A lot of designers don’t know this, but “stereotype” is originally a letterpress term. It is a single plate — a stereotype, capable of printing the recto and verso at the same time, rather than type setting individual metal movable glyphs. It’s inherently tied to a trade-off between speed and individual expression. A stereotype, as an abbreviated expression, then disallows for all the idiosyncrasies of how you position the letter forms, adjust the leading, or observe the subtle variations in different additions of printing.
If stereotype was invented for the purposes of expedient printing, then maybe we can resolve the expression of cultural idiosyncrasy through an intentional lens. Through a slowing down, we can create openings for marginalized voices, and build new linkages to a broader spectrum of people.
This means that designers are going to have to come up with something more seductive than the de facto dominant designs, which I think is an incredibly difficult task. It requires both bravery and brilliance.