Progressive elements appear incidentally through subplots like BLM-inspired protests triggered by George Floyd's murder, involving the mayor's son and a social justice influencer, alongside anti-racist talking points recited by teen characters and a Black deputy serving as a thin vessel for race discourse. A Native American officer also appears symbolically late in the plot. However, these are not central drivers; the film skewers hypocrisy and distractions on both political sides—mocking conspiracy theorists, hyper-woke youth, COVID alarmism, and Antifa fears alike—while pinpointing corporate data centers and big tech as the true antagonist eroding democracy.

Casting reflects New Mexico's demographics organically (Latino mayor, diverse deputies), with no race- or gender-swapping, forced DEI, or identity politics at the core. Ari Aster's intent, per interviews, is a balanced portrait of pandemic-era polarization and neighbor-vs-neighbor rage diverting from real power structures, not progressive activism. Reception is mixed and polarizing for its both-sides-ism, with backlash often accusing it of right-wing sympathy or anti-woke leanings rather than 'go woke go broke' complaints. Lacking preachiness, centrality to premise, or creator-stated social justice goals, the film prioritizes chaotic entertainment and ambiguity over ideological embedding, making it a refreshing departure from heavy-handed messaging.