The film includes Sam Cooke's manager, Jerome, who is depicted as a gay man. While another character expresses discomfort reflecting the era's views, Jerome is portrayed with dignity and agency. His sexuality is present but not central to the main narrative, and the film neither strongly affirms nor denigrates his identity, resulting in a neutral overall portrayal.

The film gives significant narrative weight to Malcolm X's critique of mainstream Christianity, portraying it as historically complicit in the oppression and enslavement of Black people. While Sam Cooke's personal connection to gospel music is shown, the film does not offer a strong counter-narrative affirming Christianity as a whole, instead highlighting the complex and often painful relationship Black Americans have with it.

Islam is portrayed with depth and respect through the characters of Malcolm X and Cassius Clay. Their faith provides them with profound conviction, intellectual rigor, and a powerful framework for identity and activism. Despite touching on the political complexities of the Nation of Islam, the film emphasizes the strength and purpose derived from their spiritual commitment.