#anti asha

[officialprincessasha]

I honestly have a serious question for everyone in the Wish Fandom

Why is their so much hatred?

Anti Magnifico

Anti Star

Anti Ashas

Honestly why? Why all the hatred why Magnifico Is better then Asha?

Or Asha Is better then Magnifico?

Seriously, I want to know. It's a movie fast-paced, in my opinion, but it's a movie. Why can't we all get along?

Comment or DM I'm not any anyone or anything. I just wanted a fandom to be a part of

[thirstyvulcan]

Arya Stark: Fanon vs. Canon

Fanon Arya:

Canon Arya:

[cosmicwishingwell]

Yeah the other reasons why King Magnifico is a villain are valid but to me the biggest reason why magnifico is the villain is because he actually has a book of nothing but evil magic, and yes its "forbidden" but not to magnifico he can use it when ever he feels like, no one was forcing magnifico to have that book but him, he chose to have and use it knowing it can only do evil and nothing but evil, if you allow a demon to possess you to do evil things then you are evil.

You bring up an important point about Magnifico’s villainy that often gets overlooked—his deliberate choice to keep and use the book of evil magic. It’s not just the fact that he possesses the book, but the deeper implication that he actively chooses to engage with something that is forbidden and inherently dangerous. The book is full of dark spells and curses, things that can cause nothing but harm. While it may be “forbidden” in the general sense, that restriction clearly doesn’t apply to him, and that’s where the true danger lies.

What’s particularly telling is that no one forces him to keep this book. He could have easily destroyed it or locked it away where it would never see the light of day, but instead, he chose to keep it close, ready to use whenever he sees fit. That’s not a decision someone makes lightly, and it speaks volumes about his character. This isn’t a case of someone being tempted by dark forces beyond their control. Magnifico has full agency in this situation, and he’s making a conscious decision to keep evil at his fingertips. That alone makes him dangerous, because he’s shown he’s willing to use those powers when it benefits him.

The idea of him having a tool for nothing but evil is what cements his role as a villain. It’s like willingly letting a demon into your life, knowing it will lead to destruction and harm, but embracing that for your own selfish reasons. Magnifico isn’t a victim of dark magic—he’s an active participant. That level of awareness and control over his actions is what separates him from a mere antagonist to a full-blown villain. He knows the consequences of his actions, understands the power he wields, and still chooses to indulge in it. And like you said, that conscious decision is key. If you invite evil in and allow it to take root in your life, that makes you responsible for the havoc it wreaks.

In this way, Magnifico becomes a very intentional kind of villain. He doesn’t stumble into darkness; he walks right into it, eyes wide open. And that is perhaps the most frightening aspect of his character. His ability to choose differently, but his consistent decision to embrace evil, makes him all the more dangerous. It’s not just about having a forbidden book—it's the knowledge that he could do otherwise and still doesn’t. That’s what makes him the true villain in the story.

[ovenproofowl]

a lot of people have said it, but I’m throwing in my two cents just to get it off my chest.

Picard season 3 was . Bad . For a LOT of reasons . It felt like - as many before me have expressed - a self-insert fanfic with the dullest self-insert in history.

Jack Crusher wasn’t much of a character but he could have had some promise if they hadn’t spent an aggravating amount of time having him decree how different he always felt, you guys. Did you get that part? He’d always felt different. That sort of dialogue might have flown if we were dealing with Picard’s adolescent son, but instead we’re dealing with a 24 year old played by a 35 year old who looks every bit his age. (It was a hard 24 years, we must assume.)

The reason that Jack Crusher didn’t work for me personally, though, wasn’t because of how cliché his character was. I would have let that pass much easier if it wasn’t for the big ol’ elephant in the room. And that is simply that :

JACK CRUSHER WAS NEVER NECESSARY

Jack may have served a purpose to the storyline that was presented if only because he was the sole reason there was a Big Bad to be defeated in the first place. Everyone wanted to kidnap him, he brought the old gang back together just to protect him and then later save him from said Big Bad which was also actually .. him. Everything Was About Jack. But I’m not talking about the main plot. I Really Don’t Want to Talk About the Main Plot. Ever. What I want to talk about is what Jack represented that made him so unnecessary:

He was intended to represent Jean-Luc Picard’s only reason to start living.

Personally, that really, really offended me. Picard didn’t need to have a biological kid to have a purpose. In fact, it’s been established time and time again that he wasn’t ever really dad material. More of a... weirdly intense uncle. For a while, he wasn’t a fan of kids at all. Eventually, though, Picard is seen to warm to the idea of letting children within his general vicinity. This starts in TNG and continues on in season 1 of Picard. The Only Categorically Good Season of this whole. show.

In season 1, we see flashbacks of Jean-Luc’s relationship with a young Elnor, how he would read him stories and have sword fights with him. He was an absent father to an adopted child he hadn’t even realised he’d adopted and yet Elnor still fought for his hopeless cause. In much the same way, Picard meets Dahj and then later, Soji. He feels a kinship with these androids because of their connection to Data. He wants to protect Soji becase he couldn’t protect Dahj and Soji even canonically questions whether she should allow Picard to act as her father figure before she begins to remember where she came from. Both of these dynamics were infinitely more interesting and a lot deeper rooted. Soji and Elnor were both young twenty-somethings without parental guidance but found that guidance through Picard. Soji had her connection to Jurati, too, and Elnor had his with Seven and Raffi and that’s what made the whole group so intriguing to follow. They all had interesting connections to each other that had so many avenues to explore.

Unfortunately, the show decided to more or less write Soji and Elnor out of the story come season 2. Elnor was killed off for the majority of the season and only brought back by Q intervention in the last episode. Soji wasn’t even a part of the story at all. And do you know what’s sad about that? What’s really sad? Season 2 was trying to sell us the exact same message as season 3. That Picard needed a reason to live. But, like, not that reason. Not the reasons he’d already been given in the form of his found family with his Romulan and android adopted children, or even the rest of the La Sirena crew. No no no, we can’t have that, better get rid of them. This time, Laris is the focal point. Picard had been avoiding a romantic relationship with her because of a never before mentioned dark history surrounding his mother’s suicide. Because, sure, at this point, why not? While we’re at it, let’s also kill off Rios in the most slap-in-the-face out of character way possible and fling Jurati at the Borg for good measure just so she won’t be around for season 3. Her character development into the Borg Queen was pretty intriguing, but we’ll totally ignore that they even exist post her departure, just for funsies. Oh, and Soji and Elnor? Best not mention them at all come that third and final season. Otherwise, people might get the crazy notion that Picard already had a reason not to hunker down and die at the vinyard at the tender age of 104.

Season 3 picks up where season 2 leaves off in that Picard is now in that aforementioned romantic relationship with Laris. Except, no he isn’t because he immediately gets an emergency call from his ex and literally never sees or talks to Laris ever again. There wasn’t even a throw-away line or implied reference to her, but by now I’m sure you know the reason for that.

That’s right, folks. Because if we were allowed to remember Laris and what she meant to Picard, then we might just remember that other thing. Say it with me now!!

JACK CRUSHER WAS NEVER NECESSARY!!

In summary, there were so many brilliant options to give Picard for signficant found family dynamics, but the show just wasn’t interested in any of them. Season 3 wanted a Picard who had given it all up, who was ready to die because he’d never had a family to pass on his legacy. They wanted him at his lowest so that we’d all rejoice to see him return to the TNG crew. Don’t get me wrong, I’m a massive TNG fan and I could rave about the fan service and nostalgia porn for hours on end. If season 3 had stood alone as a singular unconnected event, it might even have been passable as a warm hug from old and beloved characters with some fun new spins to their stories along the way, juust so long as you didn’t squint too hard at the actual attempt at plot writing going on in the background.

But the fact of the matter is, Picard season 3 came far too late into the game. Season 1 held the building blocks to something new and interesting. By the end of season 2, it was becoming clear we were never going to see those blocks stand. By season 3, those blocks were just scattered headstones in a graveyard.

They teased us with the potential new show of Captain Seven and her Number One Raffi Musiker and that might have just been okay. . .

. . .If the La Sirena Crew had been allowed to be a part of that future.

In closing: Picard season 3? Too little, too late, mate. 👎🏻

[ultraericthered]

Moana and Raya are also distinct as characters in their own ways. Asha is really the first miss we've gotten from Disney in some time (though like Aurora before her, her animation, voice acting, and singing altogether help to save her from total abject failure.)

Not to be another of those guys complaining about that modern gurlz video but basically yeah that’s what this post is. While I hate that people were complaining about Asha’s personality before the movie even came out, now that I’ve seen it I’m like... yeah there’s not much there. But I DON’T agree that Rapunzel, Anna, and Mirabel are like the same character just because they share similar quirkiness.

Rapunzel was quirky because she spent her entire eighteen year old life in one tiny isolated house with no social interaction aside from her seemingly loving but manipulative and demanding mother. She’s also curious, artistic, and friendly to everyone even if they’re scary. She wants freedom first and foremost, but ends up finding love along the way.

Anna was quirky because she spent most of her childhood alone, without ever seeing her sister or anyone aside from castle staff. She’s also naive, romantic, and snarky. What gets her in trouble is being too trusting of a man she barely knows. The same could maybe be said about Rapunzel, but Eugene is pretty upfront about being a wanted thief, and Rapunzel keeps a good friendly distance with him at first. It’s obviously still a Disney movie but there are no wedding proposals on the first date. Anna on the other hand is straight up, as Hans says, desperate for love.

Mirabel was quirky when she was trying to hide things (the fact that she doesn’t have a gift, the vision from the rest of the family), clumsy because she was trying to keep up with her magical family (lifting heavy things in the kitchen, running after luisa while luisa walks effortlessly, getting thrown around by isabela’s plants after her breakthrough), awkward when other people are awkward (bruno) She’s also pushy, determined, and ambitious. Her flaw is that she’s too self sacrificial. She almost fell off a cliff trying to find information and ran into a collapsing building to save the magic.

They are not the same!!

[iheartbookbran]

My biggest gripe with how HOTD writers depict women is how they’re never allowed to showcase their anger and bitterness at their circumstances in full. We know it’s there, we see Alicent’s frustration about loosing the kingdom’s regency to a unstable nineteen year old, but she’s never allowed to fully express it (the closest we got was her outburst when Aemond lost his eye, and she was made to regret it directly afterwards). Her role in Rhaenyra’s usurpation isn’t born out of a desire to have what she believes is her due after years of withering away and suffering as Viserys’ wife, but as a desire to carry on what she believes to be her husband’s wishes.

When it comes to Rhaenys, since last week I’ve seen a lot of speculation on why she decided to turn back to fight Aemond and Vaghar, because in the show she has no reason to do so. The thing about Rhaenys’ story, at least how I understood it in F&B, is that she always seems to be holding back. It is one thing for her to say to Corlys that she doesn’t resent the fact that she lost the throne to Viserys and another to actually mean it, because if she (allegedly) lost fairly to Viserys, how could she in good conscience initiate a war? How could she inflict that on her whole family? So she holds back. And she doesn’t have to like Rhaenyra, but watching the same thing that happened to her repeat itself must be frustrating. Watching Rhaenyra be expected to give up her crown for the sake of maintaining the peace without her half-brother having the same expectation placed upon him must be painful. So she should want to encourage Rhaenyra to fight for the throne this time, she should want to turn back to fight those greedy, stupid boys playing at war, who could never understand her pain. She should want to show Baela and Rhaena that it is possible to fight back; she might not be able to save them or shield them or get them what she believes they deserve, but at least she can show them that they don’t have to take on their circumstances passively. They can fight back.

Or at least that’s how I would have written Rhaenys, anyways.

[that-frozen-queen]

Also while I am talking about Magnifico, I keep seeing people say he was poorly written because “they forgot to make him scary and made us feel bad for him instead.” And I’m sorry, but if you lack the nuance and understanding to sympathize with someone while still understanding that what they are doing is fucked up… then that’s not on anyone but you.

Several fantasy villains have tragic backstories. Several REAL LIFE villains have tragic backstories, but that doesn’t make their actions even less harmful.

[esther-dot]

"He had pledged himself to marry a daughter of Walder Frey, but she saw his true bride plain before her now: the sword he had laid on the table."- Cat(AGOT XI). "A throwing axe was in her hand. She tossed it in the air and caught it deftly. "Here is my husband, Nuncle. Any man who wants me should take it up with him." The Iron Cap(AFFC I). "The fire is mine. I am Daenerys Stormborn, daughter of dragons, bride of dragons, mother of dragons."- Dany(AGOT X). Being married to weapons.

I once wrote about that Robb quote,

I think the author wants us to look back on the scene in which Robb is crowned KitN (which on the first read is thrilling) with a kind of horror: “Again the shouting began. Catelyn sat despairing. She had come so close, she thought. They had almost listened, almost … but the moment was gone. There would be no peace, no chance to heal, no safety. She looked at her son, watched him as he listened to the lords debate, frowning, troubled, yet wedded to his war. He had pledged himself to marry a daughter of Walder Frey, but she saw his true bride plain before her now: the sword he had laid on the table." (AGOT Catelyn, XI) Robb was undone by a series of choices, his own and others, but I think Martin is consistent and insistent on his anti war stance, and it is this moment that Robb's fate was sealed, the moment he chose the sword. (link)

And ever since I wrote that, I assumed choosing to wed violent means (when there were options for peace) would result in a violent demise, as a way for Martin to enforce the idea that violence is not the solution. The Robb line and Dany line seem pretty emphatic, and I think they will share similar fates (betrayal and murder). However, I don’t know that Asha fits into this pattern perfectly. Martin seems to be writing her as a compromise between two extremes. I wrote this last year:

Robb is actually mentioned to support her plan for peace, so she’s an interesting blend of what Robb chose and Cat’s good instinct. This part also strikes me. She isn’t obsessed with the title, she wants power to achieve a certain end, one that’s presented as a good option compared to the others (link -- pertinent quotes are included there).

That line's similarity to the Robb and Dany quote seems damning, but she is presented as a potentially reasonable leader for the Ironborn, so perhaps Asha will get the chance to evolve more towards peace in the future?

[ultraericthered]

Moana and Mirabel @ Asha's early adorkable klutz routine.

first drawing of 2023! did a small study on annoyed expressions w best girls 🫶

my art style changes like every post istg💀 but this was fun! I think I’ve finally found a line art brush I like so we’ll see how long that lasts lmao

[jisreal64]

You know, I kinda find it funny that the same people who call the Nuzi ship pedophilic because it’s a ship that puts together a 17 y/o and a 20 y/o (which is totally legal btw) and the Loonavia ship pedophilic and incestuous because it ships a 17 y/o with a 22 y/o (which is one year off from being legal) that people view as sisters because they’re dads are f*** buddies (with one of said dads being an adoptive father) are the EXACT same people who think that the movie Wish would have been better as an incestuous and pedophilic love story between the ghost of a recently deceased 100 y/o man and his biological 17 y/o granddaughter 💀💀💀

[spooky-donut-ghost-house]

She deserved to be in a better movie 😔

[dani-luminae]

I'm thinking about Wish again. So as the only Wish liker I know of, tell me what you liked about the story and also maybe some things you thought could be improved!

I would be honored! And it got long, so... below the cut.

What I liked:

I would die for Asha. She is so precious!

All her friends were so cute! I love that they were a tribute to the Seven Dwarfs. People complaining that the friends had no personality... neither did the Seven Dwarfs, really. I am so happy that they clearly accept Simon immediately when he returns after the spell is broken.

Dahlia specifically tho. She is always right there for Asha no matter what, trying to calm her and support her right before the interview, stalling with silly questions so that Asha can get into the castle for Sabino's wish, being the first to join in "Knowing What We Know Now" after Asha, and especially!!!! In "This Wish (Reprise)" when Asha is nearly defeated and pleading to the audience it is Dahlia who answers first! She doesn't even know if it's going to work, if anyone else will join, but she's right there pledging her wish with Asha because she cares about Asha so much!!!!! (Yes I might ship them. Why do you ask?)

I actually really like Magnifico as he is. He's a great example of a villain driven by trauma, with a great amount of charisma and genuinely entertaining to watch while also being so "love to hate"able. (The same cannot be said for a lot of stans.)

I love Amaya. Perfect arc. God I feel so bad for her but now she can rule as she sees fit, not playing second fiddle as an accessory to Magnifico. (I don't doubt that they love each other but there really was no repairing their relationship after he hit her with magic.)

I love Asha's mother and grandfather so much.

I LOVE STAR!!!!!!! FUCK OFF STARBOY

They structured the plot similar to old, cherished Princess movies like Snow White and the Seven Dwarfs, and most specifically, Sleeping Beauty.

The end credits!!! Having little nods to all the Disney animated movies (except Meet the Robinsons apparently????) it was so sweet.

Could be improved:

The music. I liked about... half of it. The other half felt flat. I think that's because they hired pop radio writers instead of like, lyrical writers, if that makes sense. Both of "This Wish," "Knowing What we Know Now" and "This is the Thanks I Get?!" were so great, but "At All Costs" just had me sitting in the theater like pretty lights, but did we really need the song? and I don't even remember "I'm a Star!" because it felt really flat.

I love Star but we were promised "an origin of the Wishing Star!" and we did not get that. He just happens to be a character. I wish we'd gotten that actual origin story. I wrote a little rewrite about it, in fact, in which Star gives his life and magic to Asha and she is the Wishing Star we see in all the movies.

Also I didn't... much like Valentino. He was funny for the first five minutes he could talk ("Who knew my voice would be this low?") but then he just kind of became obnoxious. He didn't really bring anything to the plot that I can think of (even Hei Hei in Moana justified his role by actually, for once, being useful in catching the heart of Te Fiti).

I think that situating Rosas in a geographically real location was a shortcoming, because suddenly there is a myriad of real-life local cultures native to the Iberian peninsula to chose from aesthetic (clothes, architecture, etc.) wise and they didn't. For example, Asha has long braided hair specifically inspired by the Amazigh people, who the designers imagined her having heritage from specifically from Sakina's side, but there wasn't a lot else there. I like the design of the clothes and stuff in the movie but it feels short compared to culture of the area.

Lore. Apparently this movie is set before all other Disney movies and Asha is the very first person to ever wish on a star? Except clearly her father did the same, and her friends are at least familiar enough with the idea of wishing on stars that they see it as childish (Gabo's comment: "What are you, five?" or something like that.)

Asha deserved a whole magical transformation. Her pose when Star dusts her with sparkles is an exact pose reference to Cinderella, but while Cindy got the most gorgeous change (and Walt Disney's personal most favorite piece of animation), poor Asha just gets glitter. A massive downgrade made even more down because of the reference, in my opinion.

Both liked and could have been so much better:

References. So many of them. Some were nice (Sandra's wish to make the most beautiful dresses being shown as Sleeping Beauty's dress, a man named Peter wishes to build a flying machine and his companion is a brunette dressed in blue like Wendy). Some were weird. Some felt like they had no real business being there (see: Valentino's comment about an animal utopia suspiciously similar to Zootopia.)

(No I swear I'm not bitter that Atlantis and Treasure Planet didn't get in-movie references)

Miscellaneous comments:

I understand the whole "people are reluctant to let Black girls have a love interest" thing and I completely understand. But Starboy was just not it. This fandom already ignores Asha for him and he doesn't actually exist. If he had made it into the movie I already know how people would be treating Asha.

I know I said I love Magnifico as the villain but I would very much love to explore an AU where Asha *did* become his apprentice, and maybe he was like a stand-in father figure to her, actually careful and guiding, before something threatens all the wishes. I don't know what, but I feel like there's a lot of different ways that his trauma could have been explored without necessarily making him lash out and require so much control.

The movie feels rushed. I'm not saying that in an "it was bad, eew" way but in a "it could have been so much better" way. The literal tagline was "A story a century in the making!" and that drummed up a lot of expectations, but the end result is that honestly, it kind of feels like it needed more time to bake.

That being said, it was clearly crafted with a lot of care and thought put into it for what it was meant to be, and time constraints aren't the creators' faults.

[ultraericthered]

(Also, love interest Star should've been retained. We haven't had a full-on romance since Tangled; we are well overdue for another one and this would've been a perfect place for it.)

Theoretically, yes. But in practice I'm not sure a "full-on romance" would've worked when it's Jennifer Lee and Chris Buck handling it, and...well, we saw how they handled "romance" back in Frozen 2...

Why are these Disney heroines "adorkable"?

Rapunzel (Tangled): Because she was raised in isolation her entire life. She doesn't have a clue about the outside world or social graces or other people besides her "mother" in general. But she's extremely eager to learn and eager to please, not to mention is a pent-up ball of energy waiting to run wild, which leads to her adorkability. It makes perfect narrative sense.

Anna (Frozen): While not as badly as Rapunzel, she was also raised in isolation for much of her life, largely having to rely on the books in her castle library to teach her about the world and things such as proper etiquette, life skills and romance. But real life is not a book, so when she actually has to do these things, she often flounders due to her nervousness, excitement or inexperience, which leads to her adorkability. It makes perfect narrative sense.

Moana (Moana): From early in her life, she was raised under a very strict set of rules and instilled with a strong sense of responsibility, which is at odds with her instinctive desire to break these rules and her fears that she isn't up to the challenge her responsibilities pose. All of this pent-up stress she carries within her will often cause her to explode with emotion at the slightest provocation, which leads to her adorkability. It makes perfect narrative sense.

Mirabel (Encanto): As a young child, she failed to receive a special gift and room the same way the rest of her family did. Now feeling like the failure of the family, Mirabel's coping mechanism became trying to make herself as extravagant and quirky as possible. She's an incredibly "Try Hard" person, which leads to her adorkability. It makes perfect narrative sense.

Asha (Wish): Um.....well, she.....yeah, I got nothing. There is no narrative justification here.

Disney doesn't have an Adorkable Problem. Just an Asha Problem.

[officialprincessasha]

Calling out the anon hate on tumblr for the wish fandom in particular. I've been harassed by anonymous people, and so have many others. If you want to talk to us, don't hide like a coward. Talk to us username and all. Thank you.

Also, we can turn off anon ask so we hold all of the power, and no matter what, we're going to keep posting and talking about what we love.

[cosmicwishingwell]

Why King Magnifico Isn't the Hero in Disney's "Wish"

While some viewers might be initially charmed by King Magnifico's flamboyant persona and supposed benevolence in Disney's "Wish," a closer look reveals a character driven by a lust for power and control. Here's a breakdown of why Magnifico's actions paint him as the film's true villain:

* **The Tyranny of Benevolence:** Magnifico's core act of villainy lies in his monopoly on wishes. He hoards them for himself under the guise of safeguarding the kingdom. This creates a system of dependence where his subjects are stripped of their agency and ability to improve their lives directly. Magnifico becomes the sole arbiter of their happiness, fostering a culture of fear and obligation rather than genuine care.

* **Fabricated Threats and the Power of Perception:** Magnifico justifies his actions by alluding to a vague past threat. There's no concrete evidence of this danger, suggesting he uses fear as a tool to manipulate his subjects. This tactic keeps them compliant and reinforces the idea that they need his protection, further solidifying his control.

* **Moral Corruption and the Hunger for Power:** Magnifico's obsession transcends a genuine desire for the kingdom's well-being. His actions are driven by a hunger for power for power's sake. The possession of a forbidden magic book hints at a darker ambition, a desire for absolute control that goes far beyond simply granting well-intentioned wishes.

* **Manipulation and the Silencing of Dissent:** Magnifico controls the narrative surrounding wishes. He dictates how they are used and reinforces the belief that the people are incapable of handling them themselves. He dismisses Asha's concerns about the potential consequences of his actions, unwilling to consider alternative solutions or relinquish his hold on power.

* **Apathy Towards Individuality:** Magnifico's actions paint a picture of a ruler who prioritizes control over the well-being of his people. He stifles individuality by denying them the chance to experience the power of shaping their own destinies. This fosters a stagnant and submissive society.

**Addressing Counterarguments:**

There might be arguments that unfettered wishes could lead to chaos. However, the film doesn't explore the concept of responsible wish-making. Magnifico simply denies everyone the chance to experience it, fostering a system of fear and dependence. "Wish" presents a clear distinction between Magnifico's oppressive rule and Asha's desire for a world where individuals have the power and responsibility to shape their own lives, even if it comes with potential risks. The film ultimately argues that freedom and agency, even with their inherent challenges, are far preferable to the stifling control wielded by a power-hungry ruler like King Magnifico.

[angelicheaven12]

I will made controversial opinion that magnifico Stan is exactly similar to stolas Stan especially no offense because they will justifying his every action even babying him, I dared say it I'm already tired of magnifico stan, they will kinds person whom most likely defending capitalism and patriarchy society and mark my words on that, I'm also reading loads book about Marxism and feminism