The casting remains historically accurate for 1740s France and Scotland, with an all-white ensemble that avoids forced diversity, race-swapping, or DEI-driven changes. LGBTQ representation is minimal and negative, limited to villainous figures like Black Jack Randall and the Duke of Sandringham, with no positive or central queer storylines, relationships, or normalization of gender fluidity.

There are no overt critiques of patriarchy, toxic masculinity, or traditional norms as primary drivers; instead, the narrative focuses on romance, historical intrigue, political maneuvering to avert Culloden, and relationship strains. No creator interviews reveal activist intent for inclusion or progressive messaging, and there is zero audience backlash accusing Season 2 of being 'woke' or suffering 'go woke go broke' effects, distinguishing it sharply from later seasons' diversity controversies. This results in traditional entertainment prioritizing story and character over contemporary social justice activism.