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Labyrinth
Movie

Labyrinth

1986 • Unknown

Woke Score
2
out of 10

Plot

Frustrated with babysitting on yet another weekend night, Sarah, a teenager with an active imagination, summons the Goblins to take her baby stepbrother away. When little Toby actually disappears, Sarah must follow him into a fantastical world to rescue him from the Goblin King. Guarding his castle is the labyrinth itself, a twisted maze of deception, populated with outrageous characters and unknown dangers.

Overall Series Review

Labyrinth is a 1986 fantasy adventure focused on the coming-of-age journey of its teenage protagonist, Sarah. The film's core theme is the struggle to accept responsibility and transition from a self-centered childhood fantasy to mature adulthood. The narrative is driven by Sarah’s wish to be rid of her baby half-brother, forcing her into a fantastical labyrinth where she must use her intellect, courage, and evolving maturity to rescue him. The movie heavily features a theme of female self-determination, as Sarah is constantly tempted and manipulated by the male antagonist, the Goblin King Jareth, whose offers of power and fantasy she must explicitly reject to achieve her goal. The movie is not preoccupied with identity politics, nor does it express hostility toward Western civilization or traditional religion. Its most modern-aligning theme is its central message of female empowerment and the rejection of a manipulative male authority figure's romantic fantasy.

Categorical Breakdown

Identity Politics1/10

The narrative focuses on the internal psychological growth of a single character, Sarah. The conflict is based on personal merit, as her success in the Labyrinth depends entirely on her wit, courage, and learning from her mistakes, not on her immutable characteristics. No characters are judged or vilified based on race, and the central cast is visually colorblind or non-human (puppets).

Oikophobia2/10

The story begins with the protagonist displaying hostility toward her home life and family (her stepmother and baby half-brother), which triggers the plot. The resolution, however, is a strong affirmation of the value of her family and the acceptance of her responsibilities within the home institution. This arc moves from civilizational self-hatred (resentment of home life) to gratitude and acceptance, preventing a high score.

Feminism7/10

The female protagonist is the sole active hero who drives the entire plot and solves all the challenges through her own decisions and determination. She is explicitly positioned to reject the powerful, seductive, and manipulative male antagonist (Jareth) and his fantasy world in favor of independent, self-determined maturity. This strong and celebrated theme of female autonomy and the rejection of a male-centric 'dream' aligns with the 'Girl Boss' spirit, though the final act validates the feminine responsibility of caring for her younger brother.

LGBTQ+1/10

The narrative centers on a traditional male-female dynamic, which is presented as a manipulative but heteronormative struggle over a young woman's budding sexuality and independence. There is no deconstruction of the nuclear family structure as a political act; the focus is on a resolved conflict within a step-family. No explicit sexual ideology or gender theory lecturing is present.

Anti-Theism1/10

The movie operates within a pure fantasy realm without reference to or commentary on traditional religion, particularly Christianity. The moral conclusion hinges on the protagonist embracing an objective truth: 'You have no power over me,' and accepting personal responsibility and love for her family, which adheres to a transcendent moral law rather than subjective moral relativism.