Themes of toxic masculinity and capitalism exist as part of the source material's nihilistic critique but function as traditional literary satire rather than contemporary social justice activism, systemic oppression narratives, or DEI framing. Director Mary Harron and co-writer Guinevere Turner adapted it without activist intent, and Ellis himself has repeatedly criticized wokeness and identity politics in later years.

Original controversies centered on graphic violence and misogyny accusations from 1990s feminists, not promotion of progressive causes. Modern reinterpretations attempting to frame it as feminist cinema are retrospective overlays that do not alter the work's core premise or execution. No audience backlash labeled it 'woke'; if anything, its unapologetic content clashes with current sensitivities.