At heart, every post-apocalyptic movie is a bit of a wish-fulfillment fantasy.
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Who thought this was a clever story instead of a really disturbing wish fulfillment fantasy?
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Fox herself acknowledges that How to Be Single walks the line between reality and wish-fulfillment fantasy.
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She's as much of a dark wish-fulfillment fantasy as any superhero, and she's not for all tastes.
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He's a shot of reality in a wish-fulfillment fantasy, but not an unwelcome one — to the contrary, I think he's inspiring.
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It's certainly both of those things, but it's also a wish-fulfillment fantasy for artists, critics, and people who love the arts.
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But they add up to something that's less of a traditional game than an interactive movie — and a great wish-fulfillment fantasy.
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How else to explain such recent British psychosocial paroxysms as Brexit, that wish-fulfillment fantasy dressed up as a pragmatic choice about trade?
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But there's a lack of a comparable fluidity here; the show often feels tonally stranded between wish-fulfillment fantasy and dream-crushing naturalism.
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La La Land isn't a wish-fulfillment fantasy; in fact, ambitious young people living in 2016 may find themselves a bit downcast after La La Land.
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It's pitched as, essentially, a beefed-up Big – a wish-fulfillment fantasy of becoming older and stronger and cooler – but with the emotional complexity of the best kids' stories.
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It is perhaps unfair to hold my extremely personal experience against a show that, on some level, wants to be a wish-fulfillment fantasy for every bored only child out there.
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Normally, comic books and comic book movies are famous for their wish-fulfillment fantasy, where the heroes always win, no one dies except the occasional sidekick or girlfriend, and even death is usually temporary.
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They also signal to the audience that it's okay to laugh at the manifestly over-the-top violence, and at John's raging self-pity over being forced against his will to be such a merciless wish-fulfillment fantasy badass.
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This is a heady wish-fulfillment fantasy that gets more outsized and outlandish with every scene, and once the music starts, it feels natural enough that no one wants to turn back to the colorless reality of 1985 Dublin.
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At Sundance's post-world-premiere Q&A for I Don't Feel at Home in This World Anymore, first-time feature film writer-director Macon Blair told the audience that the film was essentially "a wish-fulfillment fantasy" stemming from a house robbery.
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And these stories always have a touch of wish-fulfillment fantasy to them, since they so often question whether it really would be a relief to be free of the burdens of choice, of messy and painful feelings like jealousy and anger and despair.
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The film inevitably has its cake and eats it too when it comes to addressing wish-fulfillment fantasy and delirious nostalgia: the story can only push so far in sorrowing over Halliday's surrender and retreat from the world, while still turning every rambunctious game setpiece into a celebration of Cline's favorite culture.
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Although most of the particulars of Francis's story are true in "The Two Popes," and he did write to Benedict asking to retire, the ballast of the film — the funny, thoughtful, sincere and ultimately reconciling conversations between two ideological opposites — might best be interpreted as McCarten's wish-fulfillment fantasy in which the two men embody a church he wants to see evolve, despite threats of schism and self-destructive hypocrisy.
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We have the slow, painful death of romance ("Marriage Story"); a dour, near-funereal shaggy-dog story about a phlegmatic hit man ("The Irishman"); a blackly funny but agonizing depiction of contemporary social polarities culminating in gore and gristle ("Parasite"); a wish-fulfillment fantasy of an alternate-universe 1969 whose climax is no less bloody ("Once Upon a Time in Hollywood"); a harrowing odyssey through the muddy, corpse-ridden battlefields of World War I Europe ("1917"); and an origin story of a comic-book sociopath ("Joker") that seems almost nostalgic for a dingy, crime-ridden urban landscape straight out of the Bronx-is-Burning era of 1970s New York.
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The pair has what writer Peter Dellolio refers to as a "dark symbiosis." Bruno embodies Guy's dark desire to kill Miriam, a "real-life incarnation of Guy's wish-fulfillment fantasy".
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Meena Iyer of The Times of India gave Phantom 3.5 stars, calling it an oversimplified but patriotic thriller. Bollywood Hungama gave the film 3.5 stars calling Khan's performance " focussed, clinical and precise, as the role demands" while stating that Kaif is "able support " while performing action scenes. It also praised the background score. Rajeev Masand of IBN Live gave it 2 stars calling it slow-paced, boring and a " wish fulfillment fantasy".
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She wrote: "The Mandalorian is uninterested in diapers, and so Mando gets to be a very particular image of fatherhood: the guy who doesn't have to sweat the small stuff." VanAnderonk described this as a wish fulfillment fantasy for parents or prospective parents: "a vision of parenting stripped so thoroughly of all detail and specificity that all that’s left are archetypes: the parent, the child". The Child encounters a handful of other protector figures throughout the first season, including Omera, IG-11, and Peli Motto. Some observers have criticized the series for the fact that the Mandalorian repeatedly leaves the Child alone or in the hands of relative strangers, as well as for making decisions that place the Child in danger.
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Contrarily, Michael Shindler, reviewing the film in Mere Orthodoxy, while agreeing that Joker depicts a sympathetic wish fulfillment fantasy, contends (drawing on insights from Sigmund Freud and Jacques Lacan) that it is for precisely that reason that the film will, if anything, preemptively quell real-world violence by rendering "the Flecks of the world into meek somnambulists." British neurocriminologist Adrian Raine was impressed by how accurate the film's depiction of the psychology of a murderer was. In an interview with Vanity Fair, he described it as "a great educational tool" and stated that he planned to present film clips during his classes. Psychiatrist Kamran Ahmed highlighted the factors in Arthur's childhood such as parental abuse and loss, and family history of mental illness in the genesis of his condition.
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In the week of December 24–30, 2007, the Kirarin Revolution anime series had an average viewership rating of 2.6%. Kusumi was named #17 in Daitan Map's "Top 50 Voice Actors of Popular Characters" in 2007 for her role as Kirari. On his review of the first volume, Carlo Santos from Anime News Network highlighted the focus on friendship, the story's light-hearted tone, and clean artwork as attractive to young readers; at the same time, Santos mentions the story presents a wish fulfillment fantasy and advises critics of the idol industry to "avoid the series entirely." Kirarin Revolution was ranked #6 on Anime News Network's list of "6 Idols that Fandom Forgot", with Lynzee Loveridge stating that despite the series' long run, it failed to attract an audience outside of its target demographic and was quickly forgotten after its end.
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Anthony Breznican of Vanity Fair noted that none of the day-to-day difficulties of parenthood are portrayed in the series: "There is no shrill squawking from Baby Yoda, no tantrum, no spit-up, no uncontrollable shrieking that burrows into a parent's psyche like a dentist's drill shredding a soft, pink nerve." Likewise, Vulture writer Kathryn VanArendonk said the show ignores or does not address many parenting details that make fatherhood difficult, such as what the Child eats, when he goes him to sleep, and whether he wears diapers. She wrote: "The Mandalorian is uninterested in diapers, and so Mando gets to be a very particular image of fatherhood: the guy who doesn't have to sweat the small stuff." VanAnderonk described this as a wish fulfillment fantasy for parents or prospective parents: "a vision of parenting stripped so thoroughly of all detail and specificity that all that's left are archetypes: the parent, the child".
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Battlefield Earth received polarized mixed reviews, with some critics, and readers, considering the book Hubbard's most enjoyable sci-fi work and a classic of the genre, while others consider it to be genuinely terrible. The book had a negative reception from some literary critics: The Economist, for instance, called Battlefield Earth "an unsubtle saga, atrociously written, windy and out of control" while in the science fiction magazine Analog, Thomas Easton criticized it as "a wish- fulfillment fantasy wholly populated by the most one-dimensional of cardboard characters." Other critics pointed to the book's slipshod writing, such as "the ineffably klutzy destruction of the planet of the evil Psychlos by atomic bombs, which turns it into a 'radioactive sun'". Punch sarcastically commended Hubbard's "excellent understanding of evil impulses, particularly deviousness, which helps with the plot, and [he] is well-enough aware of his weaknesses not to dwell upon frailties like love, generosity, compassion".
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Armada was a New York Times bestseller,New York Times Best Seller List / Hardcover Fiction: August 2, 2015 debuting at #4 and remaining on the list for five weeks. Reviews of the book were generally negative. The Washington Post described it as "nostalgic narcissism", The Boston Globe praised it for being "screenplay- ready", but called it "a tedious exercise in nostalgia and sci-fi cliché" and criticized it for engaging in "the worst sort of nerdy wish-fulfillment fantasy", and The Globe and Mail complained that the book had predictable plots and characters and that it failed to do "anything stimulating" with its pop culture references other than reminding readers of them. Io9 said the novel is a "mostly worthwhile read" and "perfectly suited for the cinema" despite the fact that "doesn't quite live up to expectations", The Verge described it as "a pretty fun ride" but complained about the predictable plot and "the lack of depth you'll find in most characters", and Slate described it as "a book-length love letter of cultural hyperlinks that refer you elsewhere but contain no meaningful content themselves" and said it embodied "everything wrong with gaming culture".
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