We've gravitated to foreign films, mostly Asian like Korean and Japanese. You won't see hardly any wokeness there. Some have English dubbing, but many are subtitled in English. We don't mind, and find a lot of good content, mostly on Netflix. The plus side is not seeing token blacks and gays thrust into the story for wokeness effect. They do have occasional white actors, but mostly as part of the story line (interpreters, teachers, relations overseas, etc.). Very refreshing not to see the filth from Hollywood.
Good point. I've been using the term "Hollywood" generically to refer to the film industry. That's sloppy on my part, although the industry is now so globalized in terms of financing, production and distribution that national labels are getting tricky. The streaming networks now dominate distribution. They are competing as global platforms for global audiences and they are buying up content from around the world. The question becomes how much control the distributor asserts over writing, casting, direction and editing. How far do the Borg's tentacles extend? That will depend on how early in the process Netflix or Amazon or one of their competitors gets involved. Do they get in early and get involved in greenlighting the project and influencing production decisions, or do they buy a well developed or perhaps even finished product off the shelf? It happens both ways. I'm not going to go look up the figure now, but Netflix earlier this year announced a staggering sum for production acquisition. It will be vacuuming up content from around the world and presenting it as "Netflix originals." What exactly that means will vary on a case by case basis.