This shows that motherhood isn't always a choice that people can make. On the other hand, Elena had the means to raise a fourth child, even though she wanted to pursue her career in journalism, which is something she ends up regretting. Due to Bebe being an illegal Chinese immigrant, she did not have the resources to look after her child. The ordeal around the adoption provides the staging point for the show to reflect on race and class and how they cannot be detached from motherhood. Elena accuses Bebe of being a bad mother for abandoning her child, while Mia, at first, believes that Bebe would be able to love the child more than her adoptive parents. A court case ensues, and their opposing views on motherhood and adoption inadvertently influence the events that take place. This event drives the main conflict between Mia and Elena. Mia learns that this baby is the biological daughter of her friend Bebe Chow, who was forced to leave her child due to her inability to take care of her. It turns out that Elena's best friend, Linda McCullough, adopted a baby who was abandoned at a fire station. After Mia starts working for the Richardsons, she learns something that will drive a wedge between them, which is further intensified by their differences in background and world views. In terms of their personalities, it also paints two contrasting portraits of these women, one a free-roaming artist and the other a typical suburban mom. This is much like HBO's The White Lotus, which was an unflinching dissection of white privilege. Mia's actions are now viewed from the lens of a Black single mom coming into a predominantly white neighborhood seeped in prejudice and discrimination, allowing it to comment on power, race and privilege. One major difference on the series is the change to Mia's race, which was previously unspecified in the book.
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