Ghostbusters: Afterlife

Although not explicitly present in "Ghostbusters: Afterlife," the character of Phoebe Spengler, a central protagonist, is the subject of fan and critical discussion regarding her potential LGBTQ+ identity, particularly concerning her relationship with the ghost Melody in the subsequent film, "Ghostbusters: Frozen Empire.". For example, in "Frozen Empire," Phoebe temporarily turns herself into a ghost to physically touch Melody, leading many to interpret their connection as a 'sapphic ghost romance' or 'queer-coded relationship.' This 'queer-coding' is noted by outlets like INTO Magazine and Quora, even if an explicit declaration of sexual orientation is not made.

Examples of violence include an invisible entity flipping a speeding truck several times and Phoebe using a proton accelerator that rips up storefronts and sets things on fire. More disturbingly, a large invisible creature attacks a man, killing him with a heart attack. Later, a man is seemingly raised from the dead and then explicitly ripped in half like a sheet of paper. The film also depicts small marshmallow men being stabbed, fried, hit with a blowtorch, and obliterated in a blender.

The film features a blossoming teen romance with mild flirting between Trevor and Lucky. A more mature romance develops between Callie and Mr. Grooberson, where they kiss passionately while possessed by demons, and upon returning to normal, it's implied that 'things went further' and sex is suggested. Additionally, there is a scene where a teenage boy glimpses a girl's bra as she changes in the same room, causing him embarrassment. A character also makes the suggestive remark, 'He wants to bone your mum' regarding Mr. Grooberson.

Characters use words such as "s**t," "a**hole," and "h*ll" a few times throughout the film. Phrases like "oh my god" are also used as exclamations. While some reviewers note the language is less excessive than in other PG-13 films, its presence warrants caution.

Callie, the mother, is shown asleep at the kitchen table with a wine glass nearby, implying she has been drinking. In dialogue, Callie mentions, "I've tried whiskey" when discussing an allergy, indicating past or present consumption. Trevor, her son, makes a remark about hoping there's a bar in town, to which Callie replies, "There better be a bar," further normalizing adult alcohol consumption. Phoebe also makes a joke about the danger of smoking a cigarette.

Phoebe, a pre-teen, displays an outburst in the police station, threatening to use a proton pack to prevent its confiscation. This action is noted as impulsive and angry, challenging authority. Additionally, Callie harbors bitter resentment towards her deceased father, Egon Spengler, feeling abandoned by him throughout her life, which is a significant theme of intergenerational conflict.

The film's narrative centers on a world inhabited by "dark spirits" and the battle against them, but this is "never addressed from a biblical worldview." The primary antagonist, Gozer, is a Sumerian god, and the plot involves ancient rituals and sacrifices to this pagan deity, contrasting with Christian monotheistic beliefs and warnings against occult practices. The pervasive nature of these supernatural elements without a Christian counter-narrative could be a concern for some Christian parents.