So I’m sitting in Johnny’s Pizza on my lunch break, and the radio’s playing. “Red Letters” by Crowder. “Play that Funky Music” by Wild Cherry. “Let it Go” by Idina Menzel.
Let It Go?
How many songs from a Disney kids’ movie are getting radio play 6 years later?
The movie came out in 2013. In pop culture, that’s ancient history. To put it in perspective, that’s the same year Planes, World War Z, and Iron Man 3 came out. You don’t see anything off those sound tracks getting airtime.
But here is Idina Menzel on the radio, singing the one thing from that movie that turned out to be an enduring addition to our cultural legacy (enduring in pop culture terms, anyway).
The plot of the film follows princess Elsa through her journey:
- hiding her ability (and loathing herself because she has it),
- exposure to the whole kingdom
- her community fears and rejects her
- she isolates herself from the community, freezing the whole kingdom and nearly committing murder as a result
- she eventually comes to terms with her ability, the community receives her, and she’s able to use her gifts for the benefit of the community.
Now, taking a look at that story arc, ask yourself: which one of those story beats is immmortalized in the song that has outlasted every other part of the movie?
It’s not the ending, where Elsa integrates with her community. No, it’s when she’s maximally alienated, inadvertently freezing the whole kingdom, and about to nearly kill a few people. (On that last: if this were an action movie instead of an animated kids’ flick, Elsa would definitely have killed the two assassins, with the audience cheering her on.)
When she doesn’t care about anyone. When she is ignoring everyone else so hard that she’s destroying her entire country–that’s what resonated with the culture so well that we’re still playing it on the radio 6 years later. For that matter, that’s what resonated with the makers of the film so much that they built the musical centerpiece of the film around it (no such iconic anthem adorns the narrative climax of the film, or the resolution). Why is that?
Because as a culture, this is where we are. We identify with mid-film Elsa — alienated, isolated, unwittingly destructive, possibly murderous. And you know what? There are some things to repent of there, but there’s also something to celebrate. Elsa’s story didn’t stop there; ours doesn’t have to either.
We live in a cultural moment when the supernatural is making a comeback. We went through a phase of profound materialism; we didn’t believe in miracles; we believed in electricity, vacuum cleaners, penicillin, and 401(k) plans. But we’re waking up. And waking up, many people—who were told their own version of “conceal, don’t feel” in early life—are now going through Elsa’s teenage rebellion.
They absorbed the culture’s fear and rejection until they couldn’t take it anymore, couldn’t hide it anymore, and now they’re done. And they don’t care about a culture that didn’t care about them. My hope and prayer for them is that they recognize this as a stage that will pass, and they grow up and reintegrate, as Elsa did.
We like to think that in the church, none of this has much to do with us. Baloney.
We accommodated the culture, hugely. We suppressed the supernatural in our midst — we were (sometimes) happy to believe in miracles and supernatural doings in the past, so long as we could remain safely insulated by the padding of many centuries. Many of us refuse to believe such things even in church history, still less in the present day. When it comes to supernatural doings in the church, if it’s not in Acts, it didn’t happen, and if it is in Acts, it’s “transitional,” not to be expected today. They get you going and coming — and this is why many people with genuine supernatural gifting find no home in the churches.
But we cannot afford such comforting lies. We have our own Elsas out there on the mountainside. It’s time to go get them.