Raya and the Last Dragon puts identity front and center, with a clear push for diverse representation in its cast and visuals. Some may see narrative elements, such as the flawless, hyper-competent female lead, as coming at the expense of traditional character growth or genuine internal struggle. It seems the focus on representation sometimes overshadows tighter script and character realism.

Traditional family dynamics, masculinity, and established folklore undergo quite a bit of reimagining here. The film downplays classic hero archetypes, celebrating female leadership and collective sisterhood while husbands and fathers are largely absent or sidelined. Cultural and moral lessons are tweaked to fit modern sensibilities, good luck finding much reverence for tradition or heritage.

Alternative or traditional worldviews are noticeably lacking here. Almost every character operates from a modern, almost interchangeable moral perspective, unity, trust, tolerance, without substantial tension or counterbalance. Dissenters or skeptics are quickly ‘corrected’ by the plot. It’s a pretty uniform ideological outlook throughout.