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1. Embed this notice
   Paul Cantrell (inthehands@hachyderm.io)'s status on Friday, 24-Nov-2023 04:29:21 JST Paul Cantrell

   in reply to

   • polygon
   • Nick Lockwood
   • Heath Borders

   @heathborders @nicklockwood @polygon
   It’s the climactic scene that cements the shift away from Nick’s reading: when Anna can only be saved by an act of “true love,” she explicitly chooses the family relationship over the romantic relationship. The writers’ choice about what kind of story it was going to be is baked into the story itself.

   • Embed this notice
     Heath Borders (heathborders@hachyderm.io)'s status on Friday, 24-Nov-2023 04:29:22 JST Heath Borders

     in reply to

     • polygon
     • Nick Lockwood

     @nicklockwood @polygon this was actually the original story. Elsa was supposed to be a straight villain, and Let It Go was going to be song opening her turn to evil.

     (I heard this on one of the director commentaries.)

   • Embed this notice
     Nick Lockwood (nicklockwood@mastodon.social)'s status on Friday, 24-Nov-2023 04:29:23 JST Nick Lockwood

     • polygon

     Alternative take: Anna and Kristoff are the leads, and actually have a fairly conventional story arc.

     Elsa is the main *antagonist*, but what makes the story interesting is that instead of being painted as a cartoon villain, we get to witness both her fall from grace and ultimate redemption.

     From: @polygon
     https://mastodon.social/@polygon/111460581910723679