The film operates within a strictly heteronormative framework. There is no presence of non-cisnormative identities or same-sex intimacy, focusing instead on a traditional romantic pursuit.

Stanley Ipkiss moves from masculine inadequacy to hyper-masculine performance via the mask. While Tina Carlyle shows significant charisma and agency, the climax occasionally reverts to damsel-in-distress tropes.

The cast is predominantly white and set in a non-diverse urban environment. The narrative lacks intentional efforts to integrate diverse ethnic perspectives or challenge the Anglo-centric status quo.

The story relies on traditional Western narrative structures and a clear good versus evil dichotomy. It uses Western institutions as a stable backdrop for fantasy-driven escapism rather than critiquing them.

Themes of repressed impulses and an inner monster could serve as metaphors for neurodivergence. However, these elements function as supernatural comedic devices rather than nuanced portrayals of disability.