Sydney White mostly follows tried-and-true comedic and fairytale formulas, emphasizing character growth and traditional underdog themes. Identity isn't forced into the spotlight, Sydney's background and values drive the narrative rather than ideological checklists. Some representation pops up, but nothing that overrides character or plot development. Overall, the film avoids shoehorning in modern identity politics.

The film gently pokes fun at collegiate social hierarchies without aggressively tearing down male or family roles. Masculinity is not vilified, and traditional family values are more celebrated than mocked (think: Sydney’s bond with her late mother and the ‘dwarfs’ as a found family). Religion and tradition are mostly left alone, not targeted for revisionism or ridicule.

While the film leans into anti-sorority stereotypes and broad caricatures, there’s some room for varying viewpoints (even if the popular crowd is played a bit over-the-top). Alternative perspectives are not completely villainized, though they are often simplified for comedic effect. Not much overt ideological uniformity, just standard campus comedy antics.