History Main / CriticalBacklash

* ''VideoGame/ChronoCross'' has generally always received a good response from critics, but when it was released it was ''loudly'' savaged by fans who were upset that it wasn't ''VideoGame/ChronoTrigger 2''. It had brand new characters, a brand new world, brand new combat and magic systems (save for ''Trigger''[='=]s trademark CombinationAttack techs), and the only real references to its predecessor were oblique, unnecessary fanservice, entirely missable, or the GiantSpaceFleaFromNowhere final boss. Nothing that made ''Chrono Trigger'' a beloved classic was readily apparent in ''Cross''[='=] design, production, or play. In time, the fan stance softened and ''Cross'' is now regarded as one of the best [=RPGs=] of the Platform/PlayStation 1 era and an excellent game in its own right. Modern consensus tends to be that the "Chrono" name was more of a burden than a boon, and that ''Cross'' didn't need the pressure of living up to ''Trigger'' when it was never really making any strong attempt to connect itself to begin with (the developers have always been adamant that it was meant to be a loose sequel. ''Cross'' was its own game with small ties to its predecessor, and was never intended to be a continuation of Trigger's story, or require people to have played ''Trigger'' to understand the plot, or to feature a rehash of Trigger's best elements).
* ''[[VideoGame/{{Clayfighter}} Clayfighter 63⅓]]'', the final game in the Clayfighter series, was savaged by critics and gamers upon release. It was quickly regarded as the worst N64 game up to that point, due to its janky animation and [[ObviousBeta broken gameplay.]] Not to mention some offensive-even-for-1997 ethnic stereotyping with some of its characters. Over the years, however, the game has developed a bit of a cult following due to its refreshingly non-serious tone, as well as having some cool ideas that, with more polish and better execution, could've made the game great.

* ''VideoGame/{{Gradius}} [=ReBirth=]'', upon its release, was widely panned for not living up to the [[ToughActToFollow lofty standards]] set by ''Gradius V'', a game regarded by many as the best in the series due to Creator/{{Treasure}}'s co-development of the game, the vastly improved graphics compared to previous games, a bombastic Hitoshi Sakimoto soundtrack, and the new Option types creating many new gameplay styles. In comparison, ''[=ReBirth=]'' is seen as a considerable downgrade that uses "weaker" 16/32-bit graphics, has a similarly "lower-quality" soundtrack, doesn't have as diverse of a selection of weapon loadouts or shields, and [[ItsShortSoItSucks features only five stages that take about 15 minutes to complete]]. All of these factors turned ''[=ReBirth=]'' into, ironic to its name, a FranchiseKiller. Nonetheless there's a fair number of players who think these criticisms are unreasonable and appreciate what ''[=ReBirth=]'' brings to the table, including arranges of many tracks from console and Platform/{{MSX}} ''Gradius'' games, the game being a {{Prequel}} to ''Nemesis 2'' and ''Nemesis 3'' (two games that are noticably more story-heavy than the mainline ''Gradius'' games), the higher loops having differences in level design and enemy formation that aren't just "enemies shoot more bullets", and difficulty levels having distinct changes, such as Easy mode allowing enemy bullets to be destroyed and the Hard and Very Hard modes starting the player on said higher loops. The game also has a lower difficulty curve than many other ''Gradius'' games, and coupled with the game's short length, it's seen as a solid title for less-skilled players and those who want to get a one-loop clear out of the way faster. In short, "it's not as lavish as ''Gradius V'', but it doesn't ''have'' to be."

* ''VideoGame/{{Gradius}} [=ReBirth=]'', upon its release, was widely panned for not living up to the [[ToughActToFollow lofty standards]] set by ''Gradius V'', a game regarded by many as the best in the series due to Creator/{{Treasure}}'s co-development of the game, the vastly improved graphics compared to previous games, a bombastic Hitoshi Sakimoto soundtrack, and the new Option types creating many new gameplay styles. In comparison, ''[=ReBirth=]'' is seen as a considerable downgrade that uses "weaker" 16/32-bit graphics, has a similarly "lower-quality" soundtrack, doesn't have as diverse of a selection of weapon loadouts or shields, and [[ItsShortSoItSucks features only five stages that take about 15 minutes to complete]]. All of these factors turned ''[=ReBirth=]'' into, ironic to its name, a FranchiseKiller. Nonetheless there's a fair number of players who think these criticisms are unreasonable and appreciate what ''[=ReBirth=]'' brings to the table, including arranges of many tracks from console and Platform/{{MSX}} ''Gradius'' games, the game being a {{Prequel}} to ''Nemesis 2'' and ''Nemesis 3'' (two games that are noticably more story-heavy than the mainline ''Gradius'' games), the higher loops having differences in level design and enemy formation that aren't just "enemies shoot more bullets", and difficulty levels having distinct changes, such as Easy mode allowing enemy bullets to be destroyed and the Hard and Very Hard modes starting the player on said higher loops. The game also has a lower difficulty curve than many other ''Gradius'' games, and coupled with the game's short length, it's seen as a solid title for less-skilled players and those who want to get a one-loop clear out of the way faster.

* ''VideoGame/FZeroGPLegend'' had the misfortune of being released shortly after the critically-acclaimed ''VideoGame/FZeroGX'', and as a result suffered for it, being written off as a third-rate spinoff, not helped by being associated with the ''Anime/FZeroGPLegend'' anime which was not really well-liked. ''VideoGame/FZeroClimax'' sold so poorly that [[NoExportForYou it never left Japan]] and is regarded as the FranchiseKiller. Nonetheless, both games have considerable playerbases, who see them as excellent refinements of the pseudo-3D formula established by ''VideoGame/FZero1990'' with a large variety of machines, the exclusion of [[GoddamnedBats bumper vehicles]], and beautiful "Mode 7" takes on various locales, most notably Lightning (which was first featured in ''GX'' and has sleek-looking grille-based track textures and lightning flash effects). ''Climax'' in particular is seen as one of the most demanding, yet most satisfying games in the series due to the ludicrous speeds that players can reach on its ''53'' challenging courses.

* ''VideoGame/BombermanActZero'' was intended as a DarkerAndEdgier ContinuityReboot for the "next generation," but its ''Franchise/{{Halo}}''-reject characters, uninspired dingy levels and [[FakeDifficulty pointlessly hard]] single-player mode (99 sluggish, repetitive levels to play on one life with no continues or saves) won no awards. To further irritate fans of the series, few of the power-ups from previous installments were retained, and offline multiplayer, one of the series' biggest selling points, was not available. The game's only possible redeeming feature, its online multiplayer mode, was written off by most people for a long time; with copies of the game collecting dust in bargain bins, it was doubtful that people would actually be eager to actually play it. Then LetsPlay/ProtonJon's livestream featured it on a dare, and a lively series of 8-player matches ensued.
* ''Franchise/{{Castlevania}}'';

* ''VideoGame/CastlevaniaIISimonsQuest'''s departure from the level-based structure of parts I and III is still complained about today, along with its rather obtuse puzzles and several flat-out misleading clues. Those who grew up with the title or tried it in spite of contemporary internet critics' snarking tend to be more charitable in their assessment, appreciating the game for its attempt at an open-world action/adventure style (which became the series bellwether once ''VideoGame/CastlevaniaSymphonyOfTheNight'' ironed out the kinks) and pointing out that plenty of other well-regarded games from the era had their fair share of GuideDangIt moments.

* ''VideoGame/FZeroGPLegend'' had the misfortune of being released shortly after the critically-acclaimed ''VideoGame/FZeroGX'', and as a result suffered for it, being written off as a third-rate spinoff, not helped by being associated with the ''Anime/FZeroGPLegend'' anime which was not really well-liked. ''VideoGame/FZeroClimax'' sold so poorly that [[NoExportForYou it never left Japan]] and is regarded as the FranchiseKiller. Nonetheless, both games have considerable playerbases, who see them as excellent refinements of the pseudo-3D formula established by ''VideoGame/FZero1990'' with a large variety of machines, the exclusion of [[GoddamnedBats bumper vehicles]], and beautiful "Mode 7" takes on various locales, most notably Lightning (which was first featured in ''GX'' and has sleek-looking grille-based track textures and lightning flash effects). ''Climax'' in particular is seen as one of the most demanding, yet most satisfying games due to the ludicrous speeds that players can reach on its ''53'' challenging courses.

* ''ComicBook/{{Superman}}'': The ''Superman Red/Superman Blue'' saga from 1998 (not to be confused with [[ComicBook/TheAmazingStoryOfSupermanRedAndSupermanBlue a similarly-titled one-shot from the Silver Age]], which was the inspiration for this era) is considered one of the most [[AudienceAlienatingEra infamous and pointlessly awkward eras]] for the character in his long history. A massive shakeup to the status quo, this arc saw Superman deprived of his usual powers and becoming an EnergyBeing that needed housing in a cyborg suit with a white/blue color scheme and new, electricity-based superpowers, [[TheDividual who would then split into]] ''[[TheDividual another]]'' [[TheDividual energy being]] (this time white and red), which was widely panned at the time for being nonsensical and transparently gimmicky, [[StatusQuoIsGod with Supes being returned to his usual self by the following year]]. However, later critics find that this saga was more flawed in concept than in practice, with many finding that in a vacuum, the stories featuring Superman Blue/Red themselves were pretty decent (primarily when written by Creator/GrantMorrison in their ''ComicBook/JLA1997'' series), his new costume was well-designed, and as an experiment to radically reinvent the status quo of one of the biggest superheroes ''ever'', it fared off a lot better than most were expecting; the key issue was simply that [[TheyChangedItNowItSucks nobody wanted Superman's status quo to change to begin with]]. Despite the arc largely being written off as a failure, many writers in DC have tried their hand at [[ReimaginingTheArtifact reworking its ideas into other aspects of the Superman mythos]], including the ally Strange Visitor, Lana Lang's appearance in ''{{ComicBook/Superwoman}}'', and even Superman's son, Jon Kent, receiving electricity powers in his own right.

* The Mike Scully-era episodes of ''WesternAnimation/TheSimpsons'' are starting to get this. While almost nobody thinks they're as good as "Golden Age" ''Simpsons'', a good portion of them are still pretty funny and watchable in their own right. Some fans even believe they contain some of the best SugarWiki/FunnyMoments in the entire series.

* ''VideoGame/ChronoCross'' has generally always received a good response from critics, but when it was released it was ''loudly'' savaged by fans who were upset that it wasn't ''VideoGame/ChronoTrigger 2''. It had brand new characters, a brand new world, brand new combat and magic systems (save for Trigger's trademark CombinationAttack techs), and the only real references to its predecessor were oblique, unnecessary fanservice, entirely missable, or the GiantSpaceFleaFromNowhere final boss. Nothing that made ''Chrono Trigger'' a beloved classic was readily apparent in Cross' design, production, or play. In time, the fan stance softened and ''Cross'' is now regarded as one of the best [=RPGs=] of the Platform/PlayStation 1 era and an excellent game in its own right. Modern consensus tends to be that the "Chrono" name was more of a burden than a boon, and that ''Cross'' didn't need the pressure of living up to Trigger when it was never really making any strong attempt to connect itself to begin with (the developers have always been adamant that it was meant to be a loose sequel. ''Cross'' was its own game with small ties to its predecessor, and was never intended to be a continuation of Trigger's story, or require people to have played ''Trigger'' to understand the plot, or to feature a rehash of Trigger's best elements).

* ''[[VideoGame/DmCDevilMayCry DmC: Devil May Cry]]'' was panned by ''Devil May Cry'' fans on release for its gameplay changes and [[DarkerAndEdgier grittier tone]]. As time went on, however, attitudes toward the game have softened, with many praising it for its fun gameplay and excellent environmental design.

* ''VideoGame/KirbySqueakSquad'' is generally considered one of Kirby's worst outings. However, upon a closer inspection, even fans who don't like it tend to admit that it's a relatively average (some even calling it outright good) game and its only crimes are a fairly lackluster plot and final boss, and the overabundance of assets directly ported over from the GBA games.

* This is common with many ''Franchise/{{Pokemon}}''. Garbodor is one of the most prominent examples of this. In its debut, it was the symbol of what people hated about ''VideoGame/PokemonBlackAndWhite'', as many players believed it was [[{{Gonk}} ugly]] and lazy of Game Freak to make a trash-based mon. However, the sheer vitriol led to Garbodor gaining many passionate defenders such as ''Website/{{Bogleech}}'', and it ended up gaining a cult fandom as a result. The most notable instance is LetsPlay/{{Chuggaaconroy}} using a Garbodor for his main team, which proved to be an effective StoneWall, especially with a [[TheSpiny Rocky Helmet]] equipped. Amusingly, ''Pokémon'' media tends to portray Garbodor quite sympathetically, as if they were aware of how controversial it would be.

--->Expectations undoubtedly played a major role in my perception of the film as well. ''Ebert'' went into North expecting another winner from [[Creator/RobReiner a talented filmmaker on a hot streak]]. [[BileFascination I went in expecting one of the worst films ever made.]] I can't say I was pleasantly surprised, but I wasn't horrified either.

* ''VideoGame/ChronoCross'' has generally always received a good response from critics, but when it was released it was ''loudly'' savaged by fans who were upset that it wasn't ''VideoGame/ChronoTrigger 2''. It had brand new characters, a brand new world, brand new combat and magic systems (save for Trigger's trademark CombinationAttack techs), and the only real references to its predecessor were oblique, unnecessary fanservice, entirely missable, or the GiantSpaceFleaFromNowhere final boss. Nothing that made ''Chrono Trigger'' a beloved classic was readily apparent in Cross' design, production, or play. In time, the fan stance softened and ''Cross'' is now regarded as one of the best [=RPGs=] of the UsefulNotes/PlayStation 1 era and an excellent game in its own right. Modern consensus tends to be that the "Chrono" name was more of a burden than a boon, and that ''Cross'' didn't need the pressure of living up to Trigger when it was never really making any strong attempt to connect itself to begin with (the developers have always been adamant that it was meant to be a loose sequel. ''Cross'' was its own game with small ties to its predecessor, and was never intended to be a continuation of Trigger's story, or require people to have played ''Trigger'' to understand the plot, or to feature a rehash of Trigger's best elements).

* Wrestling/JinderMahal is infamous in the WWE for being an unremarkable {{jobber}} that no one really cared for that very suddenly and ''rapidly'' received a mega-push to the moon in 2017 following him defeating Wrestling/RandyOrton to become World Champion, a Title reign that was met with widespread criticism due to lacking any credibility, and was widely seen as a shallow attempt to [[PanderingToTheBase pander to Indian audiences after the WWE launched there the same year]], which ironically made him even less fans than when he was just a forgettable midcarder. Following the end of his reign that year, he's mostly returned to languishing in obscurity, cementing his reputation as a case study of how a bad push can completely tank a wrestler's ability to go over with fans. As time further passes and history has become more critical, however, a growing consensus is that this had very little to do with Jinder Mahal as a wrestler, as he was still a decent in-ring worker and performer, and that he deserved better not in terms of accolades, but from booking, with many feeling that he had good potential that was completely squandered by writers who didn't know what to do with him other than "ForeignWrestlingHeel". In early 2024, following a controversy surrounding AEW owner Tony Khan, where he mocked Mahal on Twitter for him being slated for a World Heavyweight title match against Wrestling/SethRollins -- which Khan found nonsensical given Mahal's year-long losing streak -- fans, co-workers, and other industry figures from Wrestling/BookerT to Wrestling/EricBischoff were quick to jump to Mahal's defense, highlighting him as someone who warrants respect and quality treatment, not continual burials.

* Wrestling/JinderMahal is infamous in the WWE for being an unremarkable {{jobber}} that no one really cared for that very suddenly and ''rapidly'' received a mega-push to the moon in 2017 following him defeating Wrestling/RandyOrton to become World Champion, a Title reign that was met with widespread criticism due to lacking any credibility, and was widely seen as a shallow attempt to [[PanderingToTheBase pander to Indian audiences after the WWE launched there the same year]], which ironically made him even less fans than when he was just a forgettable midcarder. Following the end of his reign that year, he's mostly returned to languishing in obscurity, cementing his reputation as a case study of how a bad push can completely tank a wrestler's ability to go over with fans. As time further passes and history has become more critical, however, a growing consensus is that this had very little to do with Jinder Mahal as a wrestler, as he was still a decent in-ring worker and performer, and that he deserved better not in terms of accolades, but from booking, with many feeling that he had good potential that was completely squandered by writers who didn't know what to do with him other than "ForeignWrestlingHeel". In early 2024, following a controversy surrounding AEW owner Tony Khan, where he mocked Mahal on Twitter for him being slated for a World Heavyweight title match against Wrestling/SethRollins -- which Khan found nonsensical given Mahal's year-long losing streak -- fans, co-workers, and other industry figures from Wrestling/BookerT to Wrestling/EricBischoff were quick to jump to Mahal's defense, highlighting that a someone who warrants respect and quality treatment, not continual burials.

* Wrestling/JinderMahal is infamous in the WWE for being an unremarkable {{jobber}} that no one really cared for that very suddenly and ''rapidly'' received a mega-push to the moon in 2017 following him defeating Wrestling/RandyOrton to become World Champion, a Title reign that was met with widespread criticism due to lacking any credibility, and was widely seen as a shallow attempt to [[PanderingToTheBase pander to Indian audiences after the WWE launched there the same year]], which ironically made him even less fans than when he was just a forgettable midcarder. Following the end of his reign that year, he's mostly returned to languishing in obscurity, cementing his reputation as a case study of how a bad push can completely tank a wrestler's ability to go over with fans. As time further passes and history has become more critical, however, a growing consensus is that this had very little to do with Jinder Mahal as a wrestler, as he was still a decent in-ring worker and performer, and that he deserved better not in terms of accolades, but from booking, with many feeling that he had good potential that was completely squandered by writers who didn't know what to do with him other than "ForeignWrestlingHeel". In early 2024, following a controversy surrounding AEW owner Tony Khan, where he mocked Mahal on Twitter for him being slated for a World Heavyweight title match against Wrestling/SethRollins -- which Khan found nonsensical given Mahal's year-long losing streak -- fans, co-workers, and other industry figures from Wrestling/BookerT to Wrestling/EricBischoff were quick to jump to Mahal's defense, highlighting that he still warrants respect and deserves more chances, not continued burials.

* ''Anime/MDGeist'' has been so often called 'the worst anime ever' that when a lot of people actually ''watched'' it when it aired on [[Creator/{{Syfy}} Sci-Fi Channel]], for many of them it failed to be as bad as claimed and [[VindicatedByCable it's gained something of a fanbase]] largely for the designs of the mech, its intense action, and [[SugarWiki/AwesomeMusic soundtrack]].

* A character example is Katejina Loos from ''[[Anime/MobileSuitVictoryGundam Victory Gundam]]''. By the time most people discover ''Victory'' and watch the show, they will have been told that Katejina is "The Queen of Evil" in the ''Gundam'' verse. They will have been told repeatedly that she is more evil than any Franchise/{{Gundam}} villain ever. While Katejina is undoubtedly a horrible person, there is simply no way for her to be as revoltingly awful as the fandom makes her out to be, and many people watching ''Victory'' for the first time (years after it aired) find themselves actually noticing her good points, mainly in the first half of the series, if only because the fandom's bashing of her, makes her bad ones something you just sort of accept. It doesn't help that everything Katejina has ever appeared in since (the novelizations, manga, video games) has her [[AdaptationalHeroism significantly more sympathetic.]]

* The WhamEpisode ending for ''Anime/NeonGenesisEvangelion'' in the form of the movie ''The End Of Evangelion'' becomes a lot less tragically depressing if you come in expecting the show to be, well, tragically depressing. For most people, the fact that it came out of nowhere and derailed the series, killing off several major characters and giving us the infamous [[gold: Tang]] ending is what really caused a lot of emotional anguish to the audience. However, thanks to ItWasHisSled and the numerous explosions on Internet forums and on this site's [[Anime/NeonGenesisEvangelion page description]], it's almost impossible to go into the show not knowing it will experience eleventh hour sadness due to CreatorBreakdown. Thusly, when everything starts falling apart after episode 20, and the show forcefully cranks out the DeconstructorFleet and TearJerker [[ExaggeratedTrope up to eleven]], the implausibility borders from mildly depressing to so impossibly sad [[{{Narm}} it comes off as funny]].

* ''ComicBook/{{Superman}}'': The ''Superman Red/Superman Blue'' saga from 1998 (not to be confused with [[ComicBook/TheAmazingStoryOfSupermanRedAndSupermanBlue a similarly-titled one-shot from the Silver Age]], which was the inspiration for this era) is considered one of the most [[AudienceAlienatingEra infamous and pointlessly awkward eras]] for the character in his long history. A massive shakeup to the status quo, this arc saw Superman deprived of his usual powers and becoming an EnergyBeing that needed housing in a cyborg suit with a white/blue color scheme and new, electricity-based superpowers, [[TheDividual who would then split into]] ''[[TheDividual another]]'' [[TheDividual energy being]] (this time white and red), which was widely panned at the time for being nonsensical and transparently gimmicky, [[StatusQuoIsGod with Supes being returned to his usual self by the following year]]. However, later critics find that this saga was more flawed in concept than in practice, with many finding that in a vacuum, the stories featuring Superman Blue/Red themselves were pretty decent (primarily when written by Creator/GrantMorrison), his new costume was well-designed, and as an experiment to radically reinvent the status quo of one of the biggest superheroes ''ever'', it fared off a lot better than most were expecting; the key issue was simply that [[TheyChangedItNowItSucks nobody wanted Superman's status quo to change to begin with]]. Despite the arc largely being written off as a failure, many writers in DC have tried their hand at [[ReimaginingTheArtifact reworking its ideas into other aspects of the Superman mythos]], including the ally Strange Visitor, Lana Lang's appearance in ''{{ComicBook/Superwoman}}'', and even Superman's son, Jon Kent, receiving electricity powers in his own right.

* ''ComicBook/{{Superman}}'': The ''Superman Red/Superman Blue'' saga from 1998 (not to be confused with [[ComicBook/TheAmazingStoryOfSupermanRedAndSupermanBlue a similarly-titled one-shot from the Silver Age]], which was the inspiration for this era) is considered one of the most [[AudienceAlienatingEra infamous and pointlessly awkward eras]] for the character in his long history. A massive shakeup to the status quo, this arc saw Superman deprived of his usual powers and becoming an EnergyBeing that needed housing in a cyborg suit with a white/blue color scheme and new, electricity-based superpowers, [[TheDividual who would then split into]] ''[[TheDividual another]]'' [[TheDividual energy being]] (this time white and red), which was widely panned at the time for being nonsensical and transparently gimmicky, [[StatusQuoIsGod with Supes being returned to his usual self by the following year]]. However, later critics find that this saga was more flawed in concept than in practice, with many finding that in a vacuum, the stories featuring Superman Blue/Red themselves were pretty decent, his new costume was well-designed, and as an experiment to radically reinvent the status quo of one of the biggest superheroes ''ever'', it fared off a lot better than most were expecting; the key issue was simply that [[TheyChangedItNowItSucks nobody wanted Superman's status quo to change to begin with]]. Despite the arc largely being written off as a failure, many writers in DC have tried their hand at [[ReimaginingTheArtifact reworking its ideas into other aspects of the Superman mythos]], including the ally Strange Visitor, Lana Lang's appearance in ''{{ComicBook/Superwoman}}'', and even Superman's son, Jon Kent, receiving electricity powers in his own right.

* ''WesternAnimation/AngelaAnaconda'' was memetically ''trashed'' for a multitude of reasons. The show's animation is rather bizarre, WebVideo/TheMysteriousMrEnter [[ReviewsAreTheGospel found an episode quite apalling]], [[MisBlamed it was seen as somehow screwing KaBlam! from getting rereleased when it didn't]], the show's entire stories were [[ClicheStorm mundane]], Angela Anaconda could come off as UnintentionallyUnsympathetic, and most notably its inclusion in ''Digimon the Movie'' - which [[MisBlamed had nothing to do with the creators at all]]. (To the point in which a [[Website/Fourchan greentext]] blamed its inclusion in the Digimon movie for destroying an already failing marriage.) However, as more people watched the show and an interview with the show's creator, some found it to not be that bad at all. Billiam in particular mentioned the show was quite over-hated when he did a video on it being weird and was surprised at how much more he wanted to see.

* ''WesternAnimation/AngelaAnaconda'' was memetically ''trashed'' for a multitude of reasons. The show's animation is rather bizarre, WebVideo/TheMysteriousMrEnter [[ReviewsAreTheGospel found an episode quite apalling]], [[MisBlamed it was seen as somehow screwing KaBlam! from getting rereleased when it didn't]], the show's entire stories were [[ClicheStorm mundane]], Angela Anaconda could come off as UnintentionallyUnsympathetic, and most notably its inclusion in ''Digimon the Movie'' - which [[MisBlamed had nothing to do with the creators at all]]. (To the point in which a [[Website/{{4chan}} greentext]] blamed its inclusion in the Digimon movie for destroying an already failing marriage.) However, as more people watched the show and an interview with the show's creator, some found it to not be that bad at all. Billiam in particular mentioned the show was quite over-hated when he did a video on it being weird and was surprised at how much more he wanted to see.

* ''WesternAnimation/AngelaAnaconda'' was memetically ''trashed'' for a multitude of reasons. The show's animation is rather bizarre, WebVideo/TheMysteriousMrEnter [[ReviewsAreTheGospel found an episode quite apalling]], [[MisBlamed it was seen as somehow screwing KaBlam! from getting rereleased when it didn't]], the show's entire stories were [[ClicheStorm mundane]], Angela Anaconda could come off as UnintentionallyUnsympathetic, and most notably its inclusion in ''Digimon the Movie'' - which [[MisBlamed had nothing to do with the creators at all]]. (To the point in which a greentext blamed its inclusion in the Digimon movie for destroying an already failing marriage.) However, as more people watched the show and an interview with the show's creator, some found it to not be that bad at all. Billiam in particular mentioned the show was quite over-hated when he did a video on it being weird and was surprised at how much more he wanted to see.

** Blog/UnshavedMouse had this reaction to ''WesternAnimation/ChickenLittle'' - finding it to be a decent movie that was quite enjoyable. At the time of its release, it was one of the Black Sheep of the Disney studio.

** ''WesternAnimation/{{Pocahontas}}'' got a lot of hate when it was released, and it's considered the turning point for when Disney started its slow decline. WebVideo/TheNostalgiaChick and the Blog/UnshavedMouse don't think too highly of it, either. However, it does have plenty of fans for the characters, animation, and songs, and for those who think the Aesop is actually a good one. General consensus seems to agree that it's [[SoOkayItsAverage far from Disney's worst film, but by no means their best either.]]

* ''Anime/MDGeist'' has been so often called 'the worst anime ever' that when a lot of people actually ''watched'' it when it aired on [[Creator/{{Syfy}} Sci-Fi Channel]], for many of them it failed to be as bad as claimed and [[VindicatedByCable it's gained something of a fanbase]] largely for the designs of the mech, its intense action and [[SugarWiki/AwesomeMusic soundtrack]], and generally avoiding the sort of {{moe}} cuteness that put some people off of anime in the first place.

* The 1970s musical genre of {{disco}} didn't inspire the former name of CondemnedByHistory for no reason, but it's nowhere near as bad as many of its more virulent critics would make out. Part of the problem is that much of the disco was commercialised and nothing like the original genre. For instance, pop disco songs often featured far too many strings.

* The 1981 film adaptation ''Literature/MommieDearest'' is widely remembered as the psychological drama that failed so spectacularly [[SoBadItsGood and became so unintentionally hilarious]] that its studio was forced to [[ParodyRetcon repackage it as a comedy flick]]. [[ValuesDissonance Over three decades of changing values have certainly had their effect on the film's reputation]] -- the film was originally lambasted for burying the subjects of childhood abuse and Hollywood's shameful treatment of aging women under [[{{Narm}} a mountain of over-the-top ham]], but as public perception of those topics have become far more informed and nuanced, many -- especially real-life survivors of abuse -- have been more willing to speak out as such abuse [[RealityIsUnrealistic being portrayed as surprisingly, if not uncomfortably, realistic]] (the film was VeryLooselyBasedOnATrueStory, after all), often criticizing the studio's decision to completely undermine that aspect for the sake of a laugh. In specific, Creator/FayeDunaway's performance of Creator/JoanCrawford was laughed off for being loud and too ridiculous to take seriously -- the [[BerserkButton "NO WIRE HANGERS!" meltdown]] in specific becoming the subject of mockery for decades -- but more people have been willing to defend the performance for being a disturbingly accurate portrayal of an unhinged {{Abusive Parent|s}}, where if anything, Dunaway was ''under''-acting. People have certainly shied away from calling the wire hanger scene "campy" or "cartoonish" considering that it immediately leads to a mother physically assaulting her daughter who's scared for her life.