Stunning fluff, A+ at fluffage, I highly approve.
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Okay, so today's random disquisition on recent trends in romance novels. And, like, recent trends is ridiculous because the novel as...improving literature (*cough* Samuel Richardson *cough*) is very old as a concept and the idea of the romance novel that tells the reader what to want rather than describes the reader's extant desire is also not new nor is it possible to distinguish the prescriptive from the descriptive and so I'm not even going to try.
Having said that, recent trends in the romance novel field include novels that attempt to not merely imagine but inculcate the virtuous life. We'll use this one as an example, but I could also direct the reader's attention to Courtney Milan, Cat Sebastian, Alexis Hall, and so on.
Aside from venturing swiftly into the realm of deep fantasy - what if the gorgeous actors were just like us - this is also engaging with questions of what it means to be a good person. Granted, it's a romance novel so definitionally being good cannot mean getting it right or always making good choices. Romance novels require screw-ups. But the way Dade tells her story pointedly skewers the difference between messing up and being wrong. Stories like this have no patience for wrongheadedness and no problem articulating what wrongness is (sometimes more easily than in non fiction forms). 
The fantasy of romance is that every single human being has value and that someone one day will see it. (Given my own theological leanings, its the latter half that I consider to be the fantastic.) The delightful trend in current romance of saying everyone means everyone and writing stories about unapologetically Black, disabled, fat, and/or queer protagonists who find love as they are is a deeply political statement. And it applies to both sides of the partner-equation. In cishet romances, I'm seeing many more men struggling with mental illness or invisible disabilities and that's amazing! (And also the presumed female audience often means that the men are rarely physically disabled and that's worth noting.)
This book is less subtle about it, weaving it into the plot that is itself a work of literary critique (and an extremely thinly veiled rant about GOT, but I digress) of what constitutes a good romance and good character. And also I think there's something fantastically subversive in the romance novel that has come to see itself as offering moral instruction to the reader.