The film lacks central LGBTQ+ characters or non-cisnormative identities. It adheres to heteronormative structures, using traditional romantic archetypes like Cleopatra and Caesar for comedic parody.

Women like Cleopatra and Marie Antoinette receive significant screen time and agency. However, this agency often manifests as caricatures of eccentricity rather than a structured subversion of patriarchy.

While spanning diverse geographies, the film relies on 1980s comedic tropes and caricatures. It lacks intentional intersectional casting, using different cultures primarily as settings for universalist slapstick.

The film excels at deconstructing Western institutions and religious authority. It uses anachronistic satire to strip the sanctity from monarchies and aristocratic structures, presenting them as inherently absurd.

There is no meaningful portrayal of disability. The film occasionally uses physical slapstick and bodily dysfunction for comedic effect, treating physical traits as objects of mockery.