Frozen II – An ugly anti-White narrative in a beautiful wrapping

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(2343 words)

After the phenomenal and record breaking success of Frozen in late 2013, grossing just over 1.2 billion and becoming the biggest animated film of all time, a sequel, and probably two more after the even higher grossing Frozen II made more than its original, was inevitable for Di$ney. We all know Walt Disney’s original family entertainment company died when it was inevitably bought out by Jewish interests. Post-Christian Di$ney now routinely churns out distinctly anti-White narratives and not so subliminal messages for White children, especially girls, mostly written and produced by Jews. Notable examples include blackening of pre-Multicultural Europe in the live action remake of Cinderella (2015), the blackening of Tchaikovsky’s The Nutcracker (2018), race mixing in Lady and the Tramp (2019) remake, the abominable and blatantly pro-White genocide narratives passing as Star Wars post 2015, and the blackening of Ariel in the upcoming live action remake of The Little Mermaid. These are not accidental inclusions, they are deliberate cultural appropriations of White European stories and cultural genocide inserting ‘POC’ characters into a fictional universe whose source material is explicitly White.

When discussing this online on other forums, I have heard the same old “arguments” from the left and militant ‘POC.’ “Oh, it’s a fictional, fantasy story. There can be living, talking snowmen, princesses with magical powers, trolls, etc, but there can’t be black people?” Let’s forget the complete, context-less way in which ‘POC’ are violently inserted to fictional and even factual historical retelling of White stories in which the source materials are explicitly White. Just cue the outrage and the chimpouts when some movie is accused of so called “whitewashing” (The Gods of Egypt 2015 “whitewashing’ controversy” or a role that was written originally for non-Whites ends up played by a White person, or usually a Jew who can be passed off as White (Jewess Scarlett Johansson in Ghost in the Shell (2017).

Yes, replacing White people in their own stories with ‘POC’ is seen as “progressive and inclusive” and as desirable, yet doing the opposite, or merely depicting White stories with only White people, at least in the main roles is simply racist. The Lord of the Rings film trilogy (2001-2003) and arguably Game of Thrones (2010-2019) are the last time you are ever going to see White people playing all the main roles that were written exclusively for them, as per the source material. What you are going to see in the future is where even supposedly accurate depictions of White history where there were no ‘POC’ in any context, will be the norm. The British film industry has enshrined this as policy and a recent example is Mary Queen of Scots (2018) in which negroes and Asians play British royalty, lords, parliamentarians and high clergy. Absolutely preposterous.

Frozen I

Frozen (2013) was a tolerable and beautiful looking family movie, focusing on the bond of love between siblings and family. Amazingly, Arendelle, a fictional fantasy kingdom in 19th Century Norway, was portrayed as 100% homogenitically White (as was Tangled (2010) set in a kingdom in Germany, and Brave (2012), Scotland), to the credit of the producers, writers and animators. The princesses, sisters Anna and Elsa, redhead and platinum blonde respectively, are stylised portrayals of perfect Northern European beauty.

Although the movie was praised and appropriated by FemiMarxists because this time a Disney princess movie did not end in a marriage or Elsa finding a suitor, the movie itself was actually the complete repudiation of FemiMarxism. White girls still want to be princesses and aspire to be beautiful. The platinum blonde Aryan Elsa was the highest selling Disney princess doll ever (not Tiana, for some reason), and the movie did amazing business in Asia. At least Asians living in Asia don’t have a problem with seeing all Whites portrayed in a fictional universe, the same way I don’t have a problem as a White person watching all Asians play all the roles in a fantasy movie made and set in Asia. Crouching Tiger, Hidden Dragon, for example. Got lots of Oscars, but where was the outrage that everyone in that movie was Asian? After all, it was shown to an international audience. Shouldn’t there have been more diversity so everyone could feel included? It was fantasy after all, peoples was flyin’ an’ sheeeeiit!

Frozen was also for the same reasons appropriated by the LGBT-WTF? degeneracy movement. Elsa is a gay icon, they claim. Their logic? Elsa did not find traditional ‘heteronormative’ love or suitor by the end, or was saved by same (although her sister Anna did in traditional Disney fashion and went on to formalise her engagement in Frozen II to her White woodsman (not Sami) boyfriend Kristoff. Apparently validating these claims was the infamous Oaken’s Sauna scene where we are led to speculate whether the family inside Oaken’s Sauna is actually Oaken’s gay family, and the attractive blonde man in there as well, his partner. It’s only a “cigarette burn moment” (did I really see that or not?) but it was there. There was also the suggestion from both anti-degeneracy factions and pro-degenerate factions that the movie’s hit song, Let it go! was an analogy for accepting and releasing repressed homosexual urges, and that Elsa’s parents shaming and hiding her ice magic, her rejection and fear of her and her magic initially by her subjects and her exile were an analogy for growing up ‘queer.’

All that aside, Frozen was criticised for all the wrong reasons by the Cultural Marxist hatemongers, racist, militant ‘POC,’ and White Replacement advocates. Some of the principal criticisms were: Arendelle was too white, there was no representation of ‘POC’ in the movie, Sami culture was completely ignored, it was one more of too many white princess Disney movies, Elsa “should have been black”, Elsa should have been explicitly lesbian, and so forth. Social media campaigns began to gain traction to pressure Di$ney to accommodate all of these perceived grievances, especially demanding Elsa become a lesbian in Frozen II. In the meantime we had the short Frozen films Frozen Fever (2015) and Olaf’s Frozen Adventure (2017), which seemed not to give in to the degenerates demands, although not necessarily out of context for Norway in the 19th century, a lone family of Jews are shown celebrating Hanukkah in Olaf’s Frozen Adventure, which dealt with end of year traditions at the time of Yule-Christmas, though Arendelles’ primary winter celebrations were thankfully and explicitly the latter. Yes, they even said the C-Word, CHRISTmas, not just holidays or even Yule.

However, this author feared that, in this day and age, a fictional kingdom like this, almost completely faithful to its source roots (Hans Christian Anderson’s, The Snow Queen) and set in pre-third world invasion Norway was too good to be true. My principal fear was, having now a captive audience of hundreds of millions of mostly young White girls and women, Frozen II would contain a more blatant cultural or racially subversive message to be forced upon a willing, naïve audience willing to shell out millions of shekels to Di$ney to see the movie over and over again, regardless of how bad it may be or how harmful or overt the Cultural Marxist message was. After six years of criticism and pressure from left of centre degenerate lobbies, we now come to Frozen II, where it seems the apparently Gentile writers and creators of the original (Chris Buck and Jennifer Lee), have caved in to a good many demands of the White Replacement Through Culture brigade. Like Peter Jackson with his (preposterously terrible) film trilogy of The Hobbit, the writers and producers of Frozen II seem compelled to re-write European folklore to reflect a post third world invasion, multicultural Europe, however fictionalised.

Frozen II

The opening sequences of Frozen II feature the citizens of Arendelle, where unlike the crowd scenes in the original, many negroes and even some Asian looking people dressed in traditional 19th century Norwegian dress, are liberally scattered throughout the depiction of the populace, like somehow Norway was never a homogenous, White country. Even more laughably and deliberately out of historical context, is the depiction of negroes, principally the character of the kingsguard, Lieutenant Mattias, voiced by Sterling K. Brown known for the black supremacist movie, Black Panther, coincidently, which was created by Jews, not blacks in the 1960’s to further foment black supremacist militancy against Americas Whites. That’s before we even get to the story, which is essentially an anti-White, White guilt narrative principally aimed at the White populations of North America, Australia and New Zealand and wherever else Whites have settled at the expense of more primitive ‘indigenous’ populations.

You see, two generations ago, Anna and Elsa’s grandfather was a horrible racist, White supremacist colonist, who did a dirty deal with the Asiatic looking ‘indigenous’ peoples of Arendelle, the Northuldra, who are based on Scandinavia’s Sami people, who now for the best part incidentally mostly look White anyway. However, the former king built a dam in the guise of helping them and “strengthening their land” but in reality it was to weaken them and control them, because uh, you know, evil Whitey. He also goes on to murder their chief from behind, which starts a war between the two races. Elsa and Anna’s young father is rescued by a Northuldra girl, who then goes on to marry him and become queen of Arendelle. The four elements, Earth, Wind, Fire and Water are apparently angry at this ancient wrongdoing and summon Elsa to come and right things in the Enchanted Forest where the Northuldra are trapped by a cursed mist, as well as surviving members of the kings guard, the minority of which are White and male, because in the 19th century, Arendelle already enacted diversity quotas into its military.

To cut a long story short, Elsa gives up her own life and rightful crown in retribution for her grandfather’s sins, whilst Anna’s only conclusion to nullify her own White guilt is to entice the Stone Giants (ripped off from The Desolation of Smaug) to destroy the dam, hence drowning and destroying her own (White) home and kingdom. Of course, White Genocide is the only way to reconcile the past wrongs inflicted upon non-White people. We see this mirrored today in the indoctrination of White youth by Marxists – the only way to make up for the ‘sins’ of your evil White ancestors is to destroy yourselves, your own culture and civilisation. Hence we see damaged and deluded young White people joining Marxist groups such as Socialist Alternative, lapping up Marxist poison in education and media and voting for pro-White genocide Marxists like the Greens at election time, and gleefully opting for non-White partners.

Anyway, of course Elsa is brought back to life through Anna’s appeasement of the White Guilt spirits through her decision and action to drown her own (White) kingdom, but thankfully Elsa intervenes with her ice magic and turns back the tsunami before it can engulf Arendelle. Not only that, but even though both Anna and Elsa look, and were criticised as being an example of being the “White – privileged ideal of beauty” by some critics of the first film, we discover that their mother is Northuldra (Sami) and hence Anna and Elsa are 50% racially mixed after all, despite looking perfectly Nordic.

The Narrative

Although visually beautiful and amazingly animated, it is not only a disappointing sequel overall, it carries several not so subliminal dangerous messages to White children especially:

– Europe (Norway) was never a homogenous White civilisation and black people were always an important and principle part of this;

– All White people carry the guilt of the past mistakes or sins of their forefathers, no matter how distant, and that your own culture and civilisation must atone for this, even at the cost of the erasure of yourself, your race, culture, your home and civilisation;

– Race mixing is not only natural and benign, but desirable and acts as a bridge between cultures and makes up for the past sins of your evil White ancestors.

I think thankfully, the past two messages may go over the heads of most little to young girls who will be inevitably drawn to see this movie over and over and they are merely going to go see their favourite princesses in another dazzling adventure without thinking too much into it. There is no keeping kids in cotton wool and simply banning children from seeing this or similar movies when everyone else is seeing it will only make you a ‘meanie’ in their eyes and they will resent you. It is a big part of responsible parenting, however young the children to point out the obvious visual falsehoods depicted in this and other films such as the Cinderella (2015) remake and the upcoming, blacked Ariel in The Little Mermaid live action remake and for older more aware children and adolescents the insidious intent of the storyline and the harm it is intended to do, and more importantly, who is ultimately behind it and why.

Scary times ahead. Frozen and Frozen II has earned Di$ney almost three billion in cinema takings, that’s not counting merchandise. There’s at least two more movies in this cash cow, no matter how bad or stupid they end up being (think Terminator, Star Wars) people will flock to them again. The 007 number has been handed over to a (very ugly, very African) black woman in the upcoming “Bond film”, No Time to Die (a movie all self-respecting White males should boycott). There’s minor gay characters in other Disney films already (Beauty and the Beast, Finding Dory and Toy Story 4).

At the end of Frozen II, despite being goddess beautiful and magic, Elsa has abdicated her rightful crown out of White guilt, is single, childless, and living with Asiatic primitives in a forest, far away from her family and people, with no prospect of a White male suitor, all because of White guilt forced upon her for wrongs she never committed, but must atone for by giving up her life of “White privilege.”

The degenerates might actually have their evil way with poor Elsa by the end. That is when parents will simply have to say “NO.”