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Hook: Get ready for another dose of left-wing diatribes cleverly disguised as television drama on ABC’s “Station 19.” The liberal ideology reigns supreme too often on American screens, but this time, they’ve crossed the line.

Main body: Last month we noted how the show blatantly condoned underage attendance at sexually-charged events like Pride Parades, casting any objectors in a terrible light. Fast forward to the current episode, “Give It All,” where the liberal propaganda continues unabated.

Remember Maya Bishop, the bisexual firefighter from previous episodes, and her encounter with her supposedly intolerant conservative brother at a Pride Parade? Well, this storyline is still being milked for all its worth.

In this episode, Maya pays Mason, her brother, a visit. Unsurprisingly, he is portrayed as the stereotypical white, male conservative: argumentative, bigoted, and hostile. The tired trope of conservatives being heartless and unenlightened is as predictable as it is disheartening.

The sibling’s discourse revolves around their polar opposite worldviews. One can’t help but observe the didactic intent of this drawn-out scene, as Maya howls at her brother for being conservative. Unsurprisingly, Mason is depicted as a spiteful bigot – the show’s idea of a conservative.

When Maya reveals her bisexuality, it only fuels Mason’s ‘conservative hatred.’ This neat little plot device allows the writers to take a cheap shot at the conservative camp, portraying them as unaccepting and narrow-minded. Again, the clear bias of the writing team leaves no room for a balanced discussion on the issue.

But balance was never on the cards on this show. It’s clear from the writers’ handling of Maya. She’s a liberal saint, trying to ‘rescue’ her brother from his traditionalist disease. As if her self-righteousness is any less objectionable than Mason’s purported bigotry. But in the eyes of the Hollywood elite, it’s better to be sanctimonious so long as you fly the liberal flag.

In the fullness of the episode, the siblings fail to reconcile their differences. They part ways, painting a bleak picture of an impassable ideological divide. It’s a misguided take on real-life situations where family members hold opposing views but continue to love and respect each other. The Hollywood writers’ room would do well to learn from such examples rather than parroting biased tropes.

Conclusion: “Station 19” is just another case of the entertainment industry’s myopic portrayal of conservatives. But this is what happens when you lack diverse viewpoints on your writing team. Maybe one day, Hollywood will understand that storylines featuring unconditional familial love amid political differences can make for equally captivating television. But I wouldn’t hold my breath for any ground-breaking changes in their narrative playbook.

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