The movie Wish (2023) stars the voice actors Ariana DeBose (the protagonist, Asha), Chris Pine (King Magnifico) and Angelique Cabral (the wife of Magnifico, Queen Amaya). One interpretation of the film is that it is a love letter from Disney creators to the “Spirit of Disney.” This message starts with the normal Disney Castle opening animation that reports that the film is part of the celebration of the Disney 100th anniversary. It is daunting to hide a subnarrative about the entire Disney project hidden in what the studio hopes will be an appealing story. 

Wish is a fairy tale that was thrown together haphazardly. Eventually it becomes a stock story of good vs. evil. However, it starts sunny with a song introducing the island where the story takes place. From Asha’s song “Welcome to Rosas,” Rosas is described as a very happy, successful and safe kingdom. This song seems an uncanny clone of the introductory song “The Family Madrigal” from Encanto (2021). Further aspects of a Disney fairy tale that are obligatory are added as the story progresses: talking animals, a wizard, a hidden secret, and a supernatural force that shakes things up.

The movie opens its centenary theme with the 100th birthday of Asha’s grandfather. As the film progresses, one might notice details that resemble types from classic Disney films. Seven characters reprising the personalities of Snow White’s dwarves, dancing animals, a seemingly perfect society, a chase through the forest, and a powerful wizard. The tension between providing homage to the old cliches vs. having an original story was too much. I started to waste more effort noticing what a scene alludes to rather than appreciating the story for itself. That tension made the film appear derivative rather than creative.

In Disney films, there isn’t much doubt that a wizard is not going to be commendable for long. Here, instead, his wife is ambiguous. What is her culpability in Magnifico’s activities? Is she redeemed in the end? Does she even need to be redeemed? Her character is one of the more difficult to suss out. For much of the story, she is a passive side character until she is needed for more forceful action. She doesn’t really fit in a morality play about good and evil. Ambiguous characters in Disney films don’t need as much thought. However, I might just be infected by Star Wars’ proposition: the dichotomy between the dark side and light side is sufficient to analyze a character. Magnifico’s character certainly fits the light side/dark side character arc. It’s even made explicit in one scene. But if I’m trapped in that Lucas Simplification, a morally complex character like Queen Amaya just does not compute.

The credits of the movie are clever. Through them, you’re invited to play a game of identifying other Disney animated films. Twinkling starts form constellations in margin of credits roll. (One would wish on them?) Each constellation resolves into characters from other Disney animated movies. The audience could compete to recognize the characters and their film. This playfulness in the credits expands on the joy of 100 years of Disney. The very, very end of the credits is meaningful both as the love letter’s completion and the consummation of one final character’s wish.