The film utilizes camp aesthetics and flamboyant mannerisms that nod to queer-coded sensibilities. However, it lacks explicit LGBTQ+ characters or non-heteronormative identities, focusing instead on heteronormative romantic pursuits.

Female characters like Vanessa Kensington primarily function as archetypal Bond girls or romantic rewards. While the film subverts hyper-masculinity through Austin's inadequacies, female agency remains secondary to the male-driven plot.

The narrative relies on exaggerated, stereotypical portrayals of international archetypes. Rather than nuanced identities, the film uses cultural tropes for comedic effect, reinforcing historical ethnic caricatures common to the spy genre.

The film satirizes the obsolescence of Western cultural values by clashing 1960s idealism with 1990s cynicism. It deconstructs the superagent archetype but does not actively promote anti-Western or anti-capitalist ideologies.

Representation is limited to the antagonist, using Dr. Evil’s physical traits as comedic shorthand. This approach risks using physical difference to signal menace or eccentricity rather than providing genuine character depth.