Intro

frozenisthegayagenda

Is it possible to analyze Disney’s Frozen so deeply you can derive almost any meaning out of it? In light of another blogger’s analysis concluding that Frozen is the gay agenda, I decided to put this idea to the test: Can I make Frozen a metaphor for just about anything? My friends submitted suggestions and here’s my attempt.

PS. For parody purposes only. I don’t take myself too seriously and you shouldn’t either.

Frozen: the Expression of Existential Nothingness in a Sartrean Universe Devoid of Meaning

There are few things more bleak and depressing than the utterly meaningless nature of the Sartrean Universe. Named for Jean-Paul Sartre, probably the world’s worst dinner guest, the Sartrean Universe in one in which there is no rhyme or reason for suffering, joy, or indeed for life itself. According to some totally random (and therefore completely reliable) website, Sartre’s theory of the universe is:

There is no ultimate meaning or purpose inherent in human life; in this sense life is ‘absurd’. We are ‘forlorn’, ‘abandoned’ in the world to look after ourselves completely. Sartre insists that the only foundation for values is human freedom, and that there can be no external or objective justification for the values anyone chooses to adopt.

Nowhere is this more clearly seen than in the movie Frozen. In fact, Frozen is the very embodiment of the existential nothingness found in a Sartrean Universe. First off is this country of Arendelle. I mean, where the hell is Arendelle anyway? We can assume, based on the names and such, that it’s probably in Norway (because the rest of us pronounce Anna to rhyme with banana without the ban) but the last time I checked, Arendelle was totally fictional–I mean, it’s not even a real place–which is totally emblematic of the nothingness Sartre proclaims. Elsa’s cryogentic powers are completely absurd, because seriously, the power to turn things to ice? What is this, Pixar’s The Incredibles? Naturally Elsa’s powers are completely out of control, and while she isolates herself to keep this from the rest of the population, it makes no difference. The hopes of the townspeople are raised entirely when they open the gates for Elsa’s coronation, but that just reveals Elsa’s power, and she completely abandons her queendom, leaving them to freeze to death in the barren wasteland she herself created. She builds a castle, but even that is totally futile, in the scene where Anna confronts her and tells her that Arendelle is, you know, desolate and frozen now thankyouverymuch, and Elsa chides herself for being a fool, ever thinking that she could be truly free. Well, the fact is, none of us are truly free. Kristoff’s trade in ice is rendered completely moot. Hans, when he’s playing the good guy, gives out blankets and uses up the royal family’s coffers in doing so. Anna, out of some misguided thought that her sister can fix the situation, refusing to see the existential nothingness the entire scenario provides, is practically mortally hurt. And a main character is a talking snowman. A talking snowman? Talk about absurd. There is nothing that proves a meaning of life in Frozen. Sure, Elsa unfreezes everything in the almost-end, but what’s the deal with turning the castle courtyard into an ice skating rink? Sure, fun for a moment, but with Elsa at the helm, there’s no hope for anything but winter and misery for the population of Arendelle. Rarely have I left a movie more despairing of the future of the (animated) human race and the utterly meaningless of their existence, which I couldn’t help but interpret as my own absurd life. What’s the point, really? The climate is going to change and we’re all going to die and then the credits will roll, with a perverse rock version of Let It Go. There’s no point in seeing this movie, but to be fair, there’s no point to life itself. Have a nice day.

Frozen: Why You Should Buy Organic

The overlying message in Frozen is clearly that frozen = bad, sunlight/nature/fresh = good, and where do we see this more than in the very food we eat? Frozen truly presents a compelling argument for why you should buy and eat organic. As the queen, Elsa represents big agriculture and factory farming. At first, frozen doesn’t seem like a bad idea. As she and Elsa show, freezing things can be fun and convenient (why leave your house to play?). Just like in real life, it’s a decent way to get produce from here to there and into your diet. But it soon grows out of control. Elsa withdraws to the house and isolates herself, not only from her sister but from the fresh air and sunlight, just as factory farms draw consumers further and further away from the source of their food. While it’s easy to assume that the beautiful country of Arendelle has a thriving local farming industry–after all, Sven never seems to lack for carrots–all hell breaks loose when Elsa’s power is revealed and she freezes everything, clearly forcing local produce out of the market. This is significant since small farmers living in their own community are much more likely to naturally grow organic produce and meat over the big, distant farms with their chemicals and pesticides. What’s worse is when Elsa builds her ice castle revealing her ice to be not JUST ice, but genetically modified ice. Arendelle has no choice but to adopt distantly-grown, food frozen in genetically modified ice. This is obvious as the vegetarian character Kristoff searches for fresh carrots for himself and Sven and is only able to find one remaining bunch at Oaken’s Trading Post, which is completely cost-prohibitive. Kristoff must choose between basic cold-weather survival gear and fresh produce, and like so many people these days, has no choice but to buy the survival gear. After Anna is struck frozen in her heart, Kristoff takes her to the trolls, who are as close to the earth as you can possibly get. No pesticides or factory farming there. One young troll even brags that he grew a new (organic) mushroom. Luckily Elsa sees the error of her ways and returns Arendelle to a natural climate, eliminating the need for trucked-in food and blossoming a local food movement. Although the subject of organic food is never directly addressed, it is clearly implied as Arendelle goes from thriving to frozen to thriving again. Please read labels carefully and do as Frozen recommends: buy organic.

Frozen as a gateway to drug use

I’ve analyzed a few metaphors here at Frozen is the Gay Agenda, but perhaps none so pernicious as Frozen’s agenda as a gateway to drug use. I can hardly believe that Disney is advocating drug use, but it’s right here, people. First off, of course Elsa’s power involves ice, another nickname for crystal meth (really, could it be more obvious?). As the movie opens, burly men are cutting and harvesting ice (crystal meth) from the frozen lake, and one of those is a boy, Kristoff, who later grows into a man whose entire life is built about being a mule to supply Arendelle with a steady stream of ice. Like, he literally has a mule, portrayed through the reindeer Sven. Through Elsa, Frozen portrays ice as harmful and scary in the beginning, but as the movie develops and Elsa’s addiction grows, ice becomes powerful and, at the end, desirable. “Let it go” is perhaps one of the most sinister scenes, as we see Elsa develop a veritable ice (remember, it’s crystal meth we’re talking about) empire–in fact, now that she’s turned to whole-scale manufacturing, Elsa cuts out the middlemen like Kristoff and becomes the queen of an ice cartel. What’s really disturbing is the ice-induced hallucination of Olaf, whom Elsa creates in her cartel-building frenzy. When both Anna and Kristoff partake of the ice (off-screen, thankfully) they collectively hallucinate a cute, friendly talking snowman (I mean seriously? A talking snowman? How is this NOT drug-induced?) who “helps” them continue their ice addiction and Elsa’s production. When Anna tries to confront Elsa, her very own sister hurts her and turns her away–sadly reflecting what happens when a family member attempts to interfere with the drug cartel. But in the end, Anna shows her true loyalty and is symbolically “turned into ice” as she embraces her sister’s role as cartel queen and her own role as princess. She even gifts Kristoff a new vehicle for his ice transportation. The movie finishes on a dismal note as Elsa lures all of her countryfolk into the castle courtyard and turns ice into a fun, pleasant experience for everyone. Take note, Arendelle is permanently under the spell of the “Ice Queen” and you will be too if you watch this movie.

Give Me A Suggestion!

What agenda would YOU like to see Frozen pursue? Click the little gray conversation bubble to the right of the post title and leave me a comment :).

Frozen: finally, irrefutable proof of global warming

Many don’t realize the documentary nature of Frozen. Sure, it’s meant to be animated family entertainment, but it contains a deeper, more sinister message. No, not the Gay Agenda, I’m talking about climate change. For starters, there’s the name: Frozen. More than describing the movie, it’s a clarion call for nonbelievers–this is our future. In fact, to go ahead and spoil the ending, FROZEN is our future unless we LOVE our sister, the earth. Disney portrays humankind through the character of Elsa. At first, her power is fun and games, playing with her sister, the earth, as seen in the character of Anna. Through Elsa’s careless childplay, she accidentally harms Anna/the earth and in response is advised to control and curb her power. Unable to do so, Elsa shuts herself away in the castle but rather than making those inconvenient changes, continues to freeze her room. Anna repeatedly calls Elsa to change her ways (“Do You Wanna Build A Snowman?”) but Elsa ignores her sister. Elsa’s insidious earth-damaging power comes to a head at the coronation party when it flies out of control, plunging all of Arendelle into an endless winter reminiscent of previous ice ages. This is the future the world (Arendelle) faces if humankind (Elsa) does not curb her/our destructive power. Elsa’s attempt to escape and isolate herself in her castle of ice and pollution is not enough. Global political enemies, portrayed as kings, princes, and soldiers in the movie, vie for control to twist to their own means. One superpower in particular, Hans, actually captures the earth (Anna) to vanquish it forever. However, all is not lost. Through the intervention of a team of dedicated environmentalists (Kristoff, Sven, and Olaf), Anna is set free from her prison. In the nick of time, she sacrifices herself to Elsa, but at that moment Elsa realizes that the only answer is to love the earth and through that, she brings peace and good weather to the kingdom. Take heed, people. Our only hope is love and an anthropomorphic snowman.

Frozen: Man’s Journey to Outer Space

Frozen neatly chronicles humankind’s journey to outer space in a fun, animated, accessible way for children (and childlike adults). Humans have been dreaming of taking to the skies for millenniums. Frozen’s setting is a nod toward Leonardo da Vinci, the Italian artist whose drawing of a “flying machine” is said to have inspired the development of aircraft eventually culminating in manned space vehicles. The castle, harbor and ship design, and royalty themes are reminiscent of da Vinci’s age marking the beginning of a process that would eventually lead to outer space. One character demonstrating the yearning for flight is Olaf in the “In Summer” montage where he sees himself in the clouds, clearly demonstrating his desire to be in the atmosphere. Space flight was once thought impossible and frightening, denoted by the court’s reaction to Elsa’s accident revealing of her power–in fact, one duke accuses her of sorcery and schemes to have her killed, reminiscent of Galileo, because the ideas and skills she possesses are threatening. But Elsa is not deterred. She moves herself to the top of a tall mountain to be as close as possible to the heavens, where she succeeds in building “the impossible”–a complex, man-made, highly engineered design including “frozen fractals” with the precision to launch man into space. She sings, “I am one with the wind and sky” as she raises herself and her castle into the outer reaches of her universe. Like other early space missions, her attempts were not always successful, as seen in the accidental freezing of the entire kingdom of Arendelle, but at the end of the movie she has learned to control her power, paving the way for duplication of her castle/aircraft and further exploration of the heavens.