Said to have been “inspired by” Hans Christian Andersen’s The Snow Queen, it retains virtually nothing from that characteristically weird but undoubtedly enchanted paean to childish innocence — which is pre-sexual, pro-Christian and anti-rationalist. Instead, all the fairy tale conventions are deliberately subverted, along with the “gender” norms on which they so often depend. Instead of moral lessons, they teach the avoidance of “stereotypes”; instead of the examples of piety that are frequent in Andersen, there are therapeutic nostrums about being solicitous of self; instead of the wicked Snow Queen, there is only poor, differently-abled Elsa (voiced by Idina Menzel) who suffers through no fault of her own from a tendency to freeze everything she touches. When she retreats to her remote ice palace it is not to harm anyone but to avoid harming anyone — that and being free at last to be “who I am.”