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Though I thank you for the breakdown, this doesn't really address my observation. I don't dispute that, based on the linked articles, some localization choices are motivated by political correctness. What bothers and bemuses me is that some of the linked articles seem to see no difference between clear instances of politically motivated rewrites - e.g. turning a crossdressing he/him character into a trans girl to win representation points - and perfectly anodyne use of clearly-non-political American slang where it might not literally correspond to the word-by-word Japanese dialogue - e.g. talking about a character "yeeting" another. Is it truly the case that only politically-biased translators make those kinds of alterations too, while more literal-minded translators are also the ones who don't try to warp the political overtones of the source material?
But even then, surely it shouldn't be a binary choice. Surely there are anime fans who would prefer naturalistic, idiomatic, non-maximally-literal localizations just so long as they weren't politically biased? Indeed, I'd have naively guessed it'd be a majority of dub consumers; after all, surely purists who want textual fidelity above all else and are sufficiently well-versed in Japanese culture that they don't need to gloss a cultural nuance like "gyaru" as something more familiar to Americans would, in any case, prefer subs to dubs? So what's going on?
Side note: your example is kind of baffling to me; I've got one of the most left-wing social circles here and I've never heard anyone in my online circles treat "That's my girl" as some kind of taboo, inherently misogynistic phrase. My guess would be that the localizer, in this case, simply picked a common American phrase that people actually say in this situation over a purely literal translation so that the dialogue would sound natural. I agree the localizer could equally well have chosen "That's [FMC] for you", but I would assume that they happened to pick "That's my girl" because they viewed it as an equally innocuous, unremarkable idiom. Which it is. But eh, for all I know woke anime localizers might indeed be plugged into specific echo chambers where everyone agrees that "That's my girl" is an eeeevil microaggression; I merely caution you not to assume this is some kind of mainstream consensus on the Left. I'd never heard of it before.
(Like, yes, sure, if you get a critical theorist talking, they'll explain that the fact that we casually call grown women "girls" is belittling and a sign of structural sexism in the English language blah blah blah. But get a critical theorist talking about anything and they'll explain how it's secretly a tool of systemic oppression. "That's my girl" is not uniquely regarded as some sort of dogwhistle where if you make a cartoon character say it, it's supposed to immediately scan as a boo light signaling that they're an evil sexist. That's not a thing. Hell, search for "that's my girl" on Tumblr or Bluesky and you'll get tons of hits showing casual usage by very woke users!)
I can't imagine an American ever using that phrase in this situation. This was a male side character who is not close to the [FMC] in any meaningful way. At best he might say "That's our [FMC]." or maybe "That's our girl." since he is a younger member of the same large organization and she is a well-known celebrity in it. Had they had a closer relationship, "That's my girl" may have made sense--but then the Japanese phrasing would have been "Sasu ga [FMC]" or "Sasu ga [FMC]-chan" instead.
The problem isn't that it is inherently sexist, but that it can be interpreted as sexist and will be when the narrative demands it--ie, when criticizing the show and its male fans as sexist. That the fans reject it and it was added to the show will be conveniently ignored.
Wait, is the claim that the localizers would have inserted ostensibly sexist dialogue into the material as some sort of false-flag operation allowing them to then decry the work itself as problematic? This seems, uh, yet another claim from the more straightforward (and contradictory) accusation that some localizers alter dialogue to make the work itself seem more woke than it really is.
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