Ghosts

Multiple ghost arcs and backstories draw on specific identities—Alberta as a black performer in the 1920s, Sasappis as indigenous storyteller, Isaac as a gay man from the 1700s now openly navigating relationships, Flower’s counterculture past. Central themes of tolerance, personal growth, and found family across differences are reinforced through these elements, though kept broad and comedic. LGBTQ+ elements (prominent gay character with arcs) receive elevated weight per scoring guidelines.

Occasional mild satire on Gilded Age wealth and class (Hetty), old military formality, or outdated patriarchal attitudes that bump against today’s expectations. Historical figures learn or are puzzled by modern equality and individualism. Not framed as present-day systemic critiques of capitalism, patriarchy, whiteness, or Western institutions; remains light era-contrast comedy.

Adaptation from the British Ghosts reimagined or replaced several ghosts with American figures chosen to reflect wider U.S. history and demographics (added black Alberta, native Sasappis; made gay captain Isaac more flamboyant, central, and positively accepted versus the more repressed UK Captain).

Minor and limited. UK fans sometimes call the US version less subtle with fast acceptance of the gay ghost and heavier diversity emphasis. Casual online mentions of the gay elements or CBS network context exist, but no major media controversy, widespread “too woke” campaigns, or sustained right-leaning criticism treating the content as activist or identity-driven propaganda.

Main U.S. creators Joe Port and Joe Wiseman are mainstream comedy professionals (Brooklyn Nine-Nine etc.) without prominent activist histories. UK producer team brings light historical satire from Horrible Histories with mild liberal leanings (e.g., Simon Farnaby cached at 25). Director Matthew A. Cherry has a clearer pattern of black representation work (Hair Love) and anti-discrimination advocacy (CROWN Act). Overall moderate without dominant identity-politics or DEI focus.