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In the series, The Book of Boba Fett, Fett makes an alliance with a group of sand people who save his life and help to rehabilitate him. The group comes under siege from a hover train owned by the Pyke syndicate, who shoot at the sand people. The sand people, having no ability to travel as fast as the train, can only hide and take heavy losses before picking up what's left. Eventually, Fett teaches the sand people to take down the train, and upon securing victory over the Pykes, their excuse for their oppression is that they believed the sand people were just a primitive species. Because the sand people looked and sounded different than the Pykes, they never took the time to understand them.

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In the game Splatoon, there's a DLC expansion where the player (as an inkling, or a squid person) gets to play through a new story. This story is based around one character, a talking telephone, gathering the evil octolings (or octopus people) to try to convert them from their vile and dastardly ways. The telephone plays mood correcting music and holds prisoner many octolings in an effort to turn them into functioning members of society. In the end, however, the telephone does not release the octolings, but rather traps them in an industrial size blender and attempts to murder them. (It is also suggested that this procedure has been successfully completed over 10,000 times). This suggests that the telephone is just genuinely committing genocide, and that's not okay.

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In Star Wars, it's assumed that the rancor is a large and unforgiving killer. It's often used in torture chambers and fighting rings, but in reality they are, "emotionally complex creatures." In this scene Boba Fett looks past the rancor's appearance to try and find the creature inside. Not judging on appearances allows Fett a deep relationship with this mammoth creature.

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Clone 99 is a clone that was made with an overly accelerated growth. This means that he is permanently stuck in a disfigured, old, unusable body. Everyone overlooks clone 99, except for one group of clones who look past his appearance to find a courageous and innovative fighter. Clone 99, in this scene, says goodbye to the only clones who ever respected him, and it shows how important it is that the clones finally understood him for the man he is, not the genetic failure he was born with.

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In the lion king, the lions claim superiority over the hyenas. However, in Scar's speech after Mufasa's death it makes it sound as though Scar is in the right. The hyenas have been exiled for thousands of years, and their behavior is more born out of that exile than an inherent feature of their nature. The lion's oppression creates the hyena's madness, and it's a self fulfilling prophecy that could be an allegory for how the upper strata of our society oppress and look down on the lower.

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Some of these pieces are not linked in their take on sci fi bigotry. Some of these pieces suggest that the bigotry is wrong on its face, like in Clone wars and Boba Fett, but other pieces suggest that this stratified bigotry serves a purpose, like in lion king and splatoon. The difference between encouraged bigoted sci fi stratification and the tearing down of these levels is something that could be explored in an examination of sci fi bigotry.

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Is stratification based on physical traits necessary or inevitable in such varied fantasy worlds?

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In the videogame, Legend of Zelda Breath of the Wild, there is a fairly wide range of species presented. Overall the five races, Hylian (elves), Gerudo (tall, arabian looking women), Zora (fish people), Goron (strong, boulder-like people), and rito (bird people) live as separate societies. They only occasionally intermingle in trade and war, the rest of the time staying in their corners of the world. These monoethnic towns act as places of seclusion, safety, and comfort for their inhabitants. However, some characters feel like they don't fit in in their designated town, and want to branch out, meet new people. In this desire we find the village of Tarreytown. A town born out of community and racial heterogeneity thrives under the watchful eye of the protagonist, and climaxes in a marriage between two individuals from different races, united in harmony with a vast patchwork of friends behind them.

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Zootopia's plot is almost entirely based on the premise of race. The text values the prejudice that people hold in their minds and how that affects national policy. We watch in one specific scene that the nature of "predators" is assumed to be violent, and even though these assumptions had not previously been voiced they were still present. And once those assumptions are brought into the public eye, we see that society as a whole is immensely stratified along these racial lines. The fallout from this news report, and the action that ensues, shows that this society is quite bigoted, and may be beyond repair.

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The Mario Bros universe is, in essence, a world at war. And as such, the militaries of both sides of the battle are composed of a utilitarian hierarchy. The most "useful" warriors (Mario, Luigi, Bowser, etc.) get the most privileges. They live in castles, they get extra power ups, they are allowed autonomy in their decision making. The lower ranks, the goombas and the toads, operate as foot soldiers to the battle, marching where they're told to march, dying when they're told to die. These lowly soldiers all look alike, they all act alike, and they all are put into their station as a result of their race. All the hammer bros must throw hammers, all the Yoshis must carry Mario into battle, all the Boos must divebomb mario in that one really annoying castle level. It's not your merit that makes you what you are, but your racial utilitarian war value that stratifies Mario's society.

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In the movies Robots (2005) every character is a robot. In a world where everyone's bodies are customizable to the utmost extent, Robots features a great heterogony of appearance. However, the society does not find strength in this diversity, but rather, seeks to build a stratification upon its back. In this scene, the antagonist describes how he wishes his society to function. His company, which builds upgrades for robots, wants to sell more upgrades. And so our antagonist wishes for people to begin hating their appearance, the bodies their parents gave them, so that they are persuaded to but into the antagonist's machinations. In the end, our antagonist wants everyone looking exactly the same, and for him to profit off of that sameness.

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In Finding Nemo, our main characters, Marlin and Dory, stumble into a shark named Bruce. Bruce invites Marlin to a get together that he is having, but Marlin is, understandably, hesitant to join him. After all, sharks eat fish. But when Marlin and Dory eventually get to Bruce's party they find that it is essentially and AA meeting for sharks who want to go vegan. As Marlin tensely sits through the meeting's pleasantries we can see just how hard the sharks are trying to reinvent themselves. Because in the Finding Nemo universe, a shark is a dangerous predator, and one to be avoided. They're outcasts, the lowest rank of society. And this scene shows some sharks trying their very best to conform to societies standards, even when it's so obviously not in there nature.

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One thing that connects all of these pieces is the idea of what I would call sci fi bigotry. An accelerationist, caricature-like image of how we treat people who look and sound different than us. Whether it be the elderly, the animal, or the differently colored, all of these scenes deal with discrimination between varied groups of people.