Tag Archives: frozen

Single Ladies

Two days ago I posted about some outrage from religious groups toward the movie Frozen. They claim the story pushes a “homosexual agenda” on children, and their proof, among other things, is that Queen Elsa never goes after any of the men in the film.

I talked about why I thought they got that impression, and then presented the very different message I found in the movie.

But the fact this is even up for discussion leads me to a question, one borne out of purely selfish motives. In order to tell a story that is both compelling and marketable, in light of this sort of debate, I have to ask:

Does the heroine need a hero? Does the female lead require a love interest?

The “compelling” part is easily dealt with. A story needs whatever makes it work, whatever gives it power. Effort spent jamming a hackneyed romance into a story will be obvious, through a hollow feeling, a lack of resonation with the audience, or an eye-rolling “This character is stupid” reaction from a reader.

The wise editor and skillful writer can look at parts of a work-in-progress critically, seeing when some subplot does too little to advance the overall narrative. Every word counts, and must earn its keep. Maybe the part that gets cut is a romance, maybe it’s a really cool action sequence, maybe it’s entire characters getting merged into one. There’s only so much time in a movie, so many pages in a book.

The more difficult question is how a work will be received by the market. Disney’s princess movies are known for a formula. The princess meets a prince. With his help, she overcomes her internal conflict, resolves the external problem, and they live happily ever after. Now, they’ve stepped away from the formula a bit with Brave and Tangled. But apparently Frozen went too far, despite the romance between Princess Anna and Kristof. After all, Queen Elsa never shows interest in any man…

Because the story isn’t about her falling in love.

Consider some of other movies (and books) with a female lead: Hunger Games and Divergent.

Even though both leads fall in love over the course of their respective trilogies, Katniss Everdeen and Tris Prior give the distinct impression that they can handle things without Peeta or Four, thank you very much. Both are concerned with staying alive in an unfamiliar situation. Neither goes into their adventure searching for a man, because that’s not the theme of the story. Instead, they meet and bond with allies, who through shared adversity become something more.

The authors fit romances in, and that weaves nicely into the plot, giving added conflict and tension as characters’ goals diverge (hehe). The stories aren’t dependent on their romantic arcs. They can be just as compelling without that element.

But the romance boosts the books’ marketability. Some readers might not care about a dystopian setting, but they’ll look past that to read a coming-of-age story they can relate to. Some readers might not care for either of those all that much, but they’ll take it alongside a plot of budding romance. And some readers might just be catching up on the books in order to understand the movie – or better yet, to avoid a years-long wait to find out what happens next.

I said I had a selfish motive. When this controversy about Frozen first “came out,” one of my first thoughts was my current writing projects. One book series has two female leads. Another has a female lead. None of the three have love interests (at this moment in writing drafts and planning).

Is that wrong? I don’t think so.

In fact, the thought of conjuring up a lovely face to accompany them, stuffing scenes and chapters in to create romantic tension and bonding… that feels wrong.

None of those characters are interested in romance during the timeframe of the story. When your world is falling apart, love isn’t always your first thought.

That’s not saying it can’t happen. Certainly it can, and it works in a lot of stories as one element, perhaps even the main theme.

But that leads right back to the original question: What’s the point of the story?

Once I know that, I write what fits and cut the rest. (ideally)

Back to Frozen, can you imagine fitting a romance for Elsa into that plot line without taking away from the impact of the sisterly bond at the center of the story?

One of the bloggers at the center of this controversy responded to some of her critics. And she quoted a friend, Jonathan Wilson, who took a reasonable stance:

“Frozen can certainly be successfully applied as an allegory for homosexual struggle. The authors may or may not have had that in mind when they wrote it. But Frozen is good enough art to rise above a specific allegorical meaning. It demonstrates broad applicability to many different human experiences. That is why it appeals to so many people.”

Remember, entertainment has to be marketable. A wide variety of stuff can be covered by this blanket.

Art is compelling. That means the field narrows significantly, and the artist keeps only what fits.

Frozen: Love Worth Dying For

Yesterday I posted (link) this blog about the hidden message some religious people see in Disney’s blockbuster movie Frozen. When we see culture changing all around us, it can be scary. And when we’re scared, we start looking for what we fear, and see it around every corner. Like I said yesterday, I don’t think “homophobia” is the right word. We don’t fear homosexuals. We fear change.

At the end, I promised to share my take on the positive message of the movie. So if you haven’t seen the movie yet (and why haven’t you?) then you can expect some spoilers ahead.

Quick recap if you haven’t seen it:

The gist of the story is that Princess Elsa was born with a magic ability to manipulate ice. As a child she uses this to bring joy to her little sister, Princess Anna. (pronounced ‘Ah-na,’ mind you. My kids correct me all the time.)

Elsa accidentally injures Anna, and everyone decides it would be best to hide these powers away until Elsa can control them. So she grows up repeating a mantra of “conceal, don’t feel, don’t let it show.” Her powers grow stronger, and her fears rise accordingly. To protect others, she keeps everyone away, including young Anna, who doesn’t understand why “we used to be best buddies, and now we’re not.”

At Queen Elsa’s coronation, her powers are revealed and she flees. When everything goes wrong, the whole kingdom falls under a bitter winter, buried in snow and ice. Villains attempt to kill Elsa to end the crisis. And Elsa once again injures Anna by accident, putting a shard of ice into Anna’s heart that will eventually freeze her solid.

Only an act of true love can thaw the ice and save Anna, so she chases after the man she loves, hoping a kiss from him will save the day.

This leads to a climax, where Anna is stumbling through a storm to reach Kristof (her beau) and Elsa is being stalked by the villain who stands ready to kill her. Suddenly Anna sees Elsa in danger, and jumps in the way of the villain’s blade, freezing solid in the process. Everyone is sad, until Anna’s heart thaws out. “An act of true love will thaw the frozen heart,” they recall.

The kingdom is saved, the sisters bond, everyone’s happy except the villains, and credits roll.

A lot of people note that this movie is not the typical Disney “Prince Charming saves the Princess” story. No princes save the day here. Even Kristof, Anna’s love interest, is not a pivotal hero but more her faithful companion and support. In other words, the whole movie seems to say to young girls, “You don’t need a man to complete you.” I think that’s a wholesome message in a culture that loves to emphasize the need for romantic and sexual relationships.

Elsa has powers and puts them to use for good. Anna has the power of determination and love, and she overcomes adversity in pursuit of her goals. Both characters are depicted as strong, resourceful women who face their difficulties and imperfections with fierce devotion and integrity. That’s also a great message for our young women (and men).

There’s also the “Let It Go” theme of not hiding away our creativity or passion. Someone (see yesterday’s blog post) might think it’s “the homosexual agenda” encouraging people to come out of the closet, and I suppose that’s a valid application. But it’s only one of many. I have writer friends who have hidden away their work, afraid of critique or even being open enough to share it with another. I know artists who draw amazing things you’d never see because they’ll never show you. Musicians and vocalists with skills to blow me away often hide their talents in the ground. Young people sometimes conceal their hobbies, interests, and exceptional abilities, because their passion is something their peers might deride. Frozen is a film that says “We need you to let that go and let everyone see it, because we need your talents in the world.”

And that’s not even the main thrust of the movie. Let’s look for a moment at the conflict at the climax.

The first thing I see is sacrificial love. Anna leaps in front of the villain’s sword, an action that will almost certainly result in great injury if not death. Anna does this without hesitation. The only thing that protects her is that she freezes solid at that very moment, something she couldn’t anticipate.

Second, Anna’s actions reveal selfless love. At this point, Anna and Olaf are convinced she needs a kiss from Kristof, the guy that truly loves her, to cure the freezing condition Elsa’s ice shard caused. Anna is mere steps away from Kristof when she sees Elsa in danger. Anna gives up her kiss to come to her sister’s defense.

Third, this is arguably an expression of undeserved love. Elsa is an icy witch to Anna throughout the majority of the movie, and Anna doesn’t know why. Their bond is broken. The sisterly love seems one-sided. On top of that, Elsa’s the one who accidentally shot Anna in the heart. Anna has every reason to be distant, but instead hurls herself into the path of the sword.

Olaf, unlikely Christ figure.
Olaf, unlikely Christ figure.

Oddly enough, it’s Olaf the Snowman who speaks this theme aloud. When Anna is shivering in the castle, Olaf starts the fire in the fireplace to warm Anna and keep her alive, even though it means he might melt. Anna sees this and panics for her friend, who responds, “Some people are worth melting for.”

That’s my take on Frozen. It’s a message of sacrificial, selfless love to the undeserving. Reminds me of a story about Someone else I hold dear.

Tomorrow, I have some thoughts about the supposed need for a romantic relationship in a story, and why the non-troversy about Elsa is so frustrating to me.

Roaches in Every Corner

A cockroach!

The little beast scurried across the floor as soon as the light came on. I chased it with a shoe, determined to end its occupation of my house. And with a little effort and a shot of hairspray to slow it down, I succeeded.

But then something funny happened.

Everywhere I looked, there were imaginary bugs in the corners of my vision. Something seemed to move over there in the living room, so I jumped into action, checking behind shelves and under the couch. What was that in the hall? Did I see something move near our shoes? Ten minutes of searching put that fear to rest. But then I would swear I saw a bug in the bathroom, hiding behind the toilet.

Once I had seen one bug, I imagined dozens. Each time I regained a sense of peace, the tiniest apparition of a bug or spider sent me scurrying trying to exterminate them.

I wonder if evangelical Christians sometimes feel this way.

So there’s this little movie called Frozen that came out around Thanksgiving, about two sisters, one of whom has a big problem. You may have heard of it.

Apparently, there’s a religious (Catholic, I’m told) blogger on the Interwebs posting that Frozen pushes “the homosexual agenda” on kids.

What evidence supports that claim?

1. Elsa, the princess-turned-queen, never pines after any of the guys in the movie. This is decidedly unlike Disney, so it must be a hint.
2. There’s an ambiguous scene where a shopkeeper points out his family in the sauna, and there’s another man in there with the kids. Is that his brother, or…?
3. “Let It Go” – essentially the movie’s theme and the winner of an Oscar for best song – could be construed as a message to come out of the closet and stop hiding who you are.

20140326-135128.jpg
If anything, the obvious proof of the homosexual agenda in the movie is Olaf, with his show-tune style song and dance number. That just can’t be straight. (/sarcasm)

Don’t mind the fact Elsa’s trying to control powers she doesn’t fully understand, while trying to fix the weather crisis she brought upon her nation, while trying to stop a coup d’etat, while dealing with her family troubles. She’s not busy or anything. Certainly has time to make googly-eyes at the zero potential suitors presented in the movie. She must be gay.

Cockroaches scurrying everywhere!

I’m not surprised by the fears this blogger has passed on to others. It doesn’t shock me that Frozen is the newest potential target in the religious war on All Things Bad.

I just think it misses the point. Several points, in fact.

Let me be clear. I hate how easily the word “homophobia” gets thrown around in response to these discussions. We don’t fear people who are homosexual, just like we don’t fear anyone else we disagree with on political or religious issues.

Christians are in some ways just like everyone else I know. We fear change.

The world around evangelical Christianity is changing constantly, and we in that camp struggle on many fronts:

      What do we do to keep up?

 

      Wait, should we even be keeping up with the world?

 

      Or should we stick to our traditions?

 

      What message should we communicate to non-Christians then?

 

      And meanwhile, what messages are our kids getting from the culture around us?

 

    What fights are important right now?

In panic mode, when we think we’re seeing sin around every corner, we might get a little crazy trying to clean house.

Not long ago, I heard Christians upset at Hunger Games for its depiction of violence against children. No one disagrees with the idea that children killing each other is evil. That’s kind of the point of a dystopian fiction, to show a world of “what if?” where the unthinkable has become the norm. These Christians overlooked Katniss’s view and actions showing life has value, and instead attacked as wrong the very thing the author put in as what’s wrong in that society.

Back in the early 00s, it was Harry Potter. Witchcraft and wizards, we shrieked. What might our kids learn from this? Maybe it gets them interested in other spiritual content, Wicca or pagan systems that believe in magic. We can’t have our kids running around with wands, painting lightning bolts on their heads! Forget that it got kids reading. Forget that throughout the storyline, it’s clear that the love of Harry’s mother triumphed over Voldemort’s evil, and that the love and loyalty of friends is strong enough to defeat Voldemort at the end.

I’m pretty sure Pokemon was a subject of consternation. What are all those creatures with magical powers, and why do kids have to use them to fight each other, like little Michael Vicks? Video games are favorite targets for both the church and society at large. “Evil” rockers of the day took the place of the last set of so-called devil worshippers; the Dad who heard about the dangers of Ozzy Osbourne now found himself preaching fear to a son holding a Marilyn Manson CD. Even the Teletubbies earned the ire of evangelical preachers. Why does that purple one have a purse?

In the 80s, we flipped out about Dungeons and Dragons and told horror stories of what it did to unsuspecting children. D&D is full of magic, and Dragons are obviously signs of the devil based on Scripture. I’m sure there were plenty who condemned Star Wars. The idea of the Force looked like a trap of New Age philosophy hidden in a new and interesting spin in a sci-fi epic, luring kids (and adults) in with starship battles and lightsaber fencing.

What’s that scrambling across the floor in the corner of my eye?

When we look at what’s popular in the culture only to see what might be wrong with it, we often miss the point of what’s right. There are messages we can affirm, themes with which we’d whole-heartedly agree. Conversations can start on these subjects, opportunities to explain our position to a world that thinks we’re defined by being “against.”

And we won’t have to freak out at every little bad thing we think we see… because most of the time, they’re not there.

To bring it full circle, what’s my take on Frozen? I’ll post that tomorrow, as an example of what positive themes we can get from a movie someone decries as “evil.”

Frozen Fresh

“Do you want to build discussion?”

I’m sitting with ice on my Frankenstein foot following physical therapy. The chill is comforting and soothing.

And I’m thinking about a Facebook conversation with some friends about the meaning and messages (overt or subtle) of the movie Frozen.

There’s no doubt that the movie took the world by storm. It’s made over a billion dollars if memory serves; the movie and its well-known song “Let It Go” won an Oscar; it even forced me to run out to find my wife a talking Olaf snowman for her birthday.

The movie does things with the plot and characters that no Disney movie has tried before. It’s refreshing and different. One of the main characters doesn’t even get a love interest. And the hero is not the prince or charming guy dashing in to save the day. The typical love story is off to the side while the spotlight shines on the bond between sisters.

But there’s some discussion in some corners of the Internet about what exactly the movie is teaching our kids. So I thought before I make a couple posts, I’d ask you, dear readers, for your opinions.

No wrong answer. Just wondering what you see when you watched it. Let me know in a comment please.

(Let me know… Let me know… Don’t hold it back anymore…)

Thanks for your time.
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