The Three Musketeers: D'Artagnan

Porthos is openly bisexual in several short scenes. Constance and Milady are repeatedly shown as active women who make their own choices. These ideas are visible, but the adventure still centers on royal intrigue, loyalty, friendship, and war.

The musketeers show arrogant machismo, womanizing, and rough behavior. Constance and Milady push back through their own plans and actions. The film gives this contrast a mild modern edge, but it does not attack Christianity or Western institutions.

Porthos is made openly bisexual, which is not stated in Dumas's novel. The film adds a bedroom scene with a man and sexual lines about male attraction. Constance and Milady also receive more active roles than in the novel. These changes affect important characters but do not replace D'Artagnan's main quest.

Some audience reviews called Porthos's bisexuality a woke or forced change. Other reviews said the film had been changed to fit modern trends and no longer respected Dumas's work. News coverage also discussed the woke accusation. The reaction was real but narrow, and many viewers praised the film.

Bourboulon, Delaporte, and de La Patellière have no clear record of modern identity activism. Dumas had liberal and anti-slavery views, but his work belongs to an earlier period. The producers mainly have commercial careers, with limited support for women in animation. The creator record gives only mild woke context.