The film lacks LGBTQ+ characters or non-heteronormative identities. Romantic conflicts focus entirely on traditional, transactional heterosexual dynamics.

Female characters exhibit significant agency, avoiding the typical 'damsel in distress' tropes of the era. They mirror the cynicism of men, utilizing intellectual and social maneuverability for self-interest.

The cast is largely homogeneous, though Ricardo Cortez provides visibility for non-Anglo-Saxon heritage. This reflects specific 1930s casting patterns rather than modern multi-ethnic representation.

The narrative challenges traditional Western institutions like marriage by framing them as transactional rackets. It adopts a secular, anti-institutional stance that prioritizes survival over Christian morality.

There are no prominent depictions of physical or neurodivergent disabilities used as central plot devices or character traits.