The Lord of the Rings: The Return of the King

No same-sex couples or non-binary characters appear. All romantic pairings shown are heterosexual, including Aragorn and Arwen, and Faramir and Éowyn. The film contains no dialogue addressing gender identity or sexual orientation.

Éowyn rejects her role as a passive healer to kill the Witch-king, asserting her agency in battle. Arwen chooses mortality over immortality to stay with Aragorn, framing her sacrifice as noble. The narrative centers male warriors, while women serve as moral anchors or romantic prizes within a traditional hierarchy.

The cast is overwhelmingly white, reflecting the source material’s European fantasy setting. Non-white actors are absent from principal roles. The film depicts a homogeneous world where racial difference is not a narrative focus or source of conflict.

Traditional institutions like monarchy and family are treated as restorative and good. Aragorn’s coronation and the birth of his son signal the return of order. Christian allegory is central, with Aragorn as a Christ-figure and the destruction of the Ring as a moral victory.

Gollum is portrayed as physically and mentally deformed by the Ring, serving as a cautionary figure. His impairment is linked to his obsession and eventual death. No characters with lasting physical or cognitive disabilities are depicted as having normal, unremarkable lives.