The film lacks explicit LGBTQ+ identities or non-cisnormative expressions. Instead, it depicts a landscape of sexual decadence and transactional intimacy that disrupts conventional heteronormative stability.

Female agency is centralized through figures like Marguerite de Valois and Catherine de Médicis. The narrative subverts patriarchal hierarchies by portraying women as strategic political architects while depicting masculinity through instability or ineptitude.

Casting is homogeneous, reflecting the historical constraints of 1572 France. While lacking ethnic plurality, the film adheres to period realities without promoting harmful stereotypes.

The film critiques Western institutions by portraying the monarchy and religion as engines of violence. It uses moral relativism to deconstruct the concept of divine right and religious virtue.

The film does not provide significant or central portrayals of visible or invisible disabilities.