This narrative sanitizes Dahomey's extensive historical role in the transatlantic slave trade by having characters adopt anachronistic anti-slavery positions, turning the story into a selective reclamation of African history that prioritizes modern empowerment themes over factual nuance. Casting reinforces this with an all-Black ensemble of leads including Thuso Mbedu, Lashana Lynch, Sheila Atim, and John Boyega as King Ghezo, alongside deliberate crew hires of Black women to address perceived opportunity deficits, as stated by director Gina Prince-Bythewood.

Creator intent amplifies the ideology, with Prince-Bythewood explicitly aiming to counter 'colonizer' viewpoints, highlight Black women's humanity and strength, and enable audiences to 'see ourselves as heroic or as kings or as queens.' Audience reception signals the centrality, including trending #BoycottWomanKing calls from some Black viewers over glorification of a slave-trading kingdom and user reviews decrying the 'woke agenda' and historical revisionism, despite strong CinemaScore grades. These elements make identity-based empowerment and selective historical critique foundational rather than incidental.