It is about leftist academics creating these concepts especially in the 70s and onwards where they begin to critique any and all forms of culture and media through various lenses. And unfortunately many corporations have begun hiring people who have come from these Universities and colleges that teach these things and or certain executives at these corporations push these agendas and their associated talking points. It is a big issue in academia that has influenced many of these media companies but for the most part in the most superficial way. But that is what "woke" is referring to. It does not mean not liking diversity as opposed to diversity done properly because Tolkien had diversity in Middle Earth and so do many other stories, but these people criticize it as being 'bad'. Unfortunately many of these academics are prescribing a very naive and unrealistic narrative about these topics which results in a shallow understanding of the concept and not anything truly authentic. As a result, in a show like this, you get the one black elf being treated to slurs by "southerners" as if the show is trying to show how "racism" also exists in Middle Earth by tying it to the American south. That is just stupid. But according to them that is promoting understanding. Understanding of what? Or this whole idea of Orcs being brothers and sisters as if they are just misunderstood beings. That is just absurd..
And the biggest problem is that it replaces creativity and creative freedom with checklists and guidelines which of course corporations love to put on power point slides and promotional material because it makes them look good (especially to the leftists). Which is how you get often very lackluster results.
Just a sample of some of this leftist academic discourse:
https://www.academia.edu/1263662/Div..._the_ClassroomIf multicultural literature can be generally defined as that which ‘represents voices typically omitted from the traditional canon (Glazier & Seo, 2005, p. 688), what is cosmopolitan literature? K. Anthony Appiah suggests that ‘cosmopolitan reading practices are undergirded’ by the desire to learn ‘mutual toleration’ and ‘sympathy and concern’ for others, and that through them we can ‘identify points of agreement’ (Appiah, 2001, p. 203). This offers some useful points of reference as reading and writing, like teaching and learning, are mutually dependent. Further, beginning with cosmopolitan reading is particularly appropriate for this chapter because it is concerned with what the reader may learn from their encounter with writing. ‘Mutual toleration’ is a two-way concept which acknowledges the agency of majority and minority cultures; ‘sympathy and concern’ suggests not simply accepting the existence of diversity, but interest in the experiences of others; and ‘points of agreement’ emphasizes the importance of finding common ground, or universals. Cosmopolitan literature, then, might be taken as that which fosters mutual understanding and respect through active engagement with models of diversity, which simultaneously recognise similarity and difference. Exploration of recent thought concerning cosmopolitanism in a globalised society reveals a number of pointers as to specific themes or ideas that connect fantasy literature and cosmopolitanism. Ulrich Beck’s sociological approach to cosmopolitanism is concerned with the future of world society and culture and not with the historical structures and relationships of nation-states, as Fine observes (Fine, 2007). A ‘world-risk society’ is one faced with threats that cannot be managed successfully by individual nations and must be responded to on a much large scale, such as global warming. Beck argues that in the face of such global challenges, ‘the past looses its power to determine the present. Instead, the future – something non-existent, constructed or fictitious – takes its place as the cause of present experience and action’ (Beck, 2000, p.137). Large-scale risk is so common as to be a defining feature of fantasy fiction, as responses to it often require the mobilization of historically disparate or even hostile groups, as this chapter discusses in detail below.
And how it is typically applied to Tolkien:
https://www.publicmedievalist.com/race-fantasy-genre/This is from the first page of Tolkien’s The Fellowship of the Ring. It is the first time he uses the word “race” in the book (though he did use it in The Hobbit as well). Considering Tolkien’s place as the godfather of the fantasy genre, it’s unsurprising that his conception of the “races” of Middle Earth have become more-or-less standard across the fantasy genre.
But Tolkien’s conception of “race” is a huge problem. His ideas have been bred into the core of the fantasy genre—not just literature, but films and games too. Contemporary authors have had to work hard to free the genre from this original sin.
The core of the problem is that Tolkien conflates race, culture, and ability. Hobbits, he says, are a race, and based upon a combination their hereditary traits and cultural practices, are better at being stealthy than other races.
Tolkien does this throughout his novels, outlining the “racial” characteristics of men, of dwarves, of elves, of orcs, and those few of mixed ancestry (like Aragorn or the Uruk-Hai). As Helen Young, author of Race and Popular Fantasy Literature put it in a recent interview with the Pacific Standard: "In Middle Earth, unlike reality, race is objectively real rather than socially constructed.".
Infracted for derailing.