The concept of “family values” is inherently rigid and inflexible. It’s meant to stop thought. Good fiction and theater usually assume that “family values” should be in some kind of interesting uproar.
To remove contrast from within the family and to substitute an idea of uniformity is to kill off art for political ends. The family becomes a small molecular army, on the march for rectitude. Political representations of “family values” thus have a quality of poster art, and because they have a relationship to propaganda, they are nearly always tainted by a feeling of false surfaces.
In other words, they have a mean-spirited wish to be endearing and cute. The result is a sort of nostalgia lacquered with rage, characteristic of the art of police states.
Baron-Cohen, Simon (2011-05-06). The Science of Evil: On Empathy and the Origins of Cruelty (Kindle Locations 347-350). Basic Books. Kindle Edition.