Stereotypes about certain groups, nations, or cultures can be completely unfounded, exaggerated portrayals of real traits, or a mix of both. Take, for instance, the outdated stereotype that women lacked intellectual capability. As increasing numbers of women pursue higher education, this stereotype has diminished. Women have made strides in various fields and are now thriving as doctors, stockbrokers, academics, and lawyers. Historically, because women were barred from education, it seemed as though they were incapable of succeeding in professions dominated by men. Thus, even though the stereotype lacked empirical support, it appeared valid due to societal structures. Prida's play seeks to challenge stereotypes about Latin women. Through her portrayal of the Martyr characters, she is not denying their existence. Instead, she argues that such women do not have to exist, as this is not a natural condition. If Latin society were organized differently, Latin women would not feel compelled to adopt the role of long-suffering martyrs.

Prida's play highlights the significant impact education has on shaping gender roles. By illustrating how the Girl character imitates the actions of the Women characters, Prida suggests that gender-specific behavior is largely influenced by what is taught (nurture) rather than what is innately determined (nature). This contrast between nurture and nature is a fundamental feminist perspective. For instance, if women are raised to believe they are inherently delicate or that being delicate is synonymous with femininity, they may shy away from participating in sports that challenge this idea. Historically, only men engaged in physically demanding sports. According to Prida, education extends beyond the formal curriculum taught in schools; it also encompasses the informal learning that occurs within families, communities, and through popular culture via television and film.

The influence of popular culture on shaping individuals' behaviors and values, especially concerning gender, is evident when Prida's female characters are depicted as well-known celebrities and fictional personas, such as the entertainer Charo. By showcasing Charo's image, Prida argues that if women who fit the stereotype of "bimbos" (attractive but perceived as unintelligent) achieve financial success and garner significant attention, young girls will be inclined to imitate them.

In a society where women are often regarded as inferior to men, masculinism prevails. This ideology suggests that men are the more valuable gender, claiming they are more intelligent, better at solving problems, and more diligent workers. It also promotes the idea that women, due to their perceived lesser abilities, should be led by men, who should dominate in political, cultural, and familial spheres, while women are expected to follow and obey their husbands. Although the feminist movement has challenged and even dismantled many key beliefs of masculinism, traces of it still exist, even in the most progressive societies. In Beautiful Señoritas, this mindset remains prevalent. Despite Prida's play being written in 1977, it highlights that in certain regions of the Latin world, some men still adhere to macho views, exhibiting extreme notions of male superiority as portrayed by the characters of Don José and the campesino.

Carmen Miranda, a mid-20th-century singer and actor from Brazil, found success in Hollywood by capitalizing on a Latin stereotype. She often appeared in films wearing extravagant costumes that suggested Brazilians lived in a tropical utopia where everyone was joyful, passionate, and clever, albeit somewhat naive. Miranda skillfully mocked herself while performing in this manner, exaggerating enough to highlight that she was indeed presenting a caricature of a culture. Despite this, her career in the U.S. perpetuated the Latin stereotype.

Prida's play, which features Latin characters who reinforce such stereotypes, underscores her belief that Latins are partly responsible for their own situation. This situation involves a lack of genuine visibility, as many Americans show little interest in understanding the complexities and nuances of Latin cultures, preferring instead to cling to simplistic stereotypes. In truth, there isn't a single Latin culture; there are many distinct ones. For example, Salvadorans, Chileans, and Mexicans each have unique historical backgrounds. These groups have moved to the United States for various reasons. As long as Latins continue to perpetuate stereotypes alongside non-Latins, the true essence of their cultures and their identities as individuals will remain obscured to outsiders.