I mean, the wish fulfillment angle kind of starts by gifting the outsiders control of a studio, which they didn't have (well, it was true that studios in this period were generally owned and operated by Jews, but that ironically is one minority group whose onscreen representation isn't addressed by this series at all).
Bottom line is, I don't think the series is suggesting that things would have been like this if only the oppressed had behaved differently. But since the series wants to center its marginalized heroes, and generally in a good story your protagonists have agency, it obviously celebrates their drive and success.
As I said, I don't think it does a particularly good job of this, given how obstacles just sort of melt away into pure wish fulfillment as it goes on. But that's a separate matter as far as good dramatic storytelling goes. The aspects of the ending that are the least plausible are, unfortunately, the aspects of it that I suspect are dearest to Ryan Murphy's heart, namely, the massive acceleration in gay visibility.