Gods of Egypt is a fantasy action movie set in a mythic version of Egypt where gods live among people. A thief named Bek teams up with the falcon god Horus. They must stop Set, who kills Osiris, blinds Horus, and rules as a cruel king. The story follows a quest to save Zaya’s soul and recover Horus’s eyes. In the end Horus is restored, and entry to the afterlife is tied to good deeds.
Sources describe the movie as light sword and sorcery fun, not modern identity politics. The main conflict is a classic fight between a usurper and the rightful king. The film stays in a mythic adventure world of quests, betrayal, romance, and godly power struggles. Race, gender, and queer politics do not drive the plot or the message. Changes to the myth serve spectacle and adventure rather than identity rewrites.
Community feedback
Was our 2% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for Gods of Egypt.
Woke representation / casting
Not present. Leads and major gods are overwhelmingly white Western stars in an Egypt set fantasy, and the film was widely attacked for whitewashing rather than diversity first casting. Supporting picks such as Boseman as Thoth and Yung as Hathor do not reverse that overall pattern.
0%
Woke political dialogue
Not present. Dialogue stays in a mythic adventure register of quests, betrayal, afterlife bargains, and godly power struggles, with no modern activist identity or DEI style speech as a noticeable element.
0%
Identity-driven story themes
Not present. Core story is jealous usurpation, mortal and god alliance, romance, and restoration of order, with no race, gender, queer, or systemic identity politics driving the arcs or messaging.
0%
Western institutional / cultural critique
Not present. Set’s tyranny and paid afterlife are classic fantasy villainy, and the film does not reframe that as present day critiques of whiteness, patriarchy, capitalism, or Western institutions.
0%
Woke character or canon changes
Not relevant. Myth is freely compressed into spectacle, and changes are adaptation and fantasy invention rather than identity or DEI driven rewrites of established characters or history.
0%
Anti-woke backlash and complaints
Not present. Documented outrage was that the cast was not diverse enough through whitewashing claims. There was no substantial anti woke campaign treating the movie as pushing woke, DEI, or identity propaganda.
0%
Creator track record context
The main creative people behind this film mostly look craft focused in their past work. They do not show a strong pattern of activist messaging. One producer has some mild progressive leaning credits above near zero. That history still does not define what this movie is about.
8%
Production
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