Kathryn Skaggs, also known as “A Well-Behaved Mormon Woman” (according to the title of her blog), recently wrote about the movie Frozen and laid out in painstaking, totally reasonable detail a coherent argument for how the film advocates a gay agenda. She saw the movie three times with various combinations of grandchildren, subjecting them to said gay agenda, but the repeated viewings were worth it:

… I enjoyed watching the movie, every single time, for a number of reasons. It actually gave me a good opportunity to confirm my initial reaction, and in so doing, I could blatantly see that the homosexual agenda, to normalize the practice, was not simply an underlying message in the movie Frozen, but is the actual story.

And if seeing the movie three times is what it took for her to elucidate and communicate the true message behind Frozen to her readers, then I say: Bravo. A worthy sacrifice.

After reading Skaggs’ thoughts, I was left wondering what other agendas are craftily hidden in the film, which masquerades as being appropriate for children when, in reality, it is not appropriate for any moral person of any age. Some of the folks here at fMh have organized a think tank of sorts, and we’ve uncovered some more nasty subliminal messages.

By introducing these concerns of ours, we in no way mean to insult or offend Kathryn Skaggs or any readers who found her post valuable. We want to be very clear on this point, just as Skaggs clarified that her intention was not to hurt gay people or offend anyone who supports same-sex marriage. Just imagine a big “No offense, but” before every paragraph in this post. “No offense” is a great tool to use when you’re saying something that you know is offensive but you don’t want to take the heat for it.

NOTE: The following paragraphs contain spoilers. But nothing could spoil your children so much as watching Frozen unaware of the dangerous messages hidden throughout, so please read on.

Without further ado, here are some of the troubling agendas that Frozen is subtly forcing into your child’s brain:

Frozen has a strong pro-polygamy sentiment and encourages unsuspecting viewers to take part in unsanctioned plural marriage.

Kristoff and Anna are on their way to a fulfilling marital relationship by the end of the film. But where does that leave Elsa? Reading between the lines, one can see the inevitable implementation of a polygamous relationship. Kristoff will marry Anna, and later on, he will propose marriage to Elsa. Her role as Queen of Arendelle will mean that all three can live happily in the castle together, raising children unto the Lord. But as there is no indication of an authorized prophet in the kingdom, this plural marriage is impermissible. Teaching children that it’s okay to marry more than one person without God’s say-so is the height of heresy.

Frozen advocates participation in extreme winter sports, which are notoriously dangerous and favored by boys with hair that is too long.

In the film, we see characters careen down a mountain on an out-of-control sleigh (translation: luge, bobsled) and also leap off a snowy cliff with very little advance planning (translation: snowboarding, skiing). These scenes send the message that extreme winter sports are “rad” and “sweet,” as the kids say. The exhilaration is portrayed as desirable instead of irresponsible. Young people who watch this show will be left with a strange desire to experiment with snowplay. And do you think it’s a coincidence that the film was released shortly before the 2014 Winter Olympics in Sochi? I sure don’t. These two events were planned in tandem, so that one could pave the way for the other and even more thoroughly indoctrinate young people with thoughts of snowplay (and probably communism as well, because Russia).

Frozen portrays unsafe driving habits, influencing children to think it is “cool” to drive in such a manner.

As Julia noted, “Frozen consistently tries to promote and normalize radical unsafe driving. Kristoff is an unkempt hooligan who steers a sleigh without regard for the safety of anyone around him, which included destroying an entire sleigh. Regardless of the dangerous situations he actively creates, he is idealized and rewarded throughout the movie, including being given a newer, nicer sled for free. He shows our children that unsafe driving is something to be looked up to and praised.”

Frozen buys into widely-perpetuated myths about climate change (ie “global warming”), laying a foundation for later acceptance of environmentalism.

The entire plot of Frozen pivots around the fact that Elsa creates an endless winter in the land of Arendelle. You may have missed how this storyline plays right into the hands of the world’s most vicious environmentalist lies. (If you did, don’t feel bad; the film gradually hypnotizes viewers into missing what’s right in front of them. Lucky for you, we are very smart and perceptive, so we can help you put the pieces together.) The widespread myth of global warming teaches children that humankind is responsible for damaging the earth and therefore also responsible for fixing it. Elsa has to create winter, just as progressives would have you believe that scientists have to correct climate change and restore balance to the earth’s weather patterns.

Frozen portrays capitalism in a favorable light and uses Hollywood trickery to make capitalists seem delightful and sweet when they are actually monsters.

Oaken, the owner of Wandering Oaken’s Trading Post and Sauna, exemplifies capitalism in the film, demonstrating his money-hungry ways by changing the prices of his goods to benefit his bottom line and make him rich while hurting customers (ie the impoverished). The animators and voice actors cleverly disguise Oaken’s evil choices by giving him a fun hat, suspenders, and a charming accent, thereby teaching children that taking financial advantage of others will make you as cute and lovable as this Scandinavian man.

Frozen has a strong theme of female empowerment and female bonding, which leads to lesbianism, witchcraft, and women with hairy legs.

Many Disney films through the years have shown romantic love between a man and a woman as being what ultimately saves the day. In Frozen, though there are subplots of male/female romances, the most important relationship is between the two sisters, Elsa and Anna. The love between these sisters is capable of transforming Arendelle from its bitterly cold winter to a picturesque summer. While many have celebrated this powerful relationship between sisters, we here at fMh see it for what it really is: a feminist agenda. Viewers leave the theater with the new notion that perhaps men aren’t necessary after all. If a woman can save another woman, and if they can save an entire kingdom together, what use do men have?

The filmmakers reportedly traveled to Norway and recorded the all-female (in other words, male-less) choir Cantus for some of the film’s music. Music is a classic tool used to subliminally communicate hidden messages to listeners, and in this case, the message is that you can create beautiful songs without male voices. What else can you create without men, one wonders. Families headed by two women? Better governments? A more sophisticated, peaceful world? That’s what the progressives behind Frozen would have you believe.

Frozen is a tool of the Obama administration to increase the popularity of universal health care.

This one’s easy to miss, but trust us, it’s there. After being injured in the ice castle by her sister, Anna’s health is compromised. She believes that a kiss from Hans, her fiance, will save her. Just as Hans is about to kiss her, he reveals that his love is all an act and withholds his life-saving kiss. We then see Anna suffer from lack of warmth … or is that really what she’s lacking? One may be tempted to think, “If only there were some kind of universally accessible medical care in Arendelle! Then Anna would be healed!” We see those who are against universal health care as similar to the cunning, selfish Hans, keeping medical care from those who most need it. It would hardly be surprising to learn that some of President Obama’s top aides were consulted on this part of the plot.

Frozen praises obesity and excessive consumption of sugary sweets.

Even though Anna is a princess who’s supposed to maintain a sense of restraint and propriety, she has an unquenchable desire for unhealthy foods; this encourages youth to develop damaging eating habits. In a country where childhood obesity is such a problem, is that really the message Disney should be sending? Additionally, Frozen showcases an adorably chubby snowman; you almost can’t help but believe that being fat is cute.

At the same time, Frozen promotes anorexia and a ridiculous, unattainable image of the female form.

The body proportions of our leading female characters are all kinds of crazy. Elsa’s eyeballs are bigger than her wrists. Her shoulders are shockingly narrow. No real woman could maintain such a frame through low-calorie consumption and still have that lustrous hair. By casting Elsa as a mysterious, powerful woman, young girls will be led to believe that they, too, should aspire to a physical form like hers, not knowing that they can’t expect to look like a cartoon.

Frozen aims to increase acceptance for bestiality, snowman fetishes, and other depraved expressions of sexuality.

The relationship between Kristoff and his reindeer Sven is a little too-close-for-comfort. What’s really going on with those two? In the absence of a woman to be intimate with, is Sven considered a convenient replacement? It is no coincidence that the songs for Frozen were written by Robert Lopez and Kristen Anderson-Lopez, who previously contributed their talents to Winnie the Pooh, that hotbed of anthropomorphism and distorted sexual messages.

Frozen seeks to normalize drug use.

We haven’t quite nailed this one down, but in the opening ice-picking scene, it seems like there are some drug references. Also, snow = cocaine.

But, we are happy to report, Frozen also communicates the Christian teachings of repentance and forgiveness.

When Elsa hurts Anna with her magic powers, the injured Anna is taken to the trolls in the forest, who remove all memory of the incident. This can be likened to how God will take our sins and “remember them no more” once we repent. Later on in the story, Anna is determined to bring Elsa back home to Arendelle and seeks to convince her sister that all will be forgiven; she doesn’t hold any ill will or resentment towards Elsa because of her mistakes and only tries to reestablish the loving relationship they once had. If Anna is compared to Christ and Elsa is compared to us as humans, we begin to see a beautiful metaphor for how Christ seeks to rescue us and only wants our highest happiness in an eternal, celestial kingdom (ie Arendelle), not to punish us unnecessarily because of our sins. If you could somehow isolate these scenes from the pro-gay/pro-environmentalism/anti-health/pro-drug rhetoric of the film, you’d have a great movie to show at a youth fireside.

In the course of our conversation, Rune made this observation about other popular children’s films:

“Toy Story is totally the saga of two men helping each other adjust to their complicated and hidden sexualities. I mean, Buzz and Woody? C’mon, really. It’s not just a coincidence that Woody’s supposed hetero love interest disappears after the first movie to make room for Buzz.

“Finding Nemo is pro-transsexual, because clownfish. If a male clownfish loses the female of the family, like what happened in the movie, he will become female. The dad in the movie was totally getting in touch with his feminine side the whole time, as represented by Dory, and trying to restore other male representation to the family so he can complete his transition. Because clownfish.

“The Cars franchise is totally pro-transhumanism, which we all know is liberal moral relativism and other such mumbo-jumbo.

“And Brave tries to teach us that redheads are actually people with souls or something. Talk about nasty liberal agendas.”

Check your movie shelves and Netflix queues, my friends. Unseen dangers lie in wait.

***

My dad is fond of saying “Others are only mirrors of you,” something he learned from the book If Life Is A Game, These Are The Rules. According to the author, this means that “You cannot love or hate something about another person unless it reflects something you love or hate about yourself.” We find meaning that reflects our own hangups, problems, joys, and questions.

There’s no question that Frozen, along with almost any other movie, book, or fairy tale story, carries deeper meanings. We can even find connections to lessons from our own lives that the film’s creators never intended. This is the nature of fiction.

When I saw Frozen with my family a few days after Christmas, I saw more than Anna and Elsa and the summer-loving snowman. I internalized messages about sisterhood, independence, shame, vulnerability, self-acceptance, and the power of love. I was empowered and uplifted. It’s not hard to imagine others finding their own meanings, ones that focus on the topics that are most valuable to them. Are there messages about homosexuality? Certainly, for those with eyes to see them, for good or for ill.

But what we find in this film is, I believe, largely a reflection of us. It reflects our values, our fears. What you see is a mirror of you. What I see is a mirror of me. What Kathryn Skaggs sees is a mirror of Kathryn Skaggs.

[To read what a couple of feminist mormon girls saw in the story check out the original FMH review by our guest 8 and 10 year old]