Pixar Doesn’t Struggle with Originality, It Faces a Universality Issue

      Joseph Jenkinson discusses Pixar’s “originality problem” and its evolving storytelling focus…

      Pixar built its reputation on a seemingly endless series of original narratives. Except for the occasional return to the Toy Story universe, the years from 1995 to 2010—often seen as the studio’s golden era—were characterized by many beloved films that appealed to audiences of all ages. However, in recent years, sequels and prequels have increasingly dominated Pixar’s releases.

      This trend has drawn criticism from moviegoers. Once considered the industry’s most consistent source of new ideas, Pixar is now often accused of depending too much on established franchises. Yet, the issue may not necessarily be that Pixar has run out of original concepts; it could be related to the types of stories the studio is currently telling.

      In recent times, Pixar’s original films have faced challenges replicating the commercial success of their predecessors. The COVID-19 pandemic cut short Onward's box office run, while Soul, Luca, and Turning Red were all redirected to Disney+. Lightyear resulted in a loss of over $100 million for Disney, Elemental struggled initially before attracting an audience, and Elio had the lowest opening weekend, earning just $21 million—marking a historic low for the studio.

      A BBC Culture article noted that Elio's failure indicates that “films face much stiffer competition if they aren't sequels or prequels […] or some unholy combination of both.” Indeed, Pixar's notable achievements as of late have stemmed from familiar titles. Inside Out 2 became the highest-grossing film of 2024 and one of the top animated films of all time, while Toy Story continues to showcase the lasting appeal of its characters with its fifth installment, released nearly thirty years after the original.

      While nostalgia plays a part in this trend, audience attraction to familiar worlds and characters does not fully account for why Pixar's original films once held the same cultural significance. There was a time when viewers embraced entirely new ideas with the same excitement they now reserve for sequels.

      So, if Pixar is still creating original stories, why do they not seem to resonate as much anymore?

      On X, one user expressed their disappointment with Elio and Pixar’s recent original works post-COVID:

      Pixar used to be about “What if toys had feelings?” or “What if rats cooked?” Now it feels like it’s about “what if a socially awkward 13-year-old had trauma?” It’s as if they forgot the assignment.

      Though this critique may be oversimplified, it underscores a shift in Pixar's narrative style. The classic Pixar films from 1995 to 2010 often began with high-concept ideas that anyone could easily connect with.

      Certainly, audiences appreciated Pixar’s technical achievements, such as the lifelike portrayal of the ocean in Finding Nemo or the realistic detail of rust in Wall-E. However, the studio's true distinction lay in its capability to reflect human experiences through absurd concepts.

      Toy Story was not solely about toys but about the fear of replacement. Ratatouille went beyond cooking, addressing the yearning to follow one’s passions despite one’s background and a lack of familial support. The absurdity of these concepts drew audiences in, while the emotional richness made them resonate.

      However, there is another side to consider. While these themes are considerably profound—especially for films primarily targeting children and families—the earlier movies never lost sight of the playful, vibrant, and whimsical nature of storytelling. Up, while contemplating grief and letting go, introduced audiences to a house floating in the sky attached to balloons.

      From Universal to Personal

      Recent Pixar films like Onward, Turning Red, Elemental, and Elio focus on deeply personal emotional experiences. Onward tackles themes of grief and parental loss; Turning Red delves into puberty and generational trauma; Elemental reflects on immigration and cultural assimilation; Elio addresses loneliness and the desire for belonging.

      These themes are highly valuable, so the concern is not that modern Pixar has become overly emotional—Pixar has always been emotional. The distinction lies in the fact that these emotions increasingly dominate the narrative, rather than emerging organically from the story premise.

      One notable example is, indeed, one of Pixar’s standout films of the 2020s: Soul. The film reflects themes similar to Toy Story’s existential inquiries. It follows Joe Gardner, a struggling musician who unexpectedly dies prior to realizing his lifelong dream. Upon release, many critics deemed it a return to form for the studio.

      Ironically, Soul also exemplifies the challenges facing modern Pixar. Its exploration of purpose and self-worth strikes a chord with adults who have pondered their life paths. However, unlike Toy Story, Soul places these themes front and center.

      When comparing Joe Gardner’s anxiety over failing to achieve his dreams with Woody’s fear of being supplanted by Buzz Lightyear, both narratives grapple with remarkably similar concerns. The difference lies in Toy Story’s ability to convey these ideas through