As a long time gamer, but unpublished, I can only talk about running games and homebrewed systems/scenarios, so my opinion is only worth exactly you've paid for it
I do the bare minimum: I try not to step on anyone's toes by using or assuming anything about extant real world cultures; I try to avoid racial or cultural stereotypes in pregen characters or NPCs; I try to ensure gender and sexuality is never a driving factor of any mechanic or characterisation; and above all, I don't include themes of rape. Anything else is fair game, though I try to be sensitive to the people at the table.
Most RPGs are not a safe space. The characters are generally roaming murder-hobos. To much of the world they occupy, the characters ARE the "wandering monsters". There aren't enough trigger warnings in the world to make most TTRPGs adequately 'woke', and that's OK.
The exception might be "Wanderhome", which as far as I can tell without getting hold of it, is made of warm fuzzies. I'm glad it's out there, but I don't think it's my gig.
Where RPGs are theatre, they're character embodiment, and can create great moral dilemmas. But those moral dilemmas by their very nature can raise existential questions and make people uncomfortable. Some players might like that, some might not. So as much as I love those kinds of problem scenarios, I'll avoid or minimise them with sensitive players.
Where RPGs are high adventure, there's going to be blood. That's the nature of the story. Even investigation games tend toward themes of eldritch horror, which might disturb some players.
For instance, if my wife is playing, and I need a meaningful monstrous encounter, I'll play on her phobias by introducing a roach themed monster with waving independent antennae. It's a guaranteed way to heighten the urgency and atmosphere. Good monsters work by playing on our real life fears, within limits.
So long as the genre is clear, then it's on the player whether they want to be involved. If the content isn't racist, sexist, queerphobic, or rapey, it's good to go.
It's also true that some players simply will not like some genres. Using my wife as an example again, she just doesn't 'get' sci-fi. We can generally work around it by taking the extra time to develop a character she can feel more involved with. Perhaps the concept of taking the same character between genre defined worlds might help, but I still think she'd be annoyed any time the characters landed in a science fiction setting.
Perhaps though, I can give an example of what not to do. How I, as DM, mistakenly took a game somewhere so dark the players abandoned the campaign.
Following a great game of 5e 'Lost Mine of Phandelver', the party restored the town of Thundertree, and within a few seasons of downtime it had become a bustling rural village. I was planning a long campaign that would follow the traditional hero's story of tragedy, journey through the underworld (Out of the Abyss), a long journey home (Silver Marches), and then eventually taking part in a war between gods. This sweeping campaign would have covered major background stories and growth for each character. But it was not to be.
As the instigating tragedy that would force them to leave Thundertree for the Underdark, I ran Nicholas Logue's brilliant 'Carnival of Tears'. While everyone thought the session had been excellent, I don't think enjoyable would be the right word. It effectively decimated the population of the town they had rebuilt, and we took the characters to such a place of despair, we've never been able to rekindle any momentum to resume the campaign.
The lesson: no matter how well tragedy might serve the plot of your grand story, the real reason we're at the table is to have fun. Always fun must come first. If there's art to be made, it arises naturally from the game. Starting with the goal of 'art', using the game as a tool to that end, is a mistake. Worse, it's selfish. The adventure is not your canvas, and the players aren't your paints. Don't use them as such.
As GM, you're there to make a fun time for your friends, not to change the world, or make grand statements. Like a Verhoeven movie, don't let your big theme get in the way of a good ride.