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Primary themes revolve around economic class inequality, the ethics of digital immortality, and romantic connection across divides; strong competent female characters exist but no dominant queer, racial identity, or gender-politics arcs.

Portrays tech corporations and extreme capitalism as dehumanizing forces that widen gaps between rich and poor; critiques institutional power in the afterlife industry but avoids framing as anti-patriarchal, anti-colonial, or targeted cultural deconstruction.

Sparse viewer complaints about the show's left-leaning anti-corporate tone feeling preachy; no significant organized criticism labeling it as woke, DEI-pushing, or identity-agenda driven.

Greg Daniels' body of work features mild liberal satire on bureaucracy and society; several directors and writers bring low-to-moderate profiles, with Dee Rees and Daina Reid contributing higher due to prior race and gender-oppression focused projects, but the overall team lacks dominant activist or identity-politics patterns.