#Hans of the Southern Isles

[artist-issues]

I’m bored and I really enjoy your opinions on Disney, so I thought you might have something interesting to say to get my brain ticking. I came across a post on Frozen and I was like, “Ah, a perfect starting place for dropping you an ask.” I’ve never really been that bothered by Frozen and I don’t know what it is that I’m just not fond about. Maybe it’s that I dislike the characters? Maybe it’s that they didn’t really have any established rules for the way magic worked in that universe and thus had anything they wanted happening? Maybe it’s the twist villain? I don’t know, it’s probably just the characters that they tried to make so cool and girlboss!

Elsa is made out to be this awesome protagonist that is never in the wrong and that grates me. She has flaws, but the film doesn’t act like they’re flaws. She runs away out of fear and shame for not being able to control her powers, but then two seconds later she’s singing “Let It Go” and making giant ice castles and bringing snowmen to life?! And “Let It Go” is super annoying for the fact that Elsa starts off worried and upset (fair enough, she’s just ran away from her home, her kingdom, her sister whom she hasn’t seen in years, she lost control of her powers) but then immediately turns round and is like, “Actually, it’s not my fault and I’m fine as I am and I don’t need any of those responsibilities!” Which would be fine, but she also finishes the film with the same attitude!

Anna, too! Naive and optimistic and perhaps a little too trusting, she never realises that even if Han hadn’t turned out evil, Elsa had every right to be worried over their marriage. She never realises that it’s partly her fault for revealing Elsa’s powers (and she definitely doesn’t apologise). There’s a lot she doesn’t realise, and the only lesson she takes away from it all is that Christoff loves her instead of Han.

Oh my days, I’ve just realised how ridiculously long this has gotten, super sorry! Have a lovely day!

Let’s do this! For fun!

1. They don't need to establish exhaustive rules for how magic works in their world.

Red Riding Hood doesn't explain how the Big Bad Wolf can talk-it just explains that he can. Cinderella doesn't explain how Fairy Godmothers work, or why the spell should only last until midnight—it just explains that she casts one, and it does only last until midnight. Beauty & the Beast does not explain how, after The Beast has died, the "breaking of the curse" could bring him back to life. After Belle confesses her love, he should just go from dead beast to dead human, for all the explanation they give.

Beauty & the Beast also famously refuses to explain (explicitly) why all of the household were cursed, along with the castle and the Prince. But what it does explain is, "there's a curse, it was put in place because of a defect in the Prince's character, and there's a time limit on it's ability to be removed, which can only happen if the defect in his character is overcome."

The whole point of having magic in the story is just as a tool...to create a plot. You don't have to explain everything; you just have to explain what will affect the characters. So, Frozen says, very plainly in the beginning: "you can either be born with magical powers or cursed with them in this world, and trolls are the experts on how magical powers work. The way Elsa's specific magical powers work is, they're beautiful, but powerful, and they're tied to her emotions. Therefore, if her negative emotions control her, her negative emotions control those powers. Also, if you're struck with magical powers in the head, the effects can be removed with memory alteration. If you're struck with magical powers in the heart, the effects can only be removed by an act of True Love.

Also, here's an explanation of what counts as 'True Love." They actually do way more explaining than the average fairy tale. And they set you up really nicely to receive that explanation by having the opening scene be a song that describes Ice Magic as “beautiful/powerful/dangerous/cold/ice has a magic can't be controlled.” Etc.

If you were wondering what limits there are on Elsa's powers, and whether or not she can just make anything out of ice, and how it's possible for her to bring inanimate snow to life

—well, you're focusing on the wrong things for this kind of story.

It's not that important for a fairy tale like this one. In a superhero story, limitations on powers would be important. Because the point of a superhero story is, "how am I going to take selfless responsibility for what I'm able to do?" And if you don't know the boundaries on "what I'm able to do," then you can't communicate that point clearly. That's why we need to know that Superman can see through just about everything, but not lead. That's why you need to know that Elastigirl can't stretch in the cold. You can't know how to take responsibility for your abilities if you don't know what they are and are not.

But Elsa? The point of Elsa having powers is not as a metaphor for her unique skills. That's what it would be in a superhero movie.

Like, in superhero movies, Spidey's ability to stick to walls is supposed to be a reference to like, your ability to...l don't know, draw really well. How is Spidey going to use his ability to stick to walls for the good of others = how are you going to use your ability to draw for the good of others, because it's something special and unique to you, you have something to offer, are you going to use it selflessly, etc.

But for Elsa, that's not what it's about. Her powers are just a metaphor for how what's going on inside of her effects everyone around her, relationally. And it's still relatable. But not in a "skills" way. Just like all of us non-superpowered people: "if you let fear control you, you'll hurt everyone around you. But if you let love cast out fear, you'll love and be loved."

That's what's so good about this movie. When you look at it like that, you realize the powers aren’t the point.

Elsa isolates because she thinks that'll keep her from hurting everyone (fear controls her) but actually, by isolating, she's still hurting everyone-nobody in the kingdom gets to see their beloved ruler, and her sister is hurt, relationally, and feels unloved and shut-out, enough to trust the first scoundrel she meets-etc. See how the powers just make the story interesting, but they're not the point of the story? If Elsa's powers were replaced by "frantic outbursts of human temper" the story could be told in a lot of the same ways. But that's a post for another time.

So I don't think you disliked it because of the powers not being "established." "Whatever they wanted to have happen" did not happen, in the story. They laid out the rules that were relevant—“if fear controls you, it'll lead to great danger/but an act of true love can thaw a frozen heart."—and then they followed those rules in an interesting and consistent way.

2. The "twist" villain worked perfectly for the story.

A good villain is supposed to be the opposite of whatever your story's message is. Frozen's is, "Self-Sacrificial Love Casts Out Fear." Elsa is afraid she'll hurt everyone around her, and afraid that makes her unloveable-so she's a control freak over her circumstances. Anna is also afraid she's unloveable-simply because she's shut out and unknown-so she's always trying to control who she keeps in her life. Hans is both "unknown" and "controlling." He's "unknown" in two ways—1, nobody sees him in the shadows of his brothers in his own kingdom, and 2, nobody in Arendelle "knows" his true nature, especially not Anna. But the difference is, where our heroes don't like being unknown, Hans does, and uses it to his advantage, because he's also "controlling." But unlike our heroes, who learn that "control" is not the way to love, Hans is willing to do anything to stay in control. Which is, always, rooted in fear, too. Hans is just afraid he'll never get a throne. So. You see that he foils the two main characters perfectly.

But the main point of Hans is that he's not self-sacrificial, he's self-serving, which is the opposite of what the story claims "True Love" is.

Why's the "twist" part important? Because he uses the main characters' fears as a weapon to serve himself, and he couldn't have done that, for these two particular characters, by being anything but a liar. Anna is afraid she won't ever be loved, so he pretends to love her to get something for himself. Elsa is afraid she'll hurt everyone, so Hans pretends to be protecting everyone from her. And honestly, that's another core of the movie-love that is self-sacrificial, true love, can't be separated from truth. Anna can't really "truly love" Elsa in a way that HELPS Elsa feel loved if she doesn't know Elsa's flaws. Elsa can't "truly love" Anna if she's refusing to know Anna by always shutting her out. And Hans comes along and doesn't let himself be "truly known." Perfect.

So, the movie says "Self-Sacrificial Love Casts Out Fear" and Hans, the villain, says, "Self-Service Uses Fear As a Weapon."

So I don't think you disliked the "twist" villain. Because it wasn't just an empty "shock-jock, look how edgy we are, to make the Prince the bad guy" move. It was the right move, for this story and these characters.

3. I think your definition of "so cool" and "girlboss" might be different from what l understand those terms to mean, because none of the characters fit those descriptions.

Anna (as we understand her throughout the story) is introduced like this:

And she's constantly dropping stuff and getting into awkward social situations-and she basically makes zero correct decisions, for the entire adventure. Tries to fight wolves like a girlboss-and instead accidentally knocks her guide out of the sleigh and has to be thrown to safety while she ruins his livelihood. Tries to climb a cliff with zero experience-looks ridiculous and falls. Tries to talk her sister into lifting a curse and insists that she knows best because her sister would never hurt her-gets crippled, because her sister absolutely does hurt her, and totally fails. Tries to marry a handsome prince-really bad judgement of character, totally duped, basically would've died without help from the weakest and most mentally-confused character in the movie, Olaf. The only "girlboss" moment you could argue she had was punching Hans in the face at the end of the movie, and I would argue that that one moment, in the face of all her failures and humiliation throughout the movie, and in the face of him as a vile villain? That moment is okay.

Also, the whole way they pace that moment is still in-character for Anna. It's still like she's not doing the "dignified" thing. She delivers her little one liner, "the only frozen heart around here is you," and then turns around to walk away with her nose in the air, like she's

"above it all." Which frames the moment where she turns around and punches him like a joke. It frames that moment like it's a satisfying, but still "not decorous, not dignified," thing to do. It would've been "cool" and poorly received if Anna, the character who's always jumping into doing the emotional, awkward thing, had suddenly become the bigger person and risen above her hurt in that moment.

So instead, she punches him. And whatever. He deserved it, blah blah blah. The point is, even that moment isn’t supposed to be strictly “cool” or “girlboss.” It’s just supposed to be “in-character funny.”

See, usually a "girlboss" character knows exactly what the best thing to do is in a situation, and does it well. Or, she gets knocked down, but consistently gets back up and hits harder. Anna does not do any of those things. She keeps trying when she fails, yeah-but it's not because of an inner strength, it's because of an inner weakness. She keeps pushing because she's desperate, and insecure, not because she's awesome and never-say-die. Eventually, after Elsa strikes her and Hans betrays her, Anna does give up. She tells the snowman "we won't (come back.)" after Elsa strikes her. She tells Olaf she doesn't know what love is. It's not until she learns that lesson that anything she tries to do works—and she gives herself up to do it. And that's finally a moment of strength from her, not weakness. As for "cool"-gimme a break.

There's nothing "cool" about Anna. Anna's not good at anything except, at the very end, self-sacrificially standing in front of a sword and getting one punch in on a villain who's already disarmed, defeated and probably slightly concussed anyway. She's not supposed to be "cool" or "girlboss." She's supposed to be "Desperate to Love and Be Loved." And that's what she is, perfectly. "Desperate" is not a characteristic that fits the definition "girlboss" or "cool."

But maybe you just meant "Elsa is so cool and a girlboss." Okay, well, again, depends on what you mean by that. If you mean "having superpowers are cool" okay, well, are they? Is that what the movie is telling you? Because powers basically ruin all of Elsa's childhood and life until the last 3 minutes of the movie. You could be like "come on, she can make snow and ice monsters, glitter gowns, and an entire palace just by dancing. They totally tried to make her 'cool." That's like saying Simba's ability to eat bugs and belch and fight with Nala is "cool." She does all those things at her "Character in the WRONG" moment, in the story, just like Simba living in the Hakuna Matata jungle. Therefore the movie is not trying to tell you that Elsa is cool, it's trying to tell you that Elsa is wrong, but you can understand why she's wrong. You can understand why she feels triumphant for a moment-and then the movie shows you that triumph is misplaced.

I mean, she's taken out by her own falling chandelier. Every time she's confronted with a problem, she runs away. When she gets into "battles of wits," she says the wrong thing, or the shy, shut-down thing, not a girlboss one-liner that shuts the other person up. Elsa's not cool either. She doesn't have the answers, she doesn't save the day-she gets saved.

Both of these characters are desperate, open wounds-—they're needy and they're in the wrong, each in their own way, for the majority of the movie. They're weak, and they have to learn to find strength in love, for most of their story. There's nothing "girlboss" or "cool" about them.

I think maybe what some people make the mistake of is noticing the Frozen mania, and the fact that the two main characters are girls and one of them has superpowers and they other doesn't get with a Prince, and then they get the impression, from that, that the characters are "cool girlbosses." But like...that's like saying Dory from the first Finding Hemo movie is a girlboss. She's so totally not. She's a wreck. A funny, appealing, sometimes-relatable-human wreck. And a good character, but the hype doesn't change who she is, as a character. And who she is, like Anna and Elsa, is just a good character.

4. Elsa does not finish Let it Go with an "I'm Fine As I Am" attitude, and she doesn't finish the movie that way, either.

She finishes "Let it Go" with an "I'm fine up here, isolated from everyone," attitude. And then the movie very quickly proves her wrong by having Anna show up and reveal to her that no, actually, she is not fine up there, because the person she cares about most can still find her and be hurt by her, and the whole kingdom is still reeling from the problems she ran away from.

At the end of the movie the only thing I can guess you got the impression that she's "fine as she is" from was the fact that she's using her powers again.

But like. Elsa's whole problem was never her powers. She wasn't supposed to learn to stop using them. She was supposed to learn to stop living in fear. Instead, she was supposed to lean on love-love that sacrifices for her, flaws and dangerousness and all-and stop trying to control her image and what everyone knows about her.

Because in trying to control what everyone knows about her, she was controlling whether or not they loved her or treated her like a monster. And even running away and singing Let It Go was still an effort to control everything-by not being around people who could treat her like a monster or be hurt by her. Instead, accepting that she might hurt people because she can't always control everything, and trusting that they'll still love and forgive her, was her character arc.

She lives by faith in sacrificial love by the end, not by fear. That's the arc. She does that perfectly.

It was never, "I'm fine as I am." Because the point was never "there's* something wrong with me." It was, "I don't need to fear a lack of control, because true love covers what I can't control." That's all.

4. Anna does communicate to the audience that she's sorry and willing to understand the reasons behind Elsa's secrets.

The lesson Anna takes away from all of this is not "which guy loves me." It's "what is love?" And you know she's learned that because she demonstrates it. If Anna had died-frozen forever-or been cut down by Hans' sword, you realize that Elsa would never have been able to repay that gesture, right? But Anna still made that choice.

Even though it meant Elsa would never repay her. And the point is — excuse me, I know this is long enough, but I feel like you're missing out on something wonderful here—

Anna could have left Elsa to be killed and ridden off into the sunset with Kristoff.

They make it very clear that that is her goal when she stumbles onto the ice, free from the room Hans trapped her in. Elsa is no longer her motivation. She isn't looking for Elsa. She's not trying to get that love she's looked for, from Elsa, in that moment. She's trying to get it from Kristoff, not just for her emotional need-but for the "breaking of the curse" that's killing her in the moment. That whole scene where she realizes he loves her-truly loves her, because he fits the description Olaf gives-is in there to communicate to the audience that he could save her. He could give her what she needs.

And the reason that's important is that it proves that this is character development: when she chooses not to go to Kristoff, and to go to Elsa instead.

Because it's her, choosing to turn away from the person who could give her something (even if it is "love") and to turn toward the person who can't give her something (Elsa.) Who has repeatedly failed to give her something, for their entire lives.

Anna at the beginning of the movie would've run to Kristoff. That was the whole point of Hans, when it comes to Anna-he represents someone who can fulfill a need in Anna. But when Anna turns away from Kristoff and runs to save Elsa instead, Anna is demonstrating what she's learned —that love isn't about her own needs. It's putting someone else's needs before yours. She stands between Hans and Elsa, with the full expectation that she's not going to get anything out of it, not even a guarantee of E/sa's love in return. And her own needs will NOT get met if she puts Elsa's first.

And that's what she does. Whereas, at the beginning of the film, Anna would not have done that. Because that's not what she thinks love is. She hasn’t realized that yet.

She thinks love means closeness. And that does come with love. But that's not love. Love is, like Olaf says, putting someone else's needs before yours. But the whole movie, Anna is not working to put Elsa's needs before her own. She's working to change Elsa's mind, now that she knows the truth, so that she and Elsa can be "close again." She's climbing that mountain and arguing with Elsa, because she thinks that all that stood in their way before was this secret that's been uncovered. And sure, Anna has always been willing to “be there for” Elsa, but you have to see that Anna wanted that to come with Elsa being there for her, in return.

Which would be nice. But it's not true love. True love is being there for someone even when they refuse to be there for you. Because that's putting their needs before yours.

Thanks for the super long ask! That was fun! I hope you enjoyed reading as much as l enjoyed writing-I think sometimes we judge Frozen by the mania that followed, not the good quality that actually caused the mania, and deserved the mania, though. Anyway 😂

Guards! Take them away! Back to the theater with you! Watch the movie again!

[pirate-of-the-southern-isles]

Hello my pals

Let's talk the Southern Isles

Now, the only picture we have from there is this one:

This one Gazette snippet:

And the vague description in "A Frozen Heart".

But I would like to focus on the one picture we have, from "Frozen Fever" and no, it ain't about Hans, it's about everything around him.

Now, let's remember the date. It is June. It is Summer Solstice.

Look. At. The. Trees. Those trees aren't just late with their leaves, they look dead.

And now look at the ground. Look at the sky. Look at the gate which looks like ruins.

And the Gazzette says it is a "beautiful, clear day". I am sorry, that is what you are considering "a clear day"?

Now, it is probably just an animator's way to show us how bleak Hans' life is now, but this + what we know about their king from "A Frozen Heart" gives me the vibe of...

This.

I may be reading too much about it, but I don't think this kingdom is fine.

[jasmindoodles]

Just a silly like comic 👀

So with @galaxygolfergirl concept of Hans dropping the facades, he also drops his shirt somewhere along the way too. 😂

Now Elsa has something else to write to Anna about. 😏

I might color this in the future who knows. 🤷🏻‍♀️

[ezinekihart]

Obsessed with this racer outfit!

[venusssus]

If people only could open their eyes a little...

The thing that got me the most about Helsa is how Hans was always able to understand her, like in every single scene they have ever had together he was capable of that and it felt like he wasn't even trying to do that, it was just a natural thing between them.

So when I saw this comment under one of my tiktok edits and I've decided to elaborate on that a little.

Helsa is a ship people like to hate on for no reason and it's been going for years now. Although what I've noticed lately is that even if the haters say how much they hate the ship, how dumb it is and all - they will still say Hans understood Elsa. I swear, I've had like 10000+ comments full of helsa hate but they always mention how he understood her. I don't know what's the deal about it because if people can admit that he did... why still sooooo much hate. I mean I've been here, with Helsa and tumblr since F1 came out so it is nothing new for me, we as a fandom are used to this but It really makes me upset.

It truly amazes me every day how in todays world Enemies To Lovers trope in movies, books etc is probably the most loved trope ever but yet, people deny it when it comes to Helsa???? Strange.

Idk maybe it's all caused by the Oh Anna scene that caused all of yall some huge PTSD like it happened to me, maybe that's why😂😂

idk its 2024 its time to forgive Hans 🤓

[chaossmith2]

Official poster for Frozen 3: The Heart of Arendelle

A little side fan project I'll be working on every now and then!

[festive-unserious-fellow]

I am going insane

[sweetrululu]

Echoes of a Forgotten Past (Helsa Au) Part 1/2.

The ethereal voice that had been calling to Elsa guided them through the enchanted forest, melodic whispers echoing among the trees until they reached a clearing where the sight left them breathless. Before them, partially buried among the roots of the trees and the damp earth, lay a shipwreck. But it was no ordinary ship.

Elsa and Anna exchanged a look, both instantly recognizing the vessel: it was their parents’ ship, the very one they had last seen them sail away on. The memories of that farewell, filled with love, now intertwined with the tragedy evident before their eyes. Anna was the first to approach, her trembling hands brushing over the weathered wood as she tried to process what she was seeing.

“This can’t be…” Anna murmured, her voice trembling like an echo barely audible above the distant crash of waves.

“How could this ship have made it through the mist?” Elsa asked, her mind searching for a logical explanation in a setting laden with mystery.

“Perhaps the current of the Dark Sea carried it here,” Hans ventured, scanning the wreckage with a keen eye for any clues.

The group ventured into the wreck, each step seeming to unearth echoes of a past the world had long forgotten. The wood creaked beneath their feet, breaking the silence of a space that had remained untouched for years. Dust, salt, and cobwebs clung to every surface, silent witnesses to the passage of time.

“And what were they doing in the Dark Sea?” Elsa questioned, her voice tinged with sorrow.

“I don’t know,” Anna admitted, her voice as soft as the breeze rustling the branches. A tense, almost imperceptible pause followed before she continued, her words barely a murmur swallowed by the silence. “I thought no one could cross the mist… unless… no one was on the boat.”

The faint tremor in her voice betrayed a hope as fragile as a leaf on the verge of falling, her eyes glimmering with restrained emotion as they wandered over the wreckage. She gazed at the remnants of the ship as though expecting, against all reason, to find some trace of life, some vestige that could alter the meaning of what they were seeing.

The silence that followed was profound, enveloping, as if nature itself respected the gravity of the moment. The whisper of the leaves seemed to pause, and not even the distant murmur of the waves broke the stillness. It was Hans who finally shattered the invisible spell.

“Listen,” he said firmly, his gaze fixed on the wreckage as though it held an enigma to be solved. “Every royal vessel has a waterproof compartment. If we find it, it might hold something important… maybe answers.”

Anna, shaking herself from her daze, raised an eyebrow and retorted with a tone that tried to be light, though a hint of defiance crept into her words.

“And since when are you an expert on ships?”

Hans turned his head toward her with an expression not of anger but of measured patience. Before he could respond, Elsa intervened.

“Hans served in the royal navy of the Southern Isles for several years. It would be wise to listen to what he has to say,” she said with a perfectly neutral tone, though an inner discomfort stirred within her, insistent. Anna’s attitude struck her as unfair. Didn’t Hans deserve more than reproach, after all his years of hard work and even now, when he was making a genuine effort to redeem himself and be helpful?

Hans, for his part, said nothing, though a flicker of gratitude shone in his eyes when they met Elsa’s. Without further delay, he began to explore the wreckage, moving with a determination that spoke as much of his training as of his desire to be useful in that crucial moment. Elsa, after a moment’s hesitation, decided to follow, keeping a certain distance but observing his actions closely.

After a few moments of careful searching, Hans stopped in front of a section half-hidden beneath the debris. With a firm, decisive tug, he managed to open the compartment. Inside, a sealed box lay intact, defying the passage of time.

Anna was quicker. Before anyone could react, she grabbed the box and opened it. Inside, preserved against the years, was a letter. Her hands trembled as she unfolded the paper, and her eyes filled with tears as she recognized her mother’s handwriting.

“What does it say?” Elsa asked in a barely audible voice.

Anna began to read aloud: “The end of the Ice Age, a river found yet lost, a magic source…Elsa’s source?”

Elsa felt a lump in her throat and took the parchment in her hands, unable to understand what she was seeing.

“There’s a map here,” Hans interjected, pointing to a parchment she had dropped. “They were heading north to a place called… Ahtohallan?”

“Ahto-what?” Olaf asked, tilting his small head in a mix of curiosity and confusion.

“It was part of a song our mother used to sing to us,” Anna explained. “It was supposed to be a magical river… a place that held all the answers about the past.”

“Well, what a coincidence!” Olaf exclaimed with contagious enthusiasm, despite the somber conversation. “A river! This only confirms my theory: water has memory.”

“Water has memory…” Elsa murmured, an idea beginning to form in her mind. Finally, she raised her gaze with determination, a spark of resolve lighting her eyes. “I want to know what happened. I need to know.”

“Sister, what are you doing?”

Elsa positioned herself at the center of the ship and gently placed her hands on the damp, rotting wood. A flash of magic surged from her fingers, illuminating the scene. Water began to rise from the cracks and puddles, forming ethereal figures that moved like dancing shadows. The images took shape: a furious storm, giant waves striking the vessel, and amid the chaos, her mother’s voice echoed:

“We must do it… for Elsa.”

Screams of agony followed, and Elsa stopped abruptly. A sepulchral silence fell over the group, broken only by the gentle whisper of water as it returned to its inert state. Elsa remained still, like a statue carved from ice, but the tremor in her hands betrayed the storm raging within. Guilt, sharp as a knife, and sorrow, heavy as an anvil, battled for dominance. Finally, unable to endure another second there she turned on her heel and ran.

“Elsa!” Anna cried out, alarmed, running after her.

The others, though bewildered, quickly followed. But Elsa ran like a woman chased by invisible ghosts, her figure silhouetted against the overcast sky as she climbed a nearby hill. There she stopped, her breath ragged, her hands clutching her chest as if trying to contain the frantic beating of her heart. But her mind, far from finding peace, kept replaying the same cruel words: You are a curse. Their death was your fault. If only they hadn’t tried to understand your powers… If only you had never had them.

Anna arrived shortly after, her face full with concern. Upon seeing her sister’s state, she didn’t hesitate to approach. With trembling hands, she cupped Elsa’s face, forcing her to lift her gaze.

“They’re dead… because of me. They were looking for answers about… me.”

“Elsa, look at me,” Anna said, her voice a mixture of gentleness and firmness. “You’re not responsible for our parents’ decisions.”

Elsa turned her gaze away, but her voice, full of anguish, burst out forcefully:

“Not their decisions, Anna!” she exclaimed, her voice breaking. “Only their death!”

The declaration fell like a weight on both of them, but Anna didn’t flinch. With unyielding determination, she positioned herself once again in front of Elsa, ignoring the cold emanating from her sister.

“No, Elsa,” she whispered, her voice imbued with love. “Yalena said, ‘Why would the spirits bless Arendelle with a magical queen?’ Because they knew our mother would do what no one else could: save even her worst enemy. You’re not a curse; you were their blessing. And you will free Arendelle and this forest, I believe in you more than anyone or anything.”

Elsa, overwhelmed by the intensity of Anna’s words, let out a sob. The tears she had tried to hold back with steely will began to roll down her cheeks. With slow but desperate movement, she wrapped Anna in her arms, seeking comfort in the embrace that she couldn’t find within herself.

As she did, her gaze fell, almost unwillingly, on Hans, who remained at a distance. His expression was an enigma of suppressed pain, and his rigid posture betrayed the inner battle he was fighting. Elsa knew him well enough to understand what he was feeling: the helplessness of not being able to approach her, the frustration of not being able to console her, the resentment toward the circumstances that forced them to keep their relationship a secret. Hans turned his back, as if he didn’t have the strength to meet her gaze.

She loved Anna and was deeply grateful to have her, but she also needed the comfort of Hans’s arms. More than any words or gestures, she longed to lose herself in his closeness, in the refuge that only he could offer her. Pretending she didn’t need him was becoming unbearable, and seeing him apart with an expression heavy with pain, she knew she couldn’t continue that lie much longer.

With a sigh that seemed to tear her soul, Elsa gently pulled away from Anna.

“If there are answers about the past,” she said, her voice trembling but firm, “about why I have my powers, if there’s a way to clear the fog, they are in Ahtohallan. That voice I hear… it calls me there. And I must go.”

“Then we’ll go together” Anna said, her tone filled with hope. “Everything will be fine.”

Elsa smiled through her tears, lowering her gaze, unable to respond. Crossing the Dark Sea was a danger she couldn’t ignore, but she also couldn’t drag others into such an uncertain mission. She looked at the three of them—Anna, Olaf, and Hans—with a mixture of love and determination. Without saying a word, she embraced Anna and Olaf. But when she approached Hans, her gesture changed.

“Elsa? What are you doing?” Anna asked, confused by her sister’s sudden shift.

Hans looked up, bewildered, as he saw her approach him.

“Your Majesty?” he began to ask, but his words died on her lips.

In an impulsive gesture, laden with emotion, Elsa grabbed him by the neck and kissed him. The contact left him paralyzed, his eyes wide open as he processed what was happening. He hadn’t expected this, not from her, and certainly not in front of Anna.

When Elsa pulled away, Hans remained motionless, his face still tilted toward hers. His eyes instinctively sought Anna’s, and his expression shifted upon seeing the incredulity on the young woman’s face.

“Elsa! What… what was that?!” Anna exclaimed, completely stunned.

Hans took a step back, raising his hands awkwardly, as if trying to justify what had just occurred, but no words came to him.

Elsa, for her part, offered no explanation. Taking advantage of the chaos she just created she raised her hands and summoned her magic. In a matter of seconds, an ice canoe took form under their feet.

“I’m sorry. Please, take care of my sister,” was all she said before pushing the three of them toward the descent of the hill.

Hans’s eyes met hers for a fleeting moment, filled with unspoken emotions, before the distance separated them. Elsa stood there, motionless, watching them disappear as her heart beat with an intensity she had never felt before.

Hello!

Who is ready to see a confrontation between Anna and Hans? I would love to read your comments, I enjoy reading them.

[spicy-cannoli]

Here you go Hansanna nation uwu, coronation day kiss, based on the insane make out session on the broadway ver.

If you like hansanna feel free to check out my fic:

[cc-tinslebee]

starting a lil series of post where I theorise about Descendants parents because they make me certifiably insane

starting off with Ms. Evie Grimhilde

in the Isle of the Lost book, the Evil Queen and Evie are extremely well-liked on the Isle, before Maleficent scares everyone away from them.

and based on how she hates slumming it following her exile within her exile and her insistence on Evie marrying into royalty in Auradon, I don’t believe she’d be caught dead with someone “below her calibre”, even on the Isle

I reckon Hans felt the same 👀

[zenzerodomina]

Hans: i hate making decisions

Anna: well, sometimes it is necessary in life

Hans: no, it's not. I just let people make them for me

Anna, sarcastically: really? And who told you to kill my sister?

Hans: the Duke of Weselton

Anna: ...

[pirate-of-the-southern-isles]

So. Um.

Him.

...he multiplies. God, he really MULTIPLIES.

I mean, I made a joke once that Westergaards are reproducing by fission, but... jeez.

(just to inform - he is not Westergaard. But he looks like one.)

Well, Mr. Thord. Welcome in my fanfic. I have someone who would love to meet you.

[jasmindoodles]

Part 2 of my silly lil comic of these two. Enjoy. 😏

@galaxygolfergirl

[ezinekihart]

[venusssus]

We fucked up as a society and I’m very tired of 2023 and not being able to ship my favourite ships anymore, like a character not eveyone loves, having my own opinion.

When I say I ship Helsa people go INSANE. Not only they tell me I’m weird and crazy but sometimes also give me death threats. Once I left a comment on tiktok saying : „I dont ship elsamaren but I love your edits!” And then this girl checked my account and saw Hans/Helsa tiktoks and texted me : „Kill yourself honestly, you homophobic idiot”.My question is WHY? Why am I being called a homophobe when I’m not? And Why Can’t I ship Helsa? Is it killing people?Am I hurting innocent kids because of it? Setting World on fire? AM I FORCING YOU TO LIKE THIS SHIP? ABSOLUTELY FUCKING NOT.

I don’t ship Elsamaren and Jelsa, I don’t think they have chemistry at all. I love Hans with Elsa and in my eyes they have the greatest tension and chemistry. But — Let me surprise you now…This is my own preferance! My point of view! My opinion! MINE.

[chaossmith2]

The Heart of Arendelle stuff in which Hans finds a brother figure in Kristoff