#dynamic: anna elsa

[dinneratgrannys]

ONCE UPON A TIME 4.11, Shattered Sight

[a-storytellers-wish]

Meet Amala, Zahra's spunky little sister!

(If you’ve been following this AU since last year, you’ll know “Amala” was originally going to be Zahra’s name while the little sister was going to be named “Ayah”. I kinda got attached to the “Amala” name so I decided to give it to the little sister instead haha)

Cheerful and hopeful, Amala has always looked up to her big sister, Zahra. If you ask her, she's the biggest fan of Zahra's little fairytales (yes, higher than Noor themselves!). It was Zahra's stories, which are always full of "childish" hope and love, that helped Amala keep her childlike wonder and positivity despite the circumstances of their family's life. These stories however, influenced Amala to be too much of hopeless romantic who would sometimes annoy Zahra about her love life (and if the current story Zahra is telling has a cliffhanger, she’ll annoy her about the next part of the story).

I like to think a scenario like this would happen between them lmao:

Zahra is very protective of Amala, so she works tirelessly so Amala can have a peaceful and wonderful life where her dreams and wishes can come true. Amala feels the same about her sister, so she tries her best to behave and care of the house whenever Zahra is away doing her work. (Basically a Nani and Lilo dynamic/scenario).

While orphans from a young age, the sisters do have an older guardian who cares for them, their energetic and wise maternal grandpa Sidi Dabir. However, their sidi is growing old and senile, so sometimes even he needed to be taken care of sometimes. (Ill draw his design next and share more info about him soon).

When Noor came along, they and Amala got along really well! As a star spirit full of magic, Noor would sometimes show off their magic and play with Amala, who gets really excited about the fact that there’s a real magical star person right in front of her (and maybe her future brother-in-law, who knows).

Imagining scenarios about her interactions with Zahra and Noor is so fun lol, I can’t wait to show more of her hehe.

[citricacidprince]

“Why do you like crossovers so much?”

Normal Answer: My favorite shows canonically crossed over when I was younger and it made me realize the potential and fun crossovers can bring!

My Answer: I saw 2 low res drawings of Merida/Rapunzel and Hiccup/Jack Frost making out Sloppy Style and being besties on my shitass ipod and it forever changed my brain chemistry. For better or for worse I can’t tell you, but I am having fun here.

[girl4music]

Another relationship I really love in ‘Wynonna Earp’ is the “Earp sister” relationship between Wynonna and Waverly. It reminds me very much of Elsa and Anna.

I wish there was more storytelling about sisters that have no one but each other in TV art/entertainment. The personal significance of it for me is something I can’t quite explain since I never had a sister. I mean can you really miss something that you never had?

Why do sister relationships affect me so much? Why do I feel so deeply for sister relationship dynamics?

It’s a mystery to me. Perhaps I was meant to have a sister in another life or another Universe… possibly?

[bigfrozensix]

One of the (many many) reasons I love Frozen so much is because of how much it modernises the Disney fairytale without completely throwing it over it's head either.

Like yes, it shits on the idea of love at first sight and how not to blindly give your hand to someone you barely know. But it also shows how there's nothing wrong with quickly clicking with someone and testing the waters of a relationship with them. And to the people who claim Anna getting with Kristoff "goes against the message of the movie", please, tell me you understand the difference between getting engaged and sharing a kiss...

It shows the importance of familial love, which is without a doubt THE main plot point of the (first) movie, without shitting on romance as a whole. Anna is never forced to choose between family and romance, her happy ending is being able to have both (this is also one of the reasons why I hate F2's ending, but this is a post praising F1, I don't have the mental energy to shit on F2 right now).

Also, I swear, if I have to hear one more person say "Anna chose Elsa over Kristoff" in the climax I'm going to scream. Anna chose Elsa's life over her own life by protecting Elsa instead of going to Kristoff for a true love's kiss.

Wheter that kiss would've worked or not is another discussion entirely, point is Anna assumed it would've worked, so she was totally aware she was giving up her chance to live to save Elsa. That is NOT the same as her "choosing Elsa over Kristoff" and looking at this scene like that is so insulting to Anna's sacrifice.

Either way, just give me more media about family AND romance, because too much media focused on family acts like you need to give up/not care about romance in other to achieve happy/healthy family dynamics.

[crystallizsch]

Random Thought, please humor me.

SURPRISE: YUUSHA GAINS MAGIC (By absorbing the Magic around her & dealing with Overblots)! Even better, she doesn't need a Mage Stone to control it! What would Yuusha's Unique Magic be & how does she use it? How would Jamil react?

"Magic makes people feel too powerful. Too entitled."

"That is not what magic does. That's just your fear. Fear is what can't be trusted."

HELPPP anon your random thought sent me down into a rabbit hole and i was hyperfixated on this for at least a WEEK 😭

THANK YOU FOR THE ASK BTW I REALLY APPRECIATE IT I HAD SO MUCH FUN WITH THIS 💕💕💕

anyways i also had an agonizing realization that yuusha is somewhat twisted elsa/anna because she has:

braid in front ✅

light-colored hair streak ✅

love interest that used her for his schemes ✅

desire to connect with people bc of years of loneliness (and emotional instability) ✅

unresolved childhood trauma in general ✅

(and probably more idk, these are the ones that stand out to me at the moment)

i haven't thought about frozen for YEARS and somehow it's still haunting me.

i have a lot of mixed feelings about this realization in general but the reason i brought this up is because i ended up basing yuusha's unique magic on frozen (not the ice powers part, but more the emotions aspect since elsa's powers work based on her emotions) while also still having aspects of yuu's own personality on it.

(also I'm sorry in advance i keep on dropping random lore about yuu and jamil's dynamic that only makes sense to myself hndsfhdsj)

I'm your friend. You don't have to hide. SHOW YOURSELF.

"Show Yourself" forces the target to say what's actually on their mind as long as she touches them. Since she's not particularly powerful and skilled with her own unique magic in the beginning, it's limited to skin-to-skin contact, and it only lasts for as long as she's touching her target.

If Yuu trained it more, it doesn't have to be skin-to-skin, just as long as she makes some kind of physical contact with her target; and it could last for as long as she wants even if she is no longer making physical contact. (But the longer she keeps it up, the more blot accumulates.) Yuusha would mostly just use her unique magic to mess with people. It'll only be rare that she chooses to use it for something serious.

To add more onto how Jamil would react to these magic shenanigans: They've both agreed on not using their unique magic on each other. To do so would be a breach of trust. (Of course there would be special exceptions but generally that's their agreement.) And since Jamil is still a scheming prick (affectionate), her "Show Yourself" unique magic would be useful. Plus, Yuu would not be against using her unique magic 99% of the time since she is also aware of the usefulness of her ability. Jamil would insist on helping Yuu out on how to use her magic because there was no way she'd get the hang of it immediately. And he knows she would refuse to ask any other (capable) magician for help.

An alternate idea that I scrapped was "Let It Go" where it's essentially Yuu telling her target to let go of their (usually negative) emotions. But those feelings can't just disappear so Yuu basically absorbs them so now it's her burden to carry instead. I scrapped it because I can't settle on how it works. (But it still had angst potential so I couldn't help but draw a bit about it anyway.)

(extra rambling below about yuusha overblot thoughts if anyone's interested hdlfhjgj)

this is a brief tangent from the original question because i also thought, "hey what if she overblotted, wouldn't that be fun"

i could see the overblot going in either two ways:

yuu accidentally hurts grim (or another friend) with her magic. she’s so distraught thinking that even with magic she can't protect those who are dear to her. and so during the overblot she will not actively try to hurt anyone but instead exhausting her magic reserves in an intentional attempt at self-destruction. (yes i also see the frozen parallels shhhh)

OR

something happens that was simply THE LAST STRAW. now she’s too pissed at everyone that she no longer cares about what happens to her or anyone else, going on a destructive rampage. which can also be considered an intentional attempt at self-destruction.

either way, basically, if she can’t go home she’s just going to take herself out and/or the school instead. the girl is not okay.

(there's actually nothing good she can home to, but she's convinced she'll be happy again if she returns. but she doesn't know that because she can't remember shit about her home. that's a separate lore dump post hgdsjfkld)

also the blot monster behind her would look something like marshmallow (elsa's snow monster from frozen) :)

(i also used to have a similar idea for yuusha. i planned to have her be immune to magic *because* she was absorbing it and she didn't realize. leading to an inevitable overblot) (but i scrapped it because yuusha became my victim for jamil x yuu stuff) (like if i can't have the excuse to have jamil use snake whisper on yuu then what is the point)

[galaxygolfergirl]

And we’re back folks! With another batch of rough fan art featuring Queen Anna and powerless Elsa this time.

For this design for Anna, I noticed another post that some people didn’t feel that her regal gown from the epilogue in Frozen 2 really fit her style, so I tried to emulate the colors and rosemaling from her coronation dress in the first movie, while also keeping a sense of maturity in this look having grown into this role. She’s not as impulsive or fiesty anymore, now tempered with responsibilities but still conveys her warmth and compassion as a competent ruler. Still, in comparison with her sister, she is not without her insecurities, as running a country doesn’t come without a fair amount of stress, which she hides from Elsa out of fear of not being good enough.

Now as for Elsa losing her powers, I’m sure a lot of people have hypothesized about if she had an adversesary that could wield fire powers. I have made concept art of that before in the past, but I want to try and draw that digitally first before I show you guys. In this instance, I would imagine that Elsa has faced off against this adversary, and lost, and that enemy has weakened her powers to a state where she is unable to manipulate snow and ice and thus it dramatically alters her appearance. Her hair turns brown, like her mother’s, the clothes that she fashioned for herself would lose their icy appearance and revert to normal civilian clothes (or at worst, disappear, making for an awkward scenario), and the loss makes her weak and sick. She would have to learn how to rehabilitate herself for the next round in the story, but this change would almost certainly traumatize her since she’s just learned how to accept herself and her powers.

Lastly, with my idea for Hans to return in this story, I can’t imagine that Anna would be all that enthusiastic about seeing him again. My idea is that he has some insider information about the adversary that they’re facing in the story, whether it be the Southern Isles, or this fire wielding villain that Elsa loses against, they somehow have to rely on him for assistance. His motivations could be entirely selfish, “merely an enemy of my enemy is my friend situation” and he only agrees to help to stick it to this adversary (probably the Southern Isles). Nonetheless, it would make for some interesting dialogue and dynamics to see how they would react to each other.

Now, like I said, this is all hypothetical. This is more fanfiction and fanart than anything else, you don’t have to agree with it, but this is just a fun exercise in thinking what could happen in the next two movies. I hope you enjoy what I’ve done. Kristoff is coming up next!

[rocksibblingsau]

Hear me out, instead of Barb just being one the dozens of trolls that appear for lime two scenes of the movie and don't really have a real dynamic with anyone except Kristoff and Anna (Branch and Synth), consider, Barb is Sven.

Hear me out, HEAR ME OUT- I know, Sven is a voiceless reindeer, I know! But consider this, he is one of the main characters, he appears in both movies, he is technically Kristoff's adopted brother, he is very funny (well, as "very funny" as Frozen gets), he constantly bullies Anna/Kristoff (and you could easily extend that to Elsa/Trollex like I know you would) AND Barb being an Disney animal sidekick would be extremely funny and ironic considering her whole... everything

This is why she would make the perfect Sven, which doesn't have any stand-in as of yet and is way too much of an important character to be given to just some random, I rest my case.

You make a VERY compelling argument...

Alright, I'm sold.

[greatqueenanna]

Frozen 2: Actions Speak Louder Than Words: Why Elsa’s Apology is Enough

Introduction

Apologies come in many forms, but are words stronger than actions? 

Psychological studies suggest that actions can sometimes be a more powerful way to express remorse than simply saying, “I’m sorry.” Research published in the Journal of Business Ethics (Tomlinson and Lewicki) found that while verbal apologies are helpful, demonstrating remorse through actions—such as making amends or changing behavior—can have a stronger impact on rebuilding trust. 

Similarly, Lewicki, Polin, and Lount’s study on effective apologies emphasizes that the most meaningful apologies go beyond words and involve restitution. Risen and Gilovich further support this idea, showing that people tend to judge apologies more by the person's actions than by their words alone. If someone takes meaningful action to show regret, their apology is often perceived as more sincere.

This idea is especially relevant when analyzing media and storytelling, where characters may not always say the words "I was wrong," but instead demonstrate their remorse through their actions. One particularly divisive example of this can be found in Frozen 2. One of the most debated moments in the film revolves around Elsa’s decision to send Anna away—an act that many saw as cruel, especially because Elsa never explicitly apologizes for it.

Many fans wanted her to say the words "I'm sorry," but in doing so, they may have overlooked how her actions later in the film serve as her true apology. In the boat scene, Elsa heavily implies that Anna cannot help because she lacks magic, suggesting—whether intentionally or not—that Anna is too weak to be of use. 

However, when Elsa reunites with Anna at the end of the film, she directly acknowledges the opposite: Anna is the one who saved everyone, including her. This shift in perspective is Elsa’s apology—she doesn’t just say she was wrong; she demonstrates it by recognizing Anna’s strength and giving her the credit she deserves.

I’ve lost count of how many times I’ve revisited this infamous boat scene, whether through analysis or casual discussions. But with Frozen 2 approaching its six-year anniversary this November, I wanted to take one final deep dive into the topic. My argument is simple: while Elsa never says the words “I’m sorry,” her actions speak just as loudly—if not louder—than an apology ever could.

More under the cut.

Part 1: Codependency

To fully understand why Elsa's actions serve as an apology, we need to examine the deeper issue that causes the boat scene to play out in this way in the first place: the codependent bond between Anna and Elsa. Their relationship is built on emotional reliance, and the boat scene is the breaking point where that dynamic is forced to change.

A very polarizing topic in Frozen 2 is the codependency between Anna and Elsa. Many fans resist viewing their relationship through this lens, as it challenges the idealized sisterly bond presented in the first film. However, acknowledging their emotional dependence does not mean their relationship is bad or unhealthy—it simply means they both have areas of personal growth to work on.

Throughout the film, we see how Anna and Elsa rely on each other in deeply emotional ways. Anna’s sense of purpose is tied to keeping Elsa safe and preserving the happy ending she fought for in the first movie. Meanwhile, Elsa leans on Anna for emotional validation, struggling with self-doubt and guilt that she cannot face alone. At the start of the film, Elsa expresses this openly when she tells Anna, “What would I do without you?” While this line may seem affectionate on the surface, it reveals how much Elsa depends on Anna to provide emotional reassurance and stability.

This dynamic is further emphasized during the boat scene. When Elsa discovers that their parents died trying to find answers about her powers, she is consumed by guilt. She turns to Anna, who, despite her own grief, takes on the role of emotional caretaker, lifting Elsa out of her self-blame. This moment highlights a key aspect of their relationship: whenever Elsa feels lost or uncertain, Anna is there to pull her back up. 

The creators of Frozen 2 have acknowledged this theme. Kristen Bell, who voices Anna, revealed in an interview that the writers even consulted a psychologist to explore Anna and Elsa’s relationship. Bell noted, “I want Anna to deal with her codependency because she lives for everyone else, and I often do that.” (Bell). This intentional storytelling choice frames Anna’s emotional arc—particularly her song “The Next Right Thing”—as a journey toward independence. For the first time, she is forced to navigate life without Elsa at the center of her world.

By the end of the film, both sisters undergo significant growth. Anna learns that her identity cannot be solely defined by her love for Elsa, while Elsa realizes that she must stand on her own without constantly seeking Anna’s reassurance. This resolution does not diminish their love for each other—it strengthens it, allowing them to build a healthier bond based on mutual support rather than dependence.

The reason this discussion of codependency is so important in relation to the boat scene is that this emotional entanglement is what leads to the argument between Anna and Elsa in the first place. Throughout the film, Elsa struggles with an unresolved sense of purpose—Anna’s validation, which once reassured her, is no longer enough. This reflects a larger truth: relying solely on external validation is unsustainable. Eventually, a person must confront the deeper issue at its core. For Elsa, that issue is not knowing whether her powers are truly good or bad and where they come from.

As Elsa gets closer to uncovering the truth, her desperation grows, leading her to act more recklessly. Anna, in turn, becomes increasingly anxious—her entire sense of purpose is tied to Elsa, so the thought of losing her is unbearable. If something happens to Elsa, Anna would not only grieve for the sister she loves but also for the identity and life she has built around protecting her. This fuels a mirrored recklessness between the two: Elsa throws herself into danger searching for answers, and Anna recklessly follows, determined to keep Elsa safe at all costs.

However, the key difference between them is that Elsa has magic to protect her, while Anna does not. Elsa is willing to put herself at risk, but when it comes to Anna, she cannot justify the same danger. This is what ultimately leads to their final confrontation. Elsa is ready to take that last step to find her purpose, even if it means sacrificing her safety, but she refuses to let Anna risk her life alongside her. Anna, however, sees Elsa’s mission for what it truly is—a quest for self-worth and martyrdom—and cannot fathom the idea of Elsa facing it alone.

Elsa: You said you believed in me that this is what I was born to do.

Anna: And I don't want to stop you from that. I-I don't want to stop you from being whatever you need to be. I just don't want you dying, trying to be everything for everyone else too. Don't do this alone. Let me help you, please. I can't lose you, Elsa.

Their codependency means that neither of them knows how to exist without the other, but this moment forces Anna to confront an identity outside of being Elsa’s protector, just as Elsa must learn to define herself without Anna’s constant reassurance.

Part 2: The Implications of the Scene

Ultimately, we now understand Anna and Elsa’s emotional states, and what leads to the confrontation in the boat scene. To understand how Elsa’s actions serve as an apology, we also need to examine what is actually said within the boat scene and how this moment builds up to her eventual apology.

In sending Anna away, Elsa believes she is protecting her, but the unspoken message behind her actions is what makes this moment so painful: by deciding that Anna cannot go with her, Elsa unintentionally reinforces the idea that Anna is not capable enough. This moment is heavily foreshadowed earlier in the film when Elsa first takes on the martyr role mentioned earlier, feeling personally responsible for the spirits’ awakening and the danger facing Arendelle. She decides that she must set things right—alone.

Grand Pabbie: When one can see no future, all one can do is the next right thing. Elsa: The next right thing is for me to go to the Enchanted Forest and find that voice.

Anna’s response mirrors the boat scene almost exactly:

Anna: You are not going alone. Elsa: Anna, no. I have my powers to protect me, you don’t. Anna: Excuse me, I climbed to the North Mountain, survived a frozen heart, and saved you from my ex-boyfriend, and I did it all without powers, so, you know, I'm coming.

Anna immediately becomes defensive, making it clear that she refuses to accept the idea that she is incapable just because she lacks magic. This early exchange sets up the emotional weight of the boat scene. However, this isn’t the first time this tension surfaces before the boat scene. After Elsa saves everyone from the Fire Spirit, she scolds Anna for recklessly jumping into the flames to protect her. Anna, bewildered by the accusation, pushes back, pointing out that Elsa was the one being reckless in the first place.

Elsa: Anna, are you okay? What were you thinking? You could have been killed—you can't just follow me into fire. Anna: If you don’t want me following you into fire, then don’t run into fire. You’re not being careful, Elsa.

Elsa’s repeated reminders that Anna doesn’t share her powers cut deep, striking at the core of Anna’s insecurities. Her entire life has been shaped by her devotion to Elsa, defining herself as her sister’s protector. But when Elsa physically removes her from the journey during the boat scene, Anna is forced to face a painful possibility: that in Elsa’s eyes, she isn’t strong enough to walk this path alongside her.

Elsa: The answers about the past are all there.  Anna: So, we go to Ahtohallan?  Elsa: Not we, Me.The dark sea is too dangerous for us both.  Anna: No, we do this together. Remember the song, "Go too far and you'll be drowned"? Who will stop you from going too far? 

For Anna, whose self-worth is tied to being Elsa’s anchor, this realization is devastating. Elsa—who is in the midst of her own reckless search for identity—uses Anna’s lack of power as a reason to push her away. This isn’t just an act of protection; to Anna, it feels like rejection, a sudden shift in the dynamic, the codependency, that has defined her entire existence.This is why Anna’s devastation in the boat scene goes beyond just fear for Elsa’s safety; it is about the identity crisis Elsa’s actions force her to confront. If she is not Elsa’s protector, then who is she?

Part 3: Show, Don’t Tell

After Elsa and Anna part ways in the boat scene, both embark on transformative journeys that reshape their identities and redefine their relationship. Elsa finds the answers she has been searching for, achieving self-actualization at the cost of temporarily losing herself in the process.

Meanwhile, Anna is forced to confront her worst fear—losing Elsa—and for the first time, she must navigate life without her sister at her side. However, rather than succumbing to despair, Anna channels her grief into action, taking charge and destroying the dam to save both Arendelle and the Enchanted Forest. In doing so, she unknowingly saves Elsa as well.

Their eventual reunion marks not only the resolution of their individual arcs but also an unspoken reconciliation between them.

Although Elsa never explicitly says the words "I'm sorry," her actions and dialogue upon reuniting with Anna serve as an apology—one rooted in subtext rather than direct acknowledgment. This is where the principle of "show, don’t tell" becomes crucial in understanding the resolution of their conflict.

Brandon McNulty’s video Good vs. Bad Dialogue outlines three essential rules for effective dialogue:

Sounds Natural – Dialogue should resemble realistic speech patterns.

Attacks or Defends an Idea – Dialogue must serve a purpose by reinforcing or challenging a concept.

Expresses Unspoken Meaning (Subtext) – Characters should convey emotions through implication rather than direct statements.

While the first rule is less critical in the context of animation, where stylized speech is more common, the second and third rules are key in analyzing Elsa’s apology. Rather than making a surface-level statement of regret, Elsa’s words challenge the idea that Anna was incapable and reinforce Anna’s importance in saving both her and Arendelle.

This is evident in their reunion:

Anna: I thought I lost you. Elsa: Lost me? You saved me, again. Anna: I did?

Here, Elsa immediately acknowledges that Anna’s actions were instrumental in saving her, echoing an earlier moment in the film when Anna reminded Elsa of her past heroics. By framing it as another instance of Anna protecting her, Elsa not only corrects her previous implication that Anna is weak but also affirms her sister’s strength. Anna’s hesitant response—"I did?"—highlights her lingering self-doubt, making Elsa’s words all the more meaningful.

Elsa: And, Anna, Arendelle did not fall. Anna: It didn’t? Elsa: The spirits all agree, Arendelle deserves to stand with you. Anna: Me? Elsa: You did what was right, for everyone. 

Throughout the film, the focus has been on Elsa’s extraordinary powers and her journey of self-discovery. Anna, in contrast, has often been positioned as the supportive sister rather than the hero. Elsa’s words here challenge that perspective by recognizing Anna’s critical role in saving Arendelle. Anna’s disbelief further reinforces the idea that she was beginning to question her capabilities, making Elsa’s reassurance even more meaningful. 

Anna: Did you find the Fifth Spirit?  Elsa: *Smiles.*  Anna: You are the Fifth Spirit. You’re the bridge.  Elsa: Well, actually, a bridge has two sides. And a mother had two daughters. We did this together. And we’ll continue to do this together.  Anna: Together. 

This exchange mirrors an earlier scene in which Anna insists that Elsa is a gift. When Anna hears that Elsa is the Fifth Spirit, she is unsurprised—she has always believed in Elsa’s unique destiny. However, Elsa flips the narrative, using Anna’s own words to reinforce that both of them are the Fifth Spirit. 

Anna: Yelana asks, why would the spirits reward Arendelle with a magical queen? Because our mother saved our father. She saved her enemy! Her good deed was rewarded with you—you are a gift.

This not only reframes their journey as a shared accomplishment but also acknowledges that Elsa was wrong to believe she had to act alone. The repetition of "together" solidifies this newfound understanding.

Going back to the video mentioned earlier, we see how this was implemented into the film, showing how the film’s writing was implemented beautifully in order to get this point across: 

Attacking or Defending a Point – The film’s central belief that Elsa is special while Anna is not is explicitly challenged. Elsa actively dismantles this idea, affirming that Anna is equally significant. 

Subtext and Unspoken Meaning – Elsa never outright says, "I was wrong to push you away," or “I’m sorry”, but her dialogue makes it clear. By recognizing Anna’s role and validating her actions, Elsa indirectly apologizes for underestimating her sister and trying to shoulder the burden alone.

While some fans argue that Elsa should have issued a direct apology, her actions throughout the film demonstrate her remorse more effectively than words ever could. Throughout Frozen II, Elsa struggles with a pattern of pushing Anna away in an attempt to protect her, unintentionally reinforcing Anna’s insecurities. However, their reunion is framed in a way that actively counters this pattern—Elsa doesn’t just acknowledge Anna’s contributions; she makes a point of ensuring that Anna recognizes them as well.

A verbal apology alone would not have carried the same weight because Elsa’s initial mistake wasn’t just about sending Anna away—it was about dismissing Anna’s agency and capability. By shifting the narrative and explicitly affirming Anna’s strength, Elsa doesn’t just express regret; she actively works to correct the very misconception she helped create. In doing so, she shows, rather than tells, that she was wrong.

Ultimately, the resolution of Frozen II aligns with the psychological research discussed in the introduction: the most meaningful apologies are not just spoken but demonstrated. Elsa’s words and actions reinforce Anna’s worth, making it clear that she recognizes the mistakes she made. While she never says the words "I'm sorry," her apology is embedded in her changed behavior—proving that, sometimes, actions truly do speak louder than words.

Conclusion

In Frozen II, Elsa and Anna’s argument is not just about a single moment of betrayal but rather the culmination of a deeply ingrained, codependent relationship. For years, Anna’s sense of purpose was built around protecting and supporting Elsa, while Elsa, in turn, felt responsible for keeping Anna safe through distance and control. This dynamic, though rooted in love, was ultimately unhealthy—Anna depended on Elsa for emotional security, while Elsa carried the burden of making decisions for both of them. Their argument in Frozen II is the breaking point of this imbalance, as Elsa once again shuts Anna out in an attempt to handle things alone. But this time, Anna refuses to let their cycle continue.

When Elsa’s choice to separate from Anna results in her own downfall, it is Anna who must take the lead, making the painful decision to destroy the dam and risk Arendelle’s safety for the greater good. In doing so, Anna proves that she is not just Elsa’s sister—she is her equal. Elsa’s silent apology upon her return is significant because it marks a true shift in their relationship. Instead of offering words of regret, she acknowledges Anna’s strength and trusts her choices, breaking the pattern of control and protection that had defined their bond for so long. By stepping aside and allowing Anna to lead, Elsa demonstrates her growth—not just as a sister, but as an individual who finally sees Anna as more than someone to protect.

Through this resolution, Frozen II delivers a powerful message: real apologies are not just about saying the right words but about changing behavior. Elsa and Anna’s journey is not about one sister saving the other, but about learning to stand as equals, breaking free from codependency, and finding strength in mutual trust. Their silent reconciliation is more meaningful than any spoken words could be, proving that love is best expressed not just through promises, but through actions.

Sources

Lewicki, Roy J., Beth Polin, and Robert B. Lount Jr. “An Exploration of the Structure of Effective Apologies.” Negotiation and Conflict Management Research, vol. 9, no. 2, 2016, pp. 177–196. Wiley Online Library, https://doi.org/10.1111/ncmr.12073.

Tomlinson, Edward C., and Roy J. Lewicki. “Apology, Restitution, and Forgiveness After Psychological Contract Breach.” Journal of Business Ethics, vol. 92, no. 4, 2010, pp. 567–580. JSTOR, https://www.jstor.org/stable/45278192.

Risen, Jane L., and Thomas Gilovich. “Do Actions Speak Louder Than Words? Differential Effects of Restitution and Apology on Behavioral and Self-Reported Forgiveness.” Journal of Personality and Social Psychology, vol. 102, no. 2, 2012, pp. 202–215. ResearchGate, https://www.researchgate.net/publication/234095293.

Bell, Kristen. Kristen Bell on Having Anna Deal with Codependency with Sister Elsa in 'Frozen 2’. ABC News, 18 Nov. 2019, https://abcnews.go.com/Entertainment/kristen-bell-anna-deal-codependency-sister-elsa-frozen/story?id=66938615.

McNulty, Brandon. Good vs. Bad Dialogue: The Secret to Making Your Story’s Conversations POP! YouTube, 25 Jan. 2024, www.youtube.com/watch?v=f8npDOBLoR4. 

[dinneratgrannys]

ONCE UPON A TIME 4.10, Fall

[true--north]

• deadly dynamic • A KISS OF UNTRUE LOVE • dark!Elsa • F1 canon divergent • @helsaweenfun

"With this, you shall kill my Father." Elsa runs her slender pale fingers over the blade of his plain sword, and it turns shining frosty blue. The winter magic he always feared and admired. "When you're done with him, you can deal with the King of the Isles, it's yours."

Hans sheathed the magical sword, grateful to the exiled sorceress, the one true queen of his choosing. The ice diadem in her white locks glistens in the blue twilight.

"And this..." She brings her face closer to his, their lips almost touching, and Hans can see frozen crystals of tears on her colourless eyelashes, "You will pass this to my dear sister, the false queen of Arendelle." And she kisses him. Hans responds with fervour, but when they break their embrace, he feels cold on his bluish lips.

"Since you love Anna not, this cursed kiss will plunge the impostor, Father's beloved daughter, into the sleep of permafrost. Go, Hans, and kiss Anna. Bring their demise."

"Why don't you take revenge on them yourself? You are so powerful, Elsa." This isn't the first time he's asked this, but the first time so thoughtfully.

Elsa pauses at first, her still living heart aches, but then she smirks carelessly. "I just love it when you do...things for me, my prince. Go. I'll be waiting for you."

Hans nods, a picture of both honour and treason, and leaves the Ice Palace. Elsa goes out onto the balcony to see him off. It's night, a cold snowy night. She's already jealous, she's always afraid, she still feels.

[ericmicael]

Two new "Frozen" cards in "Lorcana": Sven and Anna as a sorceress's apprentice.

Honestly, I didn't like this Anna card, I'm very loyal to the dynamic: Anna the warrior and Elsa the sorceress. Some Disney games got around this by giving Anna magical weapons to give her powers rather than some pure kind of magic, but Anna with powers of her own? I'm really not a fan of the idea (and I hope it's never even considered in canon), but anyway, it's a card game and they already gave us the beautiful Anna Warrior Queen, so they're forgiven for giving us Anna the Apprentice of Sorcerer.

[eylih]

These things I wish to see in F3/F4

- Olaf entering a new phase. I saw someone suggesting an emo phase. As someone who's alternative irl, I don't usually like when subcultures are used as a joke but I find this oke could be hilarous

-Oaken, that man's iconic, give him screentime

-How the old Northuldra reconnect with the spirits and how the young Northuldra embrace them (I'm really attached to them, that's be sad and a wasted potential if they were left out)

-More of Yelena and Mattias's beef. Characters arguing like an old married couple is my fav dynamic (I want those two as friends though)

-When the plot point hit, Olaf yelled at Elsa "You said we were done with danger!" or smth similar

-Kristoff, Honeymaren and Ryder being besties, the boys can't shut up about reindeer and Honeymaren is tired of them (petition for us to start calling them 'The deer trio')

- Anna, Elsa and Kristoff having a For The First in Forever/Some Things Never Change typa song about their new lives. With Elsa being so happy and comfortable in the forest while Anna and Kristoff are quite exhausted by the leading. I like to imagine the song ending with Anna wondering how Elsa managed to do all of that while still looking good

- More Agduna frozen memories

- The trolls and Arendelle's dignitaries arguing over rather their wedding should be celebrated in trolls' or Arendelle's traditions/Their wedding being a mix of both

-To know how the fuck was/were the fifth spirits before the sisters

-What exact roles Elsa and Anna have as the fifth spirit (yes Anna bc they did mention they are a bridge, Elsa isn't alone on that)

- The Earth giants playing with Bruni and children

- SPRING SETTING

- Elsa and Honeymaren interacting. I'm not necessary asking for their canonization. This ship is my hyperfixation but I don't place my expectations too high. So if we can at least have new material for fanarts and fanfictions, I'd be glad because I am STARVING

- Honeymaren's abs (of course I was gonna bring them up)

[iceburned]

my favorite variation of Hans's redemption will always be the one where he sacrifices himself for Elsa.

they had an "unpleasant experience" in which Hans came close to, well, killing Elsa (antis' favorite argument, okay, I take it). yes, we can analyze this more deeply, find signals that he really "didn't want to" and that this was literally the only way they saw to stop winter, etc (up to Elsa's passive consent due to guilt over Anna's death, about which Hans in general did not lied), but... the fact remains that Hans came damn close to hacking Elsa down with his sword.

so I don't think we can be surprised by Elsa's reaction after all, yeah (however, I think it's more about how he hurt Anna).

I accept this for what I'm going to say next. you know, complicated relationships with the dynamics of "from enemies to lovers", "love/hate". we enjoy it.

and the hardest part of all this is that Elsa will never be able to let Hans get close enough. she won't be able to really trust him, knowing that he can manipulate and suspecting that Hans can always pursue personal goals. she has a right to be suspicious after all.

what can fix the situation? that this man would risk his own life for Elsa's survival, her life and safety. consciously, at the risk of dying and ready to accept it. because Hans, who begins to develop feelings for Elsa, will be ready to act in accordance with these feelings. but something else: Hans, who begins to develop feelings for Elsa, will himself be burdened by past actions "to kill Elsa, stop winter, become a hero and a king."

I like the poetry of it, the symbolism and how it's really redeeming: yes, in the past he came close to killing Elsa, but now he's gone so far from it that he's literally ready to die for her.

in this scenario, Elsa herself gets rid of the suspicions that are rooted inside her, because when Hans is ready to die for her, it really changes perceptions and creates a "new level".

you know, Anna too can change her extremely negative attitude and still accept Helsa relationship. of course, it's difficult when your sister, the closest person, develops her own dynamic with your ex, who manipulated you and traumatized you, and from whom you shielded her with your body in the past... however, if Anna sees that Hans almost died for Elsa, I think she will be able to accept it.

honestly, when it comes to Helsa, the fact that Hans is her ex is the last thing she'll care about (she's found her "true love," after all). she will be worried that Hans could potentially use Elsa and harm Elsa. but if she sees that Hans is really willing to sacrifice himself for Elsa... well, I'm not talking about absolute forgiveness on Anna's part (and Anna has every right not to give him forgiveness after he treated her), but acceptance in such a scenario takes place. Elsa is her top priority, after all.

[glittering-snowfall]

The Elsanna ship, ten years later...

When I think about the golden days of the Elsanna ship (circa 2013-2015), two images come to mind – this one… 

…and this one…

Both pieces of fanart were created to celebrate the legalization of gay marriage nationwide in the US in June 2015 – and both encapsulate the youthful energy, the innocence, the idealism of Elsanna shippers at the time. They might seem silly now to some people, but only because they are so earnest. There is an achingly earnest sincerity here because the Elsanna-shipping community was made up of a bunch of young, queer Disney fans. 

The ship wasn’t created by a bunch of creeps who wanted to “disregard or misunderstand the message of the film.”

The ship was created by a group of young wlw, young lesbians, young queer folks, who were drawn to the film because of its themes of self-acceptance and self-understanding (because they UNDERSTOOD the message of the film.) And they were drawn to the sisters’ bond because, in some way, it resonated with them – a connection between two people that was based on coming to an understanding of shared trauma and pain, a connection rooted in compassion for someone othered by society.

Frozen came out in 2013. Korrasami wouldn’t be canon for a while yet, things like Lumity and Catradora weren’t even a dream, and these naive, earnest, heartfelt kids wanted to see something that reflected themselves so much that they built a ship from the ground up.

I have seen people in recent years express bewilderment about why the Elsanna ship came into being, saying things like, “Why does this ship exist? Elsa and Anna aren’t in love; they’re sisters.” Which… duh. Obviously, they are not in love. Obviously, they are sisters. Such an attempt to say, “Checkmate, creeps!” ignores why ships come into existence in the first place. Non-canon ships emerge because there are aspects of two particular characters that the audience can relate to or project a part of themselves upon/see themselves in; and because there are elements of these characters’ dynamic/interactions that the audience can project upon/see themselves in.

And with Elsa and Anna’s dynamic together and connection throughout the film? There was A LOT that a young queer audience latched onto - NOT because these shippers felt the film was secretly espousing incest subtext, but because the characters were created to be broadly relatable to anyone with a difficult home life, anyone who felt isolated and ostracized from society, and so their narrative together lent itself to a queer reading.

Consider: on the one hand, there is Elsa – a character who exploded across the popular consciousness because so many people related to her individual story, many of them queer young people. Isolated for who she was, taught to repress her identity and her emotions, forced to conform to a society that could harm her. There hardly needs to be any more ink spilled on why Elsa struck such a chord with queer viewers – and the queer viewers who helped to shape the Elsanna ship were among the people who fell in love with her as much as anyone.

On the other hand, there is Anna. Anna’s story is different from Elsa’s, but bears many of the same marks of trauma. Anna is forced to live in a world where the rules feels arbitrary and uncaring, where nothing makes sense but no one will tell her why. Not her sister, who has been taught that she must shut Anna out. Not her parents, the authorities of the society she lives in who put the rules in place. Like many queer young people, Anna is forced to navigate a world where the rules are arbitrary and cruel. And, like her sister, she begins to internalize that pain. “What did I ever do to you?” she cries to Elsa at the coronation because, without the full context, she can’t rule out that this might be her fault – or at least, that societal forces around her tell her that this is her fault even when she did nothing.

There was so much in each character individually that queer young people resonated with.

When you factor in that their connection is something that the powers that be within the film attempt to forbid, that their connection is something that is at first treated as something that needs to be suppressed but that ultimately proves to be a positive force for both of them, then… yeah, it becomes clearer why so many queer young people aching to connect with something would see themselves in that relationship.  

I know of several prominent artists on this site who got their start in the Elsanna fandom, or who were happy to take part in the ship because they saw the way other queer young people connected with it (signatures blotted out to prevent potential harassment of artists over decade-old art):

People don’t like to remember it, but ten years ago, there were wlw fandom blogs on here that would casually make or reblog Elsanna art – not because they had some secret insidious agenda – but because the ship connected with them on an emotional level or because they understood why it did with others:

And there were shippers of other queer ships reaching out:

The Elsanna fandom of 2013-15 was a reflection of a group of queer young people (primarily wlw) – a reflection of their passion, their dedication, their craftsmanship, their creativity, and their longing to be seen. It was a group of queer young people using the pieces that a film they loved gave them to create something of their own, from their hearts, for themselves.

Create something of their own with their own spirit and hopes, reflecting their own aspirations and fears and dreams for the future.

And sure, people now can say, “That’s disgusting! How could anyone do that?” In 2020, someone called out a lovely person on here because she shipped Elsanna nearly a decade ago (even though she HAD LONG SINCE DELETED ALL EA CONTENT FROM HER BLOG, even!):

This callout is dishonest. It claims that the individual “thinks shipping them is cute” even though, when this was written, the person had not shipped Elsanna in years. It also claims Elsanna is p/*do/ph/ilic when it is not. (It is incest, obviously, and that is inherently problematic.) It also tries to make a connection between the person wanting queer rep and shipping an inherently problematic ship, when those things do not correlate at all. You can ship something and never want it to be canon. You can ship something and not want it to be “representation” – and that’s what being in the Elsanna fandom of 2013-15 was like.

People didn’t want it to be canon. They didn’t want it to be “representation.” Everyone already knows that incest is wrong. People don’t have to ship something as a crusade for representation. But people DID ship it because they saw something of themselves in the ship – and they saw the opportunity to project something of themselves (their queerness, their sense of being othered and isolated by their families, etc.) onto characters that they loved. The ship provided the opportunity for these young people to explore their senses of self and explore their identities.  

And sure, as I’ve said in the past, perhaps that wasn’t ideal – the fact that these young folks were starving for anything that was like them and so had to make a feast from whatever they had available. But I find something BEAUTIFUL in the fact that so many people were able to come together and create such beautiful things because Elsanna inspired them. I know people who met their partners, met their wives, through this ship. I’ve seen firsthand the positive influence it has had.

Like Elsa on the North Mountain, we felt isolated, we were figuring ourselves out. And we built wonders with what was inside of us. The beauty of some of the art in this ship is akin to the beauty of Elsa’s ice palace. The writing I have seen in this ship can be as elegant as any elegantly-sculpted spire Elsa fashioned through her own magic and her own will.   

This ship was ours, is ours. 

We made it for ourselves, to reflect ourselves and our identities and share aspects of those identities with others, the same way people came to ship Elsamaren when F2 came out. It may have been new faces and a new ship, but it was part of the same idea, just for a different time. 

And when you look at the thousands of pieces of Elsanna fanfiction that have been written, and the thousands of pieces of fanart (especially the beautifully diverse styles of early Elsanna fanart) – you don’t get so many people expounding their passion and creativity on something unless it means something to them, and Elsanna meant something to so many people. Mattered to them. Look at the excitement and joy in people’s words in the early days of the fandom if you don’t believe me. 

And I think that’s beautiful.

EDIT: I’ve made another post about this, but I want to add to this post that I regret saying things like “maybe that wasn’t ideal” when I wrote it. It WAS ideal because it was a beautiful to see us create a space for ourselves. 

And it STILL IS beautiful.  It CONTINUES to be beautiful. The fandom still exists and I’m glad that it still exists because it still brings such beautiful things into the world.

Elsanna isn’t just a placeholder until a better, more palatable ship comes along. Elsanna is beautiful in its own right.

[m4rybb]

Okay. BIG unpopular opinion.

I love Nesta and Elain with all my heart, and I don't hate their storylines. Nesta's book was enjoyable and a fun read, and I'm sure Elain's -pray tell the next one will be about her- will also be a fun read.

BUT

I cannot shake the feeling that we could have had a more interesting plot if Nesta and Elain remained human through the story. They could have symbolized the union between the "Human world" and the "Fae World" with their relationship with Feyre (like Elsa and Anna from frozen 2).

The Wall is gone, now Fae and Humans must learn how to live together. But how can Humans let go of their hatred if no one actively shows them that coexistence -even love- is possible?

I would have loved a Nessian dynamic were Nesta remained human. Imagine the potential: a +500yo immortal general trying -and failing- to handle a 22yo human girl with enough sass and sharp words to bring even High Lords to their knees.

Also it's a bit redundant, and makes Feyre's transformation less special.