Disney films in general, and animated Disney films in particular, are absolute superstars of popular media. Paired with lucrative franchises, such as the Princess line, and concomitant merchandise, their influence is wide and multigenerational. By relying on magic, attractive settings and characters, captivating songs, and happy endings, the films enthral their viewers successfully. Yet, as Mirabel, the protagonist of one of Disney’s latest animated additions, that is, Encanto, notes: “The stars don’t shine, they burn.” In other words, even the seemingly perfect things have some less than perfect aspects. In Disney’s case, those are stereotypes on, among other issues, race, gender, beauty, sexuality, and disability. Despite the problematic portrayal of these concepts, manifested in the long-lasting dominance of the White, patriarchal, and/or heteronormative pattern, the (animated) Disney films of the last decade have shown an improvement in these areas, and even in overcoming their own stereotypes. This paper argues that a case in point is the Academy Award-winning Encanto, which, next to a non-stereotypical depiction of Latin Americans, subverts perfectionism. With its portrayal of the Madrigal family members, Encanto subverts Disney’s own ideals of perfection: (feminine) beauty, constant happiness, and overall flawlessness. By following the multidimensional concepts of perfectionism by Frost et al. (Cognitive Therapy and Research, 14(5), 449–468, 1990) and Hewitt and Flett (Journal of Personality and Social Psychology, 60(3), 456–470, 1991), this paper will show how the protagonists embody different aspects of perfectionism and the ways in which they overcome it.