M*A*S*H

No established characters are race- or gender-swapped; characters are original to the property.

Margaret 'Hot Lips' Houlihan grows into a competent, respected leader over the series, but men are not vilified as a message; the comedy is even-handed.

• Maj. Houlihan's evolution into a capable head nurse
• Frank Burns is mocked, but for incompetence/hypocrisy, not for being male

Cpl. Klinger cross-dresses to get a discharge, but it's a running gag explicitly framed as a sanity ploy, not an LGBTQ+ identity statement.

• Klinger wearing dresses to seem 'unfit' for service

Cast reflects an early-1950s U.S. Army hospital with period-appropriate diversity; no anachronistic quota casting.

• Predominantly white officer corps consistent with the era

The show carries a strong anti-war humanist message, sometimes delivered through earnest speeches, but it's generally woven into character and story rather than modern identity sermonizing.

• Hawkeye's anti-war monologues
• Episodes mourning the futility and waste of war

It critiques military authority and the brutality of war, but does not frame masculinity or the West as inherently toxic; its targets are bureaucracy and war itself.

• Satire of pompous brass and rigid regulations

Adapts the film/novel into a long-running series with tonal shifts, but no identity- or agenda-driven rewrite of characters.