Ozark

Later seasons put Maya Miller, a Black FBI money expert, in a clear skilled authority role. Early seasons also include black gay FBI agent Trevor Evans. The Byrdes and many locals are white, which fits rural Missouri, and cartel roles are Hispanic for the drug story. This is a light but real pattern of competent minority pros in visible jobs, not a full quota ensemble.

Gay plots are audience-visible: Petty’s relationships, Russ Langmore’s secret same-sex life, and later Jim Rattelsdorf. They are dark and criminal, not pride campaigns, but they matter on screen. Over the run, Wendy, Ruth, Darlene, and Helen often drive events and outplay men. The core theme stays crime, cash, and family rot, not race theory or activist identity lessons.

A small set of viewers and posts call later seasons feminist or “SJW” because strong women dominate and many men die or look weak. A Medium essay framed season 2 as male-negative female empowerment. Most coverage still treats Ozark as a straight crime hit, so the anti-woke complaint level stays limited.

Cached context shows mostly low activist history. Fogel’s casting résumé and Bateman’s and Linney’s mild public politics raise the average a little. Dubuque, Williams, Mundy, and most writers and producers score low. Overall mild crew context, not an identity-driven creative team.