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History Analysis / Frozen

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* LoveAtFirstSight: {{Downplayed}} ''and'' [[{{Deconstruction}} deconstructed]]. While not played as straight as say ''Film/{{Enchanted}}'' or ''Disney/TheLittleMermaid'', our hero, Anna, falls over the course of one day and night for a handsome prince of a small island nation who incidentally has 12 other siblings (Another first. Whoever heard of a prince with older brothers?) but who seems at first a standard PrinceCharming for Anna to fall for, marry and get her HappilyEverAfter. However, when they bring it before the oldest relation Anna has left (AloofBigSister Queen Elsa), she very quickly makes it clear that she will not have her little sister go off marrying someone she just met. [[PromotedToParent Just like how a real parent in our time would behave]]. It turns out that Anna, who after years of isolation and neglect (as Elsa was [[JerkassFacade deliberately acting]] [[AloofBigSister aloof]] in order to keep her powers controlled and secret), during which she turned to ''paintings'' for socialization, DesperatelyCravesAffection and ThinksLikeARomanceNovel and so confuses companionability with love. Hans, for his part, is a ManipulativeBastard and GoldDigger who was all too happy to exploit Anna's vulnerability.

to:

* LoveAtFirstSight: {{Downplayed}} ''and'' [[{{Deconstruction}} deconstructed]]. While not played as straight as say ''Film/{{Enchanted}}'' or ''Disney/TheLittleMermaid'', our hero, Anna, falls over the course of one day and night for a handsome prince of a small island nation who incidentally has 12 other siblings (Another first. Whoever heard of a prince with older brothers?) but who seems at first a standard PrinceCharming for Anna to fall for, marry and get her HappilyEverAfter. However, when they bring it before the oldest relation Anna has left (AloofBigSister Queen Elsa), she very quickly makes it clear that she will not have her little sister go off marrying someone she just met. [[PromotedToParent Just like how a real parent in our time would behave]]. It turns out that Anna, who after years of isolation and neglect (as Elsa was [[JerkassFacade deliberately acting]] acting [[AloofBigSister aloof]] in order to keep her powers controlled and secret), during which she turned to ''paintings'' for socialization, DesperatelyCravesAffection and ThinksLikeARomanceNovel and so confuses companionability with love. Hans, for his part, is a ManipulativeBastard and GoldDigger who was all too happy to exploit Anna's vulnerability.


If ''Disney/WreckItRalph'' was Disney's Atypical movie in the modern era, than Frozen is an offshoot of Disney's "typical movie", only where RealityEnsues. All the characters and tropes are there to see, but are done in such a way that sets it apart from anything before it in the Disney formula. For example...

to:

If ''Disney/WreckItRalph'' was Disney's Atypical movie in the modern era, than then Frozen is an [[{{Deconstruction}} offshoot of Disney's "typical movie", movie"]], only where RealityEnsues. All the characters and tropes are there to see, but are [[ZigZagged done in such a way that sets it apart from anything before it in the Disney formula.formula]]. For example...



* TrueLovesKiss: A major first for Disney's formula, the one that started back in Snow White, that is played at, hinted at, built up to, changed around, and ultimately NOT played out as a crucial element in the plot resolution of the movie. Because Grand Pabbie was vague about the "act" of true love, the characters [[WrongGenreSavvy assume]] the answer is a True Love's Kiss. After apparent PrinceCharming Hans [[TheReveal shows]] his [[EvilAllAlong true colors]], Anna realizes that her true love is really Kristoff. However, seeing her sister in danger, she sacrifices her life to save Elsa just as the curse takes full effect and Anna freezes to death. Whether it is [[ActOfTrueLove Anna's love for Elsa and her sacrifice]] ([[TakeAThirdOption or both]]) that does it, or Elsa's love for Anna and her sorrow at the death of the only person she had left in the world, it is an act of True Love. It is not love between a man and a woman that saves the day, but of familial love and sisterly love. This act of love can be seen as just as strong, if not stronger.

to:

* TrueLovesKiss: A major first for Disney's formula, the one that started back in Snow White, that is played Played at, hinted at, built up to, changed around, and ultimately NOT played out as a crucial element in the plot resolution of the movie. Because Grand Pabbie was vague about the "act" of true love, the characters [[WrongGenreSavvy assume]] the answer is a True Love's Kiss. After apparent PrinceCharming Hans [[TheReveal shows]] his [[EvilAllAlong true colors]], Anna realizes that her true love is really Kristoff. However, seeing her sister in danger, she sacrifices her life to save Elsa just as the curse takes full effect and Anna freezes to death. Whether it is [[ActOfTrueLove Anna's love for Elsa and her sacrifice]] ([[TakeAThirdOption or both]]) that does it, or Elsa's love for Anna and her sorrow at the death of the only person she had left in the world, it is an act of True Love. It is not love between a man and a woman that saves the day, but of familial love and sisterly love. This act of love can be seen as just as strong, if not stronger.



* Disney is acknowledging that a woman in a sexy dress can be a heroine - usually, [[SensibleHeroesSkimpyVillains that sort of attire would be reserved for villainesses]]. She is not "getting hot" (notice that she doesn't wind up with a love interest) as much as simply starting to act more like she naturally is (which includes being a young adult), and potentially overcompensating (see also the whole "living by herself in the wilderness" bit), perhaps calling to mind some child starlet that was bound by ContractualPurity for most of her adolescence and then "acts out" upon reaching adulthood. That a show displays something as ''a'' way doesn't mean it's treated as the ''only'' way. As a counterpoint, we have Anna, who very much fits into the "pure-hearted, sweet, innocent princess" archetype [[TheHeart whose main strength is her devotion to family and loved ones and willingness to help them overcome their inner demons]] and is modestly dressed, but with the distinction that this doesn't need to make her a useless distressed damsel (which [[DamselOutOfDistress she]] never is), or be synonymous with painfully naive notions of men solving all her problems (which she grows out of, and [[DarkAndTroublePast were rooted in]] [[DesperatelyCravesAffection deeper]] [[FriendlessBackground problems]] anyway). It's not like Elsa's dress is ''extraordinarily'' raunchy, anyway, and the main point that is being made is that she would rather endure solitude than having to conceal her 'true self' any longer; While she doesn't want to act selfishly and tries to protect her sister, putting on a masquerade every day can simply break a person.

to:

* Disney is acknowledging that a woman in a sexy dress can be a heroine - usually, [[SensibleHeroesSkimpyVillains that sort of attire would be reserved for villainesses]]. She is not "getting hot" (notice that she doesn't wind up with a love interest) as much as simply starting to act more like she naturally is (which includes being a young adult), and potentially overcompensating (see also the whole "living by herself in the wilderness" bit), perhaps calling to mind some child starlet that was bound by ContractualPurity for most of her adolescence and then "acts out" upon reaching adulthood. That a show displays something as ''a'' way doesn't mean it's treated as the ''only'' way. As a counterpoint, we have Anna, who very much fits into the "pure-hearted, sweet, innocent princess" archetype [[TheHeart whose main strength is her devotion to family and loved ones and willingness to help them overcome their inner demons]] and is modestly dressed, but with the distinction that this doesn't need to make her a useless distressed damsel (which [[DamselOutOfDistress she]] never is), or be synonymous with painfully naive notions of men solving all her problems (which she grows out of, and [[DarkAndTroublePast [[DarkAndTroubledPast were rooted in]] [[DesperatelyCravesAffection deeper]] [[FriendlessBackground problems]] anyway). It's not like Elsa's dress is ''extraordinarily'' raunchy, anyway, and the main point that is being made is that she would rather endure solitude than having to conceal her 'true self' any longer; While she doesn't want to act selfishly and tries to protect her sister, putting on a masquerade every day can simply break a person.


As the queen of her parent's kingdom, Elsa is very covered up and feels confined due to her role and powers. Once she runs away and creates her own ice palace out in the wilderness, her outfit changes according. As the Snow Queen, she is much less covered up and declares that she is free of social expectations.

to:

As the queen of her parent's kingdom, Elsa is very covered up and feels confined due to her role and powers. Once she runs away and creates her own ice palace out in the wilderness, her outfit changes according.changes. As the Snow Queen, she is much less covered up and declares that she is free of social expectations.



* Disney is acknowledging that a woman in a sexy dress can be a heroine - usually, [[SensibleHeroesSkimpyVillains that sort of attire would be reserved for villainesses]]. She is not "getting hot" (notice that she doesn't wind up with a love interest) as much as simply starting to act more like she naturally is (which includes being a young adult), and potentially overcompensating (see also the whole "living by herself in the wilderness" bit), perhaps calling to mind some child starlet that was bound by ContractualPurity for most of her adolescence and then "acts out" upon reaching adulthood. That a show displays something as ''a'' way doesn't mean it's treated as the ''only'' way. As a counterpoint, we have Anna, who very much fits into the "pure-hearted, sweet, innocent princess" archetype [[TheHeart whose main strength is her devotion family and loved ones and willingness to change them for the better and help them overcome their inner demons]] and is modestly dressed, but with the distinction that this doesn't need to make her a useless distressed damsel (which she never is), or be synonymous with painfully naive notions of men solving all her problems (which she grows out of, and were rooted in deeper problems anyway). It's not like Elsa's dress is ''extraordinarily'' raunchy, anyway, and the main point that is being made is that she would rather endure solitude than having to conceal her 'true self' any longer; While she doesn't want to act selfishly and tries to protect her sister, putting on a masquerade every day can simply break a person.

to:

* Disney is acknowledging that a woman in a sexy dress can be a heroine - usually, [[SensibleHeroesSkimpyVillains that sort of attire would be reserved for villainesses]]. She is not "getting hot" (notice that she doesn't wind up with a love interest) as much as simply starting to act more like she naturally is (which includes being a young adult), and potentially overcompensating (see also the whole "living by herself in the wilderness" bit), perhaps calling to mind some child starlet that was bound by ContractualPurity for most of her adolescence and then "acts out" upon reaching adulthood. That a show displays something as ''a'' way doesn't mean it's treated as the ''only'' way. As a counterpoint, we have Anna, who very much fits into the "pure-hearted, sweet, innocent princess" archetype [[TheHeart whose main strength is her devotion to family and loved ones and willingness to change them for the better and help them overcome their inner demons]] and is modestly dressed, but with the distinction that this doesn't need to make her a useless distressed damsel (which she [[DamselOutOfDistress she]] never is), or be synonymous with painfully naive notions of men solving all her problems (which she grows out of, and [[DarkAndTroublePast were rooted in deeper problems in]] [[DesperatelyCravesAffection deeper]] [[FriendlessBackground problems]] anyway). It's not like Elsa's dress is ''extraordinarily'' raunchy, anyway, and the main point that is being made is that she would rather endure solitude than having to conceal her 'true self' any longer; While she doesn't want to act selfishly and tries to protect her sister, putting on a masquerade every day can simply break a person.


* TrueLovesKiss: A major first for Disney's formula, the one that started back in Snow White, that is played at, hinted at, built up to, changed around, and ultimately NOT played out as a crucial element in the plot resolution of the movie. Because Grand Pabbie was vague about the "act" of true love, it is assumed to be a True Love's Kiss. After Hans shows his true colors, Anna realizes that her true love is really Kristoff. However, seeing her sister in danger, she sacrifices her life to save Elsa just as the curse takes full effect and Anna freezes to death. Whether it is Anna's love for Elsa and her sacrifice ([[TakeAThirdOption or both]]) that does it, or Elsa's love for Anna and her sorrow at the death of the only person she had left in the world, it is an act of True Love. It is not love between a man and a woman that saves the day, but of familial love and sisterly love. This act of love can be seen as just as strong, if not stronger.

to:

* TrueLovesKiss: A major first for Disney's formula, the one that started back in Snow White, that is played at, hinted at, built up to, changed around, and ultimately NOT played out as a crucial element in the plot resolution of the movie. Because Grand Pabbie was vague about the "act" of true love, it the characters [[WrongGenreSavvy assume]] the answer is assumed to be a True Love's Kiss. After apparent PrinceCharming Hans shows [[TheReveal shows]] his [[EvilAllAlong true colors, colors]], Anna realizes that her true love is really Kristoff. However, seeing her sister in danger, she sacrifices her life to save Elsa just as the curse takes full effect and Anna freezes to death. Whether it is [[ActOfTrueLove Anna's love for Elsa and her sacrifice sacrifice]] ([[TakeAThirdOption or both]]) that does it, or Elsa's love for Anna and her sorrow at the death of the only person she had left in the world, it is an act of True Love. It is not love between a man and a woman that saves the day, but of familial love and sisterly love. This act of love can be seen as just as strong, if not stronger.


* TheHighQueen[=/=]GodSaveUsFromTheQueen: [[PlayingWithATrope Both tropes are heavily played with.]]Funny enough, this distinction is perhaps a real first for Disney: creating a movie based around a queen who's not intentionally evil and given a LOT more screentime to develop the idea. GodSaveUsFromTheQueen is subverted. Queen Elsa shuns her sister, the young Princess Anna, forbids her marriage to PrinceCharming and subsequently leaves the kingdom in an EndlessWinter, and curses Anna when the good-hearted princess journeys to help Elsa and save the kingdom... but [[PowerIncontinence freezing the kingdom and Anna's heart were accidents,]] she's justifiably concerned about how [[FourthDateMarriage quickly Anna and Hans are moving]] (see LoveAtFirstSight entry above), and because her [[EmotionalPowers powers are emotion-based]], she tries to prevent PowerIncontinence and [[DefiedTrope defy]] GodSaveUsFromTheQueen by becoming an EmotionlessGirl. Initially, out of respect and possibly curiosity, the kingdom embraces the coming of the queen, seeing it as a chance to get to know her better, finally have the bloodline come out in public again. And while shocked by [[AnIcePerson their queen's other talent]], it's the leadership who first starts calling out for blood [[PowerIncontinence when the snow doesn't stop]]. In some ways, it's a realistic look at how such a power might color the way leadership looks at a queen and how a queen might become a target for subterfuge. And, once that power is finally brought under control, it can safely return from one extreme to the other.

to:

* TheHighQueen[=/=]GodSaveUsFromTheQueen: [[PlayingWithATrope Both tropes are heavily played with.]]Funny enough, this distinction is perhaps a real first for Disney: creating a movie based around a queen who's not intentionally evil and given a LOT more screentime to develop the idea. GodSaveUsFromTheQueen is subverted. Queen Elsa shuns her sister, the young Princess Anna, forbids her marriage to PrinceCharming and subsequently leaves the kingdom in an EndlessWinter, and curses Anna when the good-hearted princess journeys to help Elsa and save the kingdom... but [[PowerIncontinence freezing the kingdom and Anna's heart were accidents,]] she's justifiably concerned about how [[FourthDateMarriage quickly Anna and Hans are moving]] (see LoveAtFirstSight entry above), and because her [[EmotionalPowers powers are emotion-based]], she tries to prevent PowerIncontinence and [[DefiedTrope defy]] GodSaveUsFromTheQueen by becoming an EmotionlessGirl. Her fear of failing to be [[TheHighQueen "perfect"]] is what leads to her GodSaveUsFromTheQueen-seeming actions. Initially, out of respect and possibly curiosity, the kingdom embraces the coming of the queen, queen and shows her the respect of TheHighQueen, seeing it as a chance to get to know her better, finally have the bloodline come out in public again. And while shocked by [[AnIcePerson their queen's other talent]], it's the leadership who first starts calling out for blood [[PowerIncontinence when the snow doesn't stop]]. In some ways, it's a realistic look at how such a power might color the way leadership looks at a queen and how a queen might become a target for subterfuge. And, once that power is finally brought under control, it can safely return from one extreme to the other.


* TheHighQueen[=/=]GodSaveUsFromTheQueen: Funny enough, this distinction is perhaps a real first for Disney: creating a movie based around a queen who's not intentionally evil and given a LOT more screentime to develop the idea. Initially, out of respect and possibly curiosity, the kingdom embraces the coming of the queen, seeing it as a chance to get to know her better, finally have the bloodline come out in public again. And while shocked by [[AnIcePerson their queen's other talent]], it's the leadership who first starts calling out for blood when the snow doesn't stop. In some ways, it's a realistic look at how such a power might color the way leadership looks at a queen and how a queen might become a target for subterfuge. And, once that power is finally brought under control, it can safely return from one extreme to the other.

to:

* TheHighQueen[=/=]GodSaveUsFromTheQueen: Funny [[PlayingWithATrope Both tropes are heavily played with.]]Funny enough, this distinction is perhaps a real first for Disney: creating a movie based around a queen who's not intentionally evil and given a LOT more screentime to develop the idea.idea. GodSaveUsFromTheQueen is subverted. Queen Elsa shuns her sister, the young Princess Anna, forbids her marriage to PrinceCharming and subsequently leaves the kingdom in an EndlessWinter, and curses Anna when the good-hearted princess journeys to help Elsa and save the kingdom... but [[PowerIncontinence freezing the kingdom and Anna's heart were accidents,]] she's justifiably concerned about how [[FourthDateMarriage quickly Anna and Hans are moving]] (see LoveAtFirstSight entry above), and because her [[EmotionalPowers powers are emotion-based]], she tries to prevent PowerIncontinence and [[DefiedTrope defy]] GodSaveUsFromTheQueen by becoming an EmotionlessGirl. Initially, out of respect and possibly curiosity, the kingdom embraces the coming of the queen, seeing it as a chance to get to know her better, finally have the bloodline come out in public again. And while shocked by [[AnIcePerson their queen's other talent]], it's the leadership who first starts calling out for blood [[PowerIncontinence when the snow doesn't stop.stop]]. In some ways, it's a realistic look at how such a power might color the way leadership looks at a queen and how a queen might become a target for subterfuge. And, once that power is finally brought under control, it can safely return from one extreme to the other.


* PrinceCharming: While subverting this trope is nothing new, and the LovableRogue has replaced it as the popular male character type, Frozen decides to show the dangers of someone who can easily fake being the {{Adorkable}} Prince just trying to help and the danger of readily trusting people you just met.

to:

* PrinceCharming: While subverting this trope is nothing new, and the LovableRogue has replaced it as the popular male character type, Frozen decides to show the dangers of someone who can easily fake being the {{Adorkable}} Prince just trying to help and the danger of readily trusting people you just met.met and examining the nature of love (GrandRomanticGesture vs ActOfTrueLove).


* PluckyComicRelief: Olaf the snowman is the movie's true comic relief. He also carries with his many VisualGag and fun jokes a much more serious side that makes him essential to understanding the plot. Olaf was first introduced inanimately, as a snowman created by two sisters having fun. And it was only after Elsa ran away that her recreating him gave him sentience. As this was when she embraced her powers, that gives Olaf a possibly darker meaning to his character: he's the living representation of childlike devotion shared between Elsa and Anna. It is something that surprises both of them to see him alive and moving around. However, that childlike devotion also hammers in perhaps the simplest of answers for the hardest of situations: Love is putting others first, even when you might hurt yourself doing it. Olaf's big scene is him helping Anna survive the cold by building a fire. Even if he'd hurt himself (which he did actually know about surprisingly), that devotion is something [[ThePowerOfLove that those who love each other would gladly show]]. And all it took was a simple snowman to bring that to light for our heroine.

to:

* PluckyComicRelief: Olaf the snowman is the movie's true comic relief. He also carries with his many VisualGag and fun jokes a much more serious side that makes him essential to understanding the plot. Olaf was first introduced inanimately, as a snowman created by two sisters having fun. And it was only after Elsa ran away that her recreating him gave him sentience. As this was when she embraced her powers, that gives Olaf a possibly darker meaning to his character: he's the living representation of childlike devotion shared between Elsa and Anna. It is something that surprises both of them to see him alive and moving around. However, that childlike devotion also hammers in perhaps the simplest of answers for the hardest of situations: Love is putting others first, even when you might hurt yourself doing it. Olaf's big scene is him helping Anna survive the cold by building a fire. Even if he'd hurt himself (which he did actually know about surprisingly), that devotion is something [[ThePowerOfLove [[ActOfTrueLove that those who love each other would gladly show]]. And all it took was a simple snowman to bring that to light for [[ThinksLikeARomanceNovel our heroine.]]


* LoveAtFirstSight: While not played as straight as say ''Film/{{Enchanted}}'' or ''Disney/TheLittleMermaid'', our hero, Anna, falls for a handsome prince of a small island nation who incidentally has 12 other siblings (Another first. Whoever heard of a prince with older brothers?) but who seems at first a standard PrinceCharming for Anna to fall for, marry and get her HappilyEverAfter. However, when they bring it before the oldest relation Anna has left (big queen Elsa), she very quickly makes it clear that she will not have her little sister go off marrying someone she just met. [[PromotedToParent Just like how a real parent in our time would behave]]. Oddly enough though, despite this, it's the only thing they can think of to help Anna in her time of need since they'd been close enough that Anna still believes in the truth. However, it's only in TheReveal that we see the danger such a belief can lead to.

to:

* LoveAtFirstSight: {{Downplayed}} ''and'' [[{{Deconstruction}} deconstructed]]. While not played as straight as say ''Film/{{Enchanted}}'' or ''Disney/TheLittleMermaid'', our hero, Anna, falls over the course of one day and night for a handsome prince of a small island nation who incidentally has 12 other siblings (Another first. Whoever heard of a prince with older brothers?) but who seems at first a standard PrinceCharming for Anna to fall for, marry and get her HappilyEverAfter. However, when they bring it before the oldest relation Anna has left (big queen (AloofBigSister Queen Elsa), she very quickly makes it clear that she will not have her little sister go off marrying someone she just met. [[PromotedToParent Just like how a real parent in our time would behave]]. Oddly enough though, despite this, it's the only thing they can think of to help Anna in her time of need since they'd been close enough It turns out that Anna still believes Anna, who after years of isolation and neglect (as Elsa was [[JerkassFacade deliberately acting]] [[AloofBigSister aloof]] in the truth. However, it's only in TheReveal that we see the danger such order to keep her powers controlled and secret), during which she turned to ''paintings'' for socialization, DesperatelyCravesAffection and ThinksLikeARomanceNovel and so confuses companionability with love. Hans, for his part, is a belief can lead to.ManipulativeBastard and GoldDigger who was all too happy to exploit Anna's vulnerability.


* The choice has been criticized by stating that, in order to be free, you also need to "get hot", as if girls need to wrestle with the beauty myth even more. Whether this is the case or not is up to interpretation.
* It contributes to the idea that, the more sexual and sexually active you are, the more comfortable you are with yourself. This is dismissive of people like {{asexual}}s or those who are otherwise not interested in sex.
* Disney is finally acknowledging that a person in a sexy dress can be a heroine, too - usually, [[SensibleHeroesSkimpyVillains that sort of dress would be reserved for villainesses]]. She is not "getting hot" (notice that she doesn't wind up with a love interest) as much as simply starting to act more like she naturally is (which includes being a young adult), and potentially overcompensating (see also the whole "living by herself in the wilderness" bit), perhaps calling to mind some child starlet that was bound by ContractualPurity for most of her adolescence and then "acts out" upon reaching adulthood. That a show displays something as ''a'' way doesn't mean it's treated as the ''only'' way. As a counterpoint, we have Anna, who very much fits into the "pure-hearted, sweet, innocent princess" archetype [[TheHeart whose main strength is her devotion family and loved ones and willingness to change them for the better and help them overcome their inner demons]] and is modestly dressed, but with the distinction that this doesn't need to make her a useless distressed damsel (which she never is), or be synonymous with painfully naive notions of men solving all her problems (which she grows out of, and were rooted in deeper problems anyway). It's not like Elsa's dress is ''extraordinarily'' raunchy, anyway, and the main point that is being made is that she would rather endure solitude than having to conceal her 'true self' any longer; While she doesn't want to act selfishly and tries to protect her sister, putting on a masquerade every day can simply break a person.

to:

* The choice has been criticized by stating that, in order to be free, you also need to "get hot", as if girls need to wrestle with the beauty myth ideals even more. Whether this is the case or not is up to interpretation.
* It contributes to the idea that, the more sexual and sexually active you are, the more comfortable you are with yourself. This is dismissive of people like celibates or {{asexual}}s or those who either abstain from sex or are otherwise not interested in sex.
it.
* Disney is finally acknowledging that a person woman in a sexy dress can be a heroine, too heroine - usually, [[SensibleHeroesSkimpyVillains that sort of dress attire would be reserved for villainesses]]. She is not "getting hot" (notice that she doesn't wind up with a love interest) as much as simply starting to act more like she naturally is (which includes being a young adult), and potentially overcompensating (see also the whole "living by herself in the wilderness" bit), perhaps calling to mind some child starlet that was bound by ContractualPurity for most of her adolescence and then "acts out" upon reaching adulthood. That a show displays something as ''a'' way doesn't mean it's treated as the ''only'' way. As a counterpoint, we have Anna, who very much fits into the "pure-hearted, sweet, innocent princess" archetype [[TheHeart whose main strength is her devotion family and loved ones and willingness to change them for the better and help them overcome their inner demons]] and is modestly dressed, but with the distinction that this doesn't need to make her a useless distressed damsel (which she never is), or be synonymous with painfully naive notions of men solving all her problems (which she grows out of, and were rooted in deeper problems anyway). It's not like Elsa's dress is ''extraordinarily'' raunchy, anyway, and the main point that is being made is that she would rather endure solitude than having to conceal her 'true self' any longer; While she doesn't want to act selfishly and tries to protect her sister, putting on a masquerade every day can simply break a person.


* TheHighQueen[=/=]GodSaveUsFromTheQueen: Funny enough, this distinction is perhaps a real first for Disney: creating a movie based around a queen who's not intentionally evil and given a LOT more screentime to develop the idea. Initially, out of respect and possibly curiosity, TheKingdom embraces the coming of the queen, seeing it as a chance to get to know her better, finally have the bloodline come out in public again. And while shocked by [[AnIcePerson their queen's other talent]], it's the leadership who first starts calling out for blood when the snow doesn't stop. In some ways, it's a realistic look at how such a power might color the way leadership looks at a queen and how a queen might become a target for subterfuge. And, once that power is finally brought under control, it can safely return from one extreme to the other.

to:

* TheHighQueen[=/=]GodSaveUsFromTheQueen: Funny enough, this distinction is perhaps a real first for Disney: creating a movie based around a queen who's not intentionally evil and given a LOT more screentime to develop the idea. Initially, out of respect and possibly curiosity, TheKingdom the kingdom embraces the coming of the queen, seeing it as a chance to get to know her better, finally have the bloodline come out in public again. And while shocked by [[AnIcePerson their queen's other talent]], it's the leadership who first starts calling out for blood when the snow doesn't stop. In some ways, it's a realistic look at how such a power might color the way leadership looks at a queen and how a queen might become a target for subterfuge. And, once that power is finally brought under control, it can safely return from one extreme to the other.


* The choice has been criticized by stating that, in order to be free, you also need to "get hot", as if girls need to wrestle with the beauty myth even more. Whether this is the case or not is up for interpretation.

to:

* The choice has been criticized by stating that, in order to be free, you also need to "get hot", as if girls need to wrestle with the beauty myth even more. Whether this is the case or not is up for to interpretation.



* Elsa's modest revelation of skin (lower neckline, transparent sleeves, knee high slit in her skirt) is less about sexuality then about no longer feeling the need to insulate herself from physical contact with the world around her. As queen she covered every bit of skin except her face not out of modesty but out of fear.

to:

* Elsa's modest revelation of skin (lower neckline, transparent sleeves, knee high knee-high slit in her skirt) is less about sexuality then than about no longer feeling the need to insulate herself from physical contact with the world around her. As queen queen, she covered every bit of skin except her face not out of modesty but out of fear.


* TrueLovesKiss: A major first for Disney's formula, the one that started back in Snow White, that is played at, hinted at, built up to, changed around, and ultimately NOT played out as a crucial element in the plot resolution of the movie. Because Grand Pabbie was vague about the "act" of true love, it is assumed to be a True Love's Kiss. After Hans shows his true colors, Anna realizes that her true love is really Kristoff. However, seeing her sister in danger, she sacrifices her life to save Elsa just as the curse takes full effect and Anna freezes to death. Whether it is Anna's love for her Elsa and her sacrifice ([[TakeAThirdOption or both]]) that does it, or Elsa's love for Anna and her sorrow at the death of the only person she had left in the world, it is an act of True Love. It is not love between a man and a woman that saves the day, but of familial love and sisterly love. This act of love can be seen as just as strong, if not stronger.

to:

* TrueLovesKiss: A major first for Disney's formula, the one that started back in Snow White, that is played at, hinted at, built up to, changed around, and ultimately NOT played out as a crucial element in the plot resolution of the movie. Because Grand Pabbie was vague about the "act" of true love, it is assumed to be a True Love's Kiss. After Hans shows his true colors, Anna realizes that her true love is really Kristoff. However, seeing her sister in danger, she sacrifices her life to save Elsa just as the curse takes full effect and Anna freezes to death. Whether it is Anna's love for her Elsa and her sacrifice ([[TakeAThirdOption or both]]) that does it, or Elsa's love for Anna and her sorrow at the death of the only person she had left in the world, it is an act of True Love. It is not love between a man and a woman that saves the day, but of familial love and sisterly love. This act of love can be seen as just as strong, if not stronger.


* HowDoIShotWeb: The very reason for much of the plot hinges around a decision made around this. All Elsa and her parents wanted was to get her ice powers under control. A lesson in discipline which would normally be perfectly acceptable to work with. However, the lessons in discipline proved futile as the power only continued to grow, and the discipline, shields and practice ultimately lead to a SelfFulfillingProphecy. The Trolls warned that snow and ice was beautiful, but that fear would be the problem. Ultimately, that discipline led not to a control that allowed the powers to be used well, but a repression that eventually went out of control and lead to that fear they were trying to prevent. Also, it was Elsa's own fear that became her greatest enemy, rather than the fear of others as she and her parents were mistakenly led to believe.

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* HowDoIShotWeb: The very reason for much of the plot hinges around a decision made around this. All Elsa and her parents wanted was to get her ice powers under control. A lesson in discipline which would normally be perfectly acceptable to work with. However, the lessons in discipline proved futile as the power only continued to grow, and the discipline, shields and practice ultimately lead to a SelfFulfillingProphecy. The Trolls warned that snow and ice was beautiful, but that fear would be the problem. Ultimately, that discipline led not to a control that allowed the powers to be used well, but a repression that eventually went out of control and lead to that fear they were trying to prevent. Also, Furthermore, it was actually Elsa's own fear that became her greatest enemy, rather than the fear of others as she and her parents were mistakenly led to believe.


* HowDoIShotWeb: The very reason for much of the plot hinges around a decision made around this. All Elsa and her parents wanted was to get her ice powers under control. A lesson in discipline which would normally be perfectly acceptable to work with. However, the lessons in discipline proved futile as the power only continued to grow, and the discipline, shields and practice ultimately lead to a SelfFulfillingProphecy. The Trolls warned that snow and ice was beautiful, but that fear would be the problem. Ultimately, that discipline led not to a control that allowed the powers to be used well, but a repression that eventually went out of control and lead to that fear they were trying to prevent.

to:

* HowDoIShotWeb: The very reason for much of the plot hinges around a decision made around this. All Elsa and her parents wanted was to get her ice powers under control. A lesson in discipline which would normally be perfectly acceptable to work with. However, the lessons in discipline proved futile as the power only continued to grow, and the discipline, shields and practice ultimately lead to a SelfFulfillingProphecy. The Trolls warned that snow and ice was beautiful, but that fear would be the problem. Ultimately, that discipline led not to a control that allowed the powers to be used well, but a repression that eventually went out of control and lead to that fear they were trying to prevent. Also, it was Elsa's own fear that became her greatest enemy, rather than the fear of others as she and her parents were mistakenly led to believe.

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