Key characters include a biracial (half-Korean, half-Black) protagonist Makani, a Black friend Alex, a Latino love interest, an openly gay jock Caleb whose queerness drives significant subplot elements, and especially Darby, adapted as non-binary/genderfluid (they/them, dead-named Justine in the film versus trans man in the source novel) with identity commentary woven throughout. The killer's MO involves public shaming of victims for acts like anti-gay violence, recording racist/homophobic content, and other 'problematic' behaviors framed as deserving exposure, turning the slasher into a vehicle for cancel culture and identity-based moral policing.

The book source already prioritized POC and LGBTQIA+ representation, with the adaptation amplifying non-traditional gender elements. Audience and critic reactions frequently label it 'woke trash' or overly focused on messaging about systemic issues at the expense of coherent horror, with complaints of forced diversity, lectures on privilege, and distraction by topical politics. These elements are not incidental but shape character arcs, conflicts, and the narrative's 'of the moment' framing, making ideology central despite the horror wrapper.