Sure, I'll make it make sense. Because comparing the two starts from a place of false parallelism.
In ATLA, Sokka's misogyny was present for 3 episodes in the very beginning of the show, and then used to deliver narrative carthasis in episode 4, in the form of Sokka's 180 turn into feminism. The tension of flexing the rubber band of Sokka's misogyny was brief, and the release of that tension then felt appropriatly sized, because it came so soon in the series. The the rest of the show continued slapping instant karmic punishments to characters who expressed misogynistic beliefs. (Anyone who underestimated Toph, Yue's bethored, the guys who catcalled Katara, etc, etc). The world of ATLA is such, that it bends itself to always prove the misogynist wrong. (of course atla also has it's weak points where it falters with this aim, but the express aim is clearly there) The audience is primed, so that they can ignore the flinch of hearing a misogynist micro (or macro) agression, because they can expect the cathrasis of a karmic punishment to follow.
This works very well in the genre of escapist fantasy adventure. Shows like Succession, or Breaking Bad, or IWTV can present misogynist characters, who never learn or face any consequences, because the cathrasis of those shows comes from watching unpleasant people wallow in their self-inflicted miseries. They are shows about characters you love to hate.
Escapist fantasy adventure as a genre doesn't want to create characters you love to hate. It wants to create characters you love to love.
One Piece is an escapist fantasy adventure. It wants to create characters we love to love. So, it also has to ask the question of: How much can we pull on the rubber-band of discomfort before delivering any kind of cathrasis to the audience. The complaints that animanga One Piece faces, comes from the fact that for a lot of people, the answer is not this much.
Complaints about ATLA liveaction removing Sokka's *Suki teaches him about feminism* moment, and complaints about animanga One Piece having characters dropping misogynistic microagressions casually all over the place, come from the exact same emotion. 'I wanted to see a moment of fantasy-wish-fulfillment where a man changes how he behaves, and I was not delivered that emotional cathrasis.'
This has nothing to do with whether any of the misogyny of the characters makes sense in universe.
Different people will find different character flaws more or less bearable, and it's always a tight-rope you have to walk on. But creators do have a choice in what flaws they expect the audience to find interesting and where the line of so-insufferable-I'm-picking-a-different-show lies. I think for OPLA crew, the choices would have been
Leave it as it is, rubbing that *discomfort without any comfort* button way too roughly for a HUGE chunks of the new audience.
Create an entirely new storyline about Sanji and Zoro facing consequences and *changing their ways*. And I would be willing to bet actual money that the fans of the animanga would have been even more pissed if OPLA had started soloing with the storyline like that.
Just sand down the sexist corners, as the show did. And from these three options, I fully belive they picked the right one by pikcing this.
This turned into a pretty long rant, but it does bother me that it is often the case that misogyny is seen as *bigotry light* and the onus of accepting that media has misogyny in it, is put on the female audiences. I have a feeling that we as as society are much more accepting that making a character a racist is going to need helluva strong narrative justification, because the discomfort that choie like that causes in an audience is expected to be very high. But often it seems that the discomfort misogyny is expected to cause in an audience is.... much less. I don't like that assumption.
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