TV Show review
April 3, 2016 · 46 min · TV-PG
Woke Score
Lower is better
Review
The Durrells is a British comedy-drama series about a financially struggling widow who moves with her four children from 1930s England to the Greek island of Corfu, where they adapt to a crumbling house, cheap living, and island adventures filled with humor, animals, and family moments. Loosely based on Gerald Durrell’s popular memoirs, it delivers light-hearted escapism focused on everyday eccentricities and relationships in a pre-war Mediterranean setting. No modern identity politics, activist messaging, or social-justice themes appear in the story, dialogue, or production choices.
Breakdown
These are the editorial factors and ratings behind our score for The Durrells.
Woke representation / casting
Period-appropriate British cast for the Durrell family and fitting local Greek actors for island roles; no forced diversity, race or gender swaps, or visible identity signaling.
Woke political dialogue
Dialogue stays character-driven and comedic with zero political speeches, activist language, or modern social commentary.
Identity-driven story themes
Story revolves around family resilience, childhood curiosity, romance, and island life without any identity politics, representation arcs, or group-based messaging.
Western institutional / cultural critique
No portrayals of toxic masculinity, patriarchy, capitalism, or Western institutions as flawed; traditional family structures and historical setting are presented warmly and without modern reframing.
Woke character or canon changes
One supporting character’s implied orientation from the source memoirs was adjusted to enable a heterosexual romance subplot; treated as standard adaptation liberty rather than ideological statement.
Anti-woke backlash and complaints
Isolated reviewer notes about a character change from the books; no widespread woke praise, anti-woke backlash, or public debate treating the series as activist content.
Creator track record context
Core team of comedy and drama veterans (including Simon Nye of Men Behaving Badly and commercial producers) shows consistent focus on entertainment with no pattern of political, activist, or identity-driven projects.
Production
