Odile is the daughter of the Goblin Necromancer, Rothbart, and the famed villainess of the classical ballet, however within this adaptation she represents more than just a one dimensional opponent of 'goodness' and 'true love'. She is one half of a narrative dichotomy that begs to beget the definition of true confidence. Odile represents envy, self obsession, and derision.
Her character fundamentally exists inside of the ego - that competitive spark within all of us that makes envy bubble in the pits of our stomachs and charges us to draw a line between ourselves and others. Rothbart built up within her the compulsion that in order to be truly beloved she must first be superior to all others. And for that reason within this story her character is not so much a villain as she is a tragic victim.
When the key to confidence exists at the whim of the perceptions of every person that surrounds you, you cannot truly belong to yourself, nor can your confidence withstand judgment. It is a fiercely fragile trophy. Every gained admirer sends Odile to the gates of heaven, every rejection drags her to hell. Though she is quite talented in delivering a charming performance, after a life spent fervently chasing the golden carrot hanging from a stick in front of her, failure is her inescapable mortal prophecy.
Odile's world revolves around superiority because she believes that once she achieves it perfectly she will finally receive the love she's dreamed of, however it is that competitive, egotistical nature itself that bars her from developing true intimacy with others and ultimately, satisfaction.
