Casting is authentically German and white, matching the 1980s-2050s Winden setting without forced diversity, race/gender swaps, or DEI quotas—prompting rare complaints about 'lack of diversity' rather than backlash against wokeness. A single minor transgender character, Bernadette, appears briefly as a background sex worker tied to one family, with no arc, advocacy, or thematic emphasis on identity.

The twisted Charlotte-Elisabeth romance stems from time-loop incest, portrayed as grim and dysfunctional, not celebratory LGBTQ+ representation or norm-challenging. Creators Baran bo Odar and Jantje Friese emphasize mythological and philosophical depth in interviews, devoid of activist statements. Audience reception hails the pure storytelling triumph, free from social justice lectures, identity politics, or systemic oppression narratives, making it a refreshing escape from politicized media.