Pixar Isn't Facing an Originality Issue; It's Dealing with a Universality Challenge.

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

      Pixar has built its reputation on a seemingly unending series of original narratives. Except for the occasional return to the Toy Story universe, the timeframe from 1995 to 2010 (commonly seen as the studio’s golden age) was characterized by a succession of cherished films that appealed to audiences of various ages. However, in the years that followed, sequels and prequels have increasingly dominated Pixar’s offerings.

      This trend has drawn considerable criticism from moviegoers. Once considered the most dependable source for innovative ideas in the industry, Pixar is now often accused of depending too much on existing franchises. Yet, the issue might not stem from a lack of original concepts. Instead, it could be related to the nature of the stories being told.

      In recent years, Pixar’s original features have had difficulty matching the financial success of their predecessors. The COVID-19 pandemic shortened Onward’s box office run, while Soul, Luca, and Turning Red were all redirected to Disney+. Lightyear incurred losses exceeding $100 million for Disney, Elemental had a slow start before eventually finding an audience, and Elio recorded the lowest opening weekend in Pixar's history at $21 million.

      A BBC Culture article suggests that Elio’s failure implies “it’s much more challenging for films to succeed if they aren’t sequels or prequels […] or some unholy combination of the above.” Indeed, Pixar’s most notable recent successes have been from familiar titles. Inside Out 2 became the highest-grossing film of 2024 and one of the top-grossing animated films ever, while Toy Story continues to showcase the lasting appeal of its characters with a fifth installment nearly three decades after the original.

      It's easy to attribute this trend to nostalgia; audiences are inherently drawn to familiar characters and worlds. However, mere familiarity does not fully explain why Pixar’s original films once held such cultural significance. There was a time when audiences welcomed entirely new concepts with the same enthusiasm they now reserve for sequels.

      If Pixar is still crafting original stories, why do they seem to resonate less now?

      Pixar “Forgot the Assignment?” On social media, one user expressed their discontent with Elio and Pixar’s recent original work since COVID:

      Pixar used to explore concepts like “What if toys had feelings?” or “What if rats cooked?” Now it’s more like “What if a socially awkward 13-year-old faced trauma?” It feels like they’ve lost the original intent.

      This criticism may be simplistic, but it underscores a notable shift in Pixar’s approach to storytelling. The classic Pixar era from 1995 to 2010 often started with straightforward high-concept ideas that were easily grasped by audiences.

      While viewers were undoubtedly attracted to Pixar's technical advancements, such as the stunning underwater visuals in Finding Nemo or the detailing in Wall-E, it was the studio's talent for expressing the human experience through absurd concepts that truly set it apart.

      Toy Story wasn’t solely about toys; it also articulated the fear of replacement. Ratatouille transcended the cooking theme to explore the need to follow one’s passions, regardless of background and family support. While these imaginative concepts drew audiences in, it was the emotional richness that kept them engaged.

      However, there’s a contrasting aspect. Although these themes are significant, particularly for films primarily intended for children and families, the earlier films never lost sight of their playful, vibrant, and whimsical nature. Up contemplatively tackled grief and letting go, yet it began with a whimsical premise of a house floating through the sky tethered to balloons.

      From Universal to Personal

      Recent Pixar films, such as Onward, Turning Red, Elemental, and Elio, focus on deeply personal emotional journeys. Onward delves into grief and parental loss; Turning Red examines puberty and generational trauma; Elemental explores immigration and cultural integration; Elio touches on loneliness and the longing for acceptance.

      All of these themes are valuable, so the problem isn't that contemporary Pixar has become overly emotional. Pixar has always been emotional. The distinction lies in how these emotions are presented—now they often occupy a central role in the narrative rather than arising organically from the premise.

      For instance, one of Pixar’s standout films of the 2020s, Soul, evokes existential themes akin to those in Toy Story. It follows Joe Gardner, a struggling musician who dies suddenly before achieving his lifelong ambition. Upon its release, many critics viewed it as a triumphant return to form for the studio.

      Ironically, Soul also exemplifies the challenges facing modern Pixar. Its themes of purpose and self-worth resonate deeply with adult audiences who have questioned their life choices. In contrast to Toy Story, however, Soul places these themes at the forefront.

      When we compare Joe Gardner’s anxiety about never achieving his dream with Woody’s worry about being replaced by Buzz Lightyear, both narratives grapple with strikingly similar fears