The Powerpuff Girls reboot brought to light my growing disappointment with Cartoon Network Studios, and over time, my enjoyment of shows like We Bare Bears and Steven Universe has diminished, not just due to spoilers, but because they illustrate the current direction of the studio – diverse in every aspect except style. Ever since younger adults with an interest in memes and existentialism took charge, I felt like I was the only one noticing my childhood slowly fading away, a realization that hit me when these shows started getting spoiled more than almost any other show I’ve seen. Steven would be fine if it were paired with livelier, more enduring series that didn't have themes too complex for children but could still entertain adults. However, it represents the best and worst of Cartoon Network today: well-defined characters, strong female leads, clever writing, and storytelling that feels genuinely human, alongside humor that seems deliberately designed to gain online popularity, melodrama pushed to an artificial level, a greater reliance on internet culture than any other network, and diversity so extensive that it becomes somewhat overwhelming. I’m all for being progressive, but the issue is that these shows are created by people who seem to be your average Tumblr/Twitter user—a space often filled with Japan-inspired nerds and vocal social justice advocates. This is why I had reservations about a Powerpuff Girls reboot from the moment it was announced. I’m someone who looks for mature stories dealing with real situations and characters with depth, and animation should be capable of providing more sophisticated narratives than many American movie studios believe. Animation deserves to be treated as an art form. However, animation can't have a single, uniform personality. As demonstrated by shows from Steven Universe to the 2016 Powerpuff Girls, Cartoon Network has become too grounded in reality to truly feel like “Cartoon” Network. That’s not to say this new version shouldn’t embrace influence or promote acceptance, especially given the current political climate with a president who seems intent on isolating people who aren't white or cisgendered; but doing so without being obvious requires subtlety, something the show’s creators don’t seem to grasp. Opinions about this show are valid, but the fanbase has become chaotic—in some ways resembling the early days of the Bronies fandom. Many people I know use Peridot or a character's meme-filled face as their online icon and will spoil episodes for an extended period after they air. Some fans even overlook the show’s message about acceptance regardless of size, gender, sexuality, mental health, or anything else, and resort to harsh criticism that can be deeply damaging. I find myself losing enjoyment even during the show's best moments not just because it isn’t as good as shows like Wander Over Yonder or BoJack Horseman, but the negativity of the fandom and the decline of humor at Cartoon Network Studios constantly intrude on my thoughts, making me feel like a grumpy older man trapped in the body of someone in their early twenties. During all this, Lauren Zuke Joss Whedon’d her Twitter due to fans reacting emotionally over fictional relationships. But what do I know? I prefer Uncle Grandpa.

Source on TMDB