“Deadbeat” centers on goofy, often irreverent humor, focusing more on absurdity than pushing identity narratives. Characters are chosen for comedic effectiveness, rather than representing identity checklists. It doesn’t parade diversity just for the sake of it or undermine the lead with forced messaging. There’s hardly any narrative compromise for ideology; it’s more interested in laughter than lectures.

Traditional values, religion, and masculinity aren’t really targeted for mockery or revisionist takes. The show is mostly apolitical, using supernatural elements for gags rather than moral finger-wagging. If anything, it pokes fun at everyone equally, never really subverting or undermining longstanding cultural traits in a meaningful or agenda-driven way.

There’s little evidence of ideological monoculture. “Deadbeat” isn’t eager to villainize traditional perspectives, nor does it seriously elevate one worldview over another. No angry monologues, no strawmen, just jokes, ghosts, and a not-so-heroic protagonist. Internal conflict is mostly personal or supernatural, not sociopolitical.