frozen meta

I never understand when people use the let it go sequence as a reason why frozen is a bad movie. yes, elsa makes a mistake. yes, elsa behaves selfishly. yes she abandons her kingdom and chooses isolation over her responsibilities. but that’s the point of the movie?? she was in a situation where she was repressing her powers because she didn’t know how to control them, and let it go is the moment where her fear snaps and everything she’s been holding back for years comes spilling out of her. her greatest fear (fear!!!) is hurting people. she reaches a point where she believes there’s nothing else her powers can do, so she runs. for dear life. 

of course the moment when hurting people isn’t an option any longer, when she’s left alone to experience the extent of her powers is going to come as a huge relief! of course she’s going to experience elation and joy and delight!! but that’s not because she’s really relishing her act of abandonment. it’s because the thing that’s been pushing down on her her entire life is finally lifted. and you watch her experience the relief of reprieve from pain and fear. you can argue that it’s still selfish, but you can’t deny it’s a deeply human reaction for her to have. and anyway, the point of the movie is that she doesn’t stay there. 

she doesn’t cling to isolation and selfishness. she doesn’t abandon her people forever. it takes some time but she comes back! she learns to harness her power for good, to control it so it doesn’t control her. she reintegrates herself with her people and lets her relationship with her sister be mended. she’s a little too broken to do it all by herself, but again. she doesn’t have to. she proves that her brokenness is not a permanent, impenetrable part of her and that with love and time she can become a good queen and a good sister, helping repair the damage that she did, (even though much of that damage was the natural result of the situation she was in and not all her fault.) 

her story is one of healing and it’s beautiful and good. 

Anna: “I don’t even know what love is.” This is the most complicated, broken, and profound line in the entire movie that was said by an equally complicated, broken, and profound character. Wait, What?

I know people will most likely agree or notice that Elsa is more glorified and magnified than Anna. Elsa is widely celebrated that she has become a whole franchise on her own singlehandedly. In Disney stores and in other stores carrying the “Frozen” merchandise, I notice that everything with Elsa’s face in it are always sold out whereas Anna’s…you can see that there are always a lot floating around. That she’s only just a spare. If a kid asks for Elsa, and her dolls are out of stock, she settles for Anna. Anna, the princess, not the Queen. Anna, the klutz, not the elegant and graceful character. Anna, the underrated character in her own movie.

What’s my point here? I’m not talking about sales statistics. I’m merely stating the obvious. We see more of  Elsa’s story get more notes and analyses here on Tumblr. She’s this utterly gorgeous muse with a tragic backstory that makes her so complicated and so enigmatic. She’s the one with the anthemic song with the sexy hips and gorgeous ice dress. She has ice powers, which make her so disarmingly hotter, and way more interesting that Anna, the younger sister who’s unashamedly ordinary compared to her sister.

I’m not trying to push Elsa off the pedestal and make Anna outshine her; wrong. That’s just how it is. Anna is underrated and there’s no denying that. But it makes me quite sad when I see people write about how Anna is just this naïve, gullible, and shallow character who fulfilled Disney’s aesthetics by being the typical princess who is love-starved and seeks romance as her main goal throughout the movie; to find a prince, kiss, and live happily ever after. Anna fulfilled that, yes. There was Kristoff, the kiss, and happily ever after. But that all came with a price. But she’s more than that. Way more than that.

“I don’t even know what love is.” My focus is this line because there are so many layers to it. 

Let’s tackle the question with some hypothetical questions and some counter statements that I also thought about, shall we?

1. Anna knows what love is. It’s not like she was locked away like Elsa was. She had her mom and dad. So if anything, Elsa should be the one who would be fitting to say that.

Yes, Anna had more contact with her mom and dad and I’m sure they compensated for Elsa’s absence by being there for her. Anna was free to hug her parents. She was free to play with her mom and dad. They had a good relationship for the most part. Anna loved them and they loved Anna. But honestly, if my sister just stopped talking to me and my parents wouldn’t give me an actual answer as to why, I’d feel pretty devastated.

I’d feel hated by my own sister. I don’t know how much (or if at all) it was emphasized by her parents that Elsa didn’t hate her whenever she asked why Elsa won’t see her anymore, but it still doesn’t excuse the fact that they kept her in the dark. Anna was betrayed from the very beginning by her own parents. All these doors. All these excuses. All these unanswered questions. It was unfair. Although her parents meant well, I’m pretty sure Anna had already formed conflicting thoughts about the concept of what love is. Why is Elsa gone? Why won’t Mama and Papa tell me? Don’t they trust me?

2. If Anna is so desperate for love and the company of people, why didn’t she go with her parents on that ship? That could’ve been her chance to explore the world. Heck, she also has a choice of leaving the castle. It’s not like Elsa told her to be locked in, too. 

I’ve seen someone write about this, but I’ve reblogged it a long time ago so I can’t really find it right now. It’s interesting how Anna stayed behind when she could’ve gone with her parents. She was fifteen years old and during that time period, hell yeah, she’s pretty darn legal. People got married even before fifteen. She didn’t need to go with her parents. She had a choice. And her choice was to stay.

Why? Okay, so Mama and Papa will be gone for two weeks. TWO WEEKS. That’s enough time for me to convince Elsa to come out of her room. Hopefully. I’ll even camp out by her door! I’ll bribe her with chocolates! Wait, what? It’s been way too long. I’ll use this time to come up with a plan to make her talk to me without Mama and Papa telling me not to go near her door. Elsa doesn’t hate me. I think. I mean, she’s my sister! Maybe, even for just a few days, Elsa and I can finally have some time for ourselves without anyone telling me not to bother her. I need to stay behind. I need to talk to her. Joan doesn’t say much. I miss Elsa. 

I think that’s how it went down in Anna’s mind. Or close to it. I mean, if she went on that ship, she would’ve died and uhh…there will be no movie. But two weeks became forever. And the door remained shut for another three years although the plan to have it opened did not waver.

She never opened those gates and left Elsa alone because where Elsa is, there she will be, too. Who will embrace Elsa with open arms when she finally opens that door? Anna won’t miss it for the world. 

I think this is the part where Anna’s faith in her sister wavered. God, she was so excited, so nervous, and so desperate to keep her sister’s attention. She standing so close next to Elsa. And Elsa is finally talking to her. They had, max, three minutes of screen time together. Three minutes or so of finally reconnecting. But Elsa and her own version of unconditional love for Anna, pushes her away once again and breaks her own heart again in the process.  Everything was going well….what did I ever do to her?

It’s just so absolutely brilliant how Hans comes in the picture a second after this scene to catch her as she tripped and about to fall. As if he was the one who will save her metaphorically. Hans, who echoes Anna’s pain (or pretends to) captures Anna’s heart immediately. He talks to her, makes her feel important, he…TALKS to her. It wasn’t a painting. It wasn’t her face against a door talking to a voiceless human being that was inside that room somewhere. It was someone finally talking to her and listening to her. Anna could not just let this pass. At this rate, Anna just wanted out. Marriage, whatever it may be, she needed an out. Not necessarily to leave Elsa because she did offer that Hans and her brothers live in their castle. But just…an escape from this gaping hole she was left with in so long. So much void. So much loneliness. Yeah, Anna was pretty naive to just say “YES” to marriage after four minutes of having a duet with a complete stranger. How gullible. But really, how much more loneliness and rejection can a person stomach? She saw an opportunity and took it. She wanted an out.  She wanted to be loved. And that’s perfectly human nature. Maybe this is her chance. Anna has been questioning what love is since that day that door slammed shut on her face. Maybe Hans will prove her wrong. He did, in the most sadistic and unexpected way.

“I don’t even know what love is.”

This is the face of complete defeat. Elsa throws her out of her ice palace after literally getting a near death experience and trekking that mountain for days. She dropped everything for Elsa just to be rejected again. Elsa physically built a monster to throw her out. Seriously, that blows more than anything even though we all know Elsa means well. And then, Hans betrays her. She’s dying and she doesn’t know what love is. She really doesn’t. She has this epiphany and realization that maybe she was just an idiot all this time. Anna, here, is convinced that whatever image of love she has in her mind is nothing more but demented wishful thinking and lies. Her parents kept secrets from her and allowed her relationship with her sister to fester. Plus, they leave her, too. They died with those secrets and those hugs Anna had looked forward to everyday growing up and wishing Elsa can hug her, too. Her own sister who was her best friend and someone she looks up to suddenly stopped being there for her unannounced; kicks her out after she goes on this suicide mission to find her, and accidentally freezes her heart. The one person that she confided in and trusted with her heart leaves her for dead after telling her she was a rebound because “no one was getting anywhere with Queen Elsa” that’s why he picked her. All of this seem to be undermined because of Anna’s radiant personality. But did anyone really actually consider that it may have been a fascade to mask the fact that she’s been crapped on all her life and everyday she wishes someone can make all of that stop?

So yeah, don’t tell me that Anna is shallow.

Anna screams “NO!” and blocks Hans’ sword from killing Elsa. By the time this happens, it’s already been established that Anna thinks Elsa doesn’t want to see her again. STILL, she literally defies that. NO, I will not let you touch my sister. YES, it’s probably true that she doesn’t love me enough or trust me enough to make it work, ice powers and all, BUT I will not let you kill her. This is not how it’s going to end. YES, I may have given up on trying to mend our relationship, but I CHOOSE HER. I may not know what love is, I may not know how it feels like to be loved. BUT I KNOW HOW TO LOVE. AND I LOVE MY SISTER. I CHOOSE HER OVER MY LIFE EVEN THOUGH IT MEANS I MAY NEVER SEE HER AGAIN. 

Guys, Anna died loving Elsa. Anna died forgiving Elsa completely…but she died not really and truly grasping how much Elsa loves her. She died thrown out, rejected, and betrayed.

Anna does not exist to fulfill Disney’s aesthetics to maintain a certain standard of being a Disney princess and a damsel in distress. Anna is none of that. Whatever happy ending she got, she deserves it, in all of its cliche and cheesiness. She has suffered just as much. She has cried just as much. And she deserves happiness and love just as much. She’s been a complicated character since her first screen time and for the next to follow. Sure, she made some really stupid mistakes. But that’s what makes her so relatable and so scarily human. Anna is the epitome of stubborn love. And that’s what makes her so beautiful. 

anonymous asked:

When you're talking about Elsas abuse we're you talking about her parents hiding her away? Sorry if this is dumb AgHshddh I'm an abuse vicitim and I just thought your commentary on that was interesting I never caught that (Then again it's been a while since I've seen the movie but yeah :0!)

yeah! that and also, if you go back and watch the movie, a lot of what they say to her is just, really heartbreaking? 

this is the opening to the film, and toward the end of the clip we can see elsa holding anna in her arms and her parents immediate reaction is “elsa what have you done?! this is getting out of hand!” not like, what a normal parent would say which would be something more like “elsa, what happened?” 

so the first time we meet their parents, our very first impression of them is that they do not trust their daughter, and that elsa has hurt anna in the past, or at the very least, her parents are convinced she has/will hurt her. this is like… definitely not something a good parent thinks of their child. it’s plainly obvious that elsa’s parents are scared of her (what breaks my heart is elsa’s expression after her father says this too and her small “it was an accident…”)

and then they go to the trolls who then erase anna’s memories of elsa’s powers, which thrusts elsa’s dad in This monologue:

“No, we’ll protect her. She can learn to control it, I’m sure.Until then, we’ll lock the gates, reduce the staff, we will limit her contact with people, and keep her powers hidden from everyone. Including Anna”.

This is like, abuse tactics 101. Hiding your child away from people and limiting their contact with them is Abuse. It’s really no different from what happened to Rapunzel, in my honest opinion. Being locked away from the world. 

The difference being with Rapunzel was that she was told that the world was dangerous, Elsa on the other hand was told that She herself was dangerous.

And then in “Do You Wanna Build A Snowman?”, we see this scene in the middle of the song where Elsa’s dad Literally tells her not to Feel Anything. 

A little later in the video we see Elsa completely distraught and unable to even let her parents Touch her or Hug her or calm her Down because over the years they’ve taught her that she is a danger not only to herself but to everyone around her. She wont even accept physical comfort because she thinks she’s going to hurt someone. 

The way Elsa is treated is so incredibly horrible to watch like, it’s just so obviously abuse. Mother Gothal was treated for what she was: an abuser. So why aren’t Elsa’s parents? 

I mean shit man, if you go and look at “A Frozen Heart”, a novel written about the movie for more mature audiences that followers Hans and Anna as the events of the movie unfold, we get a glimpse at whats happening off screen to Elsa when Anna stumbles upon her sister and parents in the solarium.

It goes on to talk about how their father has an anger problem, to which Anna says “no you don’t remember when–” and lists off a bunch of times where she fucked up and he still didn’t get as upset as he did with Elsa just then. 

And this novel is canon. Everything that happens in here is 100% something that’s happened in universe. And it all just strikes me, as an abused person myself, as so obviously abusive. The way that they treat Elsa is horrible. Blaming her for pushing them away when it was them who pushed her away and in the first place, locking her away from people and from her sister, forcing her to conceal her emotions and to feel Nothing (Conceal, Don’t Feel always felt sinister to me and when I went back and watch this movie with a critical eye a while ago I finally realized why). 

But this is all why I love Elsa so much. This is the perfect Villain backstory and she still only just wanted to protect her sister. 

I could also get into how Anna was groomed to be abusive as well but we’re talking about the king and queen rn lol and this is already long enough. 

IMAGINE FROZEN WITH BLOOPERS THO

  • Elsa exploding at the end of FTFTIF reprise, missing Anna, and hitting a poor gaffer or mic tech instead. and the camera falls to the ground and everyone starts laughing and Elsa’s giggling but also so cutely apologetic like “I’m so sorry, are you okay?? I’m so sorry, oh goodness, let’s help get you up- COULD SOMEONE GET MIKE HERE A LATTE?”

  • Hans farting in the middle of his duplicitous evil-villain reveal speech, and Anna laugh so hard she falls off of the couch she’s supposed to be dying on. And Hans is laughing so hard at himself and then at her laughing so hard that he stumbles trying to go help her up

  • or the Duke dropping Anna in the dip at the Coronation Ball

  • Sven farting all the time and hiding whoopee cushions wherever Kristoff sits  “DAMMIT, SVEN” but by the third time he’s cracking up, too

  • Anna and Hans completely blowing the socks-skating scene in Love is an Open Door, falling over and skinning their knees, sliding off-camera and knocking shit over

  • Kristoff can’t pull the scarf down off his mouth and spends an awkward amount of time yanking and pulling but its stuck and it ends up in his mouth and Anna’s cracking up and Elsa runs out from offstage and they high five bc Anna tied a triple knot and Elsa froze it and Kristoff would be laughing if he weren’t gagged by his own snow-covered scarf

  • Elsa fumbling, missing the door handle when she flees the party, completely does a 180 and smacks right into the door

  • Kristoff hides carrots everywhere

  • Elsa tripping over her cape running away in the courtyard

  • Elsa slipping on the ice and doesn’t catch herself the way she does in the movie and completely face plants across the fjord and they have to stop filming for three days until the makeup crew can cover her black eye

  • The forty-seven takes it takes Sven to get the Kristoff-flip-over-the-ice thing on the fjord during the Whiteout

  • The tree smacks poor Marshmallow in the eye and Anna runs back so apologetic and tries to help but she can’t even reach his knee, let alone his face so she just kind of stands there, rubbing circles on his foot apologizing and shushing while he cries

  • Olaf has the dirtiest fucking mouth, its ridiculous
2

Anna and Elsa    +    Letting Go { insp. }

Both Anna and Elsa have this realization that they’re finally free. For Anna, it’s walking outside of the gates, and for Elsa, it’s letting go of her powers. But the two of them are overcome with joy and this sense of freedom that they both make the same gesture: throwing their arms out and exposing themselves.

Anna shuts her eyes, but Elsa keeps them open. Anna is content with letting the future take her, going where ever she may go without a care while Elsa wants to see exactly what she’s getting herself into and the what the future holds for her.

Why Helsa is a ship that floats

I’ve seen a lot of posts asking people to explain how can anyone ship Helsa or what they see in it, so I’m writing this to explain why I see it as a completely possible thing, even in canon.

Helsa is intriguing to start with because they both have so much damage and baggage from the past and could really help each other grow. They’ve both been brought up to conceal and hide who they really are and how they really feel, feeling lonely all their lives, Elsa for obv. reasons and Hans having apparently been brought up in a very cold, loveless, ultra ambitious environment. (I think his maddening desire for power is a result from an upbringing where only power/position matters, desperately wanting to prove himself etc etc)  Also they both want to rule Arendelle well and Elsa could really benefit from Hans’ palpable people and diplomacy skills - after all he seems to be better at ruling Arendelle than either of the sisters. He can show her the ways of the world and help her gain confidence. She can teach him the value of love and honesty.

Keep reading

Elsa and Anna as children: another heartbreaking review.

Anna’s downcast eyes after being rejected by Elsa in this scene of “Do You Wanna Build A Snowman?” has been something that breaks me every time. And she’s worn that same face throughout the years (and throughout the scenes she has with her sister in the film) as she dealt with Elsa’s rejection without really knowing why her sister was shutting her out. It has been a prominent feature of hers, her eyes that has resemblance to her sister’s. Although filled with so much zeal and so much light, there was always this concealed sadness that she had learned to bury behind her laughter, awkwardness, quirkiness, and sense of humor. But what I find the most heartbreaking after this scene are these three that follows….

Young Elsa looking out the window. Young Elsa watching whatever happiness or merriment that is taking place outside her window. Outside her prison. When was the last time we’ve really seen Little Elsa smile like that? The last time was when she was with Anna. Playing with Anna. Laughing and having fun with Anna. Her younger sister was the main thing that truly made her happy. I started to ache as it dawned on me that she was probably watching Anna play by herself and talking animatedly to a snowman. Since Elsa didn’t (couldn’t) build a snowman with her, Anna probably made one by herself right outside Elsa’s window so Elsa can see. Anna was probably waving at Elsa, screaming, “Come on Elsa! I already built one for us! Come on let’s go and play!” Maybe that’s why Elsa was smiling here because she realizes that her sister isn’t mad at her after she drove her away. Maybe, just maybe, she can leave her room even for just a few minutes to come out and play. Come out and indulge Anna even for just a few minutes….or seconds….but then, this happens next….

Her brief excitement and happiness caused her powers to act up that’s why this window was frozen over. It has been shown so many times in the movie that her powers act upon how she feels whether it is happiness, sadness, despair, or even irritation. We’ve all seen how her powers were manifested when she was nervous and grieving. She can’t feel a certain emotion too much; or anything at all because she’ll end up having an episode of ice coming out of her that will potentially cause harm. She can’t be too happy. She can’t have happiness because having too much of it will freeze things over. That’s what she must have made herself believe because of how her powers were manifesting. At age nine, she hasn’t learned how to control it yet. But boy, did she learn over the years. She learned by depriving herself of happiness. Of companionship. Of her parents. Of Anna. She thought happiness and intimacy was her worst enemy when it was really her salvation. The only time we’ve seen Elsa truly happy and free was in “Let It Go.” But that didn’t even last long. The next picture is the scene that followed after this. And this is where Elsa decided and realized that she can’t have what she wants. Nothing will ever be the same. 

Elsa’s eyes here mirrors Anna’s from that first picture I posted. Just look at how sad she is. Look at how much pain this little girl is carrying at such a young age. She started to wear gloves. This is where she started to tell herself that her powers are dangerous and they aren’t beautiful. Maybe Papa and Mama won’t look at her with that subtle hint of fear and disappointment. Maybe she can make them proud again. These gloves will protect Anna. These gloves will cover these hands that caused pain to Anna. This is where she rejects herself. Conceal it, don’t feel it, don’t let it show. I’m gonna stay away from that window. I can’t give my sister false hope. I can’t give myself false hope and pretend what happened didn’t happen. No, I can’t play with you,  Anna. No, I can’t build a snowman because I will end up hurting you again. I’m sorry, Anna. That was the mantra that her and her father came up with for her to religiously follow and recite over and over in her head. That mantra became her lifestyle for twenty one years. Her never ending battle. Her never ending thoughts. Her ever-tormenting thoughts. Conceal it, don’t feel it, don’t let it show. Conceal your sadness and your yearning for your sister and your parents. You want to hug them? Well, you don’t deserve to be touched because you’re a monster. Push them away. It’s better this way. Safer. Stop holding that door knob and flirting with the dangerous idea of opening it. You can stare at it for hours like you always do, but you will never open it because you will cause more destruction. Stop listening to Anna’s footsteps coming towards your door and feeling excited. Your little happiness will only be snatched away. Don’t even dare try to be happy and hope that one day you’ll be able to open that door. Anna will eventually hate you anyway after all these years of rejection you’ve dumped on her. Don’t let it show. Don’t cry. Don’t break. You deserve this. You hurt Anna. This is your fault. Don’t you dare break down because you’re causing your sister so much pain. How many times have you heard her cry outside your door? How many damn times have you pretended to not have heard it?…STOP. CRYING. DON’T FEEL. DON’T FEEL. DON’T FEEL. Conceal. Don’t feel. Don’t let them know. 

They grew up too fast. They grew up to be so broken and so deprived of love. They grew up needing each other and never really being whole until they became reunited once again.

These beautiful, tragic, heartbroken girls. </3 

@frozen-delight I saw you were interested in the whole Dean as Other & Dean as Feminine parts of my thesis? :)

I’m making this as a separate post because I wasn’t sure if hijacking someone’s (excellent) meta wouldn’t be rude.

I can’t exactly copy paste from the thesis because unfortunately it was written in my native language. Also, the hypothetical reader of the thesis was supposed to be a person who is not familiar with the show so I had to bring up a lot of stuff that is very well known to us, fans, so that would be too much talking about the obvious, I guess.

Dean as the Other (and the outcast) 

The starting point to writing about Dean in terms of being the Other, was a comparison of similarities with Dean from Kerouac’s „On the Road”. It kinda went from there.

I focused on the society-related aspect of it within the diegesis, and because of that, I brought the most attention to the early seasons. I felt like later on the Dean – society dichotomy kind of went away within the narrative as progressively the Winchesters were mostly interacting with other people and beings that were related to the supernatural world.

Dean was both marked as the Other by society and by himself – from the outsider’s point of view, he stands against everything that constitutes the ideal american life style. He detests the middle class and the „values” it represents, which osciliate between consumptionism and superficial morality. The main and first reason why he’s marked as such, is of course, being a hunter of the supernatural, which, in his case, is related to socio-economical degradation: there was a peaceful, middle class-ish life in Kansas (a conservative state which only stronger resonates with the traditional american ideal) and suddenly there was no home, financial issues, constant danger and a dysfunctional family with the extra bonus of alcohol problems and violence. And it’s important to note that while Sam doesn’t remember the past and the change, Dean does. It only adds to his trauma and vision of self that completely differs from what is considered „normal.” Dean learns everything from John and excels at it – a history of violence, lack of a stable job and firm emotional connections, living on the Road, acquiring money through gambling, using fake credit cards and presumably even prostitution (not confirmed canon, just Jensen’s words) – all of that places Dean even below the „blue collar”. To add to that, most of the time he can’t even explain his action to people because that would mean having to explain the supernatural. All of it makes the society percieve him as unpredictable and dangerous, as something that disrupts he suburban life harmony, as a threat. Makes him feel like he doesn’t fit (as shown in “Bugs” and “What is and what should never be”, “Exile on main street”). People distance themselves from him (even Sam, who craved normalcy and upward mobility, and in no way wanted to become like his brother), Dean distances himself from them. In a way, he isn’t even a part of the family unit – Sam always was the son, Dean was the „tool.” In practice, until Sam left for Stanford, it wasn’t „John, Sam and Dean.” It was „John, Sam and that.” Inside the hunting community, he didn’t exactly fit either – didn’t fit the hunter ideal – too sensitive, too pretty, too different.

I also find it interesting how it’s only Dean who gets repeatedly pictured as an animal. Dog!Dean is the most blatant example but not the most interesting in the context of his otherness and attempts to evoke some kind of beast-related asociations in the audience. It’s one thing that Sonny’s called him Dee-dawg and that dog imagery is strongly related to Dean.What really gets to me is that in „Dream a Little Dream of Me” Dean circles dream!Dean (or should I say, the other Dean) like an animal that prepares for an attack (also, the exchange between the two suggests Dean doesn’t exactly see himself as human). And of course, there’s „On the Head of a Pin”, where Dean is not only referred to as „Grasshopper”, but is told that he’s been carved into a whole new animal. Also, I would argue that the fact only Dean was made to become a torturer on the show, amplifies his otherness, in a way. No other character can relate to this sort of damaging experience. That particular burden makes him different than any other human on SPN.

The narrative also presents him as the Other through making other characters the subjects that don’t get their basic agency get meddled with on every available occasion, while Dean has it denied all the time. His choices, emotions and reactions aren’t supposed to be independent, but always are meant to be relative to the rest of his family (mostly). In this aspect, he doesn’t get to be an autonomous being. His loved ones are the Absolute, he is the Opposite.

As for Dean seeing himself as something else – all of it is highlighted in „Skin”, both in dialogue between the brothers and by the shapeshifter!Dean revealing Dean’s secrets, which, literally presents Dean as the Other, seeing how it’s Dean’s skin the monster chooses and how it thinks Dean and it are very much alike.

 Dean & Femininity

The most important and narrative-affecting part of coding Dean as feminine, is him being a victim of parentification (the mechanism affected Sam and John as well, but differently). Dean became Sam’s mother in all the possibile ways. In regards to John, Dean in many aspects stepped into the stereotypically female spouse’s place. In both cases it was instrumental and emotional: Dean was the emotional caregiver, the one who created the „homely warmth”, the one who passed on the tradition, the one who was supposed to keep Sam and John healthy, he was the one who prepared food and made sure there would be food in the first place. He was the mediator between Sam and his father. During conflicts between the two, Dean always shielded Sam with his own body. Symbolically, because of the deal Dean made, he not only gave his life away for Sam, he became his mother even in the aspect of literally giving Sam life.

Even Dean’s personal heaven is a part of the coding. The things that Dean’s soul craves for the most and what he remembers most fondly are things that are associated with women – his heaven consisted of having a happy family, of love, of giving and recieving care. It’s a stark contrast with Sam’s heaven which represented things associated with masculinity – aiming for independence and both social and economical success that would put him in position above other people, wanting to be respected, in general.

Dean i also almost always mirrored not by men, but by women (and also obligatory by mothers, like Linda Tran). Working kind of like Jung’s animas, the female characters are an expression of the emotions and behaviors that Dean doesn’t accept in himself, those he doesn’t want to talk about, those that are supposed to show not tell about his state and those that might also be seen as foreshadowing. Since I was looking into the pat tern with a very specific context in mind, I chose Betsy, Charlie and Suzie Lee as my examples. Since the first two have been analysed to death both in fandom and in my thesis, I’ll Just briefly bring up Suzie Lee since I’ve never seen her mentioned. I read her, in short, as a mirror to Dean deciding to return to his old behaviors and mechanisms, deciding to abandon his personal needs to again become an effective tool (part commentary, part foreshadowing; all of it due to guilt, as always. Because the day the spn narrative decides to not blame Dean for something and make him feel bad, is the day you have to yell ‘christo’ at it.  But that’s a rant for another time). Suzie’s shame about a successful career in the porn industry can be seen as a mirror to Dean exceling in hunting, in using violence, in using his body as a work tool, in general. Both are also a taboo. That would be the cliff notes version, I suppose.

I’m sure there were more instances in all the seasons, in all the possibile contexts, though.

As a quick aside...

And I doubt many people care, but I’m a little disturbed by the idea that the things in Frozen were “parallels to mental illness/anxiety.”

They weren’t parallels, IMO. They were. I thought it was pretty clear throughout the entire film that Elsa struggles with anxiety and even after the film ends, she’s not going to just get over it. Yes, her anxiety might lessen because the biggest thing that she’s afraid of is easier to control (her gift for magic), but she’s never going to be 100% anxiety-free, and she’s never going to be an extrovert because that’s just not who she is.

This post is targeted specifically at Elsa; I don’t know if people are drawing metaphorical hints toward other illnesses from other characters or not.

I just. The anxiety thing isn’t a metaphor and it isn’t a parallel. It’s real. That’s a part of the film. Everything Elsa says and does tells you she has some serious problems with anxiety. And it’s no wonder, considering everything that happened to her.

(Elsa’s really grown on me since I first saw the movie. Every time I re-watch I swear I see new things about her that just really strike me.)

I guess people could say her gift for magic = anxiety, but in reality the movie shows us that the gift for magic is a partial cause of her anxiety. (Maybe even the vast majority cause of it.) While this (magical power causing issues) isn’t true for people who actually suffer from anxiety in reali life (most of my family, actually), to say it's only a parallel kind of negates the impact that the anxiety has on Elsa.

I think in order for her to be as bad as she is in the film, she almost has to be an anxious person by nature. Others may disagree with that and think that without her gift for magic, that she wouldn’t have the anxiety at all, but I think it makes sense that it would be a natural inclination for her to be a more anxious person.

(She struck Anna with her magic, but not everyone who did that to a sibling, even one they loved, would react the way Elsa did. Granted, part of it was the fact that her parents kept the sisters apart afterward, which probably reinforced all of Elsa’s ideas that it was her fault and that she’s dangerous, but real life isn’t so black and white. And yes, I know Frozen is a film and not real life, but if we’re going to claim “parallels” to real life mental illnesses and conditions, we might as well be speaking on the same level.)

It just bothers me to see “anxiety” listed as a parallel or metaphor when it’s…really…not. I mean, you can consider it a metaphor outside of the context of the movie (handling anxiety, feeling fear, how difficult it is to try and control it, how having a support system helps), but claiming that it’s only a metaphor is saying Elsa doesn’t actually have issues with anxiety, and there’s nothing in the film that will ever make me think that she doesn’t suffer from anxiety. She is a terrified young woman: afraid of herself and hurting other people and a thousand other things.

(I’ll just leave my Elsa feels at the door. Cough.)

I need to share the most emotional, exhausting conversation with clickingshut about FMA and Frozen, specifically Elsa as Al.

(its not entirely crucial to know about FMA to follow the discussion because its all the same characters being their stupid, awful selves. but if you don’t care and want a quick summary to understand the context, its at the top under the cut. mild spoilers ahead for FullMetal Alchemist)

heads up: this is really awful. (in the best, most heartwarmingbreaking way possible, but still.)

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Elsa and Thermodynamics

I haven’t seen anyone touch on Elsa’s body temperature exactly. We know “the cold doesn’t bother [her]” but why is that? How cold is she? How does that affect her when interacting with people in her external world? Also, how does that affect others who touch her? 

Bear with me here, I’m going to science. I bolded the conclusion and the part headers about Elsa if you want to just skip to the bottom.

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Disney will never #GiveElsaAGirlfriend, and here's why

Tldr; it would be corporate suicide for them to suddenly retcon an extremely popular and iconic character they’ve been aggressively marketing to preschoolers and their parents worldwide for 5 years as a “normal” Disney Princess (for Disney, who’s NEVER shown a canon gay human character, that means non-gay) suddenly into a lesbian.

It’d be seen as gay propaganda, and enrage parents and people worldwide, doing irreparable damage to the “reliable family values” brand Disney has been building for decades, at home and overseas. The movie would tank and Disney would ruin their reputation. They won’t gamble with their most profitable and iconic cashcow character like that, they’ll never turn Elsa into a lesbian no matter the petitions.

They will however probably be encouraged by the petitions to introduce a new gay character sooner than anticipated, which is fantastic, but it’ll be a new character who’ll be outed in their first apprarance - not a shifty bait-and-switch trick of letting a character build popularity for half a decade assumed straight and then suddenly turn them gay for sjw points. There will eventually be a lesbian princess, but it won’t be Elsa.

Disney is a for-profit company. They don’t make movies to provide healthy role models with a wide variety of representation, they do it to make money. They NEED to make safe movies with maximum wide worldwide appeal that parents, including bigoted parents, will take their kids to.

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Why the Queen of Arendelle is just as misunderstood as Elsa.

Although I loved Elsa and Anna’s mom because she had this gentle and delicate presence that balanced her stern and authoritative husband’s demeanor, I think she remained quiet…way too quiet in regards to her daughters’ new living arrangements and broken hearts. Although her and the king’s actions were reasonable because they only wanted to protect the girls, I wish to have seen more of the queen and how she had come to terms with this. I feel like she didn’t have much of a say in the situation because…well, she never really spoke up. She kind of just let the King decide on everything, even though she knew how much this would hurt the girls. But I know the queen suffered just as much…if not, more because she was there to see her own children ache. She had access to Elsa’s room and she was probably devastated and driven into immense guilt by Anna’s never ending questions as to why Elsa is no longer outside her room to come play with her. She was there to see both worlds. She was there to see both cry.

Twice in the movie, we see her hands fly to her mouth in shock and in fear. But she doesn’t say anything. She doesn’t question or chastise Elsa for what had happened to Anna. This may have been a gesture of surrender or shock due to “lack” of reaction and dialogue…but this action speaks so much in itself. It’s not just shock. It’s also pain. And panic. And desperation. She was the one who gave birth to a magical daughter. She was the one who carried Elsa and Anna in her womb for nine months. Maybe she blamed herself for Elsa’s magic. Maybe she didn’t say much because she was blaming herself for Elsa’s suffering. She was the one who knew her children’s first words, the first time they took their first steps, the first time an icy episode happens…she was there for it all. She was desperate, and any desperate mother wouldn’t be able to think things through rationally and make decisions that they think is best to rise to the occasion.

I think this scene captures the heart of the Queen and how she’s handling the situation, Look at her eyes. Look at how badly she wants to cry but she covers her mouth and looks at Elsa in pain that only a mother can feel. She doesn’t know how to help Elsa. She doesn’t know how to stop Elsa and Anna from hurting. She’s stuck and this is the only option she thinks she’s left with because she was so close to losing Anna and she doesn’t know how she can live with that…even in the expense of Elsa losing herself and living in depression and anxiety. But that doesn’t make her a bad mother. She didn’t mean for any of that to happen. It simply makes her a mother with so much to lose with so little options. Obviously, she wasn’t happy about this. She loved her daughters. She loved them so much that she surrendered to this crazy plan of having them separated so they both can live.

Damn it, Elsa looked exactly like her. And to see a carbon copy of hers suffering so much, and also witnessing her youngest daughter hurting and with no clue with what was happening and why…must have stabbed her heart into a billion pieces.

Many will agree that the Queen placed her hand on the king’s back to somehow comfort him after Elsa told them both to not touch her for their own safety. She was shocked by how Elsa quickly recoiled from her father’s touch. And she was destroyed because it was all her and her husband’s decision and own doing. From what I see, the Queen needed this support to prevent her from breaking down. She needed something…someone to touch to keep her on her feet before she finally loses her composure. She knew she had to respect Elsa’s wishes. And from then on, she doesn’t know when she can hold her daughter again. She never did. She never had that chance again.

She was supposed to be gone for just two weeks. She never came back. No last hugs. Elsa curtsied. She doesn’t give them a hug and she didn’t get one back as well. This was the last interaction between the Queen and her firstborn. Anna was able to embrace them farewell. But this. This is heartbreaking. Elsa and her gloves. Elsa and her fear of freezing her parents. She doesn’t get a single hug, and the first human contact she had after thirteen years consisted of her caressing a dead Anna’s face. 

In the middle of all the chaos that night brought when the accident happened, the Queen loved Elsa. Little Elsa looks at the face of her mother for comfort and the Queen gave her that and more. The Queen smiles at the little girl who has the same piercing blue eyes as her. It’s not a big smile. But it’s there. Her eyes speaks of compassion and of understanding. She has faith in Elsa and she believes in Elsa. And I think this is why Elsa, in the most quiet but ostentatious way, tried to be like her mother. She imitates her mother’s appearance in her own coronation. She wears her hair the same way and she has an heirloom attached to her dress that looks exactly like the Queen’s. She holds her mother’s memory alive because even though she thought she had screwed everything up that night and for the many nights to follow, she knew the Queen loved her. She knew her mom will never see her as a lesser being. Her mom will never see her as a monster. 

The Queen of Arendelle did what was best for her children. Even though it didn’t yield positive results, she damn well tried. But even though she wasn’t there to change it all and mend her daughters’ wounds, she died loving her children. Elsa and Anna knew that. And that’s why they had always attracted each other like magnets and found their way back to each other no matter how many years had passed and how long they have been separated. Because in spite of it all, they knew what a family was. They knew their mother and father loved them.

Guys, this is the King and Queen. Filthy rich and powerful people who would give anything and everything to their kids. It doesn’t make sense for them to separate and inflict pain on their daughters (UNINTENTIONALLY) because they want to. So no, I don’t agree that they are the “enemy” in this story. Not at all. 

Olaf knows all along.

magkliarn:

I wondered why Olaf on one end was so oblivious to heat and what it would to to him (when they first met him) and in the next was totally up to snuff about it (when Anna’s freezing to death in the castle). Either he knows from the start or he doesn’t know at all. And I think you may see where this is going…

Theory: Olaf knows all along.

Somewhere deep inside he knows heat will make him melt. He knows from the beginning that by helping out to bring back summer, he will probably die.

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This is brilliant and kind of blowing my mind right now. Because Olaf is the embodiment of Elsa and Anna’s relationship, and self-sacrifice is an integral part of them both. Either sister would give her life for the other without hesitation.

ANNA: “Olaf, you’re melting!”

OLAF: “Some people are worth melting for.”

He didn’t ask, “What’s melting?” There was no confusion in that moment, only clarity and insight. Olaf knew.

#i’m dying#it’s also nice to see a fic where kristoff isn’t competent at everything

the guy is good, I mean, he’s obviously a capable mountain man, but let’s not forget who got them out of basically every jam they were in

Kristopher is attacked by wolves and dragged off his own sleigh? No problem, light the blanket on fire, throw it at the wolves, knock Kristopher free. 

Cliff is ending? Tell the reindeer to jump. 

Kristoff is falling off the mountain? Throw him an axe and hoist him back up

Oh the giant snowman is chasing us? Let’s smack a tree into its face and slow him down.

Oh the giant snowman is undoing our escape route? No big deal I’ll just cut the rope and free us. 

Elsa Headcanon: She has Asperger’s Syndrome

(Tagging counterpunches, searlait, let-it-geaux, and makingtodayaperfectday because they’re the biggest Elsa fans on my dash and I think they’ll like some meta.)

(Also, I used the movie, Frozen Fever, A Sister More Like Me, and the Sisterhood is the Strongest Magic books as reference points.)

As anyone who’s read my fic Trials and Miracles knows, I personally think that Elsa has Asperger’s Syndrome. This is a mental condition that affects the way someone thinks, better known as the milder form of autism. 

Why do I think that Elsa has it? To answer that question, I’ll be listing some common symptoms of Asperger’s and showing how Elsa’s personality lines up to each one.

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I have a problem with the King of Arendelle.

(Btw, if you’re gonna use this shitty gif, do so. My gifs suck but they’re enough to convey what I want to be said.)

King: Elsa what have you done? This is getting out of hand! 
Elsa: It was an accident! I’m sorry, Anna…

I think this precise scene was the foundation of Elsa’s self-doubt and self-hatred. I know that the King reacted the way he did because he was scared for Anna’s life, but the way that he accused Elsa was just uncalled for.  I know that everything was just so sudden and they didn’t expect to see what they have witnessed…but for a person to accuse someone like that, there must have been a brewing frustration targeted towards that person. Instead of asking “Elsa, WHAT happened?” the king was fast to point fingers and angrily stated, “Elsa, what have YOU done?” He didn’t even ask if she was okay. And it also bothered me the way he said, “THIS is getting out of hand” with that hard and almost disgusted tone in his voice. What exactly is “THIS?” Why couldn’t he just say, “Your powers are getting out of hand!” or something remotely close to naming it rather than dismissing it at something that is blatantly offensive? 

I know that we can all agree that Elsa and Anna’s parents did what they thought was best. But it doesn’t mean that they did it the right way. How they handled the situation was emotionally detrimental to both of the girls. Although they tried to protect them both, the damage was just as equally devastating. They hid Elsa and Elsa’s powers from Anna without really acknowledging the fact that this would hurt Anna immensely, too. That this would affect her childhood and well-being because there will be so many questions and so much confusion with little to no solace or conclusion. All those years that Anna asked her parents and was given no reason surely took a blow in Anna’s self-worth and confidence with that thinking and belief that her own sister hated her. And Elsa being treated like a ticking time bomb by her own parents and being isolated from the world and from her own sister can make someone truly feel abominable and horrible. And that was Elsa’s assessment of herself in so long. 

Elsa hated herself and Anna thought Elsa hated her. 

Just look at Elsa’s face here after how her father reprimanded her. She looked so hurt…and so betrayed. As if she wanted to ask, “Really, dad? You really think I did this on purpose? You really think I would harm my sister on purpose? Is this how you really look at me?” She was just a little girl born with these powers that no one in her family has and she was trying to make the best of the situation by using them to play with her sister and have a close relationship with her. As the heir, so much pressure was being unloaded to the next ruler of Arendelle. And it didn’t help the fact that she was different. If you listened to the “Frozen” soundtrack’s outtakes, there is this song called “We Know Better” with Elsa singing to baby Anna in the first verse. The lyrics spoke of Elsa’s reluctance to be a princess because of all the things that she was expected to do. She wasn’t really allowed to make that many mistakes hence echoing her father’s words, “Elsa, what have YOU done? THIS is getting out of hand!”

You’re going to be queen. You need to get your act together. You’re supposed to be the big sister and you should know better. You have these ice powers that could possibly ruin this kingdom if people find out and here you are showing them off—-look at what YOU have done to your sister. THIS is getting out of hand.

Elsa: Hello little baby, you’re princess just like me
Bet you’re thinking maybe it’s a pretty cool thing to be
But soon you’ll see that everyone expects a lot from you
They’ll say that there are things a princess should and shouldn’t do
But you and me, we, we know better

(“We Know Better”) [Frozen OST outtake]

But yeah. No wonder Elsa, as Disney had confirmed, is a metaphor for depression and anxiety. There was no room for mistakes. No room to explain herself. Her every act was governed because..well, she was going to be queen. In a kingdom of isolation where her only friends were self-hatred, loneliness, and anxiety with that gnawing echo of her father’s voice, “Elsa, what have you done?” over and over replaying in her mind. The very same question she asked herself everyday after hearing those little hands knocking on her door and pretending they weren’t heard. The very same desperate question she asked herself after hearing Anna cry against her door begging for her to come out and asking her older sister what she did wrong so she can fix it and never do it again. The very same haunting question that she asked herself when her parents died and she could not go to the funeral nor even open the door to comfort her grieving sister.

The very same broken question she asked herself while touching Anna’s frozen face for the first time in thirteen years. 

So i went and saw frozen

And I know it’s a film definitely not without some controversies but I’ve been stressed and needed a break from work and wanted to watch some pretty animations and princesses blah blah.

I was really surprised at how much I liked it! Spoilers, obv.

(this turned into a massive film review lol)

cons:

I really didn’t think it was necessary to make Hans evil. Not because I wanted him with Elsa, but because I think some of the most fascinating relationships are the ones we choose to let go of rather than are forced to because “evil”.

It’s like they were trying to split the Big Bad between Hans and Weaseltown Guy–which is a choice I assume came from removing the traditional villain of the story–the Snow Queen.

But I just didn’t think the film needed it. The film didn’t need a villain.

Which, when you think about it, is monumental for a kid’s movie, especially Disney. Because the movie sought to delve into self-doubt, restraining oneself and how that freezes you.

The real villain of the story was self-loathing. It was about love and family, but moreover, it was really about overcoming your inner fears. And all of that told from the FEMALE PERSPECTIVE drove it home that much harder. Elsa and Anna were both severely repressed, in totally different ways, and any film that allegorically tackles female depression/suppression has me on its side.

Okay, but this is the cons section, so let’s get back to my critiques.

Time that could’ve been spent giving more character development to Elsa was spent on the unnecessary muahahah-ing of Hans and the other guy.

Don’t get me wrong, I loved the climax, where Anna sacrifices herself for Elsa, but I think it could’ve been brought in another way. Oh well.

Then again, I didn’t see the twist coming, which is rare, especially in a Disney film. So…c'est la vie.

pros:

It was epic. And it was really funny, too. I mean, honestly, most of my laughs came all from Olaf, a character who I had seen floating around on tumblr and hated on sight. I mean, the character design was so hokey and didn’t make sense in the ornate, beautifully animated world of Arendelle.

Olaf shouldn’t have worked…but he did. All the credit really goes to the voice actor, of course. His song about wanting to see summer was so hilarious, even though it was so out of place–even the style of animation changed.

There were actually a lot of OUAT feels I had while watching this movie. Maybe this is my Oncer-pride coming out but I like to think that OUAT has had an influence on its flagship, because Disney has never made a princess film that delved so deeply into familial relationships.

The love story here is definitely Anna and Kristoff, but it’s the relationship of the two sisters which drives and solves the entire plot.

When I was watching Anna’s song with Hans early in the movie, I found myself accepting it. Marriage in a day, love at first sight, etc. I remember thinking, “oy, this is ridiculous, but it’s Disney, so whatever.” And then I was thrilled when they revealed that’s not a trope they were using.

Earlier I said I didn’t like making Hans evil, and I stand by that, but I appreciated that he as a character pointed out WHY Anna was so eager to get married to a stranger. She was so lonely, and desperate, of course she clung to blind romanticism.

And True Love’s Kiss was something brought up several times, but there was no TLK on screen. At least not the curse-breaking, sparks flying, magic out the frick frack kind.

Sure, there was the epic white knight riding in on his steed, but Anna was the hero, not Kristoff. I’m so glad to see Disney showing little girls that not only that they have their own agency, but that love–ESPECIALLY love that doesn’t revolve around “finding a man”–is freeing and powerful.

In all this, the movie was also really self referential in a way Disney hasn’t been before.

And I found out that this was the first ever feature-length Disney animated movie directed by a woman! SO THAT’S AWESOME.

The movie wasn’t perfect, but it was definitely a start in the right direction. It was fun, it was GORGEOUS, and it was self-aware. And i can’t wait to see it again.