This is absolutely it. I loved seeing that dynamic between Charles and Erik explored, but indeed, it's often at the expense of other things that should be on screen. You particularly highlight something that I hadn't thought so clearly: the way that they seem to be happy to make a period movie for aesthetic reasons (referencing 60s spy shows visually) but not to grapple with the actual period.
Because it felt like a product of that dominant cultural narrative that says America is a post-racial society: so post-racial that it doesn't even want to realistically depict a period of intense strife, struggle and change. Strange missed opportunity, though like you I really liked how they had Raven calling Charles on his ability to hide. The relationship between those two was really interesting - and hell yes, the idea of Erik, Raven and Emma is something that begs to be explored.