This stated purpose drives the entire premise rather than appearing as background flavor. Chantal and Zeynep enter the Grimm-inspired realm where Chantal, mistaken for Dornröschen, uses her outsider tactics to dismantle patriarchal kingship, forced marriage, and traditional tropes, turning the sleeping-princess story into a vehicle for female self-reliance and systemic critique of oppression against women and witches. The narrative centers feminist deconstruction through concrete plot choices: Chantal fights her own curse and a dragon instead of awaiting rescue, female friendship supplants romance as the priority, and a queer male subplot features Prince Bosco romantically drawn to servant Aladin rather than fulfilling heteronormative expectations.

The witch Sansara is recast as a victim of royal tyranny whose story underscores emancipation messaging. These elements function as overt ideological intrusions that subordinate comedy and fantasy entertainment to the critique of traditional structures.