles and got Darker and Edgier Turtles instead. The newer cartoon didn't catch on and only 52 episodes were dubbed before it got canceled.
    • China, Hong Kong and South Korea also only dubbed the first 52 episodes of the 2003 series.
  • An in-universe example in The Critic when Jay's writing staff said the first two Ghostchasers films didn't do well in Italy (not saying much that Jay hated those films) after Italians discovered that the title translated to Your Mother Has a Hairy Back and rioted by throwing bricks and using Michaelangelo's David as a battering ram. Also, the Ghostchasers underpants didn't do as well in Mexico as hoped, but we don't get information as to why.
  • In the United States, Nickelodeon goes toe-to-toe with Disney Channel as the top performing kids channel, but in many countries, Disney Channel and even Cartoon Network are considered the more popular kids' channels, and Nickelodeon is distantly behind third (and often further, due to more public broadcasters in a number of countries often having their own channel for children). This is especially true in Denmark, Poland, Portugal, Italy and the United Kingdomnote , where Nickelodeon is in dead-last placenote , and taken Up to Eleven in Japan, where the channel shut down in 2009, but would eventually be resurrected in 2018. A big part of this is that MTV Networks in many countries insist on their Nickelodeon being on upper-tier packages (which leads to similar unpopularity for MTV), which can be especially a problem in places where terrestrial/Over-the-Air (a.k.a. antenna method) reign supreme, like the Mediterranean countries, though Greece and Spain are launching their free OTA feed, which may mark an attempt to remedy this problem.
  • My Little Pony: Friendship Is Magic:
    • In contrast to Fluttershy, the Japanese fandom doesn't like Trixie muchnote , as arrogance is viewed very negatively in Japan, which is why it's a popular trait in many villains depicted in Japanese media. By contrast, Trixie is popular enough in her native North America that she has appeared multiple times in the toy linenote , was the focus character in a few issues of the official comics, and eventually received character development and a larger role in the show proper, becoming a recurring protagonist.
    • On the subject of seemingly egotistical characters being hated, Rainbow Dash is hated by the Japanese audience for her jerky moments that are highlighted in Season 2, and out of the 7 major characters (counting Spike) placed seventh.
    • For that matter, the show itself had struggled since its start to find a general audience in Japan, getting destroyed in its target demographics by Pretty Cure and Jewelpet, despite extensive adaptation, Superlative Dubbing, and an All-Star Cast. Merchandise made for Japanese viewers slowed down after Season 1 and stopped after Season 2 (That was until Pay-TV channel Dlife resumed dubbing of the 3rd season). However, it has managed to find a small but highly dedicated following by teenage and college-age males in Japan who also import the toys from across the Pacific Ocean, causing it to be a rare example of both this trope and Germans Love David Hasselhoff, depending on which angle you take.note 
  • Johnny Test was never really huge in Canada, but it is nearly universally despised in the U.S.note  . That said, the hate was generated more due to the cartoon being overplayed during a time when Cartoon Network was recovering from their failed live-action experimentation more than anything else, with many feeling it was unworthy for such constant re-running. The fact that it replaced DC Nation during their hiatus certainly didn't help either. The show's hate died out once Cartoon Network screwed the show over and replaced it with Teen Titans Go!, which is also hated by viewers for the same reasons as Johnny Test.
  • Family Guy is also very unpopular in France, with some blaming the poor European French dub it was given. Despite this, Family Guy is still shown on MCM in France, and their dub is still going. Ironically, Seth MacFarlane's other show, American Dad!, is much more well-received there.
  • The Simpsons:
    • Episodes that take place in (and poke fun at) countries other than America don't tend to be popular in the given countries. While aware of this phenomenon, Simpsons writers have stated that they never consider how a new episode will be received by a non-American audience. One episode in particular – the one where Homer becomes a gun nut and breaks every safety rule in the book (plus rules that weren't known to need to exist before this episode happened) – was banned from broadcast in the UK, which normally loves the show, mainly due to being aired around the same time as the Dunblane Massacre (which set into motion the banning of handguns in the UK). It was eventually aired 4 years later. However, the ending was edited to further push the anti-gun stance.
    • In non-Western countries, The Simpsons can only hope to be a Widget Series at best due to the overwhelming Westernness in its setting, humor, characters, and plots, leaving it incomprehensible to someone who isn't already knowledgeable in Western culture. In Thailand, for instance, The Simpsons is a late-night program, in its native English but with Thai subtitles, its audience consisting mostly of people who are already fans of American television.
    • Bart was undeniably the Breakout Character early in the show's run in the United States, but he was loathed in Japan. This is because Bart's rebellious, loud nature clashes strongly against Japanese culture's emphasis on obedience and quiet politeness, especially due to how most authority figures in the show were powerless to stop him. The Japanese localizers knew their audiences would hate Bart, however, and downplayed him in favor of Lisa, whose studiousness and gentleness made her a more relatable protagonist than Bart (of course, she is tossed a Jerkass Ball in a passive-aggressive way every now and then, but she's mostly mellow). Being more subtle in your snark helps in Japan. In a weird twist of this, Lisa has become one of the more controversial characters in the American fandom. Some fans actually blame it on the Japanese fandom, occasionally accusing the creators of centering too many episodes on Lisa to increase the show's marketability in Japan.
  • Japan doesn't like Ed, Edd n Eddy very much according to YouTube, likely due to the show's disregard for authority (or, rather, complete lack of it, due to there being exactly zero adults among the Minimalist Cast), which strongly clashes the aforementioned Japanese ideals of authority figures, and the show's grotesque art style coming off as bizarre to Japanese audiences.
  • Despite being somewhat well-received in any other country, Winx Club is more of a subject of divisiveness in Russia. A lot of flak was caught from anime fans (those of Sailor Moon especially), as well as Moral Guardians due to main characters' Stripperific outfits. People may just hate it, love it for all the wrong reasons, but if you are a genuine fan of the show outside its target demographic, you will be seen as childish or brain-dead.
  • Peppa Pig and its sister show, Ben and Holly's Little Kingdom are unpopular in Russia, especially the former. The fact they air on Karusel, a network infamous for its divisive My Little Pony: Friendship Is Magic dub, doesn't help. Also, while Peppa Pig as a whole is very popular in Australia, one episode has been banned due to having the moral that "spiders are very small and cannot hurt you" — something notoriously untrue in Australia, where even non-venomous spiders can have a very painful and possibly lethal bite.
  • Preschool shows that utilize Fake Interactivity, such as Dora the Explorer and Mickey Mouse Clubhouse, aren't as well-liked in Japan as they are in other parts of the world, possibly because Japanese children don't like being talked down to by other people. Not helping matters is that any attempt to air these types of preschool shows in Japan have been met with ratings lower than any domestic animation aired in the country. For example, when Dora aired on TV Tokyo, it was constantly the lowest-rated animated show on Japanese broadcast TV.
  • SpongeBob SquarePants is disliked in Norway not only due to the decline in quality affecting the episodes of Seasons 4-9, but also that they made a new dub for the show in 2006, which weren't well-received by the fans of the older dub. One the other hand, the younger generation who grew up with the new dub will in response bash the older dub. Let's just say that there is a Fandom Rivalry of which dub were better. There also exist people who thinks both dubs are good.
  • While KaBlam! wasn't exactly a big hit for Nickelodeon in the late '90s, it still managed to have enough viewer support to last four years on the air. However when it aired on YTV in Canada, the ratings ended up being so low that they removed it after only a few airings. Ironically, the Sniz & Fondue shorts were animated in Canada from season two onward, and both Angela Anaconda and Untalkative Bunny, which originated as shorts on the show, became full shows in their own right on Teletoon (though by the time the latter was aired on the show in 1999, it had already been removed from YTV).
  • Kaeloo is actually quite popular in France, but when it aired in Australia it wasn't received very well (possibly due to late night airings) and the English dub was cancelled after the first season.
  • [adult swim] cartoons initially got a very low audience in Latin America, causing the dubbing of shows like Harvey Birdman, Attorney at Law, Aqua Teen Hunger Force and The Venture Bros. to be discontinued. While some of the shows (Like Robot Chicken) managed to get a Cult Classic status among some Internet circles, the shows failed to have the same cultural impact that other adult animated comedies like The Simpsons, South Park, and even Drawn Together (the former two were still were at the height of their popularity when the Adult Swim block initially debuted in the Latin America version of Cartoon Network). Many Cartoon Network viewers at the time were expecting to see anime shows in the block, just like in its US counterpart, and criticized the series for their weirdness and crude animation. In the present, Adult Swim series (In their original language, with subtitles) first returned to television on an Argentinian channel called I.Sat which is mostly dedicated to indie and arthouse films, before moving to TBS and then Warner TV, a last of which is widely available on the cheapest tier of basic cable providers. Besides Rick and Morty and Final Space (both of which are available in the Latin American feed of Netflix, Aqua Teen and Robot Chicken remain the only Adult Swim cartoons to air on TV.
  • While Tiny Toon Adventures was incredibly popular in Japan, its successor Animaniacs never caught on for some reason. Only episodes 1-12 and 49 have aired on TV Tokyo. It has been rerun on the Japanese Cartoon Network, but only the same 13 episodes have ever aired. The fact that Japanese viewers wouldn't get the frequent American pop culture references could be a factor.
    • In Brazil, the series remained on air for long, but didn't leave a cultural impact similar to Tiny Toons or its More Popular Spin-Off in the country, Pinky and the Brain. The references specific to Americans were also not helped by the dubbing not doing much with the Parental Bonus and hard to translate puns.
  • Despite Superlative Dubbing, VeggieTales never gained enough popularity in Finland or Japan. One reason for the latter is because Japan preferred Buddhism over Christianity (a religion that is very often discussed in the series), and Life Entertainment (the distributor) decided to intentionally keep the Christian references instead of replacing them.
  • With the exception of Quebec (where the books the show adapts were created), Caillou was never really huge in Canada. However, the show is notable for its very large Periphery Hatedom in the United States, where most parents hate the show because of the titular character constantly having bad behavior in earlier episodes (this even extrends to those who have outgrown the show, who hate it just as much). It's gone to the point where many parents there will ban anything related to Caillou, even the later episodes that featured the titular character having good behavior.
  • Space Goofs, despite being very well-regarded in its native France, has never made much of an international impact. What little English-speaking audience it has are more familiar with the Stupid Invaders game over the cartoon.
    • That said, there was merchandise of the show released in the United States, such as VHS tapes and kid's meal toys.
  • Histeria! did very poorly in France and French speaking countries, due to the writers anti-French bias and negative portrayal of Napoleon Bonaparte.
  • Despite only lasting one season, The Buzz on Maggie is remembered fondly in the US, and was praised by critics when it first aired (and even got an Annie & Daytime Emmy nomination). But it never caught on in England and Australia and, according to Sean Szeles (who was working as an animator for the show at the time), its failure in those countries was the reason Disney cancelled the show in the first place.

  • A Ufology example: The Greys are the most common alleged alien encounters in the USA and pretty much became part of popular culture, but in Europe and Latin America, the most common alien encounters are with the Nordic Aliens. The Greys are instead seen as evil.
  • Possibly due to a combination of Superlative Dubbing and Patriotic Fervor, it isn't uncommon for fans in France to dislike the (typically original) English versions of certain animated TV shows/movies and Video Games if the French dub is well-known and widespread.note  If an installment in a long-running series usually dubbed in French is released without French audio (even if there are French subtitles), expect a backlash from the French fanbase, such as with South Park: The Stick of Truth; such reactions are typically stronger than how English-speaking fanbases react to Japanese products suddenly not being dubbed.
  • For the US convenience store chain 7-11, the Slurpee is their iconic product to such a degree that 7-11 has dubbed July 11th "Slurpee" day and gives out the beverage for free. It's not unheard of for stores to run out of cups early into the afternoon rush hour. In Japan, where 7-11 is THE convenience store and is so popular that Japanese investors own the controlling interest of the company, the Slurpee never caught on and stores selling them are few and far between.
  • Ben & Jerry's examples:
    • A few years back, ice cream makers Ben & Jerry's attempted to sell their Chunky Monkey-flavored ice cream in Japan. It was a flop, though the company was baffled why. They discovered during a blind test that the Japanese actually loved the flavor which confused the company even further. Eventually they discovered the reason the flavor flopped: "Chunky Monkey" literally translated in Japanese means "Chunks of Monkey".
    • Their Black And Tan flavour was immediately reviled in Ireland, as it shared the name with a notorious British militia outfit from during The Irish Revolution, who were responsible for several atrocities.
  • Germany doesn't have any Wal-Marts since 2006, due to Values Dissonance in labor law and some very odd... rituals. They also failed to compete on price. In addition, the market niche for "big box department store" never was as big in Germany as in the US and it was already mostly filled by the time Walmart arrived (by companies that took over the physical stores when Walmart threw in the towel).
  • As a general rule, it is damn near impossible for any films or TV series in languages other than English to gain any mainstream traction in the United States. Whereas Europe comprises many interconnected countries with multiple major and minor languages spoken, the United States is effectively monolingual from sea to shining seanote , leading to a common (and not entirely unfounded) stereotype that Americans will instantly turn off any movie or TV show that has subtitles. As such, non-English-language films and TV series often have to get English-language remakes before Americans will watch them. Only one foreign-language film has made more than $60 million at the US box office — and that film, Crouching Tiger, Hidden Dragon, was a high-flying wuxia action flick where viewers didn't need to speak Chinese to appreciate the main attraction. Korean filmmaker Bong Joon-ho made note of this when collecting the Golden Globe for Best Foreign Language Film for Parasite (2019) (which managed to collect a respectable $52 million thanks to Academy Award recognition), referring to subtitles as a "one-inch-tall barrier" and saying that Americans were missing out on a lot of great films because of it. It was even worse in the past, as even English-language TV series from the UK and Canada faced strong headwinds in the US market, though this has lessened in the 21st century with the rise of BBC America and the explosive trans-Atlantic popularity of Doctor Who, Sherlock, and Black Mirror. The phenomenon is less pronounced with pop music, as Spanish-language pop has a huge following in the US (albeit with roots in Spanish-speaking immigrant communities), as does Korean Pop Music to a lesser extent, but even here, songs not sung in English tend to be novelty hits at best (e.g. the Macarena, "Gangnam Style"), and singers who want a chance at long-term American success usually have to sing in English to do so. The main exception is anime, which has a cult following in the US and whose fans seem to prefer the original Japanese.
  • Pizza in China is a simultaneous case of both this and Germans Love David Hasselhoff. Pizza Hut became an overnight success and is now a part of the landscape of urban China. Domino's, on the other hand, flopped hard and soon left the region with its proverbial tails beneath its legs. The reason was that pizza, as it exists in Europe and the United States, is generally unpalatable to the Chinese due to them containing cheese, which is rare in Chinese cuisine in addition to lactose intolerance being very common in China; and tomatoes, which while well-known in China (lots of Chinese dishes use tomatoes—tomato and egg is a popular combo—and tomato products like ketchup), are still unfamiliar in combination with cheese. Pizza Hut, in a case of Shown Their Work, downplayed the cheese and tomatoes and offered toppings or substitutes familiar to the Chinese. Domino's, on the other hand, brought over the company's recipes unchanged and were soundly rejected. In other words, at least at the time, pizza was a Foreign Queasine in China and had to be modified to avoid this trope.
  • Taco Bell is one of the most important fast food franchises in the world. Born in the United States and inspired by Mexican cuisine (Tex-Mex for connoisseurs), Taco Bell has had strong popularity in the United States and moderate success in other countries. However, in Mexico, Taco Bell is universally hated. Mexicans saw Taco Bell as a vulgar attempt at cultural appropriation, plus the franchise came at a time when U.S.-Mexico relations were not well regarded, mainly due to the Free Trade Agreement and the anti-immigration speeches of Barack Obama and Donald Trump. The few Mexicans who were able to try a Taco Bell product said at one time that it was anything but a taco. Taco Bell tried twice to enter the Mexican market, without any success.
    • Taco Bell has also had a hard time in the Latin American market. Although Taco Bell has franchises in several Latin American countries, the success has not been as expected. Taco Bell is also hated in Ecuador. During the time the franchise was in the country, they had moderate success. However, several factors, among them quality and poor service, served to discontinue the franchise in the country in 2013.
  • International fast food chain industries such as McDonald's and Burger King failed to reach success in Vietnam compared to other Asian countries with only a very few restaurants opened. This is due to the country having a well established local fast food market that you can buy for very cheap and easily shared to the family that international chains can't compete.
    • Despite hamburgers being a popular fast food in Israel, American burger chains have all but failed there. They were initially adopted with great enthusiasm, primarily due to a trendy desire for American brands. Nevertheless, around the year 2000 local entrepreneurs realized that they could sell much-higher quality char-grilled hamburgers at almost the same price, causing an explosion of premium burger restaurants all across the country. The significant gap in quality resulted in the American chains rapidly disappearing over the course of only a few years. McDonald's, the only surviving chain, is now considered an unbearably-inferior product by most Israelis. And despite being the country's largest restaurant chain by far, it's considered a last-resort option, and most of its locations are located in rest stops where there isn't much choice food-wise.
  • McDonald's has a rather curious case in Latin America. While in virtually every Latin American country, McDonald's has been tremendously successful, becoming the most successful food franchises next to Burger King, the company failed horribly in Bolivia. Due to economic factors, the low purchasing power of Bolivians, and a thriving and important Bolivian cuisine that costs much less (and is much healthier) than a McDonald's burger, the franchise ceased to operate in 2002. This case has been studied in some documentaries and analyzed within the marketing case studies.
  • Southern Californians have soundly rejected Papa Murphy's, a pizza chain that only does take-and-bake, meaning you buy the pizza not in a fully cooked state, and you take it home to bake it until it's done. None of the Papa Murphy's locations in Southern California had ever turned a profit the entire time they were there, and the company withdrew entirely from the region in May 2019 when it was evident that they were tanking so hard, the rest of the company was being brought down in the process. Restaurant market analysts and fans of Papa Murphy's agree that the most likely reason is because Papa Murphy's business model is inherently inconvenient and time-consuming but costs less. This runs counter to Southern Californian culture, which values convenience: Southern Californians tend to prioritize options where they don't have to do as much, even if it costs more (or, in the case of Little Caesars, is of lower quality). Papa Murphy's locations also tended to be in remote areas far from highways and other major roads, making them virtually invisible and time-consuming to visit if you don't live or work in the immediate area. The chain is more successful in its home region of the Pacific Northwest, where the slower pace of life, reverence for fresh food, and possibly cooler climate in the Northwest making it more comfortable to have a hot oven running for long periods are likely factors.
  • The local culture in New York City is similarly responsible for why national pizza chains, most of which are headquartered in the Midwest, tend to do less well there. New Yorkers are devoted to their local pizzerias, and admitting to liking pizza from chains is tantamount to admitting to cannibalism. New York Jets quarterback Bryce Petty found this out the hard way, having to issue an apology for liking Domino's pizza.
  • Starbucks failed in Australia similar to the reasons that hamburger chains failed in Israel: Australia had its own culture of espresso-based coffeehouses dating back to the wave of Italian immigrants to the country in the 1950s. Australian coffee culture did rub off on Starbucks, as the chain introduced the flat white, an Australian creation, in its U.S. stores.
  • While Subway is an incredibly popular chain of fast-food elsewhere, they are completely non-existent in Indonesia with the few attempts to establish it in the country ended up performing horribly. Much of this can be attributed to the fact that Indonesians are unused to sandwich-based meals and prefer to eat their meals with rice which the fast-food lack. While other fast-food like McDonald's, Burger King, Wendy's and KFC adapt by adding rice to their menu as well chicken for the former two, Subway unfortunately didn't.
  • The Canadian doughnut and coffee chain Tim Hortons has struggled to expand in the U.S., despite having a similar market in its southern neighbor. The usual reason given is that Starbucks and Dunkin' Donuts are too entrenched in the American market, similar to how Starbucks failed to expand in Australia. Its more successful American locations tend to be close to the Canadian border or near concentrations of Canadian expats (e.g. their location in Somerville, N.J., which is close enough to New York that the not insignificant population of Canadians living in New York will drive the hour from NYC and pay all the tolls on I-78 to get their Timmy's fix).
  • Dunkin' Donuts itself is largely this in Japan, as local doughnut chain Mister Donut is far more successful in the region with Dunkin' Donuts only being found at designated US patrol bases scattered across the country. By contrast, Mister Donut is exceptionally rare in the U.S., with only one currently operating out of Godfrey, Illinois. Ironically, Mister Donut was founded by an American and only became a Japanese chain on account of its immense popularity there (and because Dunkin's parent company bought out Mister Donut and, ahem, encouraged American Mister Donut franchisees to convert to Dunkin').
    • Dunkin' Donuts has also had a rough time in the southwestern United States, particularly Los Angeles and San Diego. This is because the market is already full, both for coffee due to Starbucks having beaten Dunkin' to the area by at least a decade; and especially for donuts, which has a thriving scene of locally owned donut shops—every neighborhood and community in the region has at least one donut shop which the locals swear by, making the situation quite like the above-mentioned pizza in New York City. The latter was noted by Ben Esposito, the creator of Donut County: He moved from New England, where Dunkin' is king, to Los Angeles, where they were losing quite badly to the local donut shops, and was what inspired him to make the game.
  • Hersheys chocolate has minimal presence in Europe since the continent has its own long tradition of chocolate. Australians and New Zealanders similarly detest Hersheys. One argument is that while the recipe is a closely guarded secret, Hersheys chocolate very likely has butyric acid due to its production process, a substance very offputting to anyone who didn't grow up with it. On the flip side, their Cookies and Cream bars, which contain no butyric acid whatsoever, are pretty well-liked everywhere in the world.
  • Straight-pull bolt action rifles are quite popular among hunters around the world but just haven't taken off in the enormous Canadian and American gun markets. Both the availablility of semi-automatic rifles and cultural affinity for lever action guns have already occupied the niche for rapid fire hunting rifles.
  • Dasani, Coca-Cola's brand of bottled water, has done well in the Americas as a safe source of hydration by taking mains water and filtering out most of the impurities before adding in some electrolytes, but in the United Kingdom the product flopped spectacularly. This is because mains water in Europe is typically safe to drink no matter where you are, people in Britain hold higher value for natural spring water that contain greater quantities of minerals and the Brit Com Only Fools and Horses had used the fundamental idea of Dasani ten years before its release. It didn't help that one batch was discovered containing excessive levels of bromate, with the resulting economic fallout leading to the "Sidcup Spring" closing down.


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