Created by screenwriters and directors Ron Clements and John Musker with co-screenwriters Ted Elliott and Terry Rossio, Jasmine is based on Badroulbadour, a princess who appears in the One Thousand and One Nights folktale "Aladdin and the Magical Lamp."

Originally conceived as a spoiled and materialistic princess, the writers eventually rewrote Jasmine into a stronger and more prominent heroine following the elimination of Aladdin's mother from the script, while borrowing story elements from the romantic comedy Roman Holiday (1953).

Several months after securing the role, Larkin was nearly fired from the project because Disney executive Jeffrey Katzenberg felt that her voice was not suitable for a princess, but Clements and Musker managed to convince him otherwise.

"[17] Initially presented with only a few pages of the screenplay,[17] Larkin found that she was particularly drawn to Jasmine's "spirit of activism," in addition to the ways in which character was both similar to and different from previous Disney heroines.

[7] In search of "something fresh to help with the physical look of her," Henn was eventually inspired by a high school graduation photograph of his younger sister Beth Allen,[34] who wore her hair in a style similar to what would ultimately become Jasmine's.

[42] Meanwhile, The Hollywood News' Rob Burch observed that the princess is very similar to Ariel, being "independent, beautiful, and desperate for the chance to live her own life," while at the same time concealing kindness beneath "a shield of anger.

[46] At only 15 years of age,[48] Jasmine is already more resourceful than her two immediate predecessors,[44] while sharing their same preference for assertiveness and empowerment over passiveness, traits echoed by several other Disney Princesses introduced throughout the decade.

"[56] Samantha Rullo of Bustle agreed that, despite her secondary role, Jasmine remains "determined to live her life the way she wants to, rather than letting others make her decisions for her," and thus ranks among Disney's most rebellious princesses.

[69] Movies and the Mind: Theories of the Great Psychoanalysts Applied to Film author William Indick observed that Jasmine represents "the rejection of the father-king's domination and control over his daughter's life," resembling "a strong and assertive heroine who rebels against her father's tyranny rather than passively accepting his will.

Following the success of Aladdin, Jasmine appears in the film's two direct-to-video sequels, both of which Larkin reprises her role as the character, with Liz Callaway replacing Salonga as her singing voice.

Jasmine eventually befriends Iago after he helps mend her and Aladdin's relationship, frees the Genie, and ultimately risks his life to destroy Jafar once and for all, who has returned seeking vengeance.

Jasmine also faces off romantic rivals who try to steal Aladdin away from her, such as Sadira (a former street rat turned sand witch who later becomes friends with the group) and Saleen (an evil mermaid who serves as a sea sorceress).

[75] The film's storyline depicts her mother to originate from Agrabah's neighboring kingdom of Sherebad, desiring to improve her people's lives as sultana despite traditions and Jafar manipulating the Sultan for his own ends.

Avneet Kaur portrayed Princess Jasmine in Aladdin - Naam Toh Suna Hoga, an Indian fantasy TV series and a loose adaptation of the 1992 film, which aired from 21 August 2018 to 5 February 2021.

[81] As a member of the Disney Princess franchise, Jasmine's likeness is used in a wide variety of merchandise, including magazines, books, toys, video games, clothes, stationery and school supplies.

[101] The character makes a brief first appearance in the season's fourth episode, "Strange Case," before finally starring in the fifth, "Street Rats,"[101][102] in which Jasmine enlists the help of Aladdin to locate a powerful item capable of interrupting Jafar's control over the Sultan.

[49] Ty Burr of Entertainment Weekly described Jasmine as the "most full-bodied (in every sense) of the new Disney heroines,"[109] while Desson Howe of The Washington Post commended the character for providing the film with "feminist consciousness.

"[61] Similarly, James Berardinelli of ReelViews commended Jasmine for "show[ing] the same streak of stubborn independence exhibited by Ariel and Belle," but ultimately criticized the fact that "she doesn't fill a more pressing role than that of Aladdin's 'love interest'.

"[51] Agreeing that Jasmine appears "bland" in comparison to Aladdin's supporting characters, Mari Ness of Tor.com wrote, "Jasmine follows in the footsteps of Ariel and Belle as someone unhappy with the restrictions of her world and her lack of choices: like both of them, she takes active steps to change this, and it's not entirely her fault that she's a secondary character in a film not all that interested in her ... She's perceptive, and fast thinking, but this isn't her movie, and in the end, although she does get to choose her own husband, she doesn't really get a chance, like Ariel and Belle, to move out of her world.

"[12] In a retrospective review, Texas Public Radio's Nathan Cone was pleasantly surprised "by how much of a leap forward the character of Jasmine was for the Disney storytellers," praising her boldness and intelligence, and preferring her over Belle.

Tom Jorgensen of IGN found her portrayal of Jasmine, "a clear improvement over the 1992 version" and added that the character, "feels more three-dimensional (pun not intended... nor apologized for) and she is given far more interesting ambitions this time around.

"[41] However, It's Not the Media: The Truth about Pop Culture's Influence on Children author Karen Sternheimer strongly disagreed with this sentiment, writing that despite being "strong-willed and almost given feminist qualities," Jasmine nonetheless "resembles heroines of old, waiting for her 'prince' to come and rescue her and using traditional feminine wiles to get her out of trouble.

Bustle included Jasmine's first encounter with Aladdin on the website's ranking of the most feminist Disney Princess moments, with author Samantha Rullo crediting the scene with demonstrating "how strong-willed and independent she truly is.

"[57] In a similar "Feminist Ranking Of All The Disney Princesses," Bustle's Chelsea Maze appreciated Jasmine for refusing "to let the men in her life boss her around," ultimately placing the character at number eight because she possesses "the agency to choose her own mate and follow her heart, all while financially supporting the guy she loves.

"[54] According to Meghan O'Keefe of Overthinking It, Jasmine possesses "tremendous" yet "ineffectual ... potential to be a feminist heroine" due to her lack of interest in books, music, social interaction, and "thirst for learning" that Ariel and Belle share.

"[128] Bust's Sholeh Hajmiragha began by praising Jasmine's progressiveness: "she challenges her ascribed life as a princess, is skeptical of marriage, and, by falling in love with poor Aladdin, upsets the class system."

"[52] The website also observed that the character's feminism does not appear to extend beyond "lip service," ultimately criticizing Jasmine of using her sexuality instead of her intelligence to "save the day" before finally reverting to the role of a damsel in distress awaiting rescue.

"[132] Ranking Jasmine second on a list analyzing "Which Disney Princess Most Embodies Feminist Principles," author Shannon Larson of The Huffington Post appreciated the character for rejecting the idea of marriage being necessary, asserting her right to marry whomever and owning her sexuality, but criticized the fact that she does not complete her attempt to escape royal oppression.

"[140] In his book The Mouse that Roared: Disney and the End of Innocence, author Henry A. Giroux accused "the anglicized Jasmine and Aladdin" of communicating in American English, while the film's villains have strong foreign accents.

"[145] Despite Disney's attempt to accurately portray the culture of the time period during which the film is set such as a lack of women in powerful positions,[38] Isabel Santaolalla, author of "New" Exoticisms: Changing Patterns in the Construction of Otherness, agreed that Jasmine remains "a vehicle for contemporary gender politics in America" despite her Middle Eastern appearance, explaining, "the film's PC credibility is reserved for Jasmine, but this feistiness probably reflects developments in America more than the realities of 1990s Basrah or Baghdad.