I just saw you liking a few things from my blog and 1. that just made my day and 2. OH MY GOSH I LOVE YOUR FANFICS i just realised that you wrote that "Do not steal steves fricken pencils" fic (i read it on ao3 and i'm the worst with remembering ao3 names lol) AND you have NO IDEA how many times i read that fic already omgggg!!!! and your genderswap fics and just in general!!! okay sorry for screaming at you haha i hope you have an amazing day! (i rly have to look through ur stony ficlets now)
omg!! You just totally made my day, do you know that? haha I’m so glad you liked my fics too, i hope they made you happy! *sending warm hugs*
Am I a Jelsa fan? Undoubtedly. Have I seen his movie? Not yet. But they seem perfect for each other. But if we’re sticking to within canon couplings, here’s why Helsa works:
(warning: this post is long and unwieldy, jumping between theses because there are so many ways Hans can be defended. Yeah, you heard me.)
1. Headcanon=the trolls warped Hans’ mind so Kristoff and Anna would be a sure thing. This explains why Hans showed no signs of evil before “Fixer Upper,” why he mumbled ‘wow’ to himself after Anna was already gone,
and why he took care of Arrendelle while Anna searched for Elsa (instead of taking over and letting everyone die he stood around defending Elsa and handing out blankets). I mean, listen to the lyrics of Fixer Upper:
“Male Troll 5: Her quote 'engagement’ is a flexed arrangement.
Troll Child: And by the way I don’t see no ring!
Male Trolls: So she’s a bit of a fixer-upper, Her brain’s a bit betwixt Get the fiancé out of the way and The whole thing will be fixed.”
Out of context, the whole thing seems a tad evil. Plus, we know the trolls are capable of changing memories from the beginning of the movie where they removed any knowledge of Elsa’s powers from Anna. (And gave her parents some spectacularly shitty advice)
Perfect crossover, except Elsa and Storm would be in total competition. Also, in light of this, in the beginning of Frozen, when Hans and Sven are likely following some male father figure around the ice workers (they are the only young people there and are imitating the ice workers the way a son often emulates a father) and the troll says “Cuties, I’m going to keep you,” also seems in retrospect a slightly more sinister kidnapping twist.
2. Hans and Elsa are surprisingly similar:
Hans grew up isolated and ignored by all of his twelve brothers, feeling like there was something wrong with him that he couldn’t control, just like Elsa.
I don’t know who drew this but it is magnificent. Hans goes from excited (like Elsa in the beginning of Frozen about her powers) to confused (Elsa during the beginnings of her isolation) to resigned (Elsa at her coronation).
Hans and Elsa are both lonely and afraid. Both of them feel so lost within the surroundings they were born into that they must escape to feel any measure of freedom. Elsa runs away and builds herself an ice castle that she intends to live in “at least I’m alone but I’m alone and free!” and Hans travels all the way to Arrendelle with nothing but his horse to be at the coronation of a princess who does not know him at all.
Hans and Elsa are both reduced to observers, watching the world through windows and barriers created during childhood that have become defense mechanisms they cannot let go.
On the theoretical tip: A young Prince Hans, ignored by his brothers, meets up with a lonely Elsa on a trip to Arrendelle.
3. Hans and Elsa both have legitimate reasons to doubt their parents’ love. How could Hans’ parents have watched him being ignored by his brothers and said nothing? How could Elsa’s parents have decided locking her away would be the best idea?
Plus, Hans seems to have had some pretty evil role models in his life:
4. Both Hans and Elsa have blurred lines between their heroic and their evil characteristics, but the ending of the movie divides them. When Elsa is about to kill one of the men that came to her ice castle, showing her ambiguous moral compass, as she clearly has the upper hand in the fight and does not have to kill the man except to make a statement and inspire fear in everyone else, Hans stops her by saying “Don’t become the monster they fear you are.”
Lots of commentators have analyzed the symbolism of gloves as a metaphor for hidden intentions in the movie. Hans and Elsa’s adult selves both wear gloves habitually. Both of them have secret desires for love and ambiguous moral compasses. When Hans meets Anna he is wearing shades of purple and blue that match Elsa’s coronation outfit, indicating that perhaps his original intention was to chat up Elsa (“of course Elsa was preferable but no one was getting anywhere with her” Hans says. The trolls can change the lens of the memories but they cannot change the fabric of the intentions “we’re not saying we can change him, people don’t really change” so despite the trolls’ interference, Hans may have genuinely intended to snag Elsa before he met Anna.) Then Hans changes into shades of white that match Anna’s coronation outfit in order to woo her, out of the desperation for love he accused Anna of. Hans’ constantly changing outfits are also an indication of his oscillation as a character, perhaps trying to fight the trolls’ manipulations from inside and rapidly switching perspective.
5. In Disney movies, animal sidekicks are often reflections or foils to the main characters. In The Little Mermaid Flounder shares Ariel’s sense of fun and wonder but also reveals a sense of fear that Ariel will not let herself reveal, in Tanged Rapunzel’s sidekick is a chameleon that does not speak and changes to suit his environment, like Rapunzel was trained to do by Gothel, raised like a plant, her voice irrelevant (“You know I hate the mumbling”), taking on different role within her tower to get through the day (painter, cook, maid, etc.)
In Frozen, Elsa creates Olaf, whose desire for warm hugs and effusive personality reflects Elsa’s own deeply hidden desire for companionship and love, and Marshmallow, the giant snow monster who barely speaks and removes Anna from her castle.
Who does Hans have? A horse, that is completely silent throughout a movie where animals are capable of communication (see Olaf), hinting to the fact that Hans desire for love is equally as repressed as Elsa’s yet will come out at the slightest provocation (Hans begging Anna to marry him, Olaf’s introductory sentence being “Hi! I’m Olaf and I like warm hugs!”)
6. The happily ever after makes too much sense:
Note how Elsa’ crown is floating through the air but Hans doesn’t care about catching it because he’s too concerned about Elsa.
Helsa. It’s a thing. Get used to it. Get over it. People make mistakes. Trolls are evil. True love is for everyone.