The film lacks LGBTQ+ characters or non-heteronormative identities. Romantic arcs are strictly limited to traditional heterosexual dynamics between Peter Venkman and Dana Barrett.

Dana Barrett is a highly accomplished professional, offering a counter-narrative to typical domestic portrayals. However, the climax reverts to a damsel in distress archetype, diminishing her agency.

The core ensemble is predominantly white and male. Winston Zeddemore provides meaningful expansion, possessing significant agency and becoming an integral part of the team's success.

The narrative celebrates entrepreneurial capitalism and individualist hustle. It expresses skepticism toward academic and civic institutions, framing the crisis through the lens of private enterprise.

The film does not prominently feature characters with visible or invisible disabilities. Disability is not used as a central plot device or for comedic mockery.