TV Show review
Kids · Sci-Fi · Fantasy · Action · Comedy · Adventure · Family
2018–2021 · Based on 2 seasons through August 8, 2021 ·
Kyra is a teenager in an Australian city when a magical book gives her powers from both fairies and elves. She joins a secret school for magic and works with young agents who protect people and magic from dangerous spells. She hides her new life from her human friends and family while she learns the rules of the magical world. In season two, Kyra and the Bureau search for a lost temple after an ancient object starts draining the magic of fairies and elves. Kyra’s identity as a human, fairy, and elf shapes how she fits among these groups in both seasons. In season two, only her tri-ling magic can control the Purple Lotus crisis, so Kyra becomes central to stopping it. Kyra leads dangerous missions, while Imogen, Lily, and Ruksy also take active roles in the Bureau’s work. The series includes LGBTQIA+ relationships, though the episode guides do not show how much time they receive. At the end, humans learn that the magical world exists.
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Breakdown
These are the editorial factors and ratings behind our score for The Bureau of Magical Things.
Woke representation / casting
Screen Queensland reported that Shiff said the series includes cultural diversity and LGBTQIA+ relationships. Shiff said the people on screen represent a range of ethnic backgrounds for viewers around the world. Kyra leads the young hero team. Tayla joins the central group in season two.
51%
Woke political dialogue
Not present. The characters talk about magical rules, friendships, and personal choices.
0%
Identity-driven story themes
Kyra’s Tri-ling identity places her between human, fairy, and elf groups in both seasons. In season two, only her magic can control the Purple Lotus as it drains magic from elves and fairies. Kyra leads dangerous missions and becomes the key hero in the finale. Imogen, Lily, and Ruksy also take major roles in the Bureau’s work.
37%
Western institutional / cultural critique
Not present. The DMI’s disputes concern rules for magic.
0%
Woke character or canon changes
Not present in this title.
0%
Anti-woke backlash and complaints
Not present. Viewer discussion centers on story choices and show quality. Viewers do not claim that the series pushes DEI or identity politics.
0%
Creator track record context
Shiff has described a goal of making stronger programming for girls through stories led by female characters. Law has discussed Asian representation and the white, male literary traditions she encountered. Her work often centers Asian-Australian identity. Her comedy engages with race and gender politics, while the other listed writers and director have no noted activist history.
28%
Production
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