South Park

The episode 'Sexual Harassment Panda' criticizes the proliferation of vague, overreaching identity-based policies by showing how a sexual harassment workshop leads to town-wide, frivolous lawsuits, reducing the concept to an absurd means of personal gain for characters like Cartman and Kyle's father. The show mocks the legal mechanism for creating an intersectional hierarchy, rather than endorsing it. Characters are generally judged by their deplorable personal actions, which are universal, not by immutable characteristics.

The episode 'Rainforest Schmainforest' directly satirizes Western guilt and environmental performative activism by having the main characters travel to Costa Rica and conclude that the rainforest is a dangerous, awful place. This narrative directly counters the 'Noble Savage' trope and the civilizational self-hatred it implies by portraying the foreign culture as hostile and primitive. The main thrust of the episode is a wholesale rejection of the environmental movement's moralizing lecture.

Female characters are frequently abrasive, crude, and non-idealized, directly resisting the 'Mary Sue' or 'Girl Boss' tropes. Women are often antagonists, such as Chef's fiancée (a succubus), or violently abusive, like Stan's sister Shelly. The humor is generally misanthropic, not misogynistic, and men are often depicted as equally, if not more, incompetent, but the series does not promote a vision of ideal female empowerment or anti-natalism as a moral good. The show's baseline is one of general human depravity, which is equally applied to all genders.

The episode 'Two Guys Naked in a Hot Tub' involves Randy and Gerald Marsh awkwardly experimenting with non-normative sexual acts, played for comedic discomfort. This is not a political lecture centering alternative sexuality, but a moment of situational shock humor that deconstructs the adults' suburban norms. There is no presence of gender ideology or focusing on identity for children; the use of 'Getting Gay With Kids' is a double entendre, reflecting the 90s ambiguity of the word 'gay'. The focus remains on normative structure as the default context for the satire.

Episodes repeatedly attack and satirize organized religion and its institutions. 'Starvin' Marvin in Space' portrays Christian missionaries as more concerned with converting people to their faith than providing actual aid, showing organized religion as a source of corruption and neglect. 'Jewbilee' and 'Are You There God? It's Me, Jesus' use biblical figures and religious rituals for sacrilegious shock comedy, presenting Jesus as a flawed, anxious character and suggesting a spiritual vacuum where God may not appear. This represents a strong, consistent hostility toward traditional religious institutions.