writing about princess elena

Full name

Elena Castillo Flores

Personality

Smart, determined, bold, caring, loving, responsible, open-minded, brave, compassionate, family-orientated, honorable, affectionate, reckless, slightly careless, impatient, supportive, understanding

Appearance

Slender, olive skin, rosy cheeks, red lips, long ponytaile, wavy, dark brown hair, amber brown eyes, a sharp face

Occupation

Crown Princess of Avalor

Alignment

Good

Goal

To become Queen

Home

Avalor

Relatives

King Raul (father; deceased)

Queen Lucia (mother; deceased)

Princess Isabel (younger sister)

Francisco (maternal grandfather)

Luisa (maternal grandmother)

Chancellor Esteban (maternal first cousin)

Relatives

King Raul (father; deceased)

Queen Lucia (mother; deceased)

Princess Isabel (younger sister)

Francisco (maternal grandfather)

Luisa (maternal grandmother)

Chancellor Esteban (maternal first cousin)

Dislikes

Disappointing her loved ones, being careless, being told what to do, being judged by Esteban

Powers and abilities

Magic, Skilled in Sword fighting, Ability to see Zuzo

Once there was a girl named elena she was a princess she lived in a beautiful carsel with her queen and king princess elena s thing to do is to do dancing and something else like walking around with her wand. Elena is a type of girl who wants to save her kingdom -princess elena is not going to get anyone to do it for her because gerber stresses but at 16 elena is still figuring out how she is still figuring out how to lead. Elena has the heart and mind of a true leader. She is devoted welfare of her subjects her family and her friends. She is  to hold her father in a high esteem and looks at him like a expiration like the person who freed her. Elena values keeping promises no matter what and has a dislike of disappointing her loved ones. Also like Sofia, she has a personal approach to leadership. Unlike Sofia, Elena is very confident, so much so that she can be careless. Also unlike Sofia, who is quite particular, Elena can rush into things and miss key points. Her grandfather Francisco noted this to her through the story of the king who thought he had lost his crown, a way of telling her she wasn't ready to rule alone. Elena is reluctant to take advice at the beginning, while Sofia can take too much advice. At sixteen years of age, Elena is a beautiful olive-skinned girl, with a slender figure and amber-brown eyes. She has ruby red lips and long dark brown hair tied in a ponytail.

Her signature outfit is a long red sleeveless over-skirt dress stylized with matching coral gauze ruffle/flounces around the elastic neckline and on the side and bottom with an attached ivory colored underskirt. Around her waist is a golden belt held in place with a golden buckle. She wears brown high heeled shoes with flowery patterns. Elena's jewelry includes a pair of golden engraved hoop earrings, a braided beaded bracelet on her left wrist, and a flower hair comb clip in the right side of her hair.

She also usually wears an elegant, flowing yet once again ruffled flower motif red ball-gown with a pink sash for more formal occasions. With this she retains her usual ponytail, yet swaps out the flower hair combs for a tiara, and her hoop earrings for hanging jeweled earrings. Elena will appear in the upcoming special Elena and the Secret of Avalor. When Elena's parents and kingdom were taken from her by the evil sorceress, Shuriki, Elena bravely faced the sorceress to protect her little sister, Princess Isabel, and her grandparents, but in the process, the Amulet of Avalor pulled her inside its enchanted jewel, saving her life but imprisoning her at the same time. Forty-one years later[1], Sofia discovers the truth about the amulet and sets out to restore Elena to her human form and help her return to the Kingdom of Avalor. Elena's story following her appearance in Sofia the First takes place in this show.

She becomes Ruler of the Kingdom of Avalor. But due to her age, she has to rule Avalor with a Grand Council comprised of her Grandfather Francisco, Grandmother Luisa, cousin Esteban, and friend Naomi.

With some magical friends by her side – Mateo, a wizard-in-training, and Skylar, a magical flying creature – not to mention her newest member of the royal guard, Gabe, Princess Elena's adventures will lead her to understand that her new role requires thoughtfulness, resilience and compassion. Like many kids born sometime in the mid-’80s, I grew up watching (and rewatching) the golden-age trifecta of Disney movies: The Little Mermaid, Aladdin, and Beauty and the Beast. I knew every line and every lyric of these films, and was the proud owner of a Little Mermaid sleeping bag and lunch box. These classics will always hold a dear place in my heart, but as an adult, I’ve come to terms with the fact that these movies often projected a pretty terrible message to young girls.

Think about it: Princess Ariel gave up her voice (and later her family) after falling in love at first sight with the dreamy-eyed Prince Eric. Princess Jasmine’s greatest achievement was the fact that she refused to marry royalty and instead settled for the good-hearted yet poor villager, Aladdin. And while Belle was a nonconformist book lover, the movie puts its emphasis on her beauty, not her intelligence.

Aside from its feminist issues, Disney has also faced criticism in recent years for its lack of diversity. As of now, there has only been one black princess in its animated canon, Tiana from The Princess and The Frog. And earlier this year, a campaign to have the first-ever gay Disney princess, Elsa from Frozen, took off after the hashtag  started trending on Twitter. Then in January 2015, Disney announced it was introducing its very first Latina princess, Elena of Avalor, in a new TV series on the Disney Channel. The news was met with overwhelming excitement. As a Latin-American mother of a young daughter, I was curious to see how the show, which melds a variety of different Latino cultures together, would hold up. I was hopeful that this cartoon would allow my daughter to see her parents’ culture reflected on TV. Thankfully, the first episode of Elena of Avalor, which premieres tonight, presents a multitude of Latino traditions in a fun way, without ever falling into the trap of stereotypes. The opening song is a catchy merengue tune like the ones I grew up dancing to back in Venezuela. A few of the characters, such as Elena’s grandparents, have noticeable accents, similar to the ones my parents have. And most of the people who live in Avalor have Spanish names like Mateo, Luna, and Francisco.

Aside from the tasteful cultural representation, Elena of Avalor also wins big points for the positive and feminist portrayal of its titular heroine. After losing her parents to an evil sorceress, Elena, a sixteen-year-old princess, is busy trying to figure out how to rule the land of Avalor. In the first episode, she displays bravery when attempting to rescue her younger sister, and later learns the benefits of diplomacy in times of crisis. Despite being only a teenager, Elena also displays a healthy confidence in her ability to rule over the kingdom. And when she’s tasked with choosing a grand council of advisors to help her lead, she takes a page from Canada’s Prime Minister Justin Trudeau and appoints a gender-equal cabinet.

Aimee Carrero, an actress of Dominican and Puerto Rican heritage currently starring in Freeform’s Young and Hungry, provides the voice of Elena. “She’s tenacious and flawed and funny and compassionate,” she said over the phone. “One of my favorite things about her is that when she fails, she always, always tries again.”

Perhaps the most progressive aspect of Disney’s Elena of Avalor is that there are no plans to have a romantic interest for the princess. While there are plenty of male characters in the mix, Elena’s relationship with all of them will be strictly platonic. “She’s her own hero,” Carrero explained. “I think it’s a derivative of what’s happening now in our generation. People are finding partners later in life; they’re settling down later. Elena is just focused on her job and on her personal growth and I think that’s true for young women today.”

For the past few years, researchers have been studying the effects the Disney princesses of yore have had on kids, and most of all on young girls. We’ll have to wait a couple of years before we find out what kind of an impact Elena—a strong, female leader, who also happens to be a princess—will have on this new generation of children. For now, it seems like a step in the right direction. I, for one, will definitely be buying my daughter an Elena lunch box as soon as she’s ready. Queen Sugar, the new television show created by Ava DuVernay for Oprah’s OWN network (adapted from a 2014 novel by Natalie Baszile), begins in bed. A slinky black woman wakes up next to a muscly, undercut-sporting white guy. She slips out from beneath the covers and begins gathering her clothes, universal cue that we’re party to the morning after a one-night stand. But no: He turns over, smiles, hops up to help her get dressed. It’s an odd and oddly sexy reversal of the standard bodice-ripping seduction scene. This relationship is not what it seems, and this show is not either.

There are plenty of steamy plotlines, but Queen Sugar, at least based on the three episodes made available to press ahead of tonight’s premiere, is best at exploring the things that happen when its characters have their clothes on. DuVernay has made a show that is, at its heart, about work: what happens when you have it; what happens when you don’t; and what happens when race, circumstance, and history means you can’t get it.

She explores those questions through the travails of the estranged, wildly different Bordelon siblings, who by the end of the first episode have been drawn back together at the family homestead in rural Louisiana following the sudden death of their beloved father. Ernest Bordelon (Glynn Turman) leaves his children the land on which he spent his life growing sugar cane (hence the show’s title), along with a burdensome dying wish that they continue to farm it.

None of the three Bordelon children seem quite up for the task. Nova (Rutina Wesley)—of the opening non-sex scene—has many callings, but farmer isn’t one of them. She’s a hard-nosed journalist, a reporter of social ills, an activist who organizes marches and visits juvenile defenders in prison, and some sort of mystical soothsaying healer, whose balms are not always legal (in an early scene we watch her offer an ailing older woman a joint).