Keynote songs, with their defiant lyrics and rising chords, marked "Frozen"
, and, more recently, "The Greatest Showman"
. But I've listened to them differently, with a bit wider experience, and what I hear is the song of a Villain, someone who is not constrained by law, civilization, or order.
And these are the people treated as heroes and heroines in these musicals. It's more blatant in Showman where the song is entitled to demand love and attention, to disrupt wherever it leads, than in Frozen: but Frozen idolizes the raging storm, not the civilized hearth.
I am reminded of the experiment showing the superiority of Patriarchy
shown on the various iterations of "Survivor" (the article talks about the Dutch version, which recalls Robinson Crusoe). A men's island and a women's island are set out, and the men drift about, solving problems as they go, building huts, benches, finding ways to utilize what's there, while the women sunbathe, eat the supplies, and complain about sand fleas. There's only so long the producers can put up with this, though, so they trade three women for three men on the two islands, with the expected results.
If opposing order is your reason for being, you're a parasite on the order. You need it, as you destroy it. The Villain must have someplace to spend the ill-gotten gains, and some productive people to order around, or starve. None of those three alternatives is healthy, and all of them involve sharing the consequences of evil.