Sweetness Aversion - TV Tropes

"Imagine eating a giant bag of Skittles, then throwing it all up in a fit of sugar-induced nausea and you'll have some idea of what it feels like to sit through My Little Pony: The Movie."

— Christy Lemire of www.rogerebert.com

• During the early 1980s, Washington, D.C.. CBS affiliate WDVM (now WUSA) commissioned a tooth-rotting promo using the branding of "Ours to Share." The campaign was basically one they could have gotten away with if it was a smaller city, but certainly not in D.C., as the reaction was harsh enough for WDVM to fire their creative services director as a result. Watch and look for dentures.

• Mobile Suit Gundam: The Witch from Mercury: Many viewers, especially those who were fans of older Gundam entries, criticize the show's Lighter and Softer nature as being to its detriment because it winds up lacking or severely watering-down many of the darker elements of the franchise that make it so appealing, such as its portrayal of the horrors of war and the tension that comes from the fact that Anyone Can Die. Instead the show is more of a high school drama with mecha until the second half that, even then, never goes to the lengths its predecessors did in exploring such topics. In particular, the show's finale was criticized as wrapping up a little too perfectly (in sharp contrast to the Season 1 finale which set itself up as the part where the show gets serious with actual tragedies). Outside a few skirmishes, there was no climactic battle between the opposing parties involved, no named characters die, Prospera is convinced to give up her revenge plot with seemingly little effort, and all of the major conflicts of the show are either handwaved away or completely forgotten about, making the happy ending come off as unearned.

• Tandy Computer Whiz Kids: Alec and Shanna are way too perfect to be believable as kids — they are excited by school and learning, even during their summer vacation they spend their time doing community service, charity work, and educational pursuits, and in one comic Alec claims that he organized a get-together of kids to discuss planning their futures up to college and beyond.

• The poor reputation of Home on the Range is partly pinned on this. While it isn't the worst example by most standards, by Disney Animated Canon standards it's agreed that this movie aims far more for the kid side of the equation, even when the Demographically Inappropriate Humor is taken into consideration. It's balanced out some by a few slower and more emotional moments ("Will the Sun Ever Shine Again?" being a standout) and some intense scenes, but the movie still generally has happy tones all around, and even the overall art style of the movie mirrors more like a picture book illustration rather than a Disney movie. The fact the movie starts with a sickeningly sweet musical number about how things are all sunshine and rainbows on the farm doesn't help that at all.
• A Troll in Central Park: One of the main reasons this movie is often considered the rock bottom of Don Bluth's filmography is that it's so overly sweet, especially compared to his earlier movies. Stanley's dreams of his "perfect world" in particular makes even Disney's most cutesy creations look brooding in comparison.

• The Craft: Legacy ran into this problem, coming off as significantly Lighter and Softer than the original Cult Classic. A few critics and audience members have noted that while the film's emphasis on everyone being kind, inclusive and only using magic for good is wholesome and idealistic, it also results in large chunks of the film feeling like plot fluff — if not downright dull — due to a lack of meaningful conflict or dramatic tension, especially considering it was marketed as a horror/supernatural thriller. The heavy use of sparkles doesn't help.
• The Oogieloves in the Big Balloon Adventure: this film has a low-stakes plot (with No Antagonist), an overemphasis on The Power of Love (to the point that the day is saved by blowing kisses), and its setting (literally called "Lovelyloveville") populated by cute puppets, eccentric people, and a bright color palette. The extreme cutesiness is probably why it bombed as hard as it did. In fact, many who saw the film being advertised thought that it would turn out to be a parody of overly saccharine kids' films.
• The childhood films of Shirley Temple (e.g. the 1937 adaptation of Heidi) banked on the appeal of her cutesy persona, which comes off more like a cartoon or a doll than an actual child. To many modern viewers who expect a more natural acting style, they can feel sappy or downright irritating.

• Many people react in react in disgust to the over-the-top, frequent love scenes, love phrases and love acts in the Twilight series.
• Dorothy Parker, reviewing books under the name Constant Reader, made her feelings about the Winnie the Pooh book The House At Pooh Corner plain: "And it is that word 'hummy', my darlings, that marks the first place in The House at Pooh Corner at which Tonstant Weader fwowed up."
• Lewis Carroll's lesser known duology, the Sylvie and Bruno books. The overly-cutesy perfection of the title children is probably the main reason these books are not given the same love as Alice in Wonderland.
• Most of the challenges and potential problems Alessia and Maxim encounter in The Missus (the sequel to The Mister) get resolved fairly quickly and neatly, with few to no long-term negative effects. While some readers were relieved that the book didn't mine all its drama from the main couple constantly fighting and mistreating each other, the downside is that there's not much in the way of conflict or tension in the book, at times making it feel like an overly-long, slice-of-life cosy romance with not much else going on; this is in spite of the book being advertised as a "passionate and thrilling love story" and including sex trafficking and dark family secrets as plot points (which tend to be glossed over or pushed to the background). Many readers find that this causes the story to drag in places, while also avoiding exploring some potentially interesting conflicts in-depth; some readers have gone so far as to state The Missus can feel less like a true sequel and more like an extended epilogue detailing Alessia and Maxim's Happily Ever After.

• Full House's syrupy tone was a major complaint back in the day. But hey, if the show didn't fit this, it wouldn't have been the Trope Namer for Full House Music. Seasons 6, 7, and 8 toned down a bit on this, though, only having that occur whenever Nicky and Alex are involved. On an interesting note, any moment on a show that is overly sappy (even if the show itself is not normally) is called a "Full House Moment" outside of TV Tropes.
• Barney & Friends. The most common criticism of the show is how downright saccharine it is, even by children's show standards, with Barney's always unfailingly chipper and upbeat mood cited as a main contributing factor in making him come across as genuinely disturbing and creepy to older viewers. People especially dislike his "Super-dee-dooper" catchphrase, as well as the "I Love You, You Love Me" song, seeing them as nauseating.

• Biffy Clyro:
  • "Re-Arrange" can come across as overly sentimental. It doesn't help that Simon Neil maintains soft, high-pitched vocals throughout the entire song.
  • "Space" is also this as well, due to being an electropop love ballad. Depending on who you ask, its cheesiness can somehow border between Sweet Dreams Fuel and Narm Charm.
• Schnuffel (also known as Snuggle Bunny) was a mascot for Jamster/Jamba. He and his girlfriend Schnuffelina were very deliberately designed to be as adorable as possible in every way they can, combining tropes such as Bunnies for Cuteness, Silly Love Songs, and a Sugar Bowl setting. The result was a flood of criticism and mockery from everyone who wasn't into this uber-saccharine aesthetic.

• The Sound of Music, despite its success on Broadway, became regarded as treacly and old-fashioned because of its saccharine nature. The movie made some attempts to tone this down (e.g., changing the placements of some songs, casting actors who could try and add dimension to their roles) without completely eliminating it. Christopher Plummer still famously described the film version as "The Sound of Mucus" because of this trope.

• Love, Ghostie is a matchmaking game where relationship conflicts are easily resolved, breakups are nonexistent (not counting Gerard's backstory with his ex-girlfriend Delilah), all the residents are cutesy critters, and the music is saccharine. While it's a "cozy game", whose lighthearted tone is intended to comfort the player, its overall sweetness might become too much to handle.
• Tokyo Mirage Sessions ♯FE is a crossover between Shin Megami Tensei and Fire Emblem franchises, both of which are known for being rather dark. Shin Megami Tensei games are commonly set After the End and feature dark storylines with plenty of people dying. Fire Emblem is lighter, but it's still stories about war, where most characters can be Killed Off for Real. This game, meanwhile, is set in modern Japan, and focuses on Idol Singers, with an extremely idealistic view on the profession at that. The game ended up being so much Lighter and Softer than both of its parent series have ever been that both fanbases were alienated by it, and the game bombed in retail.

• Boyfriends.: Part of the reason of its infamy is due to most of the chapters only consisting of the titular characters acting like Sickeningly Sweethearts.

• ChalkZone is considered by many to be the sweetest and cutest of all the Nicktoons. This initially hurt its reception amongst viewers who thought it was too saccharine, but the show would later earn itself a decent-sized fanbase over the years and be overall Vindicated by History.
• Obscure Looney Tunes star Sniffles the Mouse is this for many fans who enjoy the series for its memorable writing and humor and more well-known characters. His shorts were slower-paced, more cutesy, and lacked the chaotic humor of the shorts of the more well-known Looney Tunes characters, instead feeling more like the cartoons from Disney, Warner Bros.' competitor. Sniffles himself is a cute, yet talkative mouse with a kind-hearted personality. His creator, Chuck Jones, considered him something of an Old Shame.
• Elmyra was a character who appeared in some episodes of Tiny Toon Adventures. Her defining traits, where she has the behavior of a five-year-old in a teenager's skin, were clearly meant to be taken only in small doses when she was first created. Therefore, when she was promoted as a main character in the show Pinky, Elmyra & the Brain, it opened all sorts of floodgates for this to happen. Having to listen her cutesy childish talk for a half hour at a time very quickly grated on viewers' nerves, and is a good example of why some supporting characters are better left in that role. The showrunners, for their part, wholeheartedly agreed and threw plenty of shade at the Executive Meddling that brought these changes about to begin with.

''♫ So Pinky and the Brain share a new domain.

It's what the network wants, why bother to complain? ♫

• While none of the cartoons made by Famous Studios are particularly well-regarded because of their Strictly Formula nature (and in the case of Popeye Seasonal Rot compared to the cartoons made by Max and Dave Fleischer), the cartoons starring Casper the Friendly Ghost and Little Audrey are the most derided by critics for combining Famous' tendency for formula with overtly mawkish sweetness. Within Casper's series (particularly in the comics), Spooky and the Ghostly Trio became Breakout Characters for being an antidote to this trope.
  • Within the Fleischer output itself, the Color Classics and the Betty Boop cartoons starring Pudgy are often looked down upon by critics for being much more cutesy and sentimental than the cartoons the Fleischers are most known for, and for highlighting just how badly the studio had been affected by The Hays Code.
• Super Why!. Even considering that the target audience is little kids, this show suffers pretty harsh pushback for this. While somewhat expected with its fairy tale aesthetics, conflict-free storytelling and cutesy designs, more often than not the complaints come from how they Bowdlerise the original fairy tales to have the most safe and boring resolution possible. While it makes sense to do that relative to some of the source material, some will say they manage to sanitize the already sanitized version of the story, resulting in an edgeless cutesy overload that can cause some parents’ eyes to roll.
• Thomas & Friends: All Engines Go turns Thomas & Friends into a wacky, saccharine, sugar-coated 2D Canadian cartoon for preschoolers, with the expected Puni Plush art style and Thick-Line Animation, a much more saturated color palette, a complete disregard for basic logic and physics, the adult engines acting friendlier with little-to-no sign of their usual personality flaws, and the five main characters (Thomas, Percy, Nia, Kana, and Diesel) given an Age Lift into child characters voiced by actual kids. This gave the show a far worse reputation than the already-contentious HiT Entertainment model and CGI eras, Thomas and the Magic Railroad^note  and the Big World! Big Adventures! era.