Unpacking "Banned" and Altered Episodes of The Muppet Show

Introduction: It’s Time to Ask… Where Did Some Muppets Go?

The Muppet Show, which originally graced television screens from 1976 to 1981, remains an indelible part of television history. Its innovative fusion of vaudeville-style comedy, sophisticated puppetry, and a dazzling array of celebrity guest stars cemented its unique appeal. Conceived for a broad family audience that explicitly included adults, its humor and themes often ventured beyond typical children’s fare. The anticipation among fans was palpable when Disney+ announced in 2021 that all five seasons would be available for streaming, a first for any such platform. However, this excitement soon mingled with confusion as viewers discovered that certain episodes were entirely absent, others had segments inexplicably snipped, and some now carried content disclaimers. These discrepancies sparked widespread discussion and a desire for clarity.

The term “banned” often surfaces in these conversations, but its application here is colloquial, covering a spectrum of unavailability. It encompasses episodes completely omitted from streaming services, those not accessible in particular geographic regions, segments (frequently musical numbers or the “UK spots” designed for British television) edited out of otherwise available episodes, and episodes presented with advisory warnings due to content deemed culturally insensitive by contemporary standards. Understanding these distinctions is key, as the reasons for these alterations are varied and complex, moving beyond a simple narrative of censorship. The journey of The Muppet Show into the streaming era reveals much about how classic media is curated, preserved, and sometimes altered, reflecting a shift in what constitutes “accessible content.” What was once primarily a matter of broadcast standards or physical media limitations (like music rights on DVDs ) has evolved. Now, global licensing, dynamic content warnings, and corporate responses to evolving social norms play significant roles. The result is a more nuanced landscape where “banned” or “unavailable” is less about overt state censorship and more about an intricate dance of licensing, corporate ethics, public relations, and the technical ease of modifying content on a global scale. This creates a fluid, sometimes opaque, environment for media archival and public access.

The Completely Vanished: Episodes You Won’t Find on Disney+ (Globally)

Two episodes from The Muppet Show‘s original five-season run are notably absent from the Disney+ streaming service worldwide, each for distinct and telling reasons.

A. The Brooke Shields Episode (Season 5, Episode 6: “Muppet Wonderland”)

This Season 5 episode, which originally aired on October 4, 1980 , featured a then 14-year-old Brooke Shields, the youngest guest star in the show’s history. The episode was an ambitious undertaking, themed around Lewis Carroll’s Alice in Wonderland, with Shields playing Alice and the Muppets taking on various Wonderland roles.

The primary reason for its global omission from Disney+ is attributed to music licensing complications. Specifically, the performance of the song “We’re Off to See the Wizard” from the classic film The Wizard of Oz poses a significant rights hurdle. Warner Bros. holds the rights to this iconic song, and at the time of the Disney+ launch, reports suggested they were developing their own Wizard of Oz remake, potentially making negotiations for the song’s use prohibitively difficult or expensive. Because the song was reportedly integral to the episode’s plot, simply excising the musical number was not deemed a viable option.

Interestingly, this episode was previously released on the Time-Life “Best of The Muppet Show” DVD collection. This prior availability indicates that the music rights were clearable for physical media distribution at an earlier point, though the terms for global streaming rights in the current media landscape present a different challenge.

B. The Chris Langham Episode (Season 5, Episode 19)

The second episode entirely missing from Disney+ featured Chris Langham, who was primarily a writer for The Muppet Show. He stepped in as a last-minute guest host for this Season 5 episode when the originally scheduled celebrity (reportedly Richard Pryor, who had to cancel due to his infamous self-immolation accident ) became unavailable. The episode’s premise involved Langham, initially appearing as a messenger boy, being persuaded by Kermit to be the guest star. One of the performances in this episode was Flanders and Swann’s comedic song “The Gnu”.

The decision to omit this episode is widely understood, though not officially confirmed by Disney, to be a direct consequence of Langham’s 2007 conviction on serious child pornography charges. This conviction occurred long after his appearance on The Muppet Show.

Unlike the Brooke Shields episode, the Chris Langham episode has a history of being commercially unavailable. Several sources indicate it was not included in previous widespread DVD releases. Its absence from Disney+ is therefore consistent with its prior limited commercial circulation.

The differing fates of these two episodes reveal a certain hierarchy in how “problematic” content or associations are handled. The Langham episode, tainted by the severe off-screen criminal conduct of its guest star, appears to be deemed too toxic for revival by the platform holder, irrespective of the episode’s actual content. This suggests that issues of personal conduct and severe reputational damage can render content virtually untouchable. The Brooke Shields episode, on the other hand, is sidelined by commercial and legal complexities—specifically, music rights. While these are significant hurdles, the episode’s prior release on DVD suggests that such obstacles are, at least in theory, surmountable given the right conditions or financial investment. This contrasts with episodes containing culturally sensitive material from the era, which, as will be discussed, are often presented with disclaimers rather than being removed entirely. This tiered approach reflects a complex balancing act where brand protection, commercial viability, and evolving ethical stances intersect to determine an archival piece’s fate in the contemporary media environment.

Geographical Gaps: The Curious Case of Region-Locked Muppets

The promise of a complete Muppet Show collection on Disney+ is further complicated by regional variations in availability. Even beyond the two globally omitted episodes, some installments are accessible in one country but not another, creating a fragmented viewing experience for international audiences.

A. The John Denver Episode (Season 4, Episode 1)

Featuring the beloved singer-songwriter John Denver, this episode is available to Disney+ subscribers in the United States. However, it has been reported as omitted from the platform in several European countries. The most commonly cited reason for such regional discrepancies is, once again, music rights. The intricate web of music licensing means that rights secured for one territory may not extend to others, or the cost and complexity of clearing them for multiple regions may be prohibitive. There is no indication that the content of the John Denver episode itself is considered controversial in a way that would necessitate its removal in specific regions beyond these licensing challenges.

B. The Spike Milligan Episode (Season 3, Episode 17)

The episode guest-starring British comedian Spike Milligan, which originally aired in the US on January 20, 1979 , presents a more layered situation. Like the John Denver episode, it has been reported as missing from Disney+ in some European territories, while it is available in the US. However, unlike the Denver episode, the Milligan installment is also one of the 18 episodes that carries a content advisory disclaimer in regions where it is available, due to its extensive use of cultural stereotypes (detailed further in Section IV.C). This dual status—regionally omitted in some places, and presented with a warning in others—suggests that a combination of factors, potentially including both music rights and the heightened sensitivity surrounding its content, might contribute to its varied international availability.

These regional differences underscore a significant challenge for global streaming platforms. The ideal of a universally accessible content library often collides with the deeply entrenched territorial nature of media rights. Music licensing, in particular, remains a complex patchwork of national and international agreements. Furthermore, while Disney has adopted a general policy of using disclaimers for culturally sensitive content, the threshold for what is deemed acceptable, even with such a warning, might differ across various cultural contexts or national regulatory environments. Consequently, a “complete” viewing of The Muppet Show becomes dependent on the viewer’s geographical location, challenging the notion of a single, definitive digital archive and illustrating how global distribution can lead to a fractured, rather than unified, experience of classic television.

**Handle with Care: The Muppet Show and Disney’s Content Disclaimers**

Upon its debut on Disney+, a significant portion of The Muppet Show—specifically 18 episodes—came with a new preface: a 12-second, unskippable content disclaimer. The message states: “This program includes negative depictions and/or mistreatment of people or cultures. These stereotypes were wrong then and are wrong now. Rather than remove this content, we want to acknowledge its harmful impact, learn from it and spark conversation to create a more inclusive future together”. An additional consequence of this flagging is that these episodes are typically not accessible through children’s profiles on the streaming service.

This approach aligns with Disney’s broader corporate initiative concerning its vast library, reflecting an ongoing commitment to “diversity and inclusion” by reviewing and adding advisories to older content featuring negative cultural depictions. This strategy is similar to actions taken with classic animated films such as Peter Pan, Dumbo, and The Aristocats.

A. Spotlight: Johnny Cash (Season 5, Episode 14)

The episode featuring country music legend Johnny Cash, which aired in 1981 , is one of the most frequently cited examples for receiving a content disclaimer. The primary issue is the prominent and repeated display of the Confederate battle flag in the background of the barn-themed set during several of Cash’s musical performances and other sketches.

In the context of the 1970s and early 1980s, the flag’s inclusion was likely intended as a simple visual shorthand for a “country music” or rural Southern setting. It’s improbable that The Muppet Show‘s creators intended a hateful message; indeed, Johnny Cash himself was known for his advocacy for Native American rights and often addressed social issues in his music. However, in the decades since, awareness and condemnation of the Confederate flag as a potent symbol of white supremacy, slavery, and racial oppression have become far more widespread and pronounced. Its appearance in a beloved family program is therefore jarring for many contemporary viewers. The decision to use the flag as set dressing, as one analysis points out, indicates “just how prevailing the ideals of white supremacy can be in our society, because the Muppet team felt they needed a Confederate flag to convey that the show was country music-themed”.

B. Spotlight: Peter Sellers (Season 2, Episode 19)

The episode guest-starring the renowned British comedic actor Peter Sellers (which aired in 1978 ) is flagged primarily for its stereotypical portrayal of a Romani individual during a musical number titled “A Gypsy’s Violin” (sometimes referred to as “Gypsy Violin”). This segment features Sellers in stereotypical Romani garb and employing an exaggerated accent; some sources also note the use of a derogatory term for Romani people within the episode. Such caricatures are now widely recognized as perpetuating harmful stereotypes about the Romani community, who have historically faced persecution and misrepresentation. The episode also reportedly includes Sellers portraying a “sadistic orthopedist (with Hitler mustache),” adding another layer of potentially unsettling characterization.

C. Spotlight: Spike Milligan (Season 3, Episode 17)

As previously mentioned, the Spike Milligan episode (aired January 20, 1979, in the US ) is a particularly concentrated example of the cultural insensitivity that prompted Disney’s disclaimers. The episode is replete with caricatures that are jarring by today’s standards. Key problematic segments include:

A “Tribute to Japan” sketch where Japanese Muppet characters sing with heavily exaggerated accents, such as “We know we berong to the rand/And the rand we berong to is grand!”.
The “It’s a Small World” musical finale, during which Milligan appears in a stereotypical Chinese outfit, complete with buckteeth, and engages in mock-Chinese gibberish.
A segment where Milligan dons a Native American headdress and speaks in stereotypical broken English, uttering lines like, “Me — me not go. Me like it here. Me not say goodbye. Me say, ‘Hello, sailor!'”.
A moment where Milligan makes a gesture that some have interpreted as a Nazi salute, though others suggest it could be a poorly chosen Red Hand of Ulster salute or a Roman salute; regardless, it’s considered an inappropriate gesture for a family program.

Contemporary reviews and fan discussions often describe this episode as one of the most polarizing in the show’s run, frequently labeling it as racist. While some acknowledge Milligan’s comedic talent and the episode’s moments of absurdist brilliance, the pervasive stereotypes are seen as “cringeworthy” and reflective of 1979 sensibilities that have not aged well. One reviewer, a self-described white male, poignantly noted that individuals from the cultures being stereotyped would likely have a very different and more negative reaction to the episode.

D. Overview of Other Flagged Content

Beyond these prominent examples, numerous other episodes feature content that contributed to the placement of disclaimers. These include :

Joel Grey (Season 1, Episode 3): The song “Pachalafaka” performed with a Muppet in stereotypical “belly dancer” attire, with lyrics specifying a Turkish woman.
Jim Nabors (Season 1, Episode 6): The performance of “Indian Love Call.”
Steve Martin (Season 2, Episode 8): The song “Ramblin’ Guy” includes a segment with mock-Chinese vocals.
Kenny Rogers (Season 4, Episode 10): Features a witch doctor character and what are described as “greedy Arab stereotypes.”
Jonathan Winters (Season 4, Episode 16): Includes a “Gypsy curse” storyline and impressions of Native Americans.
James Coco (Season 3, Episode 12): Performance of Randy Newman’s satirical song “Short People.”
Crystal Gayle (Season 4, Episode 2): Performance of the song “Swanee,” associated with minstrelsy.
Beverly Sills (Season 4, Episode 9): Features a “Chinese gorilla” character.
James Coburn (Season 5, Episode 5): Includes Japanese-themed sketches.

The use of the disclaimer “These stereotypes were wrong then and are wrong now” presents an interesting paradox when considering archival media. While the statement reflects a commendable present-day ethical stance, it somewhat simplifies the complex historical context in which shows like The Muppet Show were created and received. During the 1970s and early 1980s, societal awareness and sensitivities regarding cultural representation were different, and depictions that are now widely seen as offensive were often more commonplace or less critically scrutinized in mainstream entertainment. As one source notes, “racist depictions like these were common enough to seem unremarkable” at the time.

The decision to add disclaimers rather than remove the content entirely represents a strategy of contextualization. However, this approach raises questions about artistic intent versus impact, the role of media in reflecting versus shaping societal norms, and whether such warnings adequately address historical harm or primarily serve as a form of corporate risk management. Academic analyses suggest The Muppet Show was often engaged in subversive humor and social critique, indicating a level of complexity beyond simple naivety even in its original run. The disclaimers, therefore, are part of an ongoing negotiation with how media from past eras, produced under different cultural conditions, should be presented to contemporary audiences.

The Sound of Silence: Music Rights and Snipped Segments

Beyond episodes entirely missing or carrying content warnings, a significant number of The Muppet Show installments available on Disney+ have been altered by the removal of specific musical numbers or the “UK Spots” originally filmed for British television. The overwhelming reason for these edits is the labyrinthine world of music licensing.

Examples of musical segments cut from Disney+ airings are numerous and span across seasons :

Bernadette Peters (Season 2): The songs “They Call the Wind Maria” and “I’m Five” are missing.
Don Knotts (Season 2): “Lullaby of Birdland” is absent, along with scenes referencing it.
Anne Murray (Season 4): Her performance of “Dancing on the Ceiling” has been removed.
Marty Feldman (Season 5): A rendition of the “Sesame Street Theme” is cut. This particular omission highlights the intricacies of rights, as HBO holds the rights to Sesame Street, despite Jim Henson’s foundational role in both shows.
Other guest star episodes with missing songs include those with Cheryl Ladd (“There’s A New Sound”), Danny Kaye (“Jogging”), Roger Miller (“Down at the Old Bull and Bush”), James Coburn (“Bird Walk”), Tony Randall (“Ti-Pi-Tin”), Hal Linden (“If I Ruled the World”), Wally Boag (“The Ying Tong Song”), and Buddy Rich (“A Transport of Delight”).

The “UK Spots” represent another category of frequently excised content. These were additional two-minute segments, typically songs (often traditional British music hall numbers) or short sketches, created because commercial breaks in the United Kingdom were shorter than in the United States, requiring extra material to fill the broadcast time. These segments usually did not feature the main guest star. While many of these UK Spots were unseen during the original US airings, they were often included in later DVD releases, providing fans with a more complete version of the episodes. However, many of these have been cut from the Disney+ versions.

Securing music rights for older television programs for modern distribution, especially global streaming, is a notoriously complex and often expensive undertaking. Rights for songs can be fragmented among various publishers and songwriters, and licenses granted for original broadcast or physical media may not cover streaming. Re-clearing these rights can be prohibitively costly, with some rights holders reportedly demanding “ransom prices,” leading distributors to opt for deleting the segment altogether as a more economically viable solution.

This widespread issue of music-related cuts underscores a critical vulnerability in the preservation of our audiovisual heritage. Unlike literary works where the text is the primary element, television shows and films are composite works, with music often playing an integral role in their artistic and emotional impact. The difficulty and expense of re-negotiating these ancillary rights for each new platform or territory mean that audiences may increasingly encounter abridged or altered versions of classic programs. This raises serious concerns about the long-term integrity of media archives when commercial considerations can dictate the completeness of the creative work presented to the public. It suggests a potential future where truly “complete” versions of such shows become rare artifacts, primarily accessible through older, out-of-print physical media, if at all.

Earlier Edits: The Nickelodeon Era and Other Alterations

The Disney+ release is not the first time The Muppet Show has been presented in an edited form. Previous television airings and home media releases also featured alterations, contributing to the challenge of finding a “definitive” version of the series.

When Nickelodeon broadcast reruns of The Muppet Show between 1994 and 1995, various edits were made. Interestingly, Nickelodeon often included the “UK Spots”—the extra segments originally made for British television. However, to accommodate these additions, as well as the channel’s commercial load and program runtime requirements, other material from the original US broadcast versions was sometimes cut. Examples of segments reportedly cut during Nickelodeon airings or in other syndicated/edited versions include some of Fozzie’s joke segments, certain Muppet News Flashes (like one involving Brooklyn being held hostage), Gonzo’s stunt of destroying a vintage automobile, a French Tango dance sequence, the final scene of a running gag involving objects for Kermit, a scene following a Muppet Labs segment (where Piggy tries to make Kermit jealous), an edited version of the ‘House of Horrors’ sketch with Vincent Price, and an “At the Dance” segment featuring a haunted ballroom.

While the primary driver for these cuts on Nickelodeon was likely time , the specific nature of some excised content—such as Gonzo’s car destruction or a newsflash about a hostage situation—raises the question of whether content standards for a children-focused channel in the 1990s might have also played a role, beyond simple time constraints. However, detailed Nickelodeon content guidelines for The Muppet Show from that era are not readily available in the provided materials.

Even the official DVD releases of The Muppet Show were not entirely immune to edits. The first season DVD sets, for instance, were missing some songs and skits, largely due to music licensing issues. A notable example is the absence of the closing song from the Vincent Price episode on the initial Season 1-3 DVD collections.

During its original international run (1976-1981), variations also existed. German broadcasts featured specially filmed new introductions by Kermit the Frog. As mentioned, UK versions were consistently two minutes longer than their US counterparts due to the inclusion of the UK Spots, necessitated by shorter advertising breaks in Britain. Even the style of the end credits differed between UK and non-UK versions.

This long history of alterations across different broadcast platforms, home media releases, and international versions means that the concept of a single, universally accessible “complete and original” version of The Muppet Show is elusive. Each iteration of the show’s release has been subject to the technical, commercial, and sometimes content-related constraints of its specific time and distributor. For fans and media historians, this creates a significant challenge in accessing, or even defining, what constitutes the definitive version of this beloved series. The act of watching The Muppet Show can thus become a form of archival detective work, attempting to piece together a complete picture from fragmented sources, where the original creative intent may be obscured by layers of subsequent modifications.

The Hunt for Lost Muppets: Are They Gone Forever?

For dedicated fans seeking the most complete versions of The Muppet Show episodes, the landscape is complex. While Disney+ offers the most extensive collection in one place, particularly for Seasons 4 and 5 which had limited DVD releases , it is, as detailed, far from complete.

Previous DVD releases serve as a potential, albeit imperfect, source for some of the missing material:

Time-Life “Best of The Muppet Show” DVD Sets: These collections, released prior to the more comprehensive season sets, notably included the Brooke Shields episode, which is absent from Disney+. However, these sets are likely becoming increasingly scarce and may command higher prices on the secondary market.
Official Season DVD Sets (Seasons 1-3): For the first three seasons, these DVD releases are often considered more complete in certain respects than their Disney+ counterparts. They generally featured fewer music cuts and reliably included the UK Spots. Nevertheless, even these sets were not without their own omissions, often related to music rights.

The challenge for the average fan is that piecing together every segment ever aired across all these different formats is a daunting, if not impossible, task. It requires access to out-of-print media and a meticulous comparison of various versions.

There remains a glimmer of hope for future reinstatement of some content on Disney+. The nature of streaming platforms allows for dynamic updates to content libraries. If music rights are eventually secured for missing songs, or if Disney re-evaluates its decisions on certain edits, episodes could theoretically be restored or made more complete. Fan communities and Muppet-focused websites like ToughPigs have expressed hope that missing segments, particularly UK spots or songs that were previously cleared for DVD release, might one day reappear on the streaming service.

This situation highlights an interesting paradox regarding the perceived permanence of media in the digital age. Streaming platforms offer vast libraries, creating an illusion of comprehensive and enduring access. Yet, as The Muppet Show‘s case demonstrates, content can be missing, altered, or even removed entirely, often due to licensing agreements that are not perpetual or due to shifting corporate priorities. Older physical media, such as DVDs, while subject to their own limitations (like physical degradation or their own set of edits), can sometimes hold more complete or different versions of content if rights were cleared under different terms at the time of their release. This leads to a scenario where the latest digital version is not always the fullest or most historically accurate one. It challenges the assumption that “digital” equates to “definitive” or “everlasting,” underscoring the ongoing importance of diverse archival methods and highlighting the potential for a “digital disappearance” driven by commercial and legal factors rather than the physical decay of media.

Conclusion: The Muppets in a Modern Lens

The saga of The Muppet Show‘s “banned,” altered, and annotated episodes on Disney+ encapsulates a fundamental tension in how classic media is handled in the contemporary era. On one side is the desire of fans and preservationists for archival completeness—access to beloved shows as they were originally created and aired. On the other are the multifaceted realities faced by distributors like Disney: the significant commercial costs and complexities of music licensing, the ethical dilemmas posed by the past conduct of guest stars, and the evolving cultural sensitivities that necessitate addressing historical content through a modern lens.

The Muppet Show itself was a product of its time (1976-1981) yet possesses a timeless appeal. It was frequently groundbreaking, often pushing the boundaries of television comedy and puppetry with sophisticated humor, and even engaging in nuanced social commentary and subversive themes for a family program. However, like all media, it inevitably reflects some of the prevailing norms, assumptions, and, indeed, blind spots of its era regarding cultural representation.

The presentation of such classic media is not static; it is continuously evolving. The disclaimers and edits applied to The Muppet Show on Disney+ are part of a larger, ongoing cultural conversation about how society engages with its past, particularly aspects that may now be viewed as problematic. As one satirical piece from the fan site ToughPigs illustrated, almost any content could be framed as “bannable” if viewed through a sufficiently prescriptive or decontextualized lens, drawing parallels to contemporary debates around media censorship.

Ultimately, the “missing” and modified Muppet moments serve as a fascinating case study. They illuminate the intricate interplay of media history, the challenges of preservation, the shifting sands of cultural values, and the powerful influence of commercial and legal priorities in the digital age. In this environment, classic television shows are not merely static artifacts passively archived; they become dynamic “living documents.” The version of The Muppet Show experienced by many today has been actively curated and reshaped by present-day concerns—legal, ethical, and commercial. This ongoing process of re-evaluation and modification means that future generations may encounter these cultural touchstones in forms different from how they were originally presented, highlighting the ever-evolving and often contested nature of our shared media heritage.

**Summary of Key Affected Muppet Show Episodes/Segments**

Guest Star / Episode Focus / Segment Type	Season/Episode No.	Nature of Issue on Disney+ (US default, note European variations)	Primary Reason(s) Cited/Suspected	Notable Prior Availability (e.g., Original Broadcast, Time-Life DVD, Season DVD)	Key Missing/Problematic Content (Brief Description)
Brooke Shields	S5 E06	Omitted Globally	Music Rights (specifically “We’re Off to See the Wizard”)	Time-Life DVD	Entire Alice in Wonderland-themed episode.
Chris Langham	S5 E19	Omitted Globally	Guest Star Controversy (criminal conviction)	Generally Not Commercially Released on DVD	Entire episode featuring the writer as a last-minute guest.
John Denver	S4 E01	Omitted in some European countries (available in US)	Regional Music/Licensing Rights	Original Broadcast, US Disney+	Entire episode unavailable in certain regions.
Spike Milligan	S3 E17	Omitted in some European countries; Content Disclaimer in US	Regional Music/Licensing Rights; Cultural Stereotypes	Original Broadcast, US Disney+ (with disclaimer)	Multiple cultural caricatures (Japanese, Chinese, Native American portrayals by guest/Muppets).
Johnny Cash	S5 E14	Content Disclaimer	Cultural Sensitivity (Confederate Flag display)	Original Broadcast, DVD, Disney+ (with disclaimer)	Prominent display of Confederate flag during musical performances.
Peter Sellers	S2 E19	Content Disclaimer	Cultural Sensitivity (Stereotypical Romani portrayal, other characters)	Original Broadcast, DVD, Disney+ (with disclaimer)	“A Gypsy’s Violin” number with stereotypical portrayal; other potentially unsettling characterizations by guest.
Various (e.g., Bernadette Peters, Don Knotts, etc.)	Various	Specific Segment(s) Cut (Musical numbers, UK Spots)	Music Rights	Original Broadcast (some segments US, some UK), DVD (variable completeness)	Individual songs or 2-minute UK-specific segments removed from numerous episodes.
Joel Grey	S1 E03	Content Disclaimer	Cultural Stereotypes	Original Broadcast, DVD, Disney+ (with disclaimer)	“Pachalafaka” song with stereotypical “belly dancer” Muppet.
Kenny Rogers	S4 E10	Content Disclaimer	Cultural Stereotypes	Original Broadcast, DVD, Disney+ (with disclaimer)	Witch doctor character, “greedy Arab stereotypes.”
Jonathan Winters	S4 E16	Content Disclaimer	Cultural Stereotypes	Original Broadcast, DVD, Disney+ (with disclaimer)	“Gypsy curse” storyline, Native American impressions.