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Can’t Let It Go: “Frozen II” and Grappling With the Past…

As far as animated sequels go, Frozen II works well. For better or for worse, it goes bigger and grander, sacrificing a little focus for a larger story.

However, the most striking aspect of Frozen II is the way in which it seems to grapple with one of the big existential anxieties of the modern era. Frozen II spends a lot of time and energy delving into the histories of Anna and Elsa, opening with a mythology-building flashback and offering a few tantalising hints about the source of Elsa’s power. However, this is part of a larger conversation that unfolds across the film’s runtime. Frozen II isn’t just about grappling with Anna and Elsa’s personal history, it is asking more ambitious questions about how the past shapes the present.

Of course, Frozen II is the story of two sisters embarking on an epic quest with an adorable snowman. However, it is also a story about the legacy of colonial exploitation of indigenous populations by nominally more advanced societies, and about coming to terms with the consequences of those historical injustices in the modern era. It isn’t always elegant or perfect. Indeed, Frozen II occasionally seems quite candid that it doesn’t know the answers to the questions that it is broaching.

Nevertheless, it’s fascinating to see these topics permeating popular culture, with shows like Watchmen and films like Thor: Ragnarok grappling with questions of what it means to live in a society built on historical injustice.

Note: This piece contains spoilers for Frozen II.

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Star Trek: Voyager – Homestead (Review)

Homestead represents the culmination of certain impulses within Star Trek: Voyager.

To be fair, some of those impulses were baked into the show from the outset. The end of Caretaker immediately and effectively established the central premise of the series. Voyager was to be a story about a crew trying to get “home.” Of course, the question of what “home” actually meant was always up for debate. Perhaps “home” could be the unlikely bond that this crew formed with one another, a strange alliance of misfits who found a way to belong together in a way they never could apart; the idea of “home” at the heart of Star Trek: Deep Space Nine, for example.

“Home.”

However, over the following seven seasons, the idea of “home” came into sharp focus. “Home” was not so much about finding an abstract place where a person might belong. “Home” was about returning to a point of origin. “Home” was a not place that could be created or developed, it was a nostalgic ideal. “Home” was not somewhere that could be found on “the final frontier.” In fact, it was the exact opposite. It was a fixed place that was (by definition) as far from the frontier as possible. This theme was heavily articulated in the show’s seventh and final season.

Of course, this very narrow and rigid definition of “home” creates a problem for one member of the cast. Voyager repeatedly and consciously assumes that all of its cast belong in the Alpha Quadrant, because they originated there. It does not matter that Tom Paris never fit in at home, or that the Maquis characters never integrated into Starfleet. It does not matter that Seven of Nine cannot remember Earth. These characters are going back to their point of origin, because that is what “home” means. What, then, of Neelix? How does Neelix get to go “home”?

“Home.”

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125. V for Vendetta (#153)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, James McTeigue’s V for Vendetta.

Accosted by “finger men” for breaking curfew, Evey Hammond is rescued by a mysterious stranger who only introduces himself as “V.” As Evey finds herself drawn deeper into the world of this violent vaudevillian figure and as she discovers more and more of his plot to topple the country’s totalitarian regime, Evey finds herself wonder whether this masked figure is a vigilante or villain.

At time of recording, it was ranked the 153rd best movie of all time on the Internet Movie Database.

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