Not all Disney princes are destined to remain in supporting roles, ceding the spotlight to the heroines. Many possess their own distinct personalities and storylines that exist independently of the princesses they love. It is these complex men we will explore, moving beyond the charming prince of Cinderella or the transformed Beast to look at characters who grapple with their own internal worlds.

The Thief with a Hidden Heart: Eugene Fitzherbert

Let's not dwell on the sad tale of the orphan Eugene Fitzherbert. His story, under the swaggering alias of Flynn Rider, is a fascinating look at identity. Eugene is not a prince by birth. And in this, the story of Tangled becomes perhaps the most realistic in its portrayal of a relationship’s power to change us. We witness profound psychological shifts in both partners.

Eugene first appears as a charismatic and clever adventurer, a thief on the run. Meeting Rapunzel is an unexpected complication. When faced with her and her frying pan, he defaults to his usual methods: charm and cunning. When his charms fail, he is forced to negotiate, agreeing to her terms and, consequently, spending time with her.

We later learn that Eugene grew up in an orphanage. There, he found a book about a character named Flynn Rider, who became the prototype for his own brilliant, thieving persona. Children raised in institutional settings can sometimes internalize social stereotypes about their potential for antisocial behavior. Faced with the hardships of adult life, some may find it difficult to resist the pressure of these stereotypes, choosing a path that seems easiest, if not the most noble. Eugene is no exception. However, we see this path conflicts with his core values. He adopts a pseudonym, creating a psychological distance—it is Flynn Rider, not Eugene Fitzherbert, committing these acts.

Crucially, he never causes Rapunzel physical harm, even when it would be the simplest way out. He does not try to exploit her magic. On the contrary, he empathizes with her, supporting her through emotional turmoil that he himself doesn't fully understand. Eugene becomes a hostage to the image he created, an image that is nearly impossible to shed on his own, especially a successful one. Such a change usually requires a significant, even traumatic, emotional event. For him, that event is Rapunzel. She is willing to accept Eugene, not Flynn Rider—even the version of him that isn't as charming, successful, or confident.

The Romantic Idealist: Prince Eric

The story of Ariel and Prince Eric, in a broad sense, shares a certain similarity with classic fairy tales. Eric, like other princes, is searching for a woman whose image he barely remembers. But unlike them, Eric actively tries to find her on his own, and his personality sets him apart from more egocentric royals.

We meet Eric before he even meets Ariel, giving us a chance to understand his character. Despite his royal status, he is not arrogant. He finds joy in simple things, like a trip on his ship, and treats people with respect regardless of their social standing. One might wonder if this is just a mask to maintain his public image, but his actions in a crisis reveal his true nature. During the storm, he fights alongside his sailors, pulls people from the water, and risks his own life to save his dog. This is not the behavior of a man merely playing a part.

From a psychological perspective, Eric’s attitude toward love is noteworthy. He feels societal pressure to marry but is determined to wait for sincere feelings. When those feelings arise for the mysterious girl who saved him, he dedicates himself completely to finding her. On one hand, this shows strength of character. On the other, it resembles an infantile infatuation more than a mature love. Eric knows nothing about his chosen one; her entire image is built upon a single heroic act. Such cognitive distortions are common in adolescence, but Eric is a young man. It suggests a more fixed personality trait.

After meeting the voiceless Ariel, he begins to build a relationship with her, all while still dreaming of the idealized stranger. In one scene, his internal conflict is clear as he reflects that a real, tender, and loving girl is better than a fantasy. He almost makes the rational choice to let go of his illusion. But the moment he hears Ursula’s enchanted voice, he abandons this progress, rushing toward the sound even before the witch’s magic fully takes hold. The plot, of course, turns to fairy-tale magic, giving Eric a reason to be disappointed in his idealized beloved. In reality, however, such a tendency toward romanticization and psychological immaturity would be a significant obstacle to building a healthy, long-term relationship. The more we idealize a partner, the more room we create for disappointment as the relationship unfolds.

The Captain Bound by Duty: Li Shang

The narrative of the brave warrior Mulan is radically different from typical Disney stories. The heroine fights not for love, but for her country and for gender equality. The love story is a secondary element that emerges only at the end. We can analyze Li Shang’s psychological profile primarily through his relationship with duty and rules, not his romance with Mulan.

Duty is perhaps the central value for the young captain. He was raised by his father, a renowned military general. We see his father is a powerful figure whose self-confidence undoubtedly set an incredibly high bar for his son. This was likely reflected in Li Shang's upbringing, as he employs the same demanding strategy when training his own recruits, setting seemingly impossible tasks. While such harsh methods can yield results, from a psychological standpoint, they can do more harm than good. When a child consistently fails to meet such high expectations, it can damage their fundamental sense of self-efficacy.

Furthermore, Li Shang is under immense pressure due to his father’s position. Every achievement, including his promotion to captain, is shadowed by the question: did he earn it, or was it his father’s influence? This is why his constant pursuit of perfection and his adherence to rules, rather than his own emotions, is the only psychologically safe path for him.

The first time we see Li Shang break a rule is when he refuses to execute Mulan after her identity is revealed. Yet even this decision he attempts to justify with another rule: "A life for a life." Such a mindset is incredibly useful in a military setting, but it significantly complicates one's personal life. Even showing his affection for Mulan is something he feels he cannot do without the Emperor’s prompting. Understanding how to recognize our own moods and allow ourselves to show emotion is crucial not just for our own well-being, but for our ability to connect with others.

References

• Erikson, E. H. (1994). Identity: Youth and Crisis. W. W. Norton & Company.
  This foundational work in developmental psychology explores the stages of psychosocial development. Eugene Fitzherbert's story is a clear illustration of the "Identity vs. Role Confusion" stage. Raised as an orphan and facing societal stereotypes, he constructs the "Flynn Rider" persona as a defense mechanism and a way to navigate a world where he lacks a defined role, only finding his true identity through a relationship based on genuine acceptance (pp. 131-135).
• Goleman, D. (2005). Emotional Intelligence: Why It Can Matter More Than IQ. Bantam Books.
  Goleman's work explains that emotional awareness is a distinct skill that is critical for life success and healthy relationships. Li Shang’s character arc demonstrates a man with high conventional intelligence and discipline but underdeveloped emotional intelligence. His rigid adherence to rules and difficulty expressing personal feelings reflect a learned suppression of emotion, a common outcome of an upbringing focused solely on achievement and duty rather than emotional expression (pp. 56-65).
• Sternberg, R. J. (1986). A triangular theory of love. Psychological Review, 93(2), 119–135.
  This paper outlines three components of love: intimacy, passion, and commitment. Prince Eric's initial feelings for Ariel exemplify "infatuated love," which is characterized by the presence of passion in the absence of intimacy and commitment. His obsession with an idealized image of his rescuer, about whom he knows nothing, is a perfect example of this concept, highlighting the psychological difference between an intense crush and a more mature, multifaceted love (p. 123).